Authors: Otto Friedrich
96Â Â Â Â
The federal prosecutors:
New York Herald Tribune,
Oct. 23, 1961.
96Â Â Â Â
So then Bioff:
Time,
Oct. 20, 1941.
96Â Â Â Â
Bioff described:
New York Herald Tribune,
Nov. 4, 1943.
Time,
Nov. 17, 1941; Nov. 14, 1955.
New York World-Telegram,
Feb. 1, 1949.
97Â Â Â Â
Bioff was a star:
New York Times,
Oct. 12, 1943.
New York Herald Tribune,
Oct. 23, 1961.
97Â Â Â Â
On emerging from prison:
Time,
Nov. 14, 1955. Westbrook Pegler columns in
New York Journal-American,
March 26â30, 1956.
New York Times,
Nov. 5, 1955. McWilliams,
Education,
p. 91.
98Â Â Â Â
Joe Schenck spent:
Anita Loos,
A Girl Like I,
p. 196.
98Â Â Â Â
At a meeting:
Budd Schulberg,
What Makes Sammy Run?,
p. 251 (1978). Nancy Lynn Schwartz,
The Hollywood Writers' Wars,
p. 167.
98Â Â Â Â
What Makes Sammy Run?:
Schulberg, p. 203. Irene Mayer Selznick,
A Private View,
p. 50.
98n   Â
Samuel Goldwyn, after:
Arthur Marx,
Goldwyn,
p. 286.
99Â Â Â Â
“Don't pull that”:
Schulberg,
What Makes Sammy Run?,
p. 108.
99Â Â Â Â
Jewish anti-Semitism:
Schulberg,
What Makes Sammy Run?,
pp. 215, 232.
100Â Â Â Â
Hollywood was accustomed:
Budd Schulberg,
Moving Pictures,
pp. 51, 307.
100Â Â Â Â
The element that:
Carey McWilliams,
Southern California Country,
pp. 224â9.
100Â Â Â Â
The arrival of:
David Halberstam,
The Powers That Be,
pp. 99â111.
101Â Â Â Â
In the prosperous 1920's:
Schwartz,
Hollywood Writers' Wars,
pp. 8â9.
102Â Â Â Â
The studios were:
Samuel Marx,
Mayer and Thalberg,
pp. 206â7.
103Â Â Â Â
The technicians were:
Schwartz,
Hollywood Writers' Wars,
pp. 12, 14.
103n   Â
Thau was sometimes:
Roland Flamini,
Ava,
p. 18. S. N. Behrman,
People in a Diary,
pp. 157â8.
104Â Â Â Â
Early in 1933:
Schwartz,
Hollywood Writers' Wars,
pp. 21, 59, 129, 60, 67.
106Â Â Â Â
When the meeting:
Schulberg,
What Makes Sammy Run?,
p. 158.
106Â Â Â Â
But that was:
Schwartz,
Hollywood Writers' Wars,
pp. 31, 73â9.
107Â Â Â Â
Schulberg published:
Victor S. Navasky,
Naming Names,
pp. 239â40 (1981).
108Â Â Â Â
What remains most:
Schulberg,
What Makes Sammy Run?,
p. 250. Schwartz,
Hollywood Writers' Wars,
pp. 99â130, 172â3.
109Â Â Â Â
Sheridan Gibney:
Dore Schary,
Heyday,
p. 113 (1981).
110Â Â Â Â
Dashiell Hammett knew:
William F. Nolan,
Hammett,
p. 14.
110Â Â Â Â
Hammett had become:
Diane Johnson,
Dashiell Hammett, A Life,
pp. 16â27. Richard Layman,
Shadow Man,
pp. 6â10. Hugh Eames,
Sleuths, Inc.,
p. 107. Also Dashiell Hammett,
The Continental Op,
“Introduction” by Steven Marcus.
110Â Â Â Â
Hammett apparently enjoyed:
Eames,
Sleuths, Inc.,
p. 104. Also interview by David Fechheimer, quoted in Eames, p. 108.
110Â Â Â Â
As part of:
Ibid., p. 107. Lillian Hellman,
Scoundrel Time,
p. 45 (1977).
111Â Â Â Â
Miss Hellman's admiring:
Johnson,
Dashiell Hammett,
pp. 96, 100, 106â7, 130, 162â3. Nolan,
Hammett,
pp. 127, 237. Layman,
Shadow Man,
p. 237.
112Â Â Â Â
The screenwriter Nunnally Johnson:
The Letters of Nunnally Johnson,
p. 188.
112Â Â Â Â
When Hammett's third:
Nolan,
Hammett,
pp. 110, 113, 90.
112Â Â Â Â
The Maltese Falcon
:
Dashiell Hammett,
The Maltese Falcon,
p. 187 (1972).
113Â Â Â Â
In a Hollywood:
Nolan,
Hammett,
pp. 117, 156. Hammett,
The Maltese Falcon,
p. 227.
114Â Â Â Â
And in 1941:
John Huston,
An Open Book,
p. 88 (1981). Nolan,
Hammett,
p. 179.
115Â Â Â Â
Jack Warner grudgingly:
Allen Rivkin and Laura Kerr,
Hello, Hollywood,
pp. 155â6.
115Â Â Â Â
The next accident:
Jon Tuska,
The Detective in Hollywood,
pp. 169â72. Also Lewis Yablonsky,
George Raft,
p. 139. Joe Hyams,
Bogie,
p. 68 (1967). Michael Freedland,
The Warner Brothers,
p. 128. Larry Swindell,
Body and Soul,
p. 184.
116Â Â Â Â
Now Raft didn't:
Rudy Behlmer,
Inside Warner Bros.,
p. 151. Tuska,
The Detective in Hollywood,
p. 176. Nolan,
Hammett,
p. 180. Huston,
An Open Book,
p. 89.
117Â Â Â Â
Much of that success:
Charles Higham and Joel Greenberg,
Hollywood in the Forties,
pp. 20, 36. Charles Higham,
Hollywood at Sunset,
p. 16.
117Â Â Â Â
Huston also had:
Hammett,
The Maltese Falcon,
p. 1.
117Â Â Â Â
Bogart had not:
Hyams,
Bogie,
pp. 20ff. Louise Brooks,
Lulu in Hollywood,
p. 59.
119Â Â Â Â
On late-night television:
Hyams,
Bogie,
pp. 57â63. Raymond Chandler,
The Big Sleep,
p. 72 (1971).
121Â Â Â Â
Humor combined:
Hammett,
The Maltese Falcon,
p. 227.
121Â Â Â Â
And what financial:
Nolan,
Hammett,
p. 197. Layman,
Shadow Man,
p. 212.
122Â Â Â Â
Despite Hollywood's three:
Tony Thomas,
The Films of Ronald Reagan,
pp. 99â132. Reagan and Hubler,
Where's the Rest of Me?,
p. 153. Rosten,
Hollywood,
p. 342.
122Â Â Â Â
The year 1941:
Laurence Leamer,
Make-Believe: The Story of Nancy and Ronald Reagan,
pp. 115, 112. Thomas,
The Films of Ronald Reagan,
p. 122. Reagan and Hubler,
Where's the Rest,
p. 8.
123Â Â Â Â
Warners had spent:
Hal Wallis and Charles Higham,
Starmaker,
p. 98. Henry Bellamann,
Kings Row,
p. 3.
123Â Â Â Â
Of such burgeoning:
Wallis and Higham,
Starmaker,
pp. 99â100.
123n   Â
In an interview:
Rex Reed,
Conversations in the Raw,
p. 31.
125Â Â Â Â
There was one scene:
Bellamann,
Kings Row,
p. 464.
126Â Â Â Â
Ronald Reagan, having:
Reagan and Hubler,
Where's the Rest,
pp. 8â9. Leamer,
Make-Believe,
p. 119.
128Â Â Â Â
“As in some grotesque”:
Pauline Kael,
The Citizen Kane Book,
p. 60. This book (which happily includes the script of the film) was the first major investigation of Mankiewicz's claims to having written
Citizen Kane;
it was strongly attacked by Welles's admirers, notably Peter Bogdanovich (in
Esquire,
October 1972). Richard Meryman,
Mank,
p. 244.
128Â Â Â Â
The saga of
Citizen Kane:
Charles Higham,
The Films of Orson Welles,
pp. 3, 15â16. Charles Higham,
Orson Welles,
pp. 139â42. Higham's second book on Welles is probably the most reliable account of his career. Meryman,
Mank,
pp. 244â5, 133.
129Â Â Â Â
Mankiewicz was also:
Kael,
Citizen Kane Book,
pp. 43, 46â47. Meryman,
Mank,
pp. 130, 242. Higham,
Films of Orson Welles,
p. 10.
129n   Â
As though to test:
Dore Schary,
Heyday,
pp. 54aâ75.
130Â Â Â Â
Hearst was one:
Joan Didion,
Slouching Towards Bethlehem,
p. xvi. Kael,
Citizen Kane Book,
pp. 50, 101â3.
130Â Â Â Â
Welles was pleased:
Ibid., pp. 5â9, 58â67. Higham,
Orson Welles,
pp. 146â59. Barbara Leaming,
Orson Welles.
The Leaming work contains much entertaining detail from her interviews with Welles.
132Â Â Â Â
Welles relied:
George Eels,
Malice in Wonderland,
pp. 28, 43â5, 50, 85â6 (1985).
Time,
July 28, 1947.
132n   Â
She achieved happiness:
Eels,
Malice in Wonderland,
pp. 147â81.
132Â Â Â Â
What Mrs. Parsons:
Higham,
Orson Welles,
pp. 168â72. Leaming,
Orson Welles,
pp. 204â11.
134Â Â Â Â
It is difficult:
William Shirer,
The Rise and Fall of the Third Reich,
pp. 851â4. Bertolt Brecht,
Seven Plays,
p. 261.
135Â Â Â Â
Brecht himself:
Frederic Ewen,
Bertolt Brecht,
pp. 330, 301. Also Martin Esslin,
Brecht.
Brecht,
Seven Plays,
p. 392.
135Â Â Â Â
Brecht never wanted:
James K. Lyon,
Bertolt Brecht in America,
pp. 23, 27â30. This is the best account of Brecht's Hollywood years, though Bruce Cook's
Brecht in Exile
is also good. Bertolt Brecht,
Mahagonny,
libretto for CBS recording, pp. 16, 20, 22.
137Â Â Â Â
But to the Brecht:
Lyon,
Brecht in America,
p. 33. Brecht,
Poems, 1913â1956,
p. 367. Anthony Heilbut,
Exiled in Paradise,
p. 182.
137Â Â Â Â
“On thinking about Hell”:
Brecht,
Poems,
p. 367.
137Â Â Â Â
Despite all these:
Bruce Cook,
Brecht in Exile,
pp. 43â54.
138Â Â Â Â
in Hollywood, now:
Lyon,
Brecht in America,
pp. 48â51. Cook,
Brecht in Exile,
p. 41.
140Â Â Â Â
“Again and again”:
Brecht,
Poems,
pp. 378â9, 392. Cook,
Brecht in Exile,
p. 104.
140Â Â Â Â
By arriving on:
Salka Viertel,
The Kindness of Strangers,
pp. 250â1.
142Â Â Â Â
One of the pleasant:
William Robert Faith,
Bob Hope,
pp. 125, 154.
143Â Â Â Â
Rubinstein himself recalled:
Arthur Rubinstein,
My Many Years,
p. 486.
143Â Â Â Â
Not everyone was:
Lana Turner,
Lana,
p. 75.
143Â Â Â Â
The news on the radio:
Ingrid Bergman and Alan Burgess,
My Story,
p. 148 (1981). Beverly Linet,
Ladd,
pp. 63â4 (1980).
144Â Â Â Â
John Houseman and:
John Houseman,
Front and Center,
pp. 19â20 (1980).
144Â Â Â Â
Maxine Andrews was:
Studs Terkel,
The Good War,
pp. 294â7.
144Â Â Â Â
Mary Astor was:
Mary Astor,
My Story,
p. 218.
144Â Â Â Â
Gene Tierney and:
Gene Tierney,
Self-Portrait,
p. 21 (1980).
145Â Â Â Â
This mixture of:
New York Times,
Dec. 8, 9, 1941.
145Â Â Â Â
None too soon:
Richard R. Lingeman,
Don't You Know There's a War On?,
pp. 24â5.
146Â Â Â Â
Los Angeles dreaded:
New York Times,
Dec. 8, 1941.
Time,
Dec. 22, 1941.
146Â Â Â Â
The authorities kept:
Lingeman,
Don't You Know,
p. 28.
New York Times,
Dec. 9, 1941. Peter Irons,
Justice at War,
p. 19.
147Â Â Â Â
So Hollywood began:
Time,
Dec. 22, 1941. Jack Warner,
My First Hundred Years in Hollywood,
p. 282.