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The Girl
Who Left
Nothing
to Chance
V
$ Mm
'7 Wit'y
Yvette Mimieux may seem shy and demure but she's
really fiercely determined to reach the Hollywood heights
By PEER I. OPPENHEIMER
LANA TURNER was discovered sitting at a
J counter in Schwab's Drugstore.
Kim Novak was seen by an agent while she was bi
cycling through Beverly Hills.
But the most unusual movie discovery of all took place
three years ago in the Hollywood Hills. A slim, blonde,
blue-eyed, 16-year-old girl was galloping her horse along
a bridle path when a press agent's helicopter developed
engine trouble and made a forced landing right in her
path! Publicist Jim Byron took one look at beautiful
Yvette Mimieux, handed her his card, and announced, "If
you want to get into the movies, call me."
Yvette didn't wait around for another wild coincidence
to boost her toward stardom she isn't that kind of girl.
Despite her aura of shy demureness, she is a strong
willed person who leaves nothing to chance.
Before Yvette had met Jim Byron on the bridle path,
she had begun to build up a solid reputation as one of the
West Coast's most promising young photographer's mod
els. She had turned to modeling rather than to acting be
cause her father, Rene Mimieux, did not want her in show
business. As a young immigrant from France, he had
played bit parts in a number of Hollywood movies, in
cluding Cecil B. DeMille's silent epic, "King of Kings."
But he decided against a film career and took a job with
an electronics firm instead.
Yvctte's mother, Mexican-born Carmen Montemayor,
didn't have strong feelings about a film career for her
daughter. She just wanted her to be happy.
So yvette did not meet a solid wall of parental opposi
tion when she decided after careful consideration
that Jim Byron's card was the key to the career she really
wanted. And as soon as she had made her decision Yvette
set out like a house afire to become an actress.
"I knew there was a lot of work to be done and the
sooner I got started the better prepared I'd be when my
chance came," Yvette told me when I visited her recently
on the island of Kauai, where she was on location for her
latest movie, "Diamond Head."
1 4 Family Weekly. May 27, 196?
Yvette heard about a young director from New York
who was attempting to form an acting group. But it was
Yvette who found an abandoned store that could be rented
for $25 a month, and it was she who scrubbed the floors
and painted the walls to get the little theater in shape
for use as a showcase. The troupe soon developed into a
thriving drama workshop that presented a continuing
series of plays and Yvette appeared in most of them.
But Yvette realized she needed a well-rounded edu
cation to get ahead. Typically, she refused to settle for
anything short of the very best. She earned a scholar
ship to Nico Charisse's ballet classes, studied modern
rhythm with Roland DuPree, and talked the highly selec
tive Maestro Cepparo into teaching her operatic singing.
With determination like that behind it, Yvette's film
career couldn't help but skyrocket. "The Light in the
Piazza" established her as Hollywood's hottest young
star. And "Diamond Head," which has the same director,
Guy Green, should do even more to boost her career.
Yvette's experience with directors has not always been
happy. She did not get along with Vincent Minnelli,
who directed her in "The Four Horsemen of the Apoca
lypse." She feels his impatience and shouting resulted in
her giving a bad performance.
But she has a sure defense against such badgering. If
there is a difference of opinion, she will never argue. In
stead, a blank look comes over her face as she disappears
into a world of her own. And she remains there until she
has won her point!
Yvette's talent for keeping silent extends to her rela
tions with the press. She was married in December, 1959,
to Evan Harlan Engber, a UCLA psychology major but
she has never admitted it.
Why? Partly because her publicist wants to surround
her with an air of mystery. But the reasons go deeper. As
Yvette said: "The less I give of myself to the public, the
less I can be hurt."
As a result, only her family and close friends know
where and how she lives. The only way to contact her is
through her parents or her manager.
But studio executives don't mind the inconvenience.
Why should they as long as Yvette continues to capti
vate a larger and larger audience of movie-goers?