Silver Screen (Nov 1936-Apr 1937)

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Insisting that they wanted to be married quietly and far from observers, Joan and Franchot sought privacy at the Waldorf-Astoria Hotel, of all places. Here again, Love with a capital "L" had moseyed into the publicity orbit, and while it was good publicity for M. G. M., it ^vas in bad taste. Mary Pickford and Buddy Rogers, on the other hand, proved that such a situation could be handled graceftdly and tactfully, without offending the cameramen and newspaper interviewers. They posed for pictures, submitted to interviews and then retreated to a privacy which was a genuine wish to be left alone. Margaret Sullavan and Henry Fonda, once married to each other, showed equal desire for privacy when they were married to others recently. Miss Sullavan slipped away between shows to marry Leland Hayward, the manager of Katharine Hepburn; Fonda, quietly and without any fuss, married a society girl. In 990 cases out of 1,000, I have found that the Hollywood stars prefer the undertones to the overtones of publicity. This is doubly remarkable because they are engaged in a business which places a high premium on personal publicity. The answer to this is partially that when the movie stars reach New York they are on a vacation. They want to get a^vay from any suggestion of their work, and it is hard, wearing work, despite the glamour \vhich attaches to it. Publicity is a reminder of labor, so they avoid ballyhoo. Not very successfully, as a matter of fact. Claudette Colbert, the last time she was in New York, told me that in three days she had had appointments for forty-six interviews— magazines, daily papers, Sunday sections, radio scribblers. Each of these interviewers is a potentially powerful enemy, each has to be treated nicely for fear of rubbing one of them the -svrong way, so it is a strain on tact and graciousness as well as a physical ordeal. 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