Love Begins at 40, cont'd

Charles Boyer examined the idea with as much impersonal detachment as Einstein probing a mathematical theorem.

 "If he were truly in love at thirty," answered Boyer, "he will be truly in love a forty. For true love does not wither or die. So at forty, it is not correct to say that love has changed, rather only that it has grown and deepened and become bulwarked by a profound mutual understanding that blesses the soul with a great serenity and peace. Men and women both change, but if they have spent the years between thirty and forty happily together, they have built an understanding and a trust in each other that is not frequently achieved at an earlier age."

Perhaps one reason Charles Boyer stresses the theme that love begins at forty is that he is a Frenchman. For if there is any one marked difference between the American and the French husband, in the actor's opinion, it is that the European is not as likely to let the little tendernesses of the honeymoon fade from his domestic manners with the passing of the years.

 "A French husband is just as courtly, as considerate, as much the cavalier, as in the days of his courtship," said Boyer. "A Frenchman never stops wooing his wife."
"A Frenchman
never stops
wooing his wife..."

"What shall we do now?"

"Well, we could get married..."

And, although Charles Boyer was discussing this whole subject of mature love in an impersonal way, it was impossible not to read into his answers the suggestion of how perfectly he has achieved happiness in his own life.

The love story of Charles Boyer and Pat Paterson is one of the most heartwarming sagas in the movies' book of memoirs.
Six years ago they were married, ten days after their first meeting in Hollywood; he newly arrived from France and not yet recognized as a film figure of great promise; she a bright, brisk British actress just winning attention in the cinema capital.

There is a story that, after several dates together, the two appeared one evening a little after curtain time at the box office of a Hollywood theatre housing a current hit. The performance was sold out.
"What shall we do now?" asked Pat, blond, beautiful and devastatingly dressed for a gala evening.
"Well, we could get married," suggested Charles, and half an hour later they started driving to Yuma, Arizona, the Gretna Green of film folk who wed on impulse.
Unlike most such elopements, the marriage of Charles Boyer and Pat Paterson has been a stunning success. The last year has drawn them more closely together than ever before, of course, but they have long been considered one of Hollywood's happiest couples.

Charles is an artistic-minded gentleman of great charm, worldy and witty and at the same time he possesses an intellectual aloofness that gives him an intriguing air of mystery. Such a man demands of his mate an unselfish, sympathetic adoration and Pat Paterson gives it unstintingly. She has been content to submerge her own professional life completely in the pleasant fulfillment of her domestic duties. She occasionally accepts a picture role that attracts her, but only if Charles is working at the same time. No film role, however appealing in its possibilities, would tempt her if it meant being away from home when Charles was between pictures.

 "We have too much fun together to make a film job seem important if it meant working when Charles was free," Pat told me.                   continue
He possesses an aloofness that gives him an air of mystery....

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