Screenland (May-Oct 1939)

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ENLARGEMENT • Send Today . — « • « m 9 » .... of your favorite negative (film). Beau tiful "Excel Finish" on Eastman Double • • Weight paper. Prompt service. Original safely m returned. This FREE offer limited. EXTRA • w SURPRISE if you send today! Enclose 10 cents • • for mailing costs. Eagle Studios, Dept. 42, 1910 Farnam, Omaha, Neb. 18 yrs. quality work ! • STRONGER1 MORE ABSORBENT AT 5 AND 10? AND BETTER DEPARTMENT STORES 4 Frightened Fathers Co ntinued from page 55 88 ■ i fore him. When a figure appeared in the doorway, George leaped to his feet. He was sure it was the nurse, and yet she looked strangely like Ann Sothern. Finally, George had to admit to himself that it was Ann Sothern. Being an old friend of the Murphys, when she heard that Julie had gone to the hospital Ann felt that she just had to be there in case they needed her. Standing by the delivery-room door, Ann finally heard the baby cry. Rushing into George, Ann shouted, "It's here, George, it's here!" George mechanically got up and walked out. No, he wasn't going to faint. Fathers only did that in moving pictures. But he still didn't believe what Ann was saying. Finally, when George heard the baby cry, it was a different story. Just as brave as a man walking up those thirteen steps, George pushed open the door and went in to see young Dennis Michael Murphy. Eventually, later, George got to a phone booth. He could barely read the names on a frayed list he had been carrying around for weeks. Everyone must know that Dennis Michael (the Michael is after George's father, a famous Yale coach) had arrived. Still not sure that he had phoned everyone, George went down the list again, this time sending telegrams. Looking back on it, George says his first impression of his son was that he looked a little like Bert Lahr ! Dennis Michael's first visitor was Joan Crawford. A baby in the maternity ward was no novelty. Joan Crawford was. Every nurse and doctor in the building found some excuse to visit the Murphy room. Just as Joan had succeeded beautifully in stealing the whole show, George suddenly felt very strange. Then he turned white. Nurses ran to his side. George knew he was going. Everything seemed to be slipping away. A hasty examination proved futile. George was in perfect condition. Then he suddenly remembered. In all the excitement, he had forgotten to eat. Since his son's arrival he had only had four hot dogs and a glass of beer ! Back at home, George accepted his new role of father with the greatest of ease. Every day he'd go out and buy a train, a football, or a baseball suit. The third week Mrs. Murphy caught him trying to teach the baby to walk. When he works, George comes tearing home on his lunch hour to see his son, who is asleep when he gets home at night. "I used to be the guy they couldn't awaken with a cannon," beams George. "Now I do a broad jump into the nursery every time I hear the least sound. I've promised my son that he can take swimming lessons from Johnny Weissmuller and singing lessons from Nelson Eddy. And not because he's my son, but you know, I think he understands everything I say!" Since he became a Hollywood father, George Murphy is a changed man. Before, he was inclined to brood and worry over his work. Now George has so much selfconfidence, he strongly prescribes fatherhood as a cure for everything. It was two o'clock in the morning when Anthony Quinn and John Garfield called me from the Brown Derby. Tony, I have known way back before I was best man at his wedding to Katherine DeMille. John, I have known since the first day I met him on the set of "Four Daughters." But neither of them knew that the other knew me. And neither of them had ever met before until they started pitching pennies outside the delivr -room door! Now they were both fathers, their babies being born just an ' i ir apart. At the Derby both had as.ked E01 | and both had called me ;if the •:• i me Then it was, on a -three SCREE INLAND way conversation we discovered we all knew each other. Nothing would do, I must come over and have a glass of champagne. What if I did have to get up and get dressed again? "You've jesh gotta come over," pleaded John pleasantly. "I'm the proud daughter of a nish new father!" So we all celebrated ! Having been through an experience or two in his turbulent young life, John Garfield accepted the prospect of fatherhood like a real Odets hero. So he gave another brilliant performance and disguised his ' anxiety beautifully. One day he called home from location and there was no answer. John knew his wife seldom went out these days. Still he said nothing. Later on John sat between shots and listened to the radio in a company car. A Hollywood news commentator who would scoop his own mother (not you, Jimmy) suddenly announced that Mrs. John Garfield was in the hospital having her baby. John frantically called the doctor. They both checked with the hospital. John, who was then new enough in Hollywood to believe all he heard, was beside himself with worry. When he got home, Mrs. Garfield greeted him at the door. She had been to a neighborhood movie to see Shirley Temple. Katherine Anushka Garfield's first guest (the Anushka is Russian for Anne, named for John's mother) was Luise Rainer. She was there bright and early and remained all day. John was right there too, but not a bit interested in pitching pennies now. His head didn't feel so good. But his heart felt wonderful. Right then and there John decided that fatherhood was the greatest role of his career. When he isn't at the studio, John can always be found watching his new daughter. With that great interest he has in all things that represent life and living, John never ceases to be amazed at the progress she makes in eating and noticing things. One day he was introduced to a real fan of his named Barbara Stanwyck. When she asked about the baby, John exclaimed. "She's wonderful ! You must come and see her. She learned to make this kind of a face today [John made the face]. You know, I'm glad I'm her father." After he finished in "Juarez," John was so exhausted he decided to go to San Francisco for a week's rest. Two days later Mrs. Garfield was awakened by the front door slamming at five o'clock in the morning. Slipping into a robe, she greeted John in the hall. "Is anything wrong?" she inquired. "I got lonesome for the baby," answered John simply. When little Christopher Quinn grows up he should inherit a wealth of talent and beauty. Mama Katherine is a Canadian of French-Irish extraction. Papa Tony is a smouldering Aztec with enough Irish thrown in to give him the right to dream. Both parents are artists, musicians, and dancers of rare ability. They are modern in their viewpoints on life and insist that Christopher will be trained and encouraged to do the work he likes best. They'll stick to this even if he wants to be a plumber — but you can bet your last peso that he won't be. Since the birth of her son, Katherine (who is changing her name to Deborah because Katherine has always depressed her) is even more beautiful than ever. She is quite slender, more exciting and bubbling over with impatience to go on with her creative work. She and her two "men" live in a tiny house in the hills. They both paint in oil and Tony has already started a portrait of his son. When the studio called him to work in "Union Pacific," Tony reluctantly had to tear himself away. After the I