Silver Screen (Nov 1936-Apr 1937)

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52 An He Creates TKe Spirit Of Romance. He Has Dignity A.nJ Charm. But ^-^Ky Not?— Charles Boyer Is A F rcnchman Irresistible CHARLES BOYER is the Hollywood version of hero with a dash o£ Noel Coward, a bar (stick to your music, my sweet!) of Cole Porter and the veriest inkling of a Mdivani. That is to say, he is a sophisticate and a charmer! Being early for my appointment I recalled the first time I had seen him— in the midst of a large and admiring crowd. Perversely I was prepared to dislike him. Just a little. As one might dislike a child becoming the centre of admiration— and very probably spoiled by it. Half an hour later I was sitting beside him, wondering at the simplicity of a boulevardier who has the wit to appear naive. "I'm here to take the census," I laughed, as he made certain I was comfortably seated. "Question 18 is: 'Are you happy nowcontent to stay with us, always?' " "I love it here, you know that," he answered, smiling that slo^v devastating Boyer (pronounced Bway-yay) smile, "but I'm still anxious to get back— though I don't see a chance for some time." Get back— at u'hom, to what, you ask? France, of course! He has the true Frenchman's love of home and hearth. "Did you kno^v Pat and I have identical contracts? The only ones in existence, as far as I kno^v, and they arrange that m) wife and I work at the same time and have the same time off! TOR By D e n a Reed We experienced so much displeasure at our first separation that we don't believe in them. Now we can get away together — three-week location trips apart are enough!" One is never quite prepared for Charles Boyer. He is at once both older and much, much younger than the speaking shadow wliich has caused mademoiselles and misses from Rheims to Roanoke to toss adjectives about recklessly. Ha\'ing the ageless grace of the Montagues, it is only surprising that his easy informality should hold so much in it that is spontaneous, youthful, aird yes, refreshing! Boyer, as you may have heard, has been something of a Parisian sensation for many years. He is now thirty-seven. At thirtv-four he was half-failure— so he says. At thirty-five he became an international focal point of admirationfeminine admiration. And a husband. "I still think that spending six months here and six months in Paris lends much that is important to the other. In Hollyv-'ooda delighttul place" (his smile conferred splendor oil an already beglamoured city), "one works hard all day and often far into the night and then one plavs bv talking about one's -work. That is not good— for me. I need to get ' awav from it all, to stop thinking, planning, reviewing." "That's because you take work so ^ciiously, " I prompted. In a voice as deep as it records antl l.cautifulh modulated— reminding one of t!iampagne sparkling in a fragile, finelv etched gla'-s— !ie agreed: "Work is work. It is not to be trifled whh." Do you question tliis atlilude of lii-" Tlicn recall that wlicn lie \vas sixteen he became so eiului^i;isiit c)\ cr tlie great PaiiMan aclor. l.ucicn (;uilr\, as "Samson" that lie went h-.ick ten ni'_;lits in succession to see liini— and llicn and tliere dct'ded that acting \\'as to be his life's woik! Rcmcmljer. too, tliat although lie didn't know a word of English on his arrival in the United States he set about learning the language and in six months he spoke it so well that he was loaned to Paramount for a fcatmcd lole. Nor has he changed. When filming the "Garden of .Allah." in which Marlenc Dietrich plays opjiosiic hiin. He has a splendid reputation in France, but he takes it all quite calmly.