Photoplay (Jul-Dec 1958)

and Mario Bandini? I’ve learned from them too.” Her eyes grew thoughtful. “When I speak of Mac, I am inclined to paraphrase Elizabeth Barrett Browning,” she said. “How has he helped me? Let me count the ways. Then where do I begin? He has been like the Rock of Gibraltar. I don’t know what I would have done without him. He has given me kindness and sympathy and deep understanding. I have been able to take my troubles to him at any hour of the day or night, and he has given me courage. He’s still trying to teach me patience. ‘How do you learn this?’ I have asked him many times. ‘Help me. Teach it to me, please.’ “And he has said, ‘The only way to learn patience is to practice it. So relax. Take it easy. Forget your troubles and let them drift away from you. Don’t worry about anything.’ ” She smiled. “Which of course is easier said than done. But I try. And since Mac is a very patient man, the type who will never have an ulcer, perhaps someday I shall learn.” She sat motionless, concentrating her thoughts. “I admire Frank Sinatra very much,” she went on. “And I learned many things from him. It was exciting to watch him work in ‘The Man with the Golden Arm.’ He was so quick, so intense. On the set they used to call him One-Take Sinatra. He worked very hard and I admire people who do this. Then I had some dates with him and I saw his other side — the gay, fun-loving Frankie. And he urged me to let down a little and enjoy life. He firmly believes that living should be fun, and he loves to see others have a good time too. And after a while I think some of this — not much, but a little — rubbed off on me. “One night Frank took me to a premiere. I was scared of all the noise and the crowds. I wanted to turn back. Frankie took my arm and said, ‘Relax, honey. All these people are your friends. You’re beautiful and they’ll love you. So hold up your head and go in like a pillar of fire.’ “And that’s when I began to learn that stardom carries with it some obligations as well as privileges. The obligation to live up to what people expect of you. To act like a star always, offscreen as well as on. And to do this no matter what.” She grinned wryly, tilting her head back. “Do you know about being a star?” she asked. And then answered her own question. “A star must be gay, quick-witted, tireless, even-tempered, adaptable, charming and well-groomed at all times. She must never have a cold or a stomach ache. She must never get tired or lose her sense of humor. She must never display a temper. And she must never — heaven forbid! — speak harshly of anyone no matter what the provocation. If she does . . . voom!” Kim brought her hand down in a quick chopping motion. “Off comes her head! “Of course I had read a lot about Frank. Who hasn’t? And some of it wasn’t very nice. Well, that had happened to me, too — the not-so-nice things in newspapers and magazines. And so we talked. And Frankie gave me some big-brother advice. ‘Shrug it off. Roll with the punches,’ he said. ‘When you’re on your way up there’s always somebody who’ll try to knock you down. And like the man said, you can’t please all the people all the time. So don’t worry about it. Just do your work and be honest with yourself, that’s the important thing.’ ” Kim sat down again. “Well, that was good advice. And I’ve tried to live by it ever since. But it hasn’t always been easy. “Before I started ‘Jeanne Eagels,’ some people said I couldn’t do it. They said I wasn’t right for it, or ready for it; that it was too big for me. And that baffled me for a while. Because this was the big challenge, the main chance. This was really a starring role in every sense of the word. And I wanted to do it, you’ve got to understand that. But for a while I wasn’t sure. “Then I found out that a lot of people believed in me and had confidence in my ability. And that made me want to be worthy of that confidence. One of these was George Sidney, who directed ‘Jeanne Eagels.’ We had worked together before in ‘The Eddy Duchin Story.’ He understood me and I knew I could depend on him.” Then, hesitantly, “I still feel, in spite of the not-so-nice reviews that I did a better job in that than in my other movies up to that time.” Then her face brightened. “I’ve just completed ‘Vertigo’ for Alfred Hitchcock. It’s by the same writer who did the French chiller ‘Diabolique.’ I won’t tell you what it’s about because that would spoil it for you. But it was a challenging experience, working for such a distinguished director as Mr. Hitchcock.” But first things first, she was reminded; what about her current picture, the one she’s working on now? “‘Bell, Book and Candle’?” She smiled a Mona Lisa smile, and then, in her husky contralto — “I play a witch who casts spells and things. Dick Quine is my director. Jimmy Stewart, Jack Lemmon and Ernie Kovacs are in the cast. They’re such fun to work with. If I ever learn to relax and enjoy myself during the actual filming of a picture, maybe it will be through their good influence.” “There’s one subject we haven’t talked about, Kim,” she was reminded, "Mario Bandini.” She smiled and sighed. “So much has been printed in the papers. Too much, perhaps. But I will tell you this. Mario introduced me to a way of life I had never known before. In my world you worked hard and went from one picture right into another. This was Hollywood for me and I guess you might say my horizons were — limited. When I first went to Europe I found out how exciting other places could be. I saw Rome and Paris and Venice through Mario’s eyes. He is a man of great knowledge and refinement and he sensed how eager I was to understand these things. I think I do now, a little, and I’ll always be grateful.” Suddenly she laughed. “I was just thinking,” she said, “how simple love used to be when I was young. Then, I used to fall into it regularly and out of it reluctantly. I fell in love with dark-haired men, and some with light hair, too. Usually it was music that turned the magic key. I’d hear the sound of flutes or the melody of the night wind or maybe a popular song and there I’d be — up to my elbows in love.” She brushed a hand through her short, bright hair. “And there was always a special tune that was our song. With a boy named Pete it was ‘Make Believe’ and with Tim it was ‘I Kiss Your Hand, Madame.’ And there were several others. Of course it wasn’t the real thing, it was just being in love with love. But it was wonderful just the same. My grandmother used to worry that I was overdoing it. ‘There are only so many boys,’ she’d say to me. ‘Don’t use them up too fast, honey.’ ” Again she turned to the window and the view of the sea, deep green in the late afternoon sun. “Can love ever be that simple again? I wish I knew.” The End watch for them — THE LENNON SISTERS in august PHOTOPLAY OF INTEREST TO WOMEN (W-July 8) $500 FOR YOUR Child’s Picture paid by advertisers. Send one small photo (All ages). Returned, Print child’s parents' name, address on back. Spotlite, 8344-PC7 Beverly, Hollywood, California. $10.00 GUARANTEED PER 1000 Pieces Prepared and Mailed — Free Mailing Pieces, Names & Stamps Given Also. Send-50c Postage & Handling. National Mailer, PCD, 1627 E. 33rd St.f Lorain, Ohio. 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