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

Jean Simmons and Deborah Kerr watch as Stewart Granger signs autograph book at Hollywood premiere. Jean and Stewart are unlike in many ways. remembering the deep love that brought them together and less interested in judging each other for shortcomings. But has their marriage finally become one of judgment instead of compassion? To find this answer you would have to probe deeply into the emotions of the two people involved — and this is something no outsider can do. Jeff and Marjorie have talked over their problems — at great length. They have tried to find a common meeting ground. At this writing, they have not found it. This, then, is no cut and dried story. There is no quick and convenient answer. There is no fast solution. How can there be when the two people are still very much in love? Hollywood is wondering what this will do to Jeff. It knows him as a man who is sentimental, romantic at heart, a man who needs a home and family. It recognizes his intensely sensitive nature. And it wonders how long he can keep that smile on his face to cover a deep void inside. Both Marjorie and Jeff deserve real and honest happiness. Everyone hopes they will eventually find that happiness together. END UNHAPPY LOVERS [CONTINUED FROM PACE 33] being quoted for publication. Nevertheless, without mentioning any names, some of the people with whom the Grangers have associated painted enough of a picture to draw some very interesting conclusions. The difference in age between Stewart and Jean is of much more importance than they admit in public, and possibly even to themselves. When they first met, Stewart was in his thirties, Jean a mere thirteen. His attitude was fatherly, hers, idealistic and submissive. It's never completely changed. Around him, Jean is given little opportunity to express herself. When they still gave joint interviews, all too often a reporter addressed a question to Jean, only to have it answered by Stewart. At first Jean didn't mind. Deeply in love with her husband, she idolized him and everything he said. and did. But how long can a girl with Jean's sensitivity and intelligence keep up that sort of behavior? 60 Certainly not forever, and signs of her distress become more obvious all the time. Financial instability and a permanent state of unrest are said to be other sources of constant tension. Stewart has always been an easy spender. In England he once saved the equivalent of $30,000 and promptly invested it in a yacht. By the end of the year he didn't have enough left to pay his income tax. It took him months to work himself out of debt again. In Hollywood, when his pool cracked after an earthquake, his business manager consoled him with, "You've got nothing to worry about. It's deductible.-' Stewart looked at him with a blank expression. "Deductible from what?" This laissez-faire attitude is harder on Jean, who was brought up under more protected, more settled conditions. Stewart's constant advice to his wife is another factor that doesn't exactly ease the situation. It started way back when Sir Laurence Olivier asked Jean to play Ophelia in his production of "Hamlet." Stewart insisted she was much too young and inexperienced for the part, and urged her to turn it down. Luckily for Jean and movie audiences all over the world, J. Arthur Rank, to whom she was under contract, thought she'd be wonderful in it and made her play the part. Overnight it established her as a star. There are other traits that stand in the way of a happy union. In fact, with the exception of both being British, they don't have too much in common! Take their relationship toward the people around them, as reflected in the opinions of their co-workers. Few comments are on record about Stewart's cooperation on the set. In a town where praise is the cheapest commodity, that is certainly indicative of their sentiment. As for Jean, nothing but sincere admiration has come from anyone who has ever worked with her. When she left 20th Century-Fox after finishing "The Robe," she'd won a host of friends. Remarks like "She's one of the nicest, most cooperative actresses I have ever worked with . . ." were the rule, not the exception. When on her own, Jean mixes easily with people. In spite of different backgrounds, she talked with most members of the cast and crew, and showed an interest in any subject. She's a sensitive girl — just how sensitive was evident the first time she met Frank Prehoda, her make-up man on "The Robe." Although her part didn't call for her presence till fairly late in the picture, she was so much interested in the production that she came to the set two weeks ahead of her starting date. One afternoon she was visiting her friend and co-star, Richard Burton, in his dressing room when Frank walked in to get Richard ready for the next scene. "Mind if I use one of your combs to fix my hair?" Jean asked him. "Of course not. But it's only a regular barber comb . . ." Jean didn't mind. She walked in front of the mirror and slowly moved the comb through her hair. Suddenly it snapped. Trying to play a joke on her, Frank pretended to be really provoked. "This is terrible," he burst out. "Why . . . this comb cost seventy-five cents . . . .!" Jean looked so miserable that he quickly swallowed whatever else he was going to say. Only after he reassured her that the comb could easily be replaced and he was only kidding, would she smile again. Another incident between Jean and Frank showed her consideration for the people around her. Both own foreign cars, Jean a Jaguar, Frank an MG. Having found a common interest, they discussed their cars frequently. Jean must have known that Frank was anxious to try his hand at a Jaguar, and when the opportunity arose, she promptly obliged. They were already on the set when she remembered she'd forgotten something in