The Exhibitor (1950)

STUDIO SURVEY SS-3 SHE'S ONLY 15 YEARS OLDBUT SHE HAS MADE HER MARK Joan Evans, Already Starred In Two Samuel Goldwyn Features, Has A Balanced Plan For Stardom And Living The dynamic debut of Joan Evans in Samuel Goldwyn’s “Roseanna McCoy,” followed by “Our Very Own,” gave me the strongest desire to get within voice range of this vividly promising young actress. Here was no mere flash in the pan but instead talent which every once in a great while the industry takes pride in discovering. Artists of her calibre are usually recruited from the ranks of the legitimate theatre, only after years of experience that moods such as Miss Evans brings to the screen can be hoped for. When the opportunity arrived for this interview, I realized what the composer meant when he wrote the tune, “I’d Climb The Highest Mountain,” for that was exactly what I had to do, climb the high¬ est mountain in these here parts. Nestled in the very ridge of the highest foothills bordering the blue Pacific is the cozy home where she lives with her parents. Incidentally, her parents are a decided asset to any actress. Her mother is Kath¬ erine Albert, a veteran publicity woman and successful short story writer, whose works have been published by many of the top national magazines, and her dad is Dale Eunson, the well-known playwright. All this, together with the interesting fact that her godmother happens to be Joan Crawford, still does not take any credit away from Joan, herself, when one realizes she is only 15. There have been countless others who have had all these same advantages, and more, who failed miserably to make even the tiniest im¬ pression on the stalwart gates of Holly¬ wood. And who now will argue with the canny judgment of that trader, Samuel Goldwyn? According to advice from that office Joan Evans is one of its choicest properties, which, in itself, bodes fair for a long and successful film career. I finally huffed and puffed my way to the crest of the mountain range. Arriving safely, it was with a sigh of relief that I settled myself down in a snug and relaxing morris chair, surrounded by the entire family, including the cocker spaniel. It seems as though they were used to the ordeal their guests were put to in reach¬ ing their eagle’s nest, and made the effort worthwhile by extending the warmest sort of hospitalitly. It did the trick nicely, and in a few moments I was perfectly at ease busily engaged in taking close range stock of Miss Evans. I liked what I saw, and what I heard. This 15-year-old has an intelligence startlingly flexible. Without losing the verve and urge of youth, she flashes brightly with adult thoughts which easily shows why directors love to put her before the cameras, and also why at the present time several top flight writers are fashion¬ ing screen plays with Joan Evans defi¬ nitely in mind for the leading dramatic role. When asked about dates and other sundry features of teen-age life, I was treated to a most brilliant and easy-tounderstand view on that most important subject. After all, it is common knowledge that most young actresses are closely guarded by their doting parents, and hampered from leading natural and normal lives by the studio watchdogs. But this is not the case with Joan Evans. Both her parents and the Gold¬ wyn executives are so convinced of her ability to take care of herself and select her own friends that they have given her carte blanche in this phase of her life. She appreciates this freedom for she has but to look about her to see how harassed and frustrated are other young stars whose doting parents have built high and forbidding walls about them shutting out all the happy and carefree pleasures of natural youth. It was this you’re-on-your-own brand of schooling that gave Goldwyn’s “Rose¬ anna McCoy” and “Our Very Own” the fresh and vital portrayal of her, so why, reason her parents, should they at this late date interfere with the very things which have doubtlessly inspired her to these efforts. A true appreciation for JOAN EVANS dramatics does not come from locked doors and barred activities but rather from the delightful rush of life by one’s eyes and heart. True, it is intensely in¬ teresting to sense such a deep apprecia¬ tion for the subtleties of life in one of her tender years, but there it is, and you can take it or leave it. Judging from the tremendous response to the 1949 Exhibitor Laurel Awards poll, which made her the Number One new female personality of the year, both ex¬ hibitors and public alike are only too eager to take it. When working on a picture, she governs her social activities so that there is time allowed for proper rest, schooling, which is a requirement in all school age players, and also for complete understanding of the script and its spirit. There is no per¬ son more intensely concerned with Joan Evans’ screen future than Joan Evans herself. Never once has a worried assist¬ ant director had to put in a hurried call to find out why she was not yet on the set, or a cameraman been put to the task of covering fatigue brought on by late hours. And this form of self government has found her her own taskmaster. This form of self-adjustment will see to it that she will surely rise to real greatness in not only the Hollywood scene but also in the theatre, as this art of hers has the stamp of the theatre indelibly imprinted upon it. After I had bid the cliff dwellers goodbye, and was winding my careful way down the steep grade earthwards, I reflected upon the happenings of the after¬ noon, and thanked my good fortune at being able to be in a position to do this type of work, which I enjoy so very much, thanks to real artists like Miss Joan Evans. — P. M. George Murphy ( Continued, from preceding page ) once he gets the project started. Murphy is not shy but he is modest when discuss¬ ing his public relations work on behalf of the industry. He commented, “I’m just one of many who gives his time for creat¬ ing goodwill. If I ever compiled a list of the ordinary salaries of those who have given their time and effort the figures would be astronomical. Jack Benny’s free time would look like the national debt, not to mention Bing Crosby’s and hundreds of others. Actors are the only group of people in the world who gladly give away the thing they have to sell. After some 20 years in the business, I’m definitely con¬ vinced that the guy who wrote the song, There s No Business Like Show Business,’ knew what he was talking about.” Farley Granger is oblivious of the admiring glances of Joan Evans, and concentrates on Ann Blyth in this scene from Samuel Goldwyn's “Our Very Own," an RKO release, slated for distribution in August. Jidy 12, 1950 EXHIBITOR