Photoplay (Jul-Dec 1948)

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I am convinced the Stanwyck-Taylor marriage survives largely because of the oldfashioned virtue Bob brings to it. For Bob really brings to his marriage the balance that a wife ordinarily supplies. Lest you think I’m suggesting that Bob is effeminate or henpecked or anything similarly unpleasant, let me explain. Where both a man and a wife are in pictures both almost inevitably become self-centered. All day both are the center of studio attention. It is too much, consequently, to expect either of them to be primarily concerned about the other when they get home and sit down to dinner. Should the wife remember to say — as a wife should — “How oid things go for you today, darling?” more likely than not she will interrupt or be obviously inattentive long before her good husband has finished talking. Bob TAYLOR, I think, may very well not only ask Barbara how her day went but listen, wirh quiet interest, irrespective of how long she takes to tell him. In this marriage Barbara, undoubtedly, is the tough one. Bob is shy almost to the point of diffidence. When they enter a room it is Barbara you see first. And curiously enough, although Bob is a very handsome male creature, and Barbara is not a beauty at all, it is Barbara you notice first, because of her dominant attitude, her drive, her critical acid speech. In her way she is attractive, too. But it is not any “little woman’s” way. You know, seeing Bsroara and Bob together, that he is quite satisfied to have his marriage follow its unorthodox pattern. He thinks Barbara is wonderful as she is. She thinks he is woncerful as he is. And neither of them ever have been known to look at anyone else. Often enough the stars’ departure from the conventional American marriage morals code is studio induced. Studios, you see, frequently whistle the tunes to which their stars must dance. Studios, necessarily perhaps, require their stars to maintain a certain way of living. Often young men and women stars, happily in love and planning to be married, are asked to appear publicly with a player in whom their studio is interested and to accept the romantic items which result from these appearances. Studios also have been known to have definite ideas about a star’s children. Take, for instance, the studio’s unwillingness to have Alan Ladd or Sue, his wife, discuss or be photographed with his son or her daughter by previous marriages. Alan and Sue abide by this studio wish no longer. Which is wise, for in time such a state of affairs could have a grave effect upon the marriage morale as well as the marriage morals of those concerned. It’s difficult enough for a marriage to hew to the line when a man and wife live with another family. Imagine, therefore, how I difficult it is to keep a marriage safe from all the Hollywood dangers when it is lived before the whole world; when everything a husband and wife have and do is photographed and commented upon and, too often, misconstrued. Which brings me to the marriage of Anne Baxter and John Hodiak. Anne and John, one way or another, have sidestepped this danger from the beginning, have kept their life apart from Hollywood influences. I first met Anne just a few months before her marriage to John at a dinner party given by Arthur Hornblow. She sat next to Alexander Korda. And I sympathized with the many compliments he paid her. 90<^si 1 Don’t let dull, time-darkened hair cheat yoi the attention you long for. 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