...his library is lined with row upon row of valuable first editions...

Love Begins at 40, cont'd

One of Pat's latest screen assignments, before she went to Europe last year, was that of the newly-wed bride in Idiot's Delight, which starred Clark Gable and Norma Shearer.  Thus far this year she has had no yen to pack up her makeup box and sally forth in search of billing as something other than Mrs. C. Boyer.

Charles and Pat live quietly but well.  Boyer is a connoisseur of fine food, a favorite dish being  pate de foie gras, which comes from the neighborhood of Figeac, the little town in Southern France where he was born and where he lived until he was eighteen.  He has a taste for rare French wines, especially champagne, and his wine cellar is the best stocked in Hollywood.

 Books are his chief hobby, the walls of his circular shaped library are lined with row upon row of valuable first editions.   He has, too, a beautifully bound copy of the scripts from every picture he has been in from the unhappy Caravan, his first important Hollywood film which sent him scrambling back to Paris, where his reputation had been established as a star of stage and screen for twelve years, through his early American successes in Private Worlds, Conquest, Algiers and the film which cemented his top ranking, Love Affair.
Seen infrequently at the night clubs of the film colony, the Boyers entertain only spasmodically. Their closest friends are Ronald and Benita Colman, Tyrone Power and Annabella, Norma Shearer and Anatole Litvak. Recently Charles and Pat were joined in their Hollywood home by Madame Louise Boyer, Charles' gracious and charming mother, who looks astonishingly like her famous son. It was to meet his mother who arrived a few weeks ago on the President Washington from Genoa to stay in America for the duration of the war, that Boyer and Pat came East on the completion of his latest picture, All This and Heaven Too.

While he was in New York, from where he broadcast two of his weekly radio half-hour dramas, the actor was summoned by Warners to make a 'retake' of dialogue that, if it had been completed, would have been unique in the history of film making.

With Boyer in New York and Bette Davis, his costar in the film, vacationing in Honolulu, Anatole Litvak, the director of All This and Heaven Too, found that he needed a new sound track for a scene which had been photographed already in Hollywood.
A three-way long distance hook-up was arranged, with Bette on one end of a telephone connection in Honolulu, Boyer at the other in New York, and the sound recorder cut in on the line at the studios in Burbank, outside of Hollywood.
"Ever since I saw Bette in Of Human Bondage I have hoped that we would one day work together."
...the caressing voice, the intriguing eyes, more devastating than less subtle screen lovers.... The afternoon I interviewed Boyer was the day arranged for the 'retake' and with several telephone technicians and members of the publicity department and the trade press, I sat around Boyer's hotel suite, waiting for the jingle that would signal the first 6,000-mile retake in film history.
When, however, after a lengthy wait for the connection to be established, Bette Davis came on the wire from Honolulu, it was found that she and Charles had been sent different versions of the script and therefore cold not re-enact the dialogue required for the sound retake.
The call, and an exchange of pleasantries with Bette, prompted Charles to tell me of his pleasure at having worked with Bette in the Rachel Field story, which Boyer believes is one of his best pictures to date.

"Ever since I saw Bette in Of Human Bondage," declared Boyer, "I have hoped that we would one day work together. She is a magnificent actress and has the same approach to a role that I try to follow. She thinks out her part very carefully in advance and goes on the set knowing exactly what she is going to do.
Not only was I happy to be playing with Bette but I was immensely satisfied with the story of All This and Heaven Too. In some ways it has the same qualities that marked Mayerling (the 1937 film Boyer made in France).

"The story has a most unusual appeal, for it shows a very tender love built between the Duc de Praslin and the little English governess of his tormented household, and yet not once in the whole film do they so much as touch one another."
Once more, we can guess, the caressing voice, the intriguing eyes of Boyer will create a romantic mood more devastating than the wildest wrestling bouts of other, less subtle screen lovers.


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