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The editor's Page
AN OPEN LETTER TO JUNE LOCK HART
' ' IT OLLYWOOD was never like L this!" you said, all eager and glowing, as you fought your way through stage-door autograph hounds after the final curtain of "For Love or Money," in which you made the biggest hit of any young actress since Helen Hayes was discovered. Of course you're thrilled to be Best Young Actress of the Year, with George Jean Nathan and other august critics tossing
June Lockhart became the toast of Broadway while appearing in the stage play, "For Love or Money." Right, surrounded by congratulatory telegrams; above, with young leading man Mark Daniels. Hollywood wants her back, but quick, to star in Eagle Lion's "Kenny," by Louis Bromfield. You've seen her recently in "T-Men."
such adjectives as radiant, refreshing, and merely wonderful at you, and with all New York flocking to see the sensational new star. But oddly enough, you've kept your head— oddly, until I remember you're Gene Lockhart's daughter and a born trouper. No hard feelings about Hollywood, either — even though they took you pretty much for granted, first as a child actress in "All This and Heaven Too" and "Sergeant York"; then as a budding ingenue in support of Lassie and other big stars. Now you're going back to Hollywood a big star yourself, to play "Kenny," with a production budget of $2,000,000, and you're really happy. After all, you say modestly, all you did was to carry your screen technique onto the stage, not acting any different than you'd been acting in pictures right along. And Broadway liked it. Only now Hollywood likes it too.