Screenland (Feb-Oct 1949)

The book was finished. Paul Short, a truly sensitive producer, approached Audie to make a film. David Selznick also decided that he was screen material. He gave Audie a test but nothing ever happened. Short, however, has just finished "Bad Boy" with him. And, yes, Audie plays the title role. "I'm really awful in the picture." he says now, his blue eyes twinkling. "I rob somebody. I fight. I ride a horse to death. I do a few other things. You see, the story is based on the ranches set up by The Variety Clubs across the country, ranches something like "Boys Town.' I'm supposed to be one of the kids who's picked up with the beginnings of a police record and sent to one of them — so I do evervthing the Johnston Office will allow!" He was lucky in the people he had to work with in the film, for Short wisely chose the most distinguished screen veterans he could find as support to his star: Lloyd Xolan, Jimmy Gleason and Jane Wyatt. "They were wonderful!" Audie says. "I just couldn't be scared with them around/' ^"hat does he want out of life now? Well, first, he and Wanda hope for the privacy to live normally. They already have planned a family. He's already taught her to shoot and is very proud of her prowess. And he hopes that, now married, they will be allowed to exist as they want to, as other young couples can. Second, he'd like to keep on writing. Working on his book, he discovered that writing was one way of expressing himself without, as he puts it. "being overbearing." He's struggling now with a novel-length piece of fiction about a returned veteran. He'd like it to be good enough to print. Third, he'd like to make a success in pictures. Not for the money, no. "Money diesn't mean anything to me," he says, honestly. "I actually never know how much I have in my pockets. But, if success in pictures means being able to do a good job and be happv. then I want it." The publicity man smiles a little as Audie makes this statement. Things are getting back to the usual groove. Then the money-wrench is thrown again. "But. if after two or three films I don't think I'm any good." Mr. Murphy adds, positively, "then I'll get out. I can always go back to farming in Texas. I don't think I'll starve." While the press agent goes down for the third time, you look at the guy who said that. You decide that it was not in any way an accident that he came home from the War with a chestful of medals. For he's not the flamboyant kind of hero, not the kind who dashes into gunfire just to show off. Instead, he's almost shy, almost timid. What he does, and what he has done, come, you decide, from another sort of courage, the kind which knows the unbalance of the odds and meets them anyway. Audie Murphy is a greater hero than most, you know suddenly, for he has felt fear and he has faced death in spite of it. It's small wonder that to him Hollywood is not of all-consuming consequence. Yet. we cannot help hoping that lie makes a great and lasting mark on the town. For, between the two of us. the town is luckv to have him around. Eyes On New Horizons Continued from page 16 must be subtle and blend the color perfectly or you will look too theatrical. Shadow color should either complement or contrast with the eye color. Sometimes lovely effects are achieved by color with careful blending to make a special mauve or blue or green. Xow comes mascara to frame your eyes, to increase size, clarify and color. Develop a skilled hand with mascara. You can. with patience and care, and once mastered, the technique is yours for keeps. One general mistake is to get your cake mascara too wet. Another is to take too much mascara on your brush at once, whether cake or creme form. The worst, perhaps, is trying to use a clogged brush. The brush needs cleaning after every use. Brush straight upward from the roots of lashes with a light application of mascara. Let this dry. 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