Evening star., 1944-02-06
HOLLYWOOD,

more helpful subjects to interview
than Ray Milland, Fred MacMurray,
Robert Young and Don Ameche the
job Of covering Hollywood would be
no cince, indeed. The gentlemen
named are all excellent actors and
fine fellows, but all are admittedly
press-shy and invariably become oc-
cupied with personal problems the
moment a reporter steps on the
stage.
If Milland isn't the least under
stood member of this group, then
he's runner-up. In spite of seven
years as top-ranking star, he's still
the man nobody knows. However,
we caught him in a glib, mellow
mood the other day and Ray took
time to explain his reluctance to
provide copy for the gluttonous
presses of Hollywood.
His excuse dates back Is years, or
to the time he was member of the
British household cavalry, the King s
personal bodyguard. He stood like a
statue, or sat on a horse like q
statue many times under the pa
trician noses OF the whole royal
family as they went in or out Of
Buckingham Palace.
1t Just Wasn't Done.
while I was in the cavalry I got
into a couple of scrapes." said Mil
land. Nothing very serious, but
one Of them attracted newspaper at
tention. There was hell to pay. I
was roundly rebuked, threatened
with being kicked out If it ever hap
pened again. They didn't mind my
sefarious deeds half so much rs the
publicity they had received. I was
informed that members of the house
hold cavalry never get their names
in the papers.
Il guess it scared me for life. When
I first broke into Hollywood. where
publicity is so important, I couldn't
bring myself to talk. So stories were
made up about me. I don't blame
the press agents. They had to do
something with the lug who wouldn't
talk. But those early stories were
pretty sour. They discouraged me
even more"
One can easily see 1t is big
pain in the neck for Ray to do any
talking today. Friends say indul-
gence In ordinary small talk is re-
pulsive to him at any time. Some
times he makes a difficult guest.
He's apt to pick up a book and
read or turn on the radio in the
midst Of languishing conversa-
ton.
AplOmb With Sidearms.
Milland became q crack shot In
the British Army. Workmanship
won him his first part in a Brit
ish film, THE Flying Scotsman.
He got the role by hitting a coin
tackled on the far wall of q large
room nine times out Of ten with q
revolver he'd never held before. He
also learned to fence in the cavalry
And he's an excellent swordsman, a
talent he's never used In the movies
Il became an actor on a fluke, >
Ray went on. "An aunt died, leav-
ing me $4,000. I quit the Army
and started on a tour Of Europe. 1t
was grand tour. I won't 60 into
detail about that. When I returned
to London all I had left was $50
l blew that in on dinner date
with an actress. But she introduced
me to- casting director. I got a
job as an extra"
Ray stormed Hollywood three
times before 1t finally took" He
went back to England after each
try. And the last time he got down
to his last dime. Every studio in
town had turned him down. He
finally applied for job in a service
station in downtown Los Angeles,
was accepted and told to report next
morning. That afternoon he took
one more fling at Paramount, just
as a dying gesture. 1t was sue
cessful. He got small role in a
picture and has been on that lot
ever since.
Two Straight Sevens.
That was seven years ago. He has
just signed another seven-year
straight contract with that studio
after long string of successes.
Rays latest role is as an Amer
lean aviator whose plane Is shot
down in occupied France in It'll
We Meet Again" His parts have
been highly diversified, which ac-
counts in a large measure for his
continued popularity. As Ginger
Rogers hero in Lady in the Dark, /"
he plays an advertising manager.
He's mercy killer and spy catcher
in Ministry of Fear" and a ghost
riddon v,o,ycfr rnv,ornco~ {ya