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to take to Bette Davis. How well I remember his saying:
“If I sell it, the first thing I’ll do is buy a new dress for Pat. She’s been wearing the same dresses for three years and it isn’t fair. Pat has a wonderful talent and she’s subordinating it all for me. She is just as ambitious as I am, so why should she have to stifle her feelings any more than I do? There is nothing I could ever do for Pat that would make up for what she’s been through with me. If I click first, I’ll never be happy until Pat has had her chance too.”
Thus disqualified is the general impression that after his hit, Cornel was goaded on by Pat who insisted on sharing the spotlight too. It is no secret that he did hammer away at directors and executives in Pat’s behalf. He did make himself unpopular upon occasion; one in particular when it got about that a cameraman at Twentieth who was testing Pat walked off the set because Cornel, in his anxiety, kept interfering.
Pat was ambitious and is ambitious today. Neither her home, her little girl, a magnificent car, clothes, jewels and furs have ever quite made up for an acting ambition that remained unsatisfied. But Cornel wanted it for her too and to this end he devoted his life. At first Hollywood couldn’t believe it. Two careers under one roof, at best, is a pretty pressing proposition. And here was Cornel asking for it, insisting on it, practically mowing down anyone who presented the slightest obstacle.
Eventually, after Cornel made his sensational hit in “Song to Remember,” Pat was signed at Twentieth. At the end of the year she asked for her release. Some said it was the parts offered her which Cornel never considered worthy of his wife’s talents. Maybe he was right; perhaps in his great altruism he was carried away to the point of losing perspective. “Margie,” a popular success, is one picture, for example, on which Pat is supposed to have preferred taking a suspension rather than do.
No one has worked harder than Cornel. Grateful as he’s been it does seem as if his success came just a bit too late for that terrific feeling of fulfillment. The studios have worked him so constantly that Cornel has had little time to be with Pat. When there was a spare day or two, he was usually so exhausted they’d slip out of town for a much-needed rest. When he was an unknown, they were together constantly and had little to share but themselves. With fame and fortune, they acquired all the worldly goods and no time to enjoy it together. From where we sit, it’s no small miracle that their lives coordinated as long as they did.
Reversing the usual order of things, if Pat’s career clicks on her own endeavors it should strengthen the Wilde marriage, now that they are together again. Cornel and Pat have invested too great a part of themselves in each other to stop sharing dividends permanently.
Knowing them as I do, it’s inconceivable that they could ever be anything but together— always.
The End
(Joe (2oiten and
Maxwell
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