default avatar
Welcome to the site! Login or Signup below.
|
||
Logout|My Dashboard

LYNN BARI

Print
Font Size:
Default font size
Larger font size

Posted: Wednesday, February 7, 2007 12:00 am

A Much Titled Lady

by Colin Briggs

Lynn Bari was awarded more than her share of beauty and pin-up titles during World War II. The one that especially pleased her was “The Perpetual Pin-up Girl” bestowed by Darryl F. Zanuck and 20th Century Fox to make up for the fact that they hadn’t given her the recognition she deserved. Lynn was, in fact, one of Fox’s more popular stars. With 8,825 fan letters addressed to Lynn arriving in one week, she was, at one point, second only to Betty Grable.

Once, Lynn told me an interesting story about how servicemen became aware of the machinations of the Fox publicity department. In response to their requests for photos of Carole Landis, the men were being sent Betty Grable pictures instead, because Betty was Fox’s biggest asset. A few of the men threatened to expose this chicanery, and this made Zanuck realize that they needed to give secondary stars their due. Lynn believed that this is why Zanuck and Fox finally started to give her more recognition. In Landis’s case a special short depicting Carole in various costumes, and singing “I’m Your Pin-Up Girl,” was filmed and sent to the servicemen. So when Lynn’s photo requests escalated, the studio made sure that they sent pictures of her, and not those of another actress whose career they wanted to boost.

A title that Lynn disliked most was “Queen of the B’s” which was inherited from her best friend, Claire Trevor. Lynn explained, “It really limited my chances for advancement to lead roles in major pictures.” “The Woo Woo Girl” was another she found demeaning, but “The Girl With the Million Dollar Figure” proved rewarding, as she subsequently received many offers to pay her for endorsing clothing, soap, and beauty products.

There have been many versions of the year of Lynn Bari’s birth. She said it was December 18, 1919, and once, when mentioned to be appearing in 1959’s Pillow Talk, Lynn admitted to forty. Most publicity generated by Fox indicated 1920, but 1913, 1915, and 1917 have also been printed, with the last of these, 1917, being the most likely.

The 1933 release, Dancing Lady, her first film at MGM, starred Clark Gable, who sometimes drove her home. The “King” referred to Lynn as “jail bait” then, and she stated she was just 13 at the time of filming. Lynn recollected that her mother had taken her to bathing suit try-outs for tall showgirls to appear in Dancing Lady, and that going down each line-up of girls they would say “you stay,” or “you go.” In this case it was “stay” for Lynn and “go” for her mother.

Lynn was born Marjorie Schuyler Fisher, the daughter of John Maynard Fisher and Marjorie Halpen in Roanoke, Virginia. She had a younger brother, John. After being widowed in 1925, Mrs. Fisher relocated to Boston in 1926 where she met and later married Reverend Robert Bitzer. When Rev. Bitzer was assigned a church in California, the family drove all the way across the country to Los Angeles. Lynn said it was a long nightmare of a trip, and although she and her brother became good friends later, they fought continuously as children, never more so than during this ordeal.

While it has been reported that Lynn attended dramatic school, it appears that, in fact, she never did until she was under contract to Fox and took lessons in their drama school. Her stepfather, now the head of the Institute of Religious Science in Los Angeles, wanted both Lynn and her brother to have a formal education. However, Mother knew best, and she picked a show business career for Lynn. She also helped Lynn pick her professional name when Lynn was signing with MGM. Lynn came from famed stage actress Lynn Fontanne, and Bari was inspired by the name of author James Barrie.

Lynn first appeared in MGM’s Dancing Lady along with Fred Astaire, Nelson Eddy and Eve Arden in early appearances. While filming this Clark Gable and Joan Crawford vehicle she also moonlighted in Meet the Baron which was the first of her films to be released. Sammy Lee, the choreographer of these two early films liked the tall youngster with “a smile that turns her lips up at the corners.” He recommended her for chorus work and extras work at Fox and Paramount.

During 1934 she was in regular employment with Search for Beauty at Paramount, and at Fox she was in I Am Suzanne, David Harum, Coming Out Party, Caravan, Stand Up and Cheer, Handy Andy, Music in the Air, 365 Nights in Hollywood, Bottoms Up, and Lottery Lover. Fox now had her under a stock contract and were grooming her for speaking parts with dancing lessons also being part of the curriculum.

With 1935 her work load was more of the same, walk ons, chorus bits or extra duty in Charlie Chan in Paris, Under Pressure, The Great Hotel Murder, Ten Dollar Raise, Spring Tonic, Doubting Thomas, Ladies Love Danger, Curly Top, Orchids for You, Charlie Chan in Shanghai, Dante’s Inferno, Welcome Home, Metropolitan, Redheads on Parade, The Gay Deception, Music Is Magic, Thanks a Million, The Man Who Broke the Bank at Monte Carlo, Way Down East, Show Them No Mercy, and King of Burlesque. The last of these starred Alice Faye with Australian actress Mona Barrie playing the other woman. Seven years later Lynn would be starring in the remake, Hello Frisco Hello, which recalled both Alice Faye and Jack Oakie to essay their earlier parts.

Darryl F. Zanuck had taken over the production reins at Fox in 1935, and the studio was renamed 20th Century-Fox. Often referring later to Lynn as “that little girl from the stocks” she remained under contract following the studio merger. The new year of 1936 did not bring much progress in her career, but she was certainly busy as an extra in My Marriage, It Had to Happen, The Song and Dance Man, Private Number, Everybody’s Old Man, and she moonlighted in The Great Ziegfeld (MGM), Poor Little Rich Girl, 36 Hours to Kill, Girls Dormitory, Sing Baby Sing, Star for a Night, Fifteen Murder Lane, Ladies in Love, and Pigskin Parade.

With 1937 she kept busy as ever with Crack Up, Woman Wise, On the Avenue, Fair Warning, Timeout for Romance, Love Is News, Wake up and Live, Cafe Metropole, This Is My Affair, She Had to Eat, The Lady Escapes, Life Begins in College, You Can’t Have Everything, Wife Doctor and Nurse, 45 Fathers, Love and Kisses, and Ali Baba Goes to Town. Then, Gregory Ratoff chose Lynn for the role of Lionel Atwill’s daughter in Lancer Spy. Although many of her bit roles in other films had afforded her a line or two of dialog, Lancer Spy was the first time she got on-screen credit.

Nevertheless, 1938 saw her back to bits in Rebecca of Sunnybrook Farm, and City Girl, before she made quite an impression as the maid in The Baroness and the Butler with William Powell, whom she greatly admired. Walking Down Broadway had her killed off early in the proceedings, while The Battle of Broadway had her share the feminine lead with Gypsy Rose Lee (Louise Hovick). Mr Moto’s Gamble with Peter Lorre cast her as the heroine, a sports reporter, and in the “A” grade soap opera, Always Goodbye, she received excellent notices for what turned out to be her first “other woman” character.

Fox took advantage of her growing popularity in mostly “B” film leads: Speed to Burn, Sharpshooters, and smaller roles in A-pictures like Josette, and I’ll Give a Million. A proposed comedy series got under way with Meet the Girls, teaming a wisecracking Lynn with a feather-brained June Lang. Both scored well and the film was a minor hit. June Lang once told me she always thought Lynn was older than her, but on meeting her mother and fiance, found she was younger. Pardon Our Nerve was the sequel to this comic treat and was released in 1939, but June Gale took over June Lang’s role in this one. Not as successful as its predecessor, the proposed series was abandoned.

Lynn married agent Walter Kane on March 15, 1939, and continued to play leads in B-films at Fox. Titles were: The Return of the Cisco Kid, Chasing Danger, News Is Made at Night, Pack Up Your Troubles, and City in Darkness. Two good opportunities came her way with Hotel for Women, and Hollywood Cavalcade. The latter, a big budgeted Technicolor production starred Alice Faye and Don Ameche. Playing the other woman, a stage star who becomes a silent screen vamp, her role was cut except for one brief shot. Lynn said the reasons for the excision was that the film was over long and “my character was expendable.” Hotel for Women introduced her to good friend Jean Rogers, and she was afforded a special thrill when cast and crew gave her a tremendous ovation following the filming of her tour de force acting with John Halliday. On the debit side she found Peverell Marley’s photography of her always to be unflattering, and the hairdresser on the film also sabotaged her appearance by giving her a mannish haircut. “Hats and small hair pieces were used to try and alleviate the damage,” Lynn said.

The year 1940 proved to be more diverse for her as she got to play a pivotal role in the lavish production of Lillian Russell starring Alice Faye. The Fox directors embraced her down-to-earth and temperament-free manner. A test she’d done for The Rains Came was commendable for her ease in acquiring an excellent English accent. Her low, dulcet-toned speaking voice was class personified, and this made her an ideal choice for society lady roles. Occasionally, though, she proved that she could be as brashly American as Iris Adrian. Pier 13 with Lloyd Nolan bears witness to this versatility, and she was charming in straight leads with Free Blonde and 21, Charter Pilot, and City of Chance.

Earthbound, which also starred Warner Baxter and Andrea Leeds, provided Lynn with a strong emotional role as a murderess. Variety said: “Miss Leeds almost surmounts the handicaps of the role she plays as Baxter’s wife, and this is also true of Lynn Bari, who has the unsympathetic part of the murderess.”

On loan to United Artists, she was the lead in Kit Carson, a popular western. The film starred Jon Hall in the title role, and Dana Andrews, who became a longtime friend, was her other suitor. She was tested again at Fox, this time for Blood and Sand, but her dancing wasn’t good enough, so Rita Hayworth was borrowed for the role, and Lynn was cast as Tyrone Power’s sister.

One of her favorite leading men was Lloyd Nolan who admired her talent and perseverance at a studio that seemed to dismiss her skills as an actress. She credits Nolan for obtaining work for her on radio, where her exceptional voice met all challenges. Pat O’Brien was also a favorite of hers on radio, and as a gifted actor on film. In her previous years in films Lynn had been compared to Claudette Colbert mainly because of her apple cheeks and engaging warmth, but with 1941 a new image developed. “My hair was lightened,” according to Lynn, “because my widow’s peak and side hair looked too dark, too wig-like. For Sun Valley Serenade my hair looked darker because of the lacquer used, but my other films that year had my new lighter look.”

Sleepers West was a Michael Shayne adventure and Lynn played a newswoman opposite Lloyd Nolan as the famous detective. We Go Fast had her down-to-earth and very sassy as a waitress, while Moon Over Her Shoulder gave her “Mr BBC” John Sutton, as a leading man with Dan Dailey also top cast. The Perfect Snob provided her with two other leading men she really enjoyed working with, Cornel Wilde and Anthony Quinn, but again she felt the cameraman let her down on this one.

With a particularly lovely close-ups while lip syncing “I Know Why” in Sun Valley Serenade she began to be noticed by mainstream moviegoers. The songs for Sun Valley Serenade were pre-recorded as Lynn’s vocals were sung by Pat Friday. “Glenn Miller preferred my singing when I had to lip sync for the camera. He said I sounded more like a band singer. I also filmed another song, “At Last,” but it wasn’t used here. I did it again in a later film with Ray Eberle and he was very complimentary about my own voice. That was Orchestra Wives, another Glenn Miller musical.”

Lynn’s marriage to Walter Kane wasn’t going well, and there were unsubstantiated rumors of a romance between her and John Payne. Kane’s handling of her finances led her to say, “He kept negotiating for salary raises, but I would have done better if he had just butted out.”

Sid Luft was once secretary to Eleanor Powell and he and Lynn met at the home of actor and radio announcer Bill Goodwin. Working as a test pilot for Douglas Aircraft, Luft fell for Lynn and eventually he took over management of her career, and her heart. They married on November, 26, 1943.

Named a Star of Tomorrow in 1942, she got her big break in The Magnificent Dope, with star billing, between Henry Fonda and Don Ameche. This casting chance came despite the fact that she was not a favorite of Zanuck. Garnering excellent reviews, especially from England, a new contract was awarded her plus her salary was increased significantly. A letter sent to Zanuck and Fox executives, asking why she’d been buried in B pictures for so long, also amusingly referred to them as the “not so Magnificent Dopes for doing so, and not giving the girl star parts.”

A couple of programmers, Night Before the Divorce and Secret Agent of Japan, plus a loan out to RKO for The Falcon Takes Over, loosely based on Raymond Chandler’s “Farewell My Lovely,” were other 1942 releases. In the Falcon film she was again a sprightly reporter, playing opposite George Sanders as the clever sleuth, Gay Lawrence.

It was back to the A list for Orchestra Wives, though Lynn’s role as a sultry, glamorous band singer was again in that same old rut of “the other woman” where she was so often placed. George Montgomery was the male lead and he was the star of China Girl, her next film. Under Henry Hathaway’s direction in China Girl, she delivered a top performance, one that critics embraced, which overshadowed Gene Tierney’s emoting in the title role. Her on-screen billing was raised to third above the title, but most publicity items kept her beneath it. Lynn said, “Darryl Zanuck liked all those exotic or continental actresses and later stage-trained performers. He never took any notice of me at all, even when my fan mail surpassed his many protegees, or my critiques were better than those of his preferred leading ladies.”

When George Montgomery entered the military in World War II, Lynn bought his home. Following Lynn’s marriage to Sid Luft, the couple moved into the home.

Hello Frisco Hello (1943) gave Lynn fourth star billing over the title. The publicity machine really got behind her with this one and she was featured in all the promotions of the film. Alice Faye and she were friends of old, and together they did a Stocking Drive news feature at Fox. Lynn’s role as the ultimate Nob Hill snob was not an audience pleaser, but she played it well and received good notices, with her superb diction again being singled out.

Benedict Bogeaus then requested her for The Bridge of San Luis Rey which featured Francis Lederer playing dual roles. Lynn told me she hated the whole experience of making this film mainly because of the direction which she compared to the melodramatics of a bad silent movie. Also, she described her singing experience in the movie as “a nightmare.” Persuaded to sing herself in this one, she rehearsed two songs. One, at a keyboard, she mastered well in rehearsals, the other was acceptable, too. Come the day to record the song with a huge orchestra, she froze with nerves. A soprano, who sounded nothing like Lynn, was called upon to dub the vocal. The film itself proved to be an overlong, talky affair with many dull patches and was neither a critical nor a box office success.

During the war, she toured with the U.S.O., and having gained confidence, sang live for hundreds of appreciative servicemen. The newly titled “Perpetual Pin-Up Girl” decorated many military barracks around the world. Selling war bonds also proved to be successful when she and Ronald Colman did a 21-day bond tour with record-setting sales. The Hollywood Victory Committee was another organization that used Lynn’s growing popularity with the public. With actor Ray Mayer and actress June Lang, she embarked on a 7,500-mile tour of military hospitals in 1944. Fox however were not living up to their promises of better roles and better billing.

Two of her best friends at that time were Claire Trevor and Jean Arthur. Claire was always a promoter of Lynn’s talent, and Jean Arthur thought her brilliant in The Magnificent Dope, and praised her work in The Bridge of San Luis Rey, saying Lynn would have been the perfect choice for The Song of Bernadette.

“Otto Preminger suggested me for Laura,” said Lynn, “which I almost got, until the powers upstairs said otherwise.” Another missed role was the lead in an all-star movie Bon Voyage. It had started production, but the agonizingly slow direction of Lee Strasberg put the production behind schedule, causing Zanuck to pull the plug after seven days. What she did get was Tampico with Edward G Robinson who was solo billed above the title in all the publicity material. He was a little perturbed about her 5-ft., 7-in. height, but they were otherwise compatible working together. She played this one softly feminine and slightly enigmatic, proving she could play an ingenue, as well as the other woman.

Sweet and Low Down, her final 1944 release, gave Lynn top billing over Linda Darnell in all the publicity material and sheet music. Linda got the top spot on screen. Once again Lynn proved she was a good lip syncer as she performed several songs with aplomb. “I’m Making Believe” was a hit parade winner and with “10 Days with Baby” Lynn was delightfully swinging in the best Andrews Sisters style.

There was only one 1945 release and that was the stirring Captain Eddie with Fred MacMurray as Captain Eddie Rickenbacker, America’s top flying ace of World War One who also served in WWII. Lynn played his sweetheart and later wife, in this moving tribute to American air heroes. Though not the fattest of roles, she managed to give it all her personal warmth and charm.

Lynn had a very painful and traumatic year ahead. Becoming pregnant, and being advised to rest, she did so. Sadly, her only daughter, born August 15, 1945, died soon afterwards. This tragedy would remain with her always, and she still grieved many, many years later.

Nocturne (1946) was a loan out to RKO where she got the star treatment being beautifully photographed and dressed. George Raft co-starred and this fine work of film noir holds up today. Shock (1946) with Vincent Price was minor fare, often being shown as a second feature. As Price’s lethal nurse, she is strangled by him at the end of the movie. Anabel Shaw who had her first lead in a film said of Lynn, “She was beautiful, easy to work with, and completely free of jealousy.” They would be cast together again in Home Sweet Homicide (TCF, 1946) a film Lynn really enjoyed making. Portraying a mystery writer, and the widowed mother of three children, she was relaxed and natural. Randolph Scott, her romantic interest who was usually reserved with his leading ladies, became quite eager in his love scenes with her.

Asking Lynn why she accepted such a small role in Margie (TCF, 1946) she replied, “The role was not cut. I did it as a favor to Henry King who directed it. He’d always championed my work and especially asked me to be the librarian in it.”

There were problems with her marriage to Sid Luft, and his management of her career proved to be troubled. Instead of renegotiating when renewal of her contract came up, he influenced her not to re-sign. Light Up The Sky (1949) marked her first appearance in a stage play, and she also starred in Goodbye My Fancy in the early 1950s with good press. Reconciled with Luft she signed a three-picture deal with the soon to be defunct Eagle-Lion. The first, with James Craig, was The Man From Texas (1948) in which she replaced Carole Landis, and she then made The Spiritualist, also known as The Amazing Mr X. In this film Lynn never looked more beautiful, playing a supposed widow being driven mad by Donald Curtis. She and Curtis later journeyed to New York City for a live TV series, Detective’s Wife (1950). Lynn described this series as an example of “hands held in prayer throughout the shoot. It was live, and everything could, and did, go wrong.”

Idle after Eagle-Lion went bankrupt, she rested until the birth of her son John Michael on September 18, 1948. Lynn made her TV debut in Pantomime Quiz in 1949, but her only 1949 film release was Republic’s The Kid From Cleveland with George Brent. Cast as Brent’s loyal wife, she was warmly sympathetic in a sidelines role. Director Henry King again requested her services, and in a return to Fox she made I’d Climb the Highest Mountain (1951). Looking very elegant and svelte she perfectly captured the character of a wealthy, lonely woman who has a yen for the handsome parson of her church, William Lundigan.

Having divorced Sid Luft on December 26, 1950, Lynn, with both herself and a son to support, began to freelance in films, and do more stage work and television spots. On the Loose (RKO, 1951) had her cast as the self-centered mother of rebellious daughter Joan Evans. Melvyn Douglas played the father, and he thought Lynn a superb actress, suggesting they do a Broadway play together. She wanted this very much, but because California custody laws forbade her to take her son out of state, she was forced to decline. That year Lynn also made Sunny Side of the Street at Columbia and looked a treat in Cinecolor. Terry Moore and she were roommates in this Frankie Laine musical and her witty one liners were delivered with great panache.

Continuing with lighter roles she was excellent as the mother in Has Anybody Seen My Gal (Universal, 1952). Charles Coburn starred in this one and Rock Hudson had a prominent role. In this totally delightful film, Lynn, as directed by Douglas Sirk, really ran the gamut. With the discovery of being left a million dollars she jumps, shouts for joy, and is hilarious. A lesser part as a mother in I Dream of Jeannie at Republic (1952) really only used her beauty as a showcase.

Another TV series, Boss Lady (1952), starred her with Glenn Langan. In 1951 she already had guested on Bigelow - Agent from Scotland Yard; Video - Weather for Today; and Pulitzer - Big Break. Her 1952 TV work also included Schafer - The Other Woman; while in 1953 there was Ford - All’s Fair in Love and War; and in 1954 there was Four Star - Stake My Life; and Lux - A Visit from Evelyn.

Universal then brought her back to movie making with two comedies: Francis Joins the WACS (1954), and Abbott and Costello Meet the Keystone Kops (1955). In the former she did reasonably straight duty as an army Major, but she was very funny as a silent movie actress in the second.

Psychiatrist Nathan Rickles became her third husband in 1955, and she later worked as his receptionist. That year provided her with a lot of TV exposure including Science Fiction - Hour of Nightmare; City Detective - Beautiful Miss X; and Death Valley Days. She also got a lot of publicity for her appearance on Screen Director’s - Arroyo, with Jack Carson and Lola Albright. In 1956 Lynn returned to Fox to play the matriarch and narrator of The Women of Pitcairn Island. James Craig was the main heavy, and John Smith played her son. Despite some uncontrolled violence in the direction, she managed to rise above the B grade material and give it some much needed strength and class.

Some of her TV credits that year were Studio 57 - Tombstone for Daro; Climax - An Episode of Sparrows; and Lux - Old Acquaintance. Damn Citizen (Univ., 1958) had her play a gangster’s mistress who received a severe beating which was heavily censored. A return to the stage with Clearing in the Woods (1959) led to her musical debut in Plain and Fancy (1958) which won her plaudits, and she also headlined Anniversary Waltz, and The World of Robert Burns.

As to TV there was The Red Skelton Show (1958); Matinee - Washington Whispers Murder; Disney - Elfego Baca, Attorney at Law (this Disney two-parter was released as a feature film overseas as Six Gun Law); and in 1959: Bronco - Hero of the Town. Overland Trail - Perilous Passage (1960); Plainsman - Matriarch; and Aquanauts - Adventure, followed.

Her performance on stage in All the Way Home was greatly admired and around this time she filmed The Late Liz for a church organization, which she laughingly recalled as the one time she never received her salary, and had to wear her own clothes on camera.

Throughout the 1960s there was lots of television work: Michael Shayne - The Heiress; Checkmate - Goodbye Griff; New Breed - The Butcher; Ben Casey - A Certain Time, A Certain Darkness (1961); Everglades - Deadfall (1963); Perry Mason - Accosted Accountant (1964); Perry Mason - Fatal Fetish (1965); The Girl From UNCLE (1967); and two episodes of The FBI, one of which was Line of Fire (1968).

Her 1960s stage work included Enter Laughing (1964), Bye Bye Birdie, and Barefoot in the Park (1966). There were two films in this decade. One was Trauma (Parade, 1964). Playing the aunt of a young heiress, she is drowned very early in the proceedings. The second, The Young Runaways (MGM, 1968) found her heavily dramatic as an emasculating wife and sexually repressed mother. Inactive now as an actress the full-time work for her husband kept her close to her son John and her husband’s daughter. Eventually, though, working with so many patients suffering from depression led to her own nervous strain which almost resulted in a breakdown. To save her sanity, she separated from Dr. Rickles, and they divorced on July 26, 1972.

The Gingerbread Lady, not only brought a return to the stage (1972), but critical accolades of the highest order as well. The following year she toured in Follies which toplined another Fox alumna, Vivian Blaine. Lynn’s rendition of “I’m Still Here” was praised and she surprised the critics by singing some of the lower phrases an octave higher. Lynn was forced to quit the tour prior to its conclusion, suffering from severe back pain and a problem in maintaining her balance. A final season of The Gingerbread Lady (1974) took her to Seattle, where once again she wowed the critics with tour de force acting. It was that year in her home on Doheny Drive, that I first met Lynn Bari.

She looked fabulous with her hair pulled back and into a high turban with the classic cheekbones and jaw line being displayed to perfection. Later she moved to Marina del Rey and finally to Santa Barbara. Illness dogged her final years, however, and she was unable to work again. My final visit with Lynn was in 1987 when she was unable to leave her bed. Her son, John, said, “She’d still like to see you,” and lying quite still, but smiling and as gracious as ever, was a still elegant silver-haired Lynn Bari. I enjoyed this long and totally informal visit. She talked about her condition (arthritis) and mentioned some new medication which eventually did enable her to socialize once again and attend functions in Hollywood. I sang “I Know Why” at her request and she said, “That’s a difficult song, and do you know Glenn Miller preferred my ‘live’ singing of it rather than the dubbed voice used in the film? He said I sounded like a band singer.” Of her many publicity titles she laughingly said: “The Woo Woo Girl—I guess the top brass thought I was a lady Hugh Herbert, but the audiences, the public, continue to remember me and what greater accolade can an actress get.”

Lynn died on November 20, 1989 of cardiac arrest in Goleta Community Hospital. Her ashes were scattered at sea.

In person, I found Lynn to be friendly, appreciative and charming. Other faithful fans, lucky enough to meet her, have come away with similar impressions. Over the years, our memories of her remain undimmed. She was a smart and classy person, and this showed on the screen. Her eyes had a very knowing look that told you immediately that she was not a lady to be trifled with. Despite all the pin-up girl publicity, her style and charm have prevailed, and we still love to watch this unique actress perform.

Editor’s Note: This was one of the last stories written by Colin Briggs before his untimely death. Special thanks to Gordon Hunter and Jeff Gordon in the preparation of this manuscript.