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THE BRITISH IN HOLLYWOOD
The aura she carried around with her in those days was of cellar jazz clubs, not of stardom.
Now look at Miss Collins today after appearing in The Virgin Queen with Bette Davis and The Girl in the Red Velvet Swing with Ray Milland. Her physique is wrapped in a £5,000 mink coat. Underneath it she wears a bodymoulding black jersey dress. On her finger : a topaz ring. On her wrists: an assortment of gold bangles. Her hat looks like a very contemporary lampshade. Her fingernails, grown the length of talons, are painted silver.
Next time I see her she is wearing a topless (and almost frontless) gown, and her hair style has become positively futuristic. Her face is almost a work of art — revealing the lavish use of eye-pencil, eye-shadow, mascara — the lot. Her talk and walk are in bebop language; her figure is pronounced — wherever it should be.
Miss Collins talks about her arrival in Hollywood with an American accent. Like this: "Oh, sure there were wolves around. Some are kinda-fast workers. One wealthy playboy rang me up before he'd even met me — and gave me the spiel. He got to be a real pest. Followed me to New York. I managed to give him the brushoff, though.
"Oh, I went out with boys, sure. I went out with Marlon Brando — but don't get this wrong; we were always in a group with other girls and fellers. My studio wanted to arrange a publicity romance for me with Robert Wagner. They had a whole schedule of dates fixed. But I wouldn't play. I didn't think it was right. For one thing, I'm still married. And for another, I can arrange my own dates."
She has just been picked to play a nun in a film called Seawife. When I express surprise at this remarkable piece of casting, she tells me that I have failed to see the great innocent quality she has in her face.
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