Photoplay (Jan-Jun 1963)

it had been only " Carlo and me, me and Carlo.” When they'd taunted her for going with an older man, tears filled her eyes and she'd answered, " Why don't you try to see him with my eyes, the way I see him. I on don't understand ; you'll never understand.” It was simple. She was head-over-heels , | yesterday — today — tom or ro w — then — now — forever in love. " We are always on a honeymoon,” she'd said proudly. " We don't need a location to be on a honeymoon. We are happy everywhere. We are good together. INTERVIEWER: “If Carlo cannot get his divorce from his first wife, would you go to another country with him?” SOPHIA: “I hate to think of that. I want to believe he will get the divorce and that we will get married. I do not want to go through what has already happened again. But if new obstacles should he put in our way, then we may not have a choice but to do that — to go off somewhere. We are too much in love to be separated by a legal maneuver that is against all reason, against human nature.” INTERVIEWER: “Would you have any regrets if you have to leave your native Italy to live with Carlo someplace else?” SOPHIA: “Of course I would feel terrible if I had to give up my citizenship, but I would rather do that than go through life with this yoke they have put around my neck. The world is a big place, and Carlo and I can find happiness anywhere. But I have not lost faith in Italian law. It is my country here, and I know something will work out, God willing.” INTERVIEWER: “Would you live in America?” SOPHIA: “1 have a great feeling for America. I know Carlo and I would find happiness in America if we came to live there. But I know we will feel happy in Italy once this legal problem is settled once and for all. I get letters every day from Italians who are on my side. They understand and sympathize with my problem. I am fighting for a popular cause, it would seem. Love.” INTERVIEWER: “If you and Carlo, for any reason, could not marry again, would you still stay with him?” SOPHIA: “I have known Carlo since I was a little girl, maybe fourteen. I was skinny and not pretty. He was the first real person I’ve ever known. The only man I have ever loved. I come from that kind of family. We pick a man and love him until death. There is no other way for us. My sister and mother are like that, and I am, too.” . . . There was only one more question to be asked. Not to Sophia, but to Carlo Ponli, the man who was accused of being a " bigamist” for staying with the woman he loved (despite the annulment, the bigamy charge has not been dropped) and who will be labeled an " adulterer ” if he remains with her; the man with whom , despite the fact they're not man and wife, she reportedly is planning to adopt a child. . . . INTERVIEWER: “Now that Sophia and you are no longer married, will you move out?” CARLO (glares at the questioner, looks lovingly at Sophia, and then blurts out ) : “Do you think I’m crazy?” — Jim Williams Sophia is in “Boccaccio ’70” and will be seen in “Madame,” both films Embassy. Continued from page 43 little Egypt and a dirty-minded hog-caller” (Chapman); “She should have married Frank Sinatra while he was in the mood” (Graham); “unforgivably vulgar and dull” (Kilgallen); “tasteless songs and dances” (Coleman); “displayed vast areas of skin and even more gall” (Time). Yet Eddie did nothing about making her tone down her burlesque of Liz — although when a photographer asked him to pose with Juliet in her Cleopatra costume, he answered, startled, “Are you out of your mind?” If Juliet’s antics and appearance onstage each night stirred Eddie’s memories of Liz, they were nothing compared to what happened the night his Winter Garden show opened. The socialites and celebrities were just settling into their seats when the rumor ran through the theatre: “Liz is here! Liz is here!” Down the aisle came Liz. . . . No — it wasn’t Liz! Just a showgirl from the coast, Monica Lind, who resembled her enough to be her twin sister. Later, at an opening night party at Toots Shor’s, Miss Lind’s escort, socialite Cliff Cochran, took her over to meet Eddie. After they’d returned to their own table Monica asked, “What’s the matter with this cat? He just looked at me and that was all.” Pathetic jokes During his actual Winter Garden performances Eddie made jokes about his emancipation from Liz. But they were feeble jokes, almost pathetic, as if he still wasn't quite sure if he really meant what he was saying. Then one middle-of-the-night came the phone call from Switzerland that Eddie had been both waiting for and dreading. When he returned to his friends he was, in the words of one observer, “Shaking like a rattle.” He admitted the call had been “from Elizabeth,” but all further questions — Is she coming to New York? Is she at the airport in Gstaad already? When will she be here? — Eddie answered with an apologetic, “I can’t tell you.” There were all sorts of speculation as to why Liz was coming. Walter Winchell pointed out that “Liz Taylor's momentary return means her eighteen-month tax free stay abroad expired.” Sheilah Graham wrote: “Sometimes I wonder if all this isn’t publicity. Liz coming to New York to see Eddie Fisher certainly doesn't hurt Winter Garden business.” (Or publicity for Liz Taylor, too, it might he pointed out. For. according to Publimetrix, a weekly national report which “measures” the amount of news and column space devoted to each star. Liz had slipped from the top of the publicity heap, where she reigned during her “Cleopatra” carryings-on. to a low rating of seventeen during the six weeks preceding her announcement that she was returning to America. Even Richard Burton was ahead of her in twelfth place.) But there was agreement that she'd have to see Eddie and that therefore she’d have to do battle with the girl who is always by his side, Ann-Margret. Earl Wilson, in his blow-by-blow coverage of the pre-fight activities, fired a series of questions at Eddie. Wilson : Will you he talking about a reconciliation? Fisher : There’s been no discussion of that kind at all. Wilson : Do you still love her? Fisher ( laughing ) : I heg your pardon! Wilson : What will you two have to talk about now? Fisher: We have two adopted children and there are also two boys whom I love dearly. We have things to discuss, and I’m sure we will. Wilson: You never have filed for divorce, have you? Fisher: That’s still in Mr. Louis Nizer’s hands. No matter how much of an impact Liz would have on Eddie (two glamorous negligees created especially for her by Pierre Cardin, a new hair style by Alexandre— short curls piled on top — the works, and direct from Paris), Ann-Margret was ready. What weapons did she have on hand? Simplicity (“I’ve never had a chance to be extravagant. What I have has been given to me.”) as opposed to Liz’ opulence. As Bob Wagner said about Liz, “What can you give her she can’t get for herself?” Firm moral values (she once lashed out at some people because “they mistake sex for love”) as opposed to Liz’s casual amorality. Spontaneity, freshness and youth (she is just twenty-one, and is capable of flaring up at inteviewer who said, “Anyway, Eddie's too old for you,” with the direct retort, “No, he isn’t!”) as opposed to Liz’ jaded, “there’s nothing I haven’t seen or done” attitude. Shyness and modesty (she stands quietly in the wings while Eddie performs) as opposed to Liz who was always out front sharing the limelight with him. Or stealing it altogether. A belief and faith in the miracle of love (“I know how to fall in love. You take a chance with your heart and your mind”) as opposed to Liz’ belief and faith only in herself. Weapons to use in a fight with another woman, gifts to give to the man she loves. The ability to receive and to give, the courage to make moral decisions and stand by them, the fire of youth, the willingness to stand in the background, the capacity to love and be loved: that’s what Ann-Mar P gret gives Eddie that not even Liz can. — Jim Hoffman 67