Photoplay (Jul-Dec 1958)

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J. ful pictures for Warners’,” she told him, “and now that I’m doing well, I can bring Terry and my mother to Hollywood to live with me.” But George sensed that underneath, Doris wasn’t happy. She seemed frightened and confused. “What’s wrong, Dodo?” he asked. Two broken marriages had left her tense and uncertain. And because she felt like talking, Doris opened up. “When I’m working on a picture, everything’s fine,” she said. “It’s the rest of it that gets me down — the thousand and one demands on my time. Fittings, pictures, interviews, public appearances — I can hardly bring myself to enter a room with more than four people in it. I feel so shy.” Except for the prospect of having Terry with her soon again, the rewards of fame, she felt, were more of a burden than a blessing. George knew well that business deals, contracts threw her for a complete loss. She hadn’t even been able to keep her checkbook straight when they were married. She couldn’t worry her mother about it. She had no one. So she had gone along, feeling miserable, sure that she would never find anybody, anything to make a difference. And, from that meeting with George, came faith: If George had found such peace, couldn’t religion do the same for her? Doris began to search for it. Eventually, she found the answer for herself in Christian Science. But the form of worship wasn’t of primary importance. It was the big thing, shared by all religions — a firm faith and trust in God and His goodness. And she had found a wonderful man who shared it, too — Marty Melcher. She met Marty when he became her business manager. She liked him from the first day — when he had given her a wonderful sense of relief by straightening out her muddled checkbooks. Soon, she learned that he was more than her solid rock in a sea of troubles. He was good, clear through. “Marty is a very special kind of person,” Doris puts it. “I know now that I never jell in love with him. I loved him all along, right from the beginning.” But was Marty’s love, and their strong faith, enough to carry Doris through another danger that, according to Hollywood buzzing, was threatening her? The third and perhaps unkindest rumor of all — that she was so opposed to Terry’s going to school in the East that it had left DICK CLARK SAYS... Continued jrcrm page 63 girl while she lasted. I’d have to make up some excuse for walking her home right after the dance, and it better be a lulu, too, ’cause Barbara knew all the other kids were going out for a snack. Finally, in desperation, I invented a headache. “Gosh, I feel so terrible, Barbara,” I wailed, holding my head in my hands after about the second-to-last dance to begin to prepare her for the idea. “And after the final strains of ‘Good Night, Ladies,’ I asked, pretty sheepishly, if she’d mind if I took her right home. She agreed. After Barbara was home and we’d said good night, I was walking home myself utterly mortified by the entire episode, and feeling sure I’d never see Barbara again, when I realized: Boy, I really did have a for-real headache! Well, Barbara was a doll about it and I did see her lots more after that. Now I have her dated up for life and we still her shattered with worry, and was affecting her home life? We asked a family friend who has been close to the Melchers for years. “Nothing to it,” was his prompt reply. “When Terry left, true she was fussing around like a mother hen. And she told everybody, ‘Well, here I am, acting like a worried mother.’ She was, too — but wouldn’t any woman act that way when her son’s leaving home for the first time? She probably felt it all the more, too, because they’re an especially close family. “But Doris is not an overprotective mother and recognizes the fact that kids need a certain amount of independence. She is very intelligent about facing this sort of thing, and has never let her attachment for Terry stand in the way of what was best for him. “About his going East to school,” he continued, “I happen to know how Doris and Marty both felt about it. Marty said, ‘Out here, every kid of sixteen has to have a Jaguar or a Thunderbird. I don’t like it.’ And Doris agreed completely. They don’t want Terry to grow up dissatisfied by having too much.” Still . . . was Doris trying to quell her real feelings by trying to be sensible? “Doris hasn’t had time to worry,” the first woman friend laughed when we asked her this. “She couldn’t sit and mope if she wanted to. She’s had the new house to move into and furnish, Marty’s new office to help with, and they’re both up to their ears in plans for their production company, Arwin, and the details for the picture she’ll make in London. ‘Roar like a Dove.’ ” And finally, to Doris herself. On the “Miss Casey Jones” set, she looked anything but worried as she sat beside Marty, watching a scene rehearsal. We were watching too, and decided to ask her pointblank, about this rumor. “No truth at all,” she replied. “We’ve seen Terry. He’s been up here on set to visit us, and in fact, he’s going to play one of the extras, so the three of us will be together more than ever before. The way it’s worked out, Terry’s switch from Hollywood to the Loomis School here in Connecticut has worked out exactly as we’d hoped.” Just what we wanted: CONCLUSION NUMBER 3. And, as a P.S., we’ll let Doris have the last word. She laughed and said, “Don’t believe everything you hear about me!” The End laugh about that unforgettable second date. So you see, a romance can be bom on the dance floor. And it can happen to you. More and more of you are going to dances. And dancing too. Sounds crazy? It isn’t. I can remember only a few years back when our crowd would head for a dance. Often the fellows would gather on one side of the punch bowl, the girls on the other. The fellows would talk to the fellows; girls would talk to girls and the poor guy spinning records would be talking to himself. All the while a nicely waxed dance floor would go unused except for a few brave stray characters who would venture forth for a record or two before scurrying back to the wall. Lately, though, I’ve noticed all that is changing. The fellows seem to be breaking away from that tight circle over there and using that time -honored but always welcome intro: “I beg your pardon, but may I have this dance?” Sometimes it may come out as “Hey — y ’wanna dance?” or “Dance, huh?” But I assure you the meaning is always the same. I guess I’ve been to at least four dances 92