Screenland Plus TV-Land (Nov 1952 - Oct 1953)

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Janet Leigh, Jane Powell, Elizabeth Taylor, Aldo Ray — may improve their acting ability to the utmost, but without the Luck of a good script and the happy fortune of some inner quality which pleases the public, they have nothing secure about their careers. No man can serve two masters, and the star who is using his movie career only with the goal of future security rarely gives his best performance to the studio. In looking at Hollywood, the psychiatrist finds certain common frustrations. There is the frustration over money: getting enough to put something by for the future. There is the frustration which comes to people who have no solid claim to public attention. That is, they know they are favored because they are beautiful, or sexy, or young, but these are passing things, and they cannot fail to realize that if these superficial qualities were lost, they would have nothing to offer the movies. There is a frustration to the more thoughtful young star in the fact that acting comes from within and while one may learn tricks of the trade, one cannot learn acting. They take lessons — in foreign languages, in singing, in dancing, in sports — but while these accomplishments may give them more flexibility so that they can fit many more types of roles, they do not create a better actor or actress. The secretary, on the other hand, who improves herself by something allied to her trade, can make herself more efficient, more valuable to her employer. Can, in a word, solidify her position with her firm. The star cannot do this, no matter how hard he works. There is a frustration, too, in the fact that the young star may be dropped at any time. One very bad picture could do it. And then what lies ahead? For the girls, there may be marriage — but there is always the gnawing suspicion that a career was given up, and love and security doesn't seem worth it. To other stars, it is frightening to realize that the young years — when other people were getting in on the ground floor of their careers and building for a sure safe future— have been used for a glamourous business which still may hot give them enough money to be able to sit on their tails and live on income for the rest of their lives. Furthermore, there is plenty of drive among the youngsters, and they do not look forward to a life of inactivity, whether they have made enough money to retire or not. Nor is there anything ahead for the retired star. How can there be anything ahead, when the star is already at the top of his profession? Anything else must seem a comedown. There are personal appearances, of course. A star might write his memoirs. Women go into dress design or interior decorating, much of which comes down to lending their names while someone else does the work. And there is television. But in the field of television films, will the same feverish dependence on luck and frustua tion for the actors develop? A well known television producer thinks it will not. The television audience is fickle, but completely different from the audience which pays money to go to a movie theatre. A star, once loved, can go on almost indefinitely. Beauty and youth have little to do with public favor in either radio or television . . . Jack Benny, Amos and Andy, the Goldbergs, and a host of other programs have run successfully for years, transferred with even greater success to television. For one thing, television audiences tend to contain older more stable minds. Such people prefer to see older actors and actresses, as a pure audience-identification. There is already an emphasis on greater reality in the programs presented. In only one way is television like Hollywood: the leaders, the writers, the producers are as harassed and as uncertain of what they are doing as their Hollywood counterparts. Still, television like radio, is run much more commercially than the film studios, and there is a certain stability which is patterned on industry rather than the aesthetic professions. Television acting, too, can be learned in many ways which will serve to lengthen the life and appeal of a star. In commenting on the fact that few television workers seem to consult psychiatrists, one noted mental doctor said bluntly that it's all a matter of fashion. "It goes without saying that I feel many many people need psychological and mental help," he remarks, "but it is equally possible for many, many people to live satisfactory useful happy lives without consulting a psychiatrist. So the psychiatric help which seems so essential to the Hollywood star is often a matter of fashion .... it is fashionable to have a psychiatrist in Hollywood — it is not fashionable to consult a psychiatrist in television circles. It's as simple as that." Asked if he thought the film stars took psychiatric treatment when it was not needed, but purely in order to keep up with the swim, he said, "Perhaps in some cases that might be true. But I do feel that the terrible frustrations and unreality of life in Hollywood superimposed on the essential unreality of the people who make a success in that town is bound to make such help necessary. Remember that in order to be a star, you must be a fanciful emotional nature, which understands and glories in unreality. Set such a nature against a pattern of stability, and it may burn clearly without wasting itself, but when it is affected by other unrealities, it is all too likely to be warped." How can the stars, and the rest of the people who make movies, stay happy and healthy? We posed that question to Dr. Fromme. "One of the greatest difficulties a star faces is the one of dumping all his eggs in one basket," he smiled. "All too often the stars neglect everything else in life but the professional side of their lives." ne 54