Modern Screen (Dec 1949 - Nov 1950)

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Sold at drug and notion counters in 3 absorbencies: Regular, Super, Junior. Prepare now for the next need! Tampax Incorporated, Palmer, Mass. — • .^-i NO BELTS NO PINS NO PADS NO ODOR Accepted for Advertising g2 by the Journal of the American Medical Association more than one or two other fellows. Kirk, on the other hand, has proven by his actions and firm statements on the subject since his divorce that he is as active in the love department as a buck goat alone in a herd of anxious nannies. And when Kirk Douglas leaps the fence and begins bleating in one pasture, it would seem almost too apparent that he is in love. A T the time of this writing, Kirk Douglas is working on location some twenty miles outside Gallup, New Mexico, making the picture Ace in the Hole. And also, at this moment, Irene Wrightsman McEvoy is sitting a short distance away from where Kirk is acting, underneath a big sun umbrella which is set up for her every day so she can be with Kirk every possible moment. This gesture of permitting a woman to sit on a set and watch a star act is, in the profession, about as rare as an Iowa farmer bringing his lady a string of priceless pearls every time he comes a'calling. There just ain't no greater compliment— nor is there a greater evidence of devotion possible in Hollywood. Kirk Douglas has never allowed it before, and it is a cinch that Irene McEvoy never cared enough for a guy to swelter in a desert for thirty solid days. Irene's day begins at breakfast with Douglas, and no other member of the company is encouraged to join them. They ride, hand in hand, to the day's location. Irene takes her seat under the umbrella and watches, seldom taking her eyes from Kirk. At every break in the action, Kirk comes over and joins her — and they hold hands. They lunch alone, then back to the umbrella for the afternoon session of mutual admiration and acting. They dine alone, and afterward, they slip off to watch the moon do tricks with the cactus. X7"es, this is the kind of devotion that, J it appears, will either wind up in marriage or at least one broken heart. And Kirk Douglas has changed. He is a newly-inhibited man. To realize this you need only go back to a few months ago when Kirk bumped into a magazine photographer in front of a popular night club. The photog asked if he would pose for an exclusive picture. "Sure," said Kirk, "anything you want." "How about swinging around that pole?" said the photog jokingly, pointing to a bus stop sign. Kirk asked his date, Evelyn Keyes, to stand out of harm's way for a moment, and obliged. The cameraman showed his astonished editor the picture the next morning and was almost accused of using a gun to get the shot. A solid dozen photogs got another beauty one night at Ciro's when Kirk obligingly joined a tumbling act on the stage and held still while the boys popped their bulbs. When he had a date with a girl and a writer came to his table in a club for an interview or a quick question, Kirk obliged with a smile. When the cameramen came over, he would kid his date into smiling pretty for the boys and he himself never lost his grin or good humor. But that's past. Today, when Kirk Douglas takes his girl on a date, he takes her some place where there will be no cameraman. If he does take her to one of the strip hot spots to see a show, he's as wary of what he does and says as a jewel thief in a pawn shop. Pictures, if they can't be avoided, are taken, but if there's a way out, Kirk wants it. He wants privacy in the little world he has with Irene. Let's take a look at the romantic records of these two and their backgrounds. Kirk, as is widely known, came from a family in very modest circumstances. He worked his way through college, slung hash, wrestled in carnivals, did almost every menial thing a man can do to earn a living and remain self-respecting. How many times he has been in love is anybody's guess. However, when it came time to marry, he was not only very particular in the choice of a bride in the normal sense, it seems that he wanted a woman who could bring into his life some of the background and culture that had been missing. It may have been an accident that his wife was society and of good family, but that may have been one of the things that made him fall in love with her enough to marry her. This marriage did good things for him. He became used to the niceties of wellbred living and, in his private life, it shows. Although his wife was an actress, she was also welcome in the homes of the social registrites and actually she was a far cry from the garden variety actress. It is to be expected that when Kirk Douglas marries again he will look for someone with the same brand. Trene McEvoy is that type. An heiress * to a fortune, she is beautifully educated and a lady to her fingertips. If she shares that honeymoon cottage with Kirk, she will be able to offer him graceful living. While her former husband has been called an international playboy, it is evident from the company he keeps abroad these days that he plays in the most select circles. In her only other wellknown romance — with Bob Stack — she was not stepping out of character or consorting with the kitchen help. Stack is a wealthy lad, and a member of one of the coast's bluest-blooded families. There is one thing, though, that must be reckoned with — that sly old devil Time. Unless Kirk chooses to dash across the Mexican border and take a chance, as others have done, on a shaky Mexican marriage, he is not going to marry anyone for several months, until the divorce decree from his former wife becomes final. Time has been known to thwart the bestlaid plans. Quarrels that after marriage become something trivial to be dissipated with a kiss, sometimes take on a guise of major importance when the bonds between two people are not cemented by marriage — and pouf goes a good love. None of this may happen to Kirk Douglas and Irene McEvoy. But, of course, there's no way to be certain. Kirk is notoriously close-mouthed about his love life. He was interviewed by Modern Screen shortly after he was separated from his ex-wife. He was asked, naturally, if there was to be a divorce. His answer was short and to the point. "I won't talk about it," he said. "I just won't talk about it." Some months later, when it seemed everyone was certain that there was to be a divorce, although even then some columnists were not too sure, for they predicted a reconciliation, Kirk was asked the same question. His answer was, "I won't talk about it." The point is that upon both occasions Kirk Douglas knew his marriage was ended. At the last interview it is a fact that a property settlement had been made, grounds charged, and all the details of a dissolution of a union involving children done away with. It could have done no harm to admit it, but Kirk Douglas wouldn't talk. And won't now. So there you have it. The case of the suspicious romance. The case of the honeymoon cottage. The case of the rare devotion. The case of the newly-inhibited man. If you think it adds up to the case of the bride and groom — you'll have to wait a , while to prove it. The End