2. William Chafe, The Unfinished Journey: America Since World War II (New York, 1986), pp. 98; 132; Arthur Miller, Echoes Down the Corridor: Essays, 1944–2000, ed. Steven Centola (New York, 2000), p. 190; Eric Goldman, The Crucial Decade – and After: America, 1945–1960 (New York, 1960), p. 278; Eisenhower, in Samuel Eliot Morison, The Oxford History of the American People (New York, 1965), p. 1084.
3. David Caute, The Great Fear: The Anti-Communist Purge Under Truman and Eisenhower (New York, 1978), pp. 508–509; Kazan, Life, p. 461; Brater, Arthur Miller, p. 60.
4. Charles Williams, "Salem," Witchcraft (1941; New York, 1959), p. 288; Edmund Morgan, "Arthur Miller's The Crucible and the Salem Witch Trials:A Historian's View," The Golden and the Brazen World: Papers in Literature and History, 1650-1800, ed. John Wallace (Berkeley, 1985), pp. 175; 182; 184; Aldous Huxley, The Devils of Loudon (1952; New York, 1965), p. 122.
5. Miller, Echoes Down the Corridor, p. 291; Miller, Timebends, p. 337; Arthur Miller, The Crucible (New York, 1981), p. 54.
6. Odets, in Zolotow, Marilyn Monroe, p. 265; Kazan, Life, p. 367; Robert Warshow, "The Liberal Conscience in The Crucible," The Immediate Experience (1962; Cambridge, Mass., 2001), p. 167; Roudané, Conversations with Arthur Miller, p. 263.
7. Miller, Echoes Down the Corridor, p. 282; Miller, The Hook, p. 18, unpublished screenplay, 1949, Lilly Library, Indiana University; Schickel, Elia Kazan, pp. 225, 227.
Leo Braudy, in an otherwise excellent study, On the Waterfront (London, 2005), p. 17, agrees with Schickel that Waterfront is not "a partial ripoff, if not an outright plagiarism, of the script for The Hook." But Barbara Leaming, Marilyn Monroe, p. 175, and Martin Gottfried, Arthur Miller, p. 231, point out some striking resemblances in the theme and atmosphere of both works.
8. Albert Wertheim, "A View from the Bridge," The Cambridge Companion to Arthur Miller, ed. Christopher Bigsby (Cambridge, England, 1997), pp. 107–108, and quoting The Hook, p. 173; Gottfried, Arthur Miller, p. 235; Christopher Bigsby, ed., Arthur Miller and Company (London, 1990), p. 126.
9. Budd Schulberg, On the Waterfront: The Final Shooting Script (Hollywood, 1980), p. 132; Kazan, Life, p. 500; Brando, Songs My Mother Taught Me, p. 195.
Both Schulberg and Kazan spent their whole lives trying to exculpate themselves and justify their disgraceful behavior. Schulberg also tried to justify his earlier betrayal of Scott Fitzgerald in Hollywood. See Jeffrey Meyers, Scott Fitzgerald: A Biography (New York, 1994), pp. 313–315.
10. Miller, Timebends, pp. 152; 419; Miller, in Gottfried, Arthur Miller, p. 305; Eric Bentley, "Theatre," New Republic, 133 (December 19, 1955), 21.
Ten:Witch Hunt
1. Victor Navasky, Naming Names (1980; London, 1981), p. 212n; Miller, Echoes Down the Corridor, p. 290; Miller, Timebends, p. 406.
2. Letter from Arthur Miller to Lloyd Garrison, May 22,1956, Library of Congress; Arthur Miller, FBI file.
3. Navasky, Naming Names, p. 202; Caute, Great Fear, p. 501.
4. Mary McCarthy, "Naming Names: The Arthur Miller Case, " On the Contrary: Articles of Belief, 1946–1961 (1961; New York, 1966), p. 148; Testimony of Miller, HUAC, FBI file, pp. 7, 10; 16; 26; 29.
5. Testimony of Miller, FBI file, pp. 38; 27; Kenneth Tynan, Profiles (1989; New York, 1990), p. 117;Testimony of Miller, FBI file, pp. 30, 31.
6. Lardner, in Jeffrey Meyers, Bogart: A Life in Hollywood (Boston, 1997), p. 207;Testimony of Miller, FBI file, pp. 33, 34, 36.
When asked in 2000 if he'd ever been disappointed with the performance of his plays, Miller echoed his HUAC testimony and replied: "I don't want to mention names because some of these actors are still around and they've got enough trouble" (Enoch Brater, ed., Arthur Miller's America: Theater & Culture in a Time of Change, Ann Arbor, 2005, p. 252).
7. Miller, FBI file; Walter Goodman, The Committee (Baltimore,1968), p. 392; Caute, Great Fear, p. 536; McCarthy, On the Contrary, pp. 149, 154.
8. Navasky, Naming Names, pp. 199, 200; 423; Lillian Hellman, "Lillian Hellman Wants a Little Respect for Her Agony," Show, 4 (May 1964), 12.
9. Navasky, Naming Names, p. 219; Letter from Arthur Miller to Saul Bellow, July 8, 1956, University of Chicago Library.
10. Bigsby, Remembering Arthur Miller, p. 63; "Arthur Miller," "Paris Review" Interviews, p. 228; Testimony of Miller, FBI file, p. 32; Rosten, Marilyn, p. 31.
11. Guiles, Legend, p. 302; Michiko Kakutani, "Arthur Miller," The Poet at the Piano: Portraits of Writers (New York, 1989), p. 163; Mailer, Marilyn, p. 93.
12. Remembering Marilyn, Vestron video, 1988; Meryman, in Rollyson, Marilyn Monroe, p. 212; Letter from Miller to Joseph Rauh, August 12, 1958, Library of Congress.
13. "Timon," in Centinela Press (Hawthorne, California), March 17, 1957, Miller, FBI file; Miller, Timebends, p. 403; Marilyn Monroe, FBI file.
14. Joseph Rauh, "Draft of statement to be issued by Arthur Miller in case of indictment," January 2, 1957; Rauh, "Basis of Appeal, " p. 2, Library of Congress;"Arthur Miller, ""Paris Review" Interviews, p. 228.
15. Letter from Rauh to Alan Howe, August 11, 1958; Miller, statement, August 7, 1958; Letter from Rauh to Allan Seager, January 10, 1959, Library of Congress.
16. Letter from Miller to Rauh, quoting Skouras, August 9, 1958; Letters from Miller to Rauh, November 13, 1957, June 12, 1959 and August 5, 1960, Library of Congress.
17. Bigsby, Remembering Arthur Miller, p.268;Christopher Bigsby, Arthur Miller: A Critical Study, (Cambridge, England, 2005), p. 226.
Eleven: Marriage and England
1. Leaming, Marilyn Monroe, p. 275; Miller, Timebends, pp. 379; 522; Leaming, Marilyn Monroe, p. 245. For the photo, see Haspiel, Marilyn, p. 136.
2. Letter from Miller to Bellow, July 8, 1956, University of Chicago Library; Susan Strasberg, Marilyn and Me, p. 112; Guiles, Legend, pp. 306–307; Evelyn Waugh, Brideshead Revisited (1945; London, 1962), pp. 184–185; Christie's, Personal Property, p. 251.
3. Evan Zimroth, "Marilyn at the Mikvah," in McDonough, All the Available Light, p. 183; Telegram to Spyros Skouras, April 1961, Stanford University Library; Letter from Miller to Bellow, July 8, 1956, University of Chicago Library; Marilyn, in Clare Boothe Luce, in All the Available Light, p. 93.
4. Letter from Marilyn to Charles Feldman, April 18, 1955, American Film Institute; Telegram from Buddy Adler to Spyros Skouras, [1956], Stanford University Library; Rosten, Marilyn, p. 39; Sandra Shevey, The Marilyn Scandal (New York, 1987), p. 258.
5. Zolotow, Marilyn Monroe, p. 299; Clark, The Prince, the Showgirl and Me, p. 105; Hugo Vickers, Vivien Leigh (Boston, 1988), p. 239; Letter from Miller to Norman Rosten, October 13, 1956, courtesy of Patricia Rosten Filan.
6. Paula, in Mailer, Marilyn, p. 229; Anthony Holden, Laurence Olivier (New York, 1990), pp. 305; 306; Clark, The Prince, the Showgirl and Me, pp. 71; 73.
7. Olivier, in "N.B.," Times Literary Supplement, March 7, 2008, p. 36; Cardiff, Magic Hour, p. 207; Miller, in Guiles, Legend, p. 321.
8. Vickers, Vivien Leigh, p. 239; Donald Spoto, Laurence Olivier: A Biography (New York, 1992), p. 271; Olivier, in Clark, The Prince, the Showgirl and Me, p. 109; Pepitone, Monroe Confidential, p. 60.
9. Miller, Timebends, pp. 429; 418; Miller, in Guiles, Legend, pp. 314; 315; 320; 319.
10. Susan Strasberg, Marilyn and Me, p. 122; Miracle, My Sister Marilyn, p. 176; Gottfried, Arthur Miller, p. 303; Christie's, Personal Property, p. 345.
11. Letter from Miller to Norman Rosten, October 13, 1956, courtesy of Patricia Rosten Filan; Clark, The Prince, the Showgirl and Me, p. 210; Marilyn, in Spoto, Marilyn Monroe, p. 388;Winters, Shelley II, p. 216.
12. Miller, in Guiles, Legend, p. 276; Zolotow, Marilyn Monroe, p. 315; Interview with Arthur Miller, Roxbury, Conn., June 19, 1981; Phone talk with Joshua Greene, New York, October 22, 2007.
Twelve: Heading for Disaster
1. Mailer, Marilyn, p. 234; Miller, Timebends, pp. 468; 489; Norman Mailer, "Strawhead, "Vanity Fair, 49 (April 1986), 63; Nora Johnson, Flashback on Nunnally Johnson, p.
277; Adams, Lee Strasberg, p. 268.
2. Interview with Curtice Taylor and Letter from Curtice Taylor to Jeffrey Meyers, February 12, 2008; Pepitone, Monroe Confidential, p. 14; Roudané, Conversations with Arthur Miller, p. 52.
3. Sylvia Plath, Unabridged Journals, ed. Karen Kukil (New York, 2000), pp. 513–514; Pepitone, Monroe Confidential, pp. 40; 30–31; Gottfried, Arthur Miller, p. 312.
4. Carson McCullers, Illuminations and Night Glare: The Unfinished Autobiography (Madison, Wisconsin,1999), p.61;Carr, Lonely Hunter, p. 480; Judith Thurman, Isak Dinesen:The Life of a Storyteller (New York, 1982), p. 424.
5. Carson McCullers, "Isak Dinesen: In Praise of Radiance," Saturday Review, March 16, 1963, p. 83; Thurman, Isak Dinesen, pp. 387n; 425.
6. James Atlas, Saul Bellow:A Biography (NewYork,2000), pp.276–277; Conversations with Saul Bellow, ed. Gloria Cronin and Ben Siegel (Jackson, Miss., 1994), p. 130; Jeffrey Meyers, Robert Frost: A Biography (Boston, 1996), p. 175.
7. Barris, Marilyn in Her Own Words, p.132 and Meryman, in Rollyson, Marilyn Monroe, p.206;Spoto, Marilyn Monroe, p.408;Carl Sandburg, "Tribute to Marilyn Monroe from a Friend," Look, 26 (September 11, 1962), 91–92.
8. R.W.B. Lewis, ed., A Century of Arts and Letters (New York, 1998), p. 163; Interviews with the poet William Jay Smith, Cummington, Mass., October 31, 2007, and with Lydia Kaim, assistant to the director of the Academy, Kennet Square, Penna., December 9, 2007;Victor, Marilyn Encyclopedia, p. 299; Rosten, Marilyn, p.68.
9. Meyers, Robert Frost, p. 339; Goldman, Crucial Decade, p. 331; Winters, Shelley II, pp. 271–272; Goldman, Crucial Decade, p. 331, and Gavin Lambert, "On Marilyn Monroe," On Cukor (New York, 1972), p. 177.
10. William Taubman, Khrushchev: The Man and His Era (New York, 2003), p. 431; Lambert, On Cukor, p. 177; Miller, Timebends, p. 405.
11. Winters, Shelley II, p. 273; Rosten, Marilyn, p. 20; Pepitone, Monroe Confidential, p. 144.
12. Stacy Schiff, Véra (Mrs. Vladimir Nabokov), (1999;New York, 2000), p. 269n; Zolotow, Marilyn Monroe, p. 327;Vladimir Nabokov, Pale Fire (1962; New York, 1968), p. 35.
13. Marilyn, in David Shipman, Movietalk (New York, 1988), p. 78; Wagenknecht, ed., Marilyn Monroe, p. 21; Les Brown, Variety, August 15, 1962, p. 22.
14. Pepitone, Monroe Confidential, pp. 29, 38, 184;Ted Jordan, Norma: My Secret Life with Marilyn Monroe (New York, 1989), pp. 226–227.
15. Mailer, Marilyn, p. 243;W. J. Weatherby, Conversations with Marilyn (New York, 1976), p. 131; Guus Luitjers, ed., Marilyn Monroe: A Never-Ending Dream (New York, 1986), p. 81.
16. Pepitone, Monroe Confidential, p. 97; Kazan, Life, p. 668;Weatherby, Conversations with Marilyn, p. 144.
17. Stapleton, in Summers, Goddess, p. 181; Susan Strasberg, Marilyn and Me, p. 170; Pepitone, Monroe Confidential, p. 117.
For the similar complaint of another dissatisfied woman, see Hemingway, "Cat in the Rain" (1925), Short Stories, p. 170: "I want to eat at a table with my own silver and I want candles. And I want it to be spring and I want to brush my hair out in front of a mirror and I want a kitty and I want some new clothes."
18. Letter from Marilyn to Norman and Hedda Rosten, [mid-1950s], courtesy of Patricia Rosten Filan; Jeffrey Meyers, "Miller's Outtakes," American Drama, 15 (Winter 2006), 87; Conversations with Norman Mailer, ed. Michael Lennon (Jackson, Miss., 1988), pp. 317; 203.
19. Rosten, in Manso, Mailer, pp. 538–539; Mailer, Marilyn, pp. 22, 23.
20. Susan Strasberg, Bittersweet, p. 156; Mailer, Marilyn, p. 170; Rosten, Marilyn, pp. 66–67.
21. Susan Strasberg, Marilyn and Me, p. 134; Miller, in Guiles, Legend, p. 333.
Thirteen: Billy Wilder and Yves Montand
1. The train going south stops in Washington, Charleston, Savannah, Jacksonville and Miami, as if it were traveling down the East Coast from New York instead of southeast from Chicago.
2. Tony Curtis and Barry Paris, Tony Curtis:The Autobiography (New York, 1993), pp. 169; 157; Interview with Walter Mirisch, Universal City, California, November 14,2007;Maurice Zolotow, Billy Wilder in Hollywood (New York, 1977), p. 257.
3. Cameron Crowe, Conversations with Wilder (New York, 1999), pp. 159–160;Don Widener, Lemmon:A Biography (London, 1977), p. 170; Interview with Walter Mirisch; McCann, Marilyn Monroe, p. 105.
4. Wilder, who grew up during the waning years of the Austro- Hungarian Empire, was fond of Czech and Polish names that began and ended with "k." The janitor in The Seven Year Itch is named Kruhulik; the heroine of The Apartment, played by Shirley MacLaine, is called Kubelik. Wilder named dubious characters in both Sunset Boulevard (1950) and The Apartment (1960) "Sheldrake, " which also seemed comical, and may have reminded him of the German word Dreck ("filth" or "shit").
5. Little Bonaparte's speech to the convention quotes, ironically, both Alexander Pope's Essay on Criticism (1711): "To err is human, to forgive divine," and General Motors' president Charles Wilson's "What's good for the country is good for us."
As the musicians approach the hotel, the script paraphrases Ira Gershwin's "Summertime"from Porgy and Bess (1935):"Wintertime and the livin' is easy, fish are jumpin' and the market is high." Billy Wilder and I. A. L. Diamond, "Some Like It Hot," Best American Screenplays 2, ed. Sam Thomas (New York, 1990), pp. 142, 141, 112.
6. Wilder and Diamond, Some Like It Hot, pp. 127–128; 107; 98; 108.
7. Wilder and Diamond, Some Like It Hot, pp. 108; 100; 108; 144; 145–146; 130.
8. Letter from Marilyn to Norman Rosten, October 27, 1958, courtesy of Patricia Rosten Filan; Gottfried, Arthur Miller, p. 319; Wilder, in Victor, Marilyn Encyclopedia, p. 194; Zolotow, Billy Wilder in Hollywood, pp. 260; 263–264.
9. Jay Leyda, Voices of Film Experience: 1894 to the Present (New York, 1977), pp. 507–508; Billy Wilder: Interviews, ed. Robert Horton (Jackson, Miss., 2001), p. 170.
10. Crowe, Conversations with Wilder, p. 37; Kevin Lally, Wilder Times: The Life of Billy Wilder (New York, 1996), p. 295; 293;Wood, Bright Side of Billy Wilder, p. 161.
11. Zolotow, Billy Wilder in Hollywood, pp. 265–267; Lally, Wilder Times, p. 294.
12. Laura Mulvey, in Jim Hillier and Peter Wollen, eds., Howard Hawks: American Artist (London, 1996), p. 216;Victor, Marilyn Encyclopedia, p. 204; Hervé Hamon and Patrick Rotman, Yves Montand: You See, I Haven't Forgotten, trans. Jeremy Leggatt (New York, 1992), pp. 317; 325; Mailer, Marilyn, p. 19.
13. Guiles, Legend, p. 377; Miller, Timebends, p. 466; Guiles, Legend, pp.
370-371; Simone Signoret, Nostalgia Isn't What It Used to Be (1976; New York, 1979), p. 339.
14. Montand, in Guiles, Legend, p. 371; Hamon, Yves Montand, pp. 320; 324; Luitjers, Marilyn Monroe, p. 81.
15. Pepitone, Monroe Confidential, p. 158; Christopher Isherwood, Diaries:Volume One, 1939–1960, ed. Katherine Bucknell (London, 1996), p. 899; Signoret, Nostalgia, pp. 336, 349.
16. Miller, in Leaming, Marilyn Monroe, p. 369;Hamon, Yves Montand, pp. 326; 328; George Cukor papers, Herrick Library, and Gottfried, Arthur Miller, p. 328.
Fourteen: Making The Misfits
1. Miller, Timebends, p. 457; Arthur Miller, "Please Don't Kill Anything," I Don't Need You Any More (New York, 1967), pp. 74, 75, 77; A. J. Liebling, "The Mustang Buzzers," New Yorker, April 3 and 10, 1954, partly reprinted in Liebling at the "New Yorker": Uncollected Essays, ed. James Barbour and Fred Warner (Albuquerque, 1994), pp. 134-135.
2. Miller, "The Misfits," I Don't Need You Any More, pp. 111; 93; 79; 94; 95, 96; 110; 112.
3. Arthur Miller and Serge Toubiana, The Misfits: Story of a Shoot (London,2000), p.60 and Letter from Arthur Miller to John Huston, July 14, 1958, Huston papers, Herrick Library; Lawrence Grobel, The Hustons (1989;New York,1990), pp.477–478; Letter from Miller to Huston, June 16, 1959, Huston papers, Herrick Library.
At the end of The Asphalt Jungle, the Sterling Hayden character, who comes from the Kentucky bluegrass country, makes it back home at the end and dies of a bullet wound, surrounded and nuzzled by the horses on his old farm. Huston would also
achieve a powerful climax at the end of Under the Volcano (1984), when gunfire frightens a horse that bolts and fatally injures the hero's wife.
4. "Arthur Miller Chez John Huston en Irlande," p. 36 (no author or source), Herrick Library, my translation; Interview with Angela Allen, London, November 22, 2007; James Goode, The Making of "The Misfits" (1963; New York, 1986), p. 100.
5. Goode, Making "Misfits", p. 241; Eve Arnold, Marilyn Monroe: An Appreciation (New York, 1987), p. 92; Letter from John Huston to Mrs. J. J. O'Donahue, May 11, 1961, Huston papers, Herrick Library; J. M. Coetzee, "Arthur Miller, The Misfits," Inner Workings: Literary Essays, 2000-2005 (New York, 2007), p. 225; Goode, Making "Misfits", p. 90.
6. Arnold, Marilyn Monroe, p. 87; Conversations with Capote, ed. Lawrence Grobel (New York, 1985), p. 160; John Huston: Interviews, ed. Robert Emmet Long (Jackson, Miss., 2001), p. 173.
7. Interview with Curtice Taylor; Miller, Timebends, p. 461; John Huston: Interviews, pp. 172; 18.
8. McIntyre, Making "The Misfits", p. 79; Letters from Arthur Miller to Saul Bellow, [Summer 1960], University of Chicago Library; Christie's Personal Property, pp. 69, 337, 68.
9. Interview with Angela Allen; Miller, Timebends, p. 479.
10. Allen, Huston and Nan Taylor in Guiles, Legend, pp. 385; 380; 387; Interview with Angela Allen.
11. Gussow, Conversations with Miller, p.145; James Whitcomb, "Marilyn Monroe – The Sex Symbol Versus the Good Wife," Cosmopolitan, 149 (December 1960), 57.
12. Weatherby, Conversations with Marilyn, p. 70; Guiles, Legend, p. 397n; Gottfried, Arthur Miller, p. 326.
13. John Huston: Interviews, p. 110; John Huston, An Open Book (1980; New York, 1994), p. 288; Miller, in Guiles, Legend, p. 275.
14. Spoto, Marilyn Monroe, pp.446;434;Rosten, Marilyn, p.77;Pepitone, Monroe Confidential, p. 150.
15. Wallach, The Good, the Bad, and Me, p.226; Luitjers, Marilyn Monroe, p. 18; Miller, Timebends, pp. 470; 481.
16. Rosten, Marilyn, p. 75; Clift, in Weatherby, Conversations with Marilyn, p. 76; Miller, in Goode, Making "Misfits", p. 300.
17. Miller and Toubiana, The Misfits, p. 37; James Salter, Burning the Days (New York, 1997), p. 272; Miller and Toubiana, The Misfits, pp. 44, 185.
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