Silver Screen (Nov 1938-Apr 1939)

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THE HOLLYWOOD T)ERBY By Whitney William: Perhaps posing in clothes she didn't own caused Lucille Ball to become cynical. She dislikes pretense and stays "just herself," and that's good enough for us. I IX ) V I know how Mm <mm there in the vast movie ■ .mcliciH es I eel alxuil il . lull I always get a kick out of watching new players in their i i>c Inim u1>m in il\ to .1 portion of prominence on the screen; what measures they employ to achieve their goal, how their new position matches IIP8 that from which they originally sprung, the changes— if any ^ —in personality, outlook, opinion, and how they regard the future and their chances in the Hollywood scheme of things. To me, it's a fascinating study of a passing parade, forever kaleidoscopic, undulled even by years of steady observation. More particularly, when four such charming and talented demoiselles as Lana Turner, Marjorie Weaver, Nan Grey and Lucille Ball are the subjects of inquiry. This quartet of youthful loveliness represents the full flower of the newer crop of screen notables. Individually and collectively, they are worthy of attention on any screen and potentiallv are as likely candidates for stardom as any who recently have forged into the spotlight. Glamour, allure and a certain beauty attaches to each, as well as an overwhelming enthusiasm. Our purpose in grouping these four girls together for comparative reasons however, is not wholly in view of these estimable and paralleled virtues. It is deeper than that ... it is for what they stand. Nan Grey was escorted to several studios and each studio wished her to stay. Which certainly interfered with her plan to be a newspaper woman. In them, and their respective struggles for film recognition, lies the endless competition between the North ana the South. Two from either side of the Mason and Dixon Line, they symbolize the spirit of the new North and the new South and from them we may be able to determine whether the chill of Northern climes provides better screen material, or the nightingales among the magnolia blooms in the South develop in the ladies of Dixie those qualities which are so superior. If, indeed, one may reach such a conclusion. Protagonists of the Blue are Lana Turner and Lucille Ball; of the Grey, Marjorie Weaver and Nan Grey. By devious routes they've reached Hollywood, scored on the screen, insinuated themselves upon public consciousness. Alike as peas in the proverbial pod in certain respects, in others they are as far removed as the poles. Striking, first of all, is the fact that in their childhood, which was the happy contented existence of normalcy, none of the quartet harbored any theatrical aspirations. In her home town of Wallace, Idaho, Lana was like any other child of moderate circumstances, her interest resting mainly in her pencil and drawing pad, on which she sketched figures and beautiful ladies garbed in the most exorbitant creations. Lucille, in Butte, Montana, where her father was an electrical engineer with the Anaconda Copper Company, was never so happy as when she could don old overalls, throw school troubles to the winds and play with older boys. 26 Silver Screen