Photoplay (Jul-Dec 1938)

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There were Lake Como in warm weather; Biarritz in cold weather; Venice in April; Capri in May; Salzburg for the music festival; Munich for the opera season; Oberammergau for the Passion Play. There were the famous night spots of the world, on the Riviera, in Montmartre. There was — "One hell of a swell time," he says. "I never regretted a day of it, even when the money was all gone. In fact, I was kind of glad when that happened because I was beginning to be — " Yes, you've guessed it. He was beginning to be bored. And then, back in London with only ten pounds left to his name, he was introduced to Estelle Brody, the famous English actress; he took her to dinner with these last ten pounds, and she said to him, "Why don't you try the movies? You look just the type. I'll introduce you to the right people . . ." Thus casually, but nonetheless successfully, Ray Milland was launched upon a screen career and ultimately came to Hollywood. At first, being a screen actor looked like all other adventures of his life to date — "too darned easy." After playing several minor roles, he got good parts in such pictures as "Bought," "The Man Who Played God," "Bolero" and "We're Not Dressing" and finally was given what he and everybody else considered a sure-fire role in "The Gilded Lily" with Claudette Colbert and Fred MacMurray. "I thought I was all set," he told me, frankly. "I thought I was going to be a wow." OUT instead came the "jolt" which has Ray Milland, to use his own term, "still vibrating." Although he got excellent reviews, although fan mail poured in until it seemed just a matter of time until he would be seeing his name in lights, a suddenly perverse Lady Luck precipitated one of those inexplicable situations known as "one of those things." Maybe he didn't have his fingers crossed. Maybe he had tempted fate too long. Anyway, after "The Gilded Lily" he couldn't get another job! At first he scouted around casually. Nothing happened. Then he went after a job good and hard. Still nothing happened. He got down to his last fifty dollars; his last five dollars; his last fifty cents. He could have written home for money, but with that stubborn pride of his he decided he would rather starve, first. Well, he almost did, before Fate or what-have-you decided he had had enough, and he got a role in "Four Hours to Kill." After that, as had happened at first, his stock as an actor zoomed. He went into "Next Time We Love": into "Three Smart Girls"; into "The Big Broadcast of 1937." He was given a long-term contract by Paramount. He has a starring role in Para mount's "Men with Wings." He seem' all set. But, this time, there is a difference ii the way he feels about it— a great bi< difference. This time, Ray Milland i] not taking any of the good breaks fo; granted. He has had his lesson. He has crossed his fingers for good. Nevet again will he say: "It's too easy." Instead, he says this: "It's hard! It's devilish hard! You never know what will happen. You make one good picture and think you're set and the next may be a stinkeroo which takes you years to live down. You may think you're Number One Man at your studio and some young punk will come along and steal your thunder. You may do your darndest to be a success and find your darndest not good enough! You may slip out of the running for no apparent reason at all! "In other words, you can never kid yourself about this picture business, nor put your fists down, thinking you have it licked. If you do, you'll find it sneaking up from behind and knocking you for a loop!" He looked very stern and handsome as he described the snare and the delusion which is Hollywood . . . like a young man who could lick it into shape if anyone could. Also, he did not look like a young man who is bored, and he won't be for a while, I'll bet. Which means that he won't be looking "over the hill" away from Hollywood for a while, either, wanting to get away. Victorian . . . with Variations that she have the "grande passion" that will make the Haley comet look like a burnt-out skyrocket. What they don't know — and what is bound to be a shock to Messieurs Rathbone and Aherne — is that Olivia has locked away in her memory book an Experience. She knows Love. As she says, quite reasonably, "When I can duplicate the emotions I felt for my first boyhood sweetheart, I'll know that the big moment has arrived. Until then, it's only fun. . . ." It was back in Saratoga, before Hollywood, that Olivia found Love. Then she went into films and he went East and when they met again, sweet memories of summer moonlit nights notwithstanding, she found him changed. "Not married," Olivia explained. "Just changed. I saw him as he was, not as I thought he was. And you can't call it 'childhood romance' because it was more than that to me and it still is." The big trouble, as Olivia points out, with all her well-wishing friends is that they will never agree on the right person for her. So it looks as if, Rathbone and Aherne to the contrary, when the time comes, Olivia's got to take matters in her own hands. LIFE, however, is not all introspection for Olivia Mary. There are concerts, plays, the Russian Ballet when it's in town. Good music she dotes on, though she is frank to confess she knows little about it. Heifetz is a "poet" of the violin. Menuhin "needs maturity." She lives in a three-bedroomed, twobathed house with mother and sister, has one maid . . . "and you can't miss the house because there are six pigeons that sit on the roof." When gentlemen callers come, Olivia begs her sister to stay and help the conversation. "I don't like to talk," she confesses, (Continued from page 27) although you may not think so from the beginning of this story. "I listen better." Score another point for Maid Olivia's Victorianism. She has four evening frocks, uses "Bimi" shade nail polish, likes "Night Flight" perfume, Richard Hughes' "Enchanted Voyage," and wears slacks frequently because she likes to climb fences — a variation on the Victorian theme. She flashed a dark look at us, chocolate-brown eyes sable in their passion: "I came to Hollywood much, much too early," she said. "If I had only known then what I know now I would have stayed in the North and gone to Mills College. I had a scholarship, and all that, but I thought the theater and a career and a chance to work with Max Reinhardt were the only things. I wish now it had all been different. If I could only have seen what I see now, I would have known the advantages of an education. It isn't so much what you learn from textbooks but the chance of slowly maturing that it gives you. This way, I was rushed into being an adult. "Of course, textbook standards are not those of a big modern city or a huge 'Within fifty feet of me lay the body of a murdered man . . f One of a dozen tense, thrillpacked moments in the next installment of ERLE STANLEY GARDNER'S amazing mystery, "The Case of the Hollywood Scandal." Turn to page 17 and begin this serial today! industry, but at least they prepare you to make adjustments," Olivia continued, still bent on self-revelation. "I came into films absolutely without any preparation for life. It doesn't seem that anyone could be as incredibly childish and naive as I was. I couldn't believe that people could live the worldly sort of lives that I had read about in books. I thought they existed only in the author's imagination. To meet such people in real life — to make friends and discover that they were 'unconventional,' according to my strict provincial standards—you can imagine the adjustments that I had to make! "The first year in Hollywood was perfect. We had fun. Mother, my sister and I. We made our fun. Made our adventures." Olivia's eyes flamed with thoughts. "On Sundays we took long motor trips and explored little canyons and backroads. We went to movies and read books together. Sometimes we'd save up and see a good play. Our life was little changed from the life we lived up North on the Peninsula. "Next year it was different. It has been increasingly different every year since," she continued. "The next year we made many new acquaintances, and we didn't realize at first that they weren't the kind of people, simple and uncomplicated, that we knew up North. They thought differently. More than ever we missed our old associates. "My sister decided to become an actress, too. That ruined the closeknittedness of our family life. It was bad enough, at first, to have me an actress, with hours upset and schedules changed. Now, it seems if I have a moment to rest she is working at her studio, and the sweet closeness of our relationship has slipped away. Today it is all gone. None of us is foolish enough to ignore the compensations — money and success— but something is lacking." 90 PHOTOPLAY