Screenland (Nov 1945-Oct 1946)

No longer a blonde, Marjorie Reynolds has changed her personality along with her hair. A daring hat or gown, a new coiffure may make a new woman of you, too! "TT'S STRANGE," says Marjorie I Reynolds, "how you can go along for years, vaguely dissatisfied with the course of your life, searching for a solution. Then when you least expect it, some small seemingly unimportant circumstance gets you headed in the right direction and you're off to a fresh start. Believe it or not, a tall black wig did the trick for me," she adds with a grin. for The wig was an eighteenth century affair, a complicated stack of dark curls and pompadours they tried to pin on Marjorie for her role opposite Bob Hope in "Monsieur Beaucaire." Makeup men bustled about, carefully tucking every strand of her light hair under the period piece. A wistful little man, clutching a glistening hair ornament, hovered nearby awaiting the signal to add the crowning touch to the elegant coiffure. "Take it off," said Marjorie suddenly, getting out from under. "I won't wear a wig." There was a chorus of horrified protest. "But you must. You're a blonde and the script definitely calls for a brunette!" "That's just it. For years I've wanted to change my hair back to its natural color. Now's the time to do it." Chaos in the makeup department. Experts argued fiercely among themselves. The wistful little man dropped the ^ hair ornament in his agitation. "No wig!" repeated Marjorie stubbornly. "My own hair, dyed black!" With the elaborate appointments of the studio makeup department at hand she was transformed within the hour. Marjorie hailed her triple image in the dressing-table mirrors with delighted surprise. "Hello, there. Haven't seen you in years!" Then, remembering the makeup men, she explained with some embarrassment, "It's been so long since I was a brunette I'd forgotten what I was really like!" She has been reminded in many ways since, for the change goes deeper than her darkened hair. Every facet of her personality sparkles with a fresh bright luster. Feeling completely natural for the first time in years, Marjorie is gaining confidence in herself. Her manner of speech is brisker. Friends and neighbors, accustomed to seeing her in pastel sweaters and skirts, are bug-eyed at the spectacle of an exotic Marjorie flaunting large hooped earrings and gay Mexican peasant dirndls. Even her cooking (never perfect) has taken on added zest,, featuring highly flavored dishes of uncertain origin. Her husband, attractive Jack Reynolds, fresh out of an army major's uniform, is enchanted with the New Woman in his life. First post-blonde step toward a careerchange was in the direction of the office of Paramount's Boss Man, Y. Frank Freeman. "I've got a terrific idea," she burst in on him without warning. "I want to make a flock of screen tests!" Executive eyebrows shot up. "Screen tests! They're for beginners, not for seasoned actresses like you, Miss Reynolds." "Seasoned. H-m-ra." She pondered the w.ord. "I'd rather be considered spicy for a change." Marjorie moved closer to the massive walnut desk. "Let me choose my own scripts, supervise the mak'ng of (Please turn to page 97) The new, brunette Marjorie visits Director George Marshall's set and listens in at the mike boom, above. She has a new house, too. a Williamsburg Colonial of stucco, frame, and brick, in San Fernando Valley. Exclusive home photos by Malcolm Bulloch, Paramount