Tracy, Susie, 269, 493–4
Trailin’ Trouble, 37
Train, Arthur Cheney, 110
Treasure Island, 58, 210–18, 270, 283, 286
Tree, Herbert Beerbohm, 44, 45
Trent, Phillip, 239, 327–8, 347
Triangle Film Corporation, 39–40
Triangle-Fine Arts, 42, 44–5, 50
Trumbo, Christopher, 407–8
Trumbo, Dalton, 405, 407–10, 413, 419–22, 426, 505
Tumulty, Joe, 73
Turner, Lana, 362, 363–4, 370, 372–3
Tuttle, Frank, 135
Tuttle, William, 228, 293
Twain, Mark, 230, 470
Twentieth Century, 9–10
Twentieth Century-Fox, 87, 405
20th Century Limited, 178, 461
Two-Faced Woman, 320
2001: A Space Odyssey, 79
Ulman, Hezekiah Charles, 41
Unbearable Lightness of Being, The, 365
Under Capricorn, 474
Underworld, 193
Unholy Garden, The, 178
United Artists, 43, 73, 75–6
Universal, 36, 37, 91, 95, 193, 194
Up the River, 237
U.S.A. (Dos Passos), 67
Valentine, Joe, 495
Valentino, Rudolph, 186
Valli, Virginia, 95, 105
Van Dyke, W. S. “Woody,” 180, 234, 272, 275, 414
Van Every, Dale, 240
Variety, 42, 95, 102, 105, 128, 140–1, 161, 176, 195–6, 199, 228, 240, 450, 501
Variety (film), 134
Vaudeville, 81, 91, 167, 200, 288, 295–6, 308
Veiller, Anthony, 437
Velez, Lupe, 7, 129, 143, 146–8, 154–5
Verne, Jules, 171, 394
Verrill, Virginia, 221
Vidor, King, 5, 64, 163, 216, 219, 287, 310–11, 314, 358, 360, 361, 394, 404, 423–4, 430–1, 434–5, 437, 443, 503
Vigo, Jean, 227
Villa, Pancho, 168
Virginian, The (film; 1929), 3, 6, 8, 9, 96, 110, 113, 129, 146–58, 159, 286, 288, 314, 358, 500
Virginian, The (film; 1946), 403
Virginian, The (TV series), 150
Virginian, The (Wister), 148–9, 150
Vitagraph studios, 167–8
Vogel, Robert, 434–5
von Sternberg, Josef, 59, 131, 134, 193, 274, 280, 485
von Stroheim, Erich, 40
Voorhis, Jerry, 433
Vorkapich, Slavko, 480–1, 482
Wake Island, 402
Wald, Jerry, 453
Walker, Ab, 220
Wallis, Hal, 258
Walshe, Pat, 307
Waltzes from Vienna, 278
Wanamaker, Sam, 449–50
Wanger, Walter, 71, 224, 432, 446, 452, 455–7, 462, 472, 488, 490–1, 493, 496
Warde, Frederick, 41
War Department, U.S., 56, 64–5, 120, 258, 409–11, 416, 421
Warner, Jack, 434
Warner Bros., 75, 181, 241, 270, 285, 319, 331, 354, 403, 417
Warren, Robert Penn, 490
Warshow, Robert, 152
Washington, George, 13
Wasserman, Lew, 443, 454, 494–5
Waters, John, 293
Waxman, Franz, 366, 368–9
Way Down East, 102
Wayne, Gus, 303
Wayne, John, 30, 105, 178, 258, 271, 330, 403, 428, 498–9
Way of All Flesh, The (1927), 130–1, 132–5, 139, 141, 161, 502
Wead, Frank “Spig,” 258
Webb, Norman, 318
Webb, Watson, 257, 491–2
Webber, Robert, 353
Weber, Lois, 90
Weddle, David, 381
Weissmuller, Johnny, 9
Welles, Orson, 77, 285
Wellesley College, 380
Wellman, Dorothy “Dottie,” 389, 393
Wellman, William “Wild Bill,” 8, 119, 121, 125, 127, 159, 161, 181, 244, 258, 268, 319, 388–9, 403
Wenchell, Evelyn Niedermeyer, 388
Weshler, Winnie, 360, 386–7, 473, 496, 498
West, Nathanael, 95
Westmore, George, 133
Wet Parade, The, 176–7, 178, 180, 257
What Makes Sammy Run? (Schulberg), 5
What’s Up, Tiger Lily?, 171–2
When the Clouds Roll By, 4, 48, 77–85, 205, 283
White, Alice, 131, 132, 135, 137–9, 193
White Cliffs of Dover, The, 416
White Sister, The (1923), 142, 199
White Sister, The (1933), 180, 197–9, 223, 241
Whitfield, Eileen, 302
Whittier, N. Paul, 207
Who Put the Rainbow in “The Wizard of Oz”? (Meyerson and Harburg), 292
Wilcox, Norris, 41
Wild and Woolly, 11, 54, 58, 83
Wilder, Thornton, 447
Wild One, The, 388, 389
Wild Party, The (March), 111
Williams, John, 368–9
Williams, Tennessee, 350
Wilson, Adah, 192
Wilson, Edith Bolling Galt, 68, 69
Wilson, Edmund, 135
Wilson, Harry, 379
Wilson, Lois, 95–6, 97, 98, 491
Wilson, Tom, 90
Wilson, Woodrow, 90, 503; “Fourteen Points” of, 66, 72; VF as personal cameraman of, 4, 54, 65–74, 224, 440
Winchell, Walter, 208, 456
Windsor, Danny, 307
Wings, 119–20, 121, 124, 125, 126–7, 128, 140, 146, 155, 268
Wings of Eagles, The, 258
Wings Up, 404
Winning of Barbara Worth, The, 146
Winters, Ralph, 248
Wister, Owen, 96, 148–9
With a Feather on My Nose (Burke), 303
Withers, Jane, 224, 229, 291
Witzel, Albert, 31
Wizard of Oz, The (1925), 289
Wizard of Oz, The (1939), 11, 51, 98, 163, 172, 228, 243, 282–316; cast of, 167, 224, 265, 280, 282–3, 286, 287, 291, 294–300; little people “Munchkins” in, 302, 303–6, 307–9; musical score of, 285, 287–9, 290, 291–2, 296, 308–12; use of Technicolor with, 288–9, 294, 314, 326; TV showings of, 283, 312–13; VF’s direction of, 3, 5, 8, 9, 151, 282–4, 286–90, 293–303, 307–15, 333, 338, 503, 506
Wolfson, P. J., 220
Wolf Song, 129, 145–8, 159
Woman of Paris, A, 102
Woman’s Face, A, 361
Woman’s Place, 89
Wonderful Wizard of Oz, The (Baum), 283, 284, 285, 290, 303–4, 313–14
Wong, Anna May, 234
Wood, Jean, 430
Wood, Sam, 326, 340–1, 345, 348, 349, 350, 354, 361, 374, 429–30, 502, 505
Woods, Frank, 44
Woolf, Edgar Allan, 288
World War I, 48, 93, 119, 258; armistice signed in, 65; VF’s service in, 4, 11, 22, 26, 54–74
World War II, 178, 237, 267, 280–1, 307, 349, 360, 409, 429; D day in, 406, 447; Japanese attack on Pearl Harbor in, 401, 402, 406; Pacific theater in, 406
Worsley, Wally, 293–4, 378, 380
Wright, Harold Bell, 105
Wright, William, 410
Wright brothers, 56
Wuthering Heights, 354
Wyeth, N. C., 213
Wyman, Charles, 56
Wyman, Richard V., 56
Wyler, William, 274, 354, 402, 404, 443, 453, 487
Wynn, Keenan, 388, 390, 391, 415
Yankee Doodle Dandy, 60
Yeager, Chuck, 262
Yearling, The (film), 234, 283–4, 340, 357, 375–85; VF’s departure from, 375, 383–4
Yearling, The (Rawlings), 284, 356, 357, 375, 376, 383
Young, Frederick, 107
Young, Loretta, 237
Young, Robert, 177
Young, Waldemar, 258
Youngerman, Joseph C., 141
Young in Heart, The, 376
Young Mr. Lincoln, 225, 227–8
Zanuck, Darryl, 393, 403
Ziegfeld, Florenz, 102, 303
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Ziegfeld Girl, 363
Zimbalist, Sam, 197, 396–7, 399–400, 402, 404, 407, 437–8, 443, 499
Zinnemann, Fred, 266
Zola, Emile, 181
Zukor, Adolph, 49
Errata
Page For Read
52, line 12 Howard Hawks, who was studying mechanical engi-neering at Cornell. Howard Hawks, who had done some prop work for Dwan and was studying mechanical engineering at Cornell.
52, line 13 Hawks never gave Fleming credit for starting him in the film business Hawks never gave Fleming credit for boosting him in the film business
54, line 19 It’s the sort of square Western that the hero of Wild and Woolly would devour It’s the sort of square Western that the deluded hero of an earlier Fairbanks film, the Wild West parody Wild and Woolly, would devour
75, line 26 (Jerry Lewis would use a similar set for The Ladies Man four decades later, just as Jean-Luc Godard and Jean- Pierre Gorin would in 1972 for Tout va bien.) (Maurice Tourneur used a similar set the previous year for The Hand of Peril, as Jerry Lewis would in The Ladies Man four decades later and Jean-Luc Godard and Jean- Pierre Gorin would in 1972 for Tout va bien.)
77, line 13 Late in 1918, Sid Deacon finally struck it rich in oil when some wells he had helped locate in Texas began to produce (given the timing, it was likely in Burkburnett, the scene of MGM’s 1940 film Boom Town). His initial pay-day was a stunning $100,000. By late 1918, Sid Deacon had finally struck it rich: his Signal Hill oil royalties began coming in. And some wells he had helped locate in Coleman County, Texas, started to produce, around the time of the Burkburnett, Texas, oil boom that inspired MGM’s 1940 film Boom Town. His biggest payday from his Texas holdings would be a stunning $100,000.
91, line 35 They and a writer named Jack Colton had already formed a Thalberg friendship group nicknamed “the Three Jacks.” Along with playwright John B. Colton (Rain, Shanghai Gesture), they had already formed a Thalberg friendship group nick-
92, line 24 Love thought Mrs. Hawks took that statement literally. Mrs. Hawks took that statement literally. So did Love.
96, line 10 (The only surviving copies are said to be at Gosfilmofond of Moscow, but repeated inquiries there haven’t turned them up.) (Gosfilmofond, the Russian state film archive, was said to have the only copies of these movies. But when it gave Call of the Canyon to the Library of Congress in 2010, all that was left of the film was a four minute, nine second fragment containing a vertiginous stagecoach ride and an interior shot of a man and a woman.)
112, line 13 Little Bear Lake Lake Arrowhead
113, line 28 “big boy from way back” “Big Boy from Away Back”
133, line 7 He becomes one of the anonymous urban poor and, in a climactic twist, chooses to preserve his reputation (and his family’s) and accept a prison term for his own murder.
The Way of All Flesh was an ideal conveyance for Jannings’s adroit masochism. (Unfortunately, even this famous film has been lost.) He becomes one of the anonymous urban poor. In recently restored fragments of the final sequence, the broken man, years later, watches from a balcony as his son, a violin virtuoso, closes a concert with a lullaby his father used to sing to him. In the final shots, the fallen patriarch spies on his family’s home from the sidewalk on a snowy Yuletide night. He rouses a beat cop’s suspicion, then receives the charity of his son before walking away, unknown and alone.
The Way of All Flesh was an ideal conveyance for Jannings’s adroit masochism. (Unfortunately, these climactic minutes are all that survive of this famous film.)
138, line 8 July 24 July 22
192, line 16 Another report A more fanciful report
342, line 4 (possibly from Pickfair days) (he dated Lu’s daughter Helene when she was between marriages)
514, line 18 [New text] When this book was published in its original edition, I wrote Pantheon managing editor Altie Karper that its generous reception was partly the result of “the Pantheon imprimatur—the Pantheon care in production—and the Pantheon care in editing.” The book, in its final stages, came together so quickly I neglected to thank key members of the publishing team in my acknowledgments. Here, at last, is my bone-deep appreciation for all that Altie, Robert Gottlieb’s then-assistant Sarah Rothbard, and production editor Victoria Pearson did to help make the book a success.
I am equally thankful to Anne Dean Watkins, Iris Law, and Bailey Johnson of the University Press of Kentucky for shepherding this new edition into print with a similar devotion to clarity, accuracy, and elegance.
516, line 6 9 “he was part Indian”:
Interview with John Lee Mahin in McGilligan, Backstory. 9 “he was part Indian”:
Todd McCarthy and Joseph McBride, “John Mahin: Team Player,” in McGilligan, Back-story.
520, line 27 [New text] 44 the director of the Metropolitan Opera, Otto Kahn:
Otto Kahn was a financial titan, but he was celebrated in high society, café society, and popular culture as a patron of the arts. Cole Porter put him at the start of a song called “Opera Star,” in which a diva attributes her fame as “the opera’s most sensational soprano” to her way of “putting passion in the roles that I portray for Otto Kahn-o.”
526, line 1 77 rolled-up script pages:
On-set photos of Fleming from the 1920s to 1947 show him with script pages either put in the left back pocket of his trousers or, more characteristically, stuffed into his left jacket pocket. 77 rolled-up script pages:
On-set photos of Fleming from the 1920s to 1947 show him with script pages either put in the left back pocket of his trousers or, more characteristically, stuffed into his left jacket pocket. A print of When the Clouds Roll By that I introduced at Film Forum in March 2010 has an alternate opening-credits sequence. It pictures Fleming in a more formal suit, without the cap or the script pages. The print lovingly remastered for Flicker Alley’s landmark 2008 DVD box of Fairbanks’s early features contains the sequence as I describe it.
534, line 12 150 “Gary Cooper on a horse”:
Anthony Mann, director of such classic “adult Westerns” as The Naked Spur said this on the Universal lot, to Philip Kaufman, who was in the process of writing The Great Northfield Minnesota Raid; told to author by Kaufman. 150 “Gary Cooper on a horse”:
Anthony Mann, director of such classic “adult Westerns” as The Naked Spur, said this at the 1965 Cannes Film Festival to writer-director Philip Kaufman, who won the Prix de la Nouvelle that year for Goldstein and would later write and direct The Great Northfield Minnesota Raid; told to author by Kaufman.
544, line 10 [New text] 238 He was likely speaking of the bender:
Spencer Tracy’s latest biographer, James Curtis, dismisses this account on p. 926 of Spencer Tracy: A Life (New York: Alfred A. Knopf, 2011). “By evidence of his own daybook,” Curtis writes, “Tracy was completely dry before and during the filming of Captains Courageous.” Whatever Tracy wrote in his daybook, Edward C. Hartman, Eva Fleming’s grand-nephew, specifically (and repeatedly) set the story in mid-September of 1936. Fleming asking Hartman’s father to pick up a drunk actor is in keeping with the director’s modus operandi. Fleming dealt with matters himself; it was the trait of a native Californian.
561, line 38 [New text] 362 Bergman turns up on a January 28, 1941, cast list:
A January 22 deal letter from Selznick’s company to MGM, uncovered by Michael Arick, specifies that Bergman will play Ivy and mentions Tracy and Turner as her co-stars.
569, line 30 425 laying down bets:
Mankiewicz told this story to Selden West while she was researching the life of Spencer Tracy. Fleming was not, however, a member of the isolationist group America First. 425 laying down bets:
Victor Fleming: An American Movie Master (Screen Classics) Page 85
