I must thank Marybeth Evans in London for her diligent work in the Manchester Central Library reviewing reams of documents for me there.
Thanks also to the staffs of the Hans Tasiemka Archives in London and the Special Collections Library of the University of California in Los Angeles.
Thanks also to Teri Donato for all of her research help in Italy, and for the tremendous amount of work she did regarding Cleopa- tra. I must also acknowledge Juliette Burgonde and Cloe Basiline for translating so many hundreds of pages of Italian interviews and other documents for me. I certainly would not have been able to manage so much of that material without them. Also, I would like to again thank Babette Valmonde, who conducted important in-486 Acknowledgments
terviews for me in France. She was determined to find just the right people to tell the right stories, and her persistence paid off in many ways. I thank her.
Suzalie Rose did much research for me in libraries in Paris and also translated all of her notes into English. Who could ask for more than that? I am deeply indebted to her and to Carl Mathers for their time and keen eyes for accuracy.
A special thanks to the fine folks at Photofest for providing so many of the wonderful photographs that are found in this book. I go to Photofest first whenever I begin the process of selecting pictures to illustrate my books. They always come through for me, and I am grateful to them.
I want to thank all of the fine and dedicated people who work at the Margaret Herrick Library of the Academy of Motion Picture Arts and Sciences for their assistance on this and all of my books. When a journalist asks to review “Elizabeth Taylor’s files”
at that facility, someone will disappear for a few minutes and then return with a cart upon which will be stacked what seems like hundreds of manila folders. “This is from 1942,” she’ll say. “Let me know when you’re finished, and I’ll bring out 1943.” The entire collection goes to the year 2006. It could take years to go through it all. In fact, it did! I want to also thank Jim Pinkston for his research time at the Academy Library. Numerous other organizations and institutions provided me with articles, documents, audio interviews, video interviews, transcripts, and other material that was either utilized directly in Eliz- abeth or just for purposes of background. Unfortunately, it is not possible to thank all of the individuals associated with each organization who were so helpful and gave of their time. However, I would at least like to express my gratitude to the following institutions: the American Academy of Dramatic Arts; the American Film Institute Library; the Associated Press Office (New York); the Bancroft Library at the University of California, Berkeley; the Billy Rose Theater Collection in the Library of the Performing Arts, Lincoln Center, New York; the Brand Library Art and Music Acknowledgments
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Center; the British Film Institute Library Archives; the Boston Herald Archives; the British Theatre Association Library, London; the Beverly Hills Library; the British Broadcasting Corporation; the University of California, Los Angeles; Corbis-Gamma/ Liason; the Ernest Lehman Collection at the University of Southern California; the Glendale Central Public Library; the Hayden Library, Arizona State University; the Hedda Hopper Collection in the Margaret Herrick Library, Academy of Motion Picture Arts and Sciences, Beverly Hills; the Lincoln Center Library of the Performing Arts; the Joseph Losey Collection in the British Film Institute Informational Library, London; the Kobal Collection; the Los Angeles Times; the Los Angeles Public Library; the Louella Parsons Collection at the University of Southern California; the Manchester Central Reference Library, England; the Museum of Modern Art (Film Study Center, New York); the Museum of Broadcasting, New York; the former Metro-Goldwyn-Mayer studio archives, now part of the Turner Entertainment Group, Los Angeles; the National Archives and the Library of Congress; the New York City Municipal Archives; the National Film Archive Stills Library, London; the New York Public Library; the New York University Library; the New York Daily News; the New York Post; the New York Times; Occidental College (Eagle Rock, California); the Philadelphia Free Library (Theater Collection); the Philadelphia Public Library; the Philadelphia Historical Society; the Philadelphia Inquirer and the Philadelphia Daily News, the TimeLife archives and Library, New York; the Universal Collection at the University of Southern California; the Warner Brothers and Universal Pictures Collections in the Cinema and Television Library, University of Southern California; and finally, Rex Photos. What goes into the production of a book of this nature really does at times boggle the mind. I could never do it alone, and if I forgot any single person who contributed in any way to the library research of this book—particularly those who are employed by my researchers and who I may not have even met—I am truly sorry. I am eternally grateful to all of the contributors. Sources and Other Notes
Whenever practical, I have provided sources within the body of the text. Some people were not quoted directly in the text but provided observations that helped me more fully understand Elizabeth Taylor’s life. Also, in writing about a person as popular and influential as Elizabeth Taylor, a biographer is bound to find that many sources with valuable information prefer to not be named in the text. This is reasonable. Throughout my career, I have understood that for a person to jeopardize a long-standing, important relationship for the sake of one of my books is a purely personal choice. Nevertheless, I appreciate the assistance of many people close to Elizabeth who, over the years, gave of their time for this project. I will respect the wish for anonymity of those who require it, and as always, those who could be identified are named in these notes. Since chapter notes are usually not of interest to the general reader, I have chosen a more general—and practical for space limitations—mode of source identification, as opposed to specific page or line notations. The following notes are by no means comprehensive but are intended to give the reader a general overview of my research. In some instances, I included parenthetically the year(s) interviews were conducted.
Sources and Other Notes
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PART ONE: CHILDHOOD
I first have to also acknowledge the participation in this venture of one of Elizabeth’s closest family members, a person who was key in confirming the material in this part of the book, as well as in the rest of this work. This person did not provide information as much as confirm what was obtained by independent research. However, without this person’s thorough reading and evaluation of this book—a very time-consuming project for someone not compensated who did it strictly for accuracy’s sake—I could not be as confident of the material contained herein as I am. This person asked not to be acknowledged for fear of opening the floodgates to other biographers wanting similar access. I understood as much, and agreed. I am so deeply grateful to my source. Thank you so much.
My interviews with the following people provided insight into Sara and Francis Taylor’s early life together: Margaret DeForest, Tom Gates, Irene Massey, and Beatrice Edmonds. Thanks also to Edward Mitchell for the interview and for making available to me
“A Look at the Real Elizabeth Taylor,” Sunday Chicago Tribune, November 9, 1958.
I must give special acknowledgment to Marshall Baldrige and Stefan Verkaufen. Both of these marvelous gentlemen were interviewed back in the year 2000 when I first proposed the idea of an Elizabeth Taylor biography to Warner Books. They had never before been interviewed and were, understandably, reluctant to speak about their memories of Francis Taylor. Having written about complicated families in the past, such as the Kennedys and the Grimaldis, I recognize that nothing is ever simple when it comes to familial dynamics. I did my best to try to understand and relate the Taylor experience, and I hope my affection for all of them is clear in my work. I think it’s safe to say that there is probably no one alive who knew Francis Taylor better than his friends 490
Sources and Other Notes
Marshall and Stefan, and so I am pleased and honored that both were involved in this project. This book could not have been done without their help.
The 1975 documentary Elizabeth Taylor: Hollywood’s Child, produced by Jack Haley Jr., was most helpful. In it, Peter Lawford interviews some of those who’ve been closest to Elizabeth during her life and times. Some comments in this section of the book from Lawford, Richard Brooks, Rock Hudson, Roddy McDowall, Vincente Minnelli, and Sara Taylor were extracted from this documentary. It’s poignant to note that the entire cast, every person who took part in this fascinating documentary, is now long gone, except for the woman they were all discussing—Elizabeth. I also referred to my chief researcher Cathy Griffin’s work on Biography: Elizabeth Taylor, an Arts and Entertainment documentary about Elizabeth Taylor. Cathy wrote and produced the program, which became, at the time of its broadcast in 1993, the highest-rated show in the history of A&E. Since then, it’s been aired worldwide and even received high praise at the Cannes Film Festival. Cathy’s persuasiveness in obtaining Elizabeth’s blessing is considered by some an even greater coup than the documentary itself! Not by me, though . . . the documentary is probably the best thing ever produced about the star. Cathy personally interviewed the screen legend’s closest friends: Michael Jackson, Robert Wagner, Roddy McDowall, and MGM’s legendary hairdresser, Sydney Guilaroff, as well as the venerable entertainment columnist Liz Smith. She allowed me use of her original script (January 31, 1993), notes, and transcripts from her interviews for this book. (Cathy received a lovely letter of thanks from Elizabeth upon the show’s completion.)
I also relied on two of Elizabeth Taylor’s books, Elizabeth Taylor and Elizabeth Takes Off.
I utilized a three-part series Sara Taylor wrote for McCall’s,
“Elizabeth, My Daughter,” in February, March, and April 1954. Also, I referenced a two-part series, again by Sara Taylor, “My Daughter Elizabeth,” in Good Housekeeping, March and April Sources and Other Notes
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1989. Additionally, I utilized “Love and a Girl Named Liz,” by Ann Macgregor, Photoplay, June 1949; “Glenn Davis, Southland Grid Hero to Wed Actress” (no byline), New York Daily News, March 10, 1949; “The Most Exciting Girl in Hollywood,” by Elsa Maxwell, Photoplay, January 1950; “The Wild Welshman” (no author), Look, September 8, 1953. I also utilized Elizabeth’s interview on the Louella Parsons radio show on ABC radio, in Los Angeles, broadcast on July 13, 1947.
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PART TWO: FINDING HER WAY
Interviews with the following people provided insight into Elizabeth’s early career days and her marriages to Nicky Hilton and Michael Wilding: Debbie Reynolds, Ivy Hewett, Paul Young, Mary Schaeffer, and Tom Gates. I also would like to acknowledge the assistance of Stacy and Marie Thomas, who actually attended Elizabeth’s wedding to Hilton and subsequent reception and shared many memories for background purposes. Marianne Lincoln-Barstow worked for Francis Taylor in his Beverly Hills art gallery in her youth. I thank her so much for her tremendous contributions to this book. She spent many hours trying to remember details of a time so long ago, and I am very grateful. I relied on Stefan Verkaufen’s memories for the anecdote about Howard Hughes and the Taylor family in Reno, Nevada. Also, Beatrice Lynn was a secretary to Jules Goldstone, Elizabeth Taylor’s attorney during these years. She provided information concerning Francis Taylor’s dealings with Howard Hughes on Walden Productions. Also, I interviewed William Pawley, who was such a charming man, for an early proposal of this book back in 1997. In this section and throughout the book, comments from James Bacon, Martin Landau, Liz Smith, Linda Yellen, and Austin Pendleton are culled from Elizabeth Taylor: The E! True Hollywood 492
Sources and Other Notes
Story, which was first broadcast in 1998. I also utilized Elizabeth’s appearance on The Tonight Show, February 21, 1992. I referred to Pandro S. Berman’s Oral History, for which he was interviewed by Mike Steen, on deposit at the American Film Institute in Los Angeles. Also from AFI, I utilized their filing of
“Michael Wilding: Second Husband of Liz Taylor Dies,” Los An- geles Times, July 9, 1979.
Elizabeth’s original contract and additional material regarding her deal with Universal Pictures can be found in the Universal Collection at the University of Southern California. I also had a number of sources in the Hilton family and in the extended Taylor family who discussed Elizabeth’s relationship to Nicky Hilton, all of whom asked for anonymity. I am, therefore, honoring their request and gratefully acknowledge their assistance with this very sensitive subject matter. I also referred to the public record: Elizabeth Hilton, Plaintiff v. Conrad N. Hilton, Defen- dant, Superior Court of the State of California, January 29, 1951. Elizabeth Taylor has written about her first marriage in her two memoirs, and I culled some quotes from that source material. I also relied on “Liz: Ms. Taylor Will See You Now,” by Paul Theroux, Talk, October 1999. In 1994, when I was working on a biography of Frank Sinatra, I had the opportunity to interview Stanley Donen, who is mentioned in this book as having had a romance with Elizabeth. (Donen directed Sinatra’s On the Town). “I thought she was a wonderful woman,” he said, “and every second I had with her is one I cherish. As to what was going on in our lives at the time, of course I would never discuss that with you, or anyone else. A gentleman,” he concluded with a smile, “never kisses and tells.”
One of the best celebrity biographies ever published, at least in my opinion, is Monty, a biography of Montgomery Clift by Patricia Bonsworth. I referred to this excellent work for my research. Speaking of Elizabeth’s relationship to Clift, director Franco Zeferelli, who worked with her and Burton in The Taming of the Shrew, tells a good story that didn’t make it into this book’s text. Sources and Other Notes
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It appeared in his tribute to her in the program for the American Film Institute Life Achievement Awards, which I attended on March 11, 1993: “We were filming in Italy when Monty was buried, and Liz’s professionalism would not allow her to break the shoot. By the cruelest of ironies, the day of the funeral was ordained for one of the lightest, silliest comedy scenes in the entire story. One-shot Liz did the whole thing with unsurpassed humor. Only when filming was over did she allow Richard to hold her in his arms and comfort her as she wept for the handsome costar of her youth.”
Obviously, a great deal has been written about Mike Todd over the years, and I referred to a good deal of it for this section of the book. I would like to thank Nicky Jackson, who is a huge fan of Todd’s and who pointed me in the right direction when it came to unearthing material about the impresario, and well as people who knew him back in the day, such as Albert Skinner. And another special thanks to Mr. Skinner for his wonderful memories about Todd and for providing me with “Elizabeth Taylor Says She’ll Reduce Film Activities If She Marries Again,” Los Angeles Times, October 26, 1956; “The Woes of Elizabeth and Eddie,” Los Ange- les Times, August 25, 1959; “The Mike Todd Story—Three Great Loves Had He,” Los Angeles Herald & Express, March 26, 1958; and “Liz Taylor Would Like to Wed Eddie in Vegas,” Los Angeles Examiner, March 1, 1959; and “Mr. Edwin J. Fisher: Older, Wiser and Happier,” McCall’s, January 1962.
Of course, Debbie Reynolds and Eddie Fisher were both very important to all of the research concerning Mike Todd, and I would like them both to know how much I appreciate their assistance. I also screened the 1956 documentary Around the World with Mike Todd. This TV special focuses on the production of the Oscar-winning movie Around the World in 80 Days and presents a rare look at its filming, and also of Todd. Narrated by Orson Welles, it features Elizabeth, David Niven, and Shirley MacLaine, among others. I am so grateful to Nick Scotti for locating it for 494
Sources and Other Notes
me, and obtaining a copy of it. I also referred to The Nine Lives of Mike Todd by the late Art Cohn.
James Bacon’s and Richard Brook’s comments about Todd were culled from Elizabeth Taylor: Hollywood’s Child. Elizabeth’s comments about her condition after Mike’s death were from an appearance on Larry King Live in February 2003. Sydney Guilaroff’s comments are culled from
interviews with the late hairstylist conducted in the fall of 1995 by his biographer (and my researcher) Cathy Griffin. Also, Shirley MacLaine’s comments are from an interview with her, also by Cathy Griffin, in October 1995. I want to thank all of the people in South Philadelphia who shared memories of Eddie with me. The people in South Philly—
many of whom are in my own family—are as good as they come!
Of course, I also referred to Eddie Fisher’s two autobiographies: Eddie Fisher: My Life, My Loves (1984) and Been There, Done That (1999).
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PART THREE: HER DESTINY
First of all, special thanks must be extended to actor and producer Chris Mankiewicz, Joseph’s son, for sharing his memories of his and his dad’s work on Cleopatra. I am very grateful to him for the time he devoted to this book. His multitalented, legendary father was, of course, the film’s writer and director. I’d like to also extend my sincere appreciation to Gary Springer, son of Elizabeth’s and Richard’s publicist, John Springer. Gary was also a godsend for this project. I would like to thank him for keeping alive the memory of his amazing father, and for speaking to us for this and other sections of Elizabeth. To outline all of the published material I reviewed for the chapters concerning Cleopatra and the lives of Taylor and Burton during that time would truly take a volume in and of itself—the Sources and Other Notes
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research was just that voluminous in nature. I am especially grateful to Nancy Marcus for proving me with “Cleopatra: The Trials and Tribulations of an Epic Film,” by Walter Wanger and Joseph Hyams, Saturday Evening Post, June 1, 1963. I also referred to the excellent volumes The Cleopatra Papers, by Jack Brodsky and Nathan Weiss; Confessions of a Hollywood Columnist, by Sheila Graham, and Pictures Will Talk: The Life and Films of Joseph L. Mankiewicz, by Kenneth L. Geist.
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