Screenland (Nov 1950-Oct 1951)

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D. □ I NAME I | ADDRESS . I CITV STATE MAIL COUPON TODAY drama, minored in psychology. While at Wisconsin I won a Wisconsin state oratorical contest ( my oration told children how to bring up their parents — a subject upon which, considering how beautifully mine have turned out, I felt qualified to speak). As a result of this contest I was admitted to the Speech Institute of Northwestern University at Evanston, 111. I was in the radio division, took a course in radio writing, another in reading commercials, etc. Best of all, I was thrown in for the length of my stay with some of the most brilliant kids in the country. This experience really clinched the deal for me. By the time I transferred to UCLA in California (because my Uncle Erwin was teaching there) I was really strong about doing something in dramatic art — on the stage, of course. Movies never occurred to me. "At UCLA I continued to major in drama, minor in psychology. I also appeared in many of the school productions. As is customary, the Hollywood studios sent talent scouts to cover the college plays and lo, Paramount asked to test 'Wholesome Olson.' I was kind of flattered. I also thought that although I had no interest in films, loathed being photographed, even with a Brownie, I should know something about all the mediums of dramatic art of which the movies, even if not for me, is one. "For my test I did a scene from 'A Farewell To Arms.' And soon after the studio called me and said, 'You are under contract as of March 1st.' "It was as simple as that. "After being told I was under contract, I went on for weeks drawing my salary for which I did nothing except a couple of other tests I made when the studio was testing an unknown boy and needed a girl to make the test with him. This, too, is common studio practice, is Hollywood-normal. Then more weeks would go by and each week my pay check would arrive. Since it is not normal to take something for nothing, I'd go to the studio in the hope there would be something I could do to earn this money. A funny gimmick — I had a hard time getting on the studio lot. No one recognized me. No one thought I belonged. 'You didn't look,' I was later told, 'like a screen potential.' I don't now. "Eventually, I was told that an unknown girl was wanted to play opposite Randolph Scott in the Technicolor film, 'Canadian Pacific,' and how would I like to be that girl? The location shots were to be made in Canada, Banff, Lake Louise, etc. I said I would like to be that girl. "Upon my return, I was all set to go back to school — but never did go back because, while I was away, Billy Wilder had seen my tests and wanted me for the part of Betty Schaefer in 'Sunset Boulevard.' "After 'Sunset Boulevard' I was cast — again with Bill Holden who is, I think, one of the truly great actors — in 'Union Station.' Then, my fourth and most recent picture, 'Mr. Music,' with Bing Crosby. It would be wonderful enough, let's face it, for a girl to play even a 62 bit part in a Crosby picture. But I, to make it wonderful-plus, have one of the strongest parts a girl ever played in a Crosby picture. It's seldom that anyone remembers who plays with Bing, or Bob Hope or Alan Ladd, but I believe I'll be remembered in 'Mr. Music' because I motivate the story. One of the problems in the story is the age conflict which is good because it makes it believable that a young girl should play the romantic lead opposite Bing — although Bing looks about twenty years old in this picture so that my falling in love with him didn't actually need to be made believable. I love Bing, I adore him — there's a real performer, real stuff, real guy. . . . "When you've worked with Randolph Scott, Bill Holden, Gloria Swanson, Bing Crosby I guess it may be said that you are 'in the movies,' " Nancy laughed, "which reminds me that people may think a normal girl, such a normal girl as I claim to be, would not be a movie actress. Not so. The movies are a kind of a career like any other and besides, everybody wants to be in the movies. Anything that everybody wants to do is common denominator, is normal. "I was just finishing 'Mr. Music' when I fell in love . . ." Now, for the first time since she started talking, Nancy fell silent. After a moment she said, with something in her voice that had not been in it before, "It's still so fresh and romantic, so just mine and his that I — I sort of shrink from talking about it." Then giving herself a little shake, as if to say, "Now, now, my girl, none of this nonsense," Nancy said, "Actually, it's a very simple story. A friend of mine invited me over for dinner one night — and he was there. I'm sure I need not say that 'he' is Alan Lerner who wrote 'Brigadoon,' 'Love Life,' the scripts of the MGM pictures, 'Royal Wedding' and 'American In Paris' — so many things I haven't the time, nor you the space, for all of them. "He was there — across a table from me — and I was in love. How did I know it was love? I've no idea. How can you ever explain what love is? I might say that he has blond, wavy hair, blue eyes, is medium tall, very bright, very sweet, very nice — wonderful. That isn't the answer. There isn't any answer because if you have specific reasons for being in love it's my guess that you are not in lover In love, there's an extra ingredient, an unknown quantity. I don't know what it is. I don't want to know! "After the dinner party, I went out with Alan three or four times. Then he left for New York where he stayed a week. He called me every night. Every hour of every day, it kept getting deeper and stronger. Before he came back to Hollywood we'd decided to get married. The only question was when? The answer to the question was when I finished 'Mr. Music' and when my parents, who were breaking up the old home in Milwaukee, preparatory to moving to Hollywood, would arrive. Being a normal girl I couldn't, of course, be mar