Photoplay (Jul-Dec 1948)

I Call It Heart HEDY OF HOLLYWOOD offers... [Continued from 'page 57) thing, when we irst met. But, I do remember that plain, lonest Tracy mug — tne red hair and .'reckles, the man-size jaw and the liwinkling keen blue eyes. And I remember he was kidding around. You know how it is when two guys click? Well, I put him down in my book as a ;ood Joe. I’ve never had cause to erase hat estimate. About eight years ago I left the “front )ffice” and went with Tracy. I’m still a vardrobe man, but when Spence is workng he has first call on me. That’s a little leal he worked out with the bosses, and t’s a good deal for me. The Tracy wardrobe tells a good deal ibout Tracy and I can tell you about it in [hree words: Blue, gray and brown. Spence owns plenty of suits (an actor iias to supply his own clothes for films Unless it’s a costume picture). But there’s lot one suit among them that isn’t blue, gray or brown. He’s that set about shirts, :oo. They’re all white. No, not all. He Uas one gray — such a light gray it looks svhite! His socks are plain, in those favorite colors of his and his neckties ditto. 1 He doesn’t mind spectacular dressing — In other people. It’s just not for him. He feels the way Gable does about make-up. No make-up man can advance, with powder puff in hand, on either if these two without being thrown for a quick loss. They’re firm about it, but |ince in a while a role demands concessions. That’s why Spence made a special trip one 'lay to the set of Clark’s “Homecoming.” iipence had heard rumors that for one sequence Clark had to look extremely /outhful — like a college boy, in fact. Spence walked in just as Clark was in the midst of the grease paint and powder Operation. They like to rib each other and Spence had a fine time, cluck-clucking. ji “Yeah,” chuckled Gable, and then reminded Spence of “Captains Courageous,” or which Tracy had to submit to a hair'lurling job. “But Pappy,” Spence came lack, “how about that crew haircut you’re vearing. After all, let’s face it, fellow — ve’re not kids any more!” There are kids on the lot, though, who idolize both of them. Take Van Johnson ind Spence. Van got his first real break in ‘A Guy Named Joe.” He was hurt in an mtomobile accident, while the picture was leing shot. Spence and Irene Dunne, the itars of the film, asked the studio to hold t up until Van recovered, so he wouldn’t 'ose the role. Then, in “Thirty Seconds )ver Tokyo,” Spence took what was ictually a rather small role while Van had he big part. Well, the one role Van had leen praying for was that of the hardDoiled reporter in “State of the Union.” Wy hunch is Spence went to bat for Van. ^.t any rate. Van has the part. However, there’s one thing I’ve got igainst my boss. He has made an insomliac of me. I remember the first mornng as a guest at his place. I was awakmed — it must have been 4 a. m. — by noises n the kitchen. I went down to investigate. There was Spence, rasslin’ with the coffee lot. “Draw up a chair and a cup,” he said. He does it every morning, I found out. He turns in about 11:30 almost every night and reads himself to sleep: Biography, history, fiction, everything. By four or ive a. m. he is “slept out,” and ready for action. After his coffee he settles down to itudy his script. Often he’s at the studio ay seven, ready for more coffee. I’ll let you in on his secret for getting ay with so little sleep. He has his lunch sent over early and he nibbles at it. Then le goes into his dressing room and catches Luxurioui Satin in Tea-rose, White and Black The Secret of an Txquisite Bust-Line • Why let an unappealing, dull figure spoil your chances for romance! 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