Photoplay (Jul-Dec 1947)

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Deposit with postman on delivery 50c or $1 for 2 plus tax and C. O. D. postage on guarantee of satisfaction or Money Back. State shade: Black, Dark Brown, Dark Warm Brown, Med. Brown, Light Brown, Auburn or Blonde. Mail order now to: TINTZ CO„ Dept. 5K. 205 N. Michigan Ave„ Chicago 1, III. With Edna Best in the cast, too, I knew we’d always take time out for tea,” Peggy said. “During the picture, we got together and bought a cow to send to England. The children there need fresh milk so badly. They brought the cow on the set and we had our pictures taken with her. We got so attached to her — she really was a sweet thing. “The really touching, wonderful thing, was when the stagehands, prop men and other technicians, put some money together and sent another cow. It impressed me so much. It’s hard for any one who hasn’t been over there to know what their generosity will mean.” Peggy loves to laugh — unrestrainedly, unexpectedly, often without rhyme or reason: “It’s a release — a way of cleansing yourself. I’ll talk for hours on the phone with anyone who’ll laugh with me. Sometimes I know I could have spent that time tidying my bedroom, or polishing my shoes. But there will be bedrooms that need tidying and unpolished shoes after I’m gone. It seems to me that I do myself more permanent good, make myself a better person, by laughing.” YOU’VE been searching for the “something” that lies behind this Irish girl’s very small, very clean face. She has unusual intelligence and sincerity, but there is something more. . . . You’ve found it in that last little speech of hers: That matter-of-fact acknowledgement of the impermanency of material things. Peggy learned this first-hand as the youngest member of the Women’s Voluntary Services during the war. She learned the spiritual value of laughter, doing her giggling Fluffy in “Junior Miss” to the accompaniment of falling bombs and shrieking sirens. As she later tells you, “I was scared out of my wits most of the time. Then, I’d look down at all those faces in the audience — not a soul moving from his seat — all of them looking toward the stage, as if that was where their life hung. Their calm always cured my panic.” During the making of “Moss Rose” she found herself a laughing partner worthy of the name, one Victor Mature: “He’s such a nice person — terribly considerate of every one. And he’s so full of jokes! “He loves to tease, the same way I do. I think your word for it is ‘kid.’ Five and six times a day the phone would ring for Victor, and the door man who answered it would always call, ‘It’s your mother from Kentucky!’ And Victor would say to the director, ‘I’m sorry — but I can’t keep my mother waiting.’ “But I know of one conversation he had with his mother that was real. It was after they cast him in ‘Kiss of Death,’ the gangster picture. He called her up and said, ‘Hello, Mom — they’ve got me in Sing Sing!’ His mother must need a sense of humor, too!” Peggy’s own telephone rings quite often, with baritones emanating from the other end. Inevitably, you must ask the newcomer her opinion of Americans versus Europeans. “Of course, there is bound to be some difference in people who live differently, dress differently, and who think under different conditions. But people are like scales — when one has something the other one lacks, then the other has something to balance it.” The outstanding trait of Americans as noted by the Cumminses, mother and daughter, is, “You are so terribly polite, no one could feel strange in a country where every one is so courteous.” Just between us Americans, this comes as a sort of shock — you take a second look into Peggy’s green eyes to be sure she is not “teasing.” Finding them perfectly serious, you suspect that maybe courtesy is the natural result of the Cummins approach: “The people in the shops and the markets are all so friendly. ‘Thank you,’ they say, and ‘be sure to come see us again.’ Only one phrase of yours confuses us. Sometimes, when we said ‘Thank you,’ the person would just say, ‘You’re welcome.’ It didn’t sound like an invitation, and we thought maybe it was sarcasm. It took us a while to catch on that ‘You’re welcome’ is the American way of saying, ‘Thank you, too.’ ” In an over-all way, this little Irisher loves people and loves life. The warmth of this appreciation runs through all her conversation. All her emotions are extremely human, she has a sensitivity for the sight and sound and smell of small, human things: “The sight that stirred me most? Well, perhaps I haven’t seen it yet because to me so many sights have been wonderful. There is nothing so beautiful, I think, as walking through the door of a room and seeing a person you love sitting there — your mother, a dear friend, or maybe the two of them sitting together. “Of course, my new car standing out front was a sight I’ll never forget, either. And when they were fixing up my dressing room on the lot, I kept finding excuses to run in and out the door, just so I could be struck over and over again with the lovely blue walls that they were giving me.” ANGER terrifies her. She will rim away from it if directed against herself, or skip the distressing sight of other people quarreling. “I refuse to hate anyone — because you’d have to hate yourself even more, to allow yourself to become so confused inside.” Now that she is a permanent resident of California, Peggy revels in the feel of peace. She has a phobia against crowds and night clubs. Large social events don’t appeal to her. She loves to drive at night with the car top down, and to park on some high hillside to breathe in and absorb the sight of “miles and miles of spreading peace and quiet.” The bright sunshine does painful things to her extremely fair skin, which for years knew nothing but England’s fog and damp. After taking the sun carefully, a few minutes at a time, she is feeling boastful about the faint golden tint beginning to show on her arms. The weathering process is in preparation for her next picture, “The Black Rose,” which will have Cornel Wilde as its hero. A great many of the scenes will be shot on location in Monument Valley, Utah. There will be plenty of opportunity for horseback riding and, next to people, Peggy feels very chummy towards horses. “They’re so intelligent, I think.” The little Cummins has a private slogan. She pulls it from her purse and reads it to you: “ ‘You have what you give.’ Just that — if you give out happiness and good, you also keep it. Those are the only words I can find to express my deep appreciation for the kindness and friendliness of the people in this town to me!” Not all newcomers find nothing but politeness in America, and nothing but kindness in Hollywood. Maybe, because she lives up to that little scrap of paper, this little Irish girl will find nothing but fine things wherever she goes. The End 114