Modern Screen (Jan-Dec 1960)

Record Details:

Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.

Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.

Charlton Heston * If you were to visit Hollywood, one of the first things you'd want to do, perhaps, would be to take a tour of a movie studio and have lunch at the studio commisary. So did I. So when I called Nick Adams for an interview, and he suggested, "Let's have lunch at the Paramount commissary at 12:30," it took less than three seconds of deliberation to say "Fine" — and somehow I got there by 12:12 (all the better to get an advance look at the place). I was stopped at the studio gate by a guard, but after he found my name on the appropriate list, I was permitted through and directed to a square, flat building about two city blocks from the entrance. I passed buildings which housed a barber shop, a tailor and a hairdresser, and reflected that you could live within the studio walls for a week quite comfortably. The commissary, called the "Cafe Continental" at Paramount, is a square building one story high, with a small vestibule at the entrance. It looks like a tearoom, floored in shining linoleum, with square tables the size of bridge tables set up throughout the room, and wide aisles in between. DINING WITH THE STARS by Blanche E. Schiffman A waitress directed me to a table, and handed me a menu: a large square of cardboard folded in half, printed in royal blue and bearing a Paramount crest across the front. Nick Adams arrived to find me chuckling over the menu. "I think I'll have this," I said, pointing to: Dean Martin Special, Egg Shells on Toast with Cracked Crab a la 5-Iron ... 7 yen. "In case you're running short of yen, you might want to try this," Nick laughed, pointing to: Jerry Lewis Special, Breaded Tweed Jacket With Almond Sauce and Roasted, Lemon Juice with Peas and Canned Pot Roast . . . $7.00. "That's just for the tourists. Here's the entry for the home folks," I declared, coming across another notation further down on the menu: Jerry Lewis Salad (This Is For Real), Chopped Cucumber, Lettuce, Tomato, Celery, and Green Pepper with Special Dressing . . . $1.75. I studied the menu carefully, trying to make up my mind which of the stars' -favorite dishes listed on the menu I would choose: deliberating between the relative merits of Turkey and Eggs a la Crosby, Spanish Omelette a la Alan {Continued on page 12) Jerry Lewis