Modern Screen (Jan-Nov 1956)

lOUeila parSOnS (cont. jrom page 17) as a husband. At a recent night-club party she whispered in his ear, "You haven't told me you love me in a whole hour." (?!) THE GRIM SUPERSTITION of show business, that deaths come in threes, rounded out its sad cycle with the sudden and unexpected passing of John Hodiak of a heart attack, within three weeks of James Dean's fatal accident and three months of Robert Francis' plane crash. All young men. All at the height of their vitality and their careers. Jimmy was twentyfour. Bob was twenty-five. John was forty-one, just reaching his full maturity as a screen and stage star after a two-year triumph on Broadway in The Caine Mutiny Couit-Martial and as the prosecuting attorney in the film drama. Trial. His death came with such heartbreaking suddenness it left his mother and father and sister, Ann, with whom he lived, in a state of shock. John had awakened soon after six in the morning preparatory to going to 20th CenturyFox for his scenes in Threshold Of Space. He complained of "gas pains" and indigestion. Forty minutes later he was dead! I will always believe that John never really got over his divorce from Anne Baxter. He loved her very much and his happiness reached its peak when their daughter, Katrina, was born. He used to say, "I come from the wrong side of the tracks and Anne comes from the right side — but we're very happy walking down the middle." That their happiness didn't last much longer than six years was termed by John, "A major failure for both of us." He leaves behind him the respect and admiration of his fellow workers and the undying devotion of his family to his memory. I never heard anyone say he didn't like John Hodiak. What greater epitaph can be written for any man? CLOSE-UP OF LORI NELSON. My secretary said, one bright and shining fall morning, "Do you know which girl is being mentioned in your fan mail more than any other?" "Marilyn Monroe? Debbie Reynolds Fisher?" I guessed. "Nope," she answered handing me a fistful of mail, "Lori Nelson." Well, I always say you don't have to knock me down with a fender before I catch on — so that's why I'm giving you a little close-" up this month of my Most Written About Gal, despite the fact that she's never been in a big super-spectacle movie. Instead, Lori appears in smaller-budget pictures which circulate in the small towns and I think it is because of this that more people seem to know her than are familiar with girls like Carol Ohmart and Joan Collins who have been in bigger pictures with more publicity. Lori was bom Dixie Kay Nelson in Santa Fe. New Mexico, twenty-two years ago, had her name changed to Lori when she was signed at U-I because Dixie Kay sounded "too flip pant." The Lori comes from her mother, who is Loree. Daughter of a motion picture technician, she's been in show business since she was five, featured as a top Hollywood photographers' model and winner, in 1938, of the title, "Little Miss America." At one time she toured the country as "Santa Fe's Shirley Temple." While still a junior in high school, Lori was brought to the attention of U-I by a scout. She started her career as a blonde, pretty leading lady in Ma And Pa Kettle At The Fair, followed by several of the Francis movies, Ai]-American with Tony Curtis and The Big Rainbow. She's never been married, liked Robert Francis better than any boy she's ever dated, also goes for Tab Hunter, still lives with her parents, likes blue, hates purple, wants to work for C. B. De Mille and is very pleased that you like her so much. I told her. THE ONLY WAY to describe the glowing feeling of mutual admiration between our town and Eva Marie Saint is that it's a great big love affair. Miss Saint, who lives up to her name is called a "livin' doll," "the sweetest kid" ever to hit our town and "the world's most natural human being," not only by her co-workers on Bob Hope's That Certain Feeling but by everyone else. Believe me, they've all got that certain feeling about Eva Marie. And, why not? The winner of last year's Oscar (for the best supporting actress in On The Warerfronr) has absolutely no grand airs. She can't drive a car, so she rolls up for work every day on the back seat of a taxi and by now she knows her regular drivers by their first names and all about their families. One of the boys told me, "Her baby is the same age as mine and Miss Saint wrote out a formula the other day for me to give my wife which cleared up the kid's rash." Even when she has a big dramatic scene in front of the cameras, she never asks that the set be cleared or that silence should reign while she concentrates. She's very much in love with her husband, TV director-producer Jeffrey Hayden, and won't even listen to cynical talk about unhappy marriages. Her simple but beautiful philosophy is, "Think right about everything and everything will be all right." Everybody is surely thinking right about you. Miss Eva Marie. JIM DEAN'S FUNERAL: Henry Gins berg, producer of Gianf, was one of James Dean's few close Hollywood friends who made the journey to the late, beloved Jimmy's home town for his funeral. He told me, "The simple Quaker services were beautiful and heartfelt without dramatic ostentation, which is the way Jimmy would have wanted it. "But, at the funeral parlor, immediately preceding the services, I found my eye drawn to one particular floral piece. It was a silver BET YOU COULDN'T GUESS! 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