Modern Screen (Dec 1940 - Nov 1941)

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Even Lana's personal maid drew his wrath because she paid more attention to Lana than she did to him. When his manservant began to follow suit, Shaw was furious! He cut off all her friends with the result that it was all Lana could do to eke out a jovial "hello" as she passed her former companions on the street and in restaurants. Shaw's friends, on the other hand, were all-important. He'd bring them to his home for jam-sessions and gabfests that would last until early morning. Lana was expected to sit around at Artie's beck and call, despite six A. M. studio calls. He'd order her around as one would a servant. "Turn on the radio," "mix a couple of drinks for the boys," and so on and on — and all these things she'd do. Half the time she didn't know what they were talking about, the other half she was too tired to care. To Shaw and his friends, four bars of Bobby Hackett meant more than Hitler walking into Paris. There's no telling what eight bars meant. Although Lana admired his talents, Shaw would rarely offer to play his clarinet for her. He felt she couldn't appreciate it or didn't have the proper capacity to understand it, as did his friends. When she still had a week of retakes to do on "Two Girls On Broadway," Shaw suddenly decided they ought to go to New York and to hell with the retakes. The studio had an awful time with him but finally won out. He did take her to New York later to show her to his buddies there. He wanted her to break her film contract to go on a personal appearance tour with him. Fortunately, her advisers jumped in and nixed that idea promptly. During their marriage, Lana's mother, who'd always been closest to her, saw little of her daughter. Shaw didn't make his home inviting to a mother-in-law and, with a mother's understanding, Mrs. Turner made no effort to dissuade Lana from her decision to keep on and make a go of the ill-fated marriage. Mothers can take a lesson from Mrs. Turner. She felt the couple's problems could best be worked out by themselves, and she never interfered. Lana would see her privately away from Artie's home, but pride prevented the girl from admitting even to her mother what was going on. It was during these infrequent meetings with her mother — when the kid was choked with all these pent-up emotions — that Lana would leave her with, "Don't forget, Mummy, I love you very much, no matter what happens." Lana shared her misery and troubles with no one and, as one hurt after another continued to pile up, she finally upped and left him. There was no scene. She simply told him she was going, and she went! The fact that she left him, that the marriage was over, didn't mean a thing to Shaw. His friends will tell you that he carries no torch, is not in the least perturbed about anything that occurred. At press time, he was running around town with a new girl, Frances Neal, who was formerly Artie's friend's girl. The studio shipped Lana off to Honolulu immediately after the break to forget. The trip helped assuage the pain a little, but she's still hurt. When Lana returned from Honolulu, she was kept under close surveillance by her studio and agent. The latter saw to it that she went on no dates but those he approved of at the time. But it's open season for dates with Lana Turner now. At this writing, she's hitting the town with Vic Mature and enjoying it. The studio is happy about her revived energy. They're not worried about her being burned again. Pals from way back in New York, Franchot Tone and Sylvia Sidney reminisce on one of their weekly dates during Sylvia's temporary stay in Hollywood. 84 MODERN SCREEN