by Cole Porter
8 September 1953: John Wharton to Cole Porter53
Dear Cole:
Thanks for your nice letter of September 1st. I have written Jack Wilson the enclosed letter and will try to keep him as happy as possible when I next see him. By the way, Jack thought the only thing standing in the way was some kind of a record album which was being issued this fall. Is there such an album in process?
We have ransacked our files and could find no record of an answer to my letter of July 14. In any event, we are going ahead with the re-draft and you will hear from us shortly in this connection.
The most immediate matter involves a luncheon I had today with Howard Reinheimer.* Howard was under the impression that you had decided to cancel the Metro deal and to go into an arrangement for a Cole Porter Cavalcade picture with Feuer and Martin, Abe Burrows and Fred Astaire. Cy Feuer also called me about this just before I left town last weekend.
Howard Reinheimer seemed to think that the advantages of the proposed combination were so great that you should unquestionably give up the Metro deal. I told him that I was extremely dubious. In the first place, while there is great excitement about it now, either Feuer or Martin, or Abe Burrows, or Fred Astaire could easily become more interested in something else later on.
In the second place, even if they get to the point of signing contracts, they still have to make a deal with one of the coast studios and that could fall through.
In the third place, I do not, as yet, see where there are any certain great financial advantages to you. Howard says that he thinks there would be financial advantages but obviously could not guarantee them. His main point was that he thought it would be much more satisfactory for you to be a co-owner than simply to get a payment from Metro.
If there were no Metro deal in the wind, I would certainly want to explore Feuer and Martin’s proposition, but to give up something which has reached the stage where even the Studio Head is telephoning you for what seems to be a nebulous hope is something I cannot recommend. In fact, I told Howard that I thought it possible that negotiations with Metro had gone so far that it would be extremely embarrassing not to pursue them to the finish. It is my opinion that we should pursue the Metro negotiations to the finish and consider the Feuer and Martin idea only if the terms offered by Metro turn out to be unsatisfactory in the end.
Of course, you must make the ultimate decision. I understand that Irving Lazar is planning to come to New York next week and if you really are thinking of cancelling the Metro deal, you should, of course, let him know immediately. Perhaps you would like to telephone me. I have to be in New Haven Wednesday night and Thursday but you can reach me any time on Friday.
Sincerely,
[unsigned]
John F. Wharton
12 September 1953: John Wharton to Cole Porter54
Dear Cole:
First let me clear up the mystery in my telegram. On Wednesday, Cy [Feuer] and Ernie [Martin] came to my office and assured me that if they could get the songs they needed, they could work out a deal to make this picture the first Cinerama* musical, – which would have tremendous publicity and a really good chance of capital gains. They were so insistent, and seemed so certain that the Metro deal was still entirely nebulous, that I said I would communicate with you further, and, as they wish to try to keep the Cinerama angle a secret, I said I would wire you and arrange to talk to you. Hence the somewhat mysterious wire, since they did not want the word Cinerama mentioned in a telegram. You very sensibly had Irving [Lazar] call me first and this was followed by a call from Ken MacKenna.* Ken gave me the full facts; I reported these to Cy and Ernie and told them they should accept them and drop any further talk or they might prejudice the NINOTCHKA† deal, for which the contracts have not yet been signed. They quickly agreed; I phoned Ken back, also told Irving that Cy and Ernie had misunderstood the facts about the status of the Metro deal, and I trust all is now back on the track.
A few other matters.
I hope to send you a complete copy of the new will before you leave, but I should much prefer to have it executed in New York. Maybe you can take twenty minutes for this on the day of your arrival, before you leave for Williamstown. Do you expect to come by plane or train?
On July 28, Bob Montgomery wrote you and enclosed three copies of a document to be signed and go to RCA-Victor in connection with the “Abel Green” album. Apparently you mislaid these. Will you look for them and if you find them, sign them and send them to me? If they are lost, let me know and I will send a new set.
I had a nice talk with Max [Dreyfus] about your Buxton Hill contract. He was in a very loquacious mood, – for Max. I asked him who was going to run Chappell when he passed out of the picture, and he smiled and said, “That’s a very proper question, John. Other people, such as Dick and Oscar,‡ are asking it too. Well, this is a big business and I assure you somebody competent to run a big business will be here. We have a man in mind, now.” I suggested, however, that we would prefer a shorter contract and he readily agreed, saying to make it two or three years as we chose.
I recommend that you let me tell Max now that we will renew for two years. At the end of that period we should have a clearer preview of the future. Moreover, if we ever do decide to look elsewhere, I would be dead against it at a time when you are about to start work on a new score.
Bob Montgomery, who got no vacation last year, is off to Europe for five weeks. I have to be in Chicago most of the week of September 20th, but otherwise expect to be at the office regularly. In Chicago you can always reach me by calling Field Enterprises Inc., 211 West Wacker Drive, Randolph 6 8554.
Looking forward to seeing you in October I am,
As always,
[unsigned]
John F. Wharton
As Wharton hints, Feuer and Martin were enthusiastic to move forward with Silk Stockings as soon as possible, but Porter felt that it was unrealistic and unwise to rush ahead:
3 September 1953: Cole Porter to Cy Feuer55
Dear Cy:
Thank you for your letter of September 1st, 1953. I am very glad to hear that the weekend with the Kaufmans* was successful and await the detailed results with impatience!
With regard to bending every effort to get the show into rehearsal on February 1st, I don’t see how we can possibly do a decent job in that short a time.
I arrive in New York Monday evening, Octob er [sic] 5th. I can’t come earlier than that because I have to be in Indiana on Tuesday, Septemb er [sic] 29th, to sign a lot of papers about my mother’s estate. Both the family lawyer and my cousin, who has a great deal to do with my affairs, will be away on vacation until that date.
On arrival in New York I should like to get up to the country and be with Linda as quickly and as much as possible, as she closes the Williamstown big house on October 23rd. Of course, from there I can always commute once a week to see you or Ernie regarding the new show.
Please keep me posted.
Best regards.
[signed:] Cole
As for the film based on his back catalogue – the Cavalcade – Porter pursued the idea with Feuer too:
19 September 1953: Cole Porter to Cy Feuer56
Dear Cy:
I enclose the list of tunes which Metro intends to use for my Cavalcade picture, but this is subject to change.
Best regards,
[signed:] Cole
LIST:
WHAT IS THIS THING CALLED LOVE
NIGHT AND DAY
I GET A KICK OUT OF YOU
BEGIN THE BEGUINE
RIDIN’ HIGH
MY HEART BELONGS TO DADDY
FRIENDSHIP
DON’T FENCE ME IN
BLOW, GABRIEL, BLOW
WHY SHOULDN’T I?
YOU DO SOMETHING TO ME
LET’S DO IT
KATY WENT TO HAITI
DE LOVELY
JUST ONE OF THOSE THINGS
Three letters of 18 September (not reproduced here) to John Wharton from
Irving Lazar, who acted on Porter’s behalf in his Hollywood business, hint at other opportunities that came Porter’s way. One letter contains an offer from 20th Century Fox to write a musical of Daddy Long Legs for Fred Astaire; they were prepared to wait for Porter. The other two letters ask whether Lazar can represent Porter in the negotiations to turn Can-Can into a movie, in which there was considerable interest.57 But Daddy Long Legs went to Johnny Mercer (it was released in 1955), and it would be several years before Can-Can reached the screen. Porter’s entire attention was on Silk Stockings, and the following letter to Sam Stark shows that not even a flattering article could prevent his nerves about the new musical:
26 September 1953: Cole Porter to Sam Stark58
Dear Sam:
Thanks a lot for the clipping, which would have given me a rather swelled head except that I have started work on a new show and, as usual, am scared to death.
Forgive me for not having called you but I have been racing around so in the daytime and going out every night to dinner.
I am off for the east Monday.
Love to all,
[signed:] Cole
On 5 November, MGM’s Kiss Me Kate opened at the Radio City Music Hall. Bosley Crother’s enthusiastic review for the New York Times described it as ‘a beautifully staged, adroitly acted and really superbly sung affair – better, indeed, if one may say so, than the same frolic was on the stage’.59 The same month, Porter instructed his lawyers to write to Sam and Bella Spewack to object to the introduction they had written to the published script of Kiss Me, Kate, no doubt scheduled to coincide with the opening of the movie. He was particularly unhappy about two references to his working process, which had been included without discussion with him. The Spewacks immediately wrote to him to say they were ‘astonished’ to receive the threatening letter and reassuring him that they meant no insult: ‘Although we deprecate our own contribution to “Kiss Me, Kate” – as witness the references to the New Art Form – it seems to us that we pay full tribute to you and to your score. For example, we wrote “For both, (i.e., “Kiss Me, Kate” and “Leave It to Me”) Cole Porter provided wonderful music and lyrics.” . . . We are distressed to hear that we have offended you. We have no desire to hurt you, even unwittingly.’60 Porter responded:
23 November 1953: Cole Porter to Sam and Bella Spewack61
Dear Sam and Bella: –
I have your letter of November 18, 1953. Naturally, I accept your word that you had no desire to hurt me. I still can’t understand why you did not show me this material before it was published.
I assume that you will instruct Knopf that no other edition of the book will be published without my approval of any reference to me.
Sincerely,
[signed:] Cole Porter
On 24 November, the Spewacks wrote again to confirm that they had instructed Knopf not to print further editions of the book without Porter’s approval, but all further relations between them were strained.62
Throughout the autumn, Irving Lazar negotiated with MGM about the ‘catalogue’ movie they were to make. For example, in a letter of 2 October, the financial deal was laid out, including a list of songs they wanted to use,63 and when there had been no progress by 1 December, Lazar gave MGM a deadline.64 The deal was signed with the Arthur Freed Unit on 8 December for fifteen songs to be used and Porter agreed to write two new songs. He was to be paid $100,000 for the picture. He was not allowed to give another studio permission to make a catalogue movie, but he was allowed to sell the screen rights to a full stage musical or to write a new movie score.65 The movie was announced in the New York Times as Gene Kelly’s next project, with Betty Comden and Adolph Green to write the screenplay.66 Vera-Ellen was later announced as Kelly’s co-star.67
On 1 December, Porter wrote to Jean Howard, who had been ill, and brought her up to date on his plans for the coming days, which included spending time with royalty – another reminder of Porter’s remarkable social position:
1 December 1953: Cole Porter to Jean Howard68
Dearest Jeanie:
Such a sweet letter arrived from you yesterday, and cheered us. I am so glad that things are better for you, but I realize that for a while you must have gone through hell.
Two days after Linda arrived in New York from Williamstown, she suddenly had a terrible pain in her back. This turned out to be a disc pressing upon the nerve, and not until this last week did we find anybody who could help her. He is an orthopedic specialist named Patterson, and he is sure that he can cure her. This is being done by exercises that will strengthen the muscles in her back. A woman comes and gives her these exercises daily. She is still in great pain, but at last she has hope. For a while I was very worried about her, but her come-back is delightful.
New York is hectic. This afternoon I go to Fulco’s* private showing of his miniatures. I’ve seen most of them, and they are incredible in their dexterity. Tonight I dine with the Moss Harts. Tomorrow night I dine with Elsa [Maxwell] at the Metropolitan [Opera] and then see the new version of “Faust”,† which sounds awfully interesting, as the period has been transposed to the 19th Century and Mephistopheles wears the tails. The King and Queen of Greece‡ will be there too, and afterwards we are invited to Millicent Hearst’s§ new apartment to meet the King and Queen, at a small supper party. After that I go to a dance given by Irene Selznick¶ in honor of your friends Bill and Edie Goetz. The night after, I go to the opening of “Kismet”,* and afterwards to a party given by Jolie Gabor† in honor of her three daughters.
There are several excellent shows to see, and I do hope when you hit New York you will be able to stay a bit.
Don’t forget that we think of you constantly and we are so relieved that things are better for you. Lots of love to you and Charlie,‡
Your devoted,
[signed:] Cole
The following letter from 14 December relates the attempt to use Porter’s songs without seeking advance permission:
14 December 1953: Robert Montgomery to Cole Porter69
Dear Cole:
On Friday afternoon CBS telephoned me, requesting permission to present on STUDIO ONE on Monday, December 21st, a story entitled “Cinderella 53”. The script contains approximately ten of your songs, at least half of which are used dramatically, i.e., they are integrated into the script. In effect, they are presenting a Cole Porter musical.
It seems incredible to me that they should seek a clearance on this material one week before they plan to present the show. In any event, I am sending to you herewith the script. If you do not like it, we can kill it right away. If you do like the script, or if you have no active objection to their presenting the show, I will turn the matter over to Herman Starr (since most of the songs are Harms§ songs) to make a deal with CBS.
Can you telephone me as soon as you have read the script.
Sincerely yours,
[unsigned]
Robert H. Montgomery
A pencil note on the bottom reads: ‘Cole Porter telephoned on 12/15 to say that he had no objection to script being used on Studio One. RHM, Jnr.’*
Arthur Schwartz’s continued efforts to bring legal action against BMI, which Porter had donated funds towards in January 1953, brought a further request for money in December:
23 December 1953: Cole Porter to Arthur Schwartz70
Dear Arthur: –
Thank you for your nice letter of Dec. 21, 1953. I am delighted that you feel that the Songwriters’ suit against B.M.I.71 is progressing well. I have forwarded your letter to John Wharton and will follow, naturally, whatever advice he gives me as to my sending the same check for the coming year.
All my best,
Sincerely,
[signed:] Cole
At the year’s close, Porter wrote to Stark and Burrows to thank them for Christmas gifts:
30 December 1953: Cole Porter to Carin and Abe Burrows72
Dear Carin and Abe: –
A magnificent magnum of Bollinger ’45
arrived from you at Christmas time, and I am very grateful. It will add greatly to my drinking future.
Love,
[signed:] Cole
31 December 1953: Cole Porter to Sam Stark73
Dear Sam: –
The beautiful Can-Can can filled with English walnuts – nuts – nuts† arrived and will provide me with sustenance for years. Thank you very much indeed.
And A HAPPY NEW YEAR to you both.
Your chum,
[signed:] Cole
He also wrote again to Jean Howard, conveying to her his travel plans and reporting on Linda’s health:
31 December 1953: Cole Porter to Jean Howard74
Dearest Jeannie: –
This is to wish you a HAPPY NEW YEAR. [Howard] Sturges has probably written you that we have planned to arrive in St. Moritz March 2nd, and you will probably be in Cold Water Canyon. But if you could possibly wait over a bit and become our guide, we would be most grateful.
Linda’s health varies so much from day to day that it is difficult to report about her. Her night nurse, however, who was absent for two weeks, has returned, and tells me that she finds that in that time Linda has lost ground. The most disturbing fact is that her heart has begun to act up. She has had two slight attacks, during which her pulse was much too high. To rectify this, her Doctor is giving her Digitalis. The sum-total of her maladies is so great that I wonder she has any courage left at all; and just before Christmas she broke a rib from coughing too hard.
My life here is as usual, – I work hard* in the daytime and go to a show or an opera or a party at night. Strangely enough, the new production of Tannhauser† at the Met. is the best presentation of it I have seen since I was a child, in Munich.
