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Left: Judy as stage Billie — part she got at last moment, when Jean Arthur fell ill.
Dressed for location scene she envies the light attire of Bill, Dir. George Cukor.
cian — David Oppenheim, first clarinetist of the New York Symphony — so knows her Sibelius from her Stravinsky, her Bela Bartok from her Ludwig Beethoven — and that a feature of Judy's livingroom is an Unabridged Webster's New International Dictionary, large enough to be used as a davenport but not used, as something to sit upon, by Judy!
Having thus admonished myself I fell to typing, reflecting, as I tapped, that we all, the readers of SCREENLAND and I, have been raised in the clown
with-the-breaking-heart, villain-with-theheart-of-gold school. We know, none better — I have written, none more often — that Danny Kaye is, by nature and temperament, the Melancholy Dane, that Humphrey Bogart plays patty-cake with baby pandas, that beneath the bejewelled bosoms of the Mesdames Turner, Hayworth, Dietrich, Grable, Swanson, Lamarr beat hearts as homely as striped calico. Thus trained, we wouldn't be caught dead believing Judy Holliday is, for real, a dumb blonde, even if she
were. In short, we have been educated to understand that appearances — and acting assignments — deceive.
Besides, in no time at all, it will be dated to think of Judy as the dumb blonde she isn't because, once the last shot of "Born Yesterday" is in the box at Columbia Studios in Hollywood, Judy isn't going to play anymore. Isn't, that is, going to play dumb anymore. After the long stretch she has served as a dumb blonde on Broadway, she's tired of dumb blonde (Please turn to page 70)
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