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Irwin and Rice
Bacall and Bogart
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straight from the set and everyone denied them. Marilyn had certainly tried to be a good wife to Arthur. He represented everything in life she’s always wanted : brilliance, sensitivity, real theatrical know-how'. She was especially thoughtful of him at this era in their lives.
But by the time “Let’s Make Love” was over, so was the Monroe-Miller marriage.
And the Montand-Signoret marriage was barely salvaged by a determined Simone.
Some romances do end tragically because of love scenes; and sometimes other romances begin.
On the set of “Lovers Must Learn” Troy Donahue and Suzanne Pleshette melted into each other’s arms. They never had a date in Rome — there wasn’t time for dates — but the news of their aw'akened passion again came straight from the set, from the guys who are old pros at movie making and recognize the genuine w'hen they see it. “They were right,”
Troy admits. “They knew it before we did. Now we are dating, we are in love, it’s a lovely time we?re living. But they knew it, sensed it, before we’d even realized . . .”
And the camera keeps grinding . . . there are Tuesday Weld and Gary Lockwood . . . Sandra Dee and Bobby Darin . . . and after some cozy scenes in “Can Can” Frank Sinatra began his courtship with Juliet Prowse . . . even
Prowse and Sinatra
Roger Smith and Vici's romance began when they rehearsed a love scene in Benno Schneider’s workshop. Elvis Presley is susceptible to each new leading lady . . . ditto Rod Taylor . . . ditto Gardner McKay . . . and if not as susceptible, at least as hopeful is Dwayne Hickman. . . . Judy Garland fell in love first with the director who showed her how to play a love scene (Vincente Minnelli) , then developed a crush on Fred Astaire which that gentleman never even realized. And then, of course,
Crawford and Gable
there was the tough guy of films, Humphrey Bogart. The idea of taking some dame in his arms who was worrying primarily about how her hair looked wasn’t for him. So he shied away from love scenes until he found himself gradually easing into the hero roles. For “To Have and Have Not” he balked like a mule when he found out they’d cast opposite him a twenty-year-old novice, fresh from a fashion model’s job in New York.
Tawny-haired, long-legged, with a cat-like grace and a wide generous mouth, Lauren Bacall showed up on the set one day and they went into their first scene. The twenty
Garbo and Gilbert
year-old novice had to make a languorous entrance, lean against the doorway of Bogart’s dingy hotel room and inquire, “Anybody got a match?” She had a low, silky sensuous voice. He tossed her the box and kept his brown eyes level. “If you want anything, just whistle,” she said. But he did more than whistle.
He went into those love scenes without the customary aversion. He made no bones about it. He told his wife, Mayo Methot, with whom he’d been battling for some time ... he told everyone that he was in love with his leading lady and wanted a divorce. “Mayo can have anything she ( Continued on page 74)