Nicholas Ray

by Patrick McGilligan

  Houseman, John: agents for, 138; appearance of, 91; The Bad and the Beautiful and, 175; Beggar’s Holiday and, 119–20, 121, 122, 123–24; The Blue Dahlia and, 191; Citizen Kane and, 91; Communism and, 94, 95–96, 208; The Company She Keeps and, 192; Coronet Theatre project of, 134; Ernst-Ray relationship and, 102–3; Grahame-Ray relationship and, 198–99, 214; Holliday-Ray relationship and, 89; Hughes impact on RKO and, 191; and Kazan-HUAC issues, 228–29; Losey and, 63; and Losey-Ray relationship, 65; love interests of, 113, 116n, 175; Lute Song and, 114–16, 119, 124; “midnight meetings” of, 98; New York visits of, 102; On Dangerous Ground and, 190, 191, 192, 194–95, 215; OWI work of, 112–13; Paramount films of, 113, 191; passport for, 99–100; personal background of, 91; personality and character of, 145; and Ray at Strasberg Institute, 486; Ray’s comments about Knock on Any Door to, 163; Ray’s comments about Schary to, 149; and Ray’s Communist activities, 104–5; and Ray’s draft notice, 80; Ray’s early years in Hollywood and, 105, 109, 110, 112–24; Ray’s letter about fears in Hollywood to, 150; Ray’s relationship with, 92, 100, 101–2, 109, 112–24, 126, 134, 145, 214, 215, 410, 487; and Ray’s student-professor film, 477–78; Ray’s views about, 268; and Ray’s womanizing, 239; at RKO, 113, 116, 118–9, 124, 126, 190; Rogell and, 168; Schary and, 124; Schnee and, 127, 128; Selznick contract with, 91; Sorry, Wrong Number and, 114–15; television and, 114, 124; theater as first love of, 114; They Live by Night and, 117–18, 119, 120, 124, 127, 129–30, 132–33, 138, 142–43, 163; Two Weeks in Another Town and, 410; views about film industry of, 114; Voice of America and, 91–92, 93, 94, 95–96, 98, 99–100; Welles relationship with, 91; A Woman’s Secret and, 146. See also Mercury Theatre productions

  Howard, David Cyrus . See Ray, Timothy “Tim”

  HUAC. See House Committee on Un-American Activities

  Huber, Russell, 12, 16, 17, 21, 26–27, 31, 64, 464–65

  Hughes, Howard: Androcles and the Lion and, 234, 235; anti-Communism of, 167–69, 174, 213, 217; Born to Be Bad and, 175, 176, 189; death of, 173; divestiture of RKO theater chain by, 167; Flying Leathernecks and, 203, 249; Fontaine and, 175; Gypsy Life project and, 234; Hayward and, 222; impact on RKO of, 174, 191, 234, 235; In a Lonely Place and, 182, 184; Losey and, 168; The Lusty Men and, 216, 217, 218, 220, 221, 222, 224, 227; Macao and, 212; The Racket and, 213; and Ray as producer, 215; and Ray as running RKO, 234; Ray’s complaint against, 189; Ray’s relationship with, 169, 173–74, 184, 209, 216, 324; Ray’s special projects and, 167, 169, 170, 189, 211, 212n, 215, 336; as recluse, 473; reputation of, 149; RKO studios taken over by, 131n, 149–50, 158; Russell and, 237; selling of RKO by, 235, 238; They Live by Night and, 178; and Wald-Dietrich meeting, 235; Wald-Krasna deal with, 215, 216. See also RKO Studios

  Hunter, Jeffrey, 342, 398–99, 406–7

  Huston, John, 140, 237, 456, 457

  “I Married a Communist” (RKO film project), 168–69, 174, 190, 210

  “I’m a Fool” (GE production), 285, 303n

  I’m a Stranger Here Myself (documentary), 472

  In a Lonely Place (film): Bogart-Ray relationship in, 302; Bogart’s views about, 181; casting for, 184–85; ending for, 187–88, 235, 331; filming of, 184–88, 205, 291; French release of, 232, 415; influence of Ray’s personal life on, 11, 37, 121, 186, 198, 209, 214, 260, 333, 415; influences on, 2; Lambert-Ray discussion about, 320; “Mr. and Mrs. contract” for, 184, 186; plot of, 182, 226; producers as characters in, 268; Production Code and, 182, 183, 186; publicity for, 184; Ray’s reputation and, 231; Ray’s views about, 196, 479; release of, 198; reviews of, 198, 260–61; script/themes for, 121, 182–84, 194, 270; as signature film for Ray, 121, 198; Yordan-Ray relationship and, 252

  Injunction Granted (play), 65–67

  Ives, Burl, 82, 85, 86n, 89, 230, 359, 362, 366, 367, 368, 369–70, 371, 375–76

  Jahr, Cliff, 299n, 478, 486

  James, Jesse. See The True Story of Jesse James

  Jet Pilot (film), 211–12

  John Paul Jones (film), 389, 391, 392, 397, 401

  Johnny Guitar (film): budget for, 256; cast for, 10, 248–49, 251; Communism and, 415; Crawford as producer for, 250; Crawford-Ray relationship and, 250; editing of, 255; filming of, 250–54; French release of, 315, 322, 415; homosexuality and, 261; influence of Ray’s personal life on, 5, 121, 260–61; influences on, 2; Lambert-Ray discussion about, 320; as moneymaker, 262; plot of, 245–46; premiere party for, 259; publicity for, 255; Ray as producer of, 244; Ray’s reputation and, 256, 261, 457; Ray’s views about, 196, 479; release of, 255; retrospectives with, 454; reviews of, 259–61, 315, 322, 415; rights to, 244, 246; screenings of, 480; script/themes for, 121, 246–48, 252–53, 254, 257, 270, 402, 415, 489, 492; as signature film for Ray, 121; as technicolor production, 249–50, 299, 300

  Jürgens, Curd (Curt), 346, 351, 351n, 355

  Kael, Pauline, 455–56

  Kaufman, Millard, 109, 142, 199

  Kazan, Elia: Academy Awards and, 228; actors relationship with, 58; Actors Studio and, 274; ambitions of, 53, 57, 61; appearance of, 57; Baby Doll and, 379; Baker as protegé of, 288–89; birth of, 52; Brando and, 285; Broadway plays of, 101, 221, 229, 377, 398; Cat on a Hot Tin Roof and, 362; comments about Ray by, 108, 110, 111, 480; as Communist Party member, 227; Dean and, 272, 273, 275, 297–98; Dollar Top Theatre and, 85, 86; East of Eden and, 272–73, 275, 285, 317, 359; A Face in the Crowd and, 357; Houseman-Ray relationship and, 92; HUAC and, 209, 210, 227–29, 267, 463, 463n, 480; influence on Rebel Without a Cause of, 267, 268, 272, 283, 296–98, 301; Losey compared with, 64; Losey’s “Social Circus” and, 66; love interests of, 109; Man on a Tightrope and, 229, 266, 267; On the Waterfront and, 283, 356, 357; personality and character of, 61; as producer, 229–30; radical theater movement and, 50, 51, 52–53, 54–61, 108; ranking as director of, 456; and Ray at Brandeis, 467; Ray compared with, 343–44; and Ray at Strasberg Institute, 486; and Ray’s cancer diagnosis, 487, 490–91; Ray’s comments about, 457; Ray’s early years in Hollywood and, 105–8, 110–11; Ray’s eye-patch and, 465; Ray’s last encounter with, 491; Ray’s relationship with, 50, 52, 54, 65, 86, 108, 110–11, 229, 267, 326, 364; and Ray’s student-professor film, 477–78; Rebel Without a Cause comments of, 318; reputation of, 58, 276; Schulberg brothers and, 356, 357, 358, 368; The Skin of Our Teeth and, 101; at Spiegel New Year’s Eve celebration, 143; A Streetcar Named Desire and, 228, 267, 273, 295, 340; Thacher’s relationship with, 58; A Tree Grows in Brooklyn and, 105–8, 110, 118, 137, 159, 438; 20th Century-Fox and, 101, 105, 106, 110–11, 228, 229; Venice Film Festival and, 340; Viva Zapata! and, 209, 228, 328, 384; Voice of America and, 108; in Waiting for Lefty, 53; Warner Bros. and, 101–2, 267; Washington visits of, 70; Wilder comment by, 22

  Kefauver, Estes, 309

  Kelly, Gene, 109, 140, 142, 207, 240, 278

  Kennedy, Arthur, 221, 222, 223, 224, 235–36

  Kienzle, Alice (sister), 3, 5, 11, 14, 20, 167, 173, 189

  Kienzle, Helen (sister), 3, 5, 6, 8, 11, 12, 14, 70, 189, 464

  Kienzle, Olene Toppen “Lena” (mother), 3, 5, 7–11, 14, 27, 47, 75, 188, 189, 218, 262, 384

  Kienzle, Raymond Nicholas Jr. See Ray, Nicholas

  Kienzle, Raymond Nicholas Sr. (father), 3–11, 16, 31, 80, 140, 173, 180, 467

  Kienzle, Ruth (sister), 3, 5–6, 8, 11, 14, 189

  Kilgallen, Dorothy, 239, 345, 354

  King of Kings (film): British premiere of, 415; budget for, 394, 396–97, 401, 403; casting for, 395, 397–99, 400; credits for, 396n, 408; dealmaking for, 389–90, 391–92; ending for, 409; filming of, 394, 401–2, 403–7; financing for, 395; high points of, 398, 400, 405; influence of Ray’s personal life on, 5; MGM role in, 403–5; as moneymaker, 417; narration for, 408; postproduction activities for, 407, 408, 414; promotion of, 416, 417; Ray’s views about, 399, 404, 409, 416, 427, 479; reviews of, 416–18; screening of, 405; script for, 391–95, 396–99, 402, 403, 404–5, 425; title for, 392; U.S. release of, 416–17

  Klotz, George, 373, 374, 375

 
Knock on Any Door (film): Bogart-Ray relationship and, 181–82, 302; budget for, 157; cast of, 142, 159–60, 173, 195, 225; Chicago setting for, 152, 156, 160, 161, 162, 170–71, 460; filming of, 162–67; French release of, 232; HUAC and, 153; Motley criticism of, 171–72; plot in, 152; premiere of, 170–71; Production Code and, 152, 153, 154, 163, 165, 182; Ray hired as director for, 155; Ray’s reputation and, 231, 232, 458; Ray’s views about, 163, 263; release of, 169; reviews of, 172, 232; script/themes for, 155–62, 164–65, 182, 257, 263, 269; as success, 152, 153–54

  Knox, Mickey, 142, 166–67, 230, 439

  Koch, Howard, 112, 140, 151

  Korean War, 202, 208, 210

  Krasna, Norman, 213, 215, 217, 222, 227, 406

  Krohn, Bill, 473, 476, 477–78, 487, 488

  La Crosse Central High School, 6, 9, 11–15

  La Crosse State Teachers College, 14–19, 21, 26–31, 74

  La Crosse, Wisconsin: Communist meetings in, 28–29, 210; Depression in, 18; musical and cultural events in, 13, 17; “Ole Granddad” landmark in, 17–18; Project X and, 464–65; as Ray hometown, 2–3, 4–5, 9; Ray returns from Chicago to, 25; Ray’s grave in, 492; Ray’s visits to, 188–89, 211, 218, 262, 380, 384, 464–65; Washington Bicentennial Pageant in, 27–28

  Lady Vanishes, The (film), 98, 102, 102n

  Lambert, Gavin: autobiography of, 321, 330; Bigger Than Life and, 327, 328, 329–30, 331; Bitter Victory and, 338–39, 345, 346–49, 351, 353, 355; Crawford-Ray relationship and, 254; crisis atmosphere of Ray films comment by, 406; and Ford comments about Ray, 457; and French release of Johnny Guitar, 315; Holliday-Ray relationship comment by, 327; In a Lonely Place views of, 320; Manon-Ray relationship and, 348–49; Mason and, 326, 327; Oxonians and, 413, 414; and Presley as fan of Dean, 342; ranking of Ray as director by, 231; and Ray’s ambitions, 428; and Ray’s bad luck, 139–40; Ray’s discussion about Dean with, 320, 334; and Ray’s drinking and drug abuse, 341, 343, 344, 346–47, 348, 353; Ray’s first meeting with, 319–20; and Ray’s frustrations with his career, 337; and Ray’s injuries, 343; and Ray’s invitation to come to U.S., 322; and Ray’s King of Kings comments, 402; and Ray’s relationship with his son, 267; Ray’s relationship with, 77, 241, 320–23, 330, 332–34, 347, 351, 353–54, 355; Ray’s reputation and, 179, 233, 241, 413, 414; Ray’s views about, 326; Ray’s womanizing and, 333–34; Rebel Without a Cause views of, 320; They Live by Night comments of, 178, 233, 414; The True Story of Jesse James and, 339; at 20th Century-Fox, 326, 327; views about Ray of, 330, 349, 355, 400; and Wasserman-Ray affair, 243; Wood-Ray relationship comments of, 286, 287–88, 289, 312; and Wood in The Searchers, 308

  Lang, Fritz, 126, 217, 236, 240, 245, 458, 466

  Last Movie, The (film), 468

  Lawson, John Howard, 57, 58–59, 140, 151, 201, 228

  Lead Belly (aka Huddie Ledbetter), 70, 75, 76, 77–78, 81–83, 89–91, 90n, 94

  leading men: Ray’s views about, 160, 197

  Lee, Will, 51, 81, 133, 141–42, 142n

  Legion of Decency, 394

  Lewis, Bobby, 59, 85, 86

  Lichtig, Lucie, 423, 428, 447

  Lichtig, Renée, 352, 401, 407, 409, 423, 447

  Lightning over Water (film), 491, 492

  Lindfors, Viveca, 258, 259, 398

  Lindner, Robert, 264–65, 268–69, 269n, 295

  Lisbon (film), 244, 256

  Little Theatre Group, La Crosse, 26–27, 31

  Living Newspaper Project, 63–67, 72, 73, 97, 104

  Lloyd, Norman, 50, 52, 53, 56, 58, 59, 60, 66, 67, 81, 91, 207

  Lomax, Alan, 70–72, 74, 76–78, 81, 83, 84, 86–87, 90, 92, 121, 230, 466, 490

  Lomax, Elizabeth, 70, 72, 78, 92, 101

  “Long Denial, The.” See A Woman’s Secret

  Lord, Robert, 154–55, 156–57, 159, 160, 162, 163, 165, 182, 183, 184, 187, 188, 270

  Los Negroes, 410, 411, 412, 425, 429–30, 433, 449

  Losey, Joseph W.: Academy Awards staging by, 118, 124; appearance of, 65; The Boy with Green Hair and, 168, 176; Cabaret TAC and, 73; education of, 64; Evans discussion about Ray with, 442; FDR Memorial and, 113; financial affairs of, 10; Galileo and, 112, 134; Houseman-Ray relationship and, 92; HUAC and, 208; Hughes-RKO anti-Communist pictures and, 168, 169, 170, 174; Kazan and, 53, 64; leaves RKO, 168; Living Newspaper Project and, 63–66; Lomax-Ray plans and, 77; marriage of, 64–65; MGM contract of, 113; at National Film Theatre, 415; personality and character of, 10, 52; radical theater movement and, 59, 64; Ray’s relationship with, 10, 64, 65, 112–13, 118, 442; “Social Circus” ensemble of, 66, 66n; Soviet Union trip of, 64, 65; style of, 65; as success, 442; Who Fights This Battle? and, 67; youth of, 9–10

  Lovejoy, Frank, 185, 205, 252

  loyalty oath, Directors Guild, 202–3, 203n

  Lupino, Ida, 195, 197, 198, 231

  Lusty Men, The (film): casting for, 217, 220–22; ending of, 235–36, 331; filming of, 222–23, 231; Hughes approval for, 218; influence of Ray’s personal life on, 1, 87; influences on, 2; Mitchum-Ray relationship in, 302; Mitchum screening of, 227; Pendleton Round-Up and, 218; plot for, 224; postproduction activities for, 226–27, 234, 235; preview of, 236; publicity for, 235; Ray’s reputation and, 238; Ray’s views about, 457, 479; release of, 238; reviews of, 238, 352; screenings of, 344, 489; script/themes for, 216–20, 222, 247, 270, 338; title for, 217, 218, 224, 227; Wald-Ray relationship and, 235–36

  Lute Song (musical), 114–16, 119, 124, 131, 132, 133, 467

  Macao (film), 212–13, 212n, 216, 219

  Mad with Much Heart (Butler). See On Dangerous Ground

  Mahar, Ted, 481–82

  Maltz, Albert, 56, 57, 140, 153

  Man on a Tightrope (film), 229, 266, 267

  Mankiewicz, Herman, 116–17, 119, 123, 126, 143–44, 143n, 145, 146

  Mankiewicz, Joseph L., 202–3, 203n

  Mann, Anthony, 71, 133, 252, 399, 407–8

  Manon (Ray’s girlfriend): Bitter Victory and, 354; drug abuse by, 349, 353, 366, 369; gossip columnists writings about, 354; Lambert-Ray breakup and, 353, 354; murder attempt on Ray by, 371; Ray first meets, 348–49, 364; Ray’s breakup with, 379; Ray’s relationship with, 349, 352, 364–65, 369, 374; Schulberg brothers-Ray discussion and, 361; suicide attempt by, 366; Wind Across the Everglades and, 363, 364–65, 366, 367, 369, 371, 373, 374

  Mansfield, Jayne, 15, 287, 319

  Marco (film), 488

  martyrlogue: Ray in, 416, 454, 456

  Mason, James: Bigger Than Life and, 12, 76, 323–26, 327, 329, 330, 331, 332, 333, 339, 346, 348; Hume and Maibaum draft and, 323–26, 327; Lambert and, 326, 327; Lambert reading of Ray project from, 320, 321–22; Monroe appearance in Bigger Than Life and, 333; Ray’s project discussions with, 319, 443, 444; Ray’s relationship with, 325, 327, 330, 332, 335; Ray’s views about, 332; A Star Is Born and, 323; views about Ray of, 325, 332

  MCA. See Music Corporation of America; Wasserman, Lew

  McCambridge, Mercedes, 5, 196, 248, 251–55, 259

  McCoy, Esther, 62, 85, 87, 138, 194, 277

  McCoy, Horace, 218, 219, 219n, 220

  Meisel, Myron, 465, 473, 482–83

  Mercury Theatre productions, 85, 86, 89, 91, 93, 127, 248

  Metro-Goldwyn-Mayer (MGM) Studios: Gower Gulch and, 126; Hughes offices at, 149; King of King and, 394–95, 403–5, 408–9; morality clauses at, 373; Ray barred from, 409; Ray’s contract with, 373. See also specific person or film

  Meyerhold, Vsevolod, 54, 56, 63, 64, 65–66

  military, U.S.: Ray’s drafting into, 80

  Mineo, Sal, 18, 20, 25, 196, 274, 294–96, 298, 303, 304, 305, 308, 317, 483

  Mitchum, Robert: Bogart compared with, 225; Crossfire and, 199; drinking of, 213, 227; Gypsy Life project and, 234, 311; Johnny Guitar and, 248; The Lusty Men and, 87, 217, 218–27, 235, 238, 270, 302, 396; Macao and, 212, 213; Ray’s relationship with, 213, 222, 225, 227, 302, 326

  Monks, John Jr., 155, 158, 182

  Monroe, Marilyn, 15, 239–40, 278, 287, 333, 345, 4
30, 457

  Mortgage on Life (Baum). See A Woman’s Secret

  Motion Picture Alliance for the Preservation of American Ideals, 202, 203, 204

  Motion Picture Association of America, 392

  Motley, Willard, 152–56, 159–62, 164, 165, 165n, 170, 171–72, 230, 232

  Movie magazine, 319, 345, 409, 415

  “Mr. and Mrs. contract,” 184, 186, 212

  Music Corporation of America (MCA), 243, 252, 256, 358, 359, 361, 380, 392

  National Film Theatre (NFT), 414

  Navasky, Victor, 210, 357n, 378

  Negro Theater of Harlem, 63, 91, 119

  Nelson, Willie, 476

  New Deal, 62, 64, 68–69, 74, 96, 113, 201

  New Playwrights Theatre, 50, 57

  New Poor, The (comedy), 16

  “New York After Midnight” project, 467

  New York University (NYU), 487, 488, 490

  New Yorker magazine, 79, 179, 320, 321, 323

  Newman, Walter, 213, 237, 242, 310, 336–37, 340, 341, 344–45

  Nikka’s (Madrid club), 438–39

  Niven, David, 424, 425, 430

  Northwest Film Student Center: Ray reception at, 481–82

  Odets, Clifford: Bigger Than Life and, 325, 326, 327–28, 331–32; blacklisting and, 230; Clash by Night by, 175, 240; Dean’s views about, 278; The Flowering Peach by, 411; Golden Boy of, 155; HUAC and, 217, 229, 230–31, 463n; as mentor/role model for Ray, 56; radical theater movement and, 50, 56; Ray’s fan letter to, 411; Ray’s relationship with, 56, 263, 270; Rebel Without a Cause and, 267, 270–71, 276, 305; reputation of, 57, 270; Waiting for Lefty by, 50

  O’Donnell, Cathy, 132, 136, 138, 164, 232

  Office of War Information (OWI), 91, 95–99, 103, 104, 105, 112–13

  O’Hara, Frank Hurburt, 22, 23–25, 31, 80