Photoplay (Jan-Jun 1963)

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The tables are topped with marble, their pedestals covered with gold rosettes. Ihe sofas are thick with orange and green velvet. A marble urn overflows with artificial grapes. Everything is gilded and ornate. Yet much of what fills the house in Bel A ir are dreams and responsibilities that began in Smithton. Pa., where chicken was served every Sunday. “My father was a sweet, marvelous, human being,” Shirley says. “He was a giving. sunny man whom I adored. All of my fantasy comes from him. On summer afternoons he would take me to a double feature. Then we would walk home for supper. After supper we would go back to another double feature. My mother is a very strong woman. She hates movies.” Shirley laughs. “I really think that, to her. one of the worst things about my being an actress is that she feels she has to go see my pictures. All my ideals and my strength come from her. My parents complemented each other, and I inherited the good from each of them.” Implicit in her voice and in a nervous motion of her hand is her one worry — what effect a less sheltered childhood will have on her own sons. “Becoming a prostitute gave me status in my professional and private life,” she says. “After “Elmer Gantry’ I was lionized. People who would never talk to me before invited me to their parties.” She shrugs. “Tm not afraid of leeches. I'm a good enough judge of character to know if someone is trying to use me. But the children are too immature to discriminate. and people have already started to try to use Shaun.” "Mommy, Shaun said a few days ago. "I'm a star.” Just like that — a star. RICHARD BURTON Continued from page 52 of rather topsy-turvy happiness begin for them. Because they were happy years — 1949 to 1961. Richard earned a good deal ! of money. (He once said, amazed. “Just | think of it, but for this film alone I’m earning more money than my family did in 400 j years!”) He shared much of that money with his family. (Says Sis: “He is the most generous boy alive. He has given all of us, his brothers and sisters, things we thought we would never see.” Says cousin Dillwyn: ““You can't shake hands with him to say goodbye that you don’t find a fiver for you where his hand was a moment before.”) He bought himself, among other cars, the Rolls-Royce he once dreamed of. (A favorite story in Taibach concerns the time Richard showed the handsome gray For a moment Shirley didn't understand. 0 “You mean a star that shines in the sky?” “No." He tried to explain something he was too young to make sense of. “They told me some mommies and daddies are stars, so I’m a star too.” Shirley does not know who “told him,” n nor will she ever be able to find out. At « the moment. Shaun is still too young to ! ; understand what he is being “told.” He i listens without comprehending. “‘Have you ever been in Oklahoma, ! Mommy?” ] I I “You mean the state of Oklahoma, like j 1 we live in California?” He nods his head. “Yes, I was there once.” For the moment, that is the end of it. But in a year or two he will know that his j Mommy is different because she is a motion picture star and that he is different because she is his Mommy. She remembers hack to her own child 1 hood and says again. “But maybe my childhood would he too simple a preparation for the complicated world in which ; Shaun and Patrick will live.” Having children has changed her more than fame was able to. The girl who dared a helicopter ride with a man who had never piloted a helicopter is afraid of flying now. I he girl who drove down rutted country roads at sixty miles an hour in i sists on buckling her safety belt. “I never had anyone dependent on me | before, she says. “Jack was responsible for me. Now I’m responsible for two other people.' It is a responsibility that she accepts in as casual a fashion as she has accepted fame and money. “Maybe I haven't had as great a life as I imagine,” she says, “but I think I did. Maybe the rest of it won't he as good. But I think it will. And that’s all that matters.” J — Aljean Meltsir Shirley’s in “The Music Man,” WB. and “The Courtship of Eddie’s Father.” M-G-M. automobile to his nearsighted dad. Dutifully, they say. Old Dick got up from his chair, looked through the window at the Rolls outside, squinted and said: “You say that's a car. Rich? It looks to me more like a bloody boat!") Two daughters were born to him and Sybil. (Says a friend: "When he says their names — Kate and Jessica — they come out like sighs. He adores those children. He’s . bathed them, fed them — adored them.”) “I nearly died laughing” Professionally for Richard (Sybil retired from theatrical work shortly after Kate's birth) — the years were magnificent, artistically and financially speaking. There were more films. There was more stage work — including, in 1951, a triumphant debut with the old Vic Company as Hamlet, that Danish prince Rich had first gotten to know on that hill back in Taibach. There was, in 1952, a trip to New York i (scene of his old RAF pub-crawlings) with the Christopher Fry play “The Lady's Not For Burning,” and an award for the most promising actor of the year on Broadway. There were other honors. And the beginning of long friendships. (Such stalwarts of the British theater as Laurence