Screenland (Jul–Dec 1946)

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When her doctors announced she could not possibly work again for many months, Ann went to Korda to ask whether he would let her essay Lottie instead. Korda was courteous but firm. He would shelve the production until Vivien recovered because she wanted to play the part so much. (Now Vivien is going to make the picture in Hollywood in 1947.) So Ann decided bitterly she would never attempt to reach for film fame any more, but freakish Fate had other ideas. Producer Sydney Box was looking for a suitable actress to team with James Mason in "The Seventh Veil." He went five times to see Ann play Lottie and then offered her the part. It was Ann's biggest chance and she seized it with eager hands, putting all her. powers of imaginative intensity and emotion into her rendering of the girl pianist. Even then she feared her illluck would still pursue her. The firstnight was a brilliant charity premiere, attended by Queen Mary, but it seemed to Ann that her performance Was too flat and dull. Halfway through she crept out to the powder-room and sat there with tears running down her face, afraid to hear herself voted a failure. Until an anxious friend rushed in to tell her the Queen-Mother wanted to see her! As Ann made her curtsey, Queen Mary congratulated her on her wonderful performance in glowing terms and gave her an autographed portrait in appreciation, a rare honor. Next morning all the newspapers carried rave notices about Ann. She had three cables from Hollwood offering her major contracts and four British producers called round personally. The ubiquitous J. Arthur Rank won the day and Ann signed a contract with him to make fourteen films, six in Hollywood and eight in Britain. The world had a brand new screen star. She's still rather surprised about it all, almost afraid her fame will vanish overnight and leave her struggling once again. So far she hasn't altered her style of living very much, except that she's bought a new coupe and her first silver fox jacket. Ann and her husband, Nigel Tangye, make their home in a modern apartment in Chelsea, London's Greenwich Village, and they own an old stone house near the seashore in Cornwall too. As a young girl Ann eloped with Victor Malcolm, a friend of the Duke of Windsor, but a divorce took place in 1935. Shortly afterwards she married Nigel, who is a writer with several novels and plays to his name. He served with the Royal Air Force during the war and was severely wounded. They have two children, David, who is nearly nine, and pretty little Francesca, who's just had her fifth birthday party. David, amazingly like his mother, recently made his own screen debut. Since "The Seventh Veil," Ann has naturally been kept busy and her next film was "Gaiety George," in which she shared stellar honors with Richard Greene before he returned to California. Dick plays an old-time theatrical impresario and Ann is the song-and-dance star he marries, a straightforward, sympathetic and rather tender role. When they wanted a child to play her son in the picture, Ann thought of her own boy. After the first day's shooting David said to Producer George King: "I think I'm good because I felt sick all the time I was acting. Mummy always feels sick while she's acting, you know, and she's good, isn't she?" That's true enough, for Ann does experience tremendous nervous tension as she works. She literally lives in her part from the first moment she reads it and she can never leave it behind her on the set when she goes home. Her family are quite accustomed to seeing her wander round the room with vacant eyes, muttering and gesturing to herself. It puts such a physical strain on her that Ann's doctor has made her promise to keep some strict rules of health to counteract it. When she has an hour or so to spare between scenes, she goes out in her car or walks briskly round the park near the studio. She eats very lightly, salads and fruit and eggs when she can get them. Between her films she relaxes completely for two weeks before she even reads her next part. Not that Ann sits idly in a lounge chair — she's far too restless and full of vitality for that. Her chief hobby is painting, not surprising since she is a direct descendant of the famous satirical artist Hogarth. She doesn't like housework or cooking but she is quite skilled at embroidery. She can ride and swim and drive her own car, and she sometimes plays tennis, too. At one time, when she had not had an acting part for many months, she thought she would turn to writing instead and she had several stories printed in British women's magazines. After seeing "The Seventh Veil" many people have thought Ann must be an accomplished pianist, but actually she doesn't care much about music and can't play a note. To give realism to her performance she learned fingering the hard . way, practising it for hours every day on a dumb keyboard and then being taught to synchronise it with gramophone records made by a famous concert pianist under the keen eye of a professor from the Royal College of Music. Following "Gaiety George," Ann has done a highly unusual kind of film with Eric Portman, directed by Compton Bennett who held the megaphone for "The Seventh Veil." It is called "Daybreak" and Ann has a characteristically intense part, that of the wife of a Thames bargeman who becomes violently infatuated with a foreign sailor while her husband is absent on mysterious business. Rank has another big production lined up for her, a drama with a Spanish background called "Mantilla," which will be shot in Technicolor. But Ann will not make it until next summer, for in the meantime she has gone to Hollywood, under Rank's new "lend-lease" scheme. So since her amazing story of struggle and ambition has such a happy ending, maybe Ann won't mind too much now when she meets up with Vivien Leigh in Hollywood, come to do "Lottie Dundas" at long last. 78 Scree nlanp