by Anne Edwards
1974–76 Ambassador to Ghana (appointed by President Gerald R. Ford)
1975, October 8 Marriage of Linda Susan Black to Robert Falaschi
1976–77 U.S. chief of protocol (appointed by President Gerald R. Ford)
In charge of arrangements for inauguration and inaugural ball for President Jimmy Carter
1977 January 1 Gertrude Temple dies
Life Achievement Award of the American Center of Films for Children
1980, September 30 George Temple dies
December 20 Birth of granddaughter, Theresa Lyn Falaschi
1981 Member, U.S. Delegation on African Refugee Problems, Geneva
Appointed to Board of Directors, National Wildlife Federation
Member, UN Association, United States
Founding Member, American Academy of Diplomacy
Co-chairman, Ambassadorial Seminars
1985 Presented with full-sized “Oscar”
TRIAL TRANSCRIPT OF THE HIGH COURT OF JUSTICE
HIGH COURT OF JUSTICE
KING’S BENCH DIVISION
LIBEL ON MISS SHIRLEY TEMPLE: “A GROSS OUTRAGE”
TEMPLE AND OTHERS V. NIGHT AND DAY MAGAZINES,
LIMITED, AND OTHERS
Before the Lord Chief Justice
A settlement was announced of this libel action which was brought by Miss Shirley Jane Temple, the child actress (by Mr. Roy Simmonds, her next friend), Twentieth Century-Fox Film Corporation, of New York, and Twentieth Century-Fox Film Company, Limited, of Berners Street, W., against Night and Day Magazines, Limited, and Mr. Graham Greene, of St. Martin’s Lane, W.C., Hazell, Watson and Viney, Limited, printers, of Long Acre, W.C., and Messrs. Chatto and Windus, publishers, of Chandos Street, W.C., in respect of an article written by Mr. Green and published in the issue of the magazine Night and Day dated October 28, 1937.
Sir Patrick Hastings, K.C., and Mr. G.O. Slade appeared for the plaintiffs; Mr. Valentine Holmes for all the defendants except Hazell, Watson, and Viney, Limited, who were represented by Mr. Theobald Mathew.
Sir Patrick Hastings, in announcing the settlement by which it was agreed that Miss Shirley Temple was to receive £2,000, the film corporation £1,000, and the film company £500, stated that the first defendants were the proprietors of the magazine Night and Day, which was published in London. It was only right to say that the two last defendants, the printers and publishers, were firms of the utmost respectability and highest reputation, and were innocently responsible in the matter.
The plaintiff, Miss Shirley Temple, a child of nine years, had a world-wide reputation as an artist in films. The two plaintiff companies produced her in a film called Wee Willie Winkie, based on Rudyard Kipling’s story.
On October 28 last year Night and Day Magazines, Limited, published an article written by Mr. Graham Greene. In his (counsel’s) view it was one of the most horrible libels that one could well imagine. Obviously he would not read it—it was better that he should not—but a glance at the statement of claim, where a poster was set out, was quite sufficient to show the nature of the libel written about this child.
This beastly publication, said counsel, was written, and it was right to say that every respectable news distributor in London refused to be a party to selling it. Notwithstanding that, the magazine company, with the object no doubt of increasing the sale, proceeded to advertise the fact that it had been banned.
Shirley Temple was an American and lived in America. If she had been in England and the publication in America it would have been right for the American Courts to have taken notice of it. It was equally right that, the position being reversed, her friends in America should know that the Courts here took notice of such a publication.
“SHOULD NOT BE TREATED LIGHTLY”
Money was no object in this case. The child had a very large income and the two film companies were wealthy concerns. It was realized, however, that the matter should not be treated lightly. The defendants had paid the film companies £1,000 and £500 respectively, and that money would be disposed of in a charitable way. With regard to the child, she would be paid £2,000. There would also be an order for the taxation of costs.
In any view, said counsel, it was such a beastly libel to have written that if it had been a question of money it would have been difficult to say what would be an appropriate amount to arrive at.
Miss Shirley Temple probably knew nothing of the article, and it was undesirable that she should be brought to England to fight the action. In his (counsel’s) opinion the settlement was a proper one in the circumstances.
Mr. Valentine Holmes informed his Lordship that the magazine Night and Day had ceased publication. He desired, on behalf of his clients, to express the deepest apology to Miss Temple for the pain which certainly would have been caused to her by the article if she had read it. He also apologized to the two film companies for the suggestion that they would produce and distribute a film of the character indicated by the article. There was no justification for the criticism of the film, which, his clients instructed him, was one to see which anybody could take their children. He also apologized on behalf of Mr. Graham Greene. So far as the publishers of the magazine were concerned, they did not see the article before publication.
His LORDSHIP.—Who is the author of this article?
Mr. HOLMES.—Mr. Graham Greene.
His LORDSHIP.—Is he within the jurisdiction?
Mr. HOLMES.—I am afraid I do not know, my Lord.
Mr. THEOBALD MATHEW, on behalf of the printers, said that they recognized that the article was one which ought never to have been published. The fact that the film had already been licensed for universal exhibition refuted the charges which had been made in the article. The printers welcomed the opportunity of making any amends in their power.
Mr. LORDSHIP.—Can you tell me where Mr. Greene is?
Mr. MATHEW.—I have no information on the subject.
His LORDSHIP.—This libel is simply a gross outrage, and I will take care to see that suitable attention is directed to it. In the meantime I assent to the settlement on the terms which have been disclosed, and the record will be withdrawn.
REVIEW OF WEE WILLIE WINKIE IN NIGHT AND DAY OCTOBER 28, 1937
The Films by Graham Greene
Reprinted Courtesy of Chattow and Windus
The owners of a child star are like leaseholders—their property diminishes in value every year. Time’s chariot is at their back; before them acres of anonymity. What is Jackie Coogan now but a matrimonial squabble? Miss Shirley Temple’s case, though, has peculiar interest: infancy with her is a disguise, her appeal is more secret and more adult. Already two years ago she was a fancy little piece (real childhood, I think, went out after The Littlest Rebel). In Captain January she wore trousers with the mature suggestiveness of a Dietrich: her neat and well-developed rump twisted in the tap-dance: her eyes had a sidelong searching coquetry. Now in Wee Willie Winkie, wearing short kilts, she is a complete totsy. Watch her swaggering stride across the Indian barrack-square: hear the gasp of excited expectation from her antique audience when the sergeant’s palm is raised: watch the way she measures a man with agile studio eyes, with dimpled depravity. Adult emotions of love and grief glissade across the mask of childhood, a childhood skin-deep.
It is clever, but it cannot last. Her admirers—middle-aged men and clergymen—respond to her dubious coquetry, to the sight of her well-shaped and desirable little body, packed with enormous vitality, only because the safety curtain of story and dialogue drops between their intelligence and their desire. “Why are you making my Mummy cry?”—what could be purer than that? And the scene when dressed in a white nightdress she begs grandpa to take Mummy to a dance—what could be more virginal? On those lines her new picture, made by John Ford, who directed The Informer, is horrifyingly competent. It isn’t hard to stay to the last prattle and the last sob. The story—about an Afghan robber converted by Wee Willie Winkie to the British Raj—is a long way after Kiplin
g. But we needn’t be sour about that. Both stories are awful, but on the whole Hollywood’s is the better. . . .
MOVIE CHRONOLOGY: SHIRLEY TEMPLE
1. THE RUNT PAGE, Educational Films Corp., subsidiary of Educational Pictures, Inc., 1932, 10 minutes.
Directed by Roy LaVerne; Produced by Jack Hays.
2. WAR BABIES, Educational Films Corp., 1932, 11 minutes.
Directed by Charles Lamont; Produced by Jack Hays.
3. PIE COVERED WAGON, Educational Films Corp., 1932, 10 minutes.
Directed by Charles Lamont; Produced by Jack Hays; Written by Jack Hays; Photographed by Dwight Warren.
4. KID’S LAST FIGHT, Educational Films Corp., 1932, 10 minutes.
Directed by Charles Lamont; Produced by Jack Hays; Written by Jack Hays.
5. POLLY-TIX IN WASHINGTON, Educational Films Corp., 1932, 10 minutes.
Directed by Charles Lamont; Produced by Jack Hays.
6. KID’N’ HOLLYWOOD, Educational Films Corp., 1932, 10 minutes.
Directed by Charles Lamont; Produced by Jack Hays.
7. KID’N’ AFRICA, Educational Films Corp., 1932, 10 minutes.
Directed by Charles Lamont; Produced by Jack Hays.
8. RED-HAIRED ALIBI, Tower Productions, Inc., 1932, 71 minutes.
Directed by Christy Cabanne; Story by Wilson Collison; Screenplay by Edward T. Lowe.
9. MERRILY YOURS, Educational Films Corp., 1932, 22 minutes.
Directed by Charles Lamont; Written by Charles Lamont; Photographed by Dwight Warren; Recorded by Western Electric Noiseless Recording.
10. GLAD RAGS TO RICHES, Educational Films Corp., 1933, 11 minutes.
NOTE: Marilyn Granas was later to become Shirley’s first stand-in. Directed by Charles Lamont; Produced by Jack Hays.
11. OUT ALL NIGHT, Universal, 1933, 69 minutes.
Directed by Sam Taylor; Story by Tim Whelan; Screenplay by William Anthony McGuire.
12. DORA’S DUNKIN’ DOUGHNUTS, Educational Films Corp., 1933, 22 minutes.
Directed by Harry J. Edwards; Produced by Jack Hays; Story and Dialogue by Ernest Pagano and Ewart Adamson; Musical Numbers by Alfonse Corelli.
13. MANAGED MONEY, Educational Films Corp., 1933, 22 minutes.
Directed by Charles Lamont; Produced by Jack Hays.
14. WHAT TO DO?, Educational Films Corp., 1933, 22 minutes.
Directed by Charles Lamont; Produced by Jack Hays.
15. TO THE LAST MAN, Paramount, 1933, 60 minutes.
Directed by Henry Hathway; Screenplay by Jack Cunningham, from the Zane Grey story; Camera by Ben Reynolds.
16. AS THE EARTH TURNS, Warner Brothers, 1933.
Directed by Alfred E. Green; Produced by Robert Lord; Art Director, Robert Haas; Unit Manager, A1 Alborn; Assistant Director, William McGann; Second Assistant Director, Carol Sax; Cameramen, Byron Haskins, Carl Guthrie and Bob Burks; Mixer, E. A. Brown; Gaffer, C. Alexander; Grip, O. Compton; Propman, Emmett Emerson; Wardrobe Man, Bob Ramsen; Wardrobe Woman, Mary Deery; Cutter, Herbert Levy.
17. PARDON MY PUPS, Educational Films Corp., 1934, 22 minutes.
Directed by Charles Lamont; Suggested by the story "Mild Oats” by Florence Ryerson and Colin Clements; Adapted by Ewart Adamson.
18. CAROLINA, Fox Film Corp., 1934, 63 minutes.
Directed by Henry King; Based on The House of Connelly by Paul Green; Screenplay by Reginald Berkeley; Photography by Hal Mohr.
19. NEW DEAL RHYTHM, Paramount, 1934.
20. MANDALAY, Warner Brothers–First National, 1934.
Directed, by Michael Curtiz; Screenplay by Austin Parker and Charles Kenyon; Story by Park Harvey Fox.
21. STAND UP AND CHEER, Fox Film Corp., 1934, 80 minutes.
Directed by Hamilton McFadden; Produced by Winfield Sheehan; Story idea by Will Rogers and Philip Klein; Screenplay by Lew Brown and Ralph Spence; Songs by Lew Brown and Jay Gorney; Costumes by Rita Kaufman; Camera, Ernest Palmer and L. W. O’Connell; Musical Directory Arthur Lange.
22. NOW I’LL TELL, Fox Film Corp., 1934, 75 minutes.
Directed by Edwin Burke; Story by Mrs. Arnold Rothstein; Adapted and Dialogue by Edwin Burke; Photography by Ernest Palmer.
23. CHANGE OF HEART, Fox Film Corp., 1934, 76 minutes.
Directed by John G. Blystone; Story by Kathleen Norris; Screenplay by Sonja Levien and James Gleason; Additional Dialogue, Samuel Hoffen-stein; Cameraman, Hal Mohr; Recording Engineer, Joseph Aiken; Editor, Margaret Clancy.
24. LITTLE MISS MARKER, Paramount, 1934.
Directed by Alexander Hall; Produced by B. P. Schulberg; Story by Damon Runyon, published in Colliers, 1932, Adapted by Gladys Lehman.
25. BABY, TAKE A BOW, Fox Film Corp., 1934.
Directed by Harry Lachman; Produced by John Stone; Story by Philip Klein and E. E. Paramore, Jr. (from the play Square Crooks by James P. Judge).
26. NOW AND FOREVER, Paramount, 1934.
Directed by Henry Hathaway (Screenplay by Vincent Lawrence and Sylvia Thalberg); Story by Jack Kirkland and Melville Baker; Adapted by Austin Parker.
27. BRIGHT EYES, Fox Film Corp, 1934, 84 minutes.
Directed by David Butler; Produced by Sol Wurtzel; Screenplay by William Conselman; Story by David Butler, William Conselman and Edwin Burke; Photography by Arthur Miller.
28. THE LITTLE COLONEL, Fox Film Corp., 1935, 80 minutes.
Directed by David Butler; Produced by B. G. De Sylva; Story by Annie Fellows Johnston; Screenplay by William Conselman; Photography by Arthur Miller; Technicolor sequence photographed by William Skall.
29. OUR LITTLE GIRL, Fox Film Corp., 1935, 63 minutes.
Directed by John Robertson; Produced by Edward Butcher; Story by Florence Leighton Pfalzgraf, Heaven’s Gate; Screenplay by Stephen Avery, Allen Rivkin and Jack Yellen; Photography by John Seitz.
30. CURLY TOP, Fox Film Corp., 1935, 75 minutes.
Directed by Irving Cummings; Produced by Winfield Sheehan; Story by Jean Webster, Daddy Long Legs; Adapted by William Conselman; Screenplay by Patterson McNutt and Arthur Beckhard; Music by Ray Henderson; Lyrics by Ted Koehler, Edward Heyman and Irving Caesar; Photography by John Seitz; Dances by Jack Donohue; Musical Director, Oscar Bradley.
31. THE LITTLEST REBEL, Twentieth Century-Fox, 1935, 73 minutes.
Directed by David Butler; Produced by Darryl F. Zanuck; Associate Producer, B. G. De Sylva; Screenplay by Edwin Burke and Harry Tugend, based on Edward Peple’s play The Littlest Rebel; Photography by John Seitz; Sound by S. C. Chapman
32. CAPTAIN JANUARY, Twentieth Century-Fox, 1936.
Directed by David Butler; Produced by Darryl F. Zanuck; Associate Producer, B. G. De Sylva; Story by Laura E. Richards, Captain January; Screenplay by Sam Heilman, Gladys Lehman and Harry Tugend; Photography by John Seitz.
33. POOR LITTLE RICH GIRL, Twentieth Century-Fox, 1936, 72 minutes.
Directed by Irving Cummings; Produced by Darryl F. Zanuck; Associate Producer, B. G. De Sylva; Story suggested by Eleanor Gates and Ralph Spence; Screenplay by Sam Heilman, Gladys Lehman and Harry Tugend; Music and lyrics by Mack Gordon and Harry Revel; Photography by John Seitz; Dances staged by Jack Haskell and Ralph Cooper; Film Editing by Jack Murray; Art Directors, William Darling and Rudolph Sternad.
34. DIMPLES, Twentieth Century-Fox, 1936.
Directed by William A. Seiter; Produced by Darryl F. Zanuck; Associate Producer, Nunnally Johnson; Screenplay by Arthur Sheekman and Nat Perrin; Dances staged by Bill Robinson.
35. STOWAWAY, Twentieth Century-Fox release of a B. G. Sylva-Earl Carroll-Harold Wilson production, 1936, 87 minutes.
Directed by William A. Seiter; Produced by Darryl F. Zanuck; Associate Producers, B. G. De Sylva, Earl Carroll and Harold Wilson; Story by Sam Engel; Screenplay by William Conselman, Arthur Sheekman and Nat Perrin.
36. WEE WILLIE WINKIE, Twentieth Century-Fox, 1937, 105 minutes.
Directed by John Ford; Produced by Darryl F. Zanuck; Associate Producer, Gene Markey; Story by Rudyard Kipling; Screenplay by Ern
est Pascal and Julien Josephson; Photography by Arthur Miller; Musical Score by Alfred Newman.
37. HEIDI, Twentieth Century-Fox, 1937, 87 minutes.
Directed by Allan Dwan; Produced by Darryl F. Zanuck; Associate Producer, Raymond Griffith; Story by Johanna Spyri; Screenplay by Walter Ferris and Julien Josephson.
Directed by Allan Dwan; Produced by Darryl F. Zanuck; Associate Producer, Raymond Griffith, Story suggested by story by Kate Douglas Wiggin; Screenplay by Karl Tunberg and Don Ettlinger; Cinematography by Arthur Miller; Songs by Mack Gordon and Harry Revel, Lew Pollock and Sidney D. Mitchell, Sam Pokrass and Jack Yellen and Raymond Scott; Dances by Nick Castle and Geneva Sawyer; Photography by Arthur Miller; Art Directors, Bernard Herzbrun and Hans Peters; Sets by Thomas Little; Edited by Allen McNeil; Musical Director, Arthur Lange.
39. LITTLE MISS BROADWAY, Twentieth Century-Fox, 1938.
Directed by Irving Cummings; Produced by Darryl F. Zanuck; Original story by Harry Tugend and Jack Yellen.
40. JUST AROUND THE CORNER, Twentieth Century-Fox, 1938, 80 minutes.
Directed by Irving Cummings; Produced by Darryl F. Zanuck; Associate Producer, David Hemptstead; Screenplay by Ethel Hill, J. P. McEvoy and Darrell Ware, based on a story by Paul Gerard Smith; Music and lyrics by Walter Bullock and Harold Spina; Dances staged by Nicholas Castle and Geneva Sawyer.
