On Sunset Boulevard

by Ed Sikov

  216 Note on Larmore’s relationship with Brackett: Isherwood himself does not state the rumor in the course of his published diary entries; the editor of the volume does, however, in the glossary entry for Larmore. Isherwood, p. 966.

  216 The Joan Fontaine project: AMPAS, Paramount Collection, The Lost Weekend production file 1.

  216 On Olympia: AMPAS, Paramount Collection, Olympia production file 2.

  216 Silence in Lost Weekend: New York Times, July 16, 1944.

  216 Hepburn in Lost Weekend: Los Angeles Examiner, July 7, 1944.

  217 Censors respond to Lost Weekend: AMPAS, Paramount Collection, The Lost Weekend production file 4.

  218 Scheduling of Lost Weekend and Fidler broadcast: AMPAS, Paramount Collection, The Lost Weekend MPAA file.

  218 “But the head of Paramount…”: Columbus, p. 27.

  218 “At the time, alcoholism …”: Ciment, Positif July/Aug. 1983.

  218 Stanwyck in Lost Weekend: Madsen, Stanwyck, p. 220.

  218 “That drunk film”: Quirk, p. 79.

  218 Wilder, Terry, and Fontaine: The Lost Weekend pressbook.

  218 Production meeting on Lost Weekend: AMPAS, Paramount Collection, The Lost Weekend production file 4.

  219 The Met’s demand: AMPAS, Paramount Collection, The Lost Weekend production file 4.

  219 “Will you please see …”: AMPAS, Paramount Collection, The Lost Weekend production file 4.

  219 Sale and purchase of properties: Room 208, Los Angeles County Registrar and Recorder of Deeds, Norwalk, California.

  219 “Increasingly snappish and morose”: Milland, p. 215.

  220 October 5 memo: AMPAS, Paramount Collection The Lost Weekend, production file 4.

  220 On the hidden cameras: Milland, p. 217; American Film Institute Oral History with John F. Seitz, p. 152.

  221 Filming at and around Bellevue: Jensen, March 11, 1946; Erskine Johnson, “Billy Wilder’s Trail of Whims,” Los Angeles Mirror, July 12, 1961.

  221 Completing shooting in New York and traveling back to Los Angeles: AMPAS, Paramount Collection, The Lost Weekend production files 3 and 4.

  221–22 Censorship problems, Allied Liquor Industries, Jackson, and Brackett’s remarks to the press: AMPAS, Paramount Collection, The Lost Weekend MPAA file.

  222 On Doris Dowling and Audrey Young: Freeman, p. 75.

  223 “I almost went crazy with excitement…”: Creelman, Eileen, “Doris Dowling Discusses Her First Movie, ‘The Lost Weekend,’ Due Soon at the Rivoli,” New York Sun, Nov. 24, 1945.

  224 “Brilliant, beautiful, and as hard …”: Lemon, p. 37.

  224 Note on Audrey Young’s singing career: Young’s splendid recordings include “Sentimental Rhapsody,” “On the Painted Desert,” “Sunlight Souvenirs,” and “Where Is the One?” all with Tommy Dorsey in 1947.

  224 “With her reed-slim figure …”: Vilidas, p. 154.

  224 Audrey calls Billy on the phone: Karasek, p. 327.

  224–25 Seitz’s technical achievements: Paramount News, June 1945; AFI Oral History with John F. Seitz, pp. 56, 152–53; The Lost Weekend pressbook.

  225 Note on the stunt: It has been reported that the camera was strapped to Milland’s own chest, but it is unlikely that he would have performed such a dangerous stunt on his own.

  225 Synchronization of raindrops: Paramount News, July 1945.

  225 Cigarette rationing: Paramount News, Feb. 1945.

  225–26 History of the war in the fall of 1944: Weinberg, p. 752.

  226 Reporting the Holocaust: Heilbut, p. 113; Wyman, pp. 324–25.

  226 “A bit like the old court Jews …”: Heilbut, p. ix.

  226 “Is that all you got to do …” and family photographs on the set: The Lost Weekend pressbook.

  228 “A long ululating howl”: Milland, pp. 215–16.

  228 “The stronger ego kills the weaker” and “Birnam’s hallucination …”: The Lost Weekend pressbook; Scheuer, Philip K., “Die Cast on Doings of Drunk,” Los Angeles Times, Dec. 3, 1944.

  228 On Olympia: Los Angeles Examiner, Nov. 11, 1944.

  228 Censors respond to Gloria and the bat: AMPAS, Paramount Collection, The Lost Weekend MPAA file.

  229 Production schedule and budget of Lost Weekend: AMPAS, Paramount Collection, The Lost Weekend production file 2.

  229 Announcement of Count of Luxembourg: Los Angeles Examiner, Jan. 19, 1945.

  229 Budget of Count of Luxembourg: AMPAS, Paramount Collection, The Count of Luxembourg file.

  229 Announcement of Around the World: Los Angeles Examiner, Jan. 31, 1945.

  230 Luise Rainer story: Zolotow, p. 123; Lally, p. 140.

  231 “The studio was against it…”: Variety, April 14, 1954.

  231 “Told me it was a great movie …”: Hitchens, p. 217.

  231 Rumor about Costello, story about De Sylva and Freeman: Friedrich, pp. 416–17.

  232 Hope’s joke about Freeman: Zolotow, p. 127.

  232 Freeman and the word homosexual: Chierichietti, p. 16.

  CHAPTER 14

  233 Note on the “Beast of Belsen” line: This line, delivered by Johnny to Erika, appears in Wilder’s earliest treatment of A Foreign Affair but was deleted thereafter.

  234 On McClure: Pogue, p. 86.

  234 On Davis: Laurie, p. 114.

  235 “One of the greatest honors …”: Los Angeles Examiner, March 5, 1945.

  235 “According to CNDI LA 2718 …”: Lyon, Brecht, p. 284.

  235 Fisk Building meeting on VE Day: Zolotow, p. 135; Karasek, p. 303. Note: Wilder was probably already in London by VE Day, since British newspapers reported his presence there as early as April 18.

  235 Note on Wilder’s rank: The National Archives in College Park, Maryland, house many boxes of documents pertaining to the Psychological Warfare Division offices at Bad Homburg and Berlin and the activities of PsyWar employees. None of these documents refer to Billy Wilder as an officer of the United States Army. Instead, they refer to him as “Mr. Wilder,” in contrast, for example, to Colonel William Paley.

  236 Wilder’s vision of London: Karasek, p. 304.

  236 “I can say very little now …”: Ernest Betts, “Little Man, Long Title,” Daily Express, April 18, 1945.

  236 On Voss: Lally, p. 152.

  237 Reporting the Holocaust: Heilbut, p. 113.

  237 “There was an entire field …”: “Billy, How Did You Do It?”: Billy Wilder in Conversation with Volker Schlöndorff, BBC-TV, 1988.

  238 “A kind of dog food”: Karasek, p. 304.

  238 Bad Homburg compound: Paley, p. 169.

  238 Sally Taylor’s recollections: Interview with the author, Feb. 11, 1997.

  238 “Over and over we would fix …”: Smith, p. 224.

  239 Exploding champagne story: Lemon, p. 36.

  239 “Which ones were the least…”: Freeman, p. 75.

  239 On Werner Krauss: Lally, p. 152.

  239 Anton Lang story: Lemon, p. 36.

  240 Holocaust documentary plans: National Archives at College Park, Record Group 260, Box 290.

  241 “The preview occurred …”: Lally, pp. 154–55.

  242 Note on Todesmullen: In November, two months after Billy returned to the States, an almost-final version of Todesmullen was screened—first to an audience comprised of Information Control Division (ICD) staffers in Bad Homburg, and later, with assistance from intelligence officers, to a German audience in Frankfurt. One version of the film had been screened in Erlangen, but it was greeted so unfavorably that it was abandoned—this may be the night of the stolen pencils, but no memos of that particular screening seem to have survived. According to records in the National Archives, the final (or perhaps a final) version of Todesmullen was put together in London by Ivor Montagu and various assistants from ICD and OWI, with narration written and recorded in Munich by Lieutenant Oskar Seidlin. After the Frankfurt screening, the decision was made to cut only a single image—a body thrown off a wagon. Based on the success of the screening, 114 prin
ts of the film were ordered so that Todesmullen could be exhibited widely beginning in January. Later, the military government in parts of Bavaria did make screenings of Todesmullen mandatory and attached an attendance record to the Germans’ ration cards so they couldn’t obtain food unless they saw it, but because this practice was strictly against policy it was soon halted. By that point Billy Wilder had been back in Hollywood for several months.

  242 Todesmullen postponed: National Archives at College Park, Record Group 260, Box 290.

  242 German audience polls: National Archives at College Park, Record Group 260, Box 289, “Film Test Screening” file.

  242 Note: KZ is German shorthand for Konzentrationslager, or concentration camp.

  242 “Except three women …”: National Archives at College Park, Record Group 208, “OB Motion Picture Bureau—June, 1945” file.

  242 “The atrocity film we now …” and other memos: National Archives at College Park, Record Group 260, Box 290.

  242 Reediting of footage: National Archives at College Park, Record Group 260, Box 280, “Film Production” file.

  243 “I never met a single Nazi…”: Karasek, p. 313.

  243 “I know the decent ones …”: Lally, p. 153; “Billy, How Did You Do It?: Billy Wilder in Conversation with Volker Schlöndorff,” BBC-TV, 1988.

  244 The nun story: Zolotow, pp. 137–38.

  244 “The summer of ‘45 …”: Karasek, p. 310.

  244–45 The cemetery story: Karasek, p. 312; Lally, p. 153; Zolotow, p. 138. Note: Wilder had a new gravestone erected at the Jewish cemetery in Weissensee (Field H6, Row 16) to honor his father’s memory after the original stone was destroyed in the war.

  246 The Mrs. Miniver story: Lally, pp. 155–56.

  247 Wilder’s and Paley’s memos: National Archives at College Park, Record Group 260, Box 280, “Film Production” file.

  249–50 Gin rummy story: Karasek, p. 321.

  250 Grosz painting: People, Nov. 13, 1989, p. 157.

  CHAPTER 15

  251 Divorce settlement: Judith Wilder v. Billy Wilder, Case #D292642, Los Angeles County.

  251 Moving in with Lubitsch: Los Angeles Examiner, Oct. 4, 1945.

  251 On Victoria: Zolotow, pp. 141–48.

  251 Divorce finalized: Judith Wilder v. Billy Wilder, Case #D292642, Los Angeles County.

  251 Judith’s engagement: Los Angeles Examiner, March 5, 1947.

  252 Glass Alibi announcement: Los Angeles Examiner, Aug. 7, 1945.

  253 Kohner represents Willie and discussion of Emil remake: Sammlung Paul Kohner, Stiftung Deutsche Kinemathek, William Wilder file.

  253 “A dull son of a bitch”: “Dialogue on Film,” p. 45.

  253 Brackett contacts Jackson: AMPAS, Paramount Collection, The Lost Weekend production file 1.

  253 Rózsa exhange with Selznick: Rózsa, p. 148.

  254 Escalated cost of Lost Weekend: AMPAS, Paramount Collection, The Lost Weekend production file 4.

  254 “As things finally developed …”: Variety, April 14, 1954.

  254 “Once we make a picture …”: Wiley and Bona, p. 150.

  254 “Take no steps …”: AMPAS, Paramount Collection, The Lost Weekend MPAA file.

  254–55 Censorship concerns: AMPAS, Paramount Collection, The Lost Weekend MPAA file.

  255 “London is on a praise binge …” and “Even with the paper shortage …”: Wiley and Bona, p. 150.

  255 “Paramount found the courage …”: The Lost Weekend pressbook.

  255–56 Critics on Lost Weekend: New York Herald Tribune, Dec. 3, 1945; Hollywood Reporter, Aug. 14, 1945; John McCarten in the New Yorker, quoted in Motion Picture Daily, Dec. 6, 1945; Louella Parsons, Los Angeles Examiner, undated clipping in AMPAS, Paramount Collection, The Lost Weekend MPAA file; New York Times, Dec. 3, 1945.

  256 “Paramount has succeeded …”: Wiley and Bona, pp. 150–53.

  256 Times interview: Thomas Pryor, “End of a Journey,” New York Times, Sept. 23, 1945, Sec. II, p. 3.

  256 The jeep: Los Angeles Examiner, Dec. 13, 1945, and Feb. 12, 1946.

  257 Oscar details: Wiley and Bona, pp. 150–56.

  258 Bottles hanging from the windows: Zolotow, p. 140.

  CHAPTER 16

  259 Nicknames for Brackett and Wilder: Milland, p. 213.

  259 Louella Parsons’s broadcast: Transcript of radio show, Feb. 17, 1946, on file at the Archives of the Performing Arts, Doheny Library, University of California.

  260 “TO ALL CONCERNED …”: AMPAS, Paramount Collection, The Emperor Waltz screenplay file.

  262 Zweig quotation: Heilbut, p. 34.

  262 On Bing Crosby: Osterholm, p. 34.

  263 Note on Fontaine’s deal: On the other hand, Fontaine’s biographer Marsha Lynn Beeman claims that Paramount paid Selznick $225,000 for Fontaine, of which Selznick paid Fontaine herself $75,000 minus her agent’s commission. Beeman, p. 22; AMPAS, legal briefs file on Joan Fontaine.

  263 Censorship concerns: AMPAS, Paramount Collection, The Emperor Waltz MPAA file.

  264 Budget figures: AMPAS, Paramount Collection, The Emperor Waltz production file 4.

  265 Joan Fontaine recollections: Interview with the author, May 22, 1996.

  265 On Barney Dean: Osterholm, p. 34.

  267 Crosby yells at dog: Osterholm, p. 265.

  267 Costuming: Head, pp. 71–72.

  267 “Stinkers,” etc.: Kanin, p. 179.

  267 “That’s my story …”: Eyman, p. 350.

  268 “Ice cream parlor …”: Karasek, p. 340.

  268 “It’s always better to go to a hunting lodge …”: Prelutsky, p. 174.

  269 Love in the Air: AMPAS, Paramount Collection, A Foreign Affair production file 1.

  270 Note on Breens: Richard Breen was no relation to Joseph Breen, the censor.

  270 Title suggestions: AMPAS, Paramount Collection, A Foreign Affair production file 1.

  270 Laughton in Galileo: Freidrich, City of Nets, p. 291; Callow, pp. 187–90.

  271 Wilder and crew to Berlin: AMPAS, Paramount Collection, A Foreign Affair production file 13.

  271 Pommer at ICD: National Archives at College Park: Record Group 260: Records of United States Occupation Headquarters, World War II; OMGUS, Records of the Information Control Division, Motion Picture Branch, Records Re: Motion Picture Production and Distribution, 1945–1949; stack area 390; row 42; Record Group 260, Box 280: “Foreign Affairs” file and Box 278: “Location work Bad Nauheim” file.

  271 Raw film stock: National Archives at College Park: Record Group 260, Box 278, “Location work Bad Nauheim” file.

  271 Location shooting details: National Archives at College Park: Record Group 260: Records of United States Occupation Headquarters, World War II; OMGUS, Records of the Information Control Division, Motion Picture Branch, Records Re: Motion Picture Production and Distribution, 1945–1949; stack area 390; row 42; Record Group 260, Box 280: “Foreign Affairs” file; AMPAS, Paramount Collection, A Foreign Affair production file 14; Paramount News, Sept. 1, 1947.

  272 “After viewing aerial shots …”: Woodcock, p. 15.

  272 Dietrich details: Bach, p. 330; Dietrich, p. 226; Spoto, Blue Angel, pp. 212–13.

  272 Dietrich’s fee: AMPAS, Paramount Collection, legal briefs file on Marlene Dietrich.

  272 Arthur details: Pierce, p. 71.

  273 Arthur’s fee: AMPAS, Paramount Collection, legal briefs file on Jean Arthur.

  274 HUAC details and Wilder’s remarks: Navasky, p. 79; Ceplair and Englund, pp. 275–76; Berg, pp. 434–35; Friedrich, p. 304; Goodman, p. 419.

  275 Kohner and the Mays: Sammlung Paul Kohner, Stiftung Deutsche Kinemathek, h. ss-88/1h-6, file 1.

  276 Death of Lubitsch: Friedrich, p. 417; Eyman, pp. 357–60.

  276 Robe rumor: Los Angeles Examiner, Dec. 1, 1947; Hollywood Reporter, Oct. 26, 1953.

  276 Goldwyn story: Berg, p. 426.

  276 Censorship problems with Foreign Affair: AMPAS, Paramount Collection, A Foreign Affair MPAA file.
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  277 Dietrich vs. Arthur: Bach, p. 335.

  277 “Absolutely frenzied …”: “Dialogue on Film,” p. 37.

  277 “What a picture …”: Bach, p. 335.

  277 Foreign Affair wraps: AMPAS, Paramount Collection, A Foreign Affair production files 13 and 14.

  278 Denunciation in Congress: Heilbut, p. 244.

  278 “Berlin’s trials and tribulations …”: Bach, p. 334, quoting Stuart Schulberg, who vetted American films for German consumption in the postwar era; Schulberg, p. 435.

  278 Critics on Emperor Waltz: Hollywood Reporter, May 3, 1948; Variety, May 3, 1948; Motion Picture Daily, May 3, 1948.

  279 Palestine project: Los Angeles Examiner, May 13, 1948.

  279 Wilder on marrying Dowling: Karasek, p. 325.

  279 Wilder’s affair with Lamarr: Los Angeles Examiner, April 17, 1949.

  279 Wilder meets Eames: John Neuhart interview with the author, Dec. 4, 1997.

  279 “We asked them one day …”: Billy Wilder to Donald Albrecht, May 20, 1994.

  279 “The morning we were leaving …”: “Billy Wilder: The Human Comedy,” American Masters, PBS, 1998.

  279 Louella announces marriage: Los Angeles Examiner, July 1, 1949.

  279 “She was the worst…”: Karasek, p. 328.

  280 Goldwyn and Griffith: Berg, p. 447.

  280 European Relief Fund: “Paul Kohner: Hollywood’s Gentleman Agent” (exhibition), Goethe-Institut, Los Angeles, April 10–May 31, 1997.

  280–81 Art purchases: Deutsch, “Scenario,” p. 84.

  281 “Sitting in the living room …”: Berg, p. 446.

  281 Meeting with Garbo: Paris, pp. 419–20.

  282 The Blue Danube: “Paul Kohner: Hollywood’s Gentleman Agent” (exhibition), Goethe-Institut, Los Angeles, April 10–May 31, 1997; Los Angeles Examiner, April 6, 1949.

  CHAPTER 17

  284–85 Clift’s fee: AMPAS, Paramount Collection, legal briefs file on Montgomery Clift.

  285 Clift goes skiing: LaGuardia, pp. 78–79.

  285 “You must remember …”: Playboy, June 1963, p. 65.

  285 Swanson details: Saturday Evening Post, July 22, 1950, pp. 31, 56.

  286 “For a long time …” Linville, p. 55. Note: West would have been a reasonable option, since her last film, a flop, had been in 1943. Brando, however, is less likely to have been considered at the time. Unlike Clift, Brando hadn’t yet made any movies at all.