Screenland (Nov 1949-Oct 1950)

for marriage. There's too much I want to do. I want to make something of myself in my career first, to get a firm foundation under me. And that may be why I don't feel the need to get married. Not that I'm going to say, "I'll not marry until I'm thirty." That's silly. How do I know what I'll do? I may meet a girl tomorrow, fall really in love, and get married— but I don't expect this to happen. Some fellows in pictures claim that they can't tell whether a girl is interested in them for themselves or because they're in the movies. I can't quite go along with this. Oh, I admit there are girls who merely want to go with a guy to be seen, but they're easy to spot. They're as obvious as the girl who breaks a date with one fellow to go to the prom with the captain of the football team instead. As a matter of fact, most girls in Hollywood aren't the publicity hounds you'd expect. They're very normal kids who go with a fellow simply because they like him. So any young actor who gets involved with the phony type has only his own lack of good common sense to blame. I do say that being an actor makes you more wary of marriage. You read of the unhappy experiences some stars have, and you get over-cautious. But I think a marriage can be liappy here if the fellow has a good basic understanding of people and if he has had a good family background. Like any other fellow, I look for certain things in a girl. A sense of humor is important and so is the sharing of mutual interests. But I go on the premise that not only must I love the girl — I must also like her. There have been times when I've thought a certain girl was right for me. Then a few months pass and I find that suddenly, for no apparent reason, she and I have nothing in common. A fellow, especially in Hollywood, has to be sure that the girl he picks is the kind who can change along with him, who can make the inevitable character readjustments gracefully. But to be general, I think the girl I'll marry will have to be a little unpredictable. I wouldn't want to know what she was thinking all of the time or what she was going to do next. That only makes a girl dull. I'd also like a girl who thought more of her home than her career — and yet who was understanding of my work. She needn't have any great talents or accomplishments either, but I'd like her to appreciate the things I do — like music, books, art, and travel. But why all this analyzing? What good is it? One day you look up and meet someone who may have none of the qualities you think you want. There she is; something happens to you, and you don't know why. Romance and Hollywood, then, do have a lot in common. They can both do unpredictable things to you. To be a success in either requires an innate intelligence and a willingness to learn — plus no little sacrifice. And both must never be taken for granted! So — is Hollywood good for a young actor? Yes — if he has sense enough to want it to be. But I'll never believe it can defeat an ambition or wreck a marriage. Those are things that only the individual himself can do — to himself. FRED ROBBINS Hya dear! Are you loaded with cheer? Well the new kid is here — So a righteous new year! YEAH, everything's gonna be nifty in 1950! A whole fresh set of twelves and bunches of fresh cookies, too. One thing sure about the new annum, there'll be a mound of sound that's just aS new — and we'll take a ride through the grooves of each little pancake so you'll know just which ones to tell the man in the jump dump to wrap up. So salud dinero, y amor — (health, wealth and love) and let's percolate! HEAVENLY! Vic Damone — What a way to start the new one right! Put Vittorio Farinola on the victrola! And melt like the snow to "Why Was I Born" and "Lonely Night," both dripping with drama and soul! "Why Was I Born" — by Jerome Kern and Oscar Hammerstein from "Show Boat," is Vic's best yet, and that's typing a mouthful! Back is from Jarnefel's "Berceuse" with words by Alec Wilder — also very super! How this kid is singing! (Mercury) Doris Day — "Bluebird On Your Windowsill" and "The River Seine." Couple of mediocre tunes by Dodo with performance much better than the material. That's the measure of an artist — to rise above your song — as Dodo does here! She deserves better stuff, tho! We can still hear her album of goodies! ( Columbia) Tony Martin — No matter which turntable has the Tony — 'tis lucky in sooth! For the marcelled moaner follows up his thriller, "Circus," with further arguments that Cyd's boy doesn't have to bow to anyone — so great is his work! There's "Toot Toot Tootsie," thundering away like Jolson never did; "You Call It Madness," lush and most provoking, and the other cookie, "There's No Tomorrow," based on "O Sole Mio," and "A Thousand Violins." This stuff goes down like melted cheese! Maybe Cyd has something to do with it! (Victor) Frank Sinatra — Nancy's Daddy's new slabs are nothing to call home person-toperson about. "Bye Bye Baby" and "Just A Kiss Apart" from "Gentlemen Prefer Blondes," are surprisingly mediocre when you see the names of the authors on the label; Julie Styne and Leo Robin. Hope the show's better than these songs. Frank's "Lucky Old Sun" was better left undone. It's embarrassing compared with the other Frankie's. "Could 'Ja" is the best of the lot with the Pied Pipers