A Life of Barbara Stanwyck: Steel-True 1907-1940

Home > Other > A Life of Barbara Stanwyck: Steel-True 1907-1940 > Page 116
A Life of Barbara Stanwyck: Steel-True 1907-1940 Page 116

by Victoria Wilson

When Quo Vadis? came to: Hal Erickson, All Movie Guide.

  “Well, I didn’t dream”: Judith Stevens to author, June 4, 1998, Dorothy Wellman to author, May 16, 1997.

  “Three Nations War”: Los Angeles Times, September 4, 1939, 1.

  “Tonight my single duty”: New York Times, September 4, 1939, 6.

  She ate little—roast: Stanwyck, “Things I Don’t Like About Myself,” 37.

  She drank up to twelve: Ed Sullivan, November 5, 1939.

  An imposing phonograph, given: Tony Fay to author, November 2, 2005.

  The smell of newly cut grass: Tony Fay to author, November 11, 2005.

  Barbara didn’t call him: Los Angeles Times, October 6, 1939, 1.

  “I’m not the morbid”: BS to Vivian Crosby, February 27, 1940, Photoplay Combined with Movie Mirror, n.d., 55.

  “I can’t write very good”: Kobal, biography of DeMille, 1679.

  “at times perfect”: New York Times, September 10, 1939.

  “A solid performance”: Daily Variety, February 15, 1939.

  “Stanwyck has supplied just”: Frank S. Nugent, New York Times, September 8, 1939, 28.

  “a standout . . . [it] does”: Variety, August 16, 1939, 14.

  Lady of the Tropics was called: Los Angeles Examiner, September 9, 1939.

  “Taylor turns in a good”: Variety, August 9, 1939, 14.

  “It is necessary to”: New York Times, September 8, 1939, 28.

  “I wanted her to know”: Asher, “Amazing Mrs. Taylor,” 27.

  “Aren’t you going to”: Ibid., 27, 66.

  “my Pennsylvania extravagance”: Steven Bach, Dazzler: The Life and Times of Moss Hart (New York: Alfred A. Knopf, 2001), 175.

  Fairview Farm’s regular guests: Ibid., 177.

  “When I go into a store”: Ibid., 175.

  Barbara made it clear: Hall, “Information, If You Please, About Barbara Stanwyck,” 10.

  The piles of presents: Tony Fay to author February 27, 1998.

  “You can’t put blinders on”: James Reid, “What I’ll Fight For,” Motion Picture, October 1940, 27.

  Seventeen: On the Brink

  His was among her: Hall, “Information, If You Please, About Barbara Stanwyck,” 2.

  “falling off her chair”: Jane Ardmore Papers, 6.

  “For my money”: Jack Benny, Photoplay, 1948.

  Mary was Sadie Marks: Joan Benny to author, 1997.

  She strove to be: Joan Benny to author, January 9, 2006.

  Mary could be cruel: Hedda Hopper’s Hollywood, Los Angeles Times, January 11, 1940.

  The Bennys’ parties, particularly: Jack Benny and Joan Benny, Sunday Nights at Seven (New York: Warner Books, 1990), 61, 201.

  Benny hesitated about getting: Louis Xavier Lansworth, New Yorker or Coast, April 1939, 11.

  “She’s Jewish”: Tony Fay to author, November 3, 2004.

  “Don’t let it go to”: Robert Taylor, “Pleased to Meet You,” magazine clipping, c. 1949. Victoria Wilson Archive.

  Barbara had settled into: Edwin Schallert, “Call of Wolf Reversed by La Stanwyck,” Los Angeles Times, July 23, 1944, 1.

  “I went up in a rocket”: Robert Taylor, “Why a Star Gets the Jitters,” Cosmopolitan, September 1941, 36.

  “The only part that was”: Raymond Rohauer, A Tribute to Mervyn Leroy (New York: Gallery of Modern Art, 1967), 14.

  “She is so beautiful”: Anne Edwards, Vivien Leigh (New York: Pocket Books, 1978), 134.

  He was hoping Waterloo: Memo from David O. Selznick, 295–96.

  “Robert Taylor is the man”: Edwards, Vivien Leigh, 136.

  Vivien spent her lunch: Ibid.

  “Vivien didn’t have to”: Roberta Ormiston, Photoplay, n.d.

  “Now let’s have a nice”: Peter B. Flint, “Mervyn LeRoy, 86, Dies,” New York Times, September 14, 1987.

  Woody Van Dyke stepped: Syracuse Herald-Journal, February 6, 1940, 18.

  “a high score is”: BS to Vivian Crosby, June 5, 1940, Photoplay Combined with Movie Mirror, n.d., 55.

  The evening’s biggest excitement: Fay Bainter presented the award for best supporting actress, and said, “To me it seems more than just a plaque of gold; it opens the doors of this room, moves back the walls, and enables us to embrace the whole of America. An America that we love, an America that, almost alone in the world today, recognizes and pays tribute to those who give it their best, regardless of creed, race, or color. It is with the knowledge that this entire nation will stand and salute the presentation of this plaque that I present the Academy Award for the best performance of an actress in a supporting role during 1939 to Hattie McDaniel.”

  Miss McDaniel accepted the award and said, “Academy of Motion Picture Arts and Sciences, fellow members of the motion picture industry and honored guests, this is one of the happiest moments of my life . . . For your kindness, it has made me feel very, very humble, and I shall always hold it as a beacon for anything I may be able to do in the future. I sincerely hope that I shall always be a credit to my race and to the motion picture industry. My heart is too full to tell you just how I feel, and may I say thank you and God bless you.” The 12th Academy Awards, February 29, 1940. Broadcast from the Cocoanut Grove at the Ambassador Hotel in Los Angeles, California.

  “We meet in an evil”: Rudyard Kipling and Wolcott Balestier, The Naulahka: A Story of West and East (New York: Macmillan, 1892).

  “a little ironic”: Reid, “What I’ll Fight For.”

  Weingarten, much to Cukor’s: Gavin Lambert, Nazimova (New York: Alfred A. Knopf, 1997), 370.

  Among those thought: Two and a half years after the publication of Escape, Grace Zaring Stone revealed that she was Ethel Vance. Stone had written three successful novels, including The Bitter Tea of General Yen. She had chosen a pseudonym to protect her daughter, Eleanor, then living in occupied Czechoslovakia with her husband, a Hungarian, Count Perényi, as well as her husband, Ellis Stone, who was living in Paris, the U.S. Navy attaché at the American embassy there. Stone said she chose the name Ethel Vance because “it sounds like a name you were born with and can’t get rid of.” New York Times, April 5, 1942, 17.

  Escape was Nazimova’s: Lambert, Nazimova, 370–71.

  Dion referred to her: Hall, “Information, If You Please, About Barbara Stanwyck,” 3.

  Instead of Jean Arthur: John Andrew Gallagher and Frank Thompson, Nothing Sacred: The Cinema of William Wellman (Men with Wings Press), 102–3.

  Cameras were placed in: Bob Ray, Los Angeles Times, March 29, 1940, 20.

  “We think of ourselves”: Reid, “What I’ll Fight For,” 60.

  “either an imbecile”: Leuchtenburg, Franklin D. Roosevelt and the New Deal, 310.

  “could maintain peace”: Ibid., 312.

  Walt Disney’s premier showing: New York Times, October 23, 1940, 20.

  A production of Cavalcade: Los Angeles Times, July 28, 1940, D8.

  The English colony came together: New York Times, August 4, 1940, 105.

  Each week, the English colony: Kotsilibas-Davis and Loy, Myrna Loy, 165.

  The California legislature organized: Leuchtenburg, Franklin D. Roosevelt and the New Deal, 300.

  the day newspaper headlines read: Los Angeles Times, June 13, 1940.

  “Your routine may not”: Modern Screen, January 1941, 70.

  “Is it an honest”: Ella Smith, Starring Miss Barbara Stanwyck, 138.

  “It’s okay, Frank”: Charles Wolfe, “Authors, Audiences, and Endings,” in Meet John Doe, vol. 13 of Rutgers Films in Print (New Brunswick, N.J.: Rutgers University Press, 1989), 211.

  “bounced off the floor”: Meet John Doe press book, 29.

  “Ann Mitchell has humor”: Ibid., 30.

  “the most interesting”: Richard Glatzer, “A Conversation with Frank Capra,” in Glatzer and Raeburn, Frank Capra, 35.

  She knew her mind: “Letter to My God Child,” magazine clipping, 1949–1951, 59, 60–87, 88. Victoria Wilson Archive.

  “not of this
earth”: BS to Vivian Crosby, July 3, 1940.

  She took nothing for: “Letter to My God Child.”

  “If any country was”: “This Is What I Believe,” magazine clipping, n.d. Victoria Wilson Archive.

  “Any other set-up”: Reid, “What I’ll Fight For.”

  The young man is drawn: The picture was written by the screenwriters Joan Harrison, who wrote Jamaica Inn and Rebecca, and Hitchcock’s longtime collaborator, Charles Bennett, who’d written for the director since Hitchcock adapted Bennett’s play Blackmail and made it into England’s first sound picture. Bennett and Hitchcock had collaborated on numerous films, among them The Man Who Knew Too Much, The 39 Steps, and Secret Agent.

  SELECTED BIBLIOGRAPHY

  Adler, Stella. The Art of Acting. Edited by Howard Kissell. New York: Applause Books, 2000.

  ———. Ibsen, Strindberg, and Chekhov. Edited by Barry Paris. New York: Alfred A. Knopf, 2000.

  Ambrose, Stephen E. The American Heritage New History of World War II. Original text by C. L. Sulzberger. 1966. New York: Viking Press, 1997.

  ———. Nothing Like It in the World: The Men Who Built the Transcontinental Railroad, 1863–1869. New York: Simon & Schuster, 2000.

  The American Film Institute Catalog of Motion Pictures Produced in the United States: Feature Films, 1921–1930. Berkeley: University of California Press, 1997.

  Astor, Mary. A Life on Film. New York: Delacorte Press, 1967.

  Balio, Tino. United Artists: The Company Built by the Stars. Madison: University of Wisconsin Press, 1978.

  Barrymore, Lionel, and Cameron Shipp. We Barrymores. New York: Grosset & Dunlap, 1951.

  Barson, Michael, and Steven Heller. Red Scared! The Commie Menace in Propaganda and Popular Culture. San Francisco: Chronicle Books, 2001.

  Beauchamp, Cari. Without Lying Down: Frances Marion and the Powerful Women of Early Hollywood. New York: Scribner, 1997.

  Bell, Millicent. Marquand: An American Life. Boston: Little, Brown, 1979.

  Bentley, Eric. Thirty Years of Treason: Excerpts from Hearings Before the House Committee on Un-American Activities, 1938–1968. New York: Viking Press, 1971.

  Berle, Milton. Milton Berle: An Autobiography. With Haskel Frankel. New York: Delacorte Press, 1974.

  Bernds, Edward. Mr. Bernds Goes to Hollywood. Lanham, Md.: Scarecrow Press, 1999.

  Bernhardt, Sarah. Memories of My Life. New York: Benjamin Blom, 1968.

  Bernstein, Eve. Illicit. New York: Jacobsen, 1930.

  Billips, Connie, and Arthur Pierce. Lux Presents Hollywood: A Show-by-Show History of the “Lux Radio Theatre” and the “Lux Video Theatre,” 1934–1957. Jefferson, N.C.: McFarland, 1995.

  Birmingham, Stephen. The Late John Marquand. New York: Lippincott, 1972.

  Bishop, Jim. The Mark Hellinger Story: A Biography of Broadway and Hollywood. New York: Appleton-Century-Crofts, 1952.

  Bogdanovich, Peter. Who the Devil Made It: Conversations with Legendary Film Directors. New York: Alfred A. Knopf, 1997.

  Boller, Paul F., Jr. Presidential Campaigns. New York: Oxford University Press, 1984.

  Bordeaux, Jeanne. Eleonora Duse: The Story of Her Life. New York: George H. Doran, 1924.

  Bosworth, Patricia. Anything Your Little Heart Desires: An American Family Story. New York: Simon & Schuster, 1997.

  Boughton, Willis. Chronicles of Erasmus Hall. Brooklyn: General Organization, Erasmus Hall High School, 1906.

  Bourdet, Édouard. The Captive. Translated by Arthur Hornblow. New York: Brentano’s, 1926.

  Branden, Nathaniel. Judgment Day: My Years with Ayn Rand. Boston: Houghton Mifflin, 1989.

  Brenman-Gibson, Margaret. Clifford Odets: American Playwright. New York: Atheneum, 1981.

  Brooks, Tim, and Earle Marsh. The Complete Directory to Prime Time Network TV Shows, 1946–Present. New York: Ballantine Books, 1979.

  Busch, Niven. Duel in the Sun. New York: Hampton, 1944.

  ———. The Furies. New York: Dial Press, 1948.

  ———. The San Franciscans. New York: Simon & Schuster, 1962.

  Cain, James M. Double Indemnity. New York: Alfred A. Knopf, 1943.

  ———. Past All Dishonor. New York: Alfred A. Knopf, 1946.

  Cannom, Robert C. Van Dyke and the Mythical City, Hollywood. Culver City, Calif.: Murray & Gee, 1948.

  Cantor, Norman F. The American Century: Varieties of Culture in Modern Times. New York: HarperCollins, 1997.

  Capra, Frank. The Name Above the Title: An Autobiography. New York: Macmillan, 1971.

  Carey, Gary. All the Stars in Heaven: Louis B. Mayer’s MGM. New York: E. P. Dutton, 1981.

  Carlisle, Helen Grace. Mothers Cry. New York: Harper & Brothers, 1929.

  Caspary, Vera. The Secrets of Grown-Ups. New York: McGraw-Hill, 1979.

  Cather, Willa. A Lost Lady. New York: Alfred A. Knopf, 1923.

  ———. Not Under Forty. New York: Alfred A. Knopf, 1936.

  Cather, Willa, and L. Brent Bohlke. Willa Cather in Person: Interviews, Speeches, and Letters. Lincoln: University of Nebraska Press, 1986.

  Cavell, Stanley. Contesting Tears: The Hollywood Melodrama of the Unknown Woman. Chicago: University of Chicago Press, 1996.

  Ceplair, Larry, and Steven Englund. The Inquisition in Hollywood: Politics in the Film Community, 1930–1960. Garden City, N.Y.: Anchor Press/Doubleday, 1980.

  Chierichetti, David. Mitchell Leisen: Hollywood Director. Los Angeles: Photoventures Press, 1995.

  Churchill, Allen, ed. The “Liberty” Years, 1924–1950. Englewood Cliffs, N.J.: Prentice-Hall, 1969.

  Clarke, Mae. Featured Player: An Oral Autobiography of Mae Clarke. Edited by James Curtis. Santa Barbara, Calif.: Santa Teresa Press, 1996.

  Clurman, Harold. All People Are Famous. New York: Harcourt Brace Jovanovich, 1974.

  Connolly, Myles. Mr. Blue. New York: Macmillan, 1928.

  Crafton, Donald. The Talkies: American Cinema’s Transition to Sound, 1926–1931. New York: Charles Scribner’s Sons, 1997.

  Crowther, Bosley. Hollywood Rajah: The Life and Times of Louis B. Mayer. New York: Henry Holt, 1960.

  Davenport, Marcia. East Side, West Side. New York: Charles Scribner’s Sons, 1947.

  Davis, Bette. The Lonely Life. New York: G. P. Putnam’s Sons, 1962.

  De Mille, Richard. My Secret Mother, Lorna Moon. New York: Farrar, Straus & Giroux, 1998.

  Desti, Mary. The Untold Story: The Life of Isadora Duncan, 1921–1927. Cambridge, Mass.: Da Capo Press, 1929.

  De Toth, André. De Toth on De Toth: Putting the Drama in Front of the Camera. Edited by Anthony Slide. New York: Faber and Faber, 1996.

  Deutsch, Helen, and Stella B. Hanau. Provincetown: A Story of the Theatre. New York: Farrar & Rinehart, 1931.

  Dick, Bernard F. Hellman in Hollywood. Madison, N.J.: Fairleigh Dickinson University Press, 1982.

  ———. The Merchant Prince of Poverty Row: Harry Cohn of Columbia Pictures. Lexington: University Press of Kentucky, 1993.

  Donovan, Denis M., and Deborah McIntyre. Healing the Hurt Child: A Developmental-Contextual Approach. New York: W. W. Norton, 1990.

  Dunne, Philip. Take Two. New York: Limelight, 1992.

  Epstein, Philip G. The Mad Miss Manton. New York: Frederick Ungar, 1938.

  Erikson, Erik H. Childhood and Society. New York: W. W. Norton, 1950.

  Eyman, Scott. Print the Legend: The Life and Times of John Ford. New York: Simon & Schuster, 1999.

  Fausold, Martin L. The Presidency of Herbert C. Hoover. Lawrence: University Press of Kansas, 1985.

  Fay, Frank. How to Be Poor. New York: Prentice-Hall, 1945.

  Ferber, Edna. A Kind of Magic. Garden City, N.Y.: Doubleday, 1963.

  ———. A Peculiar Treasure: An Autobiography. New York: Literary Guild of America, 1939.

  ———. So Big. Garden City, N.Y.: Doubleday, 1924.

  Fountain, Leatrice Gilbert. Dark Star: The Untold Story of the Meteoric Rise and Fall of Legendary Silent Screen Star John Gilbert. With Jo
hn R. Maxim. New York: St. Martin’s Press, 1985.

  Francisco, Charles. The Radio City Music Hall: An Affectionate History of the World’s Greatest Theater. New York: E. P. Dutton, 1979.

  Fraser, Antonia. Mary Queen of Scots. London: Weidenfeld & Nicolson, 1969.

  Freidel, Frank. Franklin D. Roosevelt: A Rendezvous with Destiny. Boston: Back Bay Books, 1990.

  Galbraith, John Kenneth. The Great Crash, 1929. Boston: Houghton Mifflin, 1954.

  Gardner, Gerald C. The Censorship Papers: Movie Censorship Letters from the Hays Office, 1934 to 1968. New York: Dodd, Mead, 1987.

  Gillespie, Charles Bancroft. Historical and Pictorial History of Chelsea, Mass.: Her History, Her Achievements, Her Opportunities. Courtesy of the Chelsea Public Library. Chelsea, Mass.: Chelsea Gazette, 1898.

  Gish, Lillian. The Movies, Mr. Griffith, and Me. With Ann Pinchot. Englewood Cliffs, N.J.: Prentice-Hall, 1969.

  Glatzer, Richard, and John Raeburn, eds. Frank Capra: The Man and His Films. Ann Arbor: University of Michigan Press, 1975.

  Goodman, Ezra. Bogie: The Good-Bad Guy. New York: Lyle Stuart, 1965.

  ———. The Fifty-Year Decline and Fall of Hollywood. New York: Simon & Schuster, 1961.

  Goodman, Walter. The Committee: The Extraordinary Career of the House Committee on Un-American Activities. New York: Farrar, Straus & Giroux, 1968.

  Granlund, Nils Thor. Blondes, Brunettes, and Bullets. With Sid Feder and Ralph Hancock. Philadelphia: David McKay, 1957.

  Greene, Graham. The Lost Childhood and Other Essays. New York: Viking Press, 1951.

  Griffith, Richard. Samuel Goldwyn: The Producer and His Films. New York: Museum of Modern Art Film Library, 1956. Distributed by Simon & Schuster.

  Gunnison, Herbert Foster, ed. Flatbush of To-day. Brooklyn, 1908.

  Gussow, Mel. Don’t Say Yes Until I Finish Talking: A Biography of Darryl Zanuck. Garden City, N.Y.: Doubleday, 1971.

  Halliday, Jon. Sirk on Sirk. 1971. London: Faber and Faber, 1997.

  Hardy, Phil. Samuel Fuller. New York: Praeger, 1970.

  Harvey, James. Romantic Comedy in Hollywood: From Lubitsch to Sturges. New York: Alfred A. Knopf, 1987.

  Harvey, Rita Morley. Those Wonderful, Terrible Years: George Heller and the American Federation of Television and Radio Artists. Carbondale: Southern Illinois University Press, 1996.

 

‹ Prev