Modern Screen (Dec 1948 - Oct 1949)

. . , because HOLD-BOB bobby pins really hold. The perfection of this beauty is assured because those perfect curls are formed and held in place gently, yet so very securely, by this truly superior bobby pin. There is nothing finer. More women use HOLD-BOB than all other bobby pins combined H4 a GAYLA® hair beauty aid GAYLORD PRODUCTS, INCORPORATED Jones? Didn't she still love him? Sure she did. If she hadn't, he could have found someone else. But you can't steal back a dream and give it to someone else when part-owner of the dream — in this case Jennifer Jones — hasn't given it up. There never had been a time when Robert Walker was in trouble that Jennifer Jones hadn't come to take care of him. You've read reams of copy on the great romance between Jennifer Jones and David Selznick. Their recent marriage proves that there was foundation to these stories. It was confusing to you, and I'll tell you why. The love between Robert Walker and Jennifer Jones lasted five years longer than you thought it did! It smoldered, burst into flame, very nearly died at times. It was a secret love, shared by four people: Bob, Jennifer, Robert and Michael Walker. They didn't live together. But they were a family. They shared the last days of their love jealously. Until Bob married another woman, his children didn't know their parents were divorced! If Dore Schary hadn't gone back to MGM, this story would probably have never been written. Bob Walker was on his last legs when Dore Schary called him into the studio for a talk. He put his cards face-side up on the table. He told Bob he could leave pictures, go make another life for himself, drink himself to death or do anything he wanted to. He called in Bob's father and they all talked. Dore Schary didn't give Robert Walker another chance, as they say. He asked Bob to give the world, and the movies, another chance. What for? For Bob, for his sons, for his father, his mother, the millions of kind people who adored him. Bob said yes — but he meant no. At any rate, he agreed to go to the Menninger clinic in Topeka, Kansas, to see if they could help him. There he sat on the edge of a bed for months and wouldn't talk to anyone. "Want to talk with me today, Bob?" Bob Walker didn't look up. He just shook his head. help came . . . Then one day, another man came into the room with the doctor. It was Bob's father. He ruffled his son's hair and told him to get his clothes together. "It's no use," he said to Bob. "They can't do anything for you unless you help them. . . . I'm sorry, son. Very sorry." Nobody except Bob, his dad, and the Menninger doctors know what happened then. Maybe the spirit of love and kindness that had always been at Bob's elbow got through to him. Maybe the little boy who had felt inadequate suddenly grew up and knew that life was more than a single battle. Bob asked to be allowed to stay, and promised to help. In the talks he had with the doctors in the weeks that followed, Bob Walker found out about himself. He learned that a selfish design for living is a false one. That a goal a man reaches is only a step to another goal. That a man can have many shrines, each with an equal dignity. He found out that man's greatest enemies are his frustrations. He learned what his frustrations were and whipped them. Now he's back in Hollywood. Healthy in mind and body. The first to laugh at a joke, and the first to feel sympathy for another man's sorrow. He's even discovered he likes the reporters he once scorned. He lives a quiet life in a home he bought with money he earned himself. Bob's got that old desire again. He's de termined to be the biggest and the best movie star in Hollywood. And he has somebody to bring his prizes home to — two small boys, Robert and Michael Walker. sweet and hot by leonard feather Averaoe FROM THE MOVIES COME TO THE STABLE — "Through a Long and Sleepless Night" by Bill Farrell** (MGM). Promising MGM disc debut by the 20year-old Clevelander (ne Fiorelli) who's now in his second year on the Bob Hope show. Bill, who plays everything from harmonica to bass fiddle, led an instrumental quartet, didn't start singing until '47. This is a good tune with nice background work by Earle Hagen's ork. IT'S A GREAT FEELING — title song by Pearl Bailey* (Harmony); Doris Day* (Columbia); Sammy Kaye (Victor) ."Fiddle Dee Dee" by Jimmy Dorsey* (Columbia); Johnny Desmond (MGM); Sammy Kaye (Victor). "At The Cafe Rendezvous" by Peggy Lee (Capitol); Doris Day (Columbia). "Blame My Absent-Minded Heart" by Doris Day (Columbia); Mindy Carson (Victor). "Give Me a Song With a Beautiful Melody" by Jack Carson and the Crew Chiefs* (Capitol); Larry Green (Victor); Helen Forrest (MGM). "That Was a Big Fat Lie" by Jack Carson* (Capitol ) . Pearl Bailey's helped out by Hot Lips Page on Harmony, which is Columbia's new 49-cent label and a good bargain. Jack Carson and Doris Day (they're in the picture) do the best jobs. MADAME BOVARY — album from the sound track by Miklos Rosza and MGM Studio Orchestra* (MGM). MONTANA — "Reckon I'm In Love" by Larry Parks and Betty Garrett* (MGM); Paul Weston (Capitol). MY FRIEND IRMA— "My One, My Only, My All" by Dean Martin* (Capitol); Kay Kyser (Columbia); Art Lund (MGM). "Just For Fun" by Dean Martin (Capitol); Kay Kyser (Columbia). RED HOT AND BLUE — "Where Are You Now That I Need You?" by Doris Day* (Columbia); Fran Warren (Victor). "That's Loyalty" and "Hamlet" both by Betty Hutton (Capitol). ROSEANNA MeCOY— "Roseanna" by Freddy Martin (Victor). THAT MIDNIGHT KISS— "They Didn't Believe Me" by Kathryn Grayson* (MGM); Georgie Auld* (Discovery). It'd be hard to imagine two more wildly contrasted versions of the same tune. Just for laughs, you ought to get 'em both. POPULAR SAMMY DAVIS, JR. — "Can't You See I've Got The Blues"** (Capitol). More amazing impersonations by the man with a million voices, who now adds Mel Torme and Al Hibbler to his list of victims. BOPULAR MILES DAVIS — "Israel"* (Capitol). DIZZY GILLESPIE— "Jump Did Le Ba" (Victor). BENNY GOODMAN SEXTET — "Blue Lou"* (Capitol). j — "More Moon"** (Capitol