Photoplay (Jan-Jun 1957)

ing disillusioned or hurt, she says, quietly, “No, I haven’t been hurt. And I’m not afraid of romance. And I’m not disillusioned. This is just the way I feel.” “She’ll find the right man,” her mother says, “and when she does — and I don’t think it will be too far off — there will be less room for her career, that’s all. “I want Debra to have everything in this life,” her mother says, and her eyes mist. “She deserves it. I want all my children to have happiness, but Debra especially. She does so much for all of us. There’s nothing we want, nothing we want done that Debra doesn’t try to do. You just don’t find many girls like that.” Debra’s new sophistication, the chic, short, flame-colored hair-do and the glamorous wardrobe are partly to startle studio executives into realizing little Debralee has grown up. “I’ve been at the studio for ten years and they still see me as fourteen.” But behind the fabulous wardrobe — the sequins and the tulle and the mink and all the little foxes — is her desire to keep glamour alive. “Ever since I was a little girl,” she says, “I thought of Hollywood as a glamorous place. And when I got here — well, it was a great disappointment. “I’d thought of movie stars as being so glamorous, the way Joan Crawford still is today. She never lets you down. But I’ve seen people I’d admired so much walking around Hollywood in slacks and no makeup, and I was so disillusioned. I didn’t particularly care whether I ever saw them again or not. I think you should live up to the role you’re asked to play in life.” The strawberry velvet and white satin boudoir is also a young girl’s dream of Hollywood, and Debra admits it’s why she conceived such a bedroom. The jeweled mermaids? “That was strictly for fun!” she sparks. For publicity? “Well, we did it for the publicity,” Debra says frankly, “but for the glamour too. That jeweled Cad certainly is a conversation piece. People keep coming to see it and take pictures of it. The man with the limousine tour — the one who points out star’s homes — told me he’s doing the most business he’s done since Tom Mix’s white car,” Debra says delightedly. “I stopped at a stop light the other day and two men came out of a barber shop with towels around their necks as if somebody had yelled: ‘Fire!’ You should have seen the double take.” The car was her mother’s inspiration. Her mother said, “Well, Paget, you don’t go out, no scandals, no nothing. We’re getting in a rut. We’ve got to do something.” “You should see it at night, every stone reflects the light. The car sparkles like diamonds,” Debra says delightedly. “I don’t think I would ever give up my career completely for marriage,” Debra said, as the sun was sinking in the Mexican sky beyond the square outside her hotel room. “My career has always been first with me. With this drive that’s inside me I don’t need to search for anything else.” In the park across from the hotel the Sunday fiesta was picking up steam. Fireworks were booming and the music from the gaily costumed Mexican band was coming in the window loud and gay. The girl with the flame-red hair in the pink terry cloth robe answered the command. One gold toe began to tap, her eyes sparkled and her lips parted and her body seemed to dance without moving. Debra Paget was becoming Eve’s daughter again. The End DON'T FAIL TO SEE: Debra Paget in 20th CenturyFox's "The River's Edge" and Paramount's "The Ten Commandments" and "Omar Khayyam." 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