TV Radio Mirror (Jan - Jun 1955)

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A| ion-staining Dei Thousand* do I ftpotn on body Grateful UMTI Oft*n yearn of sufTerln the scale SEND FOR GENEROUS TRIAL SIZE > mil I) ■jy many doctora and 1h hacked by a i . i.iiiilU' boncnt In 2 wiokn or n. 9«nd 10c {hU >.ll I pOHlllVf money I" nfundid Xat nrwroua tru.l l*»ul . t It f'.r yourwalf. KfNultH may hurpriitc you day f'-r your I«>B| bottl*. r.-.utlon: Ua. only ;. -Ilr.< nam. plainly. Don'tdalay. Sold by Liggett and Walu ■ tore* and othar leading Druggist >r Static IK Spot Writf-to•d. IT •ox 392S, Strathmoor I _. LAKE LABORATORIES. Oept. '1704, Detroit 27. Mich. erately instill any of it. It is a natural outcome of Tom's holding the production reins and Loretta's acting. The richness, warmth, and positive, uplifting belief in life felt in their films comes from the Lewises' combined searching for the right scripts and the right presentation. This part of Loretta, her beliefs and philosophy, is not necessarily seen on the show ... it is only felt. She is the idealized picture of womanhood to millions across the nation. Her charm, vivacity, and graciousness create excitement. Her delicate, "fragile as a flower" appearance is exceedingly deceptive. She is, indeed, a strong orchid . . . abounding in strength and vitality. Tom was once asked by Greta Garbo: "Where does Loretta exercise when she's in New York?" Tom stared for a moment in amazement, "Exercise? My beloved wife wouldn't walk across a room if she could get a ride!" Loretta insists she doesn't need formal exercise. She uses up her boundless energies daily, as she pokes, peeks, and absorbs the life around her. She is a wonderful human contradiction . . . the epitome of virtues, faults and vagaries of womanhood. She loathes prejudice, gossip, criticism, and inflexible opinions. She is a perfectionist. Full of an insatiable curiosity about people — and things — she adores dinner by candlelight, fragile china, heavy crystal, cob-webby linens, old silver, gracious conversation. Wow in the throes of television, she has put aside gracious entertaining, except for occasional weekends in the Lewis home in her beloved Ojai Valley. In the lovely wooded valley, with family and friends, Loretta savors the enjoyment of leisure without a time clock ticking off the seconds. She has accepted the pseudo-sacred importance of time in her work. One of the world's ten best-dressed women, she personally loves hats, her wedding gown, and crisp white neckwear. She loves the poems of Elizabeth Barrett Browning . . . comfort, jungle rhythm, and antiques. She wears filmy nightgowns, ear plugs — and a sleep mask — to bed. She also leaves the earplugs in during the day . . . while the household buzzes around her — she blithely ignores it. She is glad she is a star, a woman and a mother — and, most of all, Mrs. Tom Lewis. Loretta uses everything she knows in her show. She will remember a speech she made for the Variety Club in Minneapolis five years ago. Once she forgot whom to call to look it up, but she was right about the speech. Her memory is two-edged. Some things she can never remember, others she will never forget. With all the press interviews she has given, she never yet has learned the meaning of that precious word (to the writer) "anecdote" — a little story from the past that takes on the color of the speaker. One day, her friend and public relations counselor, Helen Ferguson, set up a mass interview with high school reporters. Loretta was surrounded by eager novices, questioning, probing and touching. Finally she broke away from the group, sailed across the room with a studious little boy clutching her hand. In complete innocence, Loretta sped up to Helen and said, "Helen, you'll have to go to work. This reporter wants an antidote." Helen looked at her with a knowing smile and, turning to the boy, she said: "You have your anecdote. The brilliant star of stage, screen and television, Miss Loretta Young, does not know the difference between an anecdote and an antidote. And you may quote me." Both Tom and Loretta are constantly on the lookout for simple human dramas to be translated into scripts. One day, Tom overheard their children talking about a Cub Scout who had lost a precious rating because his parents hadn't attended a family night meeting. The simple drama of careless parents and a heartbroken boy became the basis for one of their most successful scripts. Entertainment-wise, it met with a sensational reaction. In a goodwill move that will do a lot of good, the Procter and Gamble Company (the sponsors) removed their commercial and furnished sixty -eight prints of the film to Cub Scout headquarters for distribution throughout the country. It touched perhaps untold numbers of parents and children with a bit more tolerance and understanding of one another's problems. The thrill of personal reaction to the story lines has come to Tom and Loretta many times. The Christmas Eve story of the poorhouse, where the children were taken care of but the aged forgotten, brought a spontaneous response. People in three different communities worked to put television sets in the recreation rooms of the county homes for old people. The story and the entertainment values were brilliant . . . not one of the viewers need have gone past the satisfaction of enjoying good drama. But the underlying theme, "Lest we forget," captures the best in every audience. "The greatest way to use my personal philosophy," says Loretta, "is in playing women from all walks of life and adapting it within the character I'm playing." Among others, Loretta has played a woman doctor solving a murder mystery, a publicity girl for a resort (the script did not call for her to ask anyone for an "antidote"), a woman having a nervous breakdown, a woman who believed in Aladdin's Lamp, a girl on a jury, a G'rl Scout leader, a school teacher, a dancer, pianist Clara Schumann, a dying wife, an old maid, and a pickpocket. Loretta has managed to submerge herself, through serious study of each woman's outlook on life. Embracing the characterization completely, she becomes the woman she portrays. Consistently, however, each role conveys an intangible aura of Loretta's personal philosophy. For she believes that, in every walk of life, the basic tenets are the same: "Maybe you are richer or poorer, younger or older than I am. But one thing we share: No one is ever too rich or too poor, too old or too young, to pray." Prayer and faith are the nuclei of the inner and outer-personality known as Loretta Young, which is spelled out in every gesture, expression or utterance you see weekly on your television set. That inner radiance is as much a part of the actress as the woman. "I believe in living the eternal now, doing now — not the things we want to do — but the things that we know are the right things to do. I believe that, to succeed in business, and as human beings, we must do the best we can each day. Be as kind as we possibly can to each other." Loretta lives each day as fully as time allows. Kipling, not knowing that the world would take on the harried, hurried time clock as a boss — nor that television would stretch the twenty-four-hour day to bursting — showed remarkable foresight in his poem, "If." He could have written it for Loretta: "If you can fill the unforgiving minute With sixty seconds' worth of distance run, Yours is the Earth and everything that's in it . . ." And Loretta, capturing those sixty seconds with complete awareness of their meaning, living richly from her full experience, looking outward for fulfillment of her personal philosophy, will always be Young — by name and by nature — heart and soul.