Silver Screen (May-Oct 1939)

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62 Silver Screen for June 1939 All tfii flirftctiCK d a 60 * nail w25f "Glorious discovery! The season's most sophisticated nail polish shades aren't 60^— they're Glazo's at 25$!" i \ / "And talk about wear! Glazo at only 25$ is guaranteed to outwear any other nail polish at any price!" 7ri/ amajinff GLAZO on y Moniif'back Cjuarantee! When you use Glazo Nail Polish, it's easy to have a lovely "professional" manicure! Glazo hardens to gem-like brilliance . . . won't fade in sun or water. . . and refuses to chip or peel despite abuse. Glazo is guaranteed to wear longer, or your money back! See Glazo's fashion shades today. Thrilling new ones are: rumba (fuchsia rose), EMBER (suntan rose), TARA (orchid rose)! Use NAIL-COTE under polish as a foundation, and over polish as a protector. Contains wax. Helps guard nails against breaking. Ask your dealer! GLHZQ SEND FOR SAMPLE KIT! THE GLAZO CO. , E. Rutherford, N. J. (In Canada: P.O. Box 443, Montreal.) I am enclosing 10<( to cover cost of mailing GLAZO SAMPLER, a genuine leather compact containing Glazo Nail-Cote, cotton, and my choice of Glazo Nail Polish. (Check shade desired.) TARA (orchid rose) I— I (suntan rose) 1 — '(fuchsia rose) □ ( Name Address City -.State Phyllis Keeps Them Guessing [Continued from page 34] way stage what it is, there was no telling how long the engagement would last. It might be a week ... it might be months. And Phyllis WAS playing featured roles in Hollywood. For this trim little bundle, however, that wasn't sufficient. "I realized I might continue playing unimportant parts for years unless I took drastic steps to remedy the situation," she says. "I felt that my bestbet was to get out of Hollywood, go on the stage and get some real experience. It might take a few years of hard plugging before I would be 'discovered' again, but it was worth the gamble." The courage of this doll-like girl, her sheer grit, is demonstrated by the circumstance of five major studios offering her contracts when it was announced she was deserting Hollywood for "Stage Door." Overnight, Hollywood became conscious of the fact that it might be overlooking a good bet. "I held to my original decision though, to leave Hollywood for the stage," Phyllis says. "Besides, I wasn't satisfied with the terms of the contracts." Her refusal to be swayed by these offers which would divert her from her purpose should show you the kind of gal that Phyllis is. Few actresses, comparative unknowns, would have had the "guts" to turn down what appeared to be sure "Open Sesame" to film fame. The far-sightedness of her move soon became apparent, in greater measure than even she had dreamed possible. In her own mind, she believed herself an actress, but she was unprepared for the acclaim that greeted her performance. She was an overnight sensation! Of course, studio scouts caught the play and there was a rush to sign her. But Phyllis wasn't to be hurried. "I wanted to make sure, this time," she explains, solemnly. "I didn't want to do a 'repeat' of my former Hollywood sojourn. So I waited. There was plenty of time. We had a hit show, and apparently, so was I. Anyway, I had told Mr. Kaufman I would remain with him for 'the run of the play.' " And she did . . . or, until Margaret Sullavan, its star, left the cast to bear her baby. Phyllis signed then with 20th Century-Fox, where she started her film career all over again on a far different basis than before, and now is regarded by that studio as one of its brightest and most promising young actresses. Phyllis personifies the last word in the girl of today . . . modern, practical, spirited, utterly without pose ... a girl who allows nothing to halt her progress. Kaufman, the producer, saw it as he talked to her that evening in Hollywood, recognized that elusive spark. That was why he knew he had found the proper person for the part that had all New York by its elbows. He knew that this girl would inject the whole colorful flavor of her diverting personality into the role. That, too, was what struck Cary Grant so forcibly when first they met. For Cary — handsome, debonair, popular, at the height of an enviable career — the whole world of femininity lay at his feet, to be plucked and his for the asking. He didn't become a one-woman man until blue-eyed Phyllis entered his ken. Will they wed? "Marry Cary?" she smiles. "There's been so much talk that Cary and I will marry ... or that we won't marry . . ." Her voice trails off here, however, and the answer remains a riddle. But whenever she mentions Cary's name, an unconscious smile touches her delicately-shaped lips, which may mean something and, then again, may not. When they convinced him that it was all a game and not work, "Colonel" Harry Joe Brown, Jr., condescended to play a scene with his pretty mother in "They Made Her A Spy."