Screenland (Nov 1950-Oct 1951)

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You have to bounce back — be resilient, like a rubber ball. All life is an experience and there is no growth without it. You can't accept it passively or without fight. You have to accept the whole challenge. Be on your tees or you'll get tossed around." "Yes, but not an established star like you, Joan, who's so in demand!" "Are you kidding?" Joan said. "I have to be on my toes constantly. I read a script and make a decision now, or go into a conference to right it at once — for there is always a waiting line to grab and take your chance." Joan was wearing a gray jersey dress with a matching sweater, trimmed with pearl and gold embroidery. Two pearl combs held her hair, caught in a low chignon. "Every night when I go to bed, I wonder if I am doing the right thing. It is a great responsibility to mold, enrich and guide the lives of four people. Sometimes I say, T did everything in the book wrong today.' But I try again the next day." "And what about romance, Joan?" I pursued. "You're too feminine, too much a woman to give all of your life to your family — no matter the happiness." Joan's eyes seemed misty for a brief second. "That will come," she said. "Some day." Knowing Joan, you know some day will come. Nothing Stops Susan! Continued from page 42 for hiding places. Chaos reigned for quite a spell, at the end of which Susan was heard to remark, casually, that ole Hoppy had nothing on Bathsheba. Susan has a special problem which would bother most actresses: she's little. In fact, she stands a hot five feet three and nearly every one of her leading men is pushing seven feet. Peck is six-four. Dailey is six-three. Lundigan is over six-two. Power is an even six. And so, Susan must play many of her scenes with a crick in her neck, if she doesn't want to chat at her hero's middle. "But they're such good actors!" she says. That seems to take care of everything. "David And Bathsheba," as we intimated, is not the only film in which things have been a little rugged for Susan. With Tyrone Power in "Rawhide," for instance, she spent several days on her stomach under a bunk. And it wasn't just a tryst, I assure you. The two were supposed to be digging a hole under a wall, so they could escape from a locked room. This necessitated, of course, something to dig with — a knife blade for a while, and when the blade snapped, they dug with their paws. It was a fine sequence. Susan was charmed with it. She could grow other fingernails, couldn't she? This sort of thing began almost as soon as Susan, herself, began in pictures. It was never too tough. Nothing was ever too tough. One of her first assignments, for example, was t i lest fnv Hcarle't in "Gone With The Wind." George Cukor thought she might fill the bill, but when he saw her rushes, sadly told her she needed more experience. She announced that if it was all right with him, she'd get some of that experience testing with other people for other parts. She tested with one hundred and twenty-two guys! And when she finally did get into 'the big leagues, she stated pretty definitely to her bosses that she was not the drawing room comedy type. Lots of ladies have said that they "wanted something to get their teeth into," you know. But few of them have shown, as Susan did, that they meant it. Susan has probably had more big bravura emotional scenes than anyone in Hollywood, with the possible exception of Bergman. She has broken up the joint as a drunk. She has lost more babies in pictures than she can remember, with subsequent tears and tragedy. She has been besieged by bandits in Westerns and captured by pirates in sea epics. She has renounced her lover to the tune of sound-track violins. In short, when she acts, she acts. And she's had love scenes. These are not always sheer delight, as you may or may not know. That crick in the neck is one rather disagreeable point about them, and the business of being kissed on the left ear and making it look like a buss on the mouth is not exactly easy. And then, too, there are the gents who get carried away by their feelings — which isn't difficult where Susan is involved. They put their passion into their fingertips, usually, and the result is that our Susie winds up a mass of bruises. Literally! She's often been as black and blue after a sequence of deep adoration as if she'd been kicked by a mule. But if the scene is compelling when the audience sees it, that's enough for Susan. This sort of thing carries over to the moments when Susan is not actually before a camera. She does what she wants to do, hard way or not. 66