Screenland (Nov 1945-Oct 1946)

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ALLCOCK'S Porous Plasters Bt Your Own MUSICTeaeher LEARN AT HOME FOR LESS THAN 7c A DAY Simple as A-B-C. Your lessons consist of real selections, instead of tiresome exercises. You read real notes— no "numbers" or trick music. Some of our 850,000 students are band LEADERS. Everything is in print and pictures. First you are told what to do. Then a picture shows you how. Soon you may become an excellent musician. Mail coupon for our illustrated Free Book ^ ^— and Print and Picture Sample. Mention your favorite instrument. U. S. School of Music, 11910 Brunswick Bldg., N.Y. lo, N.Y. FREE BOOKLET U. S. School of Music, 11910 Brunswick Bldg.. N.Y. 10, N.Y. Please send me Free Booklet and Print and Picture Sample I would like to play (Name Instrument). r ' Have you Instrument . . Instrument? in January, 1943, proved brief. Mention of her second, in July, 1945, to Anthony Owen, formerly with the agency that handles Donna's career (he's left that job to launch out as an independent producer) brings lights into the exmilkm aid's eyes that make them match her golden-brown hair. The Owens dwell in a sort of patched-over house (starting with what one could get, in war days) on Santa Monica beach, and the "patching over" made of it a home into which you walk and say to yourself, "I'd like to live here." Dark green walls, chintzbordered windows pouring in light and sea-view, bright red rugs, brass-work, chintz flowering again on chairs, and affectionately chosen early American pieces combine to induce a verdict: "This is right for Donna." For Tony, too. The obviously happy couple represent two widely different phases of American development and life: Donna, the Iowa pioneering; battling against weather, kinship to the tranquil earth, serenity drawn from wide skies; Tony, the colorful, imported civilization (pioneering, too) of his native New Orleans, with a temperament that matches his brunette good looks, his quick movements, quick thought. If "like and unlike" make for married happiness, the future of these two glows rosily. Take temperament. "I'm one of these people," says Donna, "who has to analyze, ponder, change my mind, maybe, a few times, before reaching a decision. Tony's choices in life spring like you'd lit a rocket-flare." Talking with more animation than seems usual with her on any subject but Tony, she went on: "I'll give you an example. A friend of mine, who had worked all the way through on the atomic bomb project, wrote me asking if I didn't think the American people ought to know more about the making, and power, of the bomb. And didn't I think it was a grand subject for a movie? I mulled the idea over for a few hours, feeling more and more confused and weighted down. So many considerations were involved! Tony came home. I showed him the letter. 'Let's get this man on the telephone, right away!' 'But Tony,' I protested, 'you don't know what kind of story could be done — whether Washington would okay a fictional treatment — whether any company wants to make such a picture.' Tony repeated, 'Get your friend on long distance.' They talked. A few hours later Tony had interested Metro. A few hours after that, he and Sam Marx, a famous producer and fine person, were on a plane, bound for Oak Ridge, Tennessee, where atomic energy was first freed." Donna's husband's flare for immediate action led to the birth of "The Beginning or the End," which MGM considers one of that studio's most important projects in many years. Had the flight to Oak Ridge been delayed forty-eight hours, another producer would have had the idea and the necessary authorization sewed up! Donna now regards with proper respect what she used to think was "just Tony's impulsiveness." "I guess," she grins, "if the suggestions had waited on me for action, the world would have moved on to jet-propelled raindrops, or something else equally new and Name . . Address (Please Print) William Eythe, in London to make "Meet Me at Dawn," meets his next leading lady, Hazel Court, at the press reception given in his honor at the Dorchester Hotel. '76 SCREENLAND