Photoplay (Jan-Jun 1962)

Continued from page 67 wants,” he said, “if she’ll let me go.” He admitted that he was probably “making it tough on ‘Baby,’ shooting off my big face the way I have; but it’s wonderful to be in love again at my age.” He was forty-five. He married his baby and they had some wonderful years together. They also made dynamic pictures like “The Big Sleep” and “Key Largo.” Bogey wanted his sultry, forthright bride as his femme fatale, they both felt they could do their best together. And the fans wrote in, “We like to see you two kiss on screen because we know it’s real.” And there was Joan Crawford and Clark Gable in “Possessed” . . . beautiful together, electric ... so electric that M-G-M co-starred them in picture after picture. Photographer George Hurrell achieved the most glamorous romantic portraits of his career, not posing Joan and Clark, but merely standing by with his camera in the studio gallery. “Most of the time,” he says, “they forgot I was there.” As Joan (in her forthcoming autobiography “Portrait of Joan”) writes, “I was in love with Clark but I lacked the courage to live it. I was afraid it wouldn’t last, that every girl who worked with Clark would feel the same way I did.” She also says, “The love scenes you play with actors you don’t like are the ones for which you should receive an Oscar.” What do other stars think about the dangers of Hollywood love making? “You have to believe a love story, that’s essential,” Glenn Ford says. “You accept a role because you believe in the characters and in the story. This emotion could happen between these two characters — your job is to bring about reality, create the truth. I never have been able to put on a role and take it off at the day’s end. You become very close to the glamorous, wonderful women you work with.” Dangerous? And how! Tuesday Weld says, “I’ve played love scenes when I felt nothing. But I’ve also played love scenes where I felt something. Of course they’re dangerous, especially if you are married. But they’re dangerous if you aren’t married too, if you are going with someone who means a great deal to you, someone with whom you have a close relationship. A love scene with another person can confuse you and provide -considerable anxiety for him, the man in your real life with whom you’re not doing the love scene. It isn’t a matter of not trusting each other. It’s a matter of nature being nature. You can’t shrug it off as being ‘just work.’ It’s romance — it’s just legalized. I played my first love scene at thirteen, exactly one minute after I’d met Teddy Randazzo on the set of ‘Rock Rock p Rock.’ It was a little nerve-racking, but Teddy was attractive and I dated him for quite a while. I’ve dated most of the hoys I’ve worked with, because you do find yourself attracted. Later we’ve become good friends — Dick Beymer, Elvis Presley. Not Gary Lockwood, he’s no friend yet.” “I’m not saying people don’t ever fall in love when they make pictures together,” says Stephen Boyd. “There are people who get to know each other — but I don’t believe it’s because of the love scenes that they get married. They could play a fight scene and probably get married, too. Certainly I date the girls I work with — Dolores Hart, Haya Harareet, Brigitte Bardot — and they are all friendships. The one close personal friend I’ve made in pictures is Hope Lange.” “I always fall in love,” says Dolores Hart, “not with the person exactly, but with the character he’s playing — usually a charming character, because that’s the way he’s written. I developed a great fondness for Stephen Boyd when we made ‘Sound of Trumpets’ on TV. Then I found myself with him for four months in Europe on ‘The Inspector General.’ Stephen played a joyous and delightful character and I could only react joyously and honestly. We had a wonderful rapport. I only hope it shows on screen what we felt. The only way I could keep my head was to remind myself that I was Dolores, not Lisa, the girl in the picture. This realization has always helped me ... at least so far.” Once burned— twice careful Richard Beymer says, “It depends on who the love scene is with. Those first poignant scenes with Millie Perkins in 'The Diary of Anne Frank’ were possible only because Millie was as shy, as sensitive and embarrassed as I was. It was quite another story with Tuesday. She’s the allAmerican girl, cute, coquettish, roundfaced, foxy, sparkling-eyed, witty, with the laugh of a siren and a grasshopper per PHOTOPLAY’S TRAVEL FASHIONS (Shown on pages 56, 57) 1. Our bus travelers, Janet, Peggy and Kathy Lennon, are wearing beige rayon linen sheaths with dyed-to-match silk mohair jackets by Stanton Junior Petites. (#284) About $20.00. 2. Barbara Eden's black and white striped cotton knit dress (#83001) by Catalina ($7.98) is perfect for train travel. The matching cotton knit black jacket (#81267) is $3.98. 3. Paula Prentiss boards a jet in R and K Originals' Arnel Jersey black and white pin-striped dress with pleated skirt and matching jacket. The ensemble (Mr. F. #3) is about $25.00. All shoes are by I. Miller, bags from Park Lane, gloves by Wear Right, hats by John Frederics and jewelry by Coro and Richelieu. The luggage is Samsonite's "Soft-Side" line. The Lennon Sisters appear weekly on "The Lawrence Welk Show," ABC-TV, Saturday nights, 9-10, EST. Barbara Eden is in M-G-M's "Wonderful World of Brothers Grimm" and 20th's "Five Weeks in a Balloon." Paula Prentiss can now be seen in M-G-M's "The Horizontal Lieutenant." sonality. And you've never known what asphyxiation can be until she's practiced mouth to mouth artificial respiration on you for several days without a pause, as in ‘Bachelor Flat.’ But I’d flipped for Tuesday working on ‘High Time’ and I don’t think that can ever happen to me again. I like Tuesday, we’re friends and she’s a good kid. But she was pretty young then and was bound to gravitate from football hero to basketball champ, like the teenage crowd does. She did me a great service, actually, I found out that I could get hurt and I’ll always be a little wary of love scenes ... on screen.” “If you fell in love with every girl in every love scene you’d go crazy,” says Brett Halsey. “In movies, love scenes can affect a marriage. The most dangerous love scene I ever played was the one with Luciana (Paluzzi) in ‘Return to Peyton Place.’ When we met on the set, we hadn’t spoken in six weeks. For our first words we played a scene in a bedroom which started with a furious fight and ended in a love scene. The story was such a true parallel to ourselves. The girl in the picture was pregnant, Luciana was pregnant. My mother in the picture was against us. In real life it was Luciana’s mother ... at any rate, it was such a realistic love scene that we were swept up emotionally and tried a reconciliation. But it didn’t last. You see, those things happen, they happen, believe me . . .” The merry-go-round began in 1896 when Thomas Edison made a one reeler called “The Kiss.” It starred stout May Irwin and mustachioed John Rice in the prolonged kissing scene from their stage success “The Widow Jones.” Members of the clergy denounced this little gem as “a lyric of the stockyards” but it broke all attendance records and movie producers had the clue to what the public wanted. By 1911 the formula had been improved enormously. There was kissing, yes, but the people kissing were no longer a portly woman and a middle-aged man, they were now the most beautiful people Hollywood could find — Francis X. Bushman and Beverly Bayne. The gentleman with the divine profile and the actress with the soulful eyes struck sparks that sent tingles to the audience spine. They fell madly in love, these two. But love involved a well-kept secret that could hurt Francis’ appeal to fans — he was married and the father of five children! His wife agreed — so he thought — to a secret divorce, but she made it a public one and he was ruined! And even when he married Beverly, those who had adored them as lovers wouldn’t accept them as man and wife. They were not the only screen lovers to marry. In 1909, two days after teenaged Mary Pickford went to work for D. W. Griffith, he had her rehearse a love scene with classic featured Owen Moore, one of the big male stars of the day. Little Mary informed Mr. Griffith that there would be no kissing, she regarded kissing as vulgar in the extreme. And how did she presume to convey her affection? Mr. Griffith wanted to know. “By looking lovingly into his eyes,” replied Mary. It must have been a very loving look for she was given the lead oposite Owen in “The Violin Maker of Cremona.” Owen made love to Mary in many pictures and the audience was impressed— it looked like the real thing. It