Modern Screen (Dec 1935 - Nov 1936)

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Tender words have been as fruitless as yesterday's glowing notices. Now Isabel is catching on in Hollywood once more. But she doesn't dare rejoice yet. She can't forget how she's been somehow stopped before. "I've been on the brink of amounting to something in pictures so often," she says, "that I'm afraid to talk about tomorrow. I've prayed, over and over, that this'll be the time I can hold on !" She's so frequently undergone this waiting for a genuine welcome that you can discern an undercurrent of desperation in the tone of her voice. For the ambitious, age is always a bugaboo ; for an actress it is a special hobgoblin. Now that Isabel has reached her mid-twenties, she glimpses thirty on the horizon. She feels that if she hasn't made a go of Hollywood by then, it'll be too late. She isn't the kind who is sorry for herself. Her greeting is as gay as ever. I see her at the popular cafes and parties, attempting to be the jolly self she inherently is. But this constant bucking up against an incomprehensible destiny has left a mark on her inner self. Her ninety-eight pounds seem to have had to move ninety-eight thousand pounds for every inning. She will never lower her colors, appear anything but chipper. But I can tell you, confidentially, that she's bewildered, dazed by the succession of hurts that have been heaped upon her. w E sat in the crowded Vendome not long ago. Isabel had on a smart navy blue suit, and wore a perky straw hat that must have convinced the tourists present that she was on the crest of the wave. I guess the fox furs did give a finishing touch. The strangers were awed at Fame, close up. I wish they had been listening to the game spirit behind that "front." 'T wanted foxes for years!" Isabel vowed to me. "But I never could afford them. Then I earned some unexpected money and I resolved to do a nice deed for Daddy and also to buy these !" A year ago, after her splendid contribution to "A Tale of Two Cities," Isabel believed she was licked in California. She left, and only a peculiar circumstance brought her back. Yet in the beginning there were nothing but promising omens. She has no brothers or sisters, so her parents lavished their devotion upon her. Her father was the son of wealthy people in the East and had had every educational advantage. He'd studied medicine at an excellent university and established records with his brilliant research. Her mother's heritage was that of Southern gentility. And in the small town of Shoshoni, Wyoming, where the couple settled, the Jewells were highly respected. "I had all the benefits one could have," she affirms. "Loving guidance, comforts — ponies as a child, a car when I was old enough." She was sent to an Episcopal school in Minnesota, and graduated at fifteen, president of the senior class. Wellesley was next on her program, but she had an ill spell and it was decided the winters in Kentucky would be milder. She en tered a college for women there. In the middle of her sophomore year, when she was seventeen, Isabel's desire for the stage overwhelmed her. "I was tired of getting A's in Latin," she grins, remembering. "I'd had a hunch that I should adore acting. A collegiate try-out induced me to jump from amateur to professional shows. I'd been vaguely discontented and I realized why. So I ran away to Chicago and a stock company !" "My parents assisted me financially and morally. The background they'd provided me with was such a help in the theatre. When I was fifteen I'd read all the 'musts' on anyone's literature list. I was mentally acquainted with every sort of individual before I met him or her in reality." Being definitely advanced and fortified for the vagaries of the world didn't, however, save Isabel from the series of disappointments that went hand in hand with the steps upward. Three seasons in stock and she tackled Broadway. When she bade goodbye to the Mid-West she swore to be thoroughly independent henceforth. It's what you accomplish on your own that counts, in her estimation of values. There was such a lean streak, after she landed in New York, that her major debut was precisely in the nick o' time. She substituted for an understudy who wasn't quite up to carrying off the feminine lead in "Up Pops the Devil." Isabel had an hour's rehearsal and went on to render so capable a portrayal that she was retained instead of the regular star. If that isn't making the most of a break, what is? She got to Hollywood in the spring of 1932. "Blessed Event' was transferred to films and she was brought along from the original cast to duplicate a supporting, but important emotional role. The way she vitalized it drew raves. But Isabel didn't draw any offers for eleven months I THE between-engagements blues she'd experienced in New York were mild compared to what she's had to face in Hollywood. Eventually she did wangle another exceptional dramatic picture assignment, and was duly praised. When nothing resulted she campaigned for a comedy part at the local El Capitan Theatre. "CounsellorAt-Law" was subsequently screened and Isabel was again drafted to copy her stage characterization. But now she was classified as a wisecracker in the studios' listing. M-G-M appreciated her ability and Isabel had her fingers crossed earnestly when she was awarded a contract. Prospects were grand until the Mexican escapade of Lee Tracy's, exaggerated by the newspapers, seemed to kill most of the budding enthusiasm for promoting her to stardom. She was in love with Lee, and she loyally stuck to him when he was in trouble. Then in the ensuing year her romance with him went on the rocks. So did her career. Meanwhile, blindness had robbed her father of his sight. _ Isabel had sent for her parents and in their adversity had become their chief prop. She spent all she could scrape together in the endeavor to restore the precious vision. There was a brief flare of hope — only that. Many a fan assumes that once you have a name you're set. Isabel's case is evidence that a reputation literally can be of no consequence. Everyone agreed she