Modern Screen (Dec 1948 - Oct 1949)

>^^>.j ; and strolled ...» of Biarritz. a. brief trip to San Sebastian Kita showed up on the passenger list of the Queen Elizabeth. Now she's home. Prince Ali? He's down at Mayfair, his Cote d'Azur villa, reportedly planning an early visit to Hollywood. (Whether or not the "romance" will flame again in that more workaday atmosphere is anybody's guess.) Orson Welles, it is said, may marry an Italian girl named Lea Padovani. Rita has her memories of a vacation that involved a Prince. And normally this story could be expected to end here. It doesn't. In addition to flashing across the horizon of European society with Ali Khan, Rita did some things that were not emphasized by the press. She attended a Paris premiere I squired W Group ,nd na 'jta insisted _-_ Aiations chil.. rit about this time, i.^-i. secretary announced: "She doesn't want anything printed about her illness because she's afraid people in America might worry." Rita's romance with Prince Ali made the headlines. Rita's appearance at a children's benefit, although noted by the European papers, received quiet treatment. It didn't fit the preconceived pattern of movie-star behavior. Certainly Rita romped around Europe with Ali Khan. It's in the record, it happened and perhaps it was unwise. But any other star of Rita's prominence, if paired with Europe's most eligible male, would have received a comparable amount of gossipy attention. Rita's mistake — if, indeed any mistake was made — was that of forgetting for a few weeks that she was Rita Hayworth. And the reporters never forgot it. The End MRS. BRISKIN'S DREAM HOUSE (Continued from page 50) organdy, are bounded by blue draperies. The bed is white with a quilted headboard of pink satin, and a duplicate is in the nursery for little Lindsay. An identical one is on order for the littlest Briskin, Candice, whom everyone calls Candy. So all three Briskin women will soon sleep, in beds of the same design. . . . Which brings to mind the loudspeaker attachment in Betty's bedroom that picks up the slightest sounds from the nursery. In most Hollywood homes, the loudspeaker is located in a nurse's room. But not in Betty's! If one of the children is crying, she wants to be awakened, and in a hurry. Something else she likes to keep close tabs on is her clothes. And to this end all her wardrobe closets are equipped with glass doors so she can see at a glance where every garment is. Her closets are so designed that each item of dress has its own compartment. For example, there's a separate space for short blouses and lingerie, one for long blouses and sweaters, one for hats and bags, one for gloves, and so on. Compared with some other actresses who practically live in Adrian's and Howard Greer's, Betty doesn't have an extraordinary amount of clothing. She has a few dressy things and one new Sophie wardrobe— which consists of 17 outfits. She bought them all in one day on the spur of the moment when she was shopping with her secretary, Susan Hawkins. She was very much pregnant with Candy at the time, and she couldn't stand the sight of maternity clothes any longer. She and Susan went down to Saks Fifth Avenue in Beverly Hills and politely asked for a private showing of the new Sophie creations. In one fell swoop, Betty ordered 17 of the 24 outfits shown. Then she had her Paramount dress form sent over to the store, and the dresses were made to fit her regular figure. This served as an added incentive to regain her prepregnancy outlines when the time came. Lindsay and Candy have a nursery room which is all sunlight and moonbeams. Windows form two sides of the room and the white walls are covered with nurseryrhyme murals. These were painted by a Walt Disney artist an 1 o cleverly executed that they extend along the toy cupboards, and the knobs on the cabinets constitute Humpty-Dumpty's eyes. The crib in the nursery is a copy of Betty's bed, but its sides are removable and it will become a youth bed before long. In the hall outside the room are two store cabinets which hold the Briskin girls' wardrobes. Like their mother, they'll have to hang their clothes neatly, because the closet doors are made of glass. If you were to judge Betty Hutton's home life by her screen roles, you'd imagine it to be wild, zany, slapstick, raucous. Not so! The Briskins lead a typically American middle class life. They're both early risers. Ted, who is a camera manufacturer, gets to his factory by nine, and Betty, even when she doesn't have to report to the studio, is up by seven. For years, when she was playing the night-club circuit, she went to bed at three in the morning and slept till noon; now she turns in at ten and awakens each morning a little after dawn. Ted comes back to lunch each day, and when Betty is working he lunches with little Lindsay. After dinner when the children are abed, the Briskins frequently slip away to their guest house, which is furnished like an old English cottage. Here Betty can study a script while Ted reads, or they both can play gin rummy, or they can hold a little poker party away from the house and the sleeping children. The guest house is equipped with a fireplace; an early English breakfront which displays a china collection; a day bed, and a cock-fight chair made and given to them by George Montgomery. Betty says she hopes to have at least three children, and if she does, the present house will be too small. When the third Briskin is en route, she and Ted are going to buy a larger house. "One with two stories and a colonial front." "When I was a little kid," Betty says, "and used to visit my school mates, I found out that the happiest families always seemed to live in two-story colonials." If happiness is any criterion, the Briskins deserve just about the largest colonial house in America. 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