MAKING STARS WAIT.

Auckland Star, Volume LXVIII, Issue 7, 9 January 1937, Page 5 (Supplement)

MAKING STARS WAIT.

Strange Hollywood Habit.

SALARIES AND CONTRACTS, BUT NO WORK.

'By SHEILAH GRAHAM.)

THE young stage actress wrote her signature to a "movie" contract

guaranteeing a salary of 1000 dollars a week for six months—with options. She flew to Hollywood, reported to her studio, rented a luxurious house, played golf, rode horseback, joined an exclusive tennis club—and, in the interim, wondered when—if ever—she would earn the salary paid by the studio god-mother. Six months elapsed without the expected hurry call, and, being a girl of conscience, she decided to return to the theatre and leave Hollywood to her less impatient colleagues. At the airport she received an artful message demanding her immediate return, with bait in the shape of higher salary and the promise of a definite assignment. That was five months ago. The young actress has still to make her debut before the camera.

A similar experience, varying only is detail, has happened to most of the predent-day top-notch screen players, all of whom—from Garbo to Simone Simon—learned early in their studio lives that patience is the one virtue necessary for film stardom.

There is the strange case of Inez Gorman, a beautiful songstress who created quite a sensation singing with the Cincinnati Philharmonic Orchestra. Twentieth Century-Fox signed her to a contract last spring, but Miss Gorman is still ignorant of how it feels to appear before the camera.

Clifton Webb was brought to the coa«t with a loud fanfare of publicity, signed to a year's contract, and given a fat salary. But don't get too excited at the prospect of seeing him in "movies." You probably know more about the inside of a studio than he does. The actor is now back on the Xew York stage—a wealthier and wiser man. Robert Taylor and Nelson Eddy.

Shirley Ross was under contract to Metro-Goldwyn-Mayer for two years without getting within hailing distance of a movie camera. Paramount finally rescued her from the doom of salaried oblivion, borrowing her for a singing role in "The Big Broadcast of 1937." When June Knight came to Hollywood to double for Garbo in the dance sequences of "Mata Han," the studio wanted to put her under contract—but Miss Knight was too smart for them. "I'll die down here posing in bathing suits," she told the tempters. Miss Knight returned to Metro-Goldwyn-Meyer a few months ago, an established actress—and is still waiting for her big screen chance.

Gertrude Michael was appearing on the stage in Rachel Crothers' play "Caught Wet," when a Paramount scout signed her to a six months' film contract. A year went by before cynicism corroded enthusiasm. She had 65 cents and a railroad ticket to Alabama in her pocket when Paramount awakened to her film possibilities and gave her a part in "I'm No Angel," with Mie West.

Robert Taylor had to wait eight months before his classical features were projected on a screen, but in his case, the period of waiting proved worth while.

Simone Simon Is another film star who filled the fleeing year with self-improve-ment. She learned to speak English. Nelson Eddy was merely a voice to his studio for two years—and not a very outstanding voice at that—before he was given a starring opportunity in "Naughty Marietta," with Jeanette Mac Donald.

The classical case of Gladys George is too well known for repetition, but there is a postscript. According to Metro-Goldwyn-Mayer Miss George waited a year and a half before screen debuting in "Valiant is the Word for Carrie," because, In spite of the odd 999 writers in Hollywood, not one could author a suitable story for her. Goldwyn and His Sten. Errol Flynn came to Hollywood by the most rapid means of transportation —and then sat on his haunches for nearly nine months, hoping for a chance to show his acting stuff. Ruby Keeler was under contract to Warners' for a year without singing a note or dancing a tap. Jane Wyatt was rushed to Hollywood fresh from Broadway success, and then sat on the sidelines for six months, wondering what it was all about. When you see her in "Lost Horizon" you'll join the wondering chorus—wondering why she had to wait so long for "movie" recognition. Charles Boyer was under contract many months, to Fox before seeing a sound stage—and then it waa to make the French version only of "The Big House" and "The Trial of Mary Dugan." Singer Marion Talley did her six months at M.-G.-M.—outside the studio —before she obtained a release and another contract with Republic Pictures. ' Luise Rainer collected 250 dollars a week for the same period before making her debut in "Escapade." Walter Abel was brought West to play in "Mister Grant," the life story of General Grant. He was tested, okayed—and did nothing for the regulation six months. He was on hi* way back when R.K.0.-Rfldio gave him I the leading role in "The Three MuskeI tecrs."

Marta Eggert, well-known foreign istar, was brought to Hollywood by Universal and waited a year before working in her first American picture— but the film was shelved and Mise Eggert returned to Europe.

Anna Sten was kept off the Hollywood screen 18 months, while Sam Goldwyn instructed her in the American language. But La Sten's first picture, "Xana," convinced Goldwyn he should have kept his "discovery" off-screen 18 yeans instead of months.