Photoplay (Jan-Jun 1955)

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BY JERRY ASHER • It was only a routine trip with Doris Day, who’s on a gardening kick, having her picture taken at Paul J. Howard’s Flowerland. As the studio’s long, black limousine headed south on Sepulveda Boulevard toward the nursery, Doris chatted away in her usual, gay fashion. Her cornflower-blue eyes registered excitement as the street scenes outside flew by and vanished. Suddenly Doris leaned forward and pressed her face against the glass. In a split second, her mood changed and she was a serious, somber, reflective person. Doris’ hairdresser sitting at her side maintained a discreet silence until Doris spoke. “Did you see that rundown trailer camp back there?” inquired Doris. “The one with those two weatherbeaten totem poles guarding the entrance?” Rather than disturb Doris’ trend of thought the hairdresser nodded. The trailer camp had escaped Doris’ companion completely. “I lived there once,” Doris said seriously. “It was a long time ago when I was first married and life wasn’t exactly — shall ( Continued on page 70) Ginny’s next is “The Silver Chalice’. A smile from a stranger — and the course of Ginny Mayo's life was changed. Above, with Mike O’Shea Susan Hayward’s big problem turned into a blessing in disguise when she followed her sons’ suggestion Susan is in "The Conqueror"