Evening star. [volume] (Washington, D.C.) 1854-1972, 1957-02-23

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he said.
Mr.. Ryan was speaking as q
the house when he is not max
ing picture. Here. from other
studios in the course of a day he
ran into Barbara Rush of Goth
Century-Fox. Rock Hudson of
Universal International, and his
travelling companion. Aldo Ray,
who is an employee of Columbia
One doesn't see that many play
ers from that many studios in
weeks in Hollywood. Nor, nor
mally, do the local drama desks
eat shrimp and Steaks-the blue
plate of such affairs-with an
equal number in an equal time.
1t is a sign of how intently
Hollywood is pushing recent
upturn in movie attendance. No
star is exempt from an executive
request to get out and travel in
the interest Of giving the box
office a flip.
x
The chronological is the logical
order for reporting on flash
luncheons. dinners and break
fasts with visitors from Holly
wood.
On WaShington's Brit h d ay
when this is being written. an
other order suggests itself. A
consciousness of history dictates
bringing Miss Rush to the fore
She is not only a vivacious,
attractive California type girl
she has special kind of sig
nificance on a national holiday
She is a direct descendant. you
see. of DR.. Benjamin Rush who
was one of the signers of the
Declaration of Independence. He
also. of course, gave to medicine
in this country one of its his
tory-msking names.
1t is not Miss Rush who men,
tons this. She is a modest girl
who is tactfully willing to let a
great-great-great grandfather's
luster take care of itself. Her
press agent. Hal Marshall, who
makes it his business to see sig
nificanceS, takes care of this
one.
X
Miss Rush. who plays the star
ring role of her sex in "Oh, Men!
Oh Women!". is full of enthus-
iasm for her new professional
life at goth Century.
She feels 1t was fate-directed
and that fate can be a girls best
agent.
Her association with the studio
came about at a dinner to which
she went in rather doleful
spirit for a girl who looks like
she does. 1t was at the dinner
that she found herself seated
next to Buddy Adler, new head
of Goth. When he asked her how
life was going at Universal. she
told him it was going better for
others than for her. This was
too bad. he said, with what she
thought was mere politeness, but
why didn't she come over and
talk to him some day.
Determined to find out if what
sounded like mere Hollywood
conversation was really mere
Hollywood conversation, she did
60 to see Mr.. Adler.
He put her to work. one step
of which was sending her to see
Nunnally Johnson, producer-au-
thor of "Oh. Menl Oh, Women!"
He hadn't thought of me for
the picture" she says, land find
ing myself unthought of, began
to throw myself around in an in
tellectually carefree way during
the rest of the session. The next
day. he sent me the script and
here l am
=
The Messrs. Ryan and Ray,
touring in behalf of Men in
War" which will be coming to
the Palace one of these days,
are rugged types but they are
not sure making a war movie
isn't less difficult than touring
to promote it.
Their best story concerned the
origin of the film. 1t began one
day at, of all places, a private
school where the Ryan children
go along with those of Director
Anthony Mann and Producer
Sidney Harmon.
There we were" Mr.. Ryan
recalls. the usual parents come
to collect the usual kids at the
usual school. The kids, behav-
ing as usual, we're more inter-
ested in what they were doing
than the fact that we had come
TO collect them. What they were
doing was playing war, bang
banging from behind trees. argu-
ing about who shot first and
who was supposed to be dead
etc.
while we sat and watched
the game, Tony had thought
TO make a real war picture.
small enough in frame to show
It's savage effect upon a few
typical fighting men. From that
point on. we thumbed through
scripts that would meet our pur-
pose until we came to this one
I've never worked in anything
that gave me such a feeling OF
having translated an idea into
such an ideal expression.
Mr.. Ray. who was not in or