Philadelphia Daily News du lieu suivant : Philadelphia, Pennsylvania • Page 47

PHILADELPHIA DAILY NEWS'; Wednesday. 30. 1986 "Ml i Tip who'd gotten some class." Doris Day says when people asked her if it was true that Rock was gay, she said, "I really dont know. He seems very straight to me. He doesnt seem any different than James Gar-r i As a team, Tony says, the three worked wonderfully together.

"Act- ing is fun when everyone works hard and is good it's such a joy! Rock was a hard worker, and I like that. Rock did not have acting genius, as Dons did on occasion. Rock's great strength was his romantic quality. He could play romantic parts because he really believed in romance. He really believed in love.

He had romantic notions." In the summer of 1959, Rock moved from Malibu to Newport Beach and bought a sailboat, a Newporter, from actress Claire Trevor and her hus- band, Milton Bren. He spent a great rdeal of time with Claire and Milton, who became a surrogate father and taught him to sail. These were halcyon days for Rock. :7 He was the No. 1 star in the world, he had just embarked on a new phase of single It's a waste." Jt would take r.

-special person with a strong ego to be a match for Rock, and in 1959, Rock had not found that person. Rock's housekeeper, Joy, says there was never a woman staying over at the house, with the exception of ao; tress Marilyn Maxwell. Rock and Marilyn had met in the early '50s and had been instantly attracted to each other, but they did not become ro-mantically involved until 1961. People who saw them together said they laughed and played "like little kids." Rock had an aversion to Jell-O, and Marilyn would chase him through the house with a bowl of green Jell-O. She'd get him on the floor and tickle him, and they'd wrestle like bear cubs, laughing until tears weib streaming down their cheeks.

Rock became close to Marilyn's son, Matthew, and for his sixth birthday, gave him a party with a real merry-go-round and clowns on the lawn. In 1963, Marilyn had an ovarian cyst that burst and she came close to dying. She went to iler brother's house in New York to recuperate, but she felt awk- 'ward there, and Rock flew to New York and brought her back to his house, where he cared for her until she was better. Marilyn said, "He left (the filming of I a picture to bring me home with my son. He really, literally, saved my life.

He is without question the best friend I've ever had." Christmas. Rock! called Jean Greenberg, who was Marilyn's secretary for 26 years, and asked for all of Marilyn's clothing sizes. Rock ordered a mannequin made up to look like her and dressed it up from head to toe with presents: a white knit suit, a hat, gloves, stockings and shoes, a purse with money in it, jewelry, even underwear. On Christmas Eve, he left clues and notes around the house and Marilyn had to hunt until she found the image of herself fully outfitted. Jean Greenberg says, "I know for a fact they Were having an affair.

Mari-' lyn confided everything in me, and she talked about it in detail. She was in love with him. She said he always told her he loved her but he wasn't In love with her." When Rock was making "The Spiral Road," he called Marilyn from Surinam and she told him how much she was missing him. "Why dont we get married?" "Sure, I'll marry you," Rock said. "But you have to let me have my other life too.

If you can put up with that. Marilyn brooded about it for months. At times, she thought it could work and they would be happy. She and Rock talked about having a child and building a nursery over the garage. But on reflection, she knew it would make her miserable if Rock was also seeing men.

She told him she was jealous and couldn't handle the But they continued to be lovers, on and off, and devoted friends. Tomorrow: Rock at Play Excerpted from tt book "Roc Hudxxv HO by Rock Hudson and Sara Davidson. Copyright 19M toy Rock Hudson AIOS Research Foundation. Reprinted tw permission of William Morrow 4 Co Inc. ROCK Continued from Page 39 in the air, your head hits the ceiling, -when you get good material like Rock and Doris found that they could make each other laugh off camera.

"We had our own funny bits, our own craziness," Doris says. In this atmosphere of clowning and giggling. Rock was working hard and learning a great deal. He studied Doris, "her sense of timing, her instincts. I just kept my eyes open and copied her," Rock said.

''Doris was an Actors Studio all by herself. When she cried, she cried funny, which is something I couldnt try to explain; and when she laughed, her laughter came boiling up from her kneecaps." From the opening credits of ''Pillow Talk," the audience gets a sense of the freshness and sauciness of the piece. Delbert Mann, who directed' Rock and Doris in their next film, "Lover Come Back," says they were- keenly aware of the social conventions they were playing with. "The films were not intended as morality tales, but to poke at social mores," Mann says. "The assault on Doris's fiercely guarded virginity was -where the humor came from." The film hit a social nerve.

No two stars were more suited to play the contenders in the American sexual battle than Roclr Hudson and Doris Day- Sparks flew'- you could feel the charge between them. She was so blond, he was so dark, and both were such clean, wholesome products, of the heartland. Time magazine, which was famous then for its comi cally bitchy reviews, said they looked like two shiny-. Cadillacs "parked in a suggestive position." Few teams in movie history have so captured the imagination of the public Rock and Doris had a special chemistry on that neither had with anyone else. Rock said, "I dont really know what makes a movie team.

First of all, the two people have to truly like each other, as. Doris and I did, for that shines through. Then; too, both parties have to be strong personalities very important to comedy so that there's a tug-of-war over who's going to put it over on the other, who's going to get the last word, a fencing match between two adroit opponents of the opposite sex who in the end are going to fall into bed together" There was a third member of the team, who served as a foiL Tony Randall. Rock did not become close with Tony as he did with Doris. Tony, says, "He was not a warm man.

He wouldn't tell you much about himself. Off camera, we weren't friends, but that didnt mean anything. At work, on camera, we had glorious rapport." Tony says he had heard Rock was gay, "but I found it difficult to believe. He. always had.

girls aroundJie told me he liked the starlets; who were about because they didnt expect you to marry them and he was certain of getting laid." Tony says that if Rock had come out, "that would have been death to the romantic image. All the women in America were crazy about him. He was the idealized all-American boy. He really looked like a truck driver Princess Stephanie's "irresistible" RECORDS Continued from Page 39 have concocted what they believe to be the ideal radio record, chock full of. pop rock singles in the Wham! Taken one at a time, the tracks have enough surface flash to perk up the ears with "She's Not My Girl? and The Sleeping Dream? jumping out especially: Heard en masse, one -searches in for an inner core.

I could live with simplisr tic lyrics, but their -repetitive song riffs are so plastic it makes me angry. Big Daddy Graham! Act Your Age! (Comedy Spotlight Records) Uh- oh, here comes another dose of com- edy in music from Philly's perennial adolescent This time "round (cause square records are too expensive to press). Big Daddy Graham's perverse humor parodies the- bombastic bull that rock stars shovel and concert audi- ences eat up: and wickedly spoofs country music songs that s-D-e-H out bad news. He twists 1950s style doo-wop songs about teen-age; romance with i a less-than-idyllic scenario, "Her Period's down at the disco with a cocksure but ultimately nerdy "Stud-O-matic," and lets loose his innermost fears in a poignant song about getting an uncool haircut Horrors! And that's just on the first side of the record. Flip the disc to the Side of Bacon, and you, too, can play "Let's Call In shriek out with the scary "Ca- terers from Beyond the Grave and freak out fecally with "Milk of Magnesia" and "I Gotta Go to the Bathroom." The final score: A tasteless one.

Fun, too. Nick Jameson, "a crowd of one" (Motown) -r Nicky hasnt lived in for eons but is fondly recalled, for his forward-looking, blues-rockin' American Dream band as well as for his hit production work for another Jocalite, Tim Moore, and British transplants Foghat. Jameson's solo album is an excel-' lent study in commercial music craft: blue-eyed soul, pop ballads, and country rock boasting instant identity tunes in the John Waite "Losing You" vein, sweetheart Vocals, great grooves and happy percolating pro-duction frills. And the set's almost all the handywork of this facile onO; man band! i Motown has been notoriously unsuccessful in breaking white acts (Teena Marie doesnt count 'cause she passes for black). But so many of these songs sound like perfect scor? ing for "coming of age" movies, that I'm sure somebody like film director Rock really looked like a truck driver who'd some class.

JF Tony Randall his career comedy and he threw himself Into sailing with a passion and zeal for perfection. He liked to sail to Catalina Island, 26 miles off the coast On the way out, no one was allowed to drink, but the minute they dropped anchor, Rock would go to the galley and fix the "perfect marti ni," from a recipe Claire had developed. He called the drink a Claire Trevor, or "CT." It was made with Tanqueray gin, a twist of orange and an eyedropper of vermouth. Rock was seeing numerous men, out he discovered that as a major movie; star, it was increasingly difficult to get laid. People were awestruck, afraid to make the first move.

They assumed that Rock was deluged with partners and wouldn't be interested. It was true that Rock could have his pick of the most beautiful young men in the country, and he used this to full advantage. But when a liaison was arranged, many young men were so. self-conscious they couldnt perform. They may have had fantasies about Rock Hudson, but when they were face to face with the real person, all they could think was "I'm in bed with Rock Hudson!" Rock told a friend, Jon Epstein, "I wish I could go to bed with a bag over my head, because when people go to bed with Rock Hudson, they're so nervous they cant do any- VIDEO TAPE John Hughes, eventually will dis-s-cover Jameson and make him the next Simple Minds or John Paar.

Cinderella, rNight Songs" (Mercury) Heavy metal isn't an art form, it's a teen-age ritual and rite of passage for musicians and listeners -alike. Paoli-based Cinderella dresses the rebellious part in frizzed up hair, tight leather and pouting expres- -Sions, and fulfills the mission with, bone-crunching rock and roll fury, juiced up for records by the legend- ary producerengineer Andy Johns. -Tom Keifer'S banshee-in-heat vocals are world class, but the group's- screaming guitar headbanger songs are mostly retread Aerosmithl I prefer my metal with a bit of humor. la ACDC or Judas Priest, -but then again, those guys don't play "all ages" matinees at the Empire, do they? if Pieces of a Dream, "Joyride" (Musician) Having achieved a fair amount of respect as instrumental jazz musicians working in a main stream (Ramsey Lewis Trio-ish) vein. Mount Airy's Pieces of a Dream are now aiming to grow and win bigger commercial success with funky dance tracks and lotsa vocals by bassist Cedric Napoleon.

Producers Maurice (Earth, Wind and Fire) White and Lenny (no relation) White have done the decent window-dressing, with best results on the popjazz crossover "Save Some Time for Me" and the scratchin' title track. For those who prefer the old Pieces, their instrumental treatment of the Wham! hit "Careless Whisper" and keyboardist James Lloyd's "Sunshine" are sweet and substanial in a mellow groove. Jean Carne, "Closer Than Close (OmniMirage) Black female singers have really -been on a roll this year, and Jean Car ne's latest set, produced mostly by Grover Washington Dexter Wansel and Maurice Starr for the local Omni label, is no excep-tion. Came owns one of the most pliant, expressive voices in soul-land, rivaling those of Patti LaBelle and Anita Baker for shivcrs-up-the-spine dramatic effect. And this time out, she's very well matched to grown-up ballad music and arrangments in the Al-Jarreau crossover style.

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