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and get this exclusive interview
hen someone
you trust disappoints you . . .
I guess all you can do is start building all over again
99
ITrom the pretty, brown-eyed blond recep
tionist at the M G-M administration building next to the studio lot in Culver City, we picked up our gate pass to see Debbie Reynolds.
Ever since last September, when Eddie Fisher walked out of her life, Debbie has done the most natural, most instinctive thing she could do. She threw herself into her work.
It seemed ironic, I thought, as I walked toward the Publicity building, past Casting. Production, Costumes, Properties, that her work was playing a lightheaded, gay story of love, romance, dating, courtship — and marriage.
I met Mary Mayer, a distinguished-looking, gray-haired woman who has been with the studio since the early 1930’s. Greeting me in her office in Publicity, she said, “We’ll go right over to Debbie’s dressing room.” As we threaded our way along the crowded streets, she told me:
“I’ve seen many stars come and go over the years,” Mary said. “But seldom have I met one as unusual as Debbie. It’s not simply that she’s cute, and lively and vivacious. She has a courage, a strength and a drive that make her unusual.
“I may sound old-fashioned, but I find these qualities very appealing. In many ways she reminds me of the young Carole Lombard.”
Debbie’s dressing room, a stucco cottage set well back on the lot, was beautifully landscaped with lawns and shrubs. Beds of nasturtiums, zinnias and marigolds flanked the doorway.
Mary knocked at the door. There was no answer.
“She’s probably still on the set,” she said. “She does that. If the take hasn’t been just right she insists that they do it over and over again. She never spares herself. She only works to satisfy the director. ( continued )
by EARLE HAWLEY