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Here’s looking at you! Over-the-shoulder view of Diana Lynn and Henry Willson, who have broken their engagement
INSIDE STUFF
( Continued from page 16) time. And then newspapers carried the story of Deanna’s suit against the sister and brother-in-law she had adored. Regardless of who was at fault, a strong family tie and family devotion was badly strained.
Since the departure of producer Joe Pasternak from Universal, Deanna’s career has also come in for its share of grief. Her pictures failed to touch her earlier efforts and the result was criticism where only praise existed before. And now Deanna confides to close friends her marital life is not as happy as it should be. And regardless of the denials that may be made, Deanna did make such confidences, we’re told. Let’s all hope things grow brighter for Deanna in the future. Perhaps she’ll have a change of luck with her new picture, “I’ll Be Yours,” in
which she co-stars with Tom Drake. Reports are she’s thinner and more like her old self in it.
Inside the Inside: It isn’t often that even we of the press get a real behind-thescenes peep at a movie being born, so let Cal tell you just what goes on. To begin with, Lana Turner picked up Cal in her robin’s egg blue Packard around mid-morning and we took off for M-G-M Studios where Lana was preparing for her role of Marianne in “Green Dolphin Street.” First we went to wardrobe where Walter Plunkett and Irene, M-G-M’s top designers, were busy with the period gowns. But what was this? Instead of the luscious, soft velvets and satins, Lana emerged wearing a heavy blue woolen frock, torn and shredded in both skirt and bodice. Fuller’s earth had been sprayed over it to achieve age and wear. This was the gown Lana was to wear while
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Stop-light: Joan Crawford matches one for studio cop on the set
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