Modern Screen (Dec 1935 - Nov 1936)

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If left may serve as focal point for renewed development 90 has a breath of scandal touched her. "I always liked the boys," she laughed with a mischievous twinkle in her eyes. "During those first two years in Hollywood I had several crushes. But they were all on the side. Irving was the only one who really ever counted." WHEN Norma's first motion picture tests, due to bad lighting, brought out defects in her eyes and the extremely short skirts, then in vogue, revealed the fact that her legs were not straight, the average girl would have given up in despair. Although it took weeks of endless eft'ort, the spirit of Shearer found a way of overcoming the seemingly impossible. As Norma herself said, "I literally made myself over — built an entirely new personality." With each picture Miss Shearer makes she seems to perform that miracle. For weeks before she started work on "Romeo and Juliet" she was seen about Hollywood with her usually sleek hair curled and grown to shoulder length, such as Juliet wore. Her evening gowns were long and full and flowing. Like a cocoon turning into a butterfly Norma was subtly taking on the characteristics of Juliet. And that indomitable spirit of Shearer again asserted itself when, for three months previous to the start of the picture. Norma devoted from two to three hours a day working on the intricate ISth century dance which takes place in the exquisite ball room scene where Juliet first meets Romeo. Dormant muscles that for years had been disciplined to relax so they would soften the slender curves of Norma's pliable body and further enhance the romantic parts her roles demanded, had to be brought back into play and put under perfect control. Said Agnes de Mille, who not only spent months of research work in perfecting this dance sequence, but who also personally supervised Norma's instruction, "It was sheer force of will and determination that enabled Miss Shearer to control unused muscles and master the routine. A truly remarkable feat for an untrained dancer.'' And, I might add, almost a superhuman feat for the mother of an infant. Back at the time of the birth of her son, all Hollywood began asking, "Will Norma settle down to the role of Mrs. Irving Thalberg?" That question was soon answered when, eight months later. Miss Shearer was back at the studio making a picture saying, "A career makes a woman more interesting and inspiring to her husband." All through her years before the camera the Shearer spirit has never ciuailed when she felt she was fitted to play a desired role. Her . secret rehearsals for "The Trial of Mary Dugan," her first talking picture, in spite of the fact that Mr. Thalberg felt she was not suited to that type of role, is an example. Again when she overcame opposition in making "The Divorcee" and "The Barretts of Wimpole Street," her success proved that she again was right. Just when Hollywood had decided that a career meant more to the ambitious Miss Shearer than anything else in the world, with action swift and direct she swept all that she had fought for aside, in order to go to Europe with her hus ' band whose health had been undermined by a severe attack of influenza. Here was another side of Shearer. Her love and devotion for Irving Thalberg meant more than anything else in the world. When Norma returned to the screen a year later — a long time for any star to absent herself from pictures — she set a precedent by taking up her career where she had left it, with a warm welcome from her admirers. Some time before "The Barretts of Wimpole Street" was finished Hollywood knew that "the Thalbergs" were expecting a "blessed event." Again at the height of her career Norma had dared to jeopardize it. "Perhaps this time," Hollywood was saying, "Norma will be through with pictures." "Why not?" was asked. "She has everything. Everything that women the world over yearn for and dream about. Beauty, fame, money, a successful marriage, a social position, a son and a daughter. She has had her cake and eaten it, too. She won't be foolish enough to go back to the long, gruelling hours before the camera. What more can a career ofifer her?" BUT it wasn't long before the papers were announcing that Norma Shearer was preparing for "Romeo and Juliet," the greatest role of her eventful career. To the multitude it is difficult to understand what it is that draws Norma on and on. Those who have the idea that it is a desire for money are wrong. In spite of the princely income drawn by both Mr. and Mrs. Thalberg, they live simply and without the usual Hollywood ostentation. "I have never in all of my life been eager to possess things," said Norma to me that day. "Not even money. I have always been superstitious about even owning a home. "People buy a place, settle back and say, 'This is where I belong. This is where I am going to stay.' Then they find that they do not belong. Sometimes the result is quite terrible. Not until we had a son did Irving and I feel that we should have a home of our own. "It is not money or possessing things that count with me. It is success." Success must be the answer. That intense craving that will not let her settle down. That burning desire to go higher and higher in the adventure of life. That spirit was paramount when she commenced work in "Romeo and Juliet." "This will be one of the most thrilling adventures of my career," she said. "To do something through the new medium of the screen, that the stage has never been able to produce." Norma could no more settle down to domesticity and pass up the opportunity to play "Juliet" than she could give up the idea of living. And as she has said, pictures have been a part of her life for so long that she cannot imagine life without them. There will always be another picture, another success to struggle for, another adventure to be lived to lure Norma on. The spirit of Shearer is unquenchable. To what heights it will lead even Norma does not know.