Modern Screen (Feb-Dec 1957)

No Other Leading Toothpaste CUERNS CLEANS CLEANS YOUR BREATH*** it GUARDS GUARDS GUARDS YOUR TEETH Like Colgate Dental Cream! Because No Other Leading Toothpaste Contains GARDOLTO GIVE YOU LONG-LASTING PROTECTION AGAINST BOTH BAD BREATH AND TOOTH DECAY ...With Just One Brushing! Unlike other leading toothpastes, Colgate's forms an invisible, protective shield around your teeth that fights decay all day . . . with just one brushing! Gives you a cleaner, fresher breath all day, too ! Ask your dentist how often to brush your teeth. But remember! No other leading toothpaste* cleans your breath while it guards your teeth like Colgate Dental Cream with Gardol! for Children of All Ages! -™ to Use in All Water Areas! Makes teeth whiter — cannot stain or discolor! S^v,1 # r<J Guaranteed by *A l Good Housekeeping J 4Mm(Slo GARDOL IS COLGATE'S TRADE-MARK N-LAUROYL SARCOSIt director Mike Curtiz says "DO COME TO HOLLYWOOD" As director Mike Curtiz says, "You can't be discovered unless you're on the scene!" A few of the stars that Mike helped up the ladder — just because they ■were around to be helped! — David Brian, Doris Day, John Garfield, Alexis Smith, Eleanor Parker, Errol Flynn. r.. M For years, Hollywood has been sending out the same storm warning, Don t come to us ] . WA find you." Now, says Michael Curtiz, veteran director of some eicmtv nictures. it's high time for some reverse propaganda. "Of course, come to Hollywood!" says Mike Curtiz. italiciz.ng the come * hi best Hungarian accent. Then he demands, "Can you think of anybody ^ 1 not come to Hollywood, who is today a name on the screen? As.de from those who are from the New York stage or TV? Be on the scene! His own legendary fund of stories on discovering people all prove his pom "We were making Mildred Piercer he says. "I needed two men . Zachary Scot was already set as the heavy. But the other guy was a problem. Here he lapses nto pure Cu tiz. "I vishalized him as a tall, lahnky fellow, like Gary Cooper, but not Gary Cooper-sometink else. Then a fellow comes into my office in a carpenterf suit, to do some work. I look. It was David Brian, and he got the part. Curtiz goes on, "And I will never forget the day I first interviewed Dons Day. I don't think sh has forgotten, either. I had sent the Romance On The High SeS script to Betty Hutton. She was enthusiastic, only she was expecting a baby. S the was Doris Day, very shy, sitting in the back of the room where she looked like she hoped nobody would see her. I asked her what experience she had. and he told the truth. 'None.' She added that she had been singing with Les Brown s band When I asked gently, 'What are you doing here?' she told me her brief storyShe had da ced prett; good, she admitted, but then she had an automobile acciden wnici brokers" As she put it, T had a little voice, so I started to use that. We tested her— and she was a star in her first picture. Cu tt keeps reminiscing. "For. Four Daughters MGM had tested a hoy named John GarfieH. but they didn't like him. Fortunately, they showed me he tes and went mad about it. You know where we caught up with him? In tl « railroad station at Kansas City, where they handed him our telegram. He had left Hollywood brokenhearted, discouraged and disappointed. Alexis Smith was part of a Floradora sextet in a costume picture when Curtiz steely Wue eves spotted her. He gave Eleanor Parker her first chance at stardom, nut Paul Henreid into Casablanca when Henreid was unknown. P "But sometimes." admits Curtiz, "it isn't that easy to convince even our own people about a newcomer. When I wanted to star an extra boy. Errol Flynn. n CaLin Blood, the producer had a fit. It was the same with Eleanor Parker. But Jack Warner went along with me. He said, 'I think Mike is right. We'll gamb e. He has stories to prove that he. himself, isn't infallible. "I needed a waitress in Mildred Pierce," he chuckles. "Marilyn Monroe came in. I turned her down. • "And the time I met Kim Novak on the Paramount lot. I missed her completely. I remember it was between stages seven and eleven, and all I said to her was 'Hello ' To her agent I said the usual, Til get in touch if anything turns up. But the talent scout for Columbia Studios, Rufus Lamaire. just happened to be there, visiting. He asked her agent 'Who's the girl?' Kim was a star in her first pre ture, Pushover. . ri . i • "You see?" demands Curtiz, "Getting a break in the movies is fifty-percent luck or timing, whichever you want to call it, fifty-percent or less talent, and all personality. There are no rules or regulations except one: Be here.