Modern Screen (Jan-Jun 1945)

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Tliis chiinninu I'Vpncliwoman is I ho author of (Iu> hcsl-seller. "Little Coquette" which has been acclaimed by critics for its authentic picture of French society. She is the wife of I.eander J. McCorraick 01 Chicago. 7 . " V "A Frenchwoman gives as mncb tbought to her selection of perfume," says Renee McCormick, "as she Joes to ber clotbes. Although I bad my choice of innumerable French perfumes, I use Djer-Kiss. It is a lovely fragrance — not only feminine, but unmistakably chic!" f)t/0 I rt Pronounced DEAR KISS" MM/JJ P£Aft/M€ E WORLD'S HOST ROMANTIC SCEN By and Clark stepped out — as well as Otto Winkler, their friend of the M-G-M publicity department. The parson was out, calling on a sick parishioner. His wife asked them to wait. Side by side on a sofa in the little parlor they sat till the parson arrived. . . . "Miss Lombard and Mr. Gable are here," said his wife. "They'd like to be married — " There was no time for a honeymoon, not then. When Clark's picture was finished, they started for New York. But in a Mexican auto camp they were sidetracked. What matter that theaters and gayety waited? Here they tramped around all day in slacks and jeans, here the country was beautiful, nobody bothered them. Day after day they stayed, till the weeks of their holiday were gone, and they drove contentedly home. It was an idyl that lasted not quite three years. Out in the valley lay a ranch, for which Clark had hungered. It belonged to Raoul Walsh, the director. Clark was crazy to buy it. "And Walsh," he grinned, "would be crazy to sell it." But one day a real estate agent called Carole. He told her the Walsh place was for sale. She called M-G-M. Clark was in the midst of a scene. "I'll hang on," she said, "if it takes all night. Because if he hears this from someone else, I'll do murder." When he came, she said, "You still want the Walsh ranch, Pappy?" He said, "If this is a gag—" "It's no gag, it's for sale—" They bought it that day, trading in another place as part payment. There, in the house of shingles and whitewashed brick, they found happiness as complete as it's given anyone in this world to know. There Carole made for Clark the home that was not a showplace, where dogs were welcome, where mud on the feet was no tragedy. A home of friendliness, of chintz and maple, sunshine and flowers and open hearths — a home for living. And the fields outdoors, where Clark worked with the hired man. Horses to ride, and chickens that Carole took care of. Carole, darling of the night clubs, learned about tractors and irrigation ditches and alfalfa. She learned to hunt and fish. She refused to make pictures when he wasn't working. Once, asked for his favorite type of girl, he answered, "A girl who likes my type of man. If I come home Friday, and say, let's grab a few clothes and dig out for the week end, my kind of girl will say fine, and mean it." Clark had found his kind of girl. December 7, 1941. Bombs crashed on Pearl Harbor. December 8. America was at war. In January, the Treasury geared its forces to a huge bond drive. Carole's home town was Indianapolis. Carole's personality was electric, compelling. Her presence at rallies would sell more bonds. They asked her to go to Indianapolis. So one day she left the beloved home at Encino. Clark drove her to the train. They stopped for her mother, who was going along to see old friends. At the station, Otto Winkler waited — the same Otto who had been their marriage witness. He would handle details of the trip, of the speaking engagement. There were pictures of Carole in Indianapolis— a slender, fair-haired young woman, wrapped in furs against the cold of outdoors, vital, aflame, conveying the passion of her convictions to her countrymen. 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