Modern Screen 1957-09 Vol. 51, No. 9

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BLONDES HAVE MORE DATES? POHOOHHHSHOHHHHHHHEHHHSHHHHHSHEHHHHHHHSHHHHHHHHHSTHEHHHSHHHEHHHSHHEHHHHEEHHHEHEHHETESHOHEHE HHH HOSEHETHEHHEHEHEEHHEEHESHEHEEEEHEHHEEHEEHEEHHEEHEE EELS You'll find out when you blonde your hair with Lady Clairol® Whipped Creme Hair Lightener. Actually silkens your hair as it lightens it. ..in one fast action! Lady Clairol whips instantly to a soft, rich cream...never runs or drips. Nothing like it for ease or speed...for clear, even tone. Leaves hair easy to manage...never &¥ Lai 4 coarse or brassy. For a glamorous change in your looks... your personality... try Chigt |e" amazing, new Lady Clairol. The Whipped Creme makes the fabulous difference! BRE LIGHTENER |” ©1957 Clairol Incorporated Stamford, Conn.

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‘A tale of wo dances (DID YOU SEE POOR POLLY ON TV?) Polly came home from the i party, weeping. “I had the most miserable time,” she told her mother. H She had counted on a wonderful eve- Polly had depended on tooth paste No tooth paste kills germs the way } ning . . . but it didn’t turn out that alone. But the most common cause of Listerine Antiseptic does .. . instantly way. What good are good looks if a bad breath is germs in the mouth. No ... by millions. } girl has bad breath? tooth paste is antiseptic, so... ; 4 << | i EEISTERINE In fact, Listerine kills every germ Dances are fun for Polly now. What found in the mouth—stops bad breath a difference! With Listerine, a girl Se eee aNGE eS _ 4 times better than tooth paste. gives her charm a fair break. : 1 1

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WHEN EVERYONE ELSE WAS ON THE BEACH ? So you’re missing out on all the fun, playing absentee at beach parties, letting everyone ¢/se have a wonderful time— while you hide away with your monthly “problems”! Surely by now you’ve heard of Tampax® internal sanitary protection. Invisible and unfelt when in place, it never can show and no one can know your secret. What’s more, it prevents odor from forming and telling tales! Tampax is the daintiest protection in the world to insert and dispose of. Your fingers never touch it. Another nice thing about it, you can carry spares just by tucking them inside your purse. Enjoy the freedom of the beach— swim if you want to—use Tampax! Have done with bulging pads and belts! Wear the sleekest bathing suit under the sun—and play beauty on the beach or in the sea, just as you choose! Don’t let summer fun pass you by. When problem days roll ‘round, be modern—use Tampax. 3 absorbencies (Regular, Junior, Super) wherever drug products are sold. Tampax Incorporated, Palmer, Mass. Lo Invented by a doctor— now used by millions of women ye . od oe a” CP ae eee SEPTEMBER, 1957 AMERICA’S GREATEST MOVIE MAGAZINE ‘ modern screen STORIES WILL YOU: MARR: (MB? occ ce csc ene oe 0 ole 2s otter ae eee eon = 29 HOW HE PROPOSED (Chuck Heston-Bill Holden).. 30 (Rory Calhoun-Pat Boone)....... 31 (Guy Madison-Marty Melcher) 32 (Vic Damone-Don Murray)......- 33 WHAT’S WRONG WITH THIS PICTURE? (Venetia Stevenson-Tony Perkins-Russ Tamblyn) ...by Claire Williams 34 HORS’N AROUND WITH TAB (Tab Hunter)......-.........---+------+--> 36 BROKEN ENGAGEMENTS (Marlon Brando—Kim Novak)..............--- 38 AUDREY AND MEL’S GARDEN OF LOVE (Audrey Hepburn—Mel Ferrer) by Susan Wender 40 WHY TONY AND JANET WERE SCARED TO ATTEND THE BIG HOLLYWOOD PARTY (Janet Leigh-Tony Curtis)..... by Ed DeBlasio 42 JOHNNY, IS THIS STORY TRUE? (Johnny Saxon)..........-..--.+-+--: 44 JAYNE MANSFIELD REVEALS HOW TO GET YOUR MAN.............. 46 THANK GOD I’M HOME (Audie Murphy)............-. by Jean Frazier 48 JANE. WYINLAN=GATE SSID: ooo atact ate ote woe te nee ete pen atte eto 50 THE STRANGE PRIVATE LIFE OF DEAN STOCKWELL...by Bob Monroe 52 ONLY MODERN SCREEN WAS THERE With Debbie-Eddie and Liz-Mike...............--- se see c ees ee ee eeees 54 With June and Dick On Their Second Honeymoon (June and Dick Powell) ............ 00. . 22 e ee ces ese ce eens eeees 56 CAN TERRY MOORE AND HER HUSBAND KEEP LOVE ALIVE? by Jae Lyle 60 FEATURES KIRK. DOUGUAS—GHOS Te rice eyiceeteiete cise = a rciaie eet le le he Nee Rote teeta ene ateli r= 17 KIM NOVAK AND THE WOUNDED FLY...........----+-eeessseeeeeeeess 18 AVA PLAYS FOR HIGH ‘STEAKS’ (Ava Gardner).........--..--+++++- 26 WHO GETS TOP BILLING? (Rick Jason) .......-....-------sss-2005---*"- 27 IT TOOK A CHIHUAHUA TO MAKE EDDIE LAUGH (Eddie Fisher) ....- 62 DANNY KAYE’S PRIZE GAGS.......-.... 200000002 92522 eee seeesmn nese 64 ERROL FLYNN’S QUIET WEEKEND..........-..--:+:+:seesee secre ress 70 ANNE BAXTER’S EIGHTEEN-YEAR WORRY ...........-::2ssss++eeees: 76 CHARLES BOYER AND THE SATURDAY MATINEE SERIAL.........-- 78 “THEY’LL KILL ME YET!” SAYS VIC MATURE..........----.-+--+--+:: 80 CLINT WALKER-CLIFF DWELLER.............-.200-++sseeeeere ee eeeees 82 TONY FRANCIOSA LOSES A BET............--+-+--s0 ese eescer etree: 84 SEPTEMBER BIRTHDAYS.......2.--.:0-seectes reser ses t es assess ener teres 85 LONELIEST NIGHT IN THE WEEK (Bob Wagner).......-- by Nena Wills 86 ELVIS GETS HIS HAIR CUT (Elvis Presley) .......----+22++s+++eesss:> 87 “HEADS NEW YORK, TAILS HOLLYWOOD” (Jeanette MacDonald) .... 88 HOW JACK LEMMON SATISFIED HIS GREAT FRUSTRATION.......... 89 ACCIDENT PRONE GREGORY PECK AND ALAN LADD.............. 90 ALWAYS A BRIDESMAID—NOW TO BE A BRIDE (Lori Nelson)....... 92 DEPARTMENTS LOUELLA PARSONS IN HOLLYWOOD.........-...------++++seeseeeees 6 THE INSIDE STORY «0 cici ccc 2 0 cceelscre © = stsie se « che epahtsigts oon eae bo beers 4 NEW MOVIES i iccics niece ebefere etorclsictelesenisns) sp okek erence eetane by Florence Epstein 20 $100. FOR YOU... 0. cco. wee cs see oe ree inion ole 0 Oye 8) la Neel 24 MODERN SCREEN BEAUTY .........--.-0--+-2 225500 + emer e 65 MODERN SCREEN FASHIONS...........--- +2 22s esses eset eee e ees ececeee 67 Color portrait of Janet Leigh on the cover by C. Blackwell of Globe Photos. Janet can soon be seen in U-I’s Badge Of Evil, RKO’s Jet Pilot and U.A’s The Vikings. Other photographers’ credits on page 74 EE RHYN SERLIN, story editor INA C. STEINHAUSER, associate editor M. RAUSCHENBERGER, assistant editor J. WILLIAM LUSZCZ, art editor DAVID MYERS, editor PIERRE DU FAYET, assistant art editor GWENN WALTERS, fashion and beauty irector f : FERNANDO TEXIDOR, art director JIM HOFFMAN, managing editor ERNESTINE R. COOKE, editorial assistant EE NOTICE TO SUBSCRIBERS Changes of address should reach us five weeks in advance of the next issue date. Give both your old and new address, enclosing if possible your old address label. POSTMASTER: Please send notice on Form No. 3579 to 76 Ninth Avenue, New York 11, N. Y. MODERN SCREEN, Vol. 51, No.9, September, 1957. Published monthly except January by Dell Publishing Company, Inc. Office of publication at Washington and South Aves., Dunellen, N. J. Executive and editorial offices, 261 Fifth Avenue, New York 16, N. Y. Dell Subscription Service: 10 West 33rd St., New York 1,N Chicago advertising office, 221 No. LaSalle St., Chicago, \Il. George T. Delacorte, Jr., President; Helen Meyer, Vice-Pres.; Albert P. Delacorte, Vice-Pres. Published simultaneously in the Dominion of Canada. International copyright secured under the provisions of the Revised Convention for the Protection of Literary and Artistic Works. All rights reserved under the Buenos Aires Convention. Single copy price 25c in U. S. A. and Pos- sessions, and Canada. Subscriptions in U. S. A. and Canada $2.25 one year; $3.50 two years; $4.75 three years, foreign, $3.25 a year. Reentered as second class matter March 25, 1957, at the Post Office at Dunellen, J., under Act of March 3, 1879. Copyright 1957 by Dell Publishing Company, Inc. Printed in U.S. A. The publishers accept no responsibility for the return of unsolicited material Trademark No. 596

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...m the great | tradition of Civil War romance. PRODUCED BY FABULOUS NEW

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one who catches his eye! Aren’t you glad you’ve always been so careful with your ap- pearance, especially your hair! Every hair is in place, and you know it’s easiest to keep that way by setting and securing it with Gayla HOLD-BoB ... the all-pur- pose bobby pin preferred by more women over all others. At first glance, bobby pins may look alike, but women know that Gayla HOLD-BoB with FLEXI-GRIP is the leader by superior perform- | ance...holds better, has the right | combination of strength and flexi- | j bility, and is easiest to use. Do not accept ordinary bobby pins—insist on Gayla HOLD-BOB. 4 ©1957 G.P.I. Gayla ® HOLD-BOB BOBBY PINS WITH Flexi-Grip GAYLORD PRODUCTS INCORPORATED 1918 Prairie Avenue, Chicago 16, Illinois THE INSIDE STORY Want the real truth? Write to INSIDE STORY, Modern Screen, 10 West 33rd Street, New York Il. The most interesting letters will appear in this column. Sorry, no personal replies. @ Is it true that when Liz Taylor woke out of the anaesthetic after her recent back operation, the first thing she asked was, “Where’s my diamond ring?” ° —T.R., SAN FRANeISco, CAL. ASYes: @ Was Carroll Baker turned down for the role that Natalie Wood played in Rebel Without A Cause? —H.R., ELLENVILLE, N.Y. A Yes. @ Is it true that Tony Perkins has gone Hollywood? —S.T., Battromore, Mp. A He’s showing signs of the disease. @ Can you tell me if Pat Boone and Elvis Presley flopped in Cleveland on their personal appearance tours? —E.R., CLEVELAND, OHIO A Both flopped with a bang. @ What is the relationship between Henry Fonda and director John Ford? —l).K., Lowisvinte, Ky. A They once were friends; are friends no more. @ What happened to Bella Darvi? —E.S., NYC A She has become one of Monte Carlo’s top gamblers. @ Is it possible for you to reveal from whom Grace Kelly now buys her clothes—now that she’s a princess? —O.R., Curcaco. Ix. A She buys them from Lanvin Cas- TILLO. Grace recently purchased six dresses—from a collection of eighty shown her! @ Who is responsible for this remark: “Tye been broke but I never lived poor.” —C.R., MILWAUKEE, WIs. A Mike Todd. @ What is Martha Raye's real name? —F.L., SEATTLE, WASH. A Margaret O’Reed. @ Is it true that when Jennifer Jones sees photographers, she begins to cry? —A.M., Detroit, Mic. A Photographers frighten Jennifer; when they insist upon taking her photo, she frequently breaks into tears. @ The feud between Kim Novak and Barbara Nichols in Pat Jory—was it on the square? —J.Y., SAN Francisco, CAL. A A case of mutual jealousy. @ Is it true that Aly Khan’s son is as great a lover as his father? —D.H., Fr. Wortn, TEx. A Amine Khan, eighteen, has been dat- ing film star Betta St. John in Cannes; doing a fine job. @ Is it really true that the family of the Marquis de Portago, the racing driver recently killed, would not allow Linda Christian at the funeral? —V.T., Bancor, ME. A Various members of the family ob- jected to her presence, so Linda was not at the funeral. @ Does Henry Fonda hate Hollywood? —H.R., Omana, NEB. A He says he does. @ Why does Tony Curtis let his hair grow the way it does? —Y.G., MIAMi, Fra. A Tony’s answer: “In 1948 I was too poor to visit the barber. I was paid | $150 a week but I owed so much money, I had none left over for haircuts. So I let my hair grow. I came to like it that | way.” @ Will Anne Baxter ever marry again? | —H.T., CARMEL, CAL. A She might, but she’s the first to ad- | mit that “as wives, actresses are bad bargains.” | @ Are Sinatra and Lewis feuding? : —B.T., Copy, Wy0.|| A At the moment Frankie and Jerry \ Lewis are not on the best of terms. — @ Is Peter Lawford all washed up in) movies? And how come? ; —V.R., RicHMoND, VA. | A Having lost his bobby-sox following, | Lawford no longer has any real big box- office pull. @ Mario Lanza had so much trouble) with MGM. Can you tell me why he is now making another film there? | —E.L., Lone Bracs, N.Y #8 A MGM is merely releasing the new Lanza film, SevEN Hitts oF RoME, noff producing it. { @ Has Bing Crosby's new girl friend} Inger Stevens, ever been married ? f —V.R., HartTFrorD, CONN A Married once to agent Tony Soglio, (Continued on page 19)

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You'll have big lovin’ eyes for Blwts when he sings “Loving You”... you'll dig Elvis when he comes on strong with ‘Hot Dog”... you’ll flip for aaaam Elvis when he rocks to “Let Me Be Your Teddy Bear”:.. you'll g0-g0-g0 for E [wis when he rides out 4 é on ‘““Mean-Woman Blues”. you'll get your kicks from ple is when he swings to “Lonesome Cowboy’... you'll sa Elw8t is the wildest when he belts out “Got A Lot of Livin To Do”... and you’ll know Elvis is too much when he wails up a oa to ‘“Let’s Have A Party”! YOU'LL LOVE | jwis : rt HIS FIRST BIG MODERN MUS: TECHNICOLOR YISTAYISION Introducing - new young star discovery— Dolores Hart FLVIS PRESLEY - :*2 LIZABETH SCOTT Toving ¥ j¥o WENDELL COREY » HAL WALLIS. it : Directed by HAL KANTER - Screenplay by HERBERT BAKER and HAL KANTER - From a Story by Mary Agnes Thompson - A PARAMOUNT PICTURE * = | Merges are sre 1 FAREED ITN FETE TS FS eer een mes pete my at

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eh gt a Gregory Peck wouldn’t pose alone, gallantly insisting that his The King, Clark Gable, and his lovely Queen were the cen | wife be in the photograph. And after all—can you blame him? of all eves. Kay was radiant— specially when looking at hi THE PARTY OF THE MONT ; The movie husbands and wives who insist f : sitting together at parties got all shook up — LOUELLA PARSONS q dinner partners by courageous hostess Fi : ; Stark who, with husband Ray, gave one of * most star-studded affairs I've ever attend It was really cute to see Robert Tayl) crossing the room to kiss Ursula Thies? who was sitting at our table. And Cla} Gable came back—and then back agai: to talk to Kay, who was seated just a ta® or two away from him. z i 3 I never saw Lana Turner look m/! ouella arsons beautiful. She is so slender these days cf her tight-fitting tangerine-colored dress show'= off her figure to perfection. I must say Lc i looked very happy too, dancing with go? looking WARNER BROTHERS actor Michz® . Dante. i: Just an added word about this ant year-old man. His real name is John Vitti c for a short time he played baseball for ‘Ff! WASHINGTON SENATORS. Growing discourac}#* when he got in few games and spent mosi his time warming the bench, he turned to « ing and got himself a job in Raintree Cou in hollywood This was a fabulous month before WARNERS signed him to a contract. ; likes Lana plenty—and it seems to be muti fi In Hollywood—filled with Gregory Peck See oy companion with our group although he, 4 kept an eye on his vivacious French w) Joy and heartbreak, laughter and tears. looking very smart in a Paris gown, sitt a few tables away. iNew 2 Merle Oberon’s fabulous jewelry Come—join me in Our Wonderful Town. always eye-catching and she looked stunn in a white gown with her diamond necklc # Norma Shearer, former star, looked #& : youthful as today’s group dancing with ft 6 band Marty Arrougé; among others twir

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ional! } ie ‘ = re pA Bob and Ursula a few seconds after he kissed her. It could have been their first date, und the dance floor were the Mervyn Le 7s and the Buddy Adlers. speaking of the Stark party, a couple at- sting much attention was Jacques de rgerac and Claire Bloom. Jacques, king his first appearance since his divorce n Ginger Rogers, was most attentive to the ely British actress who had just arrived in lywood for The Brothers Karamazov. remember Claire from her early days in llywood, when she was far from being the ortant stage, screen and Shakespearean ress she is today. Even after she was cast Charlie Chaplin's picture Limelight— ; was long before his troubles with Uncle n—she didn’t attract too much attention. atlie’s movies are always ALL-Chaplin cs, and few of his leading ladies get a mce to shine on their own. 3ut Claire went to Londo: where, in a short e, she became a really important young ress with the Otp Vic Company. Sir urence Olivier himself said that her iet was one of the loveliest performances had ever seen. When MGM brought her back for The Broth- - Karamazov with Yul Brynner, Claire 's accorded the red-velvet-carpet treatment which must have been a wonderful satis- tion. Later she came to my home and I had a ig talk with her. She said one thing I greatly mire her for—it took a bit of courage to say considering the way Americans feel about aplin these days—and vice versa. ‘I do not agree with his politics and think- j—but I shall always be grateful and feel sense of loyalty to him for the chance he ve me,” Claire said. (Continued on page 8) * ee Merle Oberon was so very beautiful—and happy as a lark!—glittering and glamorous like a fairy princess at a magnificent ball. the way they held hands while together. Claire Bloom disagrees with Charlie Chaplin’s ideas on politics, but she al- ways remembers he launched her career. 7

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CHOOSE the douche used by fastidious women When it comes to douching, many, many poised and confident women agree on “Lysol.” Why? Because no ordinary douche can answer the varied problems of internal cleanliness you face from day to day. No ordinary douche can give you the assurance of complete cleanliness, the feeling of inward security that is your own personal right. Fastidious women demand a douche that both cleanses and deodorizes. They know that “Lysol” protects daintiness as nothing else can. It spreads into folds and crevices, kills bacteria rapidly on con- tact—the very bacteria that are the pri- mary cause of “embarrassing odor.” You owe it to yourself to try new, mild-formula “Lysol” brand disinfectant. Discover the marvelous feeling of fresh- ness, of all-over-cleanliness the lasting sense of security that comes with knowing you're sure of your daintiness! Write for free booklet (sent in plain envelope) on medically-approved way of douching. Send name and address to “Lysol,” Bloom- Look for field, N. J., Dept. MS-579. New Bottle BRAND DISINFECTANT 4 Lehn & Fink Product Also available in Canada LOUELLA PARSONS in hollywood continued % Susan Oliver’s very pretty, very talented and very popular—a combination that spells success i NOMINATE FOR STARDOM: Susan Oliver, the blonde, emerald-eyed beauty who has been discovered by Marty Melcher to star in his first production without his wife Doris Day, Tender Fury. I don't know when I’ve been more impressed by a newcomer than I am with Susan. A novice to the screen, this girl has had excellent training. She appeared on Broadway in Small War On Murray dill and originally came to Hollywood to star in two Matinee Theatre Tv shows. Many girls get started this way—but the important thing about Susan is that she has the air of a star—that intangible something that separates the hopefuls from the big leaguers. I hear that WARNERS are going to give her the same build-up Natalie Wood and Carroll Baker received. In fact, Susan may give Natalie a run for her honors in the date business. In the short time she’s been in town she’s been out with Warner LeRoy, son of the director, Tab Hunter, Dennis Hopper and Tony Perkins. I like one story about her particularly— as soon as she finished her starring role in Tender. Fury, she returned to New York to pay off $1,000 of debts she had accumulated while struggling for a break in the big town. She was born in New York on February 13th, 1936, and before her parents were divorced she lived with them in Japan, wher«| her father produced documentary films fo the US Information Agency. “I can. speak Japanese,’ she laughs, “i that will help in my screen career!” FRANK SINATRA: Frankie was Hum:/ phrey Bogart’s closest friend, and ha:| done much to cheer Bogey’s widow, the beau | tiful Lauren Bacall, by seeing that she’ is included in every party to which he i: invited. I must say he has helped her con siderably and she looks beautiful these days One of the parties she attended with Frankic and his pals was at Sinatra’s favorite bistro THE VILLA CAPRI, an affair hosted by Franki in honor of agent Irving Lazar before Laza departed for a month in Europe. Betty, as Bogey always called her—anc so do all of us who are her friends—wore « flowered print, a white background with brigh red roses. So becoming to her. She was as gay as a bird, and without tha strain of trying to keep her chin up—and face the world courageously—which marked her ir | the tragic weeks following Bogey’s death. Nc matter what happens, Betty’s philosophy o life is to keep up one’s morale and turn c smiling face to the world. Only once did she lapse, and that was when she told me tha her young daughter, four-year-old Leslie, hac fallen and broken (Continued on page 10

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He bought her...she was his! He bought a beautiful slave and made her mistress of his giant plantation! —~~» He came to Louisiana with $2,000,000 in gold! In his New Orleans mansion he kept a stunning prisoner that . he never touched! —~»He knew the greed at Rio Bongo, the debauchery .at Pointe du Loup, the treachery at Belle Helene —— but nobody really knew him! —~ CLARK GABLE ~YVONNE DE CARLO as the man who took the strange name of Hamish Bond as Manty, the girl who thought she was a Louisiana belle... and all the passionate emotions and lush splendor that flows from the tumul- tuous best-seller by the Pulitzer Prize-winning author of ‘All The King’s Men’! 0 STs2RI) SIDNEY POITIER” -Ru Z IELZZE— - as Raw LLAZAA = —- ——_ soa IN WARNERCOLOR FROM WARNER BROS. with EFREM ZIMBALIST. JR. rex REASON « SCREEN PLAY BY JOHN TWISTamp IVAN GOFF & BEN ROBERTS « wusic-sy sax steiner * DIRECTED SY RAOUL WALSH

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LOUELLA PARSONS in hollywood her front tooth and had also been ill in the hospital. "My year for bad luck,” she said— and then turned a smiling face toward the other guests. Tyrone Power brought the Japanese beauty, Miiko Taka, who stars with Mar- lon Brando in Sayonara, to Frankie’s party. So nice to see Ty, who has been away from Hollywood for over two years appearing on the stage and making movies in England and in Mexico. Ty was just south of the border, by the way, finishing up The Sun Also Rises with Ava Gardner—Frank’s ex, you may recall. Among the other guests enjoying the Italian food were Cole Porter—he had just arrived in town that morning; the William Goetzes, Sam Goldwyns, Buddy Adlers, Mike Roman- offs, Betty Furness, Clifton Webb, Jean Negulescos, Sammy Cahns. P.S. I noticed the menu featured Sinatra Steak—fixed just the way Frankie likes it, with pepper-pods and green peppers. IT’S MY PRIVATE OPINION: Ava continued Gardner's romance with Walter Chiari, the Italian actor, is cooling even though they made up a short quarrel long enough for him to accompany her to visit her family in North Carolina. While she was making The Sun Also Rises in Mexico City, Ava said to a confidante, “I’m no longer in love with Walter—but, well, there’s no one else.” I’m not too sure about that, either. Me-thinks the lady is quite smitten with a well-known writer, a most sophisticated man whose marriage is said to be on the tocks but not officially ended in divorce. Chiari now seems to be more of a pal to this lonely woman. Yes, Ava is lonely, despite all her fame and fortune—and beauty. After a short visit to Hollywood on a “visitor's per- mit’’—ironic, isn’t it, that this girl who was born in this country now is a citizen of Spain and has to visit her native land on a permit— she hurried to New York, and to her family. As usual, she dodged the press. Her only personal comment was, “I'll never marry again. No other man is going to ruin my life.” Here Walter Chiari, attentive and charming as ever, is lighting Ava Gardner's cigarette. But things seemed to have changed between Walter and Ava. Once their love flamed 10 as brightly as the flame in his lighter. Now it looks like it’s over—they’re “just friends. I’ve never felt particularly close to Ava and yet I can’t help feeling sorry about the way she seems to have mixed up her life. TERRY MOORE FILED SUIT and Eugene McGrath was just as surprised as the rest of the world at her sensational and unex- pected charges against him, naming four women. Later he told me—‘“Terry and I weren't even separated when she dropped this bombshell.” But I knew first hand of McGrath's surprise because I had run into him in Las Vegas the day before Terry’s story broke in the papers. I was walking into the SANDs HOTEL, where I was stopping, just as a tall and handsome man was walking out. H2 stopped me. “T’m Eugene McGrath, Miss Parsons,” he introduced himself. “I've always wanted to meet you.” I thanked him and asked, ‘How is Terry?” He smiled and said, “Oh, she’s just fine.” We chatted a moment and if there were any immediate worries in the life of this wealthy young business man, he didn’t show it. I'm sure he knew nothing then of Terry’s plans. I tried to contact Terry, but she had entered a hospital. That's how unnerved she was by her drastic action. But I did talk with McGrath again. I knew he had talked several times with Terry at the hospital because he was served with her divorce papers there—on his first visit! “Are you and Terry going to reconcile?” He spoke very seriously as he replied, “That is in the lap of the gods. Terry is big enough to admit now that she was misinformed. I have filed a legal denial of all of her charges of misconduct. As for gambling, I can prove on my income tax reports that I have lost only $5,000 in five years, certainly not an amount to endanger our marriage in my in- come bracket. “It isn't easy to take to be clobbered over the front pages of newspapers all over the world. But Terry and I will talk again. Don't be hard on her. She’s very upset and she needs her good friends—like you.” By the time you read this you will know what happened. TEMPERAMENTAL HEDY: Hedy La- marr should be told that the good old days when movie stars were temperamental and showed up late on the set and made it difficult for everyone—are gone forever. Instead of being prompt and charming, as Hedy very well can be if she wished, she was so difficult that everyone heaved a sigh of relief when The Female Animal was com- pleted. Hedy is still an attractive woman; in fact, even better looking than when she was younger. But beauty isn’t enough these days of movie making. She was so difficult she made very few friends. In comparison, Jane Powell and Jan Sterling were angels. JACK LEMMON SAID [T—at least, he's quoted as remarking to Cliff Robert- son after Cliff told him that he is marrying Jack's ex, Cynthia Stone Lemmon, sounds a little conceited to me. Jack is supposed to have said, when he learned that his former wife has found a new love, “Cynthia always had good taste in men!’ Now, really! (Continued on page 12)

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LOUELLA PARSONS in hollywood continued Va Advertising agents are competing for the right to use the bed and mat- tress slogan: Marilyn Slept Here. But she won't give her endorsement. I know I speak for all Debbie’s fans when I tell her that while we love her as a wife and mother, we urge her not to neglect her movie career. THE LAUGH OF THE MONTH: Ever since Marilyn Monroe gave her now- famous interview about '’a big comfortable bed being the most important thing that has come with fame and riches’’—every bed and mat- tress manufacturer in the United States has been hounding her to endorse their product! I'm sure Marilyn didn’t realize the com- motion she would stir up by this comment. It occurred during an interview with a New York reporter who had asked MM what she would miss most in life if she was suddenly poor again. Said Marilyn, in effect—''It wouldn't be dia- monds, because I don't care for jewelry. Or furs or clothes or automobiles—what I'd miss most would be a great, big, comfortable bed. When I was poor I always had to sleep with a female relative or in a bed too small and uncomfortable.” Now the poor gal can't stick her nose out the door that some advertising agent doesn't beg her to say, for publication, that it’s his company who makes the bed she prefers! OPEN LETTER TO DEBBIE: My little friend, I think the time has come when you'd better start minding the store. I mean, start thinking about your own career again. I might not have felt this so strongly if it weren't for the news that an absolute new- comer, a little fifteen-year-old model-actress from New York named Carol Lynley, has been 12 signed by MGM io star in The Reluctant Debutante, a London stage hit which was purchased more than a year ago to star YOU. There was no announcement from the studio about why this switch had been made. If I hadn't remembered running a lead story in my column that Reluctant Debutante had been bought especially for you, to set off your particular talents, I'd never have known from MGM that you have been replaced by a virtual novice. My point is this—recently, it has seemed that you are really more interested in Eddie Fisher's career than in your own. You love him very deeply and heaven knows I'm not knocking that. I thoroughly approve of mar- tied movie people being together as much as possible. And it can be done without one sacrificing too much to the other. It seems to me that Audrey Hepburn and Mel Ferrer work out this problem very well. They make every effort to be together as much as they can and they solve this by juggling their assignments so Audrey is free when Mel is working and he tries to be be- tween pictures when she is working. In this way they can accompany each other on loca- tion jaunts, one vacationing while the other keeps the career banner flying. Think it over, Debbie. You could use a top picture right now—and you aren't likely to get it staying away from Hollywood these long stretches at a time. THEY WANT A BOY: Pretty Shirley your wish! (Mrs. Pat) Boone makes no bones about using every superstitious hocus-pocus she knows to insure that she and Pat Boone have a boy in March. “All my maternity clothes will be in shades of blue from light to dark. Even my shoes will | be blue. And my lingerie,” she laughed. ‘With three little girls, three, two and one, Pat and I are just sure we'll have a boy this time. We've picked out the name Michel—and we'll } refer to the expected new member of the | family as Mike—until proven otherwise.” To help the good work along, Shirley and Pat, I'll keep my fingers crossed that you get (Continued on page 14)

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Od ' She is eager « young « sensual - luminous - arrogant « vain « shimmering « drifting + unbridled + passionate » impudent! wees KIM NOVAK ! JEFF CHANDLER 828% Jeanne EX 0; co-starring AGNES MOOREHEAD with CHARLES DRAKE-LARRY GATES: VIRGINIA GREY:GENE LOCKHART Screen Play by DANIEL FUCHS, SONYA LEVIEN and JOHN FANTE Story by DANIEL FUCHS Produced and Directed by GEORGE SIDNEY*:A COLUMBIA PICTURE < 13

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LOUVELLA PARSONS in hollywood continued I can almost hear Mike telling Liz: “All right. And here’s the happy ending. Mike We missed the plane. Ull hire one and we'll tells Liz: “Okay, my darling. W é go to Paris and then to Nice.” And I hear Liz’s won't stop over in Paris. Ill charter answer: “Mike, I just can’t stand Paris.” a plane that goes straight to Nice. PICTURES OF THE MONTH These pictures I'm showing you this month really take you inside the personal lives of the stars. You see them quarreling and mak- ing up, celebrating a wedding anniversary, getting married, becoming American citizens, and going on a vacation. Just like in any town in the United States—except that this month it happened in Hollywood. Gia Scala is due to become a citizen of America gets a new citizen and a the U. S. A. She’s just taken her exam- pretty one. Ursula Thiess, Ger- mation for citizenship and is so happy man-born wife of Bob Taylor, just that she’s about to kiss Ike’s portrait. received her naturalization papers. I'm so thrilled by this picture. After twenty years of married life Jeannette MacDonald and Gene Raymond are still so much in love—and appear as young—as ever. Here they are cutting their anniversary cake. Congratulations to two wonderful people. Newly-weds Rex Harrison and Kay Kendall surprised everyone by getting married earlier than expected. Only a few friends attended. It’s Rex’s third, Kay’s first. Henry Fonda and his children, Jane and Peter, are off for a European vacation. Jane is pretty enough to be in pictures and I think Peter looks a little like his Dad. The three Fondas plan to spend the summer seeing all the wonderful sights abroad. (Continued on page 16) Te aewee ao

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16 Debbie comes ot A nice girl but not glamorous, until... First, she darkens and silkens colorless lashes and brows with a touch of rich KurLENE eyelash cream every night. KurLtene® tube 50c* jar $1.00 * plus tax Second, Debbie shapes uneven eyebrows. With gentle Twissors, the only tweezers with scissor handles, she plucks wayward hairs from under brows.(New coif flat- ters eyes and face.) Twissors® 75c Oe Third, Debbie’s undramatic eyes become bright, sparkling. She uses KURLASH eye- lash curler to give a bewitching curve to her lashes ... new beauty to her eyes. Kur LAsH® $1.00 See what Debbie’s eye beauty plan can do for you! Kurtasu products at your local department, drug or variety store. Company, Inc., Rochester 4, N.Y. (Also available in Canada) LOUELLA PARSONS in hollywood continued Hal March designed a beautiful piece of jewelry for Candy. They recently had a son, Peter Lindsey. A SENTIMENTAL FATHER is Hal ($64,000 Question) March, who turns movie star in Hear This Good at PArAmMount. The day I visited the set he was proudly showing a piece of jewelry he had designed for wife Candy. It’s a gold likeness of Candy holding the baby in her arms, circled by clusters of fresh- water pearls. Inscribed on the back is “Dar- ling, we love you and thank you. Peter Lindsey and Daddy.” THE LETTER BOX: “Will you give me one gocd reason why such lucky and rich people as Ava Gardner, Frank Sinatra, Danny Kaye, and even such newcomers as Joanne Woodward seem to think they must undergo psychiatric treatment?” snaps WILMA WILLIAMS, Oklahoma. For the same reasons that rich and lucky bankers, bakers and candlestick makers need psychiatric help, Wilma. Emotional ills have nothing to do with luck or wealth... From El Paso, VIVIAN WEAR says: “I want to get my two cents in about the Debbie- Eddie situation. As appealing as they are as a team, I think it would be to the benefit of both if they would separate their publicity for awhile. After all, they are individuals with separate talents and should not be thought of as a sort of married Martin and Lewis.” You may have a point there, girl. . . SHARON JOHNSON scolds me and MopERN ScrEEN for not printing more about Dorothy Malone. “We in St. Louis love this girl— and she’s from Texas, not Missouri. She de- serves much more space than she gets, par- ticularly since winning the Best Supporting Actress Oscar.” I wasn’t at all aware that we were neglecting Dorothy, Sharon. Did you see the August issue? Bint BYERS, New York, inquires: “J wonder if Marlon Brando is aware that he has been replaced as the King of Sex by Yul Brynner?” I doubt if Marlon, with his self- esteem, is at all aware of this situation, and it will take a. great deal more than your inquiry to make him believe it... From Detroit, Doris Witson rushes to the defense of Mitzi Gaynor. “I was distressed to read in your department that a fan com- plains that Mitzi does not answer her fan mail. May I say that she has answered every letter I have ever written her, and sent me lots oi! pretty pictures as well.” ... Betty PArsoNs—no relation, but from my | former favorite town of Chicago, writes: “Hollywood producers must be crazy not tc sign Perry Como for the movies. He's the | GREATEST!” Don't worry that the Relaxec Singer hasn't had movie offers. But right now he’s going such great guns on TV he probably can't take the time off... “This is just one guy’s opinion, but I hope Doris Day doesn’t make any more picture: without singing,” says DONALD TROUTMAN! Brooklyn. “I think the sales of her records ar« suffering because she’s better known thes« days as an actress rather than a singer. You'll hear Doris sing several songs i Pajama Game... IrmMA Doo.irTLE has me stopped. “Writ: me under separate cover, the real troubl| between Ava Gardner and Frank Sin atra,”—is all she wants to know. If I knev that I could write a book, my girl... Had to read VERA RAMsEy'’s letter twice “I'm just crazy about your new radio show, she pens from Indianapolis. “Your voic | sounds like you've been coached by an exper It's really a swell show. Keep it up!” If you'v heard me on radio in the past five year:| you're hearing spooks, my friend. But than you, anyway—maybe you mean you've hear me on a few Tv broadcasts ... That's all for now. See you next month

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KIRK DOUGLAS —GHOST! m They were shooting Lust For Life on location in Holland. and Kirk Douglas was the spittin’ image of the Dutch Vincent Van Gogh—the painter all Holland. and all the world. knew and loved. The director called an hour break. It was a hot day and Kirk decided he'd take advantage of the time to catch a cold beer. When Kirk left the studio. he didn't bother to change his costume. Although he was attired as Van Gogh—complete with artist's smock. beard. and funny looking hat—nobody paid any special attention to him. In Holland. quaintly dressed Bo- hemian artists are a common sight. That is. nobody paid any attention to him until Kirk seated himself in a little cafe. The waitress took one look at him and fled. screaming. into the kitchen! Then an English-speaking patron ex- plained. “She thinks you're dead.” “Tm what—!” exclaimed Kirk. “Dead. See that picture? That’s you, she says. but you died in 1890!” Kirk turned around and there, sure enough. hanging on the wall was a reprint of a self-portrait by Van Gogh. The re- semblance to Kirk—or Kirk’s resemblance to Van Gogh—was so striking. it was easy to see why the waitress had been so petrified. Van Gogh’s ghost! Kirk burst out laughing. and then ex- plained that he wasn’t really the ghost of Van Gogh, just an American actor play- ing him in a movie. Also. would the waitress please get him his beer? Rather suspiciously the waitress served Kirk—gin! “She says.” translated Kirk’s cafe acquaintance. “that Van Gogh never drank beer. only gin.” “But I’m not Van Gogh,” said Kirk. “She’s not so sure,” the man grinned. “Tsn’t there some way to convince her?” “Say afrekenen.” “What's that mean?” asked Kirk. “Never mind. just say it.” So Kirk said afrekenen. The waitress looked aghast, then sighed relief. “Afrekenen means how much do I owe you?” the man said. “And everybody in Holland remembers that Van Gogh. like all poor artists, never paid for a drink in his life!” Kirk finally got his beer! Kirk’s currently in MGM’s Lust For Life and Paramount’s Gunfight At The O.K. Corral. Watch for him soon in U.A.’s The Vikings and Paths Of Giory. | | You'll love Jeanne Crain co-starring in JEANNE CRAIN LOVE LUSTRE- CREME SHAMPOO 7 never dries — it beautifies thick and creamy... eA blessed with lanolin! | needs no after-rinse! of course, it leaves hair more manageable! Sees NO WONDER IT’S THE FAVORITE SHAMPOO OF 4 OUT OF 5 TOP HOLLYWOOD MOVIE STARS

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HALEANGEL..... HALF-DEVIL ... she flaunted his hopes, taunted his dreams, turned his peaceful valley into a volcano of seething passions that even murder could not stem! TECHNIGOLOR. starring DIANA DORS- ROD STEIGER TOM TRYON . BEULAH BONDI in MARIE WINDSOR - ARTHUR FRANZ cweor es IATHON LATTE © sno ao omceo HT) PADD || Vv AN RKO RADIO PICTURE - A UNIVERSAL-INTERNATIONAL RELEASE inside story (continued from page 4) @ Is it true that Harry Belafonte and Yul Brynner make up biographies about themselves ? —K.T., Inpranaporis, Inp. A They have on occasion. @ Who receives more fan mail, Sal Mineo or Bob Wagner? —F F., PHILADELPHIA, PA. A At this writing—Mineo. @ Is it true that Gregory Peck's wife Veronique Passani will have practically nothing to do with friends who knew her in Europe in the old days? —K.F., NYC A That’s what the old friends say. @ I heard Robert Mitchum worked on a chain gang. Is that true? —B.Y., DurHaM, N.C. A He says he did, many years ago. @ The Wortpd ALMANAC lists Sophia Loren as having been born in 1922—is she really thirty-five years old? —T.R., Mapison, WIs. A Sophia is not thirty-five; she’s im her early twenties. @ Is it true that Red Skelton smokes twenty cigars a day? —N.R., Vincennes, INp. A Skelton chews cigars, never smokes. ® How much does Universal get every time it loans out Rock Hudson? —E.L., Bancor, ME. A $200,000. @ Didn’t Ginger Rogers bounce de Bergerac because she’s got Walter Troutman of Atlanta on the string? —M_.Y., Newark, N.J. A No; the age differential proved too great. @ Is it true that Tab Hunter will go out on the road with an ice show? —K.R., RocHester, N.Y. A Plans are for him to appear late this winter in such a show. @ How old is Ava Gardner? Can she have any children? —J.R., Raveicu, N.C. A Ava is thirty-six; can have children. @ Isn’t Audrey Hepburn responsible for Mel Ferrer's success as an actor? Why does the press dislike him ? —F.L., Urpana, IL. A. Ferrer has always had a European following. Newsmen at one time felt he was over-protective where Audrey was concerned, but no longer think so. @ Will Natalie Wood marry Liz Tay- lor's ex, Nicky Hilton? Does Hilton do anything for a living? Why do they call him a playboy? —F.L., Inpranapotrts, Inp. A: Natalie says she and Nicky are “triends.”’ Hilton works for his father. @ Isn’t Debbie Reynolds pregnant again? —RP., Santa Fr, N. M. A. Debbie and Eddie want a large fam- ily but as of this writing, she is not pregnant. @ Is Burt Laneaster considered a greater lover than Michael Rennie? —F.L., Parts, Ky. A. Lancaster is a respectable married —T.R., Map‘son, WIs. 19

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20 NEW MOVIES by Klocowee open Psychiatrist Lee J. Cobb is amazed to see drab Eve White change to a gaudy brash woman who calls herself Eve Black. THE THREE FACES OF EVE Joanne Woodward Lee J. Cobb David Wayne Terry Ann Ross Edwin Jerome psychological drama u This is the true story of a woman who had three different personalities. It is based almost entirely on an actual case history recorded by two psychiatrists in Georgia. The result is a fascinating movie that doesn’t have to depend on tricks or loud music for effect. Joanne Woodward plays Eve White, a drab southern housewife who comes to doctor Lee J. Cobb’s office with her well-meaning but dense husband David Wayne. She com- plains of violent headaches followed by black- outs and loss of memory. There, in the doc- tor’s presence, one personality is eclipsed by another. Eve White becomes Eve Black, a brash, gaudy extrovert who lives to flirt and have fun, Eve Black knows that Eve White is married, and pities her and_ her little daughter; she also hates her. Baffled, Cobb takes her as a patient. When her dual personality gets out of hand, she tries to strangle her daughter and she is confined to a hospital. Gradually, a third personality called Jane emerges. Jane is a healthy, vital individual who develops at the expense of WORTH SEEING THIS MONTH FOR DRAMA The Three Faces Of Eve A Face In The Crowd Sweet Smell Of Success Island In The Sun Jeanne Eagels FOR LOVE Interlude FOR MUSIC Loving You FOR SUSPENSE House Of Numbers Decision Against Time 3:10 To Yuma the other two—and wins a victory over them. How she wins, the struggle itself and the brilliant acting of Joanne Woodward are things to see!—20TH-Fox. A FACE IN THE CROWD Andy Griffith Patricia Neal Anthony Franciosa Lee Remick an idol’s rise and fall Walter Matthau u Directed by Elia Kazan, this movie of the making and breaking of a tv idol is rich in satire, and absolutely pulverizes the hard and soft sellers of tv commercials. Pat Neal has been emceeing a morning radio program at her uncle’s small station out west. One morning she goes to the local jail for local color and finds a sloppy, cantankerous va- grant named Andy Griffith, to whom she guarantees freedom for a song—he accom- panies himself on a guitar. That’s the be- ginning. Pretty soon his hillbilly accent, his disrespect for authority and sponsors, his in- gratiating Tv manner snowball him to fame. His audience is in the millions, his power is unchallenged and he moves into politics rudely jockeying a staid Senator into Presidential position. Naturally, off tv Griffith is an ego- . maniac who chases women, sneers at the hands that feed him and has great contempt for When a third per- sonality emerges, Cobb realizes he’s got an unusual case. Based on actual fact, the film stars Joanne Woodward as all three personalities. ee his public. Pat Neal can’t seem to stop loving him, though—until the day she is more ter- rified by his influence than by the loss of- his company. In smaller parts, Walter Mat- thau, Anthony Franciosa and Lee Remick are fine, but everyone is overshadowed by Griffith. The movie suffers by this, but it’s a small complaint——WaARNERS. SWEET SMELL OF SUCCESS Burt Lancaster Tony Curtis Marty Milner Susan Harrison Emile Meyer sordid side of publicity = “Here’s mud in your gossip column,” says hat-check girl Barbara Nichols to columnist David White, under circumstances that I would blush to mention. How mud is mixed, car- ried and smeared through gossip columns is the main line of this movie, which plays up the personalities of two stupendous heels— Burt Lancaster, a powerful and sadistic N.Y. columnist, and Tony Curtis, a weasel of a Broadway press agent who would sell his mother for a “mention.” As it is, he works feverishly to destroy the reputation of ideal- istic and talented guitarist Marty Milner, who has the bad luck to be in love with Lan- caster’s pretty ( Continued on page 22)

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(Continued from page 20) movie previews A FACE IN THE CROWD little sister, Susan Harrison. Susan is pure and sweet, and her possessive brother Burt reduces her to gelatin at will. Curtis does Lancaster’s dirty work: he plants a_ blind item that Marty is a Red and a narcotics addict; he plants marijuana in Marty’s pock- - et and calls upon greasy cop Emile Meyer to arrest him. All this on the promise of taking over Burt’s column while he’s on vacation. Here’s the world of double-cross, cynical amorality, crowded night-spots and celebrity- making. It’s very naughty—Unirep Artists. Harry Belafonte Joan Fontaine Dorothy Dandridge James Mason Joan Collins Patricia Owens Michael Rennie John Justin ISLAND IN THE SUN racial conflict and love a The setting is a beautiful island in the British West Indies;, the theme is color. James Mason and Joan Collins are children of a respected old family. Harry Belafonte and Dorothy Dandridge are children of the people who. are waking up to their rights to equality and self-rule. Belafonte is their ag- gressive, passionate leader. James Mason strides through the film like an angry lord until he discovers that he’s not completely white himself. This is only part of his prob- lem; the other part is his insane jealousy of wite Patricia Owens, which leads him to murder Michael Rennie. Joan Collins is en- gaged to young nobleman Stephen Boyd, but discovery of her mixed blood throws her into tremendous conflict. Dorothy Dandridge rather level-headedly takes up with pure white John Justin, and Belafonte forms a pained alliance. with Joan Fontaine. The complicated plots and politics unfold against beautiful scenery, and Harry even sings a couple of enchanting songs. And the question of inter-racial love, although it is treated slickly, is out in the open, which is saying a lot for the movie—CinemaScope, 20TH-Fox. LOVING YOU Elvis Presley Lizabeth Scott 5 Wendell Corey Elvis! Dolores Hart James Gleason = It’s Elvis, girls. Need I say more? Ambitious 22 press agent Liz Scott finds him working a vhs Bie SWEET SMELL OF SUCCESS ay beer route in the farm country. He’s an orphan boy. She’s the ex-wife of Wendell Corey, who’s struggling to go places with a cowboy band and vocalist Dolores Hart. Liz signs up Elvis, who has this chaotic ef- fect on teenagers the very first time he breaks a guitar string singing. In a couple of months he’s headlining the show. The only problem is to keep him happy. He doesn’t want fame, fortune, crazy publicity; he wants to be down on the farm with friends. /’ll be your friend, says Liz, sealing the pledge with a kiss—she’s already sealed a fifty-fifty deal on his career. Comes the time when all the mothers of Freegate, Texas, march on the mayor’s office in protest against Elvis. Elvis runs out on a big tv broadcast because 1) he doesn’t want mothers to hate him 2) he finds out that Liz isn’t sincere 3) he wants to be down on the farm. What’s he going to do? What’s Liz going to do? What is Dolores Hart, who came up from the farm to see Elvis, going to do? I’ll tell you what Elvis does: he sings a lot of songs in his inimitable way and works his magic.—VistaVision, PARAMOUNT. June Allyson Rossano Brazzi Keith Andes Marianne Cook Francoise Rosay INTERLUDE romance abroad = Take June Allyson, an American girl with the glow of apple pie in her eyes, who turns up in Munich seeking fulfillment. Take Ros- sano Brazzi, a famous conductor with the fever of despair on his brow: his wife, Mari- anne Cook, has made it tough for him by losing her mind. Put them both together and you have Interlude, a romance destined to lead nowhere. But, oh, the adventure and the poignancy of it all. Allyson standing in the wings as Brazzi twirls a baton; Allyson and Brazzi zipping over Germany in a red sports car; Allyson and Brazzi breaking open a picnic basket on the grass; Allyson and Brazzi caught in a thunderstorm. Oh, oh! Allyson and Brazzi spending the night to- gether. You think he proposes? Well, he’d like to propose, but he’s got this wife cutting up like crazy on her aunt’s estate. A wise young American doctor, Keith Andes, waits patiently by to pick up the pieces of Allyson. After what she did, it’s a mercy anyone as fine and true as Keith can love her. Cinema- Scope.—UNIVERSAL-INTERNATIONAL. Jack Palance Barbara Lang Harold Stone HOUSE OF NUMBERS over the prison wall = Jack Palance has a kid brother, also played by Jack Palance, who is serving time for mur- der. Kid brother makes things worse by tossing a prison guard over a rail to a concrete floor three tiers down. But big brother Jack is loyal to the kid, and with the help of the kid’s wife, gorgeous Barbara Lang, who Jack thinks is responsible for it all, plans a most ingenious scheme to save the kid from justice. He and Barbara rent a house in view of the prison and study its operations through bi- noculars, until one dark night when Jack slips over the prison wall to take his brother’s place. Brother, meanwhile, digs himself a hole to hide in until escape is effected. It’s tense and unusual entertainment—MGM. Kim Novak Jeff Chandler Charles Drake Agnes Moorehead Virginia Grey = Jeanne Eagels (Kim Novak) was a famous actress in the ’twenties, but don’t rely too heavily on this film for biographical accuracy. This film, as it says in the cast sheet, is based on fact and fiction. But anyway, Kim starts climbing in a traveling circus owned by Jeff Chandler, who is later to become the czar of Coney Island. He keeps saying let’s get married and have kids, and a glazed tortured look comes into her eyes. Later, she says. Meanwhile she takes herself to drama coach Agnes Moorehead; steals a role from ex-star Virginia Grey, who is trying desperately for a comeback, and reaches the heights in Razv. Then she marries hard-drinking ex-football star Charles Drake, whom she divorces after a five-year drinking bout in New York and Hollywood. Chandler pops up now and then to try and save her, but a glazed, tortured look always comes into her eyes. Now that she’s famous she’s really miserable, and takes dope to hold herself together. It’s a highly dramatic saga, (Continued on page 24) JEANNE EAGELS beautiful, but damned ee |

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CINEMaScOPE The Motion Picture 4 that crosses : ( a new boundary in screen entertainment! Johnny: STARRING Eva Marie SAINT/Don MURRAV/ Anthony FRANCIOSA / Lloyd NOLAN BUDDY ADLER / FRED ZINNEMANN / MICHAEL VINCENTE GA2Z0..0ALPRED HAYES Based on the Play by Michael Vincente Gazzo ~ As Produced on the Broadway Stage by Jay Julien

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movie previews (Continued from page 22) all right, and Kim Novak’s all right, but the movie won’t cheer you up on a rainy Sun- day.—CoLuMBIA. DECISION AGAINST TIME Jack Hawkins Elizabeth Sellars Jeremy Bodkin Gerard Lohan Walter Fitzgerald = Jack Hawkins, a reserved and extremely sensitive Englishman, is test-pilot for a shoe- string aircraft company whose very existence depends on the sale of a certain cargo plane. Jack takes the prospective buyers on a test flight and a wing catches fire. Everybody bails out but Jack. He’s told to bail out, but it occurs to him that he can bring the plane down. Even if he can’t, even if he himself goes up in flames, he knows he must try. He spends twenty-five gruelling minutes in the air. Down on the ground and unaware of his danger is his wife Elizabeth Sellars. She’s depressed be- cause Jack is discouraged about his future, and the fact that he can’t afford a house crash landing they want. Pitted against these trivial cares is the true heroism Hawkins displays in the crisis. It’s a well-made, absorbing film—MGM. Glenn Ford Van Heflin Felicia Farr Leora Dana Henry Jones = Glenn Ford’s a bad man who robs a stage- coach with a gang. Van Heflin’s a tired man. There hasn’t been any rain and it looks like all the cattle on his Arizona ranch are going to die. It’s because of money that Heflin agrees to escort Glenn Ford to the 3:10 train to Yuma—and justice. Ford has been brazenly hanging around town and is easily captured. He’s never stayed captured, though, because of indifference and the fact that he’s pro- tected by a gang of gun slingers. So escort- ing Ford to Yuma is rather a hazardous undertaking. There is also the matter of temp- tation. Let me go, says Ford, and I'll make you a rich man. Besides, if you don’t let me go, your wife (Leora Dana) and the kids will have a corpse on their hands. There’s that, but there’s also the innate nobility of Heflin. Plenty of action and suspense——CoLUuMBIA. 3:10 TO YUMA the measure of two men ei <— RECOMMENDED FILMS NOW PLAYING THE PRINCE AND THE SHOWGIRL (Warner Bros.) Sir Laurence Olivier, Regent of Carpathia meets American chorine Marilyn Monroe in London. He invites her to the Embassy, tries wooing her— | only to have her laugh at his clumsy advances, She tells him what she expects of a Prince (soft lights. music, perfume) and love wins out. This enchanting | movie also stars Dame Sybil Thorndike. BERNARDINE (20th-Fox): It’s Pat Boone’s first film and he’s in trouble. Terry Moore comes to town and Pat’s friend, Richard Sargent, falls in love with her. Since Richard must study for exams, Pat calls in his brother, Air Force Lieutenant James Drury, to | pinch-hit, but the two fall in love and Pat’s accused of betrayal. Starring Janet Gaynor. MAN ON FIRE (MGM): Bing Crosby has custody of his son and rarely lets his ex-wife (Mary Fickett) | see the boy. Bing’s lawyer (E. G. Marshall) and his law assistant (Inger Stevens) lose when the judge awards full custody to Mary. Crosby abuses his privileges, takes the boy to Europe. Meanwhile Inger falls in love with Bing but he doesn’t notice. LOVE IN THE AFTERNOON (Allied Artists) Maurice Chevalier is a private detective. He has 2 daughter (Audrey Hepburn) who’s always snnoopin: into his files. Gary Cooper is nearly shot by Chevalier’ client and Audrey runs to warn him. Gary’s amazec at her total recall of his past and her romantic history. What can come of this romance? Plenty | READ: [J all of HOW HE PROPOSED part [] none IT HELD MY INTEREST: 1. O LI completely C] fairly well (] very little | LI LJ not at all L] 2. | LIKE VENETIA STEVENSON: O (1 more than almost any star (J a lot {_] fairly well (J very little () not at all |] 1 READ: (j [] don’t know her well enough to say T | LIKE TONY PERKINS: pletely (] { more than almost any star (J a lot (D fairly well (J very little (] not at all {J don’t know him well enough to say | LIKE RUSS TAMBLYN: (1 more than almost any star (J a lot Fill in the form below as soon as you've read all the stories in this issue. Then mail $10—the one who sends us the first questionnaire we open; the 100th; the 200th; the 2000th; the 3000th. Get it? For example, if yours is the 1000th we open, what do you get? Why, $10 of course! fairly well (J very little () not at all don’t know her well enough to say | LIKE MARLON BRANDO: more than almost any star [] a lot fairly well (] very little () not at all don’t know him well enough to say allof their story (_]part ()none HELD MY INTEREST: [ | super-com- CJ very little (_] not at all | LIKE AUDREY HEPBURN: more than almost any star (j a lot fairly well 1] Please check the space to the left of the one phrase which best answers each question: 4. | LIKE KIM NOVAK: {J more than almost any star [) a lot (completely pletely very little () not at all bee . | LIKE JOHN SAXON: ~ (| fairly well (J very little CL) don't know him well en READ: [J all of his story 1] [J more than almost any star [ a lot OD not at all ough to say part (J none IT HELD MY INTEREST: [ | pletely [] completely C] L) very little () not at all completely ([] fairly well very little (j not at all | LIKE JAYNE MANSFIELD: more than almost any star [) a lot it to us right away because each of the following readers will get faibly) “well more than almost any star [J a lot a fairly well [) very little [J not at all [J don't know her well enough to say 1 READ: [jail of her story (Jpart LJnone IT HELD MY INTEREST: super-com- pletely [ completely [j fairly well J very little [J not at all 11. | LIKE DEAN STOCKWELL: (J more than almost any star ( a lot CI fairly well 1 very little (J not at all [J don’t know him well enough to say | READ: (all of his story [Jpart LJnone IT HELD MY INTEREST: [] super-com- super-com- fairly well ™ completely [] fairly well pletely ittle not at all fairly well [1 very little [] not at all Every | don’t know her well enough to say fairly well (J very little (] not at all don’t knowshimi welll enoughstossay don’t Know her well enough to say RE all of AD: ( her story ()part [Jnone | READ: (CJall of theirstory (jpart [Jnone HELD MY INTEREST: [-] super-com- | | READ: |) all of her story [)part (jnone IT HELD MY INTEREST: [-] super-com- | pletely [] completely [] fairly well | !T HELD MY INTEREST: [] super-com: | 12. I LIKE LIZ TAYLOR: pletely (| completely [] fairly well very little not at all pletely —}] completely () fairly we Be on inoe! GN) Se Ee (J very little [) not at all . | LIKE TAB HUNTER: more than almost any star [| a lot CI very Tasks eiinotiabelt fairly well [J very little (] not at all don’t know her well enough to say | LIKE DEBBIE REYNOLDS: more than almost any star () a lot . | LIKE JANET LEIGH: oO more than almost any star (] a lot very little (J not at all §. | LIKE AUDIE MURPHY: ( more than almost any star [ja lot _] fairly well fairly well [ very little () not at all ooo (] fairly well (1 very little (] not at all don’t know her well enough to sa fairly well (1 very little [ not at all . [] don’t know him well enough to say | LIKE TONY CURTIS: i j [| don’t know him well enough to say don’t know her well enough to say ! READ: [Jall of his story [Jpart (Jnone | [] more than almost any star (1) a lot (READ: [| All of his story LJpart [Jnone __ | LIKE EDDIE FISHER: 1T HELD MY INTEREST: [] super-com-| [J fairly well (] very little (1) not at all | 1T HELD MY INTEREST: [] super-com- (] more than almost any star L) a lot pletely [] completely fairly well} [j don’t know him well enough to say | pletely [] completely [] fairly well [) fairly well [1] very little () not at all | [| don’t know him well enough to say TREAD: [jall of their story [part [Jnone IT HELD MY INTEREST: [) super-com- very little [) not at all READ: [Jalloftheirstory (Jpart LJnone | (J very little (] not at all 400th; the 600th; the 800th; the 1000th; the 1500th; the | IT HELD MY PERE super-com- | 10. ! LIKE JANE WYMAN: pletely completely [] fairly well CD very little ( not at all | 16. Which male and female stars do (1) (1) 1 you want to read about? Please in- mia Rat MALE “Gene MUR EVALE 13. | LIKE JUNE ALLYSON: tick) Mee! preference at LO (2) (2) H more than almost any star [] a lot by writing your first choice next to —_—__- - MALE So Se on es REMALE fairly well D very little [) not at all (1), your second choice next to (2) LJ don’t know her well enough to say } and your third choice next to (3). (3) MALE @)_____ 1 READ: [ allofherstory (] part (] none pletely [] completely [) fairly well DD very little 0 14. | LIKE TERRY MOORE: | : { IT HELD MY INTEREST: [] super-com- — { not at all | ceveees ADDRESS... 0... cc ccce cece eccsccccccecce: se oeceee eoecseceoreseaosseeeeeaeoose (J more than almost any star (a lot (CJ fairly well ( very little [J not at all LJ don’t know her well enough to say |~ | READ: isto ner Oo part [none | IT HELD MY INTEREST: [] super-com- | pletely [| completely [] fairly well C very little (] not at all MODERN SCREEN POLL PRIZE WINNERS FOR JUNE ) oecceecvreeeeessarescoecooeeeeF7o BeBe e FO ee OD Mail To: READER POLL DEPARTMENT, MODERN SCREEN, Box 125, MURRAY HILL STATION, NEW YORK 16, N. Y. Gerry Fitzgerald, Queens Village, New York; Florence McGill, North Hollywood, California; Sally Roberts, Pasadena, Texas; 15. | READ Josephine Burley, Azusa, California; Sally Noyes, Tulsa, Oklahoma; Melodie Yoell, Corte Madera, California; Pat De Angelis, = ; Revere, Mass.; Margery Snyder, Beaver, Pa.; Carmen G. Hudson, Fort Worth, Texas; Raymond Crecron, Thetford-Mines, [J all of Louella Parsons in Hollywood Quebec, Canada. OC part (J none | Enesco deeded etre eee Pe eet aeeet eee Se ee Fe

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HOW MANY FEATHERS ON THE TURKEY? Saker ¢ VX OKOM Most anybody can add, but can you add correctly? The OE 5 yee 3 reason people like number puzzles is because they are ~<) fascinating. Fun right in your own home, and CASH REWARDS for the WINNERS. $6360.00 IN CASH PRIZES (NOW ON DEPOSIT) FIRST PRIZE $2,000 including $500 bonus for pronipiness (see rule 2) Second Prize ..........-.$1000.00 Third Prize ....... pt 500/00 Fourth Prize ..........- $350.00 5th to 8th Prize, each.... $200.00 1. This is entirely a contest of num- bers, strictly a Game of Skill. Add to- gether the numbers that make up the drawing of the Turkey and get the SUM TOTAL of the figures. The picture is made up of single digits: 2, 3, 4, 5s 8 and 9. There are no sixes, no ones, no zeros. There are no double numbers like “93”" ete. Just add 2 plus 3 plus 5, etc., and get the SUM TOTAL. In real life of course a Turkey has no feathers on the beak, legs and feet but for the pur- poses of this puzzle all of the figures in the drawing should be added. There are no tricks to this puzzle, just a problem in addition. It is not so easy but if you are careful you may get it exactly right. Only persons sending a $5.00 contribution to our Scholarships Program are eligible for these Cash Prizes. No additional donation will be required at any time during the contest. Checks and Money Orders should be made payable to ‘SCHOLARSHIPS, INC.’ Send cash if you prefer. Write us for additional puzzle sheets if you need them. 2. First prize is $1,500.. If you send your contribution before the date print- ed on the entry blank you will qualify for the $500 Promptness Bonus, making the total First Prize $2000. The Prompt- ness Bonus will be added to the first prize only. 3. You should check and recheck your solution carefully before mailing. Once it has been sent it may not be changed or withdrawn. A contestant may submit an additional entry in this contest with an improved score provided each such entry is accompanied by the Tequired Miss Jo Ann C. Vogel is one of 52 nurses in training at nearby hospitals un- der our scholar- ships, and writes: “T would like to take this opportunity to express my grati- tude to Scholar- ships, Inc., for they made it possible for me to become a 9th to 13th Prize, each. . . .$100.00 14th to 18th Prize, each... $50.00 19th to 44th Prize, each... $25.00 45th to 75th Prize, each... $10.00 L LS “b= ~~ VENT 3 LS 830 eK ot SUVA SONGS, —HERE ARE THE CONTEST RULES — $5.00 contribution. We will acknowledge receipt of your entry and contribution promptly. 4. This contest is confined to persons living in the United States, its terri- tories and possessions including Alaska, Hawaiian Islands, Guam, Canal Zone, Puerto Rico and Virgin Islands. Per- sons directly connected with Scholar- ships, Inc., their advertising agency and members of their immediate fami- lies are ineligible. 5. Entries will be accepted from July 1 to October 10, 1957. Entries post- marked October 10 will be accepted. 6. In case of ties on this Turkey Puz- zle the winners will be decided by a tie- breaker number puzzle consisting of drawing a path across achart of numbers to arrive at a high total. The contestant’s position in the winning list will be deter- mined by the best scores submitted; the best answer will receive First Prize, the second best answer will receive Second Prize, etc. In case of ties on the tie- breaker puzzle, prizes will be reserved for the positions of tied contestants and their final order of finish determined by additional tiebreaker puzzles until a def- inite winner for each prize is chosen. Seven days will be allowed for working the first tiebreaker puzzle and three days for each subsequent tiebreaker. If ties remain after seven tiebreaker puz- zles, duplicate prizes will be paid. 7. It is permissible for any contestant to receive help from their relatives or friends but ONLY ONE SOLUTION Mail to SCHOLARSHIPS, INC., Box 241, Lawrenceburg, Ind. may be submitted to the tiebreaker puzzle by any group working together, and any solution known to have been submitted in violation of this rule will be rejected. 8. A complete report of this contest including the names of all winners will be mailed to every contestant just as soon as the winners have been decided. The sponsors of this contest reserve the right to decide any questions that may arise during the contest and persons who enter agree to accept these deci- sions as final. C. L. KITTLE, Manager Here is a contest soon over and soon paid off. The rules are simple and com- plete. It’s entirely a contest of numbers, strictly 2 game of skill. We print the winning answer with the name and ad- dress of the winner, in fact we send every tiebreaker contestant (winner or not) the names and scores of all 75 winners. A pencil is the only tool required and you start on an equal basis with everyone else. No pictures to identify, no statements to write. If you have never taken part in a number puzzle contest why not give it a try. Give yourself a fair chance to succeed. This may be the hobby you have been looking for. Operated by a non-profit corporation required by its charter to devote receipts in excess of prizes, ad- vertising and legitimate operating ex- penses to nurses training, child welfare and other tax exempt charitable pur- poses. wheresare. == feathers on the Turkey. Type your name and address if possible. If not print by hand. BING RYN a sea See eee wr we a Addressi25. == OS a in LR ae ne eed Sao ard ee ES LON Cea State=aeees Donations mailed before SEPTEMBER 10, 1957, qualify for Promptness Bonus. LSS) on PE EEE TOE SE RC LE LE LT LI OL LAT TL CL ELLE A TET I L L L NT TE TN eae

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Feandlle BABY’S SAFEST SLEEPING GARMENT! SCREEN STAR... Jane Powell (Mrs. Patrick Nerney) and her lovely daugh- ter, Lindsey Averill, are shown below. Jane Powell is now appearing in ‘The Girl Most Likely’’. Better stores everywhere will feature Trundle Bundle, the original bag-type sleeping garment for babies. Five lovely fabrics . . . four models for baby from infancy through 6 years. Write for name of store nearest you. ou Sa 104 TRUNDLE BUNDLE seiGuaraatebdy ‘ ny PRODUCTS Co. \acu "cUsenerPeg 45 apvransty DULUTH 2, MINNESOTA Feande Eunllé BABY’S SAFEST SLEEPING GARMENT! AVA plays for high ‘steaks’ @ Did you ever eat a steak costing $216.24? No? Well, Ava Gardner did! On arriving in Mexico last month, Aya stopped over in the capital for two days before she set out for the small colonial town of Morelia where she was going to film the last scenes of The Sun Also Rises. The second night in Mexico City. director Henry King invited her for dinner at Ex Arro, a swank supper club. Ava asked for the speciality of the house. Told it was a kind of pepper steak, Ava—a gal who'll try anything once—immediately ordered it. “Tf only she hadn’t!” sighed King later on. What happened was that. once in Morelia, Ava just couldn’t get the memory of that pepper steak out of her mind, that’s how delicious it was. Unfortunately, none of the cooks at her Morelia estate, rented by the studio for Ava’s private use, knew the recipe! But Ava wanted pepper steak. And when Ava wants something, she wants it—and fast! No pepper steak? No movie! Henry King was frantic. Work was being delayed. A two-and-a-half million dollar production was being held up because of a steak! So Henry King put through a rush call to the Mexico City restaurant. “Look,” he said, “do you remember the pepper steak Miss Gardner had at your place a couple of nights ago?” “Of course, Senor King,” replied the proud manager. “Well, she wants another one. Can you send it out here to Morelia?” “Of course. For what day do you want it?” “What day? Now! Right away! Otherwise we can’t go on with the shooting!” “B-but,” stammered the suddenly embarrassed restaurateur, “Morelia is hundreds of miles away. Ill have to pack the meat in ice, and then the car will take at least six or seven hours to get there.” “Car? What car?” spluttered Ava’s director. “Send it by plane!” “But Senor. there is no airline that flies to Morelia from Mexico City.” “Then charter a plane!” “Yes sir! Naturally, somebody there knows how to prepare pepper steak?” “No, nobody.” “Then should I send one of our chefs along? That will cost extra, but—” “T don’t care anymore what it costs. Just get a pepper steak over here!” shouted King. Less than two hours later, a specially chartered DC-3 landed at a small Morelia airfield. Even before the propellers had stopped turning, the chef with his precious cargo of pepper steak was rushed to her house. Moments later, Ava’s dinner was ready and she consented to continue filming. Here’s the breakdown on this little caper: One pepper steak: 25 pesos One phone call to Mexico City: 90 pesos To charter the plane: 2.388 pesos The chef’s salary: 200 pesos Total: 2.703 pesos And that comes to 216 good American dollars plus twenty-four cents! Century-Fox’s The Sun Also Rises. | Ava can currently be seen in MGM’s The Little Hut. Watch for her soon in 20th | | |

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WHO GETS TOP BILLING? @ His name is Rick Jason and he’s mar- ried to a gal who’s a writer, Aria Allen. They’ve just walked into a party, and if you happen to be getting an intro you might be a little startled to hear your hostess introduce them by saying, “This is Rick Jason, and Aria Allen—Rick’s wife.” No Mr. and Mrs. Rick Jason or Rick and Aria Jason—not ever! How come? “It’s simple,” Rick will tell you, “I just never introduce Aria as Mrs. Jason because she’s Aria Allen—my wife. She’s a writer by profession. And she’s an individual; she should be introduced by her name, not the one she took when she married me.” People at that party might be surprised. might think it’s most unusual and talk about it for days. But all of the Jasons — oops, the Allen-Jason—friends and asso- ciates know about it and they’re not sur- prised at all. “We also have two telephone listings,” Rick will tell you, “and two names on our mailbox. Everything works out very nicely and not too many people get confused. But the only real trouble we’ve ever had,” and here a big frown comes to Rick’s face, “is with motel registers.” And here’s where top billing comes in. When Rick and Aria travel and stay at a hotel or motel, they sign in just the way they’re introduced to people—Rick Jason and Aria Allen. Sometimes Rick gets top billing; other times Aria gets top billing. Then the hotel register looks like this—Aria Allen-Rick Jason. They usually get surprised looks but no comment. That is. until one day when they were driving cross-country. They signed the mo- tel register as usual—“I had top billing that day.” Rick says. “Some fuddy-duddy behind the desk gives us a peculiar look, and says, ‘Sorry.’ “‘Whaddya mean Sorry,’ I ask him— we were beat! “*You gotta be married,’ he says. “We are married. I say to him. “*You sure?’ he asks me. “‘You want a lawsuit?’ I ask him, and that was that!” Rick is currently in 20th Century-Fox’s The Wayward Bus. —for no other shampoo offers Halo’s unique cleansing ingredient, so effec- tive yet so mild. And there are no unnecessary ingredients in Halo. No greasy oils or creamy substances to interfere with cleaning action, no soap to leave dirt-catching film. Halo, even in hardest water, leaves your hair softer, brighter, whistle clean. oe

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a No man can pay the price for what this woman offers! Love that knows no boundaries... passion that explodes a cold war into a jet-hot battle of the sexes! HOWARD HUGHES’ SET PILOT Starring JOHN WAYNE - JANET LEIGH AND THE ‘ U.S. AIR FORCE babs RADIO a Wo “PICTURE “™ YAY C. FLIPPEN - PAUL FIX - HANS CONRIED V UNWERSAL- TECHNICOLOR’ INTERNATIONALS Directed by JOSEF VON STERNBERG «© written and Produced by JULES FURTHMAN

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— WIL — you marry me? —the question that change Our oe On the next four pages, happened when this question was asked and answered by Marty and Doris, __ Pat and Shirley, Rory and Lita, Don and Hope, - Charlton and Lydia, Vic and Pier, Guy and Sheilah, and Bill and Brenda... Modern Screen tells you what —

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Was a little too as the right answer, few days later they w ngth of a swimm; » between g her answe €r again. She los And so it went €vening Bill said. Marry me for nearly a j Brenda was Startled. en that long?’ | He nodded his head sadly. “But [’m going to keep asking for another year, [f you don’t say yes by then. ll give up,” “Would you real > ly give up, Bil]l>” d. bout that for a moment, the “IT guess I’d better Say f us,” » Very once in a while ] ask Bil] € given up. ' Stin and asks, N said—con- yes right now and “Wouldn't you She would, too!

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rex 7er got OV and he neve ‘ oa an ake was a vig her hand, but the i him ee smiling —warme med, > e ; Te tits that follow a eee went jie star. x od, a ore dark one with Across his oe eThis is iG) BS ; 43, her in 19 Ee n, an Bae ae fe was a logger te = este He didn Site eo} a dark-haired, oh aeb of ae a hundred eeaitno 1G he was Pa ee again, y ; ou i out dancing, 2rd er own band now j c art sang. ppesrnile: died her, and his heart sane tu De head he $ it a wonder: himself “and isnt it 4 told himsett, ed a ere she work ? the club vy iX weeks For sl 7 Go OK He irst he to rent alone. er speaking, f0 nt : rew brave, and champagne: He eae night. Finally he & He offered her nee he'd heard every duction fs ntro aone ampagnt, © sed hi out ch = npress nything ab ‘on. She was Imp ae rect, elous DOE ee was funny, he was —not wangled an ! didn’t care 4 ve it made a mar a y. “ showed me wine, but by Rory he says, “and pe murkiness » oe he grayest hee whole life in the mane he ha is ,; : d spent er d.” She so and W a ae studios obba sucic> ae out into the cool pe Se : . Rory too in the airs $ in hot, smoky deer and bres And she beouer ds, to watch is love for nature. £ his boyhood, woods, cht her his ith the story © ness. He tae 5. Faced wit d ot : : - she was n nings, Ss : : him true (ont ie men a a his past away : in pris 5) d to he p iis ys)” wante shocked. She ene Race. Be oie: steadily, towa and move , eeing each *" ._ oirl, ved. They'd been § ak Lita’s a shy 8 1948 arrly : cetded between ing wa yet nothing ap Yeal. 0 but it was Lee P gaced Rory squarely u ight out One night s sked. al answer, Tigh ae ae ica ana made his forma’ | he said, his vol Rory gu ) » of the pages Sete i “ J sk my shaking. =| d his love, “now @ chen!” es eae marrying your fa “But L nish custom.” Sanaa “But it’s ae eather for Lita’s ha So Rory 4 migh did Rory propose? Guess you Bored to Lita’s pop! rid. new wo ee of studios —danc “Where is all this n marriage. t say Rory PAT BOONE ing in high school. That’s w the other high school kids; n love affairs—two kids meet- hat everybody thought, even O one thought Pat Boone and Shirley Foley would last, except Pat and Shirley!’ When he twisted his knee playing basketball, it was she who cried. When he was named Nashville’s Discovery of the Year, it was Straight to Shirley he ran, and hugged her right out in front of all those people. They went steady -for ten months before he ever kissed her, yet that one kiss told them all they needed to know. Of marriage they spoke first to each other, then to their families. The families were sweet, but amused. Shirley's father, the famous country singer Red Foley, put into words what everybody else was thinking, “There are years ahead, years and years. You talk like there’s no tomor- row.” Pat's mother, equally fearful about young love, said her son might have her consent, but “in due time.” Pat and Shirley turned seventeen, and finished high school. Shirley started studying to be a nurse. Pat went to college, and his popularity as a singer grew. He had a radio show; he’d been invited to New York. Afraid of being separated, Pat and Shirley went to their parents again. This time the older people asked the kids to stop seeing each other, “They thought we'd grow out of love, and forget—” But of course they couldn’t forget each other. So they met in secret, miserable about sneaking around but unable to stay apart. One night she met him in an ice cream parlor “in a part of town. Where not too many people knew us,” Pat explains. Shirley was crying. “My Daddy’s got an offer to take a singing job in Springfield, Missouri,” she sobbed. “We're moving, and I'll never see you again, Pat, I'll never see you again.” ; He led her out of the ice cream parlor, into the street. He put his arms around her. “You know what we're go- ing to do?” he said. “Tomorrow, we're getting married — We're going to elope—” And that’s just what they did. continued on next page

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how he proposed continued GUY MADISON minute s when he got She was hiccup” ay N good long kiss, , her ab ‘G he 4 w Hed ker looked that ae fresh —at lea it ered to stop ther i d he vo ead “That'll fx , en cenaes : es up lit her oes es tion. Guy Five to Mexico jd be months They Were would meet again uddenly he m you d we can serena ‘ MARTY MELCHER m “He was my agent,” said Doris. “It seems like I’vq always known him.” They claim a certain dining rooni table is their engagement ting, because they found i together and thought of buying it for a mutual home long before either mentioned matrimony. Even when he was only her agent, she depended on him for all sorts of advice. Let a fuse blow, or a field mouse appear, and) she was on the phone calling for help. Often they had dinner together to talk over a thousand details about | money and contracts. But whenever a columnist called | to inquire, Melcher and Day denied romance. “Strictly? business,” they said. “Strictly, strictly business.” And if, after a long business dinner, weary of facts and figures, agent and client should agree to relax at an early movie, | who was there to think it a bit peculiar? And a during | such an early movie, a hand crept into another hand, | well, doesn’t everybody hold hands in the movies? Hand- } holding, of course, can lead to good-night kisses, which : begin to strain the agent-client relationship just the } littlest bit, but still Doris wasn’t absolutely positive that | Marty was the man. | One afternoon when Marty had come to lunch, he | commented on how good the coffee was. Terry, Doris’ son, looked up at Marty and said, “My mother cooks lots | of good things. Why don’t you eat with us all the time? You'd find out.” So Marty did. : Then Marty and Doris’ mother became good friends. Finally the family doctor got in on the act. “Just the kind of man Dodo ought to marry,” he said. “Doctor’s orders!” But Doris didn’t follow the doctor’s orders. “It was really Terry who decided us,” she says. It was on a certain Christmas. . . At the end of the day, Doris’ mother got up to take Terry to bed. Before Terry left his mother and Marty, he spoke. “Thanks for everything,” he said. “It’s nice to have a family at Christmas—” After he’d gone, Doris and Marty sat staring at the dying fire. Finally Marty spoke. “Let’s see he always has a nice Christmas.” By traditional standards, that was no proposal, but Doris knew her man’s intentions from that moment on. 4

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1c DAMONE i i d get angry—and anynow, © See an aes She knew Vic's eyes oak Se re es warm, his hands were gentle— ue | i vasn ady. Ee awnnps: was forever, and ve wasn g ae Fs Pier came home unpledged. She o He ont ive in some ways—and more vulnera @. ae got i Sphere was a romance with Kirk eae ae oe with Jimmy Dean. Perhaps the Tae ea a ee just an infatuation and maybe she an ee ca Bee suited to each other. But it was eee Wie eS Pier that Vic met months later at ! ae ee Eick got out of the army. “Lets ge am hov fe a tee aa the juke box was treet. y> They went across the st sea Pan “September Song. ‘She drifted pee 4 “{ still mean it,” he said. Let's ge “It’s the champagne,” she ne “T haven’t touched it, he said. Suddenly she was trembling. with me in a year— “Marry me,” he sal closely to him. Maybe, she thought, maybe I’ve always loved you - “You haven't been out id. “marry me.” He pressed her bi DON MURRAY @ He was in The Rose Tattoo on Broadway, and she was still going to junior college, when Don Murray started talking marriage to Hope Lange. “I’m too young,” she said. “T’'ll wait,” he said. His play went on tour, and he wrote to her from every town he hit. She hardly ever answered. He was un- dismayed. Drafted into the army in 1952, he admitted to being a conscientious objector, spent two years in European refugee camps doing social work. He came home, accord- ing to Hope, “thin as a rail,” but unchanged. He’d had pneumonia; he didn’t own a civilian suit; he didn’t know where his next job was coming from, yet his conversa- tion picked up exactly where it had left off two years earlier. What did he want? To get married. “I don’t want to settle down,” said Hope. He threatened never to ask her again! Occasionally they parted forever. Then he'd start worrying, of course, he didn’t really want her if she didn’t want him—but there she was living on the ground floor, and shouldn’t somebody go put bars on the windows? He visited her, suggested this precaution, and fell in love all over again. She was the only girl in the world for him. A play called The Hot Corner had a place for him, and he got Hope a part as an understudy. It flopped out of town, and Don and Hope came back to New York. It was February, 1955. “Hey,” said Don, as if it were a brand-new thought, “don’t you think it’s about time we got married?” “Maybe,” said Hope. He didn’t believe his ears. After five years, the first sign of weakness. He talked until four o’clock in the morning. Her eyes were heavy, her resistance low. “All right,” she said finally. j “All right what?” “All right I'll marry you.” So it was over at last. She blames it all on Don’s “persistence.” Still, no one’s ever heard her complain.

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f { : : i

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WHAT’S WRONG ITH THIS PICTURE? by CLAIRE WILLIAMS ™ What could be wrong—you may think—with a picture of two kids out shopping for an automobile? He’s handsome, she’s beautiful—and the sun's shining. But there is something wrong with the picture . . . there's something left out of it. The handsome boy is Tony Perkins; the beautiful girl is Venetia Stevenson. Only there's a missing third party who really should be there to make the picture complete—because Tony and Venetia are part of a triangle and all three of these people—Tony, Venetia and Russ Tamblyn—are in trouble. Bad trouble. What kind of trouble? Take Tony first. At twenty-four, he hit the big-time with a crash. From nowhere, he skyrocketed to fame. “I left New York a failure,’ Tony says, “no girl, no car, no nothing.” - Now, only two vears later, fifteen million dollars is invested in seven Perkins films. Tony had wanted success as badly as anybody can want anything. He’s known the taste of despair—“I was once dropped by a studio,” he says. Yet, at twenty-five, he’s already said, “Success isn’t all I thought it would be. It’s a little sad, a little disillusioning.” And his eyes gaze into the distance with a deeply hurt look. Take Venetia next. At seventeen she was a bride so romantic that she wept through her wedding ceremony—and vowed she'd never take her wedding ring off. “I'll cover it with (Continued on page 91) ' } i aay Fenny oma Sree I en pet SEE eS ee carps ee

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you've heen with him at parties and on dates—now . : < wate” 2 Rial aes payer os cil ee

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@ It’s a bright and sunny Saturday afternbon, when suddenly over the loudspeaker you hear—“First prize: Swizzlestick, ridden and owned by Tab Hunter.” And you'll probably get almost as excited as the broadly- -grinning Tab, cantering over to pick up his ribbon and looking as proud as if he’d just gotten an Oscar. This is the part of Tab’s life you may not know about. Not unless you date him, anyway. Then you ‘d know about it for sure, ’cause hors’n around with Tab means hors’n around with his horse Swizzlestick, for one thing. And if you were dating Tab, you'd enjoy all the other things he likes too—like going for a swim with him when he gets the yen, and that’s often. Or maybe a spot of tennis. Or ice- skating—Tab won't expect you to show that championship form that won him all those cups, but he’d kind of like you to like the sport enough so that your skates don't have to be de-rusted first! One nice thing about this kind of dating with a fellow like Tab: all you need is a swim suit, some jeans, and a couple pair of shorts to be dressed to the hilt —when you're out hors’n around with Tab!

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once Marlon loved a gal and Kim loved a guy — and bot: the truth about thew... BROKEN

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rned, too late, that you can’t fool with love VAR LON got jilted... The reporters were shooting questions at im but their words barely registered. li Marlon Brando could hear as he walked Tt the plane was the echo of those words 1e had spoken a year ago: “I love you, larlon, and I always will.” A year apart, <cept for a few phone calls. And now, in less 1an an hour he’d be with her, hearing her ilk, laugh, watching her as she listened to im with that grave look on her dark lovely ace that he loved so. “Do you have any marriage plans?” a eporter called out. “Do you?” Marlon grinned at him. “Been married twelve years.” “VYou’re a lucky (Continued on page 62) Fira SE AIM kidded herself... s So much has been written about Kim Novak lately, it is astounding that one of the nost important events in the twenty-four ears of her life has never been mentioned— <im’s engagement! ‘ The engagement came about as suddenly s it broke off. It happened in a tiny, ‘omantic, candle-lit Italian restaurant in ‘hicago when the young man she had known ‘or several weeks asked her to marry him. “Yes. . 2” said Kim. ‘Yes, yes, yes. . . This was the most beautiful night of her ife, to be remembered as long as she lived. And she knew just the way to make sure of it. When he brought her home, they passed hrough a nearby park. The air was clean and crisp. The stars shone brightly. Patches of snow (Continued on page 87) ENGAGEMENTS ”

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UDREY and MEL’S- Wi. i¢ a Liege Be SNe P 2 ies 5 oe E ae 7 My 3 by Susan Wender “I want to go away!” Audrey Hepburn wept. Her face was swollen, her big eyes red and frightened. “Mel— please—you've got to take me away...” ~Mel Ferrer sat down beside his wife. Slowly his fingers pushed her dark hair away from her forehead, caressing her, soothing. “All right, sweetheart. It’s all right, lover. Tell me what’s wrong. Tell me. Tell me what you're talking about.” “The—the war,” Audrey said. Mel’s hand dropped. He leaned forward, totally bewildered. “What war?” “The one that’s going to start,” Audrey said. “It’s—it’s in the papers. All the trouble in Egypt and {srael and North Africa. And what if—the Russians—”. suddenly she sat up on the (Continued on page 16)

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A house is a place where people ive place they furnish with their love. receive, there to give, ve no place to call our own, e forced to wander. © Ye al a YW Bag ettnattee rer corn renny

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was going to be there— the starlet who had snickered at Janet’s dress... was going to be there—the star who had laughed at Tony’s Bronx accent... by Ep DEBLAsio m@ Tony kissed Kelly Lee goodnight. Then he went from the nursery to his and Janet’s bedroom. Janet smiled and swung around to show her new dress. “How do I look?” she asked. “The most,” said Tony, grabbing her. Janet made a face. “No better than that?” she asked. “The very most,” said Tony. “That’s more like it,” Janet said, kissing him. “Now,” she went on, “I knqw Your Majesty has been working hard at the studio all day, but if we're going to this party tonight, you've got to start getting ready.” “Okay, Queen,” he answered as he began to unbutton his shirt, “I guess I owe you a big splash every once in a while.” “You bet _ you do. . . .” she started to say, laughing. And then a shirt which had just been flung across the room landed square on her head. “Tony!” she yelled, still laughing. But Tony was already on his way to the shower, whistling away, happy that the picture he’d been working on for the past three months was nearly finished, happy that he and his wife were getting ready for a big night out. He was still whistling when he walked out of the bathroom and back in to the bedroom. “Honey,” he asked, drying the wet from his neck, “who’s going to be at this shindig, anyway?” “Well . . .” Janet (Continued on page 73) 43

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Afew days ago we received the following story about you from a fellow who claims to be one of your former buddies at New Utrecht High School. We know you would be too modest, Johnny, to tell us this story yourseif. What we want to know... mw It was Monday lunchtime and Johnny knew the sandwiches would be meatball. Yesterday was Sunday and for Sunday dinner. there were always meatballs on the table at home—and those that were left over always went into Monday’s sandwiches. It was something Johnny could count on. It was one of the few things this quiet, often moody, almost too-goodlooking seventeen-year-old could count on. Johnny scooped a sandwich out of the paper bag and he began to eat. As usual, he sat alone in Brooklyn's New UTrecut Hicu Scoot cafeteria—eating fast with the idea of finishing and then maybe going upstairs to the gym for a round of one-man handball or maybe just going for a walk, as he often did. “Hi,” a girl called out as Johnny was finishing his second sandwich. She was a tall, thin, dark-eyed girl who lived on his block and was in his biology class. | It was obvious from the way her friends were giggling that she had a crush on him and that she was going out of her way now to say hello. “Hi,” Johnny said back. He smiled a little. It always embarrassed him when girls went out of their way to be nice to him. “I saw you in biology class this morning,” the girl said. “Yeah?” Johnny said. “That frog nearly made me sick,” the girl (Continued on page 79)

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ayn Mat plld [ = ht’ owe a — get your man... ...to TALK to you |

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...to MARRY you Illustrated by SAXON m@ How do I get a man? Well, first I catch him. I catch him by running. This brings out the wolf in him. If he is not a fast-running wolf, I drop my handkerchief and stop to pick it up. Then he’s got me (—and I’ve caught him). And that leads to a date. Naturally, on a date—when it’s your first date, anyway—you want the guy to talk to you. . . if you know what I mean. So I play dumb. Every man likes to think he’s leading a girl down the road to knowledge, so it’s easy. Like that Spanish publicity man I was going with once. He said he’d like to teach me Spanish. I had already been studying Spanish for years, but I pretended that I didn’t know a word of it. He just couldn’t understand how I picked it up so fast! It would have been just too cruel to disillusion that man—when he was so pleased to think I learned so fast because he was such a great teacher! Of course, after a while, when you're less anxious to keep him talking, you do different things, like look at his (Continued on page 89) we ES SI OI I OE TELE CS TE

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at last, Audie Murphy thought, the ; nightmare is over... Audie was in Saigon making a movie—but he found tragedy. by JEAN FRAZIER m Audie Murphy was crying. It was broad daylight and he wasn’t acting. To his own shock / : and surprise, and to the surprise and fascination of the crowd staring at him, the uncontrollable tears fell from his eyes and rolled down his cheeks before he could rush into his hotel and hide. The place was Saigon, Vietnam, the desolate city which used to be called “The Pearl of ' the Orient.’ The time was early this past March . . . And the soul-shaking emotion that was ripping Audie apart was his first step towards home. Not just the home of the house he lived in—but the home of belonging and knowing he belonged . and feeling at last a part of the world his God had created, This was the first step, and there were two more mountains Audie Murphy had to conquer... The road home started when Audie was in Saigon making The Quiet American with Bruce Cabot, Michael Rennie, Claude Dauphin and Georgia Moll. It was a (Continued on page 71) His wife was a part of coming home for Audie Mur- Pam, his sons—now at last Audie and his family were phy, but home was more than his family, his house. truly one. Because at last, the nightmare was over . . .

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A love story is hard to keep a secret - - - when it’s a deep and wonderful kind of LOVE = m™ Janie Wyman’s getting hitched! She’s met her kind of man—and that’s the best news possible. Who is he? How did they meet and all the rest of it? Well, Janie’s so delirious about it all —that all she’ll say is, “When I marry again my relationship with my husband will be ours alone, inti- mate and sacred.” But a love story is hard to keep a secret— especially when it’s a deep wonderful kind of love. The kind of love that makes a girl want to shout, Listen everybody, I’m in love! I’m getting married! I’m so very happy. So here’s the story. The groom-to-be is Gail Smith. He’s a big executive with the company sponsoring Jane’s tv show. The romance ran something like this: In March, 1956, Dorothy Kilgallen reported in her column that Jane Wyman’s friends believe she’s wildly serious about Gail Smith, and he reciprocates. Wedding bells would surprise no one. But a month later, Walter Winchell told the world the Jane Wyman marriage talk last week has been blue-pencilled. That wasn’t the end of the story however. By September Louella Parsons’ column carried this item: At the Cocoanut GROVE were Jane Wyman and TV’s Gail Smith. In December Ed Sullivan had Jane Wyman and Gail Smith blazing. And everything seemed real set by January, 1957. Sheilah Graham predicted it looks like marriage for Jane Wyman and TV executive Gail Smith. (Continued on page 90)

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DEAN GOaay. .-. —— =~ DEAN ao a, chald star. by BOB MONROE mw “So long, Sonny,” a stage-hand said to Dean Stockwell a couple of years ago; “see ya around | the Jot,” he called as he ambled off, a little behind the rest of the departing cast and crew of Cattle Drive. Dean felt a light touch on his arm. The script girl was standing in front of him. “Hi,” Dean said. “Good-by’s the word,” the girl said. She smiled. “Gee—here we've been working together for weeks, and I still can’t get over thinking of you as just a baby. Every time I w alked on the set I expected to see you practically toddle in—and here you are, a great big gangling boy, going on sixteen any year now.” She laughed. “Well, it’s all over now. Bye-bye, kid.” She reached out one well-manicured hand and ran it through Dean’s hair. “The tousle-headed boy,” she murmured. And then she was gone, too. For a long moment Dean Stockwell stood staring after her, alone in the big empty room. Slowly he looked around at the scattered chairs, the camera dollies, the thrown-aw ay scripts. And then he was running—off the set, across the lot, down the sunlit Hollywood streets. Running home. And eyen then he didn’t stop; he climbed the stairs two at a time, gasping for breath, and paused only when he was in his own room with his door locked behind him. | “Never again,” he said aloud. And (Continued on page 69) ; DEAN STOCKWELL | | { on

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ONLY MODERN SCREEN WAS THERE... and Eddie on their trip to Europe ns es tN % —— RE ne S a Land Ho!—and these two old salts are rarin' to go. But they stop for just one more family portrait of the Fishers at sea. This is th f ion, th ion of ——-- Z -_ a c 0 story of a+, 7 C = < ae is au Py ceniee s ig aan | ) Debbie and Eddie wanted these photos OG CPI CLEC ING PO TLCTS ULC Tt CL CS aie a aaa aes for Carrie Frances, who's at Grandma's. @ Dear Boss (said the letter from the first reporter )— Love this work—taking an ocean trip to Europe with Debbie and Eddie Fisher! Right now, Debbie’s shouting “We're landing! We're landing!” And hugging Eddie so close you'd think they hadn’t been married for two years already! But, like she said, “It’s really our ' first honeymoon. We never had one!” First stop: London —KEddie’s singing at the PaLLapium. Then, Paris. (The other reporter's note came in the afternoon mail) — : Boss—The French Riviera is lovely . . . except Todd says NO PIX! Understandable, though. Liz’ baby is expected soon and Mike doesn’t want her tiring herself posing. Course, if Liz didn’t know she was being snapped— So here, courtesy my camera’s telephoto lens, are the Todds at home. They’re hopping over to Paris next week—Liz loves the races. . . (The next letter was signed by the two news-hounds )— Guess who we ran into? Each other! Havin’ a ball!! Nice of the Todds and Fishers to arrange to get together! 54

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INSIDE Liz and Mike's Villa on the raceweet French Riviera ' I the swimming pool. Liz looks beautiful! | | — a - Liz' doctor ordered her to rest, and at their Cap q ee x Ferrat Villa Mike makes sure she gets plenty. | Love Paris In The Spring- ime"—we're halfway there! Four Americans get together in Paris and place a sentimental bet on a horse named Friendship... AT Debbie and Eddie’s reunion with Liz and Mike in Paris

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With June and Dick on their “Second Honeymoon” June's making sure that nothing’s going to spoil their morning —like a sunburned-as-a-lobster Dick. She spreads the oil on. m What a promise! Absolutely no work, no-how, what- so-ever—even though the film Dick was going to direct and produce down in Hawaii was ready to roll. But this was their second honeymoon, and Dick promised his June-bug—no work. Not the first day anyway, that is! So, from the minute the ship touched shore there was nothing but sunning and funning for the Dick Powells, with June crowding a week into one morning— and enjoying it, too! How? Well, MopERN SCREEN was there, and here’s the exclusive, inside, top-secret info on how June and Dick lived one day of their life . . . their love-life . . . together. . . more on next page >> ; A And then they were at a wedding, on the beach, just as if a young couple fell in love especially to marry on this day—so June could be blessed by their Hawaiian priest. That's Dick all right, wearing a native hat like a— native! And the twinkle in her eye gives June away. But the most unusual hat in Hawaii is the one that lunched with Dick and June. It has her autograph. we lll =

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ONLY MODERN SCREEN WAS THERE... continued "It may not look pretty—but it's practical!"' One look at Dick's face, and Junie decided not to be practical! The Powells Shopped, Played, Dancec and Romanced Sun and fun in the morning—but the afternoon's for more serious stuff. Like shopping, f'r instance, and that’s a family project—like everything else is with the Dick Powells these days. Of course that kind of makes a fella hungry, so June and Dick take time out for some more of that exotic Hawaiian food. But what's dinner without some food for the soul? And there’s no denying—dancing in each other’s arms, holding each other close, is just about the best kind of soul-magic for these two. . . "It may not be practical," says Dick, “but it'd be pretty—with just you, instead of a blouse showing!” But the swim suit was out when June spotted these bright shirts. Her grin adds up to "Wrap them, please!”

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ee er N After dinner, a night club and some fun-talk with 1ext course is ready, and Junie can't make it! Reri, Tahitian dancer. The girls compare styles. = = And, to end their day, a last dance in each other's arms to wipe away the memory of the time they almost lost sach other—when June forgot that life was nothing without Dick—until a miracle saved their marriage . . . : Pe t 4 a= E-

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Vicious, ugly gossip has created a crisis in their marriage... Call TERRY MOORE and her husband Keep LOVE ALIVE? by JAE LYLE ™ Terry Moore lay on the bed, very still. The room was quiet, as rooms in rest homes always are. She looked around, barely moving her head. Everything was white, blank white—the bed, the chairs, the dresser, the water pitcher on the table next to her. And the sun, glistening brightly on the big tree outside the window, made even the leaves glare white. She wished she could sleep, sleep for just a little while. “Gene . . .” she heard herself whisper, “Gene ... Gene.” . Then the door knob at the far end of the room clicked open and the uurse, smiling b:ightly the way nurses in rest homes always do, said “Well, we have a visitor here for you”—she winked—“and a very good-looking one he is, too.” Terry’s body tensed under the sheets. The nurse pretended not to notice this. “Why, it's Mr. McGrath, your husband,” she chuckled, as if she’d been waiting for Terry to guess who it was and Terry had taken just a little bit too long. (Continued on page 82)

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Mil the joys of naturally curly hair | And every curl is trained to stay iz beg with Helene Curtis Spray Net a Lots of hair sprays promise curls. But do they last? Only Choose the formula Helene Curtis SPRAY NET, with its fabulous “control” that's right for your hair ingredient, gives you beautiful curls—and trains those £ SUPER SOFT, curls to stay, like naturally curly hair. Only sPRAY NET without lacquer, for gentle holds your hair softly in place and, at the same time, sea trains it to remember its place. Even in damp weather, REGULAR, your curls stay springy ... bouncy. (When they muss— for hair harder to manage. just comb them right back in place!) Back of every silky 69¢, LARGE $1.25, spray are years of research in the Helene Curtis labora- ppp $1.89 Sa — tories. No wonder where other sprays promise, SPRAY NET : Nas ply mance lock, eo ae hae performs! Never flaky, never drying, SPRAY NET gives you Be sure to Gok yee a frains them to stay! but trains it to stay! glorious . . . carefree curls—trained to stay curled. on your hair.

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62 it took a chihuahua to make EDDIE laugh @ “Whassa matter, Eddie? Lonesome?” w “Let me tell you what I’d do, man to man .. .’ aS 4 B “Then a little sight-seeing around Philly .. . B “Then a little work smiling at the birdie!” Eddie was in Philadelphia, his home town. This was his opening night, the first time he would appear in Philadelphia as the famous Eddie Fisher. Throngs had made reservations at the LATIN QUARTER. Fans jammed the nightclub just waiting for a peek at Eddie, and police had to be called to keep order. It was a big night for Eddie. And his dressing room was a hubbub of activity. His mom came in to wish him luck! His many buddies. whom he hadn’t seen in years were visiting. As we said it was a big night for Eddie and it should have been a happy occasion. But it wasn't! Eddie was very lonesome. He missed his Debbie who had to remain in California to take care of Carrie Frances. She’d join him when he appeared in Boston but that was a week away. And he wanted to see her now. He wanted to feel her lips on his cheek when she wished him good luck. He wanted to see her sitting out front. He wanted to introduce her to so many of his buddies. But he couldn’t. And he was pretty upset about it! Mopern SCREEN’s photographer was with Eddie on this important evening. As a matter of fact, he’d been with Eddie all day, taking photos. Now he was setting up his camera in this crowded dressing room. And he could see Eddie was sort of lonesome. And the photographer noted that Eddie hadn’t smiled all day. It was about twenty minutes before curtain time when a Philadelphia photographer knocked on the door and asked Eddie if he might bring in his daughter to say hello. Eddie was delighted to meet a new fan and even more delighted to see the chihuahua that she held in her hands. It reminded him a little of home and the two poodles he and Debbie loved so much. One poodle was named Fanny Fisher; the other, Rocky. Eddie thought of them—and home—as he played with the chihuahua. And for the first time that whole day he smiled. marion’s broken engagement “4 “ “> Pe a 2 eee al eee pe (Continued from page 39) man,’ Marlon said. And he meant it. “Anything to declare?” the customs in- spector asked in his routine, bored voice. “Yes,” Marlon answered, reaching into his pocket, “this ring. . .” The cab driver recognized him and grinned broadly at his famous passenger. Marlon gave him the address and leaned back letting his hand touch the bulge the ring made in his pocket. “Been away long, Mr. Brando?” the cabbie asked. “Too long,’ Marlon answered, thinking— not from the city, but away from her. One year tomorrow. The longest year of his life. A year of exile from the girl he loved. It hadn’t started out to be a year. The separation could have been for a week, or forever. Because on that last night to- gether he had started out to ask her to marry him. And suddenly found he couldn’t do it. “Marlon,” she’d said, with anger flash- ing in her eyes, “nobody ever said you had to marry me.” He nodded slowly, watching the tears glisten in her dark eyes. “Nobody ever said I had to love you, either,” he said, “but I do.’ He moved to the window of his apartment and looked out. “But when a man marries, he’s got to be ready. . .” inking—I’ve got to know exactly what I want from life. And that takes time. He took her lovely face between his hands and said, “I need time.” “Haven't | made you happy?” With sudden, unaccustomed bitterness, she asked, “Is it Movita?” Marlon shook his head. “I guess I de- served that. But you know that’s over.” Her eyes stayed close on his face. “The Moreno girl?” “No” he said, angry with himself. “Not Rita, not any girl. Just me!” Thinking— This is the only girl I’ve ever really loved, and I can’t prove it to her by the one true proof: marriage. I can’t do that to her. . . she deserves a guy who knows where he’s going and what he’s looking for. And that’s not me... yet. She crushed her cigarette out and whis- pered, “Haven’t I made you happy, Mar- lon?” He wanted to take her and hold her tightly and tell her how, on some confused, lost nights, she was the only bright star in a black sky. - But he loved her enough to want her to be happy so he didn’t move; didn’t take her in his arms. He stood there stiffly and said what he had to say—coldly. “Were not discussing happiness right now.” The cabbie’s voice was a welcome interruption. So Marlon didn’t have to go on remembering , . . remembering how her face looked when she turned away from him and walked out of the door, leaving him alone in a room that looked out over an empty world. Risk losing her forever He hadn’t slept at all that night. Sam Gilman, his closest friend of pre-fame days, was in town. And when you don’t drink, the next best thing is to stay up and talk to a friend. Sam understood; he knew that Marlon had tried to do the best thing for the girl . . . even risking losing her forever. “Youre right, Marlon,’ Sam had said. “She deserves a man who’s ready to de- vote himself to her. You may be that man . . . but not just yet.” Well, Marlon thought, lighting a ciga- rette and flipping out the match, now he WAS that man. The cabbie’s voice droned into his con- (Continued on page 64) | ‘

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64 Not all Danny’s jokes back- fired. But two of them did! Danny Kaye’s Prize Gags ...and how they back-fired! @ Nowadays Danny Kaye thinks twice be- fore playing practical jokes on anybody —because one day he pulled two boners, one right on top of the other. That was the afternoon Danny was called to the set, and then it started to look as if he wouldn’t be needed after all. Standing on the sidelines he watched the Goldwyn Girls rehearse a number for the third time. He began to feel restless. So he looked around for a little diversion. He wandered into the make-up depart- ment and found a fellow who could ap- preciate a good gag. Off the two went to a dressing room to carry out Danny’s brain- storm. By the time they were through, he looked as if he’d been in one heck of a drunken brawl. One eye was black; there was a mean-looking slash along one cheek, and his shirt was splashed with some roll- ing-in-the-gutter kind of dirt and blood. Danny was real pleased with his ap- pearance. Off he stumbled to the set. He made his entrance roaring threats right and left and leering at all the girls. The men turned pale. The women screamed and ran for cover. Half a dozen property men started to close in on him to cart him off to the studio hospital, but Danny was too quick for them. He made the door, yelling over his shoulder, “I’m going straight to Mr. Goldwyn!” Danny only got as far as the outer of- fice. The producer’s private secretary took one look at Danny, and firmly told him, “You go right back to make-up, Mr. Kaye. Mr. Goldwyn won’t think you’re funny.” It seemed like good advice and Danny, completely deflated, took it. Setback #1. But Danny was still in a playful mood, so this time he had himself fitted with a wig and a beard, and he headed for home. When his housekeeper answered his cing, he said gruffly, “I want to see that fellow Kaye.” “He’s at the studio,” she said. “Then Ill see that wife of his,” Danny yelled, pushing past her. She ran from him, to the kitchen. And reappeared in a minute waving a wicked- looking meat cleaver. As Danny sprinted behind a sofa, he outdid himself on his fast-talking routine. “May,” he yelled, yanking at the false beard, “‘it’s me! Take it easy!” That was the last trick the clown prince of mirth ever played on his housekeeper! Danny will soon be seen in Paramount’s The Five Pennies and MGM’s Merry Andrew. (Continued from page 62) sciousness, “Pretty exciting, Europe musta been, eh?” Marlon answered politely, recalling days at Tue Louvre in Paris, and standing awe- struck before the churches of Florence in Italy. Before he’d left, Gadge Kazan had told him, “Soak it all up, Marlon. Every- thing you feel in Europe will help you to know the kind of actor you want to be— and the kind of man, too.” Good old under- standing- Kazan. He hadn’t said a word about her, but Marlon knew Gadge was talking about her in his own way, saying he hoped they’d find a way to work it out. Suddenly it was love They were deep in the city now and the cab was working its way west. “Can’t you go any faster?” Marlon asked. “Doin’ the best I can, Mr. Brando. Central Park has murderous traffic.” Central Park, Marlon thought, the dra- matic school where they'd met had been near Central Park. It was early summer, and as the trees turned green their friendship grew, and suddenly it was love, warm and intimate. They would have coffee after class and Marlon would talk and talk, telling her about the time he organized a five-piece band called the Kegliners, with himself as drummer; or the times when he rode his father’s Guernsey cow from the barn to the pasture and back. Little, silly things. Then, one day as he was bubbling away, she suddenly interrupted saying, “Marlon, I love you... and I always will!” He should have grabbed her then, held her and never let her go. He could have been happy then, instead of living this life of wandering, working and wandering some more. Sitting in smoky night spots, watching the dawn come up over the Notre Dame in Paris; seeing the red hot California sun drop into the Pacific; drink- ing bitter coffee just after dawn, with the make-up men and the camera crew. Not always alone. But always lonely. And then, two weeks ago, it had ended. Walking down a street in Rome, thinking of her, he just knew that he was going to her. It wasn’t that he was ‘ready’ now, the way he thought a man had to be be- fore he could ask a woman to share his life. It was just that he knew now you had to take life and love while you could, ready or not. And if trying meant anything— well, then he would make her happy. Sorry to hear it like this The cab pulled to a stop. Marlon got out and half ran towards her house. No one glanced at the world-famous face, no one except Sam Gilman. Marlon had come four thousand miles and there, as he stepped out of a cab, was Sam. “Marlon,” Sam called out, home! It’s good to see you!” “Sam! How’d you know I was here?” “The grapevine. Word gets around.” Marlon pulled the ring out, but Sam wasn’t smiling. “What's the matter?” Marlon asked. “You mean you don’t know?” Marlon felt his heart sink. what?” he asked. “She’s. getting married, Marlon, tomor- row. He’s a musician. A real nice guy.” Marlon turned away. The brilliant spring sunshine now seemed unbearably blinding and he covered his eyes for a moment. She was getting married. Mar- ried to someone else. The one thing he’d never imagined possible. From somewhere outside his pain, he heard Sam speaking, “T figured for sure that she wrote to you about it. Maybe she didn’t know where you were. I’m sorry you had to hear it like this. Come on to my place now. I'll make some coffee.” Marlon shook his head and-turned away .. . “welcome “Know Ready for love In his apartment, still moving like a sleepwalker, he leafed through the pile of mail accumulated on his desk until he came to the one in her handwriting: MaRrLon, : I SAID I'D ALWAYS LOVE YOU; AND I ALWAYS WILL. BUT I CAN’T WAIT FOR YOU ANY LONG- ER—I'M GETTING MARRIED, TO A MAN WHO KNOWS HE WANTS ME. YOURE ON A JOURNEY —AND IF IT’S A JOURNEY FOR TWO, WELL I WANTED TO BE THE OTHER ONE. BUT, MY DEAR, I DON'T KNOW. IT MAY TURN OUT TO BE A JOURNEY FOR ONE. ONLY YOU CAN KNOW WHICH IT WILL BE. AND I HOPE YOU FIND OUT soon. My LOVE TO YOU ALWAYS... The letter slipped to the floor. Too late, he thought; I’ve found out what I wanted too late. And I’ve lost her. The bright, sunny world was gone. The apartment whose gonna be in october's modern screen? lots of your favorites: clark gable, tab hunter, natalie wood, joanne woodward, jerry lewis, jayne mansfield, pat boone, and many others. and, commemorating the anniversary of his tragic death, a moving memorial story on jimmy dean. that's it—-great stories, scads of pictures, and very cute photo of debbie reynolds on the cover. all in october's modern screen (on your newsstand september 5th) seemed strangely large and lonely. Sud- denly, he smashed his fist down, hard, on top of the desk. Then, without looking at it, he took the ring-box from his pocket and, opening a drawer, put it away. Marlon took a deep breath and leaned on the mahogany desk. The room was filled with the dying afternoon light. She’s right, he thought. Life has to be a journey for two, or else it isn’t worth living. Then he opened the window to let in fresh air and began to unpack. And knew that next time he’d be ready for love... END Marlon can soon be seen in Warner Bros. Sayonara and 20th Century-Fox’s The Young Lions.

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modern screen beauty barbara rush > ee ay Says: a? “vou can have... beauty in minutes" | & spain H Beauty for the busy is always a question of “how much can I do with the time I have?” No matter how busy her schedule, Barbara Rush knows that “how much” beauty care means “as much as possible.” Whether a campus queen, career girl, Mrs. Thank Goodness or a glamorous actress, the approval and applause of friends or the world demands the very best of good grooming habits. Barbara has collect- a ed a few important beauty tricks which | offer a maximum of care in a mini- E - mum of minutes (Continued on page 72) See Barbara in 20th’s NO DOWN PAYMENT

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ob Se (x) = >> aS oe aD) oes: JuIDUg soboy <q soqoud 11K 66

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modern screen fashions A CY | for campus e country e career Terry Moore in a 100% wool tweed suit with sheath skirt and 38 inch length coat with de- a tachable velvet collar and Alpaca lining. By Haber-Levy. Terry’s smart taper-toe flats by Huskies—see details on page 68—caption J. ! i i] Terry accents her Tycora sweater and Mc- — Arthur skirt with a Jills Continental flat in Db white sand—for details see E—and a Clifton full grain hand tooled and laced handbag. On the basket, a Nite-Aires lounging slipper. Terry’s tiny, dainty feet in The Convertibles. These are the new shell stepins with optional G and detachable straps. This chic flat comes in the fashionable colors. Vicuna tan; grey or white sand. Made by Jills. About $7.95 a pair. Here Jerry wears Jills Fluffs—lightweight ox- fords of soft suede with bouncy crepe soles. ol Fluffs make you feel as though you are walk- ing on a cloud. Caviar grey, true white, jet black, Vicuna tan. About $7.95 a pair. A close-up of the Continentals which Terry holds in B. These stepins are of true moccasin e construction with hand-sewn vamps. Choose Jills Continentals from colors—Vicuna tan, white sand, grey or black. About $7.95 a pair. Terry chooses new Jills Fluffs—shown in close- up D—with her outfit of plaid Bermuda shorts, ff plain McArthur shirt and JoKay suede jacket. Don’t miss Terry in 20th’s great film Bernar- dine with Pat Boone and Janet Gaynor. Continued on the following page Sees

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modern screen fashions ons Crna eS or continued Cinderella style—pretty clothes are trans- formed into prettier ones if worn with smart shoes! Hollywood stars wear them for play— and work. 20th star Terry Moore accents her g sports costume with Huskies Minuet flat that features a draped brass trimmed twin arrow vamp overlay. Black or brown leather; black suede. $5.99. Terry’s water-repellent Jo-Kay, suede jacket is a lifetime joy. Below right, other Huskies Cinderella flats—$5.99 a pair. Terrys’ next film is 20th’s Peyton Place. Oxford with a pinked overlay vam} and a thin foam sole. Blonde, cara mel or gray cork; also black suede . 0) aun Novelty strap and brass buckle trin| on vamp and quarter. Black sued or leather; gray or caramel cork Taper toe. Envelope vamp, pear button trim. Red or black leather | black suede; gray or caramel cork \ Terry waves a wand o kk good luck over a few o Huskies Cinderella sho collection. Blouse an skirt by McArthur, Ltc All photos by Roger Prigen 68

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lean stockwell’s strange life (Continued from page 53) began to pull yictures down from the wall. Pictures of 1imself—glossy prints, newspaper shots, our-color magazine portraits. Stills from The Boy With Green Hair, from Gentle- nan’s Agreement, from The Green Years . . Quickly he tore them down, ripping hem to shreds. For a moment he stood puzzled in the niddle of the room, trying to remember he other thing he had to do. Then he emembered. His scrapbook too was tuffed into the metal wastebasket in the -orner of the room, on top of the torn and rumpled pictures. Then he struck a match, and sat on his sed and watched his past burn to ashes. When the flames reached the last little 1eap of newsprint, he reached into a jocket and took out a piece of red silk. Je had found it one day, and on that day 1e’d gotten some wonderful new role or igned a fabulous new contract—he -ouldn’t remember any more what it was hat had happened to make him so happy, ut it happened right after he found the niece of silk—so he had carried it for al- nost eight years, a torn bit of cloth that 1ad been a good-luck charm and a symbol of dreams that were all to come true—a sood-luck charm for a child. He dropped the silk into the dying flame. Then he buried his face in his hands and began to cry. But at dinner that night he was dry- 2yed when he told his mother he would never make a movie again. His mother looked up from her plate, und her eyes weren’t even surprised, only ired, as she looked at her fifteen-year-old on with a weary love he had seen before. Quietly she asked, “Dean, can you tell me why—why you’ve made this decision?” “I've got to find out" Dean bent his head. Through these last weeks, knowing what he was going to do —had to do, he had known that was the question he would have to answer. Time and time again he had worked out sen- tences that would explain why he had to quit. Sentences? Whole speeches! Mom, he would say in his mind, it’s no good for me, this acting. I have to know if people want me—for myself. It sounds corny, but Mom, I’ve got to find out. Now. The only really happy time I can remember in my whole life is when I was a kid and went to public school every day like everyone else and never even thought about acting—except to brag to the kids about how you and Dad used to be on the stage. But I never thought about it for me. Not for me, Mom. Oh, I had a ball all right, that first time, when you got me and Guy into that Broadway show—only the next thing I knew I was in another one. And then there was the movie con- tract and—Mom, I was so lonesome, so lonesome. But how could he make her under- stand, when he knew she would say, “Why didn’t you -tell me? Your father and I thought you were happy. We only wanted your happiness.” All that petting and fussing—I felt like it didn’t belong to me. All those people saying, ‘ooh, what a sweet little boy, ooh, how talented, ooh, how cute’-—they weren't talking about mE. They were talking about the child-star, Dean Stockwell, the. little darling. What did they know about ME? And I was scared that if I quit acting and just was me—no one would love me any more. Maybe not even you and Dad. How does a kid know? And then—when you and Dad—broke up—and he moved out —well, a kid gets mixed up. He thinks ‘my father left because he doesn’t love me any more’ my father’s smart, so he knows I’m a phony. Mom, I’m older now, and I know that’s not true, but I still don’t know, and I have to know if people want me—for myself. It sounds corny, but Mom, Ive got to find out. Now. His cross to bear That was the way it went in his mind. But now, facing his mother across the table, he couldn’t say a word of it. Maybe because he didn’t want to hurt her, didn’t want her to think she had failed him. So he finally looked up at her and said, “T just want to go to college. That’s all.” So that year, when he finished high school, he went to college. In the north- east, because his brother Guy lived there now and could keep an eye on him. But in Guy’s neighborhood everyone knew about his kid brother, the actor. They liked the shy, good-looking boy, and wanted to make him feel right at home— so they fired away—with questions about Hollywood and praise for Dean’s talent. But Dean didn’t know it was their way of making friends. They were nice people. They just didn’t know. And on the campus, half the fellows fawned on him—and the other half turned their backs on “that snooty movie star.” Girls he avoided, terrified of asking for a date—because maybe he’d get turned down. And if a girl did accept a date, something cruel in Dean’s head buzzed over and over, she’s accepting just to tell her friends she went out with a movie star. She doesn’t give a hang for me. One man, an upper classman, took him aside one day. “Let me give you a piece of advice. I have a friend who’s a big track star,’ he told Dean. “He could Learn to never get away from it either. BREEZE will send you any Hit Record you ¢ oose only ODE ALL-PURPOSE DETERGENT —and the top from any Giant Size box of BREEZE or two Regular Size Now you can have any 45 R.P.M. popular record you want from the current Top-10 Tunes. Choose your fa- vorite. You'll get the same artist, same orchestra, same label you’ve heard on radio and on jukeboxes. This is the same record you’d pay 89 cents for at most music | stores! If it’s a current hit, Sam Goody — world’s largest record dealer — will send it to you. All you have to do GANT ECONOMY SIZE \") ALL-PURPOSE ~ DETERGENT New Se CANNON KITCHEN TOWEL in every Giant Economy Size “= CANNON FACE é CLOTH in every Regular Size ADDRESS CANNON BATH TOWEL in every New King Size CITY._« y (artist) is fill in the coupon and send it to us with the coins taped to the box tops of BREEZE—the all-purpose de- tergent that’s tops for everything you wash! To: BREEZE, Box 341, New York 46, N. Y- | am enclosing 1 Giant or 1 King Size (or 2 Regular Size) box tops from BREEZE plus 35¢. Please send me (sone TITLE) (RECORDING COMPANY) ON OS eee (PLEASE PRINT ) STATE Please allow three weeks for delivery. Offer expires December 31,1957. GOOD ONLY IN CONTINENTAL U.S. AND POSSESSIONS [ony No} re ES I re — a

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Errol Flynn’s ' QUIET . Weekend @ Errol was in New York recently for a weekend—a little relaxation in the big city. He checked into his hotel at midnight. Seven hours later, Errol’s phone started ringing... 7 A.M. Lawyer phones to discuss catastrophes: summonses, alimonies, etc. - 7:15 Hollywood producer calls about casting The White Witch Of Jamaica, in which Errol shares in writing and producing, as well as stars. 7:30 Girl calls who says she met Errol in New York two years ago—‘Remember? I was the one wearing the orchid?” 8:00 Darryl Zanuck calls. Just in from Mexico; leaving for London, Paris, Stockholm, Los Angeles; back to Mexico—all in three days—“‘I just wanted to say hello,” says Darryl. 8:25 John Ireland calls to see about going ice skating before lunch. “We could talk about The White Witch,’ he suggests cheerfully. 8:30 Teddy Stauffer, Hedy Lamarr’s ex, calls. Hopes Errol] will be best man at his marriage Sunday to Ute Weller. Errol accepts with a condition: “OK, but you'll have to use one of the gifts I gave you forthe other three weddings.” This is great with Ted. 8:35 Errol’s agent calls. Will he do a tv panel show while in New York? Errol says fine, and they arrange for a Sunday night What's My Line? appearance. 8:50 Warner Brotuers. Does Errol want tickets to a film premiére next week? Declines. He’ll be in Europe by then. 9:30 Purnam’s calls—they’re publishing his autobiography—“How’s the book com- ing?” Errol answers, “I’m working on it right this minute. Call me tomorrow.” 9:45 Huntington Hartford, the producer, calls to talk about Richelieu, pet Broadway project Errol’s wanted to do for years. They arrange luncheon date. 10:15 Hollywood agent phones to ask if Errol would play Barrymore in Too Much, Too Soon. “No. Nobody but a Barrymore would dare play a Barrymore,” Errol says firmly. 10:25 Sydney, Australia, newspaper calls to ask for serial rights to Errol’s book, since he was born there. They offer $10,000. “You're booked, but for 20 G’s. Half the book’s about Australia,” Errol answers. Errol picks up phone, puts it down, turns to his secretary, John. “Where’s Gloria staying ?”—Gloria Swanson, that is—“I want to wish her bon voyage.” John doesn’t know off-hand, so Errol fires him. This doesn’t seem to bother John. 10:50 It’s Bob Evans, to say hello. Errol suggests he go ice skating with John Ireland. 11:00 Darryl Zanuck again. “The plane is delayed.” he reports, “so I’ve decided to go to Nassau instead. How about meeting me there?” Errol declines with thanks. 11:10 German Consulate calls to invite Errol to Berlin in June for its Film Festival. Errol accepts, with one reservation, “If you invite my secretary. He speaks German.” John reminds his ex-boss he’s just been fired. Errol pays no attention. 11:30 Call from the coast. Ava Gardner. The first time she’s been there in years and she’s forgotten where to eat. Errol the Gourmet tells her of a Mexican spot in L.A. Lawyer shows up to get promise that Errol will not get married or divorced for next five years. Lawyer rehires John “because he has too much on Errol”—and takes off. 11:45 John Ireland again. He’s with Bob Evans but without ice. Does Errol want to go to Greenwich Village for spaghetti? Or maybe roller skating? Errol says no thanks. 11:50 Schoolgirl calls. Editor of school newspaper. Wants to interview Errol Flynn. Errol tells her, “wrong number.” Suggests she try another, which he dictates. Hangs up. “Gary Cooper’s number,” he chuckles. 12:05 Hotel switchboard calls—young lady in the lobby to see him. “Hello, Mr. Flynn? I’m the girl who called this morning. You know, the one with an orchid two years ago at the New York party where we met?” Wonders if Errol is free for lunch. Errol throws wild look at John, collectedly explains he’s very sorry, but he has just made ‘luncheon appointment. Which reminds him to take off. After hurried luncheon with Huntington Hartford and columnist Earl Wilson, Errol] returns to hotel, enters a few sentences in tape recorder for biography, gets on phone. Talks to Francoise Sagan in Paris and learns she’s feeling better after her sports car crack-up. “I’m bringing you some California champagne,” he says jokingly, “so you can drink imported stuff, instead of your domestic champagne.” The New York Times phones for interview. Errol recites Gary Cooper’s number. Phone rings. Picking it up, he hears roaring and engine noises in background. “Hello, Errol? This is Darryl.” He has to shout to be heard over racket. “I’m still at the airport. Nassau plane’s making repairs. Say, I just had a whopper of an idea. Instead of heading South, why don’t I take the plane with you Monday morning to Europe? It’s a nice twelve-hour ride. We could talk about a new picture... .” “Well...” says Errol. “After a weekend of doing nothing,” Darryl adds, “you'll be glad to talk business!” 70 Watch for Errol in 20th-Fox’s The Sun Also Rises and U.A.’s The Big Boodl es yes A Agar leased by U.A i Matte live with it, man. It’s your cross to be —stop fighting who you are.” : “No,” Dean said. shake it all right. the place.” “No. I’m going to Maybe—this just isn’t At the end of his freshman year, he quit. — Always a stranger “What will you do now?” his mother wrote, every word a little stab of worry _ and love. “You are only trained to act— and you won't do that. Without a college degree—what will you do?” “T don’t know,’ Dean wrote back. have to look—for a while. Don’t send me any money, Mom. I'll get along.” He mailed the letter and watched it drop into the box. Then he walked to the rail- road station. he climbed into a boxcar and stretched out on the straw and waited. Hours later, ~ the train pulled out. Dean didn’t know where it was going. He didn’t care. For three years, Dean roamed the coun- < I Dean Stockwell woke up in a cheap hotel © q When the night was dark, | + p ; : 4 : i 3 | try. And at the end of three years, one night | room and found himself crying again. He had proved nothing. Oh, he had proved he could live on his © own, take care of himself. Only he’d never doubted that. But his search had been for love, a search almost to find himself—and there he had failed. For who could love a boy who wandered into town and did a | day’s work and wandered out again? Who could get to know him, to like him for himself—or for any other reason? Was this the self he had been looking for, this wanderer who was always a stranger— | everywhere? With a scratchy hotel pen he wrote a letter. “Dear Mom—I’m coming home .. .” Only she can end his search Dean Stockwell’s back in Hollywood now, making movies. But he never reads | the reviews, the reviews that say how good he is. And as soon as he leaves the lot for the day, he forgets the world of picture- making. But even that doesn’t help him. So he lives alone, in his house near Griffith Park—the loneliest section of Hol- 9 lywood. In his own room he studies music and tries to write it. Not many people know that . . . as if he has a fear of sharing anything he really loves—because then it might vanish. At night he roams through the park, a silent, thin figure—looking for something he cannot find. i He dates once in a long while—never an actress, no matter how his studio pleads with him. But sometimes when the hun- ger for company is too great to stand, he | will call a friend, or a girl. He is marked with a loneliness, a long- ing for love, that sends him restlessly on in his never-ending search ... Among the movies Dean Stockwell made as a boy and has forgotten, was The Boy With The Green Hair. There was a song’ in that movie. It was called Nature Boy. And it described a very strange, en- chanted boy, who wandered very far .. . searching for truth. At the end of the song, this strange boy tells what he has learned in all his wanderings and suffer- ings. It is this: The greatest thing you'll ever learn, is just to love—and be loved in return. | Somewhere there is a girl who will love} Dean Stockwell, as he wants to be loved. Sometime they will meet, because work } and friends and wanderings cannot find} for him what he needs. Only she can do that. Only she can end his search . = Dean Stockwell can soon be seen in The! Careless Years, a Byrna Sano

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ink God I’m home ntinued from page 48) company which ald have been a lot of fun. Bruce was ver telling tall tales of high life in all world’s capitals, and Michael Rennie ributed his own crazy stories about don, and Claude Daughin supplied the ach wit—usually wicked. As for Joseph ikiewiez the film’s producer-director, always been one of Hollywood’s best 1 spinners. yveryone was having a_ ball—except lie. Oh, he loves jokes and laughter, right, but in Saigon he couldn’t join All he could do was hole himself up, after day, in his hotel suite with its dows that looked out on nothing but reet he couldn’t bear to walk along. ause walking in Saigon made Audie der what he had ever been born ... or fought for—ever since that first when he’d arrived, and decided he’d on a sightseeing tour and got all of feet before he was lost in a crowd of _ reaching hands, outstretched for ey; children looking at him with eyes such hunger that his heart began to ak. And he began to wonder if this what he had fought a war for. And he more a stranger than ever to good ls and a lovely home and a family of : and sons. he next step for Audie’s discovery e when he almost died—and wondered ’ he had been spared... udie had gone to Hong Kong to do e shopping for Pam and the kids when doubled up with violent stomach nps—acute appendicitis. ack in Saigon, director Mankiewicz re- ed a cable saying that Audie had been sn to the hospital, operated on, and the tor estimated that he would need a four to seven week convalescent period. Worry set in. They all knew that with an ordinary appendectomy, the patient could be up and around the next day and out of the hospital within a week, but Audie was allergic to wonder drugs. There was no telephoning. phone lines from Saigon to Hong Kong were open only an hour a day, and half the time you couldn’t hear the party on the other end of the line anyway. It was Tuesday and the first commercial airline flight to Hong Kong was scheduled for the following Friday. In desperation, some- one thought to call the Army. They reached General Williams, explained the situation, and the General said he had a military flight going to Hong Kong the next day and would arrange for an Army doctor and a representative of the com- pany to be on board. Next day at dawn, they flew out, and flew Audie back with them. Audie was a real sick boy, and he looked it when he came back. He’d lost fifteen pounds and was terribly weak. “How could | fight” He was also depressed. What good was he? Who needed him? And now he'd let the company down, and they hadn’t even started the picture yet! Because Audie never thought much of himself as an actor. Way down deep, he’s had the feeling that people in Hollywood were giving him a break in movies because of his war-record, and not because of any acting ability. They tell the story that when Audie was signed to make The Quiet American he said to the director, “Ill be working under a great handicap in this picture, Mr. Mankiewicz.” “What's that?” asked Joe. “No talent,’ replied Audie. When he returned to Saigon after the operation, he saw the hungry kids again, The tele- begging in the streets. That was the after- noon he broke down, crying in the street. “That was the afternoon,” Audie will tell you, “when I first found out that may- be, in some small way, there was a reason for even me. And I could feel”—and here the kind of smile breaks out on his face that makes you think of a bright, warm sun suddenly bursting through a gray cloud—“well, I could feel like the road was a little familiar and I knew where I was going on it...” Audie was crying, the uncontrollable tears falling from his eyes while small faces forgot their own hunger at the sight of this greater misery. “And suddenly there was a strong arm around my shoulders,’ Audie remembers, “and such a gentle voice asking, ‘My son, what troubles you?’ He was a priest. He led me to his office, and he listened to me, and after a while his face began to blend into a huge poster hanging on the wall behind him—a poster I’d seen all over the states, begging people to remember the poor children of this war-torn earth . .. by becoming a part of the foster-par- ents plan. And all of a sudden I knew that it didn’t really make any difference if I was pulling in the paychecks because of talent or because of my war record— what mattered was that I had the money to spend. And maybe—now—that was how I could fight.” His heart knew Maybe, now, that was Audie’s reason for being. And if he had work to do, there was some special little place in the world that was all his... . that was home, just for him... Before he left Saigon, Audie adopted some of these poor children under the foster-parents plan. He drew a very large check for their care. “Only don’t How to have Beautiful Skin now—and the rest of your life! The secret of an alluring, ever youthful com- plexion: wash it properly at least twice a day with Cuticura Soap. Of all leading soaps, there is none milder than gentle, fragrant Cuticura Soap. Uniquely superemollient, it helps maintain the natural moisture of the skin, helps protect and preserve its smoothness. Blackheads, externally caused pimples, oily shine or flaky dryness call for Cuticura Oint- ment—along with Cuticura Soap—to soften and gently stimulate as it helps relieve. In just 7 days you'll begin to see unbeliey- able new softness, freshness and radiance. Do try Cuticura Soap and Ointment. Send 10¢ (no stamps) to cover mailing for generous trial size Cuticura Soap and Squeeze Bottle Shampoo plus folder “New Way to Wash Your Face.” Write Cuticura, Dept. DM- 79, Malden 48, Mass. CLA OLA. MEN CES PARENTS) E GATTI Wishing won't help your skin— Cuticura will! ~

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onus Ged ae . that’s you—when you use April Showers imported lilting as an April Shower. Made gently smooth to give your skin the touch of kitten softness. Such faprant loveliness for only 43¢. Vale. Light... soft... april showers § re imported tale MOELLER iis plus tax let me see any of them, or know any of their names,” he said to the orphanage representative, “or Ill probably start bawling again.” ;: The day he knew the company was pulling out of Saigon, to finish its shooting in Rome, Audie began to smile for the first time. Bruce Cabot, or maybe it was Michael Rennie, asked him if Pam was meeting him there, but he said no. “She shouldn’t leave the children,’ he said. But he reckoned without his heart. His heart knew better; his heart knew he too had earned the right to happiness. Rome was some twenty-eight hours away, as a plane flies. Audie came down at Istanbul and cabled Pam the hour he’d make the Eternal City. As he came into his hotel in Rome, her call was waiting for him. He picked up the receiver and heard her voice, for the first time in al- most two months. Pam put Terry on, too, and then the clincher came. Always before, Pam would say, “Daddy, this is Skipper, wanting to hear your voice.” Audie would talk and talk, but not one word would his baby son answer. But this Roman evening, Skip piped up, “Daddy, when you come home, will you bring me a crocodile?” Couldn't go on another week His youngest son was suddenly old enough to know what the telephone was all about, old enough not to need his Mom- my! Old enough to lend Mommy to his Daddy for a little while. And now Audie knew he too had the right to ask for what he wanted. He heard himself speaking, “Pam, dar- ling, come over here. I can’t go another week without seeing you. The kids will be fine for a little while. Darling, fly here!” Before they hung up, it was all ar- 72 ranged. Two days later, Pam was there, beside him, in Rome. But it wasn’t until 'they came back to California and were in their house in the Valley that Audie knew, deep within him, what had happened to them. A reason for living He stood in his own living room, with Pam in her favorite chair, and the kids playing in one corner, and he knew that he was home, in his own house, his own country. Terry had grown so tall, in the six months since Audie had seen him and Skip had stopped being a baby and was a little boy now. Pam was glow- ing from the closeness they had found on their second honeymoon. This was homecoming, too, his second homecoming. This was the face of love, and now he felt whole enough to see it in all its glory. Man-fashion, Audie didn’t say it that way. He expressed it by grin- ning at Pam, asking, “Know the name of my next picture?” “Of course I do. It’s The Way Back.” “That’s what I’ve found at last,” he said softly, “the way back—a reason for living—and home .. . our home, you, the kids.” It was a very nice moment. But, in a way, what happened the next morning, was even better. For next morning Audie went and sold a batch of his quarter horses. He didn’t discuss it with Pam and she asked no questions. But they both knew it was an admission that Audie had been following too many race tracks with them. Spending too much time away from home. Deep in his heart, Audie whispered to himself, “This is where I belong—always.” END Audie can soon be seen in U-I’s Night Passage and U.A.’s The Quiet American. barbara rush says (Continued from page 65) which we thi can be a great help to all girls. “Starting from the top,” Barbara sa “I make sure that my hair is always cle | shining and in perfect order. Stragegli tresses just won’t stand up under i severe eye of the camera. If I am It tween permanents I battle those wis ends and drooping neckline hairs with touch-up perm on the ends—this v carry me through to my next perm | great style. It keeps my hairstyle pre and easy to manage and saves hours time—and money.” “As to complexion care, proper and f: quent cleansing is basic. There are se eral schools of thought on the just ris cleansing preparations for the ultimate’ skin cleanliness. I think all methods : complish the same end if frequently a properly used. I alternate soap and w ter, cleansing lotions and creams. Ez and effective cleansing can be acco: plished in minutes with any of these pre arations with these little beauty tricks.’ “When using soap and water I massz the soap into my skin and let it rem: on for a minute or so. Then I smooth o1 nourishing cream—unless I use a sc with a cream base.” When I choose a lotion—I pour a lit into the palm of my hand and with 1 fingertips smooth it on my face and ne Then I wrap my fingertips in cleansi tissues and remove the lotion thorougi with slow, gentle upward and outwz strokes. This procedure removes evé last trace of dirt, grime and make-up.” “Tf I use a cleansing cream my technic is the same as for lotion except that I « the cream here and there on face ratl than first putting the preparation into + palm of my hand. I smooth in the cre. just as do a lotion. This speedy, | gentle, smoothing brings up the circu tion and helps to cleanse the skin.” Now here are speedy little tricks B: bara uses when applying lipstick. “When applying lipstick I find that; pays to do it very carefully and painste ingly. Once applied properly lipstick ¢ remain on all day except for a mir touch-up after luncheon.” “Personally, I like a lipstick brush a clean and sharp outline but most gi: are a whizz at outlining their lips with 1 stick itself. It takes time to learn 1 technique of lip brush application a) while it is fun to do when you know hc it is surely not a must.” “For lip makeup I always get bet results when I start with clean dry li’ Outline the upper lip first, fill with col Then do same on the lower lip. Full 1% are the vogue these days—so be in sty Allow color to set a minute or twé lightly blot off excess with tissue. T will keep your lipstick fresh and fla’ less for hours. “Manicures can be great time-consu: ers, but one simple trick cuts minu from the process. When removing pol save time and effort by putting a goo amount of remover on a pad of cot! and press firmly on the coated nail. H: a minute or so and remove the cott Most of the polish will come away. Wt applying a polish change give it the sa thought as you do when you are giv yourself a complete manicure. Chor the newest shade—put it on carefully = be sure to remove any polish that mr have touched the cuticle.” “Being beautiful isn’t easy when j fine for a little while. Darling, fiy her help you, as they have helped me. Y can probably add a few more, too, to mz Time and Beauty your allies!” iain

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i ~ yhy tony and janet were scared (Continued from page 43) said, thinking. She called out a couple of names. “Great,” Tony said. She called out a few more. “Great,” Tony said. She thought of another. “Great.” Then she called out still another name. Tony didn’t say anything this time. Janet repeated the name. It was the name of an actor—a name you'd all know— : fellow about Tony’s age who was very jopular in movies when Tony was still an inknown; a fellow who has since slipped rom the top, slipped badly and who now joes occasional television work and noth- ng more. “You know him, Tony, don’t rou?” Janet asked. “Yeah,” Tony said, “I know him.” Janet turned around. There was some- hing strange in Tony’s voice as he said hat. Now she noticed that his face looked sind of strange, too. He wasn’t smiling ny more. As a matter of fact, he looked lownright glum. “What’s the matter, lear?” Janet asked. Tony didn’t answer. Janet put down her comb and got up and walked over to him. “You feeling a ittle sick or something?” she asked, put- ‘ing her arms around him. “Honey,” Tony whispered, “do you mind ff we don’t go to this party tonight?” “No,” Janet said, “not if you don’t want 2 me) The big party—that falls flat Tony sat down on the bed. “I’m kind of knocked out from work today,” he said, ‘and this cold I’ve got is acting up on me a little and...” “And,” Janet said, “somebody you don’t like is going to be there.” “Sort of,” Tony said. “But you won’t have to talk to him,” Janet pointed out, taking Tony’s hand. “There'll be lots of people there, lots of them good friends of ours and...” Tony got firm now. “I just don’t want to see this character,” he said. “I don’t want to be in the same room with him.” “But why, Tony?” Janet asked. “Why?” Tony shrugged off her question. Janet took his face in her hands and looked into his eyes. “I tell you every- thing, Tony,” she said softly. “And you’ve always told me everything. It makes us feel better that way, all the more married that way—doesn’t it?” Tony nodded. He closed his eyes. For a long moment he was silent. Then he began to talk. “Well—” he started. And this is the story he told Janet that night... . Tt all happened when Tony was nineteen. He’d been in Hollywood a couple of months when somebody phoned and asked him to come to a party the following Saturday night. He’d been lonely those first few months, very lonely—‘“It isn’t that people were cold at the beginning,” Tony said, “It’s just that not many of them know you enough to take time out to make you feel welcome.” So he said you bet to the invitation and hung up before he had a chance to ask what he should wear- Truth is, that wouldn’t have mattered much anyway, because Tony had come to Hollywood with only one good suit, a sharp Bronx creation with padded shoulders and slightly-pegged pants and the stripiest stripes this side of Since Srve, and like it or not that was the suit he’d have to wear come Saturday. The star walked in 2 Tony was the first one to arrive at the party. The girl who was giving it, a director’s daughter, was very nice. She il whispers a | = come closer” april sho | COLOGNE | Cologne surrounds you with an aura of loveli- ness! Splash it on from tip te toe. It’s priced for What could be lovee: a balmy summer evening. a secluded terrace and ... him. And don't forget your April Showers lavish use in both 79¢ and S1.06 sizes. plus tak. _ COLOGNE — & S ~ GhERARY | showed Tony around the house, let him linger a while over the first real-live pri- vate pool he’d ever seen, made him a cool drink and sat and talked with him about life and Hollywood and himself in general, and then introduced him to each new batch of guests as they arrived. Tony was having a great time. Even when he heard a girl whisper something to a friend about his hair being “awfully longish, don’t you think?”—he thought well- maybe-I-didn’t-hear-right-and-besides-it- is-a-little-long. And he continued to smile and be pleasant and mingle with the others, most of them kids about his own age who were either already in pictures or were trying to get in. 5 The star makes his entrance The Star of the evening, Tony remem- bers, arrived last. And when he walked in, - you would have thought it was a young emperor on a good-will tour come to say hello to the natives. “Hi, everybody,” The Star called out, flashing his then-famous smile. Tony watched the goings-on from one end of the room for the next few minutes —the other kids all rushing up to The Star, telling him how great they thought he was in his last picture (his fourth straight hit), asking him what his plans were and suggesting that if he had some time in the near future why didn’t they all get together again soon—maybe for dinner?—maybe for a swim? Then suddenly, The Star—with drink in hand and smile on face——walked over to Tony and introduced himself. “Anthony Curtis,” Tony said introducing himself back, and feeling pretty good about someone as big a name as The Star coming over to him and going out of his way to be friendly and nice. “Real name’s Schwartz,’ Tony said, “Bernard Schwartz. But my mom’s maiden name is K-e-r-t-e-s and I thought ’'d make it Curtis.” “Smart boy,” The Star said, winking. He added, “My name happens to be my real name. It’s the kind of name that goes well on a marquee—but if it hadn’t been, let me tell you, I’d have been the first to suggest it be changed to something else. So don’t ever let it bother you, Bernie. I mean... .” “Anthony,” Tony said, laughing. “Anthony,” laughed The Star. For the next hour or so, Tony remembers, “This guy was being so nice to me it hurt. Every once in a while I’d say something to him, something that was a little on the funny side, and his laughter would roar out and then he’d turn and say, ‘Hey, every- body, I want you to hear what Curtis just told me.’ So I’d repeat it and everybody would stop everything and listen and then they’d laugh and after a while I thought I was the hit of the evening and that I was really a pretty witty and amusing guy.” His fists clenched When The Star went to get himself an- other drink, Tony—very much elated and a trifle flushed over his success—walked out into the garden for some fresh air. The girl who was giving the party followed him out a few minutes later. “Anthony,” she said, “I—I had a very pleasant time with you when you first came tonight... .” “So did I,” said Tony. “And—and I like you very much.” The girl added, a little embarrassed about what she was going to say, “And—well, I just hate to see you being made a fool of like that.” “A what of?” Tony asked. “Anthony,” the girl hesitated, “Anthony, he was making fun of you. That’s why he was friendly with you tonight, so he could 73 Se a A SE

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ASE “SHE BEACH ... SUNNING AT HOME .. ON VACATION Wherever you are this summer—take along a copy of this powerful best selling novel (originally $3.95) just released in paper- back—now only 50¢ : dink outstanal Fy ee erat Lid ; no owerful : 3 as rat mot1on te . a &re clure hest seller .- “Not for the timid. There are violent actions, profanity, vulgarity, startling bold, brash political philosophy .. . Book-of-the-year.” —Chicago Tribune sexual episodes, and have some fun— “He thinks your accent is very funny, Anthony,” the girl said, point-blank. “He thinks you have a very funny Bronx ac- cent and he was just goading you on to talk so he could stand there and Jaugh and have all his friends laugh along with him. “Anthony,” the girl said, “the reason I’m telling you is so you won’t fall for his...” Tony began to walk back towards the house. His fists clenched as he walked. His fists clenched and his eyes focused on The Star standing near the window and his heart hurt so badly and his head burned so much. "| felt like | could cry” “Anthony,” he heard the girl call out, | pleading, from the garden. He walked right i up to The Star. “I don’t like your attitude,” was all Tony could think of saying. “I don’t like it a bit.” The Star smiled. “What’s the matter?” he asked. Tony spoke up. “Who do you think you are, anyway?” he asked. The Star was the center of attraction again, and decided he liked it. He showed ” it with the smirk he gave Tony now. “I know who I am,” he said. “Do you know who you are, Bernie?” Tony’s clenched fist landed square on The Star’s jaw. “When I got back to my apartment that night,” he told Janet now, there in their | bedroom, “I threw myself on the bed and I felt so bad I felt like I could cry. I couldn’t figure out anybody who got his kicks from doing something like that—” “The way I’ve felt about him since that night is why I don’t want to see him again.” Her first Hollywood cocktail party Janet didn’t say anything for a few minutes. Then she began to stroke Tony’s hair and she mentioned a girl’s name. “Did you ever hear of her, Tony?” “No,” Tony said, “I don’t think so.” “Well,” said Janet, “she’s going to be at the party tonight. I know that for a fact.’ And then she told him a little story she’c never thought of telling him before. “I: happened this way,” Janet began— She’d been in Hollywood only a couple of weeks when she was notified that she’c been given an important role in the movic Romance Of Rosy Ridge. That was in the morning. Later, she was invited to a cock- tail party being given that evening—Janet: first Hollywood cocktail party, and she couldn’t have been more excited. | With thirty dollars she borrowed fron’ her mother, she ran out and bought her- self a new dress—green with huge whit«| polka dots, she remembers. Then she spen seven of her last ten dollars for a new hat} “How are you getting to the party dear?” her mother asked as she was get-| ting dressed in the bedroom of the smai apartment into which they'd just movec} Her eyes glued to the meter 1 Janet hadn’t thought about that. He} hostess had said nothing about anybod dropping by to pick her up. And she neve PHOTOGRAPHERS’ CREDITS The photographs appearing in this issue | are credited below, page by page: | 6—Darlene Hammond; 8—Warner Bros.; 10— 4} INP; 14—INP, Pan American Airways; 16— CBS-TV; 17—MGM; 30—Bert Parry & Bob} Beerman, Paramount; 31—Bob Beerman, Phil} Burchman; 32—-Bob Beerman, Acme News Pic- tures; 33—INP; 34-36—Gary Wagner; 38— Peter Basch, Edward Quinn; 40-41—Dick Mill- | er of Globe; 42—-Phil Burchman; 44—Dick | Miller of Globe; 46—20th Century-Fox, car- toons by Saxon; 48—U-I; 48-49—Phil Burch- man; 50—U-I; 52—Don Ornitz of Globe; 60— Bert Parry; 62—-Gene Daubers; 70—Bert Six of Warner Bros.; 86—-Bob Beerman; 87——Para- | mount; 89-90-92—-Bob Beerman. 4

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ught of phoning her new studio and ing them to send a car. “Gee, Mom, I Yt know,” she said. She brought her ser up to her chin. She thought for a ment, then said, “I can take a taxi. > got three dollars. That’s plenty!” But isn’t Beverly Hills far from here?” Not very,” Janet said, as if she knew - way around the movie capital. ‘he kissed her mother good-by, bounded xn the steps, got into a cab. Place you wanna go is way up in the Is,” the driver said as soon as they’d en offi. Must be pretty,” Janet said, smiling, ting back to enjoy the ride. Until she ard the meter give a little click, and np to sixty cents. “And we’ve just gone few blocks? Janet thought. ; ‘rom that moment on, it was to heck h the scenery; her eyes were glued to » meter. jease—stop this cab” soon, very soon, there was another click. en another, and another, and another. Yne dollar and ninety cents. fanet began to get jittery. She took a 2p brcath and said, “Driver, are we al- st there?” : Slick. ‘Haven’t even hit the hills yet, Ma’am,” answered. After three more fast clicks she opened r eyes wide and said, “Driver—please— you don’t mind, will you stop this cab the next corner?” The driver pulled over. Janet opened her purse and took out r three dollar bills. She checked the ster. Two dollars and thirty cents. “You ep twenty cents,” she said to the driver, en asked him if there was a bus or mething she could take to the party with r remaining fifty cents. The driver said there was. Three busses, a matter of fact, he said—and she’d have take them all. It was nearly an hour and a half later 1en Janet arrived at the party. The bus yp was about half a mile from the swank use where the affair was being held, and cause Janet wouldn’t hitch a ride—she rned down three offers, she remembers she walked. She looked as pooped as she It by the time she walked up the long iveway to the house. Her feet hurt. Her dress was wrinkled. Her hair had begun to string. But she’d made it—her first Hollywood irty—and she wasn’t going to let any- ing spoil it. One of the assistant directors on Rosy idae spotted her as soon as she walked . He rushed up to congratulate her on tting the part and then he rushed her rer to the buffet table. And before long, ord got around the crowded room that ie was the girl who’d just been given that 1portant role in the new Van Johnson ovie. Most of the people, Janet remem- >rs, were extremely nice—full of sincere ishes for the best of luck. And then, while everybody was standing round her, a girl we'll call The Starlet ame up to say hello. The Starlet had sted for the Rosy Ridge role, too—need- ss to say had no special love for this retty new thing with the perfect face nd the fabulous figure. “So youre Janet Leigh,” she said. “I eard about your good news this morning. ongratulations.” a you,” Janet said. “Thank you so 1uch. verybody was staring “And how adorable of you,” The Starlet dded, with a malicious smile, “to wear a -stume from Rosy Ridge. That is a hill- you’re wearing?” (2a, da This is the home study course that can change your whole life! THE FIELD OF PRACTICAL NURSING OFFERS UNUSUAL OPPORTUNITIES to both women and men for careers as Practical Nurses, Nurse’s Aides, Nurse-Companions, Doctor’s Office Nurses, Infant Nurses, and as Hos- pital Attendants. HIGH SCHOOL EDUCATION NOT RE- | QUIRED. Easy-to-understand course, complete with pictures and _ written in plain everyday language. Students up to 65 accepted. I IN JUST A FEW SHORT MONTHS FROM NOW you should be able to } accept your first cases. Our graduates | _report making $40 to $65 a week } and more. BUT THE IMPORTANT THING IS to get FREE information NOW without cost or obligation. You get FREE } sample lesson pages and our FREE Nursing folder by clipping the cou- pon at the right and sending it or a postcard to us immediately. Your FREE material will reach you by ‘return mail. 38 POST GRADUATE SCHOOL OF NURSING #/5™A97 Auditorium Bldg., Chicago 5, IL. Janet hadn’t been around long enough to slice back. She just stood there, defense- less—and hurt. The Starlet smiled again. “Janet dear,” she said, squinting a little, “haven’t I seen you somewhere before?” “T don’t think so.” “It’s funny, but—” The Starlet snapped her fingers. “Of course. Down the road. On ~ my way here—when I was driving down the road. Same dress, same hat, same color hair... .” : “Walking to the party?” someone called out. “Well,” Janet flushed. “You didn’t come by bus?” The Starlet asked. Janet felt as if everybody in the room was staring at her, waiting for her to answer. ‘I'll say that my car had a flat, she thought, and I had to get out and walk the rest of the way’ But suddenly she noticed that more than a few of the eyes that were gazing at her now were sympathetic eyes, and she realized that those same eyes had probably looked down and seen the dirt of a long road before; and probably looked down into a pocketbook or wallet once and seen not much more than three one-dollar bills; and probably been confronted by a Starlet-type haughty face and biting tongue at one time or another. Those eyes, those kind and sympathetic eyes, were waiting for her to answer now— maybe even waiting for her to answer for all of them, for all those remembered times in their own past, when they hadn’t been able to. “I started out in a taxi,” she heard herself say, “but I ran out of money, so I took a-bus. .. and then I walked the rest of the way.” “And from that moment on,” Janet told Tony now, “I had a very good time at the party and everybody was very nice to me and I could have come in a riksha for LEARN PRACTICAL NURSING AT HOME IN A FEW SHORT MONTHS What our Graduates say: "After bein; 'S 2 school famous course. ieee T took your 5 cases > ~- MLL. Halifax, ae POST GRADUATE SCHOOL OF NURSING 5M97. Auditorium Bldg., Chicago 5, Ill. Send me, without obligation, your FREE sample lesson pages, and your FREE folder. 19? all it mattered to them or peddling a bike “And this girl,” Tony said, “this girl who came up to you....” “She’s had a few bit parts in pictures in the last couple of years,’ Janet an- swered. “You might recognize her if you saw her.” “And she’s going to be at this party to- night?” Tony asked. “Yes,” Janet said. me you don’t mind going?” “ ow Happy tears They sat there for a while, on the bed, the two of them. Their toy white poodle, Merci, sauntered into the room, looked around, and saw that nothing much was happening and sauntered right back out. Finally Tony spoke up. “I guess,” he said, staring straight ahead, “that if you really think about it, you end up feeling sorry for them more than anything else.” He thought for a little while more. Then he turned and kissed Janet—and smiled. “Honey,” he said, “do you still want to go tonight?” “Well,” Janet said, “I didn’t exactly get dressed like this to sit home and watch Tv.” “Okay,” Tony said, jumping up from the bed. “We go!” He rushed over to the dresser for a clean shirt. “We go!” “Swell,” Janet said. She got up, too, and walked back to the dressing table. She picked up a tissue and pretended that she was dabbing at the powder on her cheeks. She didn’t want Tony to see that she was wiping a few happy tears from her eyes. END Janet can soon be seen in U-I’s Badge Of Evil, RKO’s Jet Pilot and U.A.’s The Vikings. Look for Tony also in The Vik- ings. He’s currently in.U.A.’s Sweet Smell Of Success and U-I’s The Midnight Story. 75

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walk happily ever after in f uSskies : Penny-wise prices . . for-a-princess fashi Pe fit= ons! Make your own Cinder- ella story come true; step into these luxu- rious little s and _ feel queen! HUNTER— trimly buckled to go from campus to casual dates! Soft glove leathers. Complete Selection $499 to $799 For name of nearest store, write: HUSSCO Shoe Company 47 W. 34th St., New York 1, N.Y. Factories in Honesdale, Pa. In Canada: Canada West Shoe Co., Winnipeg All quiet on the teething front hoes like a Apply medically-formulated Num-Zit Teething Lotion to baby’s gums for quick, safe relief of teething pain. At all drug counters NUM-ZIT | Teething Lotion E For toothache, denture irritation, neuralgic pains, ask for NUM-ZIT Adult Streng Products of PUREPAC Corporation L -76 th. audrey and mel’s garden of love (Continued from page 40) couch, her back very straight and tight, her voice high. “I don’t want to wait. I want to go now. Oh, Mel, I lived through it, I know how ter- rible it is. And I can’t do it again. Please —darling—take me to—to New York, or Hollywood—or anywhere out of Europe. imsopatrald pn es “So,” Mel said softly. “So that is it.” Suddenly he held out his arms, and with a little sigh, Audrey went into them, burrowing her face into his shoulder. Mel folded his arms tenderly about her. “So that is it,’ he whispered. “My poor baby. My sweet, frightened love.” “You'll take me?” Audrey asked, her words muffled. “We'll go, Mel?” For a long moment there was silence in | the room. Then, gently, Mel disengaged himself from Audrey’s clasp. Carefully, as if he were handling a rare and precious bit of glass, he settled her back against the cushions, and stood up. “Listen to me, my love.” His voice was steady and soft. “For a long time, I’ve known that you were afraid. Even when we lived outside of Rome, in our beautiful villa—loving it, happy there, knowing such peace—still, sometimes—I saw your face when you looked at the mountains in the distance. I saw the shadow of fear, the wonder. I knew it in Switzerland, too, that even when we were far from every- one on a mountain-top—I knew you were frightened. And that time the plane landed in Munich for refueling—when was that?—and you wouldn’t get out to talk to the reporters or take a walk— because you said you’d vowed never to set foot on German soil—I knew noth- ing was over, or dead, or forgotten for you—no matter how bravely you talk.” On the couch, Audrey sat very still, watching him. Her breathing became less frantic. Her hand pulled absently at her collar, straightening it. Her eyes never left his. "| want so much to pay my debt" “And in a_ strange way,’ Mel said slowly, “in a strange way, I’m glad. Be- cause, Audrey—it gives me a chance—to give you a gift. A real gift. Not—not courage—because God knows you have that already. But a gift of—acceptance. Maybe that’s the word. The ability to accept, to take what comes—without any old, leftover fears or hates. “And I’ve wanted for so long to give you something like that—something deep and true. In so many ways you're per- fect, my love. You’ve given and given to me—and now it’s my turn.” Suddenly he was on his knees before her, his eyes pleading. “Audrey—love— I know you're frightened. But I swear to you—I don’t think there will be a war. Not now. And if for one moment I change my mind—we’ll be on the next plane to America. I promise. But right now— give me this chance. I want so much to pay my debt a little.” Audrey lowered her head. Anxiously, Mel watched her. A second went by, then another. Finally she looked up at him. She moistened her dry lips. She attempted a small smile, and almost made it. “I don’t know what it is you think you owe me,” she murmured. “But if you want me to stay—a—a little longer— Telietryieee aes Do you remember? Mel sighed. Then he smiled. “So you don’t know, eh?” he said. He rested his head on Audrey’s knees. Then he went on: “Ill try to remind you. Do you re- member these words: ‘A home, a family?’ ANNE BAXTER’S eighteen-year worry @ Anne Baxter is beautiful and talented— and, for eighteen years, she worried abou what happened back in 1939. She doesn’ have to worry again. Anne, who was thei) sixteen, heard about it, heard that ther was a part for a girl about her age. anc she tried out for it. It was The Philadel. phia Story, with a glorious cast headed b | Katharine Hepburn, Joseph Cotten, Shir ley Booth and Van Heflin. Anne won th’ part of the young girl in the play. She went to the first rehearsal on | cloud. But, on the third day, she notice<} some of the cast and the production stati talking in a corner. She could tell, fron the way they kept looking at her every fey seconds, that they were talking about her After the day’s work was over, the pro/ ducer called her. He was very kind, ver gentle, very considerate. It seemed they’ decided she was too old for the part, tha they felt a much younger girl would fit th, story line better. It had nothing to do wit! her acting ability, he insisted; it was jus one of those things. At sixteen, she was to: old. ; Anne went home in tears. Her famil and her friends could not convince or con} sole her. She was fired. No matter what th} producer said, she was convinced that h} fired her because she was no good. i As the years went by and she blossome:} into the beautiful woman she is today, tha) worry stayed with her. She won an Osca’‘} —hbut still remembered being fired. Sh was acclaimed as one of Hollywood’s bes actresses—but never forgot the time tha} the producer had told her sorry, he couldn*} use her. She could never get over the fee! f ing she had been fired because of lack of talent. } Last fall, at a party, she met the prc ducer of The Philadelphia Story. “Tell me,” she asked, “I’m old enoug to be told the truth now—why did you fir me? Honestly, please.” “Anne,” he said, “I fired you becaus § you were too old for the part. Honestly..}. At last, Anne knows the truth. It’s aq eighteen-year-old load off her mind. Anne’s currently in Paramount's Th Ten Commandments. ’

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emember, Audrey? We were sitting in at restaurant in New York, talking yout getting married. And I said: ‘A ome, a family...” It was a small restaurant, and very uiet. Mel and Audrey came there often, . relax in the quiet brown darkness— here the bright glare of publicity could > forgotten for a while. They were in love. Already their friends new it, and the newspapers were begin- ing to remark about it. Audrey ,jhad had orried letters from her mother, talks ith a dozen “friends,” anxious to tell her at Mel Ferrer was a spoiled, self-cen- red, neurotic and much-married man ho could never make her happy, whose reer could never equal hers, who was o old for her anyway. But she had ig- ored them for a simple reason, she knew fel better than they did, and she knew ley were wrong. Besides, she loved him. | can't marry you" She wanted to marry him. She had told im so, only the night before. Her eyes ad danced. “I want to give you every- ing you haven’t really had,” she had ied. “A home and children—I know ou’ve had that before, but only in bits id snatches. Ill give you them better. I ant to cook for you and fetch your slip- ars and let you know every way that I ve you, every way a woman can.” But instead of rejoicing with her over 1eir wonderful future, Mel had held her ery close for a moment and then said, We have to talk. Meet me at our booth morrow night. Six o’clock.” And then he was gone. She met him at six. He smiled at her 1d reached across the rough wood table ad took both her hands in his. And he uid, “A home and a family . . . that’s what ou want, isn’t it?” “That's what every woman wants,” she aid. “A girl spends her whole life killing me till she has that.” He nodded. And then he said: larry you, Audrey.” “What?” she cried. “What?” nother failure “Listen,” he said desperately, pressing er hands till they hurt. “I can’t give ou that. Do you understand? That’s That I can’t give you. Oh, I’ve been up ll night, thinking about it. And you now, for the first time I know—I know -where my—my former marriages went rong. Right on those words: Home and amily. What I always wanted. What 1e—the women who loved me—always ried to give me. And then when I had 9 go to Mexico, when I had to go to rance, when I went to Hollywood to 1ake a movie or got into a show in New ‘ork and worked all night and slept all ay—we’d always pretend that as soon s this particular thing was over, we'd omehow get back to normal. But we ouldn’t. They did everything for me. sut what did I really do for them? Id ome home finally—but was I a husband? Vas I a father? Did I even know what ay kids were doing in school? No, how ould I? Always we'd say, “Tomorrow vill be better. And then tomorrow Id et a call: ‘Come to Timbuctoo, we have . part for you.’ And I’d go. I had to go. had to earn money to keep the home and he family together, didn’t 1? And always ursing myself, saying: Why aren’t you lome where you belong, why are you lone in some crummy hotel? And I’d run lome—to a woman I no longer knew, a louse I didn’t know my way around. Until t was too much and we called it quits and ’d try again with someone else—and here would be another failure.” “Mel—” Audrey said. “T can’t Now=—so easy to be a blonde again! If your hair was born to be blonde— and isn’t—or if you’re a brownette with blonde ambitions, Light and Bright by Richard Hudnut is for you. It’s a home hair-lightener de- signed to bring out all the hidden gold in your hair...make you as blonde as you were born to be. Light and Bright is so simple and easy to use; simpler, in fact, than setting your hair. No messy mixing. No complicated testing. No worri- some timing. And Light and Bright gives you genuine “color control”! Light and Bright works so gently, so gradually, you don’t have to worry about getting too blonde too fast. Each time you use Light and Bright your hair gets a little lighter, Actually simpler than setting your hair! a little brighter. When you reach just the color that’s right, you stop. Light and Bright contains no am- monia. It’s formulated with a special built-in conditioner. Wonderful, the way Light and Bright makes you a true, natural-looking blonde again ... with lovely shining-soft hair! And once this gentle home brightener has brought to light your real blondeness that mousey look is gone for keeps. Your new golden look won’t wash out, won’t fade. Guaranteed by Good Housekeeping. Get a bottle today—be a blonde beauty tomorrow. Only $1.50 plus tax for Light and Bright at cosmetic counters. 1 OR 4 REFUY ‘© Guaranteed by @ Good Housekeeping ‘SS a a % C745 apveanist HS “No, don’t stop me. I’m telling you the truth. And now I want to drag you into it. Oh, I should have my head examined. Where’d I get the nerve to ask you to marry me? I’ve got nothing to offer you but misery. A home and a family—you’ve got a right to those, Audrey. Even with your career you could have them. But with both our careers—no.” He bowed his head. Across the table from him, Audrey stared at her hands for a long time. Finally, Audrey said, “You’ve done a lot of talking. Now it’s my turn. Mel—I believe you. I think I always knew it. Even last night, when I said what I did —it was more like dreaming than like planning. I knew all along. But you can’t get rid of me so easily. Because there’s just one thing you left out. You said the—wom- en who loved you did everything—and it didn’t work. But they didn’t do every- thing. They didn’t give up anything for you... they gave you up instead when they couldn’t have both. But I’m not like them. I want you. That’s all. I want a home—but I don’t want it if you’re not in it. I want children—but not if you aren’t their father. If I have to make a choice, Mel—I take you.” She laughed suddenly. “T’ve never had a home in my life, you know. I guess I can get by another few years without it. But I’ve never had a love like this before, either—and without that— I'd die.” The greatest sacrifice She meant it, every word. And he knew it. With a heart full of love and gratitude he saw her make the greatest sacrifice she could—and show him in the greatest way, how much he was loved. And in every small way, after their marriage, she proved it again and again. She adored the villa near Rome—but she never suggested buying it. When the time came for them to leave, she packed two trunks in secret—full of ashtrays, pic- tures, towels, silver candlesticks. And when they moved into a hotel room for two weeks in Paris to make a film, or an- other hotel for a month here, a month there—before she hung up her clothes or washed her face, she ran about their suite, collecting the hotel-stamped glasses and towels and ashtrays, the postcards and blotters, and shoving them out into the hall. Then she would open those trunks and take out the things that turned the hotel room into their Roman villa—the cherished things that make a home. She would unpack their records and fill the air with their music, their lives. Wherever they went, she created beauty and love—and a home. A sudden stab of pain Sometimes she would speak wistfully, dreamily, of a house on a cliff, perhaps in California, perhaps in Switzerland. And Mel would feel a sudden stab of pain. But then he would be called to the Riviera for a film, and Audrey would cry out joy- ously—“I have a whole month free. I'll be packed in an hour—vwe can leave tonight. Oh Mel—I’m so glad we don’t have roots yet!” And he knew there were no tears behind her smiles. And once he heard her say quietly— without dramatics—to someone who asked if she didn’t long to settle down, to have ties and roots and a place to belong, “Wherever Mel is, ’m home.” And he knew she had given him a per- fect gift. Now, holding her in his arms in the Paris hotel, it was his turn. How he did it, how he helped her con- quer her fear of war, no one ever really 77 SSS SSS8888500=— ES

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WATCH MODERN ROMANCES Weekdays on NBC-TV Check your daily newspaper for time and channel number —and for thrilling true-life stories... 8 special pages: TEEN LOVE PROBLEMS 5 MODERN. ROMANCES on sale everywhere knew. Some said it was in the way he looked at Audrey, with a quiet look of love and peace—a look that stayed with her even when Mel was gone and she shut her eyes alone in the dark. For at this time, of all times, he had to leave her—their first real separation, while she stayed in Paris for Love In The Afternoon, and he flew to the south of France for The Vintage. The sound of his voice Some said it was the sound of his voice every morning—for she would wake to the ringing of the telephone and his “Good morning, darling’”—a voice from hundreds of miles away, telling her that another night had been passed in safety. And at night before she switched off the lamp above the big double bed, the phone would ring again and she would pick it up to say sleepily, “Mel? I had such a _ lovely days. ee He never let her feel alone. He made their love a bond stronger than a house could ever have been—a secure bond across the continent, for her to hold onto when she felt afraid. Or maybe it was the way he took her in his arms when, every weekend, they were reunited for Friday-through-Sun- day. Not as he used to, with longing and need, but rather almost the way a father opens his arms to a child and offers pro- tection, and security. Or maybe it was the tangible things he did: leaving instructions at the studio that his wife was to be allowed to rest in the afternoon because she always was fragile; that she was to be fed exactly this and that and nothing else; that if prob- lems came up, he was to be bothered, and not she. Somehow, out of all this, from Mel’s warm protective love, a miracle happened. One of Audrey’s close friends put it into words. “You’ve no idea how Audrey has changed. She used to be so flighty—just a bundle of frayed nerves. Now she’s sud- denly so calm, so easy. And late one afternoon, as they walked together in the gardens near their hotel in Paris, she was able to thank him for what he had done. “Tm no longer afraid,” she said. “The past is the past, and now is now. You’ve taught me that.” Then, before he could interrupt her, she continued, skipping around him as she talked, smiling up at him like a child. “Today something won- derful happened, something that made me really see. I wandered down a little side street, somewhere I’d never been before. It was dirty and crowded and the people were very poor. For a second I closed my eyes— and when I opened them again the pave- ments weren’t dirty but they were covered with grass, the greenest grass I had ever seen. And the street wasn’t filled with sad ragged people. Suddenly all of them were laughing and happy. And there were flowers and trees everywhere, just like in this garden. And then I knew the secret— your secret. When I really accept the world as it is, everything is beautiful and nothing can hurt me.” Audrey stopped talking for a second and stood in front of Mel. Then she said quiet- ly, “I know it’s crazy, but it happened. Do you understand?” And Mel put his arms around her and smiled, a great big happy grin. “It isn’t crazy. And I do understand.” ; And then he bent down and kissed ise ND Audrey is currently in Paramount’s Funny Face and Allied Artists’ Love In The Afternoon. Watch for her in Warner Bros. The Nun’s Story and 20th Century- Fox’s The Diary Of Anne Frank. Ped CHARLES BOYER and the : SATURDAY MATINEE SERIAL ee ee mg “I don’t say I was a boy genius,” say Charles Boyer. “but I did have a remark able memory. “My proud parents, of course, though I was destined to be a big success in busi ness. My father. who manufactured farn implements. was positive of it when I wa only five years old: I had memorizec everything in our catalog, knew exacth what we had in inventory from month t month, and had memorized the name anc address of every customer and every em ployee we had. “But when I grew up and showed ; remarkable memory in my school work the family dreams became grander. should study law, they decided, and be came a famous attorney. And of cours} I would become a famous attorney, the knew. Maybe I would even be a Professo § Of (baweeee “Then.” continues Charles with a smile “their ambitions graduated to politics When I was ten years old. you see, I hac memorized the name of every Frencl| Primiere for fifty years. That is a feat o° memory no one has yet equalled on th $64,000 Question! “Our village priest got into the act, recall, when I memorized a very long an: complicated religious work for Easte) Week: obviously, I was priesthood ma terial. “An uncle of mine who was a surgeo! decided I should follow in his medica footsteps: understandable if you’ve eve looked at an anatomy chart! “Of course I disappointed them all whe I became an actor. But they should hay known all along that I would. The subjec} on which I would have been tops as a qui} kid was not the farm machinery busines: | or law, or politics, or religion, or medicine | “TI was pretty good at those things, bu} what I really knew from A to Z was— everyone who had ever played and every) thing that had ever happened in America § wonderful adventure serial, The Perils O§% Pauline! 4 “The Saturday Matinee serial was a much a part of a little French boy’s lii as it was of a little American boy,” th Monsieur Boyer explained, a_nostalgi smile on his face.

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aa &. 7 anny, is this story true? ontinued from page 45) said, “the way yy cut it up and everything.” That’s nature,” Johnny said. Yeah, I guess so,” the girl said back. 2 looked at her girl friends. “hey all agreed silently that she wasn’t ting anywhere and that she'd better ne on. “G’bye,” the girl said. So long,” Johnny said. Then he stared y down into the paper lunch bag he’d yught with him to see what his mother i put in for dessert. He grinned. It s a sfogliatella. a flaky, cream-filled stry left over from yesterday. His fa- “ite. fe pulled it out and took a big bite. was really enjoying it and still grin- g to himself when he looked up and eyes met hers. she was the prettiest girl he’d ever seen, or out of the movies. She was small, -y small, and she had kind of red hair i her eyes looked as if they might be en and gray at the same time. She had + sat down at the table across from his i she, too, was alone. She looked around . eafeteria for a moment, as though she in’t know the place too well and wanted get used to it. Then she looked down o her tray and began to eat. fohnny chewed much slower on his gliatella now. Trying not to look as if were looking, he watched the girl from » corner of his eye. He’d seen a lot of stty girls before and they’d affected him all sorts of different ways. But this one +h the gray-green eyes and the red hair, s one really made the blood rush ough the inside of him, from the head the toes and back again. fohnny decided after a few minutes that s definitely was her first day at NEw REcHT. She was wearing a green dress th white stripes, the kind of pretty dress 1 don’t just wear to school on anyold day. id he decided, too, that she’d probably ved into one of the area’s better neigh- rhoods, because plunking down fifty its to eat lunch off a tray instead of bring- ; sandwiches in a bag doesn’t mean that wre exactly poor. “Unless her mother’s k or something,” he thought to himself ‘a moment. He sneaked a look at her. e was cutting one of those paper-thin -es of roast beef they always serve in 1001 cafeterias. She cut it very elegantly, e she was at a society party for Mrs. ckefeller and Aly Khan, her right pinky sed just a little bit. Johnny shook his ad. “No,” he decided to himself, “her ther isn’t sick.” ell her to come over here" She was sipping her milk from a straw ittle while later—still very elegant, still yking down into her tray—when the venty-seventh Street Boys sidled over his table. Johnny, who lived on =venth Avenue, about six blocks from is gang, knew them only vaguely. He ew that they were a very small and clusive bunch of bums, that they showed » at school only when they felt like it, at they’d been to the local police station out as many times as most kids go to the vies, that the only time they took baths aS when they went down to Coney Island the summertime, and that their leader 2 twenty-year-old tough who was still his freshman year—was called Scar, aich was short for Scarface, in honor of ree proud and tiny stitches he’d had ken on his forehead one night after a rticularly rough tussle with the Seventy- ird Street Boys. They all looked over at Johnny and Then they stared at the new girl. out, Sear,” one of the boys said, aoe : oe EA we es Sag aad eee ee cs | | | } | | } | | talking-loudly enough so she could hear, “she lives on Bay Parkway. Pretty ritzy, hah?” “Yeah,” said Scar. “She used to live in The Bronx,’ the informer went on, “and her and her family moved down here Saturday.” “Yeah?” said Scar. “Tf you want to meet her, Scar, I can go up to her now and tell her who you are,” another boy said. _ “Yeah,” said Sear, smiling, “and tell her to come over here when she’s finished eating.” “Meet me at six o'clock" Johnny watched the volunteer get up and walk over to the girl. He watched as the boy said something to her, as she looked over at his table and caught a glimpse of Scar, his dirty sweat shirt and his dirtier face, as she looked away trying to hide her fear. The boy was back at the table a few moments later. “She said she doesn’t want to come over here, Scar,’ the boy told his chief. “No?” said Scar. “But,” the boy said, quietly this time, so she couldn’t hear, “she lives near Seventy- eighth Street and if maybe you want to meet her on the way home tonight .. .” “What time’s her last class?” asked Scar. “T don’t know,” the boy said, “but all the creeps ll probably go to that special as- sembly they’re having tonight and that’s over at six.” Johnny watched Sear now as he got up from the table. “I'm gonna go home now for some sleep,” he announced to the others. “But a couple of you meet me aiter at six oclock by the back of the Hottywoop. I wanna make some intro- ductions by the back of the Hottywoop.” ne EA es ete ee Beautiful Complexion This creamy liquid beautifier is very quick and easy to use and produces a beautiful effect on your complexion. 39¢ and 79¢ at better drug and all variety stores MESA | Gr le by Campana “Okay, Scar ... sure,” the boys grinned. The Hotiywoop is two blocks away from the school. It was a movie house at one time and now, stripped of its seats, it’s used as a weekend dance and meeting hall. The front of the HoLtLtywoop is on New Utrecht Avenue, busy with its stores and people and elevated railway tracks. The back of the Hollywood is on Seven- teenth Avenue, much darker and much quieter and with many less people walking around, especially at six o’clock on a black January night. The back of the Hottywoop is where Sear, as pre-arranged, met two of the other boys that night. It’s also where, hidden in the shadow of one of the rusty exit frames, Johnny waited. Looking for trouble? The wind was blowing too heavy and high for Johnny to hear what the others were saying. But after about ten minutes of waiting he got the general idea. That special assembly at the school had been out for a while now and quite a few of the kids who lived in the Bay. Parkway- Seventy-eighth Street area had begun their walks home, past the HoLtiywoop, across Seventeenth Avenue and on. The girls walked in twos and threes. Then came a girl, alone, the pretty girl with the red hair. The girl from the cafeteria. She was walking fast, her books under her arm. She looked straight ahead as she walked, passing the Hottywoop by a few yards till she got to the corner and stood waiting for a traffic light to change. Then one of the boys called out “Hey!” and she turned to look. Johnny’s eyes narrowed. He saw one of the bums rush up to the girl and grab her arm and begin to pull her toward the side of the old theater. He saw the girl try 79

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Her books fell to the pave- ment, then her pocketbook. “Aw, c’mon,” he heard one of them croak, “Scar just wants to give ya a little kiss.” He heard the girl beg, “No... please... no.” And then he saw them shove her, really shove her, back towards the old theater walls, back to where Scar was waiting. Johnny got to them just as Sear, grinning a wild grin to his success, was putting his arms around the girl, trying to push her face up to his lips. “Tet go of her,” Johnny said, clenching his fingers around the collar of Scar’s coat. “Hey,” one of Scar’s bums said, as he realized what was going on and reached for Johnny’s arm. Johnny’s fingers clenched harder. “I said to let go of her,’ Johnny shouted. “What're you looking for—some kind of bad trouble?” asked Scar’s other buddy, grabbing Johnny’s arms. Johnny still doesn’t remember exactly how he did it. He knows that he did some pretty wild kicking and punching for the next few minutes. He knows that he was down on the pavement more than he was up, that the funny thick liquid that he felt seeping through his teeth after one particular blow wasn’t any ice cream soda, that the foot that came crashing into his groin at one point wasn’t wearing any pink ballet shoes. And he knows and re- members best that after about three min- utes of this three-to-one hassle he had forced Scar to let go of the girl, who fled now to the curb to pick up her books and pocketbook and then run across Eleventh Avenue, ignoring the light this time, and to safety }... That funny, nervous feeling It was lunchtime, Tuesday, the next day, and he walked around the cafeteria trying to find her, wondering if she’d recognize him, wanting very much to find her and go up to her and introduce himself and say, “Maybe it was dark by the HoLLywoop last night and you don’t remember me, but I’m the fellow who .. .” or something like that. And then suddenly he stopped. He’d seen her. She was sitting at a far end of the cafeteria, at a far end of a long table. Again, she was alone. And there, right across from her, sat an empty chair—‘‘and that place is for me,” Johnny thought as he rushed over to grab it before anybody else did. ’ He was sitting directly across from his girl now. He spent the first couple of minutes clearing his throat as quietly as possible, hoping his. swollen eye and bruised nose and chin didn’t make him look too ugly, and setting his lunch up in front of him—ham and Mozzarella cheese on Italian bread, he remembers. Then, when some of the nervousness in him was finally gone, he looked up at her. She looked up at the same time. “Hi,” Johnny said. The girl smiled slightly, then looked down again and continued eating. She didn’t remember him from _ last night. “Well,” Johnny told himself, his knees beginning to shake again, his hands finding it harder and harder to hold that big fat sandwich steady, “I guess I’m going to have to-be the one to tell her if ’'m ever going to get to meet her.” He laid down his sandwich. There was a little perspiration hanging out over his eyebrows. He managed to give the per- spiration an unobtrusive wipe. He sat up a little in his chair. He felt himself lean- ing over a little. He wished more than anything that the girl would look up and back into his eyes so it would be a little easier for him to begin. What was taking 4 i “THEY’LL KILL ME YET!’’ | says Vic Mature I @ Maybe Vic Mature looks like a dar ' devil, but don’t let that devil-may-ca} manner fool you! “Fact is.” says Vic. “ths} when it comes to wrestling with lions ar} pythons, battling with sharks and croc diles. and otherwise risking life and lin} for my art, I’ve had it! § “Sure the scripts always call for me 4 win in these man-versus-beast bouts. B you never can be sure about those thin. coming out according to the script!” For instance. Cecil B. DeMille figured would make a great scene to haye Vic ki a lion barehanded in Samson And D lilah. “It’s Jackie. the trained lion,” D Mille reassured me. “Harmless as a kitten Jackie was kittenish all right—all thr hundred pounds of him, which landed Vic’s lap. Result: one badly bruised actc} In The Sharkfighters, Vic demanded th¥ an underwater steel fence be built betwe: him and the sharks. “Sure.” Vic was 1 assured. “we'll even hook the man-eate on lines. And we'll drug them to ma them forget they hate people.” So what happened? There were shar: in the ocean that hadn’t read the scriji but decided they’d like to be in the mov* . And they were on the other side Vic. the side without a fence. One w,; 150 feet from where the scene was shot. In the movie Safari, shot in East Afric} Vic had crocodiles. “Absolutely safe! /) the crocs are downstream from you,” sa the director. So Vic waded into the wat up to his neck. Next thing he knew. he w just fifty yards away from a croc and t distance was narrowing—because it w gliding upstream!. A hunter shot him. Incidentally, this picture was shot Mau Mau country. Before Vic left on t trip, the producer—safely sitting in |) London office—told him: “Nothing to worried about. All the Mau Maus are b. tled up on Mt. Kenya.” “He didn’t tell me.” Vic explained lat “that location was on Mt. Kenya—whe the Mau Maus were boitled. “All these adventure pictures have ma my skin tough but all I want is for it to — one skin! The studio might love me, 1 those wild animals they keep casting > with don’t know me enough to care!” Vic Mature’s forthcoming pictures i Columbia are The Most Wanted Wom: Pickup Alley and The Long Haul.

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m so long, anyway, and why was he tting that funny, nervous feeling inside him, when he’d spent half the night acticing exactly what to say, what had be said. “Lucille,” a girl called, rushing er just as his words were about to mble out, “I-been looking high and low r you. Come on. There’s a very good iend of my boy friend’s who I want you meet...” And they were gone. “You dope,” he said to himself, sore, real re, as he looked across the table at the apty chair there. “You dope!” He sat there, at the table, until the bell ng and everyone began clearing out of e big cafeteria. Johnny got up. “You’re gonna get one more chance,” he Id himself as he walked to his next ass. “Just one more chance...” At five that afternoon, Johnny waited r her outside the Seventy-ninth Street it. His plan was to catch her as soon as e came out and say “Look .. .” and en tell her how much he’d like to get know her. For the first time in a long, long time, hnny was happy. It felt good standing ere in the cold, waiting to see somebody 11 really wanted to see, waiting to say mething you really wanted to say. He heard a rumble down the block, the est End Express coming from Coney land on its way to New York and to Times yuare. Johnny pictured himself and ucille sitting in that train some Saturday ght soon, all dressed up and holding mids and on their way to Rapio City aybe and having a Chinese meal before e movie at that place near Sixth Avenue, id a nice cup of coffee and some of that g cheese cake with strawberries at one ' those places on Broadway after the ovie. It ll cost a lot of money, he heard 1e part of his mind say after he’d mapped it the evening for himself and his girl. ) what? he answered himself. ir away, very far away Lucille had barely opened the door and epped out onto the sidewalk when yhnny began to walk up to her. He saw =r smile and saw her lips say hello. He smiled back. “I. . .” he said. “Hi,” a voice behind him interrupted im. A fellow, a tall fellow he recognized ; a basketball player on the school team, 1e of those big wheels with some kind of fice in the G.O. and with his picture in 1e school paper all the time and with nice othes and with about a hundred other lings, was standing there, looking at ucille. “Hi,” Lucille said. “I hope I’m not late.” “Naw,” the tall fellow said. Lucille shivered. “It’s cold,” she said. “You want to go for a hot chocolate?” 1e tall fellow asked. “There’s a place up 1e street. They make just about... .” Johnny didn’t hear any more. Lucille adn’t been smiling at him, hadn’t said ello to him, hadn’t even looked at him r recognized him as the guy from last ight or from lunch that afternoon. He watched Lucille and the tall fellow alk slowly down the street, talking and 3ughing. He watched them till they got > the end of the long block, to a dark spot nder the elevated railway tracks. Then e looked up. Another West End Express jas rolling by. It seemed to be moving 10re slowly than the other train had 10oved. And its lights were dimmer. ind instead of looking happy, this train joked somehow sad—as if Times Square nd Rapio Ciry and a girl holding our hand and all that fun were far, far way. As Johnny turned to walk home, alone, ie wondered if he’d ever meet another irl as pretty as Lucille... END Watch for Johnny in U-I’s Summer Love. ee eT Life zs thrilling when you're a BLONDE Be a fascinating golden-top—today! MARCHAND’S GOLDEN HAIR WASH — FIND OUT what fun it is to be a beautiful blonde. No matter what your hair color now — blonde that’s turned mousey brown, brunette, red- head — with Marchand’s Golden Hair Wash you can add a glow of sunshine or lighten honey bright. Golden Hair Wash is the tried-and- true home hair lightener pre- ferred for over 50 years. Not a dye. Nothing extra to buy. Fine for lightening arm and leg hair, too. At drugstores everywhere 75c and $1.00, Plus tax \Z Just cut if to any needed size and shape and apply instep ridges ... The soothing, refreshing skin con- ditioner that pene- trates and brings relief to numbing, tingling muscles in back and legs... ends the dis- ARENTS/ tight, dry skin. At Drug Stores Everywhere. THE S.S.S. COMPANY, ATLANTA, GA. 48\ comfort of || Cut Your Own Needed Cushioning Foot Reliefs! s Dr. Scholl’s KUROTEX is a superior moleskin—yet costs no more. A won- derfully effective relief for corns, callouses, bunions, sore toes, sore heels, prevents blisters. Eases new, tight or stiff shoes. Flesh color. 15¢, 35¢, 40¢, 90¢. At Drug, Shoe, Dept. and 5-10¢ Stores. NATIONAL BELLAS HESS Fall & Winter Join the millions of families who shop and save by mail from this bright, colorful catalog. Select from thousands of newest styles and finest home items.. . Catalog all priced at America’s greatest = savings and all guaranteed. Bargains Galore For You & Your Family Your money back if you are not delighted. SAVE MONEY, SAVE TIME—ACT NOW! - NATIONAL BELLAS HESS 208-99 Bellas Hess Bldg., Kansas City, Mo. Please send me, free, the new National Bellas Hess Money-Saving Catalog. Address | | | | | Name | | | | 81

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ee eS a ere Pe i CLINT WALKER— CLIFF DWELLER @ The topic of dream houses had just come up, and Clint Walker drawls. “Shore, I got me some jim-dandy plans for a dream house. I guess you could call it sort of early-American.” Remembering the role of the Frontier Marshal which Clint plays in the Warner Bros. Cheyenne series, you conjure up a picture of a long, low, rambling ranch house, rustic in appearance, with maybe a wagon wheel here and there for decorative effect. That may be early-American architecture, western version, for some. But not for Clint. It’s real early American he’s talking about—America back in the days when the Indians were digging themselves homes into the sandstone cliffs of the southwestern part of the country. Because Clint’s dream house is a cliff house. Not a house built on a cliff, mind you. but a house built into a cliff. “T got me a raise not long ago,” he explains, in a drawl which is part southern- Illinois, where he was born, and part Cheyenne, in which he claims he was re-born. “And now I’m agoin’ to look for just the right sort of cliff—a sand- stone outcropping which will jut just far enough up out of the desert to give me room for my house at the tip. “There are loads of old miners all around that country who can do the job for me, dig the rooms right into the cliff, like mine chambers. I guess I want the regular number—living room, dining room, kitchen, and probably three bedrooms. The living room and mebbe a couple of the other rooms will have great big picture windows, the glass set right into the sandstone walls, so that we can have a terrific view across the desert to the mountains beyond—for miles around. “Then I want to have a sort of spiral staircase, up a vertical tunnel, from the house to the top of the cliff above. so that we can use that for a sun deck. “Sure, it may sound a little cockeyed. But think of all the practical advan- tages. With walls feet thick, the place should be easy to heat during cool weather and it should be naturally air-conditioned during the hot spells. “Furniture? A lot of it could be built in, or dug in, I guess you’d say. While they're digging out a wall, they just leave a sort of ledge the right height for a settee. Then I’ll face it with some fancy smooth stone, and put great big cushions on top of it, and I got me a davenport. Everything else I want with rounded corners, and big and solid. Got me no use for those frail, flimsy things they call furniture now-a-days!” Watching Clint stroll back onto the set as the director calls the actors to- gether, you must admit he’s got something there. It would just about take a house chiselled out of a solid stone cliff to be the proper setting for that six- foot-five-inch frame of his. “T like things that are solid, and substantial, and massive.” he says. It figures! E wd a oe ey Ve 5 about look- e Daa ck eee” can terry keep love alive? (Continued from page 60) “Mr. McGrath!” } the nurse called, and tall, dark Eugene »: McGrath walked in. He stopped about | halfway to the bed. He was staring at Terry and Terry was staring at him, ?) and the nurse quietly slipped out. Gene stood rigid for a moment. “Terry .. .”/ He tried to smile. But there was some- |) thing about this room, something about Terry—always lively, always bubbling over, always laughing—Terry lying there f in that bed like that—that stopped the | smile short. He took her hand. “Terry, = what’s the matter?” He watched her as '\# she tried to keep her lips from trembling 7 too much, as she bit them and then finally 4 said, “I want a divorce, Gene.” He let i} go of her hand. “You want .. .” hejf started to say. But he didn’t go on. He + just stood there and looked down at his } wife and waited for her—to reach for him || and tell him that she was sorry, that she § didn’t mean it, that she wanted to get} up and dressed and get out of this place / and go home with him... . £ ‘ : t A tall dark young man It had been different that night of the party back in December, 1955—very dif- 7 ferent. There had been music in the back- | ground played by a three-piece combo 5 and champagne and Terry in a pink tulle | dress and pink shoes standing in a cor- ner, talking and laughing with a couple of people, when she noticed the tall, dark young man looking over at her. She couldn’t help looking at him a moment longer than she ordinarily would have. And she couldn’t help the little catch of excitement she felt a few minutes later when John Wayne, their host that eve- © ning, walked over with the tall dark young man and said something about I-want- you-to-meet-a-friend-of-mine, introduc- ing her to Eugene McGrath. “You know,” Gene said point-blank, “I asked Duke for this introduction.” “Really?” Terry said. “Yes,” Gene said, nodding. “And when. I did, he said to me, ‘She’s not the kind, of girl you want to know.’ ” “oH Terry felt her heart stop beating for a moment. “Really?” she said. “Well, you get all that dizzy publicity,” Gene said, “and I guess he figures you're some kind of wild kid.” “T guess,” Terry said, trying to decide whether she was going to be sore as heck | at this guy for talking to her like that or whether she was going to stand there and take it—so he wouldn’t walk away.# “But,” Gene went on, “the better I get) to know you the better Dukell get to know you, and he’ll see how wrong he is.” “And we're going to get to know one another?” Terry asked, unable to hide a:§ smile. - “Considering that you’re coming out to: dinner with me,” Gene said, “I guess we're going to get to know each other a little— — at least.” The way they'd never kissed before Neither Terry nor Gene remembers ex- actly when it was they fell in love. But it happened sometime between that first exchange of words—made at about seven- thirty on that December night—and that} moment shortly after midnight when Gene: was standing at the door of Terry’s house, saying goodnight. They'd arrived at the} house about an hour earlier and had had coffee and cake with Terry’s folks in the kitchen and now the evening was prac-'— tically over and Gene, thirty years old and — nervous as a kid, took Terry’s hand and —& hemmed and hawed for a little rile B

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1-really-enjoy-your-dinner? And then, | idenly, he took her in his arms and he | sed her. -the way he'd never kissed an- | er girl before. And Terry kissed him k, the way she'd never kissed another n. “I'd like to see you again,” Gene Yes.” Terry said. Soon,” Gene said. Yes.” Terry said. What's tonight?” Gene asked. Friday,” Terry said. Will you come to dinner at my place on nday?” Gene asked. Alone?” Terry asked, frowning slightly. No,” Gene said. soitly. “I'd like you to ng your mother. I wani her io get to mw my folks.” they kissed again. Then, holding him at, Terry asked, “Where do you live?” Panama,” Gene said. ‘erny thought for a moment. She’d been m in southern California and knew it il. But shed never heard of a town “How do we get there?” whispered. On my plane.” Gene whispered back. Oh.” Terry said, nodding. Then some- ag in her mirid went boing! and she ked up at Gene. “You mean Panama ere they have the canal?” she asked. Yes.” Gene said. ‘erry began to laugh—sofily at first, mn more. then more, then more than ‘d ever laughed before in her life. ene McGrath.” she said, when she was e to talk again, “you are a loon.” And I love you,” Gene said. ‘erry buried her face in his chest, half ghing and half erying—she didn’t know ich, she felt so strange, so warm, so idenly mixed-up and good and con- ed and wonderful inside, all at the 1e time. “And I love you.” she said. nost fantastic week ‘he next week was downright fantastic. Sunday morning, Terry and her mom 7¥ down io Panama and to Gene’s tre- ndous home there—somewhere along Ime he explained that he was in the urance and real estate businesses and ng very well—and that night they had inner prepared by two chefs and served three maids alongside a swimming pool large the native Panamanians referred it as el segundo canal—the second ca- in Monday morning. Gene asked Terry he'd like to see another of his houses. ‘erry said sure. ind so that night they were having din- - in a small mansion in Caracas, Vene- la. And three nights later they were ing in Gene’s apartment in New York's nk Suerry-NeTuHerranps Horer. And Friday, exactly a week after they'd t, they were back in California. 'efry Ss mom was exhausted and headed aight for home. But for Terry and | ne this was only the beginning. Terry s busy most days finishing up a picture. t every night at six on the button, he was at the studio to meet her in his | , white convertible. Then they'd drive the ocean for dinner and go for a swim i spend hours on the golden sand and Ty would tell Gene how she'd never nso happy before in her life and Gene uld draw wedding bands in the sand i say that he was glad, very glad. hey were married secretly in Las Ve- on New Year’s Eve, and the secret aained a secret for the next six weeks. Ting that time, Terry and Gene traveled 1¢ 70,000 miles together—Florida twice, catas six times, Panama five times, Las | Zas once and New York three times. d the couple moved around so fast and that most people had no idea or who was where. _ = se Like ty be Qu Ortiet ? Take jree Ari Talent Test! Find out if you have talent worth developing for money-making career in commercial art. Part time or full time. There’s a growing demand for artists. Take Talent Test at home, in spare time. Test was devised by professional artists at world’s largest home study art school. For over 40 years this school has been helping talented beginners get into commercial art. Talent Test offered free, no obligation. Send for yours now. ART INSTRUCTION, INC., STuDIO 8697 500 South 4th Street, Minneapolis 15, Minnesota Please send me your Talent Test, without cost or obligation. (PLEASE PRINT) Nome AGE Address County Stote City. Zone Occupstion __Phone WOW TAB HUNTER and TONY PERKINS CABSs dn EAPAVET EE-ESGADRILLE” TONY isin “THE TIN STAR” They’re both in SCREEN STORIES—ON SALE NOW each month SCREEN STORIES brings you the best motion pictures in exciting story form ZemRPBeeBeReeEReeee| BB ~~ THIS EXCITING NEW . SE TINY TELEPHONE \ SALT & PEPPER SET =~ IN SPARE TIME WITH SOUTHER Yes! This unusual $1.25 gift is yours FREE just for trying our easy money- making plan! experience. Just show the samples we send you. You need no Beautiful new “MAGICOLOR” tall Christmas Cards pay you V $65 on 65 boxes. Other fast-sellers triple your earnings! Personalized Greetings at little more than 3c per card, $1.00 assortments, many grand gifts. You make up to 100% cash profit plus CASH BONUS! Mail coupon for FREE Sample Album of Name-Imprinted Cards, plus best Assortments on approval and FREE Telephone Gift offer. Do it NOW! SOUTHERN GREETINGS, 478 N. Hollywood, Dept. 8-F. M emphis,Tenn. eS ee. ee ; =~ Sas CHRISTMAS CARDS _ [ B= See = -> NS Freie mo: te 2Z eS : 1 I 1 ' : J°8 "290 ‘SONILAIUS NUINLAOS iMON NOdNOD) TIVH | “UUOL ZT BINCIMON “25 POOMAOR Aquemysonun

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84 of it all over again. “So,” finished the AOE @ “Okay, said Tony Fran- ciosa to the Earnest Character who usually got what she came for. “If you guess right, you can have it.” The Earnest Character took a sheet of it’s a deal,” paper, wrote two letters on it and held it up for Tony to see. Tony looked as surprised as a man can look, meekly sat down, and said, “You win. Go ahead—” The scene had started just a couple of minutes before, and the place was Tony’s hotel room. The Earnest Character, a movie magazine writer, was the only other member of the cast. The scene’s opening line, spoken by a belligerent Tony, was quite a shock to the /-Always-Get-My-Story gal. “Look,” said Tony as soon as she walked in the door, “you’re wasting your time. So let’s just quit now!” Writer (soothingly) Why am I wasting my time? Tony Because you’re not going to get a story! Writer (gently) Why won’t I get a story? Tony Because I’m not going to answer your questions! Writer (soothingly again) Why won’t you answer my questions? Tony Because my private life’s my own! Then it was Tony’s turn to become quiet and soothing, as if he were trying to ex- plain something to an idiot child. “You’re the second interviewer I’ve ever spoken 0,” Tony explained. “I kept telling that first one that I wasn’t going to answer his questions on a particular subject and he kept saying ‘All right, we’ll forget about that,’ and he’d ask me what my favorite food was and what I like to do for kicks and then he’d spring another one at me as if he thought in two minutes I’d forget that I had told him I wasn’t going to talk about that particular subject. I finally got so sore I told him to get out. Then he starts the whole routine again. So I walked out! “And it was my hotel room,” Tony added, like he was reliving the injustice TONY FRANCIOSA LOSES A BET blooded Tony with the hot temper, “let’s save us both a lot of time and forget it!” The writer looked at Tony, sized him up for the sportin’ blood he was, and an- swered, “I won’t bother trying to convince you that I can find a dozen stories in you, without harping at an angle you want to stay away from. You won't believe me. But how about a little bet, Man?” Tony looked more interested and less mad. She had him on the hook, and followed through fast. “If I guess what that ‘par- ticular subject’ was that you didn’t want to talk about—you'll answer a few ques- tions for me. Not,” the interviewer hurried on, “on the particular subject. On other things. If I don’t guess, I'll go quietly, right now. Deal?” This, Tony figured, was a snap. She’d be out in two seconds flat! “Okay, it’s a deal,” said Tony, settling back to gloat over the fast win he was sure was coming. How could she guess? “Go ahead,” crowed Tony, “guess.” The writer penciled two letters on a sheet of paper—S.W. Shelley Winters. Anybody who knew anything about Tony Franciosa knew that was one thing he never talked about—his romance with the lovely actress. Maybe because he didn’t want his love for her to look like the brass ring on a merry-go-round that he was cash- ing in on. Or maybe because he just felt his private life was nobody’s business but his own. Whatever the reason, it was no secret to reporters that Shelley was one subject Tony wouldn’t discuss But Tony didn’t know that everybody knew. and it was a very surprised Tony indeed who looked at the two letters on the sheet of paper—and realized he had lost his bet. “You win,” he said, sittting down meek as a lamb to his second inter- view with the press... Tony’s currently in MGM’s This Could Be The Night, 20th’s Hatful Of Rain and Warners’ A Face In The Crowd. Watch for him soon in Paramount's Obsession. So much in love Once, a columnist phoned Terry’s ho and asked her father where his daugh had disappeared. “I think she’s in N York with a girl friend named Peggy,” said, and that was all he would say. Another time, the same _ colum)| phoned Nicky Hilton, who’d been dat Terry steadily right up until a cert) night in December. “Where is she, Nic | the columnist asked. “Who knows?” Ni answered, and that was all he could sz! Finally, in mid-February the ni leaked out and Terry and Gene smilin | confirmed it. Then every paper in the country he} lined it—how the young man and i beautiful movie-star bride got marriec| Las Vegas, while having dinner v! friends Debbie and Eddie Fisher, | sneaked out to a justice of the peace |} tween courses. “They did it secret) i Terry’s mom told reporters, “because | son-in-law isn’t used to this Hollyw | publicity and didn’t want any fuss.” / columnist Dorothy Kilgallen, agrec with Terry’s mom, noted that “Euc McGratH IS DISTINCTLY THE UN-HoL woop TYPE.” So un-Hollywood, as a n ter of fact, that one of the first thi Gene did after the first hoopla was c with was to hire a man to keep Ter name out of the papers as much as f| sible—‘my suppress agent,’ Terry c called him. The next year was, in Terry’s wo “simply wonderful.” Terry was away f Hollywood most of that time in ordei be with Gene. Quietly—very quietly the gay Terry Moore of only tw: months earlier—she shuttled back forth between Panama, Caracas, 1! York and California with her husb: And the few interviews she gave vy usually at airports either before or aft: flight, and the few words Terry usu said always boiled down to I’m-very-h py-and-very-much-in-love. Urgent business On their first anniversary, she ec ically told columnist Sheilah Graham Gene was the best husband in the w that he’d showered her with anniver gifts on the first of every month—dia earrings, rings, bracelets, a solid gold ry-all, some real estate in Venezuel mink stole, a race horse. “He even my mother a present,’ Terry said, car and wears white gloves and is a vine cook.” But only a few days later, Terry’s h grew so suddenly heavy you would |} thought it had been hit by a Swiss <« lanche. Terry and Gene had been in town al two weeks, visiting Terry’s folks and ing their friends. Late one night C received a wire from Panama telling that he was needed back on urgent b ness. When Terry heard the news smiled and started to pack. Gene wu: her to stay behind. “You’re having : a good time .. .” he said. Terry said that she went where he went. “But only be gone about five days,” Gene firmly, so next morning, she drove hii the airport, kissed him good-by, wave the plane as it zoomed off the runwa: felt funny not being on the plane Gene—and drove back to town and beauty parlor there. Terry tried to get away That’s where it all started—the gx that in a few short days was to becom intense that it would, just months 1 shatter everything that had been ha ness to Terry. “Terry Moore?” she heard the voic

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SEPTEMBER BIRTHDAYS Ti your birthday falls in September, you're sharing it with: September 1—Yvonne DeCarlo Vittorio Gassman Sepiember 3—Alan Ladd September +—Mitzi Gaynor September 6—Otto Kruger September 7—Peter Lawford September 8—Denise Darcel September 9—Cliff Robertson September 10—Lloyd Nolan Edmond O’Brien 13_Dick Haymes Scott Brady j6—Lauren Bacall -Anne Francis 17—Pat Crowley 1g—Phyllis Kirk Rossano Brazzi 19-—Ray Danton 290—-Karen Sharpe Sophia Loren September September September Sepiember September September September 22Marge Champion September 23—Mickey Rooney September 25—John Ericson Aldo Ray 26—Barbara Britton Edmund Gwenn 29_Anita Ekberg Steve Forrest Lizabeth Scott 39 Deborah Kerr Ben Cooper September Sepiember September d ae od Claudette Colbert September 13 Walter Pidgeon Sepiember 23 TY ee a ie ee) Greer Garson “September 29 George Raft September 24 Your birthstone is a blue sapphire. Your flower is an aster. If you want to send your favorite stars a birthday card. write to them in care of their studio. If you're not cer- tain which studio they are with, write the stars c/o ScREEN Actors GUILD, 7046 Hollywood Blvd., Hollywood. pris. = the next booth say, “yes, I read about her anniversary present. And I just couldn't help wonder what kind of presents he gives those other girls he’s got all over the place!” “You really think he has—other girls, I mean?” a second voice asked. “Everybody knows it,” the first woman said, annoyed, “everybody except maybe | you—and her!” “Nincompoop,” Terry muttered to her- self as a startled hairdresser walked up to her chair, “—people with nothing else to do but make up stories about other people all day.” But gossip is contagious—it went to a small party a friend had planned for her and Gene. Terry arrived alone of course, and explained that Gene had been | called away on business. “Do you know?” a very drunk female | guest asked a few minutes later, corner- | ing her. “Do I know what?” Terry asked, con- fused. “About this Eugene McGrath of yours.” | the woman said, “and the way he carries | on behind your back.” Terry tried to get away from the wom- an. “Please .. .” “Terry, be smart,” the least stop walking around with thet star- dust in your eyes. Be smart.” “Please,” | Terry whispered, the tears starting to fall | as she ran to the front door and to her ear | and away from all this. Whispers everywhere The next few days were horrible. beginning. Its hard to say heard during these days. plenty and, true or not, what she heard hurt her plenty. And things were different between her | and Gene when he came back to Califor- nia. Terry began to lose weight. People who | saw them out together remembered that the | couple had become very | quiet—and they always looked as though | normally-gay they had just had. or were just about to have, some kind of tiff. People noticed, too. how Terry began | remaining in Hollywood more and more | as Gene went off on his far-flung busi- | ness trips; how Terry was becoming more interested in picture making—and signed | up for two films. She began giving a rash of interviews to the press once again. and ended up saying some of the strangest | spreads, | whether true or not. That night Terry | she said, pushing a little. | woman said, | “people are talking. Everybody knows. At | The | gossip had made the rounds by now—Youw | should have seen her run crying at the | party when his name was mentioned!— | and Terry couldn’t go anywhere without | the eyes shiiting to her, and the whisper | exactly what Terry | But she heard | New! 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Clearasi} SOLES aS nue Largest-Selling Pimple _ Medicationin America (including Canada) things—strange for the 1957 Terry Moore. | when compared with the 56 model. What was really going on Once, in 1956, someone had asked Terry if she didn’t get tired traveling as much as she did, having lunch in this country, | dinner in that, wondering just which of | her swimming pools she was swimming in | “T love it.’ Terry had | said, “because I love my husband and | —at the moment. want to be with him all the time.” Now, in 1957, an interviewer asked Terry how come she wasn’t traveling so much with her husband, how come she wasn’t with him as much as she used to be. “Because he’s so busy,” said Terry, and that ended that interview. Once, in 1956, someone had asked Terry | if her interest in making movies was on the wane. “No,” said Terry, “it’s just that it’s dificult being in two places at one time—and I know where I want to be.’ . . . 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Doan’s Pills have three outstanding advantages — act in three ways for your speedy return to com- fort. 1—They have an easing soothing effect on blad- der irritations, 2—A fast pain-relieving action on nagging backache, headaches, muscular aches and pains. 3—A wonderfully mild diuretic action thru the kidneys, tending to increase the output of the 15 miles of kidney tubes. So, get the same happy relief millions have enjoyed for over 60 years. Ask for new, large size and save money, Get Doan’s Pills today | , | the two pictures, an interviewer asked how-come? “Because,” said Terry, “I want to prove to people that I’m still as good an actress as I was when I was nominated for the Oscar in Come Back, Little Sheba.” She said nothing about being separated from her husband. It was all pretty confusing, and only the people who really knew both Terry and Gene knew what was going on—and what was to come. And even the close friends didn’t agree with each other. An All-American kind of girl “Gene McGrath is a self-made man,” said one friend to a MoperNn ScrEEN editor. “He’s not the son of some rich old codger who heaped a couple of million bucks on Gene. He worked hard for his money, and he’s got to work hard to keep on mak- ing it. He’s got to keep on the go, travel around a lot, go to parties, meet people, talk to attractive women as well as to in- fluential men. Terry should realize this and not get all upset when somebody starts trying to make something out of nothing. And I say out of nothing—be- cause Gene is real squaresville as far as Terry’s concerned, completely faithful. The guy loves her!” But another of the friends said once, “I think he could have tried to consolidate his businesses a little more, given up some of that running around for a home—and found one home. He went to Hollywood once and fell in love with a beautiful movie star and married her—the dream of lots of American boys. Well, there’s nothing wrong with that, but why not live in a way that would let the movie star remain a star. There’s nothing wrong with Terry’s wanting to do something she likes, either!” “Terry just got completely exhausted with all that traveling and the gossip just hit her when her defenses were down— and knocked her out,” says a friend of hers in her defense. “She’s an All-Ameri- can kind of girl and the United States of America is basically where she likes —and wants—to live. She’s not an Ava, who takes off for Spain on her own and after she leaves her husband. And she’s not a Liz, who’s as happy on the French Riviera as she is anywhere else in the world ... And Terry is an actress, a good one, and she’s never going to be happy until she proves that she’s even better than good. For this, a girl needs encouragement from her husband—and lots of it.” "L want to be with you" “There’s no reason why she couldn't have given up her career for love,” says a critic of Terry, taking another point of view. “Certainly she’s had her share of the Hollywood limelight. I think a wife should go with her husband. He travels around a lot? Well, it isn’t so bad living in those posh places all over the world. And what if she’d fallen in love with some young army lieutenant who was sent to some hell-spot in some desert for a cou- ple of years? “T like Terry. like her a lot. But I think she made a real boo-boo when she decided that she was going to combine making movies with happy endings with a life with the same kind of ending.” Anyway, in June, Terry filed for di- vorce. Completely fatigued, she took ref- uge in a rest home. Gene, who’d been away for a few days, rushed to see her when he heard the news. They were alone for half an hour. When Gene left the hos- pital, he looked drawn. He told reporters about Terry’s request for the divorce. “But I’m sure,” he said hopefully, “that when Terry’s given a chance to think it out, she’ll recognize she’s doing a great injus- She’s been mis- tice to me and to others. informed. I love her, love her very much. Si Eg asst ae LONELIEST NIGHT IN THE WEEK @ One Saturday night we were sitting around watching television. Ray, my twelve-year-old son and my eighty-two-year- old father who makes his home with us. are terrific Tv fans. Me, J can take TV or leave it—but I love movies. I also love working in a movie studio and I think you'll understand why. I’m a private sec- retary. | work for—Robert Wagner! It was somewhere around eight when the phone rang. “What are you all doing?” asked my boss, when I picked up the phone. Before I finished telling him, he quickly cut in. “Do you mind if I come over and watch ty too? It’s kind of lonely here in my apartment, so I’ll just grab a fast bite and then drop by if you don’t mind.” There was nothing to eat in the ice box —nothing to eat except eggs. When I of- fered to fix them for Bob, he couldn’t have been more pleased. So over he came, ate his eggs—and promptly fell asleep on the living room couch! For the past few months Bob had been getting up at dawn and working fiendishly long hours on The True Story Of Jesse James. He was really exhausted and at midnight when he was still dead to the world, we just didn’t have the heart to awaken him. Instead. we covered him with a blanket and tip-toed off to bed. Along about three in the morning Bob quietly closed the front door behind him and headed for home. As Robert Wagner’s secretary, my du- ties include opening his fan mail and assorting it for him to answer. Invariably there are letters that tell Bob how much fans envy him for the gay and glamorous life he leads in Hollywood. And when my friends ask me about Bob Wagner, they sigh and say something like this, “Of course, life for him must be one continual whirl of parties and social life.” I often wonder if anyone would believe that Sat- urday night can be the loneliest night in the week. Yes. even for someone as popu- lar and famous as—you know who! Nena Wills Bob will soon be seen in 20th-Fox’s Stopover Tokyo. weg

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ELVIS gets his hair set M@ Dolores Hart whisp ear, Hate his perm sue paper, eg it twisting his hair—ba k @ Elvis was a big eae tissue, handed it to Dolo jokes up so she wou even though ke was brunt of it! Dolores worked away “£3 po @ The first curl was set: But the photographer s Loving You was ready. s pins—and the curls. El still how he’d have looked with curly h I hope she realizes that. I hope so with all my heart... The end of the story? It’s a very nice one! After a few more days in the rest home, after lots of thinking things over, after phoning Gene at home a few times to find out if he was all right, and then phoning him to come to the home for a while and talk—after seeing Gene in the little white room that second time and reaching for his hand and realizing that this was the hand she always wanted to be able to reach for, always—Terry whis- pered, “I've changed my mind. I don’t want the divorce. I want to be with you, Gene. With you!” A nurse—the chubby one with the big brown eyes—who happened to walk into the room a little while later, reports that Terry and Gene were both haying a good long ery. “And I have a hunch,” the nurse said, winking her favorite wink, “that those tears w viped away a lot of unneces- sary heartbreak.” END Terry is currently in 20th Century- Fox's Bernardine and will soon be seen in Peyton Place. kim’s broken engagement (Continued from page 39) ground. The moonlight trees as in a fairyland. “I want you to kiss me,” Kim whispered softly as they were halfway through the park. He tried to take her into his arms. “No, not like this.” She pointed at a hedge a hundred feet away. “You go over there and Til stay here. And when you covered the illuminated the turn we both run toward one another and I fly into your arms and then you kiss me. Slightly amused, he did as she told him. But before Kim started to run, an inex- plicable impulse made her slip off her shoes and run barefooted. As a result she cut her toe. “That was a silly stunt,” her new fiance commented when he noticed her limp. He didn’t like to see her hurt. Kim was hurt a lot more than he thought. At least that’s what she told her- self: that he wasn’t as romantic as she was. That he considered her childish and silly. And the more she thought about his attitude, and of hers, the more sure she became convinced that they weren't right for one another, and broke the engagement. Actually she was only kidding herself. Kim liked him as much after they split up as she did before. She simply didn’t want to get married to him, to anyone. But why? Kim knows, in her secret heart Well, for one thing, Kim knew even then, back in Chicago, that the ordinary do- mestic life wouldnt satisfy her com- pletely—at least not until she first tried the exciting glamorous route. Only Kim, herself, in “her secret heart, knows why she decided on a life of excitement and heartbreak and work, rather than security and love and children. But having de- cided, she couldn’t let love or marriage stand in her way. From the beginning, Kim’s devotion to her work was prob- ably unequalled by any star’s in Holly- wood. Certainly every actress has ambitions. They wouldnt get where they are without it. But offhand, with the exception of Judy Garland, we don’t recall one girl her age who had to go to the hospital to recuperate from exhaustion, as Kim did between the time she finished Jeanne Eagels and \ Send for This FREE Style Book AVE MONEY on smart dresses and coats in Sizes 38 to 60, all styled to make you look slimmer, and all at really LOW prices. Rustling Acetate Taffeta Coat Dress with an all-over design /28 is enhanced by the glittering —— ormament and velvet ribbon trim — $7.98. Others $2.98 up. Also suits, underwear, shoes. Mail Coupon for your 108-page Style Book. It’s FREE to you, and postpaid. DEPT. 22 ane f ryant INDIANAPOLIS 17, INDIANA | Please mail me FREEStyle Book for Stout Women. (22) ia ane ee See ee as G AUZTEX BANDAGE ora TAPE LY /sners Sou U.S.A. ALLOWS YOUR “SKIN TO BREATHE— HEAL LIP BEAUTY every time...in less time! Just press t en! LIP BRUSHES ght FAMOUS : os TOUCHDOWN .¢ MODEL 1 AT COSMETIC COUNTERS EVERYWHERE “Quick Course in Lip Beauty" # ]4 1207 W. SIXTH. LOS ANGELES, CALIF. Write for free NATONE Co.. o/

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CROWN MUSIC CO., 49 W. 32St., Studio 340, New York 1 Enter Now! 51000 Prize Contest in POCKET CROSSWORD PUZZLES Your chance for fun and money — offers a large variety of intriguing puz- zles A DELL Publication now on sale started Pal Joey. For almost three weeks she was confined to the CEDARS OF LEBANON, with no scripts to read, no business to talk about, no visitors, nothing to do but rest and eat. For Kim is involved with more than the long working hours which often require her to get up at three-thirty in the morning and not get home before eight at night. It’s the tenseness with which she throws herself into a part that wears her out, and thus leads’ to a state of weariness, physical and mental, which is hardly conducive to a happily settled married life. And she knows it. The Patience of Job With it goes a change of moods which might drive any husband batty in no time. If the script calls for Kim to be happy, she is happy from the time she gets up in the morning till she goes back to bed at night. But if the script calls for her to be depressed, she will be depressed from morn to night. And she knows it would take a man with the patience of Job to get adjusted to these constant changes of moods. For instance, one Sunday night a friend ran into Kim and Mac Krim just as they were leaving a restaurant in West Los An- geles. Much to her surprise Kim was car- rying the script of her picture under her arm. “Don’t tell me you study your script on a date,” she cried out. Kim nodded her head. “Sure, while Mac is driving I can go through my lines. . .” The death-bed promise Another concern is her strongly re- ligious attitude. It hasn’t always been that way, as she is the first to admit. When she was little her outlook was very much influenced by the example of her parents, and particularly her grand- mother on her mother’s side, who lived with the Novaks. “Grandma” never went to bed without saying the rosary, attended church not just on Sundays, but every day of the week as well. Kim did her best to follow her footsteps. Her grandmother’s death brought about another complete change of attitude. Kim hadn’t even realized that she had never been confirmed. With her last breath the old woman extracted a promise from her granddaughter to make up for it as quick- ly as possible. A few weeks later the teenaged Kim marched down the aisle in the company of a dozen girls to be confirmed. From then on her participation in church activities became progressively stronger till religion became as much a part of her life as eating and sleeping. Quite obviously, a girl like that wants a husband who would qualify under the rules of her church. That excludes quite a number of prospects! Her fear about men Lastly there’s Kim’s fear that men like her for her position as a star and not just as a person. Nine out of ten movie stars are gripped by the very same fear. But with Kim this fear is even stronger than usual— maybe because Kim has become such a big star in such a short time. It is difficult to predict Kim’s future. Chances are she will get married some day. But when it happens, it is almost certain to be through an elopement. If Kim ever had the chance to sit down and reason out the pros and cons, she would talk herself right out of it—no matter who he is! END Kins in Columbia's Jeanne Eagels and Pal Joey. Watch for her soon in Alfred Hitchcock’s Paramount release From Amongst The Dead. “HEADS NEW YORK, TAILS HOLLYWOOD”’ @ Jeanette MacDonald tossed a coin one day—and it could have been her biggest mistake! The coin got tossed when Jeanette was getting her first taste of success. The Shuberts had signed her to star in a stage musical at $1,000 a week—a staggering sum for a twenty-two-year-old! Particu- larly for one who had struggled so hard to get someplace. And—they promised her another show for the following season. At last Jeanette and her mother could say good-by to the cheap hotel rooms they had lived in for years. For at least this season and the next. there was secu-- rity—real security. But they'd hardly been installed in a new apartment when Jeanette received a telegram from the late, great Ernest Lubitsch. He wanted her to play opposite Maurice Chevalier in The Love Parade: $2500 for ten weeks, and an option for a second picture. Now back in 1929, talkies were still in the experimental stage, and nobody knew if they were here to stay. If Jeanette took the movie offer—and the movie turned out to be a flop—she might never get another chance at Broadway. But... a screen star ... that was tempting too! Jeanette begged her mother for advice. “You’re old enough now to make your own decisions,” her mother answered. “You must learn to plan your own future.” Jeanette decided about it. “I'll toss a coin! Heads, it’s New York, and tails it’s Hollywood!” Taking a quarter from her purse, she flipped it into the air. As Jeanette reached for it, her mother stopped her. “I’m ashamed of you. Jean- ette! God gave you a mind to think with anda heart to feel with. And here you want to leave it to chance.” So Jeanette was up all night wrestling with her choice. At five in the morning she woke her mother. “We're going to Hollywood!” Then, out of curiosity, she picked up the quarter. It had come up heads! And heads had meant stav in New York. “The foolishness of depending on a toss of a coin in life’s crises,” she said years later, “is a lesson I'll never forget. My Hollywood career was a success and it was in Hollywood that I met and married Gene Raymond twenty years ago. Our mar- riage has brought me the most complete happiness a woman can ever know. “T’d never have had that happiness and success if I had left my future up to the of a coin!” eee te tee — Ta es > oe Pe | Se ab oom ger cee eg Sago wpe me tpg fae eats

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ow to get your man Continued from page 47) lower lip for while, and have him look at your lower p. It’s much better than looking at the ose, or at nothing at all. If you have full lips, it helps. If you on’t—learn to use a lipstick brush and ake them full! A lower lip, in par- cular, is a wonderful thing. It’s very xy, your looking at his lip all the time ad his looking at yours. Without know- ig why, he’s enjoying it. Another thing to 9 is inflate the nostrils slightly, and art the lips a little. I love parted lips. Also a very exciting thing to do is to whale. Naturally, you can’t spend all our time looking at a man’s lower lip, ) it’s a good idea to look into his eyes ery often. But be sure to lower your yelids once in a while and close your yes a few times. Because otherwise you're aring at him, and you should only utstare a man to get rid of him. Because wolf is only a wolf when you're running way from him. You stare at him and e backs away. So make sure you lower our eyelids once in a while! The next thing I always keep in mind that a guy likes to feel useful—like you nuldn’t even lift a fork. So I never do anything that my guy can do for me. nd I don’t just mean things like lighting ly own cigarette or opening a door, or icking up anything I happen to drop. I make him know I couldn’t do a thing ithout him, couldn’t manage to live ithout. his being around. Like with my doorbell. I happened to omment to Mickey one day—that’s lickey Hargitay, my boy friend—that 0 one could fix it but me. It went innnnn instead of dum-dummmm, and I ad to lift the thingamijig with a knife to ake it work. I didn’t realize that I had urt Mickey’s feelings. Not till the next ay when I came home and found that ° Mickey had arranged to have a new door- bell put on outside. He showed me! I was not the only one who could fix it. I learned my lesson—not only play dumb . . . be helpless! But of course I always try to be con- siderate, you know what I mean—baby a man. Like if he comes over, maybe for dinner, and he looks tired—light him a cigarette, stretch him out on the sofa with a pillow under his head and maybe get a cold cloth and bathe his forehead. “But don’t think that makes it all a man’s world. Because you’d be surprised what a little thoughtfulness before dinner will get you. . . after dinner. “Like when'a wife says, ‘I'm not going to do the dishes tonight!’ Then the hus- band says, ‘Well, I’m not going to do them either!’ And that’s that . . . she ends up doing the dishes. If the wife would just say—like I say to my boy friend Mickey when he comes over to my place for dinner—‘You sit right down and make yourself comfortable, dear. Ill get your pipe and your slippers, and then Ill go in the kitchen and wash the dishes while you watch television.’ Of course Mickey always answers, ‘Don’t be silly, darling. I won’t hear of it. I insist on helping you.’ Of course, I spar a little and say, ‘You certainly will not, dear. I want you to sit down and relax.’ By this time he’s so touched that in the end he’s doing the dishes all by himself! It’s true the guy is kind of being conned into it, but it’s better than demanding that he do something! But you should start training them before you say I do, while they’re still in the boy-friend stage! See what I mean? Baby them! That’s how to get your man—and keep him! Jayne is currently in 20th Century-Fox’s The Wayward Bus and will soon be seen in Will Success Spoil Rock Hunter? and Kiss Them For Me. END how JACK LEMMON satisfied his great frustration i Dig into Jack Lemmon’s pockets and you're very likely to come up with a handful f scribbled tunes on paper ranging from the back of the plumber’s bill to an old nvelope. But he never sold a tune. Until he was down Trinidad way, making ‘ire Down Below with Rita Hayworth and Bob Mitchum. The way Jack Lemmon finally satisfied his greatest ambition happened this way. The boy in the picture,” he says, speaking of himself, “plays a harmonica. I had lways worked on a piano, but there I was, in front of the camera, diddling on a Jain old, ordinary ten cent harmonica. I was just improvising a tune as | went long, figuring it would be dubbed later by someone else.” But director Bob Parrish pricked up his ears and asked, “What’s that tune?” “That?” echoed Lemmon. “Why, I don’t know. Just something.” 2 “Play it again,” said Parrish. Jack played it again The crew liked it; it soon became the company’s theme song. It also became the theme song for Fire Down Below, running through the film. CotumsBiA stupio bought it, which surprised Jack more than anybody. That’s how Jack finally sold a song—and realized his most unsatisfied ambition. Now Jack, who’s a chronic worrier, is saying, “I only hope I like it when I hear it n the picture.” Jack’s in Columbia’s Fire Down Below. 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accident prone GREGORY PECK Me 4 z= VY ’ On the other hand, Alan Ladd who gives and receives plenty of punches on film, and is often in stampede scenes, comes out fine only to go home and have an accident there! m@ “My history in handling the rough action shots in my films would make the Biug Cross people turn white with alarm over all those claims!” says Gregory Peck. “It started with The Keys Of The King- dom where the script called for Chinese bandits to throw me down a cliff. Elvis Presley should have been there to sing me ‘All Shook Up.’ It would have been real mood music for that episode—and the six days I spent in bed recovering from it! “Then there was the time Forrest Tucker failed to pull his punch on a haymaker to my jaw. He says I snapped my head for- ward instead of rolling away from the punch, as an experienced stuntman would do. Suggested theme song for that episode: ‘You’re Breaking My Heart’—with just one word change in the title: Tucker broke my jaw! “A horse fell on me in Yellow Sky and broke my leg. Years later, rescuing Ava Gardner in The Snows Of Kilimanjaro ruined the same leg—tore a lot of cartilage and put me in a plaster cast for six weeks. That time, though, at least I had some fun out of it. Instead of a horse carrying me, I was carrying lovely Ava. “But once a horse saved me from injury or injury-plus. For Duel In The Sun I had to ride a stallion into a herd of stampeding steers. | was smack in the middle of those milling cows before I realized they meant business—they wanted to give me the busi- ness! It was one occasion when good old horse sense saved me—and I mean the horse’s, not mine! He got us out. “Remember me in Captain Horatio Hornblower? One of the sword-slinging scenes put a sixteen-stitch cut in my right hand during that picture. Diving into the Tiber River at two in the morning for 9 Roman Holiday ruined my holiday in Rome Seems like Gregory Peck always has some sort of accident when making a film. It can either be a cut, a black eye or the sprained wrist he got in Moby Dick. and ALAN LADD with a near attack of pneumonia. And I know Moby Dick was just a mechanical monster. but I had a whale of a time hang- ing on its sloping sides—and the sprained wrist I got out of it still bothers me. If that wasn’t bad enough, I sprained the other wrist during the gangster fight in my latest picture, Designing Woman. I hard- ly noticed the injured wrist at the time, though—the pain from my very genuine black eye was so much worse. ““Won’t somebody please find me a script writer without a big streak of action in him?” Then there’s Alan Ladd, who feels lucky on the set... “Many of the directors I’ve worked for,” says Alan, “have urged me to use a double in the kingsize commotion scenes at least. but I’ve stuck to the belief that I’m lucky. “IT guess a logical question now is whether I’ve ever been seriously hurt. Yes. I have. I’ve been in the hospital twice for major injuries—once for a broken leg. the other time for emergency treatment of a badly infected hand that had the doctors walking around with that shall we ampu- tate? look in their eye! “What pictures was I hurt in? Oh, I didn’t get those injuries on the job. The broken leg happened when I hit the high board teaching my kids how to dive—and the infected hand started with a fingernail that ripped when I was showing my boy David how to catch a forward pass! “No wonder I feel ‘lucky’ in a slugfest on the set!” Gregory Peck is currently in MGM’s Designing Woman, Alan, in 20th Century- Fox’s Boy On A Dolphin. Gregory will soon be in 20th’s The Sound And The Fury and U.A.’s Thieves’ Market. Watch for Alan in Warners’ The Deep Six. jane wyman—gail smith (Continued from page 51) What hap pened in April, 1956, when Janie trie to “blue-pencil” love out of her life? ; A close friend of hers—who happens, in.) cidentally, to be a publicity man—says i “Jane was afraid to fall in love. That’ why she broke with Gail in 1956.” Sounds crazy, huh? Wh. was she afraid? a The clue is an old newspaper clipping ir. Louella Parsons’ column. It was in 1949 just after Jane split with Ronald Reagan i that Louella wrote: | “To JANE, RONNIE STOOD FOR EVERYTHIN( THAT WAS PERFECTION. SHE WAS VERY MUCI IN LOVE WITH RONALD REAGAN, AND THil) THING SHE WANTED MORE THAN ANYTHING ELSE IN THE WORLD WAS TO MARRY HIM.” | “Ronnie,” says a Wyman intimate, “wa: the man in Janie’s life right up till Gai came along. Their divorce was an absolut: shock to Jane—a blow from which I don’ think Jane recovered—till now. Till sh« met Gail.” 1 Reagan, Irish-tempered and a devou believer in the rights of a husband, in-- sisted that the marriage run his way, th: story goes. Jane, at this point—according tc insiders—unfortunately acted on the poo advice of industry friends and told Ronn: their marriage would have to give a littl to her career. Ronald fought this as lon; as he could. Then he gave up. So in 1948 they were divorced. Four years after her divorce from Rea gan, Jane at last seemed to have succeedex in driving away the memory of her los happiness with Reagan. “L only pray..." She became gay, regained the vivaciou /. sparkle so long gone from those saucer-} shaped eyes under the page-boy bangs She toured the night spots with this on and that one. She even got engaged—t} Travis Kleefeld, heir to a construction for- tune. But the wedding was called off. Then, Jane was soon seen everywher |. with Fred Karger, a supervisor of musi: at CotumsBra Stupios. She did marry, bu) fourteen months later they knew thei. Marriage was a mistake. All Jane woulc say is, “I don’t know myself yet. Of cours: I’m restless. Like everyone else I’n searching for happiness, but I must do i my own way. I only pray that I will knov it when I see it.” So Jane eliminated everything from he life but her children and her work. Shi kept busy with her television series. Television series. .. . And that’s how she met Gail. He hap», pened to be her sponsor’s representativ and he happened to be her kind of guy— a man who was finally to make Jane forge the unhappiness of so many long years. Perhaps they met at the beginning o what was to be a nerve-wracking confer- ence on the show, and in the quick hello’s Jane may have noticed that his eyes hek hers for more than a moment. Or they met after a tough rehearsal with Jane exhausted and Gail offering t drive her home. How they met really makes no differ ence. What’s important is they did meet! Too happy te take the risk What’s he like, this man who capturex Jane’s heart—the heart that remained s cold to romance for such a long time’ What’s he like? Well, for one thing, Gai Smith is a happy man. Happy becaus: he’s going to marry Jane, because she’ made life exciting to him just being witl her. And he’s a man who can make Jan: happy because he knows the life an actres lives—and Jane knows that their marri:

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san’t flounder on the rock of ambition. Their careers are too different: neither of hem will be trying to outdo the other in ny department. “He’s so understanding,” Jane said re- ently, “and so unbelievably kind. He sertainly didn’t impress me when I first net him. He was much too short. But hen we had dinner one evening, and I sort of took a liking to the guy—and I mew he liked me,” she laughs. “And fter all he was the sponsor—so I said yes o his next invitation, and the next... [hat’s all there is to it. Except... I laven’t been happy the last few years, and being with him makes me feel wonderful!” So far that’s the most Jane has ever said about her love for Gail. Maybe she’s just a little superstitious about it, afraid that talking of her happiness might make it fly away. And Janie Wyman is too happy a girl these days to risk it. Oh, yes. There was one other thing she said about Gail Smith—“I don’t see why we couldn’t be very happy as man and wife!” She once prayed that when happi- ness came her way she’d recognize it. It’s here now; she’s recognized it, and she’s doing something about it. She’s marrying it—in Gail Smith. END what’s wrong with this picture? Continued from page 35) band-aids if I iave to hide it in a movie!” she said. And 1t eighteen? A divorcee who told the udge her husband had sworn at her in ront of guests, and left her alone too nuch. And the missing third part of the tri- ngle—Russ Tamblyn, the boy to whom Jenetia spoke her marriage vows? Rusty —~so in love at twenty-one that sometimes I just have to go outside and look at the tars, or I'd explode—” At twenty-two— he wreckage of a marriage behind him. te looks back grimly and says, “The past rear has been hell for me. I haven’t even vorked—” For Tony, Venetia, Russ—what kind of omorrow will it be? There are hints that Tony’s smitten with he lady. “She’s wonderful,” he says. But ‘onys been smitten before. A compli- ated boy, his dark and brooding looks ell no lies—he is dark and brooding. fe’s also ambitious. Tony’s rise has been ast and furious, but no accident. He vasn’t discovered on a street corner toy- ng with an ice cream cone. To put it luntly, he pushed. When William Wyler was looking for he boy to play Gary Cooper’s son in ‘riendly Persuasion, a lot of actors saw hemselves in the role. Perkins went urther. He saw himself into Wyler’s 1otel room. He tracked the director lown, insisted on being heard by him. ‘ony knew Wyler was deaf in one ear, ut not knowing which ear was bad, he UNITED COMMUNITY FUNDS AND COUNCILS OF AMERICA, INC. 45 East 46 Street, New York 17, N. Y. ‘THE UNITED WAY leaped around the room throughout his audition to make sure that some of the time he’d be heard. He got the part. "So head over heels" He’s shy and blushes easily. But Tony hasn’t let his shyness stand in the way of his career. He’ll tell you he can’t bear to be disliked. “I’d go around the world to catch up with someone who doesn’t like me to find out why, and what I could do about it!” Strangely, this concern with what other people think of him doesn’t jibe at all with his behavior. Tony walks around Hollywood in his bare feet; he instructs photographers in the art of shooting him; he tears up mes- sages out of his mailbox without bother- ing to read them; he tells interview- ers anything that comes into his head— once he invented a story about living on celery, peanuts and steak. Ask him about his childhood, and you get outrageous answers all delivered with a straight face and a sad manner. “Once I hit my grandmother in the eye with a bow and arrow,” Tony will say. “I’m sorry I did that because I really liked my grandmother.” He’s fought with producers who've vowed never again to hire him—and he’s charmed them into changing their minds. Girls are dazzled whenever he feels in- clined to bend his efforts in their direc- tion. The minute he wunbends, those efforts, the girl is left standing and won- dering what hit her. “I come away from Tony,” a girl said recently, “so head over heels I don’t know if I’m in this world or the next.” Change his way of life? When Tony puts an end to a ro- mance, another girl said, “there are never any scenes or tears. It’s more like a door closing. Suddenly you’re on one side of it, and he’s on the other tacking up a sign which reads Positively No Re- Admittance.” When Tony was making Fear Strikes Out, he dated his leading lady, Norma Moore. It was a whirlwind courtship. Then suddenly he was dating Elaine Aiken, his leading lady in The Lonely Man. Tony simply faded from that picture, too. In Italy to make The Sea Wall, Tony met Natacio Mangano, Silvana’s sister, a red- headed eighteen-year-old fresh out of a convent. Tony didn’t much enjoy his trip abroad. From Thailand he wrote, “You can’t eat vegetables or fresh fruit without risking a serious ailment; American cigarettes. are seven-fifty a carton, and we’re up to our mips in the mud of rice fields ten hours a ay. But he did enjoy the companionship of Natacio. He even traveled to Florence to meet her mother and father, a step so serious it may have terrified him back to reality, and thoughts of escape. He made a fast switch from Natacio to Maria Coop- er, Gary’s daughter, and suddenly all the PSORIASIS For 24 years psoriasis sufferers have learned that Siroil tends to remove unsightly external crusts and scales. If lesions recur, light applications of Siroil help control them. Siroil won't stain clothing or bed linens. Offered on 2- weeks- satisfaction- or-money-re- funded basis. ¢ Wy thanks ts Write for NEW FREE AT ALL BOOKLET, written by REGISTERED PHYSICIAN. DRUG STORES Ic answers 30 most-asked questions about psoriasis. ty SIROIL LABORATORIES, INC. Dept. D-44 Santa Monica, Callf. 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& ALWAYS A BRIDESMAID—NOW TO BE A BRIDE @ All of Lori Nelson’s friends, including Debbie Reynolds Fisher, Ann Blyth, Pier Angeli, Julie Adams and many high school friends, are settling back and relaxing these days. It seems that Lori, who’s often been a bridesmaid, will now wind up a bride. The reason they feel this way is because they’ve been noticing that Lori’s hazel eyes shoot off stars whenever she’s on the arm of husky Bob Peterson, who is a publishing dynamo at the age of thirty. She’s been dating him steadily for seven months, somewhat of a record for Lori and she admits she’s “his girl.” She’s helping him decorate his modern hilltop home which has three bedrooms, a house obviously not intended for a bachelor. “Everyone I know worried about my bachelor girl status except me,” steady all my married friends are trying to rush me to the altar. I guess I really got everyone dizzy in- cluding myself during the past few years attending so laughs Lori. “Now that I’m going many weddings and showers. Every time I’d show up at a wedding, the bride would do her best to toss the bouquet into my arms. But the next wedding was always some other girl’s, not mine. My friends began teasing me.” Why should this be, you wonder, for a girl who has dated Hollywood’s most eligible young men? Lori knew the answer; she wasn’t in love. Because Dick Clayton, a constant escort, talked business, not romance, on their dates. Ben Cooper spent many evenings going over scripts with her. Dick Egan, George Nader and Tab Hunter used to whisper their career problems to her. Her sympathetic and gentle nature got them all confiding in her and Lori found she couldn’t fall in love with a man who she regarded as a brother. Then, last summer along came six-focter Bob Peterson. Soon Lori found herself leaning on Pete, a new experience for her. Instead of having a boy lean on her shoulder, she cried on his. Mostly, however, she laughed with him instead. Even sooner they were seeing each other constantly. Lori loves all sports, which is not only Pete’s living but his passion. And Pete has no complexes about Lori’s career. Besides the many things they have in common, what really convinced Lori that Pete must be the man she was waiting for was this: she never once thought of him as a brother! Lori can soon be seen in U.A.’s Outlaw’s Son. columns were full of the new couple. Tony and Maria were acting serious, and Maria had given Tony a _ present—four trout, gift-wrapped—and there were references to the fact that Tony, who’d once played Gary’s son, might soon be Gary’s son-in- law. It was a spring-time idyll with Maria, but now spring appears to be sprung. Tony values his independence the way he values the breath he draws. Twice he’s been engaged; twice he’s stopped short of marriage. During those engage- ment periods, he’d wake up cold with sweat, talking to himself. “My God, I’m going to have to change my whole way of life—” He hasn’t yet met the girl who seems worth it, as far as anybody knows. What hope for Tony and Venetia? Now Tony’s phoning Venetia Stevenson and taking her with him when he shops for an automobile, and crooning his songs into her shell-pink ear. Can Venetia hope to tame Tony, or is she in for a brand-new heartbreak? : Tony and Russ are alike in more ways than one. Both are supremely uncon- ventional. Tony fancies tuna and cheese for breakfast, and Russ is known for put- ting ketchup on ice cream. Tony’s apt to show up almost anyplace in yellow slacks and sweater—“I’m carried away by yellow”—or a peculiar green corduroy outfit. Rusty’s equally heedless of the latest fashions. At a premiére a while ago he asked his friends how they liked his new suit. He was tieless, and had on 92 a rumpled jacket and pants and an old sports shirt he hadn’t worn Dancing makes Tony stutter, while Russ is a dancer—but both are fascinated by in years. music. Tony longs to make a hit record —insists on singing to anyone who'll listen; Rusty fancies himself a demon pianist. There were nights during his marriage when he’d get caught up at a friend’s house, playing piano, and forget to come home, forget to phone, forget everything except the kicks he was having. Tony wants to be able to flop into the swimming pool at four o’clock in the morning, if he’s so inclined; Russ wants to be able to drum all night—and why can’t the neigh- bors live the same way so there wouldn’t be all this trouble? The liking Tony and Russ have for going their own separate ways makes them intriguing to know, but it does not make them ideal prospects for marriage. There is, of course, one major difference: Tony’s been eager to flee from marriage; Russ was eager to have it. If, with all the love and high intentions in the world, Russ couldn’t make mar- riage work, what hope is there for Tony and Venetia? The biggest fight of all There are so many pictures of Russ and Venetia still floating around. Those pic- tures look like they’re right out of a fairy tale, and maybe that was the trouble. The world Russ and Venetia believed in was a story book world; it never really ex- isted. : The Tamblyns had a vague budget, and neither approved of the other’s way with ‘likely. Tony’s known for traveling light... | money. Russ, a child of a happy mar- — riage, wanted his wife to stay home and | have children. Venetia wanted a career and he pretended to be glad. “IT was too possessive,” he said at the | time. “I thought because she loved me | she would give up everything and just be a housewife. I realized that was asking too much.” Even so, Russ never figured on Venetia’s becoming an actress. Model- ing was as much as he expected her to toy with. When the acting chance came along, he again gave in—but he never | could really make himself share Venetia. | The Tamblyns filled a lovely house with lovely furniture, yet they were sel- dom home in it at the same time. Venetia | would have dinner ready, and Russ would | call and say they had to go out with a studio publicist, and Venetia wouldn’t want | to go, and there’d be a fight. In the be- ginning, these fights were easily settled. After a while, there were fights about everything. He'd push her in the pool | without her bathing cap, and she didn’t think it was cute any more. He’d eat roquefort cheese till the smell of it made her sick. She’d have a pink carpet in the bedroom, and little white cupids he felt silly living with. Then came the straw that broke the back | of this already-shaky marriage: Venetia | posed for some cheesecake pictures—pic- | tures that were none too modest. The fight | was big and there was no making up. | Will Venetia go with him? They didn’t even make it to their first wedding anniversary. They’d been mar- | ried on Valentine’s Day, 1956—they were | separated before Valentine’s Day, 1957. | The first fine excitement was over— | and the marriage was over too. Story- | book love is made of moonlight, and flow- ers on the table. It was never meant to | stand up to dirty dishes, and the tensions of two tired people after a long day. Even work didn’t go well for Russ dur- | ing the year of his marriage. He who'd | played in two pictures a year since he’d | been ten years old, wasn’t in demand at | his studio. When television tried to bor- |) row him for a version of Jack And The | Beanstalk, the studio refused to lend him. |) Later his father became critically ill } with a brain tumor. Older, wiser people— people who had none of Russ and Vene- |; tia’s problems—would have had trouble. Russ had dreamed of a wife at home, not |: an actress. Venetia had hoped for a hus- band who would protect and cherish her, © and never be bad-tempered or late for | dinner. Humans aren’t angels. Something had to give. It was their marriage. Today, Russ’ career is again in high | gear. He’s got a good part in Peyton} Place. He’s going out with girls—Anne Francis, Gia Scala—but he’s still got Ve- | netia on his mind. They’ve been seeing | each other again, though they vow they'll | never be reconciled. . And, of course, Venetia is seeing Tony | Perkins. What will come of that ro-/ mance? Well—in November, Tony’s off | to New York to star in a Broadway play. Will Venetia go with him? It isn’t Take one more close look at the picture. It’s a picture of a triangle—with one of the people missing. What about the other two? When Tony gets that new car, where } is he heading? And with whom? END }. Tony is currently in Paramount’s The | Lonely Man and will soon be seen in | The Tin Star. He will also be in Co- | umbia’s This Bitter Earth. Watch for | Venetia in RKO’s Girl Most Likely and | Warner Bros.’ Darby’s Rangers. See Russ in MGM’s Don’t Go Near foes pate a 20th’s Pevias Place. * e Rae

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