 From Hollywood, California, the Lux Radio Theatre presents Janet Gaynor and Robert Montgomery in A Star Is Born. Lux presents Hollywood. Back on the air again after a summer vacation, our first production brings you Janet Gaynor, Robert Montgomery, Lionel Standard and May Robson. In one of the greatest stories the screen is ever known, A Star Is Born. With us also, here on the stage of the Lux Radio Theatre on Hollywood Boulevard, we have as guests Sid Grumman, founder and managing director of one of the most famous motion picture theatres in the world, Grumman's Chinese, and John Leroy Johnston, managing editor of Screenbook and Hollywood magazines. Conducting our orchestra is Louis Silvers. Now I turn the microphone to our producer, discoverer of stars, director of 63 motion pictures. Ladies and gentlemen, Mr. Cecil B. DeMille. Greetings from Hollywood, ladies and gentlemen. Nine weeks have passed since I last stood here to ring up the curtain in the Lux Radio Theatre. Tonight we return as we shall every Monday night at this time, bringing you Hollywood's celebrated stars and the most distinguished plays of stage and screen. We've had a vacation, but more than that, we've had an opportunity to plan ahead. As a result, the greatest series of dramatic treats it has ever been our pleasure to offer is in store for you. We alone could not have made this possible. You, through the friendship shown our products, are equally responsible. For a fitting inaugural, we made a long and careful search. We found it in the stars and story we're about to bring you. Janet Gaynor and Robert Montgomery in the brilliant technical screenplay from Selznick International Studios, A Star Is Born. From these same studios has recently become another record-breaking film. The Prisoner of Zender, which starring Ronald Coleman and featuring Madeline Carroll and Douglas Fairbanks Jr. is now duplicating the sensational success of tonight's story. Ms. Gaynor's performance in A Star Is Born is bringing her a national acclaim, approached only by her debut performance several years ago in 7th Heaven. She was scarcely more than a child then, and if you could see her now, you'd realize she's still a little girl. In fact, there's only 100 pounds and 5 feet of her, topped by large brown eyes and dark red hair. Among her treasures is a little pair of black, low-heeled shoes that once pattered from studio to studio as their owner searched for work. They never stopped at my door. I wish they had. As Esther Blodgett, Ms. Gaynor makes her first appearance in the Lux Radio Theatre. Compared with her, our co-star, Robert Montgomery of Metro-Goldburn Mayor Studios, is a veteran. His portrayal tonight of Norman Maine is his fourth on our stage. Bob's popularity, wherever pictures are shown, his versatility in all kinds of difficult roles leaves me little more to say than welcome home to an old friend of our theatre. Bob's new MGM picture with Russell and Russell is Live, Love and Learn. Lionel Stander resumes the role he played on the screen, Libby, the publicity man. Also from the original cast, as Granny, comes that actress now in her 54th year of trooping, May Robeson. Lou Merrill is heard as Oliver Niles. And now for our play. The Lux Radio Theatre returns to the air bringing you Janet Gaynor and Robert Montgomery in A Star Is Born. An isolated farmhouse on the windswept plains of North Dakota. The house is silent, sleeping, but moonlight streams through the window of one of the upstairs rooms where a young girl is still awake. She lies across her bed, sobbing quietly into the pillow. The door is inched open and an elderly woman and an old flannel rapper calls to her softly. Yes, Granny. I thought you'd still be up. Oh, now stop crying. That isn't going to do you any good. Oh, I'm crying because Aunt Maddie and Alec and everyone else in this family makes me so mad. Aunt Maddie, Alec, little six. They're not important. You're the only one who counts. But I could be an actress, Granny. I could be. And I'd go to Hollywood, too, if I had the chance. But they just laugh at me because I want to make something out of myself. They think it's funny. Esther, everyone in this world who ever dreamed about better things was laughed at. Don't you know that? No, I suppose I do, but... Ah, but there's a difference, dear, between dreaming and doing. You modern girls give me a pain. Why, when I wanted something better, I came across these plains in a prairie schooner with your grandfather. And don't think for a minute it was easy, Esther Blodgett. We burned in summer and we froze in winter. We used our guns when we needed food and then fought the Indians to keep it. But we kept on going and we didn't complain because we were doing what we wanted to do. Can you understand that? Yes, I can. Could you do it? Could you do it even if it broke your heart? Because for every dream that you make come true, you'll pay the price in heartbreak. I'm not afraid, Granny. All right, then. Here, take this money. Oh, but Granny... Go on, go on and go to your house. But I can't take your money. And why not? That you're saving. Well, I haven't got anything to save up for now, except my funeral. And I'm never going to die. Oh, Granny, how can I ever thank you? Good night. Oh, Granny. Granny, darling. Put Boulevard, the heart of the movie Metropolis, on your right, Grauman's Chinese theater. Notice the paved blocks containing the hand and footprints of your favorite stars. And in just a few minutes we'll be in Beverly... Hello. All the underarms apartments. Yeah, we got a vacancy. Four dollars. Run and water, convenient to all studios, and you can look at it whenever you want. What do you do? Huh? Listen, wise guy, don't waste my time. The ad said no cowboys. Good afternoon. My name is Esther Blotcher. Mine's Randall. Day, week, or month. Well, it's a little hard to say, you see. I am going into the movie. Well, take it for a week. It'll break the jump to Beverly Hills. Sign here. Are all the studios really near here? All except Grauman, British. I suppose the best way to get a job is to go straight to the studios, isn't it? I haven't any illusions, you know. I'm perfectly willing to begin with a little bit of a part, or even as an extra. Four dollars, please, in advance. Come in. I beg your pardon. Is this the central casting office? Yes. I'd like to register for extra work, please. To register? How long have you been in Hollywood? It's nearly a month now. Well, you know, we have 12,416 extras registered with us now. That's 16 times as many as we can use each working day. We haven't put anyone on our register in over two years. Oh, I see. Come over here. I want to show you something. Those four girls operate our switchboard. Every time one of those little lights flashes, it's someone asking for a job. And every time a girl says, try later, it means there isn't any job. We can't keep the girls at the switchboard long. They go crazy. And every one of those little lights thought it was going to be a star. Do you still want to go into movies? You know what your chances are. One in a hundred thousand. But, but maybe I'm that one. Afternoon, Miss Blodgett. Any phone calls for me, Mr. Randall? No. Jesse Lasky and Sammy Golden must be writing your letters instead. How was their luck today? There was many. Maybe you don't go at it right. If I haven't learned in three months, I guess I never will. But I'm not giving up. Hey, Esther, Esther. Hello, Danny. Hello, McGuire. How's the big assistant director? And say, how's about some rent? Never mind that. Listen, Esther, I got to speak to you right away. Come in the parlor. Danny, what's the matter? Remember when you first came here, I said I'd keep my eye out for a job for you? Well, believe it or not, I've got one. Danny, that's wonderful. How do I go to the studio? Well, you don't exactly go to the studio. What's on location? Well, it isn't exactly on location either. It isn't really a movie job at all. It's to be a waitress. Oh. Well, it is kind of a movie job in a way if you look at it right. You said it was a waitress. Yeah, but it's waitressing for Casey Burke, the big director over at our studio. He's throwing a party tonight, and there'll be a lot of big people there. I bet there'll be any number of big directors. And if you're there, maybe they'll notice you. I could make them notice me. Sure you could. This is your chance, Esther. My chance. All right. I'll do it, Danny. Good girl. Hello, Mr. Burke's residence. Let me speak to Mr. Oliver Niles in quick. Who, sir? Oliver Niles. Niles the producer. Yes, sir. Oh, Mr. Niles. Yes, it's for you, sir. Thank you. I'll take it inside. Well, Oliver Niles speaking. Hello, Niles. This is your publicity department. Well, what is it, Libby? Your publicity department begs to advise you that your star, Mr. Norman Maine, has once again been thrown in the Los Angeles judge. What? Yes. Mr. Norman Maine, America's Prince Charming, was apprehended driving down Wilshire Boulevard with a siren going full blast. He explained he was a tree sage and not a maternity case. Well, where is he now? I bailed him out an hour ago. He ought to be at breaks any minute. Will it be in the papers? No, it won't be in the papers. That's a nice, expensive hobby of yours, keeping Mr. Maine's informal entertainments out of the public press. Look, Libby, I don't care what it costs, but... Good evening, Norman. Never mind, Libby. He's here now. I'll call you back. Hi, Oliver. You look worried about something. Do I? Well, go ahead and say it. I've got it coming to me. Oh, don't make it any tougher for me, Norman. I don't want to stand here and preach. Yeah, I know, I know. The costs are going up and the grosses are going down. Oh, no, it isn't that, Norman. I've made a lot of money with you. I can stand the loss, too, but... Well, I hate to see you go the way of so many others. I tell you, why don't you get Lloyds to ensure you're against me? You're a great star, Norman, but you're starting to fall apart. And Jess, what do you mean by that? Oh, the first signs are always the same, Norman. Now, being able to remember your lines, the cameraman's struggling to cover up your hangovers, all because you've got to have a good time every day, every night. I've warned you for a long time, Norman. Okay, Oliver, you're a swell guy. You won't lose any money on me. I'll promise you that. I'll be ready for the curtains when the time comes. And when it does, here's my epitaph. For amusement only. Let's get back to that party. What do you mean? The caveat's very good. No, no, thank you. I, uh, oh, yes, please. Hmm, very beautiful. I mean, very good. Never seen you around here before. I'm just working for the night. Hey, come back here. Starving. Well, let's see, which would you take? Well... I believe I'll take caveat. Norman! Hi, Anita, where have you been? Looking for you, mostly. Come and join the party. Wait a second, wait a second. Caviar, anchovies... Oh, take the tray away, please. Mr. Main doesn't care for anymore. Do you, Normie? No, Normie doesn't care for anymore. Oh. You mind if I help? In the kitchen. Won't they miss you? Oh, no, they'll just look under the table and when they see I'm not there, they'll forget the whole matter. What's your name? Esther Blodgett. My name's Main. I know. What's so funny? I was thinking about all your fans. How surprised they'd be if they could see you now helping me put plates away. They don't know my finer side. You'd be pretty envious of me meeting you in person this way. Tell me, are you disappointed? Yes. Now you've done it. Never mind, I might make the room look lived in. Why are you disappointed in me? I was sitting right behind you in the Hollywood Bowl that night. You didn't want to be photographed. You smashed the photographer's camera. Yes, I'm told I crept into many a heart that night. Oh, I'll never be able to explain this. You've got very pretty hair. You've got to get out of here. And a sensitive mouth and a charming little... Ah, Anita, darling. Precisely, why are you in here instead of with the rest of the guests? I just wanted to be helpful. Oh, I see. Are you sure there was no other attraction? Well, it might be that my old mania for putting plates away is coming back on me again. It's rather odd that I always know where I can find you if there's a pretty girl around. It's not only odd, it's embarrassing. And we aren't married, darling, so... You're being deliberately insulting Norman. I've put up with enough... Now, dear, don't lose your temper. Remember, we must try to keep the voice low. I'll know you... I know you'll excuses if we go on with our work. Oh, please. Let me help. Put that plate down. Boom. Oh, Mr. Maine, Mr. Maine. Get up or... He's unconscious. Unconscious? Now, see what you've done. But I didn't do anything. I didn't... Hey. Oh. Help me up, will you? Are you hurt? No more than usual. Listen to that. The wolves are on us. Come on, we've got to get out of here. But I can't. The dishes aren't finished. Oh, yes, they are. What? Come on! That's my house, Mr. Maine. The one with the oleander bush. Oleander... Ole... Oh, right. Well? I'll bet I know what you're going to say now. What? Good night. Good night? And thanks. Oh, now, wait a minute. Do you realize that all I've found out about you is that you're foolish enough to want to go into pictures? Why is it foolish? Look at you. Yeah, that's what I mean. Now, I'd like to go into this matter rather thoroughly. All right. So why don't we go up to my place and talk it over? Oh, no. Thank you very much. But I really must say good night. Oh, now, wait a minute. The least I can do is to see you to your door. Will I see you again? I hope so. Has anyone ever told you that you're lovely? No. Well, now you know. Thank you. This is hard to say, but I want to say it anyway. On the screen, I'm a, well, you know. In private life, I'm, well, you know. But whatever I do, I still respect lovely things. And you're lovely. Do you understand that? Yes, I think I do. And it's not that bump on the head that's doing this, either. I'm glad. Good night. Good night. Hey, wait a minute. Yes? Do you mind if I take just one more look? Good night. Good night. The Lux Radio Theatre presentation of A Star Is Born continues in just a moment. In the meantime, let's imagine we are in the living room of an American home. A husband and wife are listening to the Lux Radio Theatre. It's intermission time. Oh, this is a marvelous play, Joe. Sure is. But then I go up a gainer any time. She is lovely. Come to think of it. She reminds me of you a little. There's something about you that... Joe, if I'm anything like Janet Gaynor, the only resemblance is in our complexion. I take care of my skin the same way she does. With Lux Toilet soap. It's really that good, is it? Good. It's a soap with active lather. It really gets your skin thoroughly clean. Thoroughly clean? What do you mean? Well, if you let dirt and stale powder and rouge stay on your skin, they work in and stop up your pores. That ruins the complexion your pores get in large. Haven't you ever heard of cosmetic skin? Cosmetic skin? What's that? Well, oh, who is there who has it? Oh, Sally Hanford. You know how dull looking her skin always is. Pity she didn't know about that soap you used. One look at you ought to sell Lux soap to any girl. Shh. Here comes the second act. Robert Montgomery, Janet Gaynor, Lionel Stander, and Mae Robson continue in A Star Is Born. A few hours have passed since Norman Maine left Esther at a doorstep. It's four o'clock in the morning. In the bedroom of Oliver Niles' home, the telephone jangles wildly. Niles half asleep, gropes blindly for the receiver. Hello? Hello? Hello? Is Oliver Niles? Yes, it's Oliver Niles. This is Norman. What is it? Who? Norman, Norman, Norman, Norman Maine. Norman? Norman? What have you done now? You're not in jail, are you? Oh, no, no, no. Oliver, I have met a girl. Oh. So, so that's it again. Oliver, this girl, this, she's beautiful. Yeah, she's beautiful, yeah. As I know, you want me to give her a screen. Oliver, this girl has wonderful possibilities. She's got something. I know it. You know it. You knew all the others had something, too. No, no, no, no, no. I tell you, Oliver, she has that sincerity and honestness. That sincerity and honestness. It makes great actresses. I'm so sure of this girl that I want to do the test with her myself. Tomorrow morning, Oliver. Oliver. What? Tomorrow morning, screen time. Yes, yes, yes. Anything, anything. That's fine, Oliver. I knew you'd appreciate this little tip. I've got another one in the sixth tomorrow. Now you try and get a little sleep, old man. Good night, Oliver. Good night, Oliver. Good night, Oliver. All right, all right, this is just a test, gentlemen. Get going. All set, Mr. Burke. All right, then let's take it. Ready, Norman? Ready. Ready, Miss, what's your name? Mr. Burke. Okay. He'll soon know your name, Esther. The whole world is going to know it. I'm so scared. Maybe I better not try it today. Oh, come on now. Don't be foolish. They all had to go through this. Crawford, Lombard, Myrna Loy, and Esther Blodgett. All right. I'm ready. All set, Burke. Quiet. Quiet. This is the date. Roll him. Quiet, everybody. Action. The last time I saw you was the only time in my life I ever wanted to be a man. I think I prefer you as a woman. Do you know why I wanted to be a man? No. Why? Cut. They'll sign right there, Miss Blodgett. There, Mr. Niles. That's it. Thank you. Thank you, Mr. Niles. I may as well tell you that my whole organization thinks I've gone little nuts to sign you. Maybe they're right. I hope they aren't. Well, we won't know either way for a while, will we? You look like a nice girl. I think I'm going to like you. That's not important. I think the public will like you. That is important. I know it is. We're going to change your name, of course. Esther Blodgett is, well, you understand. Now on your name is Lester. Vicki Lester. Vicki Lester. Vicki Lester. Quite, quite beautiful. Good evening, everybody. This is Billy Moon, your own Billy the Hollywood star chaser. Flash. Oliver Niles Studio discovers a new starlet, a Cinderella of the Rockies. Her name is Vicki Lester. Those who have peaked, tell me she couldn't be more devoon. She's putting in her training period now, and in a few months, we may get a look at those fair features. The best of luck to Vicki Lester from her future fans. Listen, you dressed people. We're shooting on the set this morning, not in the commissary. Shake it up! Morning, Mabel. Good morning, Mr. Maine. What'll be this morning? All the usual, Mabel. Aren't juice and bicarbonate a soda? Make it two bicarbs, will you? It was a very successful party last night. Acme Trucking Company. No. The Mr. Smith is not in. Hello. Acme Trucking Company. No. Mrs. Smith, not in. What goes on over there? Vicki Lester. She's rehearsing again. Bring that stuff over to her table, will you? Acme Trucking Company. No. The Mr. Smith is not in. Hello. Acme. No. Smith ain't in. Acme Trucking Company. I like to speak to Mr. Smith. The Mr. Smith is not... Oh, Norman. What's this between you and Smith? It's not a part. It's one line, but it's in a picture. Oh, so it's ambition that made you break that date with me last night, eh? Well, I had to be here so early this morning. Yeah, so did I. I had to stay up all night to make it, too. You started your picture, haven't you? Oh, we're still in the testing stage. Can't seem to find a girl for the lead. Gee, you think with all the girls... Yeah, but this girl's got to be different. She's got to be little and cute and sweet and... Well, blow me down. What? Well, close these tired old eyes. What's the matter? Come on, hurry up. Where are we going? Oliver Niles' office. I'm to run. Tell you, Oliver, it's sure fire. You've gone through the whole casting directory, haven't you? I'll work day and night, Mr. Niles. And I'll work with her, Oliver. I can be mean or nasty or anything you want, Mr. Niles. If she clicks, Oliver, you've got a star overnight. Well, what do you say? Okay, she's in. Pester. She's faded. Just as your star chaser predicted on this program some months ago, little Vicki Lester has made good. Just how good was known early this evening in the preview of her first picture in which she plays a featured role opposite Norman Maine? Norman may be star, but he has decidedly not the Maine attraction. It's cooler out here. You see those lights, Esther? Down there? That's Hollywood. It's wonderful, isn't it? A crazy quilt. Oh, no. That's a carpet spread for you. It's yours from now on, you know. It's come, Esther. A star is born. You'll have everything in the world you want, and I hope it'll make you happy. Hasn't it you? Well, there's one thing I've never had. Lots of times I've told myself I'd found it, but I always knew I was lying. Still, I never stopped looking for it. Maybe it'll come. I think it has come, Esther, and I wish it weren't too late. Oh, but it's not too late. You can't throw away your life the way I've thrown away mine. You'll have anything left that's good enough now. You can. Norman, you can. Oh, you mustn't tell me that, Esther. I'm so afraid I'll believe it. I want to, Norman. I want you to believe it, because I love you too. Folks, maybe I'm not thinking fast this morning. What are you two trying to say? Just this, Oliver. We're going to get married. You're going to what? I guess I didn't read that line very well. I'll try it again. We're going to get married to each other. When? Where? Well, we're going to a lope in the conventional manner. What's an adamant denial? He's trying to decide whether it's good for the studio. Is it? It is. And bless you, my children. When's it gonna happen? Well, we thought we'd just sneak out sometime. Sure, sure, but you mustn't hurt people's feelings. Matt Libby, for instance, he has a very sensitive nature. He'd feel offended if he didn't have a chance to congratulate you. Get Libby in. I've been trying to keep him out. Listen to this. The screen's ideal romance blossomed into breathtaking reality today when Vicki Lester and Norman Maine, America's dream lovers, slipped quietly through the portals of holy matrimony. How does that sound? Horrible. But you see, we're going to a lope. Sure you are. It'll be the biggest elopement this town ever saw. We'll get a tie-up with the army. I'll have you escorted all the way down to Yuma, Arizona by 20 of their new bombing planes. From there, you can make personal appearances in Denver, Salt Lake, Seattle, Vancouver. Let's make this thing international. Norman, is he going with us? Say, Niles, don't you think we can work this thing out better alone? No use bothering the happy couple with all these details. Oh, I'm so sorry. We didn't realize we were in the way. While you're settling the details, you don't mind if I go out and buy this woman a ring, do you? Sure, go ahead. We want everything legal. Come on, honey. See you later, Oliver. There's a charming couple for you. A nice girl like Vicki and public nuisance number one. Norman's all right, Libby. You'll pardon my pointing Vicki's business as her own. It doesn't require any comments. I didn't comment. I just said it's a rotten thing. You go ahead and plan the elopement. What's the matter? Are you sore or something about this elopement? No, no, no. I'm not sore. Go on, let me beat it. I'm busy. Here's the Hollywood question mark for this week, folks. What famous star, since his marriage to another famous star, has turned over a brand new leaf and is now taking a non-alcoholic honeymoon? But why do his friends think his bride came about six performances too late as far as the public is concerned? Because the star's last six performances have been what is politely known as turkeys, fox-office floppolas. Yes, sir, folks, it was a gay life and a short one. Norman, I just can't believe it. Would you mind telling me again very slowly? That's your new house. This is your new grass, and those are your new trees, and here's your new husband. Now come on, the garden's been waiting long enough for you. Do you like it? What's the most wonderful surprise anybody ever had? There I was, thinking we were going to live in the beach house. Oh, we'll keep the house at the beach. But this is special. This is our castle, where we'll never use ugly words like contracts and pictures and careers. When we come in those gates, we'll check the studio outside. Oh, Norman. Hey, hold that phone. That's it. Get it out of there. Caption. Their honeymoon never ends. How are you? Well, this is a surprise, Libby, and a very unpleasant one. Oh, just wrapped over to welcome you home. How are you, Mrs. Main? Fine, thanks. Hello, Otto. Oh, Miss Lester. Hi, Norman. Nice little place you got here. Very tasty. Otto, if you didn't like it, we'd sell it. All right, let's get some pictures. Now, if the bride will just sit here and the groom stands behind her, we'll have something unique. So well. All right, Otto. Caption. Their honeymoon still continues. Hello. Ah, the producer. Their honeymoon ceases abruptly. Hello, Oliver. Hello, Norman. Glad you're back. Hello, Vicki. Hello, Oliver. Am I interrupting? Yes, thank you. Oh, we just want a couple more. Well, that's enough for both of them. What they're asking for is exclusives. I've missed Lester alone. Oh, I see. Come on, Oliver. Let's you and I get exclusive. Sure. Day for dinner, Oliver. All right now, Miss Lester. We'll take one of you with that over here. Well, Oliver, what's on your mind? How's the dividend situation? Very pleasant. I think we'll show 2 million on the next quarter. Oh, boy. That was a smart move of mine to sell my stock, wasn't it? Well, anyway, you can thank me for some of those dividends of yours. Well, can't you? Oh, sure, sure, sure. That was a little too quick. The enchanted hour was a smash hit, wasn't it? Made Vicki a star overnight. Yes, and it should have. What about me? Let's wait and talk business at the office, Norman. Didn't they like me? Well, maybe the part wasn't just right. It was the best part of the year. Now, look here, Oliver. Do you think I'm slipping? Norman, can you take it? Go ahead. The tense is wrong, Norman. You're not slipping. You've slipped. Well, my fan mail's still pretty good. No, Norman. No, Norman. Fans will write anybody for a photograph. It only costs 3 cents for the stamp. That makes photographs cheaper than wallpaper. But every quarter, they pay for a theater ticket. Buys them the right to be a critic. Your last few performances, Norman, haven't pleased your critics. Remember I told you I'd be ready for the curtains when the time came? Well, here it is. Let's call off the contract and no hard feelings. Oh, we're not quitting yet, either of us. There's no explaining these things. We've all seen how quick the public turns. Well, maybe we can turn it back. I've got a swell script lined up for you. What about Esther? If you think I'm going to get in her way... Well, as a matter of fact, as it happens, there isn't anything for her in this story. I'd more or less plan to star her in a picture of her own, maybe with that young Pemberton opposite her. He's coming along very nicely. Good for young Pemberton. All right, Oliver? We'll make a try at it. And let's hope it's not too late. Yes, Norman. Let's hope it's not too late. For station identification, this is the Columbia Broadcasting System. It's been our custom between the acts of our plays to bring you little glimpses of Hollywood. To give you a view of film activities from backstage, we continue that custom with a word from John Leroy Johnston, Western manager of Fawcett Publications, and managing editor of Screenbook and Hollywood magazines. The last time we met, he interviewed me. The night with the tables turned, I dropped my first question by asking Mr. Johnson what he'd like to be interviewed about. Well, Mr. DeMille, that's easy. After all, the product that makes this program possible is Lux Toilet soap. There's a commodity that's dedicated to charm and beauty as evidenced by its tremendous popularity among the screen's most attractive women. From what I found out myself visiting the stars and from what our writers tell me, Lux Toilet soap has no more enthusiastic boosters than the biggest names in Hollywood. I still would like to know the subject of our interview. Well, I'd like to express a few of my views on beauty, or rather on the most beautiful women of motion pictures in 20 years. They say a fool walks in where angels fear to tread, so here I am, a perfect casting job. What's the basis of your choice, the best subjects for your magazine covers? No, magazine covers are chosen to acknowledge the popularity of certain established or rising young players. I'm guiding myself by what strikes me as being a typical American conception of beauty. By this I mean normal, charming, finely chiseled features, clear expressive eyes, intelligence, poise, well to be brief and honest, loveliness. Which predominates in your list? The old-fashioned type of yesterday or the athletic girl of today? Frankly, I don't believe the American ideal of real beauty has or will ever change. I think every man admires the lovely, dainty, feminine woman. If she's truly beautiful, she'll look beautiful in crinolines or slacks. So from the silent days onward, here's my all-American team. Selected selections representing every section of the continent. Alice Joyce, Kareen Griffith, Clara Kimball Young, Billy Dove, Mary Nolan, Joan Crawford, Janet Gaynor, Jeanette McDonald, Dolores Del Rio, Norma Shearer, and Madeline Carroll. And for a second team I'd say, Anne Harding, Carol Lombard, Joan Bennett, Anita Louise, Madge Bellamy, Virginia Bruce, Mary Aster, Gloria Stewart, Olivia DeHavilland, Mary Bryan, and Marla Shelton. Offhand, I can't say whether or not I agree with your choice, Mr. Johnson. But I wish I could have all your all-American beauties in one picture. And I wish you'd provide a police escort so that I can sneak out of here before folks start throwing things. I'm on my way. Back to Robert Montgomery, Janet Gaynor, Lionel Stander, Mary Robson, in A Star Is Born. One year has passed. As Esther rolls steadily in public favor, Norman dropped just as steadily into oblivion. At his own request, his contract was canceled, and he began to devote his time to making Esther happy. But she was busy at the studio, shaping a career such as he had thrown away. And left to himself, Norman slipped gradually back into his old ways. It's the night of the Academy Award dinner. At a table in the corner, Esther and Oliver Niles wait anxiously for Norman to arrive. The master of ceremonies is speaking. We have already applauded with our hearts as well as our hands. While awards have been given to those gentlemen who know and would come, do you suppose anything's happened to him? Of course not. He's just been held up in traffic. Now, you think about that nice statuette you're going to get. Go on, listen. We present to her the Academy Award for the finest performance of the year. The unforgettable honor in Dream Without End. Miss Vicki Lester. Go on. Go on, Esther. Get your award, Esther. If you please. What more can I say, Miss Lester? This statuette says it for all of us. Ladies and gentlemen, when something like this happens to you and you're proud to tell how you feel about it, you find that out of all the words in the world, there are only two that really mean anything. Thank you. All I can do is say them to you for my heart. All I can do is tell you that I keep... Ladies! Ladies! That was a very pretty speech, my dear, and I want to be the first to congratulate you on that valuable little piece of bric-a-brac. And now I want to make a speech. Gentlemen of the Academy and fellow suckers, I got one of those once with the best performance once. It don't mean a thing. People get them every year. What I want is a special award. Nothing nobody else can get. I want a statuette for the worst performance of the year. I want three statuettes for the three worst performances of the year. I earned them in everybody that saw those last masterpieces of my nose, I burn them. What I'm here to find out is, do I get them or do I get them? Answer me yes or no. Answer me yes or no. All right, Esther, all right, I've got them. Come on, Norman, come over to the table. Oh, hello, Vicki dear. Allow me to congratulate you. You must be terribly proud and happy tonight. Thank you. Norman, dear. Oh, God, what if I... Somebody give me a drink. Who is it? Oliver and Olive, darling. Oliver, come in. How are you? Oh, Oliver, I've missed you. Everybody's missed you. Sit down. Did you have an ice-crip? Well, a three-month tour over the theater circuit scarcely comes under the head of pleasure. By the way, they're screaming for your pictures all across the country. Miss Lester, if I may talk shop, you're on knock-up. Thank you. That's good to hear. You've been crying. A little? Why? Well, I guess maybe I'm a little worried about this next picture. Oh, you needn't be. I've seen the first week's work. You're headed for another Academy Award this year. How's Norman? He's... well, he's trying awfully hard, Oliver. Has he been... is he all right? He's gone to a sanatorium. You see, he really wants to stop drinking, and I think he could only... Well, perhaps if he were going to work again, it'd be some encouragement. Oliver, could you... could you do that? I might be able to manage it. Oh, thank you. But he mustn't ever know I told you. He won't know, Vicki. And you mustn't worry. I want you to be good in this picture. I'll try, Oliver. That's the least I can do for you. And one more for the book, folks. What star recently released from a sanatorium where he underwent a rescue is now hanging around the Santa Anita race track while he gets into shape for a comeback. Your guess is as good as mine. And mine's no guess. Hello, Charlie. Well, hello, Mr. Mean. Haven't seen you in a long time. No, I've... I've been resting. Ginger ale, please. Ginger ale in what? Ginger ale and ginger ale. Hmm, a new leaf? A whole new book. Thanks. Shake it up, Charlie. Hello, Libby. Why, it's Mr. America of yesteryear. Did they let you wander around now without a keeper? Oh, I'm a trustee now. Didn't expect to find you here at Santa Anita. What do they do with the actors when you're away? Oh, they cut them in slices and fry them with eggs. I suppose you'll be here all the time now that you've retired from the hurly-burly of the silver screen. Well, we're staying down at the beach house now and it's pretty lonesome with Esther away working all day. Well, I wouldn't squawk about that if I were you. It's nice somebody in the family is making a living. Say, go a little slow, Libby. I don't want to forget we're friends. Friends, my eye. Listen. I got you out of your jams because it was my job, not because I was your friend. I don't like you. I never did like you. Nothing made me happier than to see all those cute little pranks of yours catch up with you and land you on your celebrated face. Pretty work, Libby. Always wait until they're down and then kick them, eh? Hey, listen. You fixed yourself nice and comfortable. You can live off your wife now. She'll buy the drinks and put up with you even if nobody else will. Why, you? Take a swing at me, will you? Get up your four-star ham and I'll knock you down for key. Get up and get out of there. Don't bother to throw him out. He's harmless. Well, all right, Mr. Libby. If you say so. Sure, let him go. What can he do? He can't fight any better than he can act. Sixth race, coming for the horse. You okay, Maine? Yeah. Yeah, I'm okay. Give me a scotch. Double. Vicky, Vicky, you'll be ill. Why don't you try and get a little sleep? He's been gone four days, four days and not a word. Oliver, I can't, I just can't, will you? Surely. Hello? No, this is Oliver Niles speaking. What? Oh, thank heaven. Where? In the night court. He's all right, Vicki. He isn't hurt. I'll go right down, get him out. What is it? What's wrong? He's been arrested on disorderly conduct charge. I'm going with you. Vicki, please. It isn't any place for you if it gets in the papers. What do I care about the papers? Norman's in trouble, and I'm going for it. Alfred Henkel, known as Norman Main. Where is he? Here. Drunk and disorderly. Crashed car and tree. Resisted arrest and injured one of arresting officers. How do you plead? Gilly. Were you Norman Main, the actor? Yeah. You've come pretty low, haven't you? 90 days in the city jail. Wait, please. Your honor. I'm his wife. Yes, I recognize you, Miss Lester. Please. I promise you, Judge, this will never happen again. I'll be responsible for him if you'll just not send him there. You realize that this man, when drunk, is obviously a menace to public safety? Yes. You realize, too, the responsibility you would be assuming to the court and to the Commonwealth? I do. Very well. Sentence suspended. Prisoner remanded to custody of wife. You may take him home, Miss Lester. Norman. Norman, are you all right, dear? Yeah. I'm so tired, Esther. Who is the Esther? Talk low. He's still asleep in there. Oh, well, that's the best thing for him. It's awful to see this happen to someone you love. And knowing your heart, it can't get any better. You still love him, Vicki. Or do you just feel sorry for him? Oh, it's so hard to tell where one leaves off when the other begins. I only know that all I can do now is stay with him and try to help him. So will I, Vicki. Between us, we'll take care of him. You're very fond of him, aren't you, Oliver? I'm very fond of both of you. That's why I know you will understand what I have to tell you. And I think that after what happened last night, you already know what it is. I can't do any more pictures. I'm going away for good with Norman. But, Vicki, you can't do that. Well, you're at the very peak of your success. You've worked so hard to achieve it. Yes, I've worked hard, Oliver. And what difference would that have made if you and Norman hadn't worked harder to help me? Oh, no. No one can help people to career. You made your own career and it's your life. That's what's been wrong, Oliver. I thought it all out. Maybe if I hadn't been away from him so much last night and what went before wouldn't have happened. Too late to think about that now. But it may not be too late to go away with him and start over again somewhere. It's your life you're giving up, Vicki. So I can try to give Norman back his. Can you honestly tell me I'm wrong to do it? No. No, Vicki. I can't honestly tell you that. Then there won't be any more of Vicki Lester, Oliver. Goodbye, Vicki Lester. You're a swell girl. And good luck, Mrs. Norman Main. Goodbye, Oliver. And thank you. Norman. This is Main coming in to apologize again, darling. Norman, have you been out there long? Oliver, Niles was here. Yeah, yes, I know. I mean, I thought he would be. You're looking sad, darling. What other troubles have you got? None. I was just playing a scene with myself. Now, look. I'm just coming out of the jitters and you're just going into them. This is a swell household. Isn't it? I'll tell you what we'll do. I'll promise to brace up if you'll go on the wagon. I guess I have been drinking too much. You know what I'm going to do? I'm going to be an athlete. Gee, you mean with great big muscles and everything? Roughly speaking, yes. Are you going to join the YMCA? Oh, no, that costs too much. I'm going waiting in the Pacific. Now? Sure. You won't go out too far, darling. A little water once in a while wouldn't hurt me any. Crazy. Well, if you don't mind, I'll be running along. Could you have a hot, I mean, some hot soup for me when I come back? Some hot soup. And I'll make the sandwiches. Norman, do you have to? Give me a kiss, honey. I'll see you later. Don't be long. I won't. Oh, darling, do you mind if I take just one more look? So long, sweet. Will that be all, Miss Lester? Have you packed everything? Yes, ma'am. The bags, the trunks, everything. Have the car brought around, please. I'm her granny. You can't go in if you don't want to. Yes. Granny. Granny, darling. I'm so glad to see you. What made you come? Oh, I know what I'm needed. Here, here, girl, please. Please get out, will you? I want to talk to my granddaughter. Yes, ma'am. I got here just as quickly as I could. But I'm going home. I sent you a wire yesterday. Sit down. Now is it true that you're going to quit the movies? I never want to hear of them again. What are you running away from, child? I'm not running away. It's just that I can't go on. My heart isn't in it anymore. You remember I told you once, if you got what you wanted, you'd have to give your heart an exchange. And you said you were willing. Do you remember that? I remember. Well, you've got more than you bargained for. More fame, more success, even more personal happiness. And maybe more unhappiness. But you did make a bargain. And now you're whining over it. I wouldn't be very proud of myself if I were you, Esther. I'm not, Granny. But my mind's made up. Oh, well. Then I'm very sorry I lent you that money to come here. It was just thrown away, wasted. I know. Well, I want to be strong, but I can't go on. I can't. But you must. Tragedy is a test of courage, Esther. I never knew Norman Maine. He was sweet to me in the letter he wrote when you were married. He said that you told him how much I had meant to you. And I know how much you must have meant to him. I can't believe that whatever he is, Esther, he's very proud knowing that all that his love did for you was to make you a quitter. The car is ready, Miss Lester. We'll have to go now to make the train. Put the car back in the garage. We're going to stay. Granny, oh my Esther, my darling. Yes, ladies and gentlemen, it's a great occasion. The entire picture industry has come to the Chinese Theater for this opening tonight. It has come to pay tribute to a great star on her return to the screen. The girl who has won the heart of Hollywood, the girl who has won the heart of the world, Miss Vicki Lester. And now, if I'm not mistaken, Miss Lester's car has just driven up. Yes, yes, it is her. I'll see if I can get her to say a few words. Here she comes out. Oh, wait, she's stopping, folks. What is it, Jim? Oh, ladies and gentlemen, Miss Lester has stopped at the footprints of her late husband, Norman Maine. She's a little upset. I don't think we're going to get her up here. No, wait, how? She's pulling herself together. She seems to be all right, ladies and gentlemen, and she's approaching the microphone now. Miss Lester, Miss Lester, will you? Miss Lester, this microphone is on an international hookup. Throughout the world, your fans are hoping you'll say a few words to them. Will you please? Of course. Hello, everybody. This is Mrs. Norman Maine. Our splendid performances are thanks to Miss Gaynor and Mr. Montgomery, who will return in a few minutes. It was most appropriate that our play should end with a scene at Grumman's Chinese Theater. It was there that the most thrilling premieres in Hollywood history have been held. There also originated the spectacular stage productions, copied though never equaled the world over. Grumman's Chinese is also famous for the hand and footprints of the stars recorded in the courtyard of the theater. To make your mark there means lifelong membership in Hollywood's Legion of Honor. The founder and guiding light of that theater is here tonight, one of the greatest showmen and best friends that motion pictures have ever had, Sid Grumman. Sid, how did you happen to get that idea of the hand and footprints? Before answering that, I'd like to say something you overlooked, that it was your picture, the King of Kings, that opened the Chinese theater. It was a great break for me. For your, now for your question, the answer is pure accident. I walked right into it. While we were building the theater, I accidentally happened to step in some soft concrete and there it was. So I went to Mary Pickford immediately. Mary put her foot into it. And so became the first to sign your concrete autograph album. Yes, along with Norma Talmadge and Douglas Fairbanks. But the latest we have done, so are William Powell and Myrna Loy, who used to dance in my prologue. Well, most of us have heard of your theater and footprints, Sid. Few people realize that you've helped scores of players on their way to fame, like Racco Torres, who started as one of your usherettes, Raymond Navarro or Jackie Cogan, whom you discovered. Yes, it's a string, how things work out, Settles. I used to put on Sunday morning concerts in the million dollar theater in Los Angeles. Before the prologue and picture was shown, a young singer asked me for a job. After hearing him, I said, you're on, but the price is only $10 for the concert. He said he needed the work. And if I'd give him six concerts in a row, the $10 would be all right. I did. His name, Lawrence Tibbet. To this day, one of my best friends is Charlie Chaplin. Before he ever appeared on the screen, Charlie worked for me on the stage in San Francisco and I gave him a letter of introduction that brought him to the screen. I claim no credit for this. It just happened. And now a little Shirley Temple story, when Shirley came to the theater to leave her footprints, she asked me if I mined if she took off her shoes and socks. I told her that we couldn't do that because she'd get her feet all full of concrete. As usual, she had an answer ready. We can get some warm water and a towel and I'll wash them very carefully. But why, I asked, do you want to make your footprints in bare feet? Mr. Grumman, she said, I just want to be different. Well, Cecil, if I don't stop now, there's no telling when I will. Good luck to you and to this splendid radio theater which has come to be as much a part of Hollywood as the excellent commodity it represents. Luxe, tall, it's so. Thank you. Thank you, sir. As the stars they are, Janet Gaynor and Robert Montgomery. I'm glad to be able to take this curtain call, Mr. DeMille, because it gives me a chance to say something that I really want to say as regards the star is born. Often when a picture is a success, all the credit goes to the individuals who happen to star in it. We're inclined to pass by the off-screen personalities who made that picture possible. To Mr. David O. Selznick, the producer of the star is born and Mr. William Wellman, who so brilliantly directed it and all the others who contributed, I am very grateful. But now, what about Mr. Montgomery? I hear some talk around town that's your to go eat. Yes, Montgomery, the actor, is about to become Montgomery the farmer. I'm going back to farm for a spell. Yes, you told us that some months ago and you haven't reached there yet. I'm beginning to think that your back to the soil movement is just a fable. At least it provides Bob with some swell stories about that neighbor of his back there, Zeb Davis. Zeb is on the way of becoming a national character. What's he done lately, Bob? Well, Zeb probably won't speak to me for telling this one on him, but here goes. Zeb has a wife who likes to keep him well, shall we say, under control. Not long ago, she decided that Zeb wanted to get a new car. Zeb couldn't quite figure that out because the one he had was only 11 years old. So he got a new car. Well, the Davis's were having a little party one night when Mrs. D told Zeb to drive to town for some ice cream and to be very careful of the car. It's a 16 mile trip and Zeb sort of hit her up on the way back. He was just about to turn up the road to the house when he stepped on the gas instead of the brake. He ran into a ditch, turned over a couple of times and ended up with the car on top of him and the ice cream in his hand. Couple of the boys ran up and tried to pull him out but Zeb was stuck. He didn't say a word until the boys started to get the car off him and then he let loose. Leave me alone, he hollered. Leave me alone and get that ice cream home for it. Melts, there's enough trouble around here as it is. That's very good, Bob. I hope you'll find Zeb completely recovered. It was a lot more story. As you said, Mr. DeMille, this was my first appearance here. But really, I felt quite at home because I'm well acquainted with the product behind this program. I'm happy to say that Lux Toilet Soap has been in my dressing room and in my home too for several years. I wouldn't be without it. Thank you, Janet, and you too, Bob, for launching our program in such a distinguished fashion. Thank you. Thank you. And thank you, Mr. DeMille. Ladies and gentlemen, this is your announcer, Melville Rue. News of next week's thrilling show comes to you in just a moment from Mr. DeMille. Assisting in tonight's cast for Lou Merrill as Oliver Niles, Chester Clute as Pop, John Gibson as Danny McGuire, Margaret Brayton as Anita, Edwin Max as Master of Ceremonies, Forrest Taylor as Judge, Frank Nelson as Moon, Lucille Meredith as Maid, Grace Kern as Awakress, Myra Marsh as Miss Phillips, Sydney Newman as Director, James Eagles as Otto, Gil Patrick as Police Officer, and Ross Forrester as a Photographer. Miss Gaynor and Miss Robeson appeared through courtesy of Selznick International Pictures, Mr. Montgomery, Metro-Golden Mayor, Mr. Stander, Columbia Pictures Corporation, Mr. DeMille Paramount and Louis Silver's 20th Century Fox where he was in charge of music for the new film, Wife, Doctor and Nurse. And here is our producer. Not because he happens to be the star of my new film, The Buccaneer. Not because he starred in two of our biggest successes last spring, but because he happens to be on and off the screen, a citizen of whom Hollywood is most proud. It gives me particular pleasure to announce that next Monday night, the Lux Radio Theater stars Frederick March and with him Florence Eldridge, who in private life is Mrs. March. Our play is from the stage and screen success, The Outsider. Our sponsors, the makers of Lux Toilets, hope join me in inviting you to be with us again next Monday night when the Lux Radio Theater presents Frederick March, Florence Eldridge, and an all-star Hollywood cast in The Outsider. This is Cecil B. DeMille saying goodnight to you from Hollywood. For now tonight's program is afraid to dream from You Can't Have Everything. This is the Columbia Broadcasting System.