Photoplay (Jul-Dec 1957)

“At one midnight show in Philadelphia, she adlibbed for forty minutes with the m.c. There was never a minute’s hesitation; she was never thrown by questions, never at a loss for words. “Her poise was remarkable, even when things weren’t going so well. At the party for her in Los Angeles, some of the columnists were trying to antagonize her. ‘How do you feel about starting your career by playing a part like Saint Joan?’ one of them asked. “Jean answered, ‘It’s very challenging.’ “After which, the columnist snapped, ‘That’s a cliche. I want an honest answer.’ “Jean bit her lip, but she didn’t lose her temper. She just said, ‘I’m trying to give you an honest answer.’ ” “She’s changed since ‘Joan’,” says a friend who worked with her in both London and in France. “She’s the same girl, but she’s different, if you know what I mean. ‘Bonjour Tristesse’ is her second film and she is taking a different attitude. To a great extent, she’s learned the ropes of the business. She’s no stranger.” Still there was a certain tenseness. And a tiredness. “But such a wonderful tiredness,” she says. “I’m finding out what kind of routine I have to follow when I work. I usually have dinner alone in my room at night, read and then go to sleep. Once a week, I go out for dinner. “On Sundays we drive for three hours to see rushes. I don’t like to watch. It’s terrible to have to look at yourself blown up on the screen. And if you do see something you don’t like, there’s nothing you can do. I think there’s a risk of becoming very studied and mannered. “But on the other hand, if you’re doing something wrong, like bobbing your head or adopting any other sorts of mannerisms, you can catch them and correct them. And,” she adds, “Mr. Preminger thinks it’s good for me to see rushes.” She grins, “And what he says, goes. He doesn’t make exorbitant demands. He’s begun to let me have more of a separate life now that I’m getting the hang of the movie business. He doesn’t call my personal life part of work.” She goes on, “I have a lot to learn about acting, but the only way I can learn is to act. This time, I’m not in the hot, hot spotlight, and David Niven and Deborah Kerr have been wonderful. “They’re so relaxed and easy. Nothing seems to upset them. They can talk to people between scenes and still not break the spell. That’s something else I’m having to learn.” Invariably before the cameras would turn, David would make the atmosphere light with joke. Once, when he saw a frown on her face, he patted her on the shoulder and remarked, “Remember, it’s only a movie and people are going to pay seventy-five cents for a ticket and say, ‘Who was the guy with the mustache?’” As “Bonjour Tristesse” was ending, Jean was preparing to return to the United States. “First I’ll visit my family. Then I’m going to New York. If there’s no other picture right away, I’ll take ballet lessons and some drama lessons and I’d like to visit movie sets. I’ve no idea of how other actors work. And I still haven’t set foot in Hollywood! My set is about the only one I’ve been on,” she laughed. But she was a girl certain of her future. It’s as David Niven said on the set one day, “I feel so sorry for anyone who isn’t an actor. Oh, sometimes I get discouraged and gripe . . . but then I ask myself just what I’m griping about.” He shook his head and repeated, “I do feel sorry for anyone who isn’t an actor.” Jean smiled. She knew what he meant. And she said softly, “And so do I.” The End We've odded some new stars and brand ns turw starting with Check the fist below for y oar favorites. Ail handsome 4*5 . otos, on glossy stock, just right for framing. Send your order today. 12 CANDIDS 1. Lana Turner 2. Betty Grable 3. Ava Gardner 5. Alan Ladd 6. Tyrone Power 7. Gregory Peck 9. Esther Williams 11. Elizabeth Taylor 14. Cornel Wilde 13. Frank Sinatra 18. Rory Calhoun 19. Peter Lawford 21. Bob Mitchum 22. Burt Lancaster 23. Bing Crosby 25. 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