Modern Screen (Dec 1954 - Dec 1955)

I at him by his accuser, a small, peppery 'individual by the name of Thomas Hart Benton, who happens to be one of the foremost living American painters. Burt and his partner, Harold Hecht, had arranged with Benton to have him do a portrait of Burt in the title role of The Kentuckian, and had brought Benton to Owensboro, Kentucky, where he was to do the painting which would be used as the key piece of art in the advertising campaign. That morning Burt had agreed to be at the Owensboro Hotel at seven o'clock that evening, after the day's shooting, to sit for Benton. But it wasn't until after nine o'clock that he arrived, to find the artist in the lobby, all packed and about to return to his home in Kansas City, Missouri. Benton had lit into Burt with a flow of verbal abuse which would without doubt have won him the presidency of the Missouri Muleskinners Association, had there been such an organization and had they heard him. It was not only what he said, Burt recalled ruefully, it was the conviction he put behind it. Not until Benton had just naturally wound down had Burt said a word in defense of himself. Then he had explained that not only he, but the whole company, had been delayed several hours by problems peculiar to picture-making, and which cannot be solved unless there is complete absorption in the task. This last aspect, concentration on one's work, Benton understood well; he himself had many times painted past meal times and appointment hours when he was deeply engrossed in what he was doing. The pepper went out of his voice and the friendliness came back in. They had dinner together and Burt | posed for the canvas afterwards. But he knew then, as he knew now, that for at least one time in his life he had been bawled out by an expert. .T'hinking about Benton had taken him I * well into the third lap of his run. He ! began to wonder how close he was to runj ning a four-minute mile, and decided that I he was much closer to a four-minute halfmile. Just the same, his thoughts jumped to the young English Dr. Bannister, who had first run the four-minute mile, and from this he jumped again to his plans to make a picture in England in the summer. The title of it was Trapeze, and he had signed Sir Carol Reed to direct it. He began to pick up his pace a little bit when he started the fourth and last lap he planned to run, and felt pleased that the strength and wind for it came without too much strain. It was remarkable how much good a run could do for a man. He had arrived feeling miserable and in mourning for the sleep he had left behind in his bed. A few circuits of the track and he felt so good, so alert mentally and physically, that he was ready to tackle anything. Let's see, what problems had he? Should he make a musical? Nobody thought of him as a song-and-dance man. He would have to rehearse interminably. The long hours working at dance routines would mean his muscles would ache in new places altogether. And then there was the singing necessary. Should he try to get Montgomery Clift to work with him in Trapeze? Should he make Trapeze before he made the musical? There was Anna Magnani with whom he was working in The Rose Tattoo — should he try out a little more of his Italian on her or should he let it go with the two words he had thrown at her and which she didn't seem to get? How about his breakfast? He was getting hungry and it was a long drive home. Should he drop in at a drug store instead? "Dy this time Burt was into the home stretch and putting on a final dash. And as fast as his feet were going, so was his mind functioning as he made a series of fast decisions: Yes, he would star in a musical. Yes, he would try to get Montgomery Clift for Trapeze and Trapeze would be made before the musical. No, he would inflict no more of his selflearned Italian on Anna. The Italian he had picked up as a boy in New York, and even the Italian which had come to him in Italy as a G.I. there, was somehow not the Italian which Anna spurted at you — the words had to be shaped just right, apparently, to be delivered at her speed. And breakfast? He was too hungry to wait. He'd find a drug store in Westwood. With this last thought, Burt finished his mile run, but he didn't stop; he kept right on running toward the car. end live alone and like it (Continued from page 31 ) times, and right away we've had a New Year's elopement. Not a word of it is true. "I don't know how these things get started. Just like my supposed retirement. I've got absolutely no plans for retiring. What I'd like to do is make one picture a year, then take plenty of time off for fishing, maybe a little hunting. "I've got six weeks off between Soldier Of Fortune and The Tall Men. I expect to go down to Palm Springs, maybe to Phoenix and Tucson, and get myself a tan. Don't like to use make-up, you know. Had to for Fortune. "If I'm seen with a girl in Arizona, those marriage rumors will probably start again. But just for the record, I have no intention of getting married. Girls, yes. But marriage is out." A N irresistibly charming lover, Gable has said all this before. But sooner or later he always succumbs to the wiles and enticements of some beautiful woman. Of these he has always had an adequate i list, no matter where he has been. In Arizona, he has Betty Chisholm, a wealthy iwidow whose companionship he finds utterly delightful. An outdoor woman, Betty owns a sizable ranch where Clark can relax and take it easy. In Hollywood there's Kay Spreckels, Susan Hayward, Grace Kelly and, of course, Virginia Grey. To this list you may now add Suzanne Dadolle with whom The King traipsed around Europe two years ago. Suzanne, who gave up her job as a Schiaparelli model to become Gable's traveling companion, arrived in Hollywood a few months ago to seek her fortune. The stately beauty from Paris once had the inside track with Gable. But she gave out a premature engagement announcement— and Clark flew the coop. When he came back to Hollywood last year, he was asked if he hadn't been close to making Suzanne the fifth Mrs. Gable. His answer was curt and sharp. "No," he said. "We never discussed marriage. She just taught me to speak French." Well, Suzanne is back in town, and it will be interesting to see whether or not Gable wants to brush up on his French. To date, The King and Suzanne have encountered each other only twice. Once on the set at 20th Century-Fox where Gable was doing a luncheon scene in a Hong Kong restaurant with Susan Hayward (later that day he drove Hayward home) and once in La Rue's restaurant. 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