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"It was difficult for me to face hardboiled producers, too, because I knew what they were thinking. My life had been a sheltered one through no fault of my own, and because I had been used to the formal politeness of society I felt that many of them were purposely cold and abrupt with me. The truth of the matter was that I had not really grown up in my new world. This business of becoming a nonentity in a new world is probably the hardest thing a society girl has to face if she is serious about a career in the theater. I felt this struggle keenly because in my previous circle I had been looked upon with importance and I was a natural object of courtesy and consideration merely because of my family's position."
In this ironic state, resented by professional people as well as formal society, Jane also carried a major worry in regard to her family. She told me that her mother never let on for a moment that she was anything but happy, but she knew better at times and it plagued her while she was trying to concentrate on her work. "And this also was true," Jane reflected, "that each little disappointment was twice as hard for me to bear, because unlike the girls who had had to make their own way, everything had been handed to me on a silver platter."
Jane got her first firm grip on the lower rungs of success by her role in the Somerset Maugham play, "For Services Rendered," in 1933. Then she succeeded Margaret Sullavan in "Dinner at Eight," playing the role for six months in the New York and Chicago productions. And then, with a couple more successes to her credit, the movie offers started coming with regularity.
"In 1934 I finally signed a contract with Universal," Jane said, "because of all the offers this studio would allow me time to go back to the theater for a part of the time each year. I had worked so hard to gain stage recognition, and against such strange odds, that I suppose I had become sentimental about the theater," she laughed. "I had such an uphill climb, in fact, that when I did start collecting all that money in Hollywood I was actually bored with it. Once I had had all I needed and more, but having lost it I had grown used to the idea of a competitive life. I found myself
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It's Peter Coe from Broadway stage who has this delightful job of making love to Maria Montez in her new picture, "Gypsy Wildcat."
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