Photoplay (Jul-Dec 1950)

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BORO p EN q FORM How a Star Is Born ( Continued, from page 50) A little part at first, then a better one, then a much better one, and finally, that part in which he “goes all through the picture” and has some chance of being noticed by audiences and by those who produce and cast pictures within Hollywood. At about this time, the player has the experience of hearing himself fitted verbally into the Hollywood picture. If his humility has begun to deteriorate from lack of use, and his ego has begun to grow, the experience of finding himself neatly categorized is likely to be dangerous. In Hollywood, players are called “properties.” From Clark Gable to the newest cowboy signed by a one-picture independent outfit, all players are — at one time or another — designated as “properties.” Properties constantly gaining in value currently are Gene Nelson at Warner Brothers. Hugh Marlowe at the same studio, Terry Moore at Columbia, among others. BY the time you read this, Gene Nelson will have had three pictures released: "Daughter of Rosie O’Grady” opposite June Haver; “Tea for Two” in which he co-starred with Doris Day and Gordon MacRae, and “The West Point Story” which also stars Doris and Gordon MacRae. A fourth picture will be “Lullaby of Broadway” in which Gene will be given co-starring billing with Doris Day — a milestone. Any day now someone will comment on the “meteoric” rise of thirty-year-old, blond, dynamic Gene. The fact is that Gene has been in show business for seventeen years. He was first under contract to Twentieth Century-Fox in 1946. He did two dance routines with June Haver in “I Wonder Who’s Kissing Her Now”; he felt that he was heading for the big time. He hoped. He was seriously considered for the part opposite Betty Grable in “Mother Wore Tights,” but lost it to a chap named Dan Dailey. He was mentioned for “Apartment for Peggy,” but the studio decided that they needed “a name” to carry the boy’s part, so Bill Holden was signed. He was discussed for the starring role opposite Judy Garland in “Easter Parade” (by that time Gene was free-lancing, as his Twentieth contract had lapsed) at M-G-M and he was ecstatic. This deal, he felt certain, would go through. But out of retirement came a dancer of some repute, a chap named Fred Astaire, and newcomer Gene Nelson lost out. Instead of giving up, he joined a group of determined, talented, and resourceful local Thespians and played in a musical show, “Lend an Ear,” which had a successful run in Los Angeles and then went on to Broadway. Gene remained with the show eight happy months before accepting a Warner contract. This is what Gene has to say about his 1946 film experience, “If I’d been ready, the parts would have paid off. I was overanxious, nervous, tied up by tension. I had to learn what I now know with all my heart, everything can’t always go right.” Terry Moore’s experience is an excellent example of the building years and the many slips twixt cup and lip when the cup contains success. She has been in the picture industry since she was eleven and doubled for Shirley Temple as a little girl. Terry’s first important picture on a Terry Moore basis was “The Return of October.” The picture was so well received and her own reviews were so promising that she had every reason to believe that her next film would be a star-maker. One of the dreams of her life was to play the title role in “Lorna Doone.” Originally Farley Granger was set as the male lead, but he refused the part. At that point Richard Greene was secured, but there were supposed to be only two years difference in age between Lorna Doone and her young lover, so Terry had to be replaced. She looked too young to play opposite Mr. Greene. Hugh Marlowe, brilliant leading man at Twentieth Century-Fox, could give any newcomer a lesson in patience and hard work. He began his career in 1932 as a radio announcer in Davenport, Iowa, where he remained for a year. (Incidentally, Marlowe’s job — when he left for California— was taken over by an earnest young chap named Ronald Reagan). Hugh enrolled at the Pasadena Playhouse where he studied for three years and worked in seventy-five plays before he was tested for a part in a picture starring George Raft and Carole Lombard. He didn’t get the part. He was tested twice by M-G-M, after the Raft-Lombard try, didn’t succeed at either reading. However, he had scarcely returned to New York before Metro paged him for a part in a Franchot Tone-Virginia Bruce picture and he was placed under contract. He did nothing for six months, then went east. He worked on Broadway in six plays, the final one being “Lady in the Dark” opposite Gertrude Lawrence, before Metro paged him again, this time for a small part in "Mrs. Parkington.” He also did a part in the Lana Turner picture “Marriage Is a Private Affair” before asking for his second release from the studio. He returned to the stage for a highly successful road run of “The Voice of the Turtle” (Hugh’s old friend, Ronald Reagan, enacted the motion picture version), followed by parts in three other plays before Twentieth Century-Fox asked him to take the part of the young composer in the Loretta Young vehicle, “Come to the Stable,” on a free lance basis. Practically everyone in America saw “Come to the Stable” and many persons in the audiences wrote to Hugh Marlowe to inform him that he was a “brilliant newcomer to the picture business.” He was grateful, but he didn’t lose his perspective. However, Twentieth signed him and cast him to advantage in “Twelve O’Clock High.” Then came the picture for which he had great hopes: “Night and the City.” This was to star Richard Widmark, but as the picture was planned, Hugh was to be seen all through the script. THE entire company was taken to England to make the picture. For three months, Hugh worked in the film, getting acquainted with as much of England as possible and using his free time to fly to Paris and Rome. He could scarcely wait to see the completed film, but when he did, he had to accept one more of the routine disappointments in an actor’s life. The picture had been too long, so it had been cut. Whenever there was a doubt about the story line, the camera stuck with Dick Widmark who was, after all, the star of the picture. Hugh appeared in only one scene. Hugh has a philosophy about the theatrical business: “A player should go into acting for the sheer love of it, not with any idea of making big money. In that way, the exertion of doing a good job in the profession one loves is pay-off enough. And, oddly enough, money — in the presence of honest effort and dedicated interest— takes care of itself.” About his loss of roles and his occasional disappearance from a picture in 92