Modern Screen (Dec 1948 - Oct 1949)

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Please send mo your FltKE catalog describing your training course In professional millinery, I'nnt Name Addrcsn 1 irrepressible hijinks during the making of the first one — was replaced by Lewis Stone and attention in the next story was concentrated on the character of Andy. So You're Only Young Once was made — in 18 days, at a cost of $181,000. The success of this was even more tremendous— and the Hardy Family became a series. It's been the most profitable venture MGM has ever undertaken. When it wound up with Love Laughs at Andy Hardy in 1946, it had grossed about $27,000,000 — and, in the course of it, Mickey had been box-office champion for three straight years— 1939-40-41. And there's an old friend of Mickey's who's another excellent case in point — Judy Garland. When Judy applied for a job with MGM back in 1935, she was right in the middle of the awkward age. Three other studios had already refused employment to the chubby 13-year-old with the long legs and impossible posture. But the MGM execs detected something in the girl the others had missed behind the coltish ungainliness — a wistfully humorous charm — and when they heard that astonishing, stadium-sized voice coming from the 4-foot-10 kid, they signed her at once. Her first assignment was a short subject, Every Sunday Afternoon, in which she was teamed with Deanna Durbin. After the studio failed to lift Deanna's option, and Deanna went right over to Universal to become a box-office phenomenon in Three Smart Girls, Judy was known around the lot as "the girl they kept when they let Deanna Durbin go." Then 20th Century-Fox borrowed her for an epic called Pigskin Parade, a Grade B but very funny musical football satire in which Judy, in the role of a leatherlunged hill-billy, almost destroyed the sound apparatus with her all-out rendition of "It's Love I'm After." When Judy saw herself on the screen in this, she cried all night. "I look like a fat little pig in pigtails," she moaned. However, her low opinion was not shared by the press or public, who found her delightful. Judy had scored her first big hit. She scored a much larger hit when, after she'd sung "Dear Mr. Gable" at a 1937 studio birthday party for Mr. G., the studio had her give a repeat performance in Broadway Melody of 1938. This firmly established Judy on the way to one of the most spectacular successes in Hollywood. And it was just that way with Deanna Durbin. Three Smart Girls made her a star at 13 — and throughout the years of adolescence she was box-office dynamite. Deanna has lately had career troubles — as recounted in last month's Modern Screen — but long before those difficulties got underway, Deanna was well out of the awkward age. Jane Powell's another who began her screen career in the midst of a theoretically terrible period. She was 14 when, on a vacation in Los Angeles from her home town of Portland, Oregon — where the citizenry were already cheering her wildly on her own radio show — she sang an aria from Carmen on Janet Gaynor's Hollywood Showcase program. The very next day she was signed as a guest on the Edgar BergenCharlie McCarthy madhouse. On this she created a national stir and. one week later, Jane was signing an MGM contract. Loaned out to United Artists, she made her debut in Song of the Open Road. Then, on her home lot, came Holiday In Mexico, Luxury Liner and all the other triumphs for Janie. Peggy Ann Garner, having started in 1938 in Little Miss Thoroughbred with Ann Sheridan, and having gone onward and upward in such memorable flicks as The Pied Piper, Jane Eyre and The Keys of the Kingdom, was a Hollywood veteran by the time she was 12. As does Margaret O'Brien today, Peggy Ann faced the awkward age. And what happened? A Tree Grows in Brooklyn happened. The bugaboo has held no fears for Miss Garner— who, at 16, has one of the brightest movie futures of any young actress around. And so, ladies and gentlemen, we give you Peggy Ann Garner, Shirley Temple, Elizabeth Taylor, Mickey Rooney, Judy Garland, Deanna Durbin and Jane Powell— all living, breathing proofs that the growing-up period need not devastate a screen career. It is, we'll grant, still a problem — and yet, as every year more and more of the Hollywood young fry progress smoothly through the awkward age, the problem is becoming less and less a bugaboo. Are you worrying, Margaret O'Brien? Then stop it! There's life in the old girl yet! The End BLAZ.E" KlNO OF u/K-p The wcwof/? hokss FflOM /930 To 1138 MODERN SCREEN ">/3 'Hey, -Guess who's here again!"