Photoplay (Jan-Jun 1948)

tendency to be fruitful and multiply like the Bible says to do. The mare that Harry gave her is in foal after presenting already one colt. Three brood mares are expecting. The cows, she says, are always enceinte. Ducks have duckies, goats have goatees and her chickens cackle all night long. Even the GI’s whose pin-up inspiration she was, are back home multiplying. They did not write her mash notes, for the most part, she says. They wanted pictures of her and Harry and the baby. This family group picture may have done not a little to put an objective gleam in a dogfoot’s eye — a wholesome determination to do his part in promoting his nation’s fecundity. Thus while England, Russia and other lands find it necessary to offer bonuses to induce blessed events, our own Betty-blessed America is awash with didies. Miss Grable takes pleasure in thinking she was a wholesome symbol of home life for the boys. “Home life is more important than work,” says the sage of Coldwater Canyon. “My work is important. Both are important. But I have gotten everything I want so far as work goes. Now it’s home.” She lived in a hotel from the time she was five. Her parents were well-to-do St. Louis folks, her father a stock broker. There was no necessity for her to work. She took to dancing like a bee to the buzz. “I loved it but it wasn’t easy,” says Miss Grable. “I led a regulated life. Other children were playing and going to parties while I was rehearsing and going to bed at nine. I still rehearse and go to bed at nine!” SHE HAS made the rounds of show business. She went on the radio while still a child in St. Louis. She danced and sang in the chorus of movie musicals at twelve, went on tour as soloist with a band, made personal appearances in movie theaters. “At twenty-one I was washed up,” she says. “I was a has-been in pictures. So I’ve had that experience, too.” And she had the experience of staging a comeback after knocking New York over the skyscrapers with her stage performance in “Du Barry Was a Lady.” Retirement will come the minute she feels she is not moving up, she says. It holds no terrors. On the contrary, it will offer opportunity to do the things she has missed. “I want to sleep late, do as I please. I started at bottom but I will not quit there. 1 don’t want to be around here acting at sixty. I have no desire to be the grand old lady of the screen.” She gives the impression of being far from that decrepitude. “I look so healthy I never get sympathy. I have never missed a day’s work. It’s the darndest thing, if I ever go to the hospital, it’s when I’m not working.” Miss Grable ascribes her health to dancing— and eating. “I love to eat. I can’t understand people getting so upset they can’t eat. There’s never been a time when I couldn’t. Why, I eat more than any man in my studio crew. Breakfasts, no. I can’t eat breakfast. But by ten I need doughnuts and coffee. At twelve I stuff.” She likes everything except bananas and calves liver. Her favorite food: “Potatoes and com on the cob.” Doesn’t she worry about getting fat? “Worry,” says Dick Haymes, her old chum and screen mate in “The Shocking Miss Pilgrim,” “is something Betty hasn’t heard about. That’s her chief charm for me. How I hate worrisome women!” Miss Grable acknowledges her inability to worry. Not wishing to be thought insensible, though, she adds that her mother says she gets annoyed over trifles. 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