Screenland (Feb-Oct 1949)

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" 'I hope you don't hate me,' I said to her when the picture was finished, 'as much as I think you do?' " 'Well, it was a heck of an experience,' she said, speaking — characteristically — the simple truth, 'but I was on to what you were doing, and why you were doing it, before you had any idea I was and so, no, I don't hate you. Of course I don't.' "I hope not for Betsy is, in my opinion, one of the finest, if not the finest young actress in Hollywood. "With more experienced actors, release of the emotions comes, of course, more naturally. With an actress like Bette Davis, for example, you would not use such methods as I used with Darrieux and Blair. Before you say what you want Bette to do, she does it . . "With Olivia, it was not necessary to tell her that the important thing was for her to understand Virginia Cunningham. Olivia studied Virginia with such a passion as to make any questions about why, in this scene, Virginia does this, or says that, completely unnecessary. Olivia read and re-read the book and the script of 'The Snake Pit.' On a visit to New York before we started shooting, Olivia consulted with one of the leading psychiatrists in New York. In Hollywood, she did the same thing. Before we shot the first scene of the picture, we had made tests of every phase of Virginia's illness and every phase was questioned by Olivia, and answered and analyzed by the psychiatrists who worked with us. From the day we began work on the picture to the day our work was done, we had two doctors constantly on the set with us. "I am not one to believe that an actress playing a psychotic, or a murderess (or any role, for that matter) need go about in her private life, feeling mentally ill or potentially homicidal. But there is a certain amount of 'homework' an actress must do while making a picture— and this reminds me of an anecdote that may amuse you about Olivia. . "The most demanding scenes in the film for Livvy were the week-long narcosynthesis sequences, and it was while she was rehearsing for these sequences at home that apartment house neighbors, hearing the maniacal screams which, in varying degrees, Livvy was practising, assumed that Olivia and her authorhusband, Marcus Goodrich, were quarreling. This led, in turn, to published rumors that the Goodriches were 'separating.' To one columnist who wrote, 'Are the Goodriches feuding — or just noisy?' Olivia wired good-naturedly, 'Just noisy.' "Far from separating, it was during the filming of 'The Snake Pit' that Olivia and Marcus celebrated their first anniversary by purchasing their first home. Now the tag to this storv is one you will not believe. Nevertheless, here it is: In the garden of their new home, a few yards from the house, Mr. Goodrich found, when he killed a six-foot rattler and its twenty young, a real snake-pit. No one, including myself, did believe the story until Mr. Goodrich exhibited to me the reptiles' rattles! "For the star of 'The Snake Pit' to find a snake-pit in her own backyard — how realistic, I wonder, can you get? "And now let me tag my story with the hope that to an actress who wants to live long in pictures, I have been some little help. . ." Charmingly Yours Continued from page 49 fully can easily disguise her years. She must be very careful, though, for if she buys bad design, she will only look ridiculous in her attempt to look younger. * * * Don't Be Concerned about the so-called style centers. People are always arguing whether or not the best designers are in Paris, in New York or in Hollywood. The skilled American people who make medium priced clothes are comparable to anyone they have in Europe, because those designers have what I call restraint. * # * As For Paris, there's no use saying we don't look at their clothes. You have to look at anything, anywhere, when it's good. We needn't kid ourselves . . . we don't copy Paris, but we can't deny the influence of France. Right now we show the effect of Vionnet's inspiration in wonderful geometric things that call for great workmanship. We do this in pockets, set in pieces and fine details. It is amazing, however, how the American designers can incorporate this fine work in the good ready-to-wear clothes that you can buy in any store. # * * Hollywood Designers are a better influence now than they were many years ago. In 1932 screen stars were covered with beads and bangles. Everyone was trying to out-sensation everyone else. The glitter made me shudder. I fought for restraint and it was gratifying to know that the clothes I made for Kay Francis, for four years won her fame in Paris and New York as the one woman in Hollywood who was well-dressed. * * * In The Course Of Time Hollywood settled down to better fashions. I remember when there were just four designers for the screen. They were Omar Kiam, Travis Banton, Adrian and I. Then as production increased, more appeared. Irene entered the field and made a prominent place for herself. When independent production came in, it brought over a hundred screen designers into Hollywood, every one of whom is striving to make a 68 SCREENLAND