Silver Screen (Jun-Oct 1940)

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They give happy relief and will help the 15 mile3 of kidney tubes flush out poisonous waste from the blood. Get Doan's Pills. haven't gone Hollywood, because we've too much Iowa in our blood. In Chicago, Honey and I went around with four couples. One of the men was a lawyer, one ran a meat market, a third was a milk dealer, and the other was a cop. Out here all our entertaining is still impromptu and we haven't attempted to be social climbers. We've been to but one of Mr. Zanuck's parties. Contrary to what you hear, you don't have to lick boots. We're crazy about spontaneous fun. I never know how late I'll have to work, and Honey never knows who's coming home for dinner until I phone to tell her. She's never made a date on her own since we married, which is something, don't you agree? We had twenty-two here for dinner last night. Honey can stage a complete switch and cook eight chickens instead of two without acquiring a nervous breakdown. She's philosophical, says we'll eat everything eventually so nothing's wasted. "She never reads my picture scripts, doesn't attend my previews or broadcasts. I have no say about what I act in, so she knows it is far more important for her to keep the home fires burning." Don never lived on a farm until now. He's picked this one so his children will grow up preferring simple country pleasures. He's bought an old plug horse from a cowboy and is giving his sons lessons in riding. Many a pampered movie star has a headlined private life. But the Don Ameches are living fully because they have a batch of private lives — not headlined— behind the spotlight which plays on Don. No Work and All Pay [Continued from page 41] tinue my schooling in Hollywood under the most ideal study conditions in the world. Instead of going crazy from loafing around, as you're supposed to, I spent every spare moment in study. I doused myself in instruction. I took a voice lesson every day and followed that up with a dramatic lesson. And after those five years of hibernation, I feel I'm a much improved singer and a more capable actor than if I had been carried away right off the bat by some terrific film success. M-G-M gave me the most marvelous post-graduate course any person ever had. And they prolonged my life in pictures by keeping my name off the theatre marquees. "Of course," continued Allan, as his eyes looked can-openers at the pineapple juice, "don't think M-G-M was doing all these nice things for me on purpose. They didn't care what I did, so long as I didn't come prowling around looking for a good picture. You see, it just happened that I got out to Hollywood a little too late to get the starring role in 'Naughty Marietta.' And since Nelson did such a swell job in it, why, it was natural that he should be built up while I was asked to scuttle myself in as dignified a way as possible." The mention of Nelson Eddy put me off on another track for a minute. Hollywood had long been abuzz with rumors of a Jones-Eddy vendetta. The cinema solons were saying that Jones would like to purge Eddy and vice versa, that Allan was jealous because his rival had been chosen for "Naughty Marietta," thereby setting his own career back by many years. Once the two had been fast friends. They used to give joint recitals and even traveled the Atlantic on the same ship. Early in their Hollywood careers, too, they had hobnobbed together at Jeanette MacDonald's parties where they delighted the guests with all-star duets. But all this, rumor had it, was changed now. "What about your feelings toward Nelson Eddy," I asked flatly. "Well, there are no hard feelings between Nelson and myself as a result of the 'Naughty Marietta' incident," said Allan Jones. "The only hard feelings are between me and the contract I had with the Shuberts which kept me from getting to Hollywood in time to make the picture. While still doing musical shows, I had taken a voice and screen test for M-G-M which was sent to Hollywood and approved. They asked me to come out there and I understood I was to make 'Naughty Marietta.' However, my Shubert contract held me in the East and my employers informed the coast that any attempt to have me released would be considered libelous. Finally, after four months of dickering, I paid $20,000 out of my own pocket as a ransom for my own release. But when I got to Hollywood, the picture of my dreams was half finished. Eddy had the part I wanted. All I had was a contract which opened the gates to years of bench-warming. As Eddy grew, the studio tried to freeze me out with one hand and hold me firmly with the other. But I'm not angry at Nelson Eddy for accepting a part and making good at it. We don't see much of each other any more. We go with different people. We'll probably never be real good friends again, but I wish him continued success." With the feud business settled as definitely as could be expected, I came back to my original theme: how does a fellow with a fat salary and five lean years on his hands pass the time in the film capital? From what he already had said I knew he hadn't gone the way of many who today are standing in the Hollywood caviar breadline, doles strong and souls dead. For Allan Jones knew his day would come. And his five leisure years were spent in fierce pursuit of two goals — the perfection of the beautiful voice God had given him and the acquirement of as much acting polish as a good dramatic teacher and his own perseverance could bring about. Allan spent approximately 3,000 hours of his unoccupied time taking lessons of various sorts. Is it a wonder he was able to solo after such tutored flights? It meant spending all morning nearly every morning in the dogged quest for self -improvement. At ten-thirty, on a typical Jones M-G-M day, he used to drive over to Grace Newell's studio for voice coaching. Jeanette MacDonald is another Grace Newell pupil — one of the many accomplished singers who pay Grace ten