Screenland Plus TV-Land (Nov 1953 - May 1955)

the football hero nor Julia was called back for a follow-up interview. Six long months later the executives at U-I were frantic for the right actress for the second lead in "Bright Victory." They had every test reel stuck on the shelves trotted out, and that's precisely when and how they sent for Julia at last. To everyone's bewilderment she was so right for the part she might have been born for it. A longterm contract went with it, and she's been climbing steadily ever since. When she was a secretary she didn't array herself elaborately, didn't drive an employer crazy dolling up for the tomor every thing to disturb a man's senses, and whatever she does to Reverend Davidson in the film of my story, I think she will also do to all the men in the audience." From Somerset Maugham this was praise indeed. In the long life of the author, and the equally long life of his masterpiece, "Rain," he had seen many great and not-so-great actresses reenact what amounts to practically an immortal theatrical role. The best were Jeanne Eagels, on the dramatic stage, June Havoc on the musical stage, Joan Crawford in the movies — and now Rita Hayworth in 3-D, no less. Just as there isn't a rising young actress today who doesn't want to play Peter Pan, it is also true that there isn't a confirmed and experienced player who doesn't want to get her teeth into Sadie Thompson. Of all the characters that have emerged from theatrical literature, Sadie Thompson looms, too, as one of the most provocative roles of all. How far does the natural make-up of a woman who acts Sadie project into the playing of the role itself? Quite a lot, say the experts. A prim and positive actress is likely to do less with the role than, say, a light-hearted, understanding woman who, in her own life, has had an adventurous career in romance and sex. Says a well-known Hollywood psychologist, "A woman to be a complete woman has to have a little of the love-dalliance, as it might be termed. Sadie Thompson, who wore her body on her sleeve, can only be played by a woman with her heart on her sleeve. That is why Rita Hayworth, and many of the others who came before, were so good for the role." This psychologist, however, made it plain, that an actress playing the part of Sadie Thompson did not have to wear her romantic garb lightly in private. Or be loose with her morals. Or take even small flirtations as she would a cocktail. But it helps! "Dr. Kinsey," explains this same psychologist, "recognizes that in every woman there is a trait of the gypsy when it comes to changing affections. A woman in search of love, whether she is legally entitled to it, or merely beachcombing the flotsam of what is available, and finally settling for the jetsam of what can be 58 rows she was sure were ahead. She chose freshly laundered blouses and skirts, avoided costume jewelry, resembled an actress by no stretch of the boss's imagination. She exerted her taste and intelligence, and couldn't be topped for cheerfulness, loyalty, accuracy, and punctuality. All these traits have come in handy for her as a modern star. Julia's reticence to talk about her marriage is understood by her friends. Twoand-a-half years as the wife of a brilliant young screenwriter have resulted in stormy weather lately. But he still says about Julia, "I love her!" END hers, is always likely to encounter troubled seas. In any guise — she is still a woman." Whatever these arguments amount to — never was an actress so right for the title role of Columbia's "Miss Sadie Thompson," which no matter the trimmings, you will easily recognize as the saga of the woman that author Somerset Maugham meant her to be: a lady — censorable, but still beloved — of the leisured world. And whatever you may think of Columbia's 3-D Technicolor opus, "Miss Sadie Thompson," you will admit one thing, that's sure. The old-time movie vamp, who specialized in long, slink-, : velvet gowns, pearls the size of hens' eggs and the burning of incense in her heavih draped boudoir, is gone. Theda Bara who introduced the vamp to moviegoer; 'way back in 1914, when she starred ir "A Fool There Was," would be laughec off the screen today were she to try tc repeat that technique. Instead we have Rita, and the moderr character she has given to the role ol Sadie Thompson, a fiction character whc is as old as the first vamps themselves: Dance director of the film, Lee Scott, couldn't express the characterization better: "Rita plays an alluring drifter whc comes to a South Seas island where U. S. Marines are based. Sadie is the toast ol these woman-starved males, and at a gay party she sings 'The Heat Is On' — and the words do justice — and how — to the dance that follows. It's hot, man, it's hot!" And, if you like that kind of lingo which seems to describe the tempo of the modernization of Maugham's classic "Rain," Mr. Scott goes on, "When Rita shows up, on the lam from Honolulu, and those women-hungry leathernecks get an eyeful of this slick chick with the freewheeling chassis, the pineapple juice starts to flow and a luau is on. "In no time at all, the hot little Marine combo gets in the groove with a good beat, and all the boys want to dance — with Rita. Harlem never saw what goes on next. That girl — she could start a revival of the Bunny-hug!" Aldo Ray lifts Rita Hayworth through night club window in scene for "Sadie Thompson." Rita fell in love with Dick Haymes during production of this film. SADIE HAYWORTH [CONTINUED FROM PACE 29]