Modern Screen (Dec 1933 - Oct 1934)

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On bended knees did Billy Bakewell (left) and Johnny Mack Brown (right) bid Mr. and Mrs. Ralph Bellamy goodbye! They were headed for New York, where Ralph has a leading role in "Woman in the Dark," at the Biograph Studios. lent to what it used to mean when a Russian was sent to Siberia. Off the screen, means out of it. It is only a miracle that Chester escaped oblivion. He didn't. The minute he was free he began to get offers. Chester has gotten so used to living quietly that, now that he could run around, he hasn't the desire. So, if there ever was any danger of "going Hollywood" where he was concerned, it is safely past. He has turned that particular corner. He has a beautiful home, a congenial wife, two lovely children and a healthy American outlook. Now Universal is doing big things for him. You'll be seeing him soon in "Let's Talk It Over" with Mae Clark and "Embarrassing Moments," with Marian Nixon. Six Years Ago (Continued from page 59) Not until her junior year, when her per formance had been creditable, but by no means spectacular. It would have taken a bold prophet indeed to predict that in but half of the ten years suggested by the speaker that that obscure, outgoing senior would have leaped to cinema fame ; that just six years following her graduation, by June, '34, the questions asked most frequently on the campus at this 49th Commencement have been : Which was Hepburn's room? What did she study? What was she like? KAY HEPBURN, as she soon came to be known, had four rooms during her four-year stay. As a freshman she roomed alone at East Pembroke by her own request. Kay had always had her own room in the spacious, comfortable family home on Laurel Street, Hartford, Connecticut. Coming to Bryn Mawr, her first awayfrom-home experience, Kay frankly dreaded the thought of that unknown room-mate who would want to share everything, from the study-lamp to half the hooks in the closet. She was used to "digging" but true red-head that she was, insisted on her own sweet will in the performance of every task. She had had her own way from the cradle up. She would study just how and when she liked, telling everyone to "go sit on a tack!" She was notoriously untidy, too. The Dean's office conceded the point for freshman year to the daughter of one distinguished alumna (Mrs. Hepburn had been Bryn Mawr, 1900), and niece of another, now Mrs. Edith Houghton Hooker of Baltimore. But by sophomore year, Kay was "recommended" to make her choice of a room-mate from her own class. This she did, with results not entirely happy for either student. The two parted at the close of the year and Kay chose again for junior year ; again no great congeniality resulted, and by senior year, have a room alone. AS to that much-disputed "untidiness," it is a matter of college record that Hepburn, K. H., was called to the Dean's office several times to receive reprimands for this. It was not considered womanly or in good collegiate taste for a student to trail around so generally in an old sweat-shirt and soiled skirt (the one so graphically described in the Year Book) as Kay was wont to do. She had plenty of "grand clothes," purchased at the best shops in New York and Philadelphia, but seldom exerted herself to the point of wearing them. She rebelled particularly at the college rule of evening dress for dinner. It never mattered in the least to her how she looked. Certainly she was not in the least clothes-conscious, until Yes, in the middle of her senior year, the lightning struck Kay, completely shattering this apathy. A great and overwhelming change resulted, as will be recounted later. As a student, she found it hard going to get even passing marks. She was al ways in the lower half of her class, scholastically. with an average for her four years somewhere between seventy and seventy-five. Seventy is required for "merit" to permit a student to gain a diploma Kay admits to have flunked "math" twice, and to have taken repeats in oral French, which is required for graduation. She majored in history and philosophy, receiving eventually a degree of Bachelor of Arts, but she had to dig in pretty hard to get that degree. Did it use to mortify her to compare her "punk" marks, as she had to admit them, with the renownedly brilliant college record achieved by her mother, whose whole collegiate path at Bryn Mawr had been strewn with "A's." Kay was proud of her gifted mother She had never been repressed in any way ; indeed, "can't" and "don't" had been words seldom heard in the home, where both parents were all for self-expression WHY then with all this background of childish ambition and encouragement, do we find evidence so extremel> meager in her college years of KatharineHepburn the artist so-soon-to-be, with hei almost uncanny power to portray and communicate emotion? "I guess I'm slow," she told one of the psychology professors, with whom she used to hold earnest discussions on her own development. Psychology was her best subject. She took a tremendous interest in it, and always made the applications to herself. That professor was one of the few who predicted her success "in something" if only because "she was so allfired earnest." But of all this the class of '28 had little ken. The College Year Book, which is regarded a sure barometer has but one mention of her up to graduation. That was for her work on the swimming team, freshman year. The team didn't win its meets that year, and after that temperamental Kay wouldn't swim any more. It was not until the spring of junior year that she evinced the slightest spark of ardor for Varsity Dramatics. Then she played the male juvenile role in "The Truth About the Blayds," a Broadway success borrowed by the Bryn Mawr students. As the hero of the piece, she was fairly good, but not outstandingly so. "There was certainly nothing professional about her then," recall those who still remember this maiden performance. Then came senior year and May Day, the special festival celebrated every four years. It brought to Kay Hepburn, the "moody senior," her first opportunity. Earlier in this year, she had made her second dramatic attempt, in the Varsity Dramatics version of "Cradle Song," so familiar to student audiences through the Civic Repertory performances of Miss Eva LeGallienne. Kay's performance was highly commended: "Katharine Hepburn as Theresa was so extraordinarily lovely to look at that it was difficult to form any judgment on her acting," stated the next 96