Hollywood Madonna (48 page)

90
“expecting little, if any, opposition”
: A. Scott Berg,
Goldwyn: A Biography
(New York: Random House/Ballantine, 1989), 215.

94
“exhaustive tests”
:
Los Angeles Times
, 1 October 1936, 10.

94
“sunny face,” “joyous voice,” “blessed child”
: Helen Hunt Jackson,
Ramona: A Story
(New York: Roberts Brothers, 1886), 45.

95
“but the most beautiful”
: ibid., 499.

98
“He pared down the budget”
: Memo from Zanuck to Ed Ebele (Production Dept.), 14 January 1937,
Café Metropole
, Twentieth Century-Fox Collection, USC, Cinema–Television Library.

99
“Eliminate all references”
: “Conference with Mr. Zanuck on Revised Final Script of 3/10/37, 15 March 1937,”
Love under Fire
, Twentieth Century-Fox Collection, USC, Cinema–Television Library. The film’s production history can also be found in this file.

Chapter 12. Addio, Darryl

103
“adapted from James M. Cain’s”
: James M. Cain,
Three of a Kind
(New York: Knopf, 1944), 3–118.

104
“To coincide with the remake”
: James M. Cain,
Everybody Does It
(New York: Signet, 1949).

105
“I just didn’t like”
: Peter Bogdanovich,
John Ford
(Berkeley: University of California Press, 1968), 69.

107
“Once she learned”
: Fred Lawrence Guiles,
Tyrone Power: The Last Idol
(New York: Doubleday, 1979), 13.

107
“In other words”
: ibid., 15.

107
“his salary was raised “
: Hector Arce,
The Secret Life of Tyrone Power
(New York: Morrow, 1979), 136.

107
“At Power’s funeral”
: Guiles,
Tyrone Power
, 312.

111
“Darryl, I won’t”
: “Loretta Young, ‘I’m Still a Ham,’”
TV Guide
, 19 October 1957, 10.

Chapter 13. The Price of Freedom

113
“Loretta insisted”
: Lewis,
Uncommon Knowledge
, 116.

114
“semi-independent producer”
: Matthew Bernstein,
Walter Wanger, Hollywood Independent
(Berkeley: University of California Press, 1994), 96.

115
“complete control of all production matters”
: Tino Balio,
United Artists: The Company Built by the Stars
(Madison: University of Wisconsin Press, 1976), 140.

115
“wounding, but not killing, him”
: Bernstein,
Walter Wanger
, 275.

116
“drew the line at $50,000”
: Lewis,
Uncommon Knowledge
, 116.

116
“gleaming white office”
: Bernard F. Dick,
The Merchant Prince of Poverty Row: Harry Cohn of Columbia Pictures
(Lexington: University Press of Kentucky, 1993), 72.

118
“time and feeding”
: Charles Dickens,
The Pickwick Papers
(New York: Washington Square Press, 1960), 3.

123
“revenge on Loretta”
: Bob Thomas,
King Cohn: The Life and Times of Harry Cohn
(New York: Bantam/Putnam’s, 1968), 249–50.

123
“came in under budget”
:
Daily Committee Meeting Reports
,
The Lady from Cheyenne
production file, Universal Collection, USC, Cinema–Television Library.

Chapter 14. Loretta Goes to War

127
“luxury of starting”
: Paramount Collection,
China
production file, box 21, folder 3, Paramount Collection, Margaret Herrick Library.

128
“military escort”
:
Los Angeles Times
, 4 August 1943, 10.

128
“greeted on her return”
:
Los Angeles Times
, 23 February 1943, A3.

128
“$2,500 a week”
: Thomas Schatz,
The Genius of the System: Hollywood Filmmaking in the Studio Era
(New York: Pantheon, 1988), 350.

128
“he convinced Universal”
: ibid.

129
“the film became
Ladies Courageous
”
: Bernstein,
Walter Wanger
, 185–86.

Chapter 15. “Age cannot wither” (but Hollywood Can)

133
“agonizing experience”
: William Luhr,
Raymond Chandler on Film
(New York: Ungar, 1982), 32.

135
“Goetz turned to Leo Spitz”
: Bernard F. Dick,
City of Dreams: The Making and Remaking of Universal Pictures
(Lexington: University Press of Kentucky, 1997), 136.

135
“brokered a merger”
: ibid., 138.

136
“adopted the alias”
: Bernard F. Dick,
Engulfed: The Death of Paramount Pictures and the Birth of Corporate Hollywood
(Lexington: University Press of Kentucky, 2001), 114.

136
“He operated”
: Andrew Sinclair,
Spiegel: The Man behind the Pictures
(Boston: Little, Brown, 1987), 37.

137
“When Welles wanted the script changed”
: Charles Higham,
The Films of Orson Welles
(Berkeley: University of California Press, 1970), 100.

137
“a joyless experience”
: Sinclair,
Spiegel
, 43–44.

138
“recalled the way”
: James Naremore,
The Magic World of Orson Welles
, rev. ed. (Dallas: Southern Methodist University Press, 1989), 123.

138
“despite occasional bouts of illness,” “having to work”
: International Pictures Collection,
The Stranger
,
Daily Production Reports
, USC, Cinema–Television Library.

Chapter 16. Thrice Blessed: A Reunion, a Replacement, and an Oscar

139
“Wallis immediately rose from his seat”
: Bernard F. Dick,
Hal Wallis, Producer to the Stars
(Lexington: University Press of Kentucky, 2004), 73.

140
“star,” “friend”
: Hal Wallis and Charles Higham,
Starmaker: The Autobiography of Hal Wallis
(New York: Macmillan, 1980), 20.

141
“contracts imply”
:
The Perfect Marriage
production file, Box 79, #205, Hal Wallis Collection, Margaret Herrick Library.

143
“according to Douglas Dick”
: personal interview, 11 July 2001.

143
“She now insisted”
: phone conversation with Douglas Dick, 20 May 2008.

143
“arbitrary stand,” “legal steps”
: letter from Wallis to Loretta, 10 June 1948,
The Accused
, Box 221 (x–y correspondence), Hal Wallis Collection, Margaret Herrick Library.

144
“When you were”
: phone conversation with Donald Spoto, 11 May 2008.

146
“Selznick came upon an obscure play”
: Dore Schary,
Heyday: An Autobiography
(Boston: Little, Brown, 1970), 140–46.

146
“sold the rights to RKO”
: Rudy Behlmer, ed.,
Memo from David O. Selznick
(New York: Avon, 1973), 427.

146
“I honestly feel”
: Schary,
Heyday
, 144; “plunged into the role”: ibid., 145.

148
“Her knowledge”
: Joseph Cotten,
Vanity Will Get You Somewhere
(San Francisco: Mercury House, 1987), 85.

148
“it opened at the Golden”
: Bernard F. Dick,
Forever Mame: The Life of Rosalind Russell
(Jackson: University Press of Mississippi, 2006), 109.

149
“When Fredric March opened the envelope”
: Mason Willey and Damien Bona,
Inside Oscar: The Unofficial History of the Academy Awards
, ed. Gail McColl (New York: Ballantine, 1987), 179.

151
“he screened a number of films”
: Bernard F. Dick,
Claudette Colbert: She Walked in Beauty
(Jackson: University Press of Mississippi, 2008), 15.

151
“which reaped profits”
: Richard B. Jewell, with Vernon Harbin,
The RKO Story
(New York: Arlington House, 1982), 228, 231.

151
“Fast served three months”
: Victor Navasky,
Naming Names
(New York: Viking, 1980), 36.

151
“if the hearings had not been”
: Larry Ceplair and Steven Englund,
The Inquisition in Hollywood: Politics in the Film Community 1930–1960
(Garden City, NY: Anchor/Doubleday, 1980), 283.

153
“How much does Miss Young charge”
: Lloyd Robson,
Oh Dad! A Search for Robert Mitchum
(Cardigan, Wales: Parthian, 2008), 170.

Chapter 17. The Return to Fox—and Zanuck

156
“a great Catholic,” “a great script”
: Memo from Zanuck to producer Sam Engel, 6 July 1948, folder 1,
Come to the Stable
production file, Twentieth Century-Fox Collection, USC, Cinema–Television Library. Further details about the film’s production history derive from this source.

156
“a comedy about faith”
: Memo to Engel, 1 March 1948, ibid.

157
“an American raised”
: “A Brief by Oscar Millard, 1/7/48,” ibid.

160
“Despite some unfavorable press”
: Annette Bosco,
Mother Benedict: Foundress of the Abbey of Regina Laudis
(San Francisco: Ignatius Press, 2007), 332.

160
“unreal,” “contrived,” “crude”
: Michael Abel to Zanuck, 8 May 1950, #2444-1a,
Half an
[
sic
]
Angel
production file, Twentieth Century-Fox Collection, USC, Cinema–Television Library.

160
“totally unacceptable,” “without dignity,” “breasts,” “the unconscious”
: Letter from Joseph Breen to Jason S. Joy, 12 April 1950.

161
“on 23 April 1951”
: Eric Bentley,
Thirty Years of Treason
(New York: Viking, 1971), 382.

162
“My only worry”
: “Transcript of a 2 May 1950 Conference with Mr. Zanuck on Temporary Script, “ #2444-2,
Half an Angel
(
Half Angel
) production file, Twentieth Century-Fox Collection, USC, Cinema–Television Library.

Chapter 18. Slow Fade to Small Screen

163
“although he includes it in his filmography”
: Dore Schary,
Heyday: An Autobiography
(Boston: Little, Brown, 1979), 373.

165
“it was not Loretta”
: folder 96, Y/Z, Sidney Skolsky Collection, Margaret Herrick Library.

167
“a low-budget production, “time clause”
:
Because of You
(“Magic Lady”) production file, #1708, Universal Collection, USC, Cinema–Television Library.

168
“filmed over twenty-five days”
:
Daily Production Reports
,
It Happens Every Thursday
production file, #1726, Universal Collection, USC, Cinema–Television Library.

Chapter 19. Radio Days

171
“which aired on CBS”
: Connie Billips and Arthur Pierce,
Lux Presents Hollywood: A Show-by-Show History of Lux Radio Theatre and Lux Video Theatre, 1934–1957
(Jefferson, NC: McFarland, 1969).

171
“there was a read-through”
: John Dunning,
On the Air: The Encyclopedia of Old-Time Radio
(New York: Oxford University Press, 1998), 378.

174
“charity children”
: Charlotte Brontë,
Jane Eyre
(New York: Random House, 1950), 51.

174
“Reader, I married him”
: ibid., 489.

177
“was broadcast to members of the military”
: Dunning,
On the Air
, 238.

178
“Bolingbroke (to Gracie)”
: Irving Sette,
A Pictorial History of Radio
(New York: Grosset & Dunlap, 1967), 81.

179
“LORETTA
: George always looked”: Script #525,
The George Burns and Gracie Allen Collection
, USC, Cinema–Television Library.

180
“a friend,” “do as you truthfully,” “beautiful fruition”
: Loretta Young, folder 502, Gladys Hall Collection, Margaret Herrick Library.

180
“the bleak western part”
: Father Patrick Peyton,
All for Her: The Autobiography of Father Patrick Peyton, C.S.
(Garden City, NY: Doubleday, 1967), 11.