Screenland (Nov 1950-Oct 1951)

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O'NEILL CO., Akron, Ohio THE WHITE HOUSE, San Francisco, Calif. #256-CLELAND-SIMPS0N, Scranton, Pa. D. G. ERLANGER & CO., Canton, Ohio BULLOCK'S, Los Angeles, Calif. #257— KRESGE'S DEPARTMENT STORE, Newark, N. J. FAMOUS BAR, St. Louis, Mo. BULLOCK'S, Los Angeles, Calif. Gentleman With A Problem Continued from page 47 cases, the magnetism of personality that passes for oomph and glamour. Though to him oomph is something that comes out of the large end of a horn in a parade, and he would be the last to own up to the term "glamour boy," for glamour to him has a definitely feminine connotation. Apparent is a genuine wholesomeness, a sly sense of humor, a modest engagingness. Refusing to take himself too seriously, he finds life continuously an amusingly challenging affair. Yet, these attractive traits don't explain his appeal over the footlights or the screen when he's singing "That Old Black Magic" or telling a Pretty One that he loves her — and only her. His detached air toward his feminine audience is as complete as it is disarming. Indeed, it is almost Gallic in its amused aloofness. He is by no means indifferent to feminine charm, but men's company gives him that satisfying virility of viewpoint that is the most salient characteristic of the locker room. Bobby-soxers are attracted to him, too. But what is equally important, their boy friends don't resent him. They don't resent him because in general he typifies them. They see in him theif own prototypes. When he comes out on the stage to pelt a song or tell an anecdote he gives off a naturalness, a simplicity sincere and unaffected. "I try to radiate friendliness," he said. "I try hard to play up to the people out front. I say to myself: 'MacRae, these people are your friends.' And always my aim is to be natural, to be myself, to remember humbly that it wasn't so long ago I was a page boy at Radio City and showing visitors the studio where Walter Winchell broadcast his news flashes." Unquestionably, as Hollywood and Broadway and Radio City will testify, Gordon MacRae has kept his feet on the ground. When Warner Bros, signed him up a few years back, after he had established himself as a successful radio singer, and put him in a picture — "The Big Punch" — in which he didn't sing a note, it didn't bother his ego a bit. He just talked like any other actor. In fact, he decided he would try to "pelt" dialogue as engagingly as Humphrey Bogart. He played a prize fighter, and he looked like a streamlined, modern, "eddicated" — no dese, dem and dose — pug. There came chances for singing in "Look For The Silver Lining" which, ironically, played in New York under the same roof where he once garnered 16 bucks a week as a page boy. "I like the unpredictable aspect," he said. "In 'Return Of The Frontiersman' I rode a horse for the first time. In my latest film, 'The West Point Story,' I do some hoofing. And talking about Unpredictableness with a big U, I will always cherish the memory of that day when I made a hole in one in a golf game with Bing Crosby. That gave me as satisfying a feeling as hearing the applause of an audience the first time I pelted out '01' Man River.' " To get that rigid West Point trimness, Gordon dieted a bit, reducing his weight some 20 pounds. He was just a few pounds shy of his normal 175 — he's 5 feet 10^2 inches tall — when he co-starred with Patrice Wymore on the Strand bill, he to give out vocally, she mostly some stepping. It was a dizzy whirl he was having, but it was show business, and he was happy to be re-experiencing it in the flesh. "It took me back in memory to my season in 'Three To Make Ready,' Ray Bolger's show, in 1946. Only then, very few people noticed anybody but Ray Bolger. I was just one of those occupying the stage between Bolger's appearances. It took a series of personal appearances around the country to make people think they had made a discovery of me. Ever since, I've tried not to disappoint them. I still take singing lessons." For his radio program, the Railroad Hour, Gordon spends a day learning the script, he said, and another day the lyrics. He thinks lyrics are very important to a song, and if he doesn't like the lyric he will not sing the song, no matter how melodious. Gordon and his pretty, talented young wife, Sheila, whom he met when they were playing a Summer stock season at Roslyn, L. I., have three children, Meredith, 6; Heather, 4, and a son, William Gordon, 3. They live in North Hollywood. The MacRaes' way of living does not carry too much the Hollywood stamp. For one thing, the guy is too busy singing for his supper. He doesn't want to be typed in Hollywood off the set any more than on. There is little of the air or manner of an actor about him. He looks young enough and healthy enough to pass even now as a star halfback in his senior year in college. His appearance is not deceiving. He actually has the sinewy strength of those young men who have been brought up on a farm. He revealed something of this latent force in his "Frontiersman" portrayal. Yet, he believes there is drama in the quiet, average American. MacRae, before "The Big Punch," was unknown to the screen public. But he was young and willing and goodlooking. And, important for the feminine trade, magnetic — wholesomely magnetic. So he was placed on the stardom ladder. Today, he represents the typical young American whose humor, likeableness and good will are recognizable from filling station to factory front office. It's a type that deftly blends sophistication with homespun qualities. There is poise, but there is also a modesty that approaches shyness. It is this type, the unhamlike-type that is most baffling to women. It is this blithe refusal of the Gordon MacRae 66