William Wyler (67 page)

Sherwood, Robert.
The Petrified Forest
. New York: Scribner's, 1935.

Shibuk, Charles.
An Index to the Films of William Wyler
. New York: Theodore Huff Memorial Film Society, 1957.

Sikov, Ed.
Dark Victory: The Life of Bette Davis
. New York: Henry Holt, 2007.

Slocombe, Douglas. “The Work of Gregg Toland.”
Sequence
8 (Summer 1949): 69–76.

Slotkin, Richard.
Gunfighter Nation
. New York: Harper Perennial, 1993.

Smith, Wendy.
Real Life Drama
. New York: Knopf, 1990.

Stevens, George, Jr., et al. “The Test of Time: William Wyler.”
American Film
1, no. 6 (April 1976): 4, 9, 13–14, 20, 22–23, 25, 27.

Stine, Whitney, with Bette Davis.
I'd Love to Kiss You: Conversations with Bette Davis
. New York: Pocket Books, 1990.

———.
Mother Goddam
. New York: Berkley Books, 1979.

The Story of the Making of
Ben-Hur. New York: Random House, 1959.

Swindell, Larry. “A Life on Film.”
American Film
1, no. 6 (April 1976): 7–27.

Troyan, Michael.
A Rose for Mrs. Miniver
. Lexington: University Press of Kentucky, 2005.

Tuska, John, ed.
Close-up: The Hollywood Director
. Metuchen, N.J.: Scarecrow Press, 1978.

Wallis, Hal, and Charles Higham.
Starmaker: The Autobiography of Hal Wallis
. New York: Macmillan, 1980.

Warshow, Robert.
The Immediate Experience
. 1962. Reprint, New York: Athenaeum, 1970.

West, Jessamyn. “Hollywood Diary.”
Ladies' Home Journal
73 (November 1956): 70–71, 158–84.

———.
To See the Dream
. New York: Harcourt, Brace, 1957.

Whitcomb, John.
“Ben-Hur
Rides Again.”
Cosmopolitan
147 (December 1959): 26–29.

“William Wyler.”
Film Reference
. Last modified 2012.
http://filmreference.com/Directors-Ve-Y/Wyler-William.html
.

Wood, Robin.
Howard Hawks
. Garden City, N.Y.: Doubleday, 1968.

Wright, William.
Lillian Hellman: The Image, the Woman
. New York: Ballantine, 1986.

Wyler, William. “Censorship through Fear.”
Screenwriter
3, no. 7 (December 1947): 20–21.

———. “Escape to Reality.”
Liberty
24, no. 1 (January 4, 1947): 16. Reprinted in
Picturegoer
, March 15, 1947, 8.

———. “Flying over Germany.”
News Digest
2, no. 13 (August 15, 1943): 25–26.

———. “Hand Tailored Films.”
Hollywood Reporter
132, no. 4 (November 12, 1954): sec. 2.

———. “‘Heiress' Director Finds Character Conflicts Exciting.”
New York Herald Tribune
, October 2, 1949, sec. 5, p. 3.

———. “A Letter from William Wyler.”
Sequence
8 (Summer 1949): 68–69.

———. “No Magic Wand.”
Screenwriter
2, no. 9 (February 1947): 1–14.

———. “Statement of Principles.”
New York Times
, June 18, 1950, sec. 2, p. 5.

Higham, Charles. “William Wyler Directs Bette Davis in
Jezebel.”
Columbia University Oral History Office.
Fathom: The Source for Online Learning
. Last modified 2002.
http://www.fathom.com/feature/35675/
.

Directed by William Wyler & The Love Trap
. Tatge Productions, 1986. New York: Kino Video, 2002. DVD.

Ruth and Augustus Goetz Papers. Wisconsin Historical Society, Madison, Wisconsin.

Samuel Goldwyn Papers. Margaret Herrick Library, Academy of Motion Picture Arts and Sciences, Los Angeles, California.

William Wyler Collection. Margaret Herrick Library, Academy of Motion Picture Arts and Sciences, Los Angeles, California.

William Wyler Papers, 1925–1975. Arts Library Special Collections, Young Research Library, UCLA.

The index that appeared in the print version of this title does not match the pages in your eBook. Please use the search function on your eReading device to search for terms of interest. For your reference, the terms that appear in the print index are listed below.

“WW” refers to William Wyler
.

Ace in the Hole
(B. Wilder)

Adding Machine, The
(Rice)

Affron, Charles

Affron, Jona Mirella

Agee, James

Ahearn, Daniel: “The Wild Boys of the Road”

Albert, Eddie

Allied Artists

All My Sons
(Miller)

All Quiet on the Western Front
(Milestone)

America-First Committee

American Cinema, The
(Sarris)

American Tragedy, An
(film; Von Sternberg)

American Tragedy, An
(novel; Dreiser)

Anderegg, Michael

Anderson, Maxwell

Andersonville
(Kantor)

Andrews, Dana

Andrews, Julie

Anthony Productions

anti-Semitism, French

Arnold, Edward

Arrowsmith
(film; John Ford)

Arrowsmith
(novel; Lewis)

Arthur, Art

Ashcroft, Peggy

Astor, Mary

Atkinson, Brooks

atomic bomb/energy

auteurism

 

Babbitt
(Lewis)

Bad Companions
(Roughead)

Bad Day at Black Rock
(Sturges)

Bainter, Fay

Baker, Carroll

Balaban, Barney

Balkin, Karen

Ball, Lucille

Bankhead, Tallulah

Barnes, George

Barrymore, John

Bartlett, Sy;
Strategic Air Command;
Twelve O'Clock High

Baxter, John

Bazin, André: on
The Best Years of Our Lives
; on cinematic realism; on
The Little Foxes
; on WW

Bel Geddes, Norman

Bellamy, Ralph

Bendix, William

Ben-Hur
(film, 1907)

Ben-Hur
(film, 1925; Niblo)

Ben-Hur
(film, 1959; WW); chariot race scene; composition/framing; conversion scene; crucifixion scene; ending; house as setting for; Judah-Christ relationship; Judah-Messala relationship; Judah's love for Esther; Judah's mother and sister cured of leprosy; Messala's death; Oscars won by; on pacifism vs. violence; political message of; realism of; script; staircase scenes; success of; Lew Wallace's novel adapted for; WW chosen to direct; WW's salary for

Ben-Hur
(play; Young and L. Wallace)

Bentley, Eric

Berg, Scott

Bergman, Ingrid

Berlin, Irving:
This Is the Army

Bessie, Alvah

Best Years of Our Lives, The
(WW); aircraft graveyard scene; Al, Fred, and Homer meet; Al, Fred, and Homer's homecoming scenes; Al's banquet scene; Al's character/story; businessmen in; casting; “Chopsticks” scene; composition/framing; on corrupting effects of money; critical reception/success of; deep focus used in; disillusionment in; Fred's character/story; Fred's drugstore scene; Goldwyn as producer for; Goldwyn on; Homer's bedroom scenes; Homer's character/story; HUAC on; Kantor's
Glory for Me
adapted for; mirrored shots; music; opening shot; Oscars for; Peggy and Marie's character; postwar possibility/wariness reflected in; preview/release date; realism of; on rehabilitation of/jobs for veterans; rift between WW and Goldwyn over; Sherwood's script for; title; Toland's camera work on; war veterans' experience depicted in; wedding scene; wrap date; WW on the making of

Bickford, Charles

Big Country, The
(novel; Hamilton)

Big Country, The
(film; WW); betrayal in; bigness vs. smallness theme; Buck tries to rape Julie; budget; casting; composition/framing; critical reception/success of; departures from conventions of westerns; duel scene; elegiac tone of; ending; financing/distribution of; as first film in Technorama or widescreen; Hamilton's novel adapted for; Hannassey-Terrill feud; house as setting for; Leech-McKay fight scene; music; opening shot; on pacifism vs. violence; Peck's involvement in; script; shooting locations; Technorama and Technicolor used for; tensions on the set of; transformation of area by easterner McKay; WW's lack of involvement in

Bishop's Wife, The
(Nathan)

Biskind, Peter

Black, Gregory D.

Blackmer, Sidney

Blazer Films

blinds, film noir's use of

Blue Dahlia, The
(G. Marshall)

blue streak (five-reel) westerns.
See also specific films

Bogart, Humphrey: in
Dead End
; in
The Desperate Hours
; illness/death of; in
The Petrified Forest
; on WW

Boleslawski, Richard:
The Three Godfathers

Bolton, Guy:
The Dark Angel

Bordwell, David

Bourdet, Edouard:
The Captive

Boyd, Stephen

Boyer, Charles

Brando, Marlon

Brecht, Bertolt

Breen, Joseph.
See also
Production Code

Brennan, Walter; in
My Darling Clementine
; in
The Westerner

Brent, George

Brewer, Roy

Brice, Fanny. See also
Funny Girl

Bridges, Lloyd

Briskin, Samuel

Brontë, Emily:
Wuthering Heights

Browne, Roscoe Lee

Buckner, Robert

Burrows, Abe

Busch, Niven

Bushman, Francis X.

Byington, Spring

 

Caged
(J. Cromwell)

Cagney, James

Campbell, Alan

Cantor, Eddie

capitalism

Capra, Frank: authority/style of;
It's a Wonderful Life
; Liberty Films cofounded by (
see also
Liberty Films);
Lost Horizon
; military commission for;
No Other Man
; status of; Why We Fight series

Captive, The
(Bourdet)

Carey, Harry, Sr.

Carrie
(WW); Carrie's character/story; Carrie's success; casting; composition/framing; critical reception/failure of; deep focus used in; Dreiser's
Sister Carrie
adapted for; Drouet and Carrie's relationship; DVD version; ending; Fitzgerald and Julia's character; the Goetzes' script; high society in; house as setting for; Hurstwood and Carrie's relationship; Hurstwood's decline; indoor scenes; on marriage as a trap; mirrored shots; on money's role in American life; Paramount's handling of; plot; release date; rocking chair scenes; rooming house scene; scenes cut/restored; script revisions by WW; social issues in; staircase scenes; wrap date; WW's motivation for making

Carver, George Washington

CFA (Committee for the First Amendment)

Champion
(M. Robson)

Champlin, Charles

Chandler, Helen

Chaney, Lon

Chaplin, Charlie:
The Great Dictator

Chatterton, Ruth

Chekhov, Anton:
The Cherry Orchard

Children's Hour, The
(film; WW)

Children's Hour, The
(play; Hellman). See also under
These Three

Chodorov, Edward

Chodorov, Jerome

Christians, Mady

Churchill, Winston

Cimino, Michael:
Heaven's Gate

CinemaScope

Cinerama

Citizen Kane
(Welles)

Civilian Conservation Corps

Civil War

Clair, René

Clark, Bennett Champ

Clift, Montgomery

Clothier, William

Clymer, John (“Jack”)

Cobb, Lee J.

Cock Robin
(Rice)

Cohan, George M.

Cohens and the Kellys in Scotland, The
(Craft)

coherence principle

Cole, Lester

Collector, The
(film; WW); butterfly room scene; casting; composition/framing; critical reception/success of; dungeon setting; ending; Fowles's novel adapted for; Freddie kidnaps Miranda; Freddie's character/story; Freddie's narration; house as setting for; Miranda's escape attempt/death; Miranda's self-portrait; opening shot; on pacifism vs. violence; pessimism of; script; Surtees's camera work on; on victim vs. victimizer

Collector, The
(novel; Fowles)

Collier's

Collinge, Patricia

Colman, Ronald

Come and Get It
(film; H. Hawks and WW); “Aura Lee” used in; candy-making scene; casting; composition/framing; confessional scene; critical reception/success of; directorial credit for; ecology theme; ending; fathers/sons theme; Ferber's novel adapted for; Goldwyn replaces Hawks with WW; industrialization's role in; love theme of; lumberjacking scene; male group ethos theme; Maté's camera work on; optimism of; Oscars for; party scene; pessimism of; Toland's camera work on

Come and Get It
(novel; Ferber)

Committee for the First Amendment (CFA)

concentration camps, liberation of

Conference for World Peace (1949)

Confessions of a Nazi Spy
(Litvak)

Connelly, Marc

Cookson, Peter

Cooper, Gary: in
Friendly Persuasion
; in
Love in the Afternoon
; in
Sergeant York
; in
The Westerner

Cooper, Gladys

Copland, Aaron

Coppola, Francis Ford

Cornell, Katharine

Costello, Dolores

Counsellor-at-Law
(film; WW); Barrymore in; camera movements/framing; casting; censorship of; characters' closeness/distance; on class/ethnicity; Cora and her children's visit to the office; Cora's and Mrs. Simon's visit to the office; Cora's betrayal; critical reception/success of; Depression-era context of; liberalism of; opening at radio City Music Hall; opening shot; optimism of; pace of; plot; Rice on; Rice's play adapted for; settings; shooting schedule; on society vs. nature

Counsellor-at-Law
(play; Rice)

Counterattack

Coward, Noël:
Private Lives

crab dollies

Craft, William:
The Cohens and the Kellys in Scotland

Crawford, Cheryl

Crisp, Donald

Cromwell, Richard

Crook Buster
(WW)

Crowther, Bosley

Crucible, The
(Miller)

Cultural and Scientific Congress for World Peace (1949)

cultural radicalism

Cumming, Jane

Curtiss, Eddie

Curtiz, Michael:
Virginia City

 

Daniels, Bebe

Dark Angel, The
(film, 1925; Goldwyn)

Dark Angel, The
(film, 1935; Franklin)

Dark Angel, The
(play; Bolton)

Dark Angel, The
(screenplay; Hellman)

Dark Victory
(Goulding)

Davenport, Doris

Davis, Bette: affair with Brent; affair with WW; on Bainter; clashes with WW; in
Dangerous
; in
Dark Victory
; in
Jezebel
; legal battles with Warner Brothers; in
The Letter
; in
The Little Foxes
; Oscars won by; stature of; in
That Certain Woman
; on WW

Davis, Owen:
Jezebel

Dawn Patrol, The
(Goulding)

Day, Richard

Days to Come
(Hellman)

Dead End
(film; WW); casting; composition/staging; critical reception/success of; Dave and Drina's love; Dave's farewell to Kay; ending; expressionism of; Hellman adapts Kingsley's play for; Kay visits Dave's apartment; kidnap-planning scene; Martin's character; Martin's escape attempt and death; Martin's reunion with Francey; Martin's reunion with his mother; opening shot; optimism of; Oscar nominations for; set design; social issues in; on society vs. the individual; style; Toland's camera work on

Dead End
(play; Kingsley). See also under
Dead End
(film; WW)

Dead End Kids

Dee, Frances

de Havilland, Olivia

Dell, Gabriel

DeMille, Cecil B.: epic films by; loyalty oaths instigated by;
The Ten Commandments
;
Union Pacific

Desire under the Elms
(O'Neill)

Desperate Hours, The
(film; WW): anxiety/paranoia of 1950s in; casting; composition/framing; critical reception/modest success of; ending; as first black-and-white film in Vista-Vision; Glenn's character; Glenn's death; Griffin gang invades Hilliard home; Hayes's novel/play adapted for; Hilliard vs. Griffin family; indoor/outdoor scenes; opening shot; as a parable; plot; suburban setting; wrap date

Desperate Hours, The
(novel/play; Joseph Hayes)

Detective Story
(film; WW): abortion theme; casting; censorship of; composition/framing; critical reception/success of; deep focus used in; ending; Garmes's camera work on; HUAC's influence on; indoor/outdoor scenes; Kingsley's play adapted for; McLeod learns of Mary's past; McLeod's character; McLeod's death; opening shot; set design; success of

Detective Story
(play; Kingsley)

Diary of a Sergeant

Dick, Bernard F.

Dighton, John

Dingle, Charles

Disney, Walt

Dodsworth
(film; WW); on Americanism; burning-letter scene; casting; composition/framing; critical reception/failure of; ending; exploration theme; Fran's character; Fran's flirtations/affairs; on high society; Howard's play adapted for; importance of; industrialization's role in; interior scenes; Lewis on; Maté's camera work in; opening shot; Oscars for; preview/opening of; Sam and Edith; Sam and Fran fight/divorce; Sam's character; set design; shooting locations; on society vs. nature; on society vs. the individual; style; WW chosen to direct

Dodsworth
(novel; Lewis)

Dodsworth
(play; Howard)

Doll's House
, A (Ibsen)

Donehue, Vincent

Douglas, Helen Gahagan

Douglas, Kirk

Douglas, Melvyn

Douglass, Kent

“Do You Remember Sweet Betsy from Pike,”

Dracula
(film)