Modern Screen (Dec 1949 - Nov 1950)

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SO PRETTY ON YOUR HAIR! MARTHA HYER Pafamoan Starlet 1 1 c n ' / 7 t/tWflf the PIN-CURl PERMANENT \ \ A PINWAE Pin-Curl Permanent is as easy as setting your hair at night ... no rods ... no blocking no end papers. ..NO RESETTING ! With PINWAE, one pin -curl setting with regular enameled bob pins gives you both a lasting permanent and hair style ... softly curled, manageable from the start. At all better drug, department, and variety stores. Just $1.25 {plus Fed. tax) by joan evans You a teen-ager? Then read this— a monthly feature especially for you. N<»'C5., INC., SAN GABRIEL , CALIFORNIA 78 i-V . ^. go you want to get in the movies, do you? Goodness knows, hundreds of letters from both boys and girls tell me that you do and ask for my help. When I began this fascinating job of trying to answer teen age problems I didn't know how big the desire to go into the movies was. Anyhow, I'm kind of glad that that's the pressing problem this month, because I do know a few of the answers. A lot of your letters asked me how I got into this exciting profession. I'm sure it will come as a shock to the Samuel Goldwyn publicity department to learn that there's anybody who doesn't know. But it seems there is. My break was sheer accident. I'd had only four weeks experience in summer stock playing the little girl in Guest in the House, a play written by my father and Hagar Wilde. Then a little over two years ago when I had just turned fourteen. William Selwyn, at that time Mr. Goldwyn's executive casting director, was in New York looking for a girl to play Roseanna McCov. He telephoned an actress friend of his, Katharine Willard, who was living on Cape Cod, to ask if she had seen any promising young girls. She'd never seen me in stock but we knew each other. She suggested that he get in touch with me which he did. He sent Mr. Goldwyn a test of me. Mr. Goldwyn wired back, "Bring her out." And here I am. Lucky break? You bet. It doesn't happen? It doesn't happen — but it did. Yes, I'm the lucky one and I know it and am grateful. Now let's talk about you and your chances of getting in the movies. First of all you have to ask yourself a very important question. Do you want to be just a movie star or do you want to be an actress? Now that's a very serious question and you must answer it honestly or what I have to say is not going to do a bit of good. A great many wonderful actresses are also movie stars. It should go hand in hand but a lot of times it doesn't. Here's how you can tell the difference. Is it the glamor of being in pictures that appeals to you? Is it wanting a swimming pool and beautiful clothes and fame and lots of money? If that's all— give up right now and concentrate on something else. None of the kids in pictures can afford a swimming pool. And all of us have to watch the clothes budget. We girls in pictures must have quite a lot of clothes because we get photographed so much and people complain if we wear the same thing all the time. I buy a lot of clothes from advertisements in magazines. You know, the mail order places. The things are very reasonable and very nice indeed. J^s tor fame— what's it worth, really? To have people sincerely admire your work on the screen is fine. But as for the people who just stare at you because you're in pictures— well, that kind of fame you can have. About the fortune. These days there's no such thing as a real fortune. So if it is for these reasons that you want to get in pictures— forget it. If you sincerely feel that you want to be an actor or an actress— you still have a problem. How do you know you have talent? And believe me, your friends can't tell you. I had a letter from a girl who said, "All my friends tell me I look like Lana Turner and that I'm a wonderful mimic. I can act out anything I see in the movies and copy the way anybody acts." This girl has not passed the real talent test. Looking like Lana Turner or Elizabeth Taylor or Susan Hayward is wonderful. But it will hinder your getting in pictures. The producers don't want carbon copies.