People featured in the book "Five Came Back: A Story of Hollywood and the Second World War" by Mark Harris
Learn more about the book from Goodreads: [link]https://www.goodreads.com/book/show/18114047-five-came-back?from_search=true&search_version=service[/link]
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John Ford came to Hollywood following one of his brothers, an actor. Asked what brought him to Hollywood, he replied "the train". He became one of the most respected directors in the business, in spite of being known for his westerns, which were not considered "serious" film. He won six Oscars, counting (he always did) the two that he won for his WWII documentary work. He had one wife; a son and daughter; and a grandson, Dan Ford who wrote a biography on his famous grandfather.- Director
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One of seven children, Frank Capra was born on May 18, 1897, in Bisacquino, Sicily. On May 10, 1903, his family left for America aboard the ship Germania, arriving in New York on May 23rd. "There's no ventilation, and it stinks like hell. They're all miserable. It's the most degrading place you could ever be," Capra said about his Atlantic passage. "Oh, it was awful, awful. It seems to always be storming, raining like hell and very windy, with these big long rolling Atlantic waves. Everybody was sick, vomiting. God, they were sick. And the poor kids were always crying."
The family boarded a train for the trip to California, where Frank's older brother Benjamin was living. On their journey, they subsisted on bread and bananas, as their lack of English made it impossible for them to ask for any other kind of foodstuffs. On June 3, the Capra family arrived at the Southern Pacific station in Los Angeles, at the time, a small city of approximately 102,000 people. The family stayed with Capra's older brother Benjamin, and on September 14, 1903, Frank began his schooling at the Castelar Elementary school.
In 1909, he entered Los Angeles' Manual Arts High School. Capra made money selling newspapers in downtown L.A. after school and on Saturdays, sometimes working with his brother Tony. When sales were slow, Tony punched Frank to attract attention, which would attract a crowd and make Frank's papers sell quicker. Frank later became part of a two-man music combo, playing at various places in the red light district of L.A., including brothels, getting paid a dollar per night, performing the popular songs. He also worked as a janitor at the high school in the early mornings. It was at high school that he became interested in the theater, typically doing back-stage work such as lighting.
Capra's family pressured him to drop out of school and go to work, but he refused, as he wanted to partake fully of the American Dream, and for that he needed an education. Capra later reminisced that his family "thought I was a bum. My mother would slap me around; she wanted me to quit school. My teachers would urge me to keep going....I was going to school because I had a fight on my hands that I wanted to win."
Capra graduated from high school on January 27, 1915, and in September of that year, he entered the Throop College of Technology (later the California Institute of Technology) to study chemical engineering. The school's annual tuition was $250, and Capra received occasional financial support from his family, who were resigned to the fact they had a scholar in their midst. Throop had a fine arts department, and Capra discovered poetry and the essays of Montaigne, which he fell in love with, while matriculating at the technical school. He then decided to write.
"It was a great discovery for me. I discovered language. I discovered poetry. I discovered poetry at Caltech, can you imagine that? That was a big turning point in my life. I didn't know anything could be so beautiful." Capra penned "The Butler's Failure," about an English butler provoked by poverty to murder his employer, then to suicide."
Capra was singled out for a cash award of $250 for having the highest grades in the school. Part of his prize was a six-week trip across the U.S. and Canada. When Capra's father, Turiddu, died in 1916, Capra started working at the campus laundry to make money.
After the U.S. Congress declared War on Germany on April 6, 1917, Capra enlisted in the Army, and while he was not a naturalized citizen yet, he was allowed to join the military as part of the Coastal Artillery. Capra became a supply officer for the student soldiers at Throop, who have been enrolled in a Reserve Officers Training Corps program. At his enlistment, Capra discovered he was not an American citizen; he became naturalized in 1920.
On September 15, 1918, Capra graduated from Throop with his bachelor's degree, and was inducted into the U.S. Army on October 18th and shipped out to the Presidio at San Francisco. An armistice ending the fighting of World War One would be declared in less than a month. While at the Presidio, Capra became ill with the Spanish influenza that claimed 20 million lives worldwide. He was discharged from the Army on December 13th and moved to his brother Ben's home in L.A. While recuperating, Capra answered a cattle call for extras for John Ford's film "The The Outcasts of Poker Flat (1919) (Capra, cast as a laborer in the Ford picture, introduced himself to the film's star, Harry Carey. Two decades later, Capra, designated the #1 director in Hollywood by "Time" magazine, would cast Carey and his movie actress wife Olive in Mr. Smith Goes to Washington (1939) for which Carey won a Best Supporting Actor Oscar nomination).
While living at his mother's house, Capra took on a wide variety of manual laboring jobs, including errand boy and ditch digger, even working as an orange tree pruner at 20 cents a day. He continued to be employed as an extra at movie studios and as a prop buyer at an independent studio at Sunset Boulevard and Gower Street, which later became the home of Columbia Pictures, where Capra would make his reputation as the most successful movie director of the 1930s. Most of his time was spent unemployed and idle, which gave credence to his family's earlier opposition to him seeking higher education. Capra wrote short stories but was unable to get them published. He eventually got work as a live-in tutor for the son of "Lucky" Baldwin, a rich gambler. (He later used the Baldwin estate as a location for Dirigible (1931)).
Smitten by the movie bug, in August of that year, Capra, former actor W. M. Plank, and financial backer Ida May Heitmann incorporated the Tri-State Motion Picture Co. in Nevada. Tri-State produced three short films in Nevada in 1920, Don't Change Your Husband (1919), The Pulse of Life (1917), and The Scar of Love (1920), all directed by Plank, and possibly based on story treatments written by Capra. The films were failures, and Capra returned to Los Angeles when Tri-State broke up. In March 1920, Capra was employed by CBC Film Sales Co., the corporate precursor of Columbia Films, where he also worked as an editor and director on a series called "Screen Snapshots." He quit CBC in August and moved to San Francisco, but the only jobs he could find were that of bookseller and door-to-door salesman. Once again seeming to fulfill his family's prophecy, he turned to gambling, and also learned to ride the rails with a hobo named Frank Dwyer. There was also a rumor that he became a traveling salesman specializing in worthless securities, according to a "Time" magazine story "Columbia's Gem" (August 8, 1938 issue, V.32, No. 6).
Still based in San Francisco in 1921, producer Walter Montague hired Capra for $75 per week to help direct the short movie The Ballad of Fisher's Boarding House (1922), which was based on a poem by Rudyard Kipling. Montague, a former actor, had the dubious idea that foggy San Francisco was destined to become the capital of movies, and that he could make a fortune making movies based on poems. Capra helped Montague produced the one-reeler, which was budgeted at $1,700 and subsequently sold to the Pathe Exchange for $3,500. Capra quit Montague when he demanded that the next movie be based upon one of his own poems.
Unable to find another professional filmmaking job, Capra hired himself out as a maker of shorts for the public-at-large while working as an assistant at Walter Ball's film lab. Finally, in October 1921, the Paul Gerson Picture Corp. hired him to help make its two-reel comedies, around the time that he began dating the actress Helen Edith Howe, who would become his first wife. Capra continued to work for both Ball and Gerson, primarily as a cutter. On November 25, 1923, Capra married Helen Howell, and the couple soon moved to Hollywood.
Hal Roach hired Capra as a gag-writer for the "Our Gang" series in January, 1924. After writing the gags for five "Our Gang" comedies in seven weeks, he asked Roach to make him a director. When Roach refused (he somewhat rightly felt he had found the right man in director Bob McGowan), Capra quit. Roach's arch rival Mack Sennett subsequently hired him as a writer, one of a six-man team that wrote for silent movie comedian Harry Langdon, the last major star of the rapidly disintegrating Mack Sennett Studios, and reigning briefly as fourth major silent comedian after Charles Chaplin, Buster Keaton, and Harold Lloyd. Capra began working with the Harry Langdon production unit as a gag writer, first credited on the short Plain Clothes (1925).
As Harry Langdon became more popular, his production unit at Sennett had moved from two- to three-reelers before Langdon, determined to follow the example of Chaplin, Keaton, and Lloyd, went into features. After making his first feature-length comedy, His First Flame (1927) for Sennett, Langdon signed a three-year contract with Sol Lesser's First National Pictures to annually produce two feature-length comedies at a fixed fee per film. For a multitude of reasons Mack Sennett was never able to retain top talent. On September 15, 1925, Harry Langdon left Sennett in an egotistical rage, taking many of his key production personnel with him. Sennett promoted Capra to director but fired him after three days in his new position. In addition to the Langdon comedies, Capra had also written material for other Sennett films, eventually working on twenty-five movies.
After being sacked by Sennett, Capra was hired as a gag-writer by Harry Langdon, working on Langdon's first First National feature-length film, Tramp, Tramp, Tramp (1926). The movie was directed by Harry Edwards who had directed all of Harry Langdon's films at Sennett. His first comedy for First National, Tramp, Tramp, Tramp (1926) did well at the box office, but it had ran over budget, which came out of Langdon's end. Harry Edwards was sacked, and for his next picture, The Strong Man (1926), Langdon promoted Capra to director, boosting his salary to $750 per week. The movie was a hit, but trouble was brewing among members of the Harry Langdon company. Langdon was increasingly believing his own press.
His marriage with Helen began to unravel when it is discovered that she had a life-threatening ectopic pregnancy that had to be terminated. In order to cope with the tragedy, Capra became a work-a-holic while Helen turned to drink. The deterioration of his marriage was mirrored by the disintegration of his professional relationship with Harry Langdonduring the making of the new feature, Long Pants (1927).
The movie, which was released in March 1927, proved to be Capra's last with Harry Langdon, as the comedian soon sacked Capra after its release. Capra later explained the principle of Langdon comedies to James Agee, "It is the principal of the brick: If there was a rule for writing Langdon material, it was this: his only ally was God. Harry Langdon might be saved by a brick falling on a cop, but it was verboten that he in any way motivated the bricks fall."
During the production of Long Pants (1926), Capra had a falling out with Langdon. Screenwriter Arthur Ripley's dark sensibility did not mesh well with that of the more optimistic Capra, and Harry Langdon usually sided with Ripley. The picture fell behind schedule and went over budget, and since Langdon was paid a fixed fee for each film, this represented a financial loss to his own Harry Langdon Corp. Stung by the financial set-back, and desiring to further emulate the great Chaplin, Harry Langdon made a fateful decision: He fired Capra and decided to direct himself. (Langdon's next three movies for First National were dismal failures, the two surviving films being very dark and grim black comedies, one of which, The Chaser (1928), touched on the subject of suicide. It was the late years of the Jazz Age, a time of unprecedented prosperity and boundless bonhomie, and the critics, and more critically, the ticket-buying public, rejected Harry. In 1928, First National did not pick up his contract. The Harry Langdon Corp. soon went bankrupt, and his career as the "fourth major silent comedian" was through, just as sound was coming in.)
In April of 1927, Capra and his wife Helen split up, and Capra went off to New York to direct For the Love of Mike (1927) for First National, his first picture with Claudette Colbert. The director and his star did not get along, and the film went over budget. Subsequently, First National refused to pay Capra, and he had to hitchhike back to Hollywood. The film proved to be Capra's only genuine flop.
By September 1927, he was back working as a writer for Mack Sennett, but in October, he was hired as a director by Columbia Pictures President and Production Chief Harry Cohn for $1,000. The event was momentous for both of them, for at Columbia Capra would soon become the #1 director in Hollywood in the 1930s, and the success of Capra's films would propel the Poverty Row studio into the major leagues. But at first, Cohn was displeased with him. When viewing the first three days of rushes of his first Columbia film, That Certain Thing (1928), Cohn wanted to fire him as everything on the first day had been shot in long shot, on the second day in medium shot, and on the third day in close-ups.
"I did it that way for time," Capra later recalled. "It was so easy to be better than the other directors, because they were all dopes. They would shoot a long shot, then they would have to change the setup to shoot a medium shot, then they would take their close-ups. Then they would come back and start over again. You lose time, you see, moving the cameras and the big goddamn lights. I said, 'I'll get all the long shots on that first set first, then all the medium shots, and then the close-ups.' I wouldn't shoot the whole scene each way unless it was necessary. If I knew that part of it was going to play in long shot, I wouldn't shoot that part in close-up. But the trick was not to move nine times, just to move three times. This saved a day, maybe two days."
Cohn decided to stick with Capra (he was ultimately delighted at the picture and gave Capra a $1,500 bonus and upped his per-picture salary), and in 1928, Cohn raised his salary again, now to to $3,000 per picture after he made several successful pictures, including Submarine (1928). The Younger Generation (1929), the first of a series of films with higher budgets to be directed by Capra, would prove to be his first sound film, when scenes were reshot for dialogue. In the summer of that year, he was introduced to a young widow, Lucille Warner Reyburn (who became Capra's second wife Lou Capra). He also met a transplanted stage actress, Barbara Stanwyck, who had been recruited for the talkie but had been in three successive unsuccessful films and wanted to return to the New York stage. Harry Cohn wanted Stanwyck to appear in Capra's planned film, Ladies of Leisure (1930), but the interview with Capra did not go well, and Capra refused to use her.
Stanwyck went home crying after being dismissed by Capra, and her husband, a furious Frank Fay, called Capra up. In his defense, Capra said that Stanwyck didn't seem to want the part. According to Capra's 1961 autobiography, "The Name Above the Title," Fay said, "Frank, she's young, and shy, and she's been kicked around out here. Let me show you a test she made at Warner's." After viewing her Warners' test for The Noose (1928), Capra became enthusiastic and urged Cohn to sign her. In January of 1930, Capra began shooting Ladies of Leisure (1930) with Stanwyck in the lead. The movies the two made together in the early '30s established them both on their separate journeys towards becoming movieland legends. Though Capra would admit to falling in love with his leading lady, it was Lucille Warner Reyburn who became the second Mrs. Capra.
"You're wondering why I was at that party. That's my racket. I'm a party girl. Do you know what that is?"
Stanwyck played a working-class "party girl" hired as a model by the painter Jerry, who hails from a wealthy family. Capra had written the first draft of the movie before screenwriter Jo Swerling took over. Swerling thought the treatment was dreadful. According to Capra, Swerling told Harry Cohn, when he initially had approached about adapting the play "Ladies of the Evening" into Capra's next proposed film, "I don't like Hollywood, I don't like you, and I certainly don't like this putrid piece of gorgonzola somebody gave me to read. It stunk when Belasco produced it as Ladies of Leisure (1930), and it will stink as Ladies of Leisure, even if your little tin Jesus does direct it. The script is inane, vacuous, pompous, unreal, unbelievable and incredibly dull."
Capra, who favored extensive rehearsals before shooting a scene, developed his mature directorial style while collaborating with Stanwyck, a trained stage actress whose performance steadily deteriorated after rehearsals or retakes. Stanwyck's first take in a scene usually was her best. Capra started blocking out scenes in advance, and carefully preparing his other actors so that they could react to Stanwyck in the first shot, whose acting often was unpredictable, so they wouldn't foul up the continuity. In response to this semi-improvisatory style, Capra's crew had to boost its level of craftsmanship to beyond normal Hollywood standards, which were forged in more static and prosaic work conditions. Thus, the professionalism of Capra's crews became better than those of other directors. Capra's philosophy for his crew was, "You guys are working for the actors, they're not working for you."
After "Ladies of Leisure," Capra was assigned to direct Platinum Blonde (1931) starring Jean Harlow. The script had been the product of a series of writers, including Jo Swerling (who was given credit for adaptation), but was polished by Capra and Robert Riskin (who was given screen credit for the dialogue). Along with Jo Swerling, Riskin would rank as one of Capra's most important collaborators, ultimately having a hand in 13 movies. (Riskin wrote nine screenplays for Capra, and Capra based four other films on Riskin's work.)
Riskin created a hard-boiled newspaperman, Stew Smith for the film, a character his widow, the actress Fay Wray, said came closest to Riskin of any character he wrote. A comic character, the wise-cracking reporter who wants to lampoon high society but finds himself hostage to the pretensions of the rich he had previously mocked is the debut of the prototypical "Capra" hero. The dilemma faced by Stew, akin to the immigrant's desire to assimilate but being rejected by established society, was repeated in Mr. Deeds Goes to Town (1936) and in Meet John Doe (1941).
Capra, Stanwyck, Riskin and Jo Swerling all were together to create Capra's next picture, The Miracle Woman (1931), a story about a shady evangelist. With John Meehan, Riskin wrote the play that the movie is based on, "Bless You, Sister," and there is a possibly apocryphal story that has Riskin at a story conference at which Capra relates the treatment for the proposed film. Capra, finished, asked Riskin for his input, and Riskin replied, "I wrote that play. My brother and I were stupid enough to produce it on Broadway. It cost us almost every cent we had. If you intend to make a picture of it, it only proves one thing: You're even more stupid than we were."
Jo Swerling adapted Riskin's play, which he and his brother Everett patterned after Sinclair Lewis' "Elmer Gantry." Like the Lewis novel, the play focuses on the relationship between a lady evangelist and a con man. The difference, though, is that the nature of the relationship is just implied in Riskin's play (and the Capra film). There is also the addition of the blind war-vet as the moral conscience of the story; he is the pivotal character, whereas in Lewis' tale, the con artist comes to have complete control over the evangelist after eventually seducing her. Like some other Capra films, The Miracle Woman (1931) is about the love between a romantic, idealizing man and a cynical, bitter woman. Riskin had based his character on lady evangelist Uldine Utley, while Stanwyck based her characterization on Aimee Semple McPherson.
Recognizing that he had something in his star director, Harry Cohn took full advantage of the lowly position his studio had in Hollywood. Both Warner Brothers and mighty MGM habitually lent Cohn their troublesome stars -- anyone rejecting scripts or demanding a pay raise was fodder for a loan out to Cohn's Poverty Row studio. Cohn himself was habitually loathe to sign long-term stars in the early 1930s (although he made rare exceptions to Peter Lorre and The Three Stooges) and was delighted to land the talents of any top flight star and invariably assigned them to Capra's pictures. Most began their tenure in purgatory with trepidation but left eagerly wanting to work with Capra again.
In 1932, Capra decided to make a motion picture that reflected the social conditions of the day. He and Riskin wrote the screenplay for American Madness (1932), a melodrama that is an important precursor to later Capra films, not only with It's a Wonderful Life (1946) which shares the plot device of a bank run, but also in the depiction of the irrationality of a crowd mentality and the ability of the individual to make a difference. In the movie, an idealistic banker is excoriated by his conservative board of directors for making loans to small businesses on the basis of character rather than on sounder financial criteria. Since the Great Depression is on, and many people lack collateral, it would be impossible to productively lend money on any other criteria than character, the banker argues. When there is a run on the bank due to a scandal, it appears that the board of directors are rights the bank depositors make a run on the bank to take out their money before the bank fails. The fear of a bank failure ensures that the failure will become a reality as a crowd mentality takes over among the clientèle. The board of directors refuse to pledge their capital to stave off the collapse of the bank, but the banker makes a plea to the crowd, and just like George Bailey's depositors in It's a Wonderful Life (1946), the bank is saved as the fears of the crowd are ameliorated and businessmen grateful to the banker pledge their capital to save the bank. The board of directors, impressed by the banker's character and his belief in the character of his individual clients (as opposed to the irrationality of the crowd), pledge their capital and the bank run is staved off and the bank is saved.
In his biography, "The Name Above the Picture," Capra wrote that before American Madness (1932), he had only made "escapist" pictures with no basis in reality. He recounts how Poverty Row studios, lacking stars and production values, had to resort to "gimmick" movies to pull the crowds in, making films on au courant controversial subjects that were equivalent to "yellow journalism."
What was more important than the subject and its handling was the maturation of Capra's directorial style with the film. Capra had become convinced that the mass-experience of watching a motion picture with an audience had the psychological effect in individual audience members of slowing down the pace of a film. A film that during shooting and then when viewed on a movieola editing device and on a small screen in a screening room among a few professionals that had seemed normally paced became sluggish when projected on the big screen. While this could have been the result of the projection process blowing up the actors to such large proportions, Capra ultimately believed it was the effect of mass psychology affecting crowds since he also noticed this "slowing down" phenomenon at ball games and at political conventions. Since American Madness (1932) dealt with crowds, he feared that the effect would be magnified.
He decided to boost the pace of the film, during the shooting. He did away with characters' entrances and exits that were a common part of cinematic "grammar" in the early 1930s, a survival of the "photoplays" days. Instead, he "jumped" characters in and out of scenes, and jettisoned the dissolves that were also part of cinematic grammar that typically ended scenes and indicated changes in time or locale so as not to make cutting between scenes seem choppy to the audience. Dialogue was deliberately overlapped, a radical innovation in the early talkies, when actors were instructed to let the other actor finish his or her lines completely before taking up their cue and beginning their own lines, in order to facilitate the editing of the sound-track. What he felt was his greatest innovation was to boost the pacing of the acting in the film by a third by making a scene that would normally play in one minute take only 40 seconds.
When all these innovations were combined in his final cut, it made the movie seem normally paced on the big screen, though while shooting individual scenes, the pacing had seemed exaggerated. It also gave the film a sense of urgency that befitted the subject of a financial panic and a run on a bank. More importantly, it "kept audience attention riveted to the screen," as he said in his autobiography. Except for "mood pieces," Capra subsequently used these techniques in all his films, and he was amused by critics who commented on the "naturalness" of his direction.
Capra was close to completely establishing his themes and style. Justly accused of indulging in sentiment which some critics labeled "Capra-corn," Capra's next film, Lady for a Day (1933) was an adaptation of Damon Runyon's 1929 short story "Madame La Gimp" about a nearly destitute apple peddler whom the superstitious gambler Dave the Dude (portrayed by Warner Brothers star Warren William) sets up in high style so she and her daughter, who is visiting with her finance, will not be embarrassed. Dave the Dude believes his luck at gambling comes from his ritualistically buying an apple a day from Annie, who is distraught and considering suicide to avoid the shame of her daughter seeing her reduced to living on the street. The Dude and his criminal confederates put Annie up in a luxury apartment with a faux husband in order to establish Annie in the eyes of her daughter as a dignified and respectable woman, but in typical Runyon fashion, Annie becomes more than a fake as the masquerade continues.
Robert Riskin wrote the first four drafts of Lady for a Day (1933), and of all the scripts he worked on for Capra, the film deviates less from the script than any other. After seeing the movie, Runyon sent a telegraph to Riskin praising him for his success at elaborating on the story and fleshing out the characters while maintain his basic story. Lady for a Day (1933) was the favorite Capra film of John Ford, the great filmmaker who once directed the unknown extra. The movie cost $300,000 and was the first of Capra's oeuvre to attract the attention of the Academy of Motion Picture Arts & Sciences, getting a Best Director nomination for Capra, plus nods for Riskin and Best Actress. The movie received Columbia's first Best Picture nomination, the studio never having attracted any attention from the Academy before Lady for a Day (1933). (Capra's last film was the flop remake of Lady for a Day (1933) with Bette Davis and Glenn Ford, Pocketful of Miracles (1961))
Capra reunited with Stanwyck and produced his first universally acknowledged classic, The Bitter Tea of General Yen (1932), a film that now seems to belong more to the oeuvre of Josef von Sternberg than it does to Frank Capra. With "General Yen," Capra had consciously set out to make a movie that would win Academy Awards. Frustrated that the innovative, timely, and critically well-received American Madness (1932) had not received any recognition at the Oscars (particularly in the director's category in recognition of his innovations in pacing), he vented his displeasure to Columbia boss Cohn.
"Forget it," Cohn told Capra, as recounted in his autobiography. "You ain't got a Chinaman's chance. They only vote for that arty junk."
Capra set out to boost his chances by making an arty film featuring a "Chinaman" that confronted that major taboo of American cinema of the first half of the century, miscegenation.
In the movie, the American missionary Megan Davis is in China to marry another missionary. Abducted by the Chinese Warlord General Yen, she is torn away from the American compound that kept her isolated from the Chinese and finds herself in a strange, dangerous culture. The two fall in love despite their different races and life-views. The film ran up against the taboo against miscegenation embedded in the Motion Picture Producers and Distributors Association's Production Code, and while Megan merely kisses General Yen's hand in the picture, the fact that she was undeniably in love with a man from a different race attracted the vituperation of many bigots.
Having fallen for Megan, General Yen engenders her escape back to the Americans before willingly drinking a poisoned cup of tea, his involvement with her having cost him his army, his wealth, and now his desire to live. The Bitter Tea of General Yen (1932) marks the introduction of suicide as a Capra theme that will come back repeatedly, most especially in George Bailey's breakdown on the snowy bridge in It's a Wonderful Life (1946).
Despair often shows itself in Capra films, and although in his post-"General Yen" work, the final reel wraps things up in a happy way, until that final reel, there is tragedy, cynicism, heartless exploitation, and other grim subject matter that Capra's audiences must have known were the truth of the world, but that were too grim to face when walking out of a movie theater. When pre-Code movies were rediscovered and showcased across the United States in the 1990s, they were often accompanied by thesis about how contemporary audiences "read" the films (and post-1934 more Puritanical works), as the movies were not so frank or racy as supposed. There was a great deal of signaling going on which the audience could read into, and the same must have been true for Capra's films, giving lie to the fact that he was a sentimentalist with a saccharine view of America. There are few films as bitter as those of Frank Capra before the final reel.
Despair was what befell Frank Capra, personally, on the night of March 16, 1934, which he attended as one of the Best Director nominees for Lady for a Day (1933). Capra had caught Oscar fever, and in his own words, "In the interim between the nominations and the final voting...my mind was on those Oscars." When Oscar host Will Rogers opened the envelope for Best Director, he commented, "Well, well, well. What do you know. I've watched this young man for a long time. Saw him come up from the bottom, and I mean the bottom. It couldn't have happened to a nicer guy. Come on up and get it, Frank!"
Capra got up to go get it, squeezing past tables and making his way to the open dance floor to accept his Oscar. "The spotlight searched around trying to find me. 'Over here!' I waved. Then it suddenly swept away from me -- and picked up a flustered man standing on the other side of the dance floor - Frank Lloyd!"
Frank Lloyd went up to the dais to accept HIS Oscar while a voice in back of Capra yelled, "Down in front!"
Capra's walk back to his table amidst shouts of "Sit down!" turned into the "Longest, saddest, most shattering walk in my life. I wished I could have crawled under the rug like a miserable worm. When I slumped in my chair I felt like one. All of my friends at the table were crying."
That night, after Lloyd's Cavalcade (1933), beat Lady for a Day (1933) for Best Picture, Capra got drunk at his house and passed out. "Big 'stupido,'" Capra thought to himself, "running up to get an Oscar dying with excitement, only to crawl back dying with shame. Those crummy Academy voters; to hell with their lousy awards. If ever they did vote me one, I would never, never, NEVER show up to accept it."
Capra would win his first of three Best Director Oscars the next year, and would show up to accept it. More importantly, he would become the president of the Academy in 1935 and take it out of the labor relations field a time when labor strife and the formation of the talent guilds threatened to destroy it.
The International Academy of Motion Picture Arts & Sciences had been the brainchild of Louis B. Mayer in 1927 (it dropped the "International" soon after its formation). In order to forestall unionization by the creative talent (directors, actors and screenwriters) who were not covered by the Basic Agreement signed in 1926, Mayer had the idea of forming a company union, which is how the Academy came into being. The nascent Screen Writers Union, which had been created in 1920 in Hollywood, had never succeeded in getting a contract from the studios. It went out of existence in 1927, when labor relations between writers and studios were handled by the Academy's writers' branch.
The Academy had brokered studio-mandated pay-cuts of 10% in 1927 and 1931, and massive layoffs in 1930 and 1931. With the inauguration of President Franklin D. Roosevelt on March 4, 1933, Roosevelt took no time in attempting to tackle the Great Depression. The day after his inauguration, he declared a National Bank Holiday, which hurt the movie industry as it was heavily dependent on bank loans. Louis B. Mayer, as president of the Association of Motion Picture Producers, Inc. (the co-equal arm of the Motion Picture Producers and Distributors Association charged with handling labor relations) huddled with a group from the Academy (the organization he created and had long been criticized for dominating, in both labor relations and during the awards season) and announced a 50% across-the-board pay cut. In response, stagehands called a strike for March 13th, which shut down every studio in Hollywood.
After another caucus between Mayer and the Academy committee, a proposal for a pay-cut on a sliding-scale up to 50% for everyone making over $50 a week; which would only last for eight weeks, was inaugurated. Screen writers resigned en masse from the Academy and joined a reformed Screen Writers Guild, but most employees had little choice and went along with it. All the studios but Warner Bros. and Sam Goldwyn honored the pledge to restore full salaries after the eight weeks, and Warners production chief Darryl F. Zanuck resigned in protest over his studio's failure to honor its pledge. A time of bad feelings persisted, and much anger was directed towards the Academy in its role as company union.
The Academy, trying to position itself as an independent arbiter, hired the accounting firm of Price Waterhouse for the first time to inspect the books of the studios. The audit revealed that all the studios were solvent, but Harry Warner refused to budge and Academy President 'Conrad Nagel' resigned, although some said he was forced out after a vote of no-confidence after arguing Warner's case. The Academy announced that the studio bosses would never again try to impose a horizontal salary cut, but the usefulness of the Academy as a company union was over.
Under Roosevelt's New Deal, the self-regulation imposed by the National Industrial Relations Act (signed into law on June 16th) to bring business sectors back to economic health was predicated upon cartelization, in which the industry itself wrote its own regulatory code. With Hollywood, it meant the re-imposition of paternalistic labor relations that the Academy had been created to wallpaper over. The last nail in the company union's coffin was when it became public knowledge that the Academy appointed a committee to investigate the continued feasibility of the industry practice of giving actors and writers long-term contracts. High salaries to directors, actors, and screen writers was compensation to the creative people for producers refusing to ceded control over creative decision-making. Long-term contracts were the only stability in the Hollywood economic set-up up creative people,. Up to 20%-25% of net earnings of the movie industry went to bonuses to studio owners, production chiefs, and senior executives at the end of each year, and this created a good deal of resentment that fueled the militancy of the SWG and led to the formation of the Screen Actors Guild in July 1933 when they, too, felt that the Academy had sold them out.
The industry code instituted a cap on the salaries of actors, directors, and writers, but not of movie executives; mandated the licensing of agents by producers; and created a reserve clause similar to baseball where studios had renewal options with talent with expired contracts, who could only move to a new studio if the studio they had last been signed to did not pick up their option.
The SWG sent a telegram to FDR in October 1933 denouncing this policy, arguing that the executives had taken millions of dollars of bonuses while running their companies into receivership and bankruptcy. The SWG denounced the continued membership of executives who had led their studios into financial failure remaining on the corporate boards and in the management of the reorganized companies, and furthermore protested their use of the NIRA to write their corrupt and failed business practices into law at the expense of the workers.
There was a mass resignation of actors from the Academy in October 1933, with the actors switching their allegiance to SAG. SAG joined with the SWG to publish "The Screen Guilds Magazine," a periodical whose editorial content attacked the Academy as a company union in the producers' pocket. SAG President Eddie Cantor, a friend of Roosevelt who had bee invited to spend the Thanksgiving Day holiday with the president, informed him of the guild's grievances over the NIRA code. Roosevelt struck down many of the movie industry code's anti-labor provisions by executive order.
The labor battles between the guilds and the studios would continue until the late 1930s, and by the time Frank Capra was elected president of the Academy in 1935, the post was an unenviable one. The Screen Directors Guild was formed at King Vidor's house on January 15, 1936, and one of its first acts was to send a letter to its members urging them to boycott the Academy Awards ceremony, which was three days away. None of the guilds had been recognized as bargaining agents by the studios, and it was argued to grace the Academy Awards would give the Academy, a company union, recognition. Academy membership had declined to 40 from a high of 600, and Capra believed that the guilds wanted to punish the studios financially by depriving them of the good publicity the Oscars generated.
But the studios couldn't care less. Seeing that the Academy was worthless to help them in its attempts to enforce wage cuts, it too abandoned the Academy, which it had financed. Capra and the Board members had to pay for the Oscar statuettes for the 1936 ceremony. In order to counter the boycott threat, Capra needed a good publicity gimmick himself, and the Academy came up with one, voting D.W. Griffith an honorary Oscar, the first bestowed since one had been given to Charles Chaplin at the first Academy Awards ceremony.
The Guilds believed the boycott had worked as only 20 SAG members and 13 SWG members had showed up at the Oscars, but Capra remembered the night as a victory as all the winners had shown up. However, 'Variety' wrote that "there was not the galaxy of stars and celebs in the director and writer groups which distinguished awards banquets in recent years." "Variety" reported that to boost attendance, tickets had been given to secretaries and the like. Bette Davis and Victor McLaglen had showed up to accept their Oscars, but McLaglen's director and screenwriter, John Ford and Dudley Nichols, both winners like McLaglen for The Informer (1935), were not there, and Nichols became the first person to refuse an Academy Award when he sent back his statuette to the Academy with a note saying he would not turn his back on his fellow writers in the SWG. Capra sent it back to him. Ford, the treasurer of the SDG, had not showed up to accept his Oscar, he explained, because he wasn't a member of the Academy. When Capra staged a ceremony where Ford accepted his award, the SDG voted him out of office.
To save the Academy and the Oscars, Capra convinced the board to get it out of the labor relations field. He also democratized the nomination process to eliminate studio politics, opened the cinematography and interior decoration awards to films made outside the U.S., and created two new acting awards for supporting performances to win over SAG.
By the 1937 awards ceremony, SAG signaled its pleasure that the Academy had mostly stayed out of labor relations by announcing it had no objection to its members attending the awards ceremony. The ceremony was a success, despite the fact that the Academy had to charge admission due to its poor finances. Frank Capra had saved the Academy of Motion Picture Arts and Sciences, and he even won his second Oscar that night, for directing Mr. Deeds Goes to Town (1936). At the end of the evening, Capra announced the creation of the Irving Thalberg Memorial Award to honor "the most consistent high level of production achievement by an individual producer." It was an award he himself was not destined to win.
By the 1938 awards, the Academy and all three guilds had buried the hatchet, and the guild presidents all attended the ceremony: SWG President Dudley Nichols, who finally had accepted his Oscar, SAG President Robert Montgomery, and SDG President King Vidor. Capra also had introduced the secret ballot, the results of which were unknown to everyone but the press, who were informed just before the dinner so they could make their deadlines. The first Irving Thalberg Award was given to long-time Academy supporter and anti-Guild stalwart Darryl F. Zanuck by Cecil B. DeMille, who in his preparatory remarks, declared that the Academy was "now free of all labor struggles."
But those struggles weren't over. In 1939, Capra had been voted president of the SDG and began negotiating with AMPP President 'Joseph Schenck', the head of 20th Century-Fox, for the industry to recognize the SDG as the sole collective bargaining agent for directors. When Schenck refused, Capra mobilized the directors and threatened a strike. He also threatened to resign from the Academy and mount a boycott of the awards ceremony, which was to be held a week later. Schenck gave in, and Capra won another victory when he was named Best Director for a third time at the Academy Awards, and his movie, You Can't Take It with You (1938), was voted Best Picture of 1938.
The 1940 awards ceremony was the last that Capra presided over, and he directed a documentary about them, which was sold to Warner Bros' for $30,000, the monies going to the Academy. He was nominated himself for Best Director and Best Picture for Mr. Smith Goes to Washington (1939), but lost to the Gone with the Wind (1939) juggernaut. Under Capra's guidance, the Academy had left the labor relations field behind in order to concentrated on the awards (publicity for the industry), research and education.
"I believe the guilds should more or less conduct the operations and functions of this institution," he said in his farewell speech. He would be nominated for Best Director and Best Picture once more with It's a Wonderful Life (1946) in 1947, but the Academy would never again honor him, not even with an honorary award after all his service. (Bob Hope, in contrast, received four honorary awards, including a lifetime membership in 1945, and the Jean Hersholt Humanitarian award in 1960 from the Academy.) The SDG (subsequently renamed the Directors Guild of America after its 1960 with the Radio and Television Directors Guild and which Capra served as its first president from 1960-61), the union he had struggled with in the mid-1930s but which he had first served as president from 1939 to 1941 and won it recognition, voted him a lifetime membership in 1941 and a Lifetime Achievement Award in 1959.
Whenever Capra convinced studio boss Harry Cohn to let him make movies with more controversial or ambitious themes, the movies typically lost money after under-performing at the box office. The Bitter Tea of General Yen (1932) and Lost Horizon (1937) were both expensive, philosophically minded pictures that sought to reposition Capra and Columbia into the prestige end of the movie market. After the former's relative failure at the box office and with critics, Capra turned to making a screwball comedy, a genre he excelled at, with It Happened One Night (1934). Bookended with You Can't Take It with You (1938), these two huge hits won Columbia Best Picture Oscars and Capra Best Director Academy Awards. These films, along with Mr. Deeds Goes to Town (1936), Mr. Smith Goes to Washington (1939), and It's a Wonderful Life (1946) are the heart of Capra's cinematic canon. They are all classics and products of superb craftsmanship, but they gave rise to the canard of "Capra-corn." One cannot consider Capra without taking into account The Bitter Tea of General Yen (1932), American Madness (1932), and Meet John Doe (1941), all three dark films tackling major issues, Imperialism, the American plutocracy, and domestic fascism. Capra was no Pollyanna, and the man who was called a "dago" by Mack Sennett and who went on to become one of the most unique, highly honored and successful directors, whose depictions of America are considered Americana themselves, did not live his cinematic life looking through a rose-colored range-finder
In his autobiography "The Name Above the Title," Capra says that at the time of American Madness (1932), critics began commenting on his "gee-whiz" style of filmmaking. The critics attacked "gee whiz" cultural artifacts as their fabricators "wander about wide-eyed and breathless, seeing everything as larger than life." Capra's response was "Gee whiz!"
Defining Hollywood as split between two camps, "Mr. Up-beat" and "Mr. Down-beat," Capra defended the up-beat gee whiz on the grounds that, "To some of us, all that meets the eye IS larger than life, including life itself. Who ca match the wonder of it?"
Among the artists of the "Gee-Whiz:" school were Ernest Hemingway, Homer, and Paul Gauguin, a novelist who lived a heroic life larger than life itself, a poet who limned the lives of gods and heroes, and a painter who created a mythic Tahiti, the Tahiti that he wanted to find. Capra pointed to Moses and the apostles as examples of men who were larger than life. Capra was proud to be "Mr. Up-beat" rather than belong to "the 'ashcan' school" whose "films depict life as an alley of cats clawing lids off garbage cans, and man as less noble than a hyena. The 'ash-canners,' in turn, call us Pollyannas, mawkish sentimentalists, and corny happy-enders."
What really moves Capra is that in America, there was room for both schools, that there was no government interference that kept him from making a film like American Madness (1932). (While Ambassador to the Court of St. James, Joseph P. Kennedy had asked Harry Cohn to stop exporting Mr. Smith Goes to Washington (1939) to Europe as it portrayed American democracy so negatively.) About Mr. Up-beat and Mr-Downbeat and "Mr. In-between," Capra says, "We all respect and admire each other because the great majority freely express their own individual artistry unfettered by subsidies or strictures from government, pressure groups, or ideologists."
In the period 1934 to 1941, Capra the created the core of his canon with the classics It Happened One Night (1934), Mr. Deeds Goes to Town (1936), You Can't Take It with You (1938), Mr. Smith Goes to Washington (1939) and Meet John Doe (1941), wining three Best Director Oscars in the process. Some cine-historians call Capra the great American propagandist, he was so effective in creating an indelible impression of America in the 1930s. "Maybe there never was an America in the thirties," John Cassavetes was quoted as saying. "Maybe it was all Frank Capra."
After the United States went to war in December 1941, Frank Capra rejoined the Army and became an actual propagandist. His "Why We Fight" series of propaganda films were highly lauded for their remarkable craftsmanship and were the best of the U.S. propaganda output during the war. Capra's philosophy, which has been variously described as a kind of Christian socialism (his films frequently feature a male protagonist who can be seen a Christ figure in a story about redemption emphasizing New Testament values) that is best understood as an expression of humanism, made him an ideal propagandist. He loved his adopted country with the fervor of the immigrant who had realized the American dream. One of his propaganda films, The Negro Soldier (1944), is a milestone in race relations.
Capra, a genius in the manipulation of the first form of "mass media," was opposed to "massism." The crowd in a Capra film is invariably wrong, and he comes down on the side of the individual, who can make a difference in a society of free individuals. In an interview, Capra said he was against "mass entertainment, mass production, mass education, mass everything. Especially mass man. I was fighting for, in a sense, the preservation of the liberty of the individual person against the mass."
Capra had left Columbia after "Mr. Smith" and formed his own production company. After the war, he founded Liberty Films with John Ford and made his last masterpiece, It's a Wonderful Life (1946). Liberty folded prior to its release (another Liberty film, William Wyler's masterpiece, The Best Years of Our Lives (1946) was released through United Artists). Though Capra received his sixth Oscar nomination as best director, the movie flopped at the box office, which is hard to believe now that the film is considered must-see viewing each Christmas. Capra's period of greatness was over, and after making three under-whelming films from 1948 to '51 (including a remake of his earlier Broadway Bill (1934)), Capra didn't direct another picture for eight years, instead making a series of memorable semi-comic science documentaries for television that became required viewing for most 1960's school kids. His last two movies, A Hole in the Head (1959) and Pocketful of Miracles (1961) his remake of Lady for a Day (1933) did little to enhance his reputation.
But a great reputation it was, and is. Capra's films withstood the test of time and continue to be as beloved as when they were embraced by the movie-going "masses" in the 1930s. It was the craftsmanship: Capra was undeniably a master of his medium. The great English novelist Graham Greene, who supported himself as a film critic in the 1930s, loved Capra's films due to their sense of responsibility and of common life, and due to his connection with his audience. (Capra, according to the 1938 "Time" article, believed that what he liked would be liked by moviegoers). In his review of Mr. Deeds Goes to Town (1936), Greene elucidated the central theme of Capra's movies: "Goodness and simplicity manhandled in a deeply selfish and brutal world."
But it was Capra's great mastery over film that was the key to his success. Comparing Capra to Dickens in a not wholly flattering review of You Can't Take It with You (1938), Green found Capra "a rather muddled and sentimental idealist who feels -- vaguely -- that something is wrong with the social system" (807). Commenting on the improbable scene in which Grandpa Vanderhof persuades the munitions magnate Anthony P. Kirby to give everything up and play the harmonica, Greene stated:
"It sounds awful, but it isn't as awful as all that, for Capra has a touch of genius with a camera: his screen always seems twice as big as other people's, and he cuts as brilliantly as Eisenstein (the climax when the big bad magnate takes up his harmonica is so exhilarating in its movement that you forget its absurdity). Humour and not wit is his line, a humor that shades off into whimsicality, and a kind of popular poetry which is apt to turn wistful. We may groan and blush as he cuts his way remorselessly through all finer values to the fallible human heart, but infallibly he makes his appeal - to that great soft organ with its unreliable goodness and easy melancholy and baseless optimism. The cinema, a popular craft, can hardly be expected to do more."
Capra was a populist, and the simplicity of his narrative structures, in which the great social problems facing America were boiled down to scenarios in which metaphorical boy scouts took on corrupt political bosses and evil-minded industrialists, created mythical America of simple archetypes that with its humor, created powerful films that appealed to the elemental emotions of the audience. The immigrant who had struggled and been humiliated but persevere due to his inner resolution harnessed the mytho-poetic power of the movie to create proletarian passion plays that appealed to the psyche of the New Deal movie-goer. The country during the Depression was down but not out, and the ultimate success of the individual in the Capra films was a bracing tonic for the movie audience of the 1930s. His own personal history, transformed on the screen, became their myths that got them through the Depression, and when that and the war was over, the great filmmaker found himself out of time. Capra, like Charles Dickens, moralized political and economic issues. Both were primarily masters of personal and moral expression, and not of the social and political. It was the emotional realism, not the social realism, of such films as Mr. Smith Goes to Washington (1939), which he was concerned with, and by focusing on the emotional and moral issues his protagonists faced, typically dramatized as a conflict between cynicism and the protagonist's faith and idealism, that made the movies so powerful, and made them register so powerfully with an audience.- Director
- Producer
- Actor
William Wyler was an American filmmaker who, at the time of his death in 1981, was considered by his peers as second only to John Ford as a master craftsman of cinema. The winner of three Best Director Academy Awards, second again only to Ford's four, Wyler's reputation has unfairly suffered as the lack of an obvious "signature" in his diverse body of work denies him the honorific "auteur" that has become a standard measure of greatness in the post-"Cahiers du Cinéma" critical community.
His directorial career spanned 45 years, from silent pictures to the cultural revolution of the 1970s. Nominated a record 12 times for the Academy Award for Best Director, he won three and in 1966, was honored with the Irving Thalberg Award, the Academy of Motion Picture Arts & Sciences' ultimate accolade for a producer. So high was his reputation in his lifetime that he was the fourth recipient of the American Film Institute's Lifetime Achievement Award, after Ford, James Cagney and Welles. Along with Ford and Welles, Wyler ranks with the best and most influential American directors, including Griffith, DeMille, Frank Capra, Howard Hawks, Alfred Hitchcock, Stanley Kubrick and Steven Spielberg.
Born Willi Wyler on July 1, 1902, in Mulhouse, Alsace (then a possession of Germany), to Jewish parents. His Swiss-born father, Leopold, started as a traveling salesman but later became a thriving haberdasher in Mulhouse. His mother, Melanie (née Auerbach; died February 13, 1955, Los Angeles, aged 77), was German-born, and a cousin of Carl Laemmle, founder of Universal Pictures. Melanie Wyler often took him and his older brother Robert to concerts, opera, and the theatre, as well as the early cinema. Sometimes at home his family and their friends would stage amateur theatricals for personal enjoyment.
He used his family connections to establish himself in the film industry. Upon being offered a job by his mother's first cousin, Universal Studios head Carl Laemmle, Wyler emigrated to the US in 1920 at the age of 18. After starting in Universal's New York offices as an errand boy, he moved his way up through the organization, ending up in the California operation in 1922. Wyler was given the opportunity to direct in July 1925, with the two-reel western The Crook Buster (1925). It was on this film that he was first credited as William Wyler, though he never officially changed his name and would be known as "Willi" all his life. For almost five years he performed his apprenticeship in Universal's "B" unit, turning out a score of low-budget silent westerns. In 1929 he made his first "A" picture, Hell's Heroes (1929), Universal's first all-sound movie shot outside a studio. The western, the first version of the "Three Godfathers" story, was a commercial and critical success.
The initial years of the Great Depression brought hard times for the film industry, and Universal went into receivership in 1932, partially due to financial troubles brought about by rampant nepotism and the runaway production costs rung up by producer Carl Laemmle Jr., the son of the boss. There were 70 Laemmle family members on the Universal payroll at one point, including Wyler. In 1935 "Uncle" Carl was forced to sell the studio he had created in 1912 with the 1912 merger of his Independent Motion Picture Co. with several other production companies. Wyler continued to direct for Universal up until the end of the family regime, helming Counsellor at Law (1933), the film version of Elmer Rice's play featuring one of John Barrymore's more restrained performances, and The Good Fairy (1935), a comedy adapted from a Ferenc Molnár play by Preston Sturges and starring Margaret Sullavan, who was Wyler's wife for a short time. Both films were produced by his cousin, "Junior" Laemmle. Emancipated from the Laemmle family, Wyler subsequently established himself as a major director in the mid-1930s, when he began directing films for independent producer Samuel Goldwyn. During this key period, he alternated between adaptations of famous plays and filming versions of classic novels. Willi would soon find his freedom fettered by the man with the fabled "Goldwyn touch," which entailed bullying his directors to recast, rewrite and re-cut their films, and sometimes even replacing them during shooting.
The first of the Wyler-Goldwyn collaborations was These Three (1936), based on Lillian Hellman's lesbian-themed play "The Children's Hour" (the Sapphic theme was jettisoned and sanitized into a conventional heterosexual love triangle due to censorship concerns, but it resurfaced intact when Wyler remade the film a quarter-century later). His first unqualified success for Goldwyn was Dodsworth (1936), an adaptation of Sinclair Lewis' portrait of a disintegrating American marriage, a marvelous film that still resonates with audiences in the 21st century. He received his first Best Director Oscar nomination for this picture. The film was nominated for Best Picture, the first of seven straight years in which a Wyler-directed movie would earn that accolade, culminating with Oscars for both William Wyler and Mrs. Miniver (1942) in 1942.
Wyler's potential greatness can be seen as early as "Hell's Heroes," an early talkie that is not constrained by the restrictions of the new technology. The climax of the picture, with Charles Bickford's dying badman walking into town, is a long tracking shot that focuses not on the actor himself but the detritus that he shucks off to lighten his load as he brings a baby back to a cradle of civilization. The scene is a harbinger of the free-flowing style that would become a hallmark of his work. However, it was with "Dodsworth" that Wyler began to establish his critical reputation. The film features long takes and a probing camera, a style that Wyler would make his own. Now established as Goldwyn's director of choice, Wyler made several films for him, including Dead End (1937) and Wuthering Heights (1939). Essentially an employee of the producer, Wyler clashed with Goldwyn over aesthetic choices and longed for his freedom. Goldwyn had demanded that the ghetto set of "Dead End" be spruced up and that "clean garbage" be used in the water tank representing the East River, over Wyler's objections. Goldwyn prevailed, as he did later with the ending of "Wuthering Heights." After he had finished principal photography on the film, Goldwyn demanded a new ending featuring the ghosts of Heathcliff and Cathy reunited and walking away towards what the audience would assume is heaven and an eternity of conjoined bliss. Wyler opposed the new ending and refused to shoot it. Goldwyn had his ending shot without Wyler and had it tacked onto the final cut. It was an artistic betrayal that rankled Wyler.
Goldwyn loaned out Wyler to other studios, and he made Jezebel (1938) and The Letter (1940) for Warner Bros. Working with Bette Davis in the two masterpieces, as well as in Goldwyn's The Little Foxes (1941), Wyler elicited three of the great diva's finest performances. In these films and his films of the mid-to-late 1930s, Wyler pioneered the use of deep-focus cinematography, most famously with lighting cameraman Gregg Toland. Toland shot seven of the eight films Wyler directed for Goldwyn: "These Three", Come and Get It (1936), "Dead End," "Wuthering Heights" (for which Toland won his only Academy Award), The Westerner (1940), "The Little Foxes" and The Best Years of Our Lives (1946). Compositions in Wyler pictures frequently featured multiple horizontal planes with various characters arranged in diagonals at varying distances from the camera lens. Creating an illusion of depth, these deep-focus shots enhanced the naturalism of the picture while heightening the drama. As the photography of Wyler's films was used to serve the story and create mood rather than call attention to itself, Toland was later mistakenly given credit for creating deep-focus cinematography along with another great director, Orson Welles, in Citizen Kane (1941). His first use of deep-focus cinematography was in 1935, with "The Good Fairy", on which Norbert Brodine was the lighting cameraman. It was the first of his films featuring deep-focus shots and the diagonal compositions that became a Wyler leitmotif. The film also includes a receding mirror shot a half-decade before Toland and Welles created a similar one for "Citizen Kane."
Wyler won his first Oscar as Best Director with "Mrs. Miniver" for MGM, which also won the Oscar for Best Picture, the first of three Wyler films that would be so honored. Made as a propaganda piece for American audiences to prepare them for the sacrifices necessitated by World War II, the movie is set in wartime England and elucidates the hardships suffered by an ordinary, middle-class English family coping with the war. An enthusiastic President Franklin D. Roosevelt, after seeing the film at a White House screening, said, "This has to be shown right away." The film also won Oscars for star Greer Garson and co-star Theresa Wright, for cinematographer Joseph Ruttenberg and for Best Screenplay.
After "Miniver," Wyler went off to war as an officer in the U.S. Army Air Forces. One of his more memorable propaganda films of the period was a documentary about a B-17 bomber, The Memphis Belle: A Story of a Flying Fortress (1944), He also directed the Navy documentary The Fighting Lady (1944), an examination of life aboard an American aircraft carrier. Though the later film won an Oscar as Best Documentary, "The Memphis Belle" is considered a classic of its form. The making of the documentary was even the subject of a 1990 feature film of the same name. "The Memphis Belle" focuses on the eponymous B-17 bomber and its 25th, and last, air raid flown from a base in England. The documentary features aerial battle footage that Wyler and his crew shot over the skies of Germany. One of his photographic crew, flying in another plane, was killed during the filming of the air battles. Wyler himself lost the hearing in one ear and became partially deaf in the other due to the noise and concussion of the flak bursting around his aircraft.
Wyler's first picture upon returning from World War II would prove to be the last movie he made for Goldwyn. A returning veteran like those portrayed in "The Best Years of Our Lives" (1946), this film won Wyler his second Oscar. The movie, which featured a moving performance by real-life veteran and double amputee Harold Russell, struck a universal chord with Americans and was a major box office hit. It was the second Wyler-directed picture to be named Best Picture at the Academy Awards. The film also won Oscars for star Fredric March and co-star Russell (who was also given an honorary award "for bringing hope and courage to his fellow veterans"), film editor Daniel Mandell, composer Hugo Friedhofer and screenwriter Robert E. Sherwood, and was instrumental in garnering the Irving Thalberg Award for Samuel Goldwyn, who also took home the Best Picture Oscar that year as "Best Years" producer.
Though Wyler elicited some of the finest performances preserved on film, ironically he could not communicate what he wanted to an actor. A perfectionist, he became known as "40-Take Wyler", shooting a scene over and over again until the actors played it the way he wanted. With his use of long takes, actors were forced to act within each take as their performances would not be covered in the cutting room. His long takes and lack of cutting slowed down the pacing of his films, providing a greater feeling of continuity within each scene and intimately involving the audience in the development of the drama. The story in a Wyler film was allowed to unfold organically, with no tricky editing to cover up holes in the script or to compensate for an inadequate performance. Wyler typically rehearsed his actors for two weeks before the beginning of principal photography.
While more actors won Academy Awards in Wyler movies, 14 out of a total of 36 nominations (more than any other two directors combined), few actors worked more than once or twice with him. Bette Davis worked on three films with him and won Academy Award nominations for each performance and an Oscar for "Jezebel." On their last collaboration, "The Little Foxes" (1941), Davis walked off the production for two weeks after clashing with Wyler over how her character should be played.
He proved hard on other experienced actors, such as Laurence Olivier in "Wuthering Heights," who gave credit to Willi for turning him from a stage actor into a movie actor. "This isn't the Opera House in Manchester," Wyler told Olivier, his way of conveying that he should tone down his performance. A year earlier, Wyler had forced Henry Fonda through 40 takes on the set of "Jezebel," Wyler's only direction being "Again" after each repeated take. When Fonda demanded some input on what he was doing wrong, Wyler replied only: "It stinks. Do it again." According to Charlton Heston, Wyler approached him early in the shooting of Ben-Hur (1959) and told him that his performance was inadequate. When a dismayed Heston asked him what he should do, "Be better" is all that Wyler could supply. In his autobiography, Elia Kazan, a famed "actor's director", tells how he offered advice to an actor acquaintance of his who was making a Wyler picture as he knew that the great director was inarticulate about acting and would be unable to give advice.
Wyler believed that after many takes, actors got angry and began to shed their preconceived ideas about acting in general and the part in particular. Stripped of these notions, actors were able to play at a truer level. It is a process that Stanley Kubrick would subsequently use on his post-2001: A Space Odyssey (1968) films, though to different results, creating an otherworldly anti-realism rather than the more naturalistic truth of a Wyler movie performance. His methods often meant that his films went over schedule and over budget, but he got results.
Wyler's reputation has suffered as he is not considered an "auteur," or "author" of his films. However, in his postwar career, he definitely was the auteur, or controlling consciousness, behind his films. Although he never took a screenwriting credit (other than for an early horse opera, Ridin' for Love (1926)), he selected his own stories and controlled the screenwriting, hiring his own writers in a development process that could take years. His postwar period films include The Heiress (1949), a fine version of Henry James' novel "Washington Square," with an Oscar-winning performance by Olivia de Havilland; Detective Story (1951), a police drama that takes place on a minimal, controlled set almost as restricted as that of Hitchcock's Rope (1948); and Roman Holiday (1953), which won Audrey Hepburn an Oscar in her first leading role. The other films of this period are Carrie (1952), The Desperate Hours (1955) and Friendly Persuasion (1956).
Wyler returned to the western genre one last time with The Big Country (1958), a picture far removed in scope from his two-reeler origins, featuring Gregory Peck, Heston, and Wyler's old "Hell's Heroes" star Bickford. Burl Ives won a Best Supporting Actor Oscar for his role as the patriarch of an outlaw clan in conflict with Bickford's family. Wyler was next enlisted by producer Sam Zimbalist to helm MGM's high-stakes "Ben-Hur" (1959), a remake of its 1925 classic. It was a high-budget ($15 million, approximately $90 million when factored for inflation), wide-screen (the aspect ratio of the film is 2.76 to 1 when properly shown in 70mm anamorphic prints, the highest ratio ever used for a film) epic that the studio had spent six years preparing. Principal photography required more than six months of shooting on location in Italy, with hundreds of crew members and thousands of extras. Wyler was the overlord of the largest crew and oversaw more extras than any other film had ever used. Wyler's "Ben-Hur" grossed $74 million (approximately $600 million at today's ticket prices, ranking it #13 film in terms of all-time box office performance, when adjusted for inflation), the film was the fourth highest-grossing film of all-time when it was released, surpassed only by Gone with the Wind (1939), DeMille's The Ten Commandments (1956), and Walt Disney's Snow White and the Seven Dwarfs (1937). "Ben-Hur" went on to win 11 Oscars out of 12 nominations, including a third Best Director Academy Award for Wyler. The 11 Oscars set a record since tied by Titanic (1997) and The Lord of the Rings: The Return of the King (2003).
In the last decade of his career, he remade "These Three" as The Children's Hour (1961), a franker version of Hellman's play than his 1936 version. The Collector (1965) was his last artistic triumph, and he had his last hit with Funny Girl (1968), for which Barbra Streisand repeated Audrey Hepburn's success of 15 years earlier, wining an Oscar in her first lead role. Wyler's last film was The Liberation of L.B. Jones (1970), an estimable failure that tackled the theme of racial prejudice, but which came out in the revolutionary time of Easy Rider (1969) and other such films and held little promise for such traditional warhorses as Wyler.
Although he reportedly dreamed of making more pictures, Wyler's failing health kept him from taking on another film. Instead, he and his wife Margaret Tallichet, the mother of his five children, contented themselves with travel. William Wyler died on July 27, 1981, in Beverly Hills, California.- Cinematographer
- Director
- Writer
George Stevens, a filmmaker known as a meticulous craftsman with a brilliant eye for composition and a sensitive touch with actors, is one of the great American filmmakers, ranking with John Ford, William Wyler and Howard Hawks as a creator of classic Hollywood cinema, bringing to the screen mytho-poetic worlds that were also mass entertainment. One of the most honored and respected directors in Hollywood history, Stevens enjoyed a great degree of independence from studios, producing most of his own films after coming into his own as a director in the late 1930s. Though his work ranged across all genres, including comedies, musicals and dramas, whatever he did carried the hallmark of his personal vision, which is predicated upon humanism.
Although the cinema is an industrial process that makes attributions of "authorship" difficult if not downright ridiculous (despite the contractual guarantees in Directors Guild of America-negotiated contracts), there is no doubt that George Stevens is in control of a George Stevens picture. Though he was unjustly derided by critics of the 1960s for not being an "auteur," an auteur he truly is, for a Stevens picture features meticulous attention to detail, the thorough exploitation of a scene's visual possibilities and ingenious and innovative editing that creates many layers of meanings. A Stevens picture contains compelling performances from actors whose interactions have a depth and intimacy rare in motion pictures. A Stevens picture typically is fully engaged with American society and is a chronicled photoplay of the pursuit of The American Dream.
George Stevens was nominated five times for an Academy Award as Best Director, winning twice, and six of the movies he produced and directed were nominated for Best Picture Oscars. In 1953 he was the recipient of the Irving Thalberg Memorial Award for maintaining a consistent level of high-quality production. He served as president of the Academy of Motion Picture Arts & Sciences from 1958 to 1959. Stevens won the Directors Guild of America Best Director Award three times as well as the D.W. Griffith Lifetime Achievement Award. He made five indisputable classics: Swing Time (1936), a Fred Astaire-Ginger Rogers musical; Gunga Din (1939), a rousing adventure film; Woman of the Year (1942), a battle-of-the-sexes comedy; A Place in the Sun (1951), a drama that broke new ground in the use of close-ups and editing; and Shane (1953), a distillation of every Western cliché that managed to both sum up and transcend the genre. His Penny Serenade (1941), The Talk of the Town (1942), The More the Merrier (1943), I Remember Mama (1948) and Giant (1956) all live on in the front rank of motion pictures.
George Cooper Stevens was born on December 18, 1904, in Oakland, California, to actor Landers Stevens and his wife, actress Georgie Cooper, who ran their own theatrical company in Oakland, Ye Liberty Playhouse. Cooper herself was the daughter of an actress, Georgia Woodthorpe (both ladies' Christian names offstage were Georgia, though their stage names were Georgie). Georgie Cooper appeared as Little Lord Fauntleroy as a child along with her mother at Los Angeles' Burbank Theater. George's parents' company performed in the San Francisco Bay area, and as individual performers they also toured the West Coast as vaudevillians on the Opheum circuit. Their theatrical repertoire included the classics, giving the young George the chance to forge an understanding of dramatic structure and what works with an audience. In 1922 Stevens' parents abandoned live theater and moved their family, which consisted of George and his older brother John Landers Stevens (later to be known as Jack Stevens), south to Glendale, California, to find work in the movie industry.
Both of Stevens' parents gained steady employment as movie actors. Landers appeared in Little Caesar (1931), The Public Enemy (1931) and Citizen Kane (1941) in small parts. His brother was Chicago Herald-American drama critic Ashton Stevens (1872-1951), who was hired by William Randolph Hearst for his San Francisco Examiner after Ashton had taught him how to play the banjo. An interviewer of movie stars and a notable man-about-town, Ashton mentored the young Orson Welles, who based the Jedediah Leland character in Citizen Kane (1941) on him. Georgie Cooper's sister Olive Cooper became a screenwriter after a short stint as an actress. Jack became a movie cameraman, as did their second son.
Stevens' movie adaptation of "I Remember Mama," the chronicle of a Norwegian immigrant family trying to assimilate in San Francisco circa 1910, could be a mirror on the Stevens family's own move to Los Angeles circa 1922. In "Mama", the members of the Hanson family feel like outsiders, a theme that resonates throughout Stevens' work. Acting was considered an insalubrious profession before the rise of Ronald Reagan's generation of actors into the halls of power, and being a member of an acting family necessarily marked one as an outsider in the first half of the 20th century. Young George had to drop out of high school to drive his father to his acting auditions, which would have further enhanced his sense of being an outsider. To compensate for his lack of formal education, Stevens closely studied theater, literature and the emerging medium of the motion picture.
Soon after arriving in Hollywood, the 17-year-old Stevens got a job at the Hal Roach Studios as an assistant cameraman; it was a matter of being in the right place at the right time. Of that period, when the cinema was young, Stevens reminisced, "There were no unions, so it was possible to become an assistant cameraman if you happened to find out just when they were starting a picture. There was no organization; if a cameraman didn't have an assistant, he didn't know where to find one."
As part of Hal Roach's company, Stevens learned the art of visual storytelling while the form was still being developed. Part of his visual education entailed the shooting of low-budget westerns, some of which featured Rex. Within two years Stevens became a director of photography and a writer of gags for Roach on the comedies of Stan Laurel and Oliver Hardy.
His first credited work as a cameraman at the Roach Studios was for the Stan Laurel short Roughest Africa (1923). Stevens was a terrific cameraman, most notably in Laurel & Hardy's comedies (both silent and talkies), and it was as a cameraman that his aesthetic began to develop. The cinema of George Stevens was rooted in humanism, and he focused on telling details and behavior that elucidated character and relationships. This aesthetic started developing on the Laurel & Hardy comedies, where he learned about the interplay of relationships between "the one who is looked at" and "the one doing the looking." Verisimilitude, always a hallmark of a Stevens picture, also was part of the Laurel and Hardy curricula; Oliver Hardy once said, "We did a lot of crazy things in our pictures, but we were always real."
From a lighting cameraman, Stevens advanced to a director of short subjects for Roach at Universal. Within a year of moving to RKO in 1933, he began directing comedy features. His break came in 1935 at RKO, when house diva Katharine Hepburn chose Stevens as the director of Alice Adams (1935). Based on a Booth Tarkington novel about a young woman from the lower-middle class who dares to dream big, the movie injected the theme of class aspiration and the frustrations of the pursuit of happiness while dreaming the American dream into Stevens' oeuvre. Before there was cinema of "outsiders" recognized in the late 1970s, there were Stevens' outsiders, fighting against their atomization and alienation through their not-always-successful interactions with other people.
Stevens created his first classic in 1936, when RKO assigned him to helm the sixth Astaire-Rogers musical, Swing Time (1936). Stevens' past as a lighting cameraman prepared him for the innovative visuals of this musical comedy. Through his control of the camera's field of vision, Stevens as a director creates an atmosphere that engenders emotional effects in his audience. In one scene Astaire opens a mirrored door that the scene's reflection in actuality is being shot on, and being keyed into the illusion emotionally introduces the audience into the picture, in sly counterpoint to Buster Keaton's walk into the screen in his _Sherlock, Jr. (1924)_ . Stevens' use of light in "Swing Time" is audacious. He freely introduces light into scenes, with the effect that it enlivens them and gives them a "light" touch, such as the final scene where "sunlight" breaks out over the painted backdrop. The film never drags and is a brilliant showcase for the dancing team. Rogers claimed it was her favorite of all her pictures with Astaire.
Stevens' next classic was the rip-roaring adventure yarn Gunga Din (1939), based on the Rudyard Kipling poem. Though no longer politically correct in the 21st century, the picture still works in terms of action and star power, as three British sergeants--Cary Grant, Victor McLaglen and Douglas Fairbanks Jr.--try to put down a rampage by a notorious death cult in 19th-century colonial India.
Having learned his craft in the improvisational milieu of silent pictures, Stevens would often wing it, shooting from an underdeveloped screenplay that was ever in flux, finding the film as he shot it and later edited it. With filmmaking becoming more and more expensive in the 1930s due to the studios' penchant for making movies on a vaster scale than they had previously, Stevens' methods led to anxiety for the bean-counters in RKO's headquarters. His improvisatory crafting of "Gunga Din" resulted in the film's shooting schedule almost doubling from 64 to 124 days, with its cost reaching a then-incredible $2 million (few sound films had grossed more than $5 million up to that point, and a picture needed to gross from two to 2-1/2 times its negative cost to break even).
Studio executives were driven to distraction by Stevens' methods, such as his taking nearly a year to edit the footage he shot for "Shane." His films typically were successful, though, and in the late 1930s he became his own producer, earning him greater latitude than that enjoyed by virtually any other filmmaker with the obvious exceptions of Cecil B. DeMille and Frank Capra. He made three significant comedies in the early 1940s: Woman of the Year (1942), the darker-in-tone The Talk of the Town (1942) (a film that touches on the subject of civil rights and the miscarriage of justice) and The More the Merrier (1943) before going off to war.
Joining the Army Signal Corps, Stevens headed up a combat motion picture unit from 1944 to 1946. In addition to filming the Normandy landings, his unit shot both the liberation of Paris and the liberation of the Nazi extermination camp Dachau, and his unit's footage was used both as evidence in the Nuremberg trials and in the de-Nazification program after the war. Stevens was awarded the Legion of Merit for his services. Many critics claim that the somber, deeply personal tone of the movies he made when he returned from World War II were the result of the horrors he saw during the war. Stevens' first wife, Yvonne, recalled that he "was a very sensitive man. He just never dreamed, I'm sure, what he was getting into when he enlisted." Stevens wrote a letter to Yvonne in 1945, telling her that "if it hadn't been for your letters . . . there would have been nothing to think cheerfully about, because you know that I find much [of] this difficult to believe in fundamentally."
The images of war and Dachau continued to haunt Stevens, but it also engendered in him the belief that motion pictures had to be socially meaningful to be of value. Along with fellow Signal Corps veterans Frank Capra and William Wyler, Stevens founded Liberty Films to produce his vision of the human condition. The major carryover from his prewar oeuvre to his postwar films is the affection the director has for his central characters, emblematic of his humanism.
Stevens' second postwar film, A Place in the Sun (1951), was his adaptation of Theodore Dreiser's "An American Tragedy," updated to contemporary America. Released three years after his family film I Remember Mama (1948), it features an outsider, George Eastman, trapped in the net of the American Dream, the pursuit of which dooms him. Sergei Eisenstein had written an adaptation for Paramount of "An American Tragedy" (the title a sly reversal of "The American Dream"), but Eisenstein's participation in the project was jettisoned when the studio came under attack by right-wing politicians and organizations for hiring a "Communist", and the U.S. government deported Eisenstein shortly afterward. His script was unceremoniously dumped, and Josef von Sternberg eventually made the picture, but his vision was so far from Dreiser's that the old literary lion sued the studio. The film was recut and proved to be both a critical and box-office failure.
Alfred Hitchcock maintained that it was far easier to make a good picture from a mediocre or bad drama or book than it was from a good work or a masterpiece. It remained for George Stevens to turn a literary masterpiece into a cinematic one--a unique trick in Hollywood. What was revolutionary about "A Place in the Sun," in terms of technique, is Stevens' use of close-ups. Charlton Heston has pointed out that no one had ever used close-ups the way Stevens had in the picture. He used them more frequently than was the norm circa 1950, and he used extreme close-ups that, when combined with his innovative, slow-dissolve editing, created its own atmosphere, its own world that brought the audience into George Eastman's world, even into his embrace with the girl of his dreams, and also into the rowboat on that fateful day that would forever change his life. The editing technique of slow-lapping dissolves slowed down time and elongated the tempo of a scene in a way never before seen on screen.
Stevens' mastery over the art of the motion picture was recognized with his first Academy Award for direction, beating out Elia Kazan for that director's own masterpiece, A Streetcar Named Desire (1951) and Stanley Donen and Gene Kelly for THEIR masterpiece, An American in Paris (1951), for the Best Picture Oscar winner that year (most observers had expected "Sun" or "Streetcar" to win, but they had split the vote and allowed "American" to nose them out at the finish line. MGM's publicity department acknowledged as much when it ran a post-Oscar ad featuring Leo the Lion with copy that began, "I was standing in the Sun waiting for a Streetcar when . . . ").
Stevens' theme of the outsider continued with his next classic, Shane (1953). The eponymous gunman is an outsider, but so is the Starrett family he has decided to defend, as are the "sodbusters", and even the range baron who is now outside his time, outside his community and outside human decency. Giant (1956), Stevens' sprawling three-hour epic based on Edna Ferber's novel about Texas, also features outsiders: sister Luz Benedict, hired-hand transformed into millionaire oilman Jett Rink, transplanted Tidewater belle Leslie Benedict, her two rebellious children and eventually her husband Bick Benedict, a near-stereotypical Texan who finally steps outside of his parochialism and is transformed into an outsider when he decides to fight, physically, against discrimination against Latinos as a point of honor. The Otto Frank family and their compatriots in hiding in The Diary of Anne Frank (1959), American cinema's first movie to deal with the Holocaust, are outsiders, while Christ in his The Greatest Story Ever Told (1965)--subtle, complex and unknowable--is the ultimate outsider. The Only Game in Town (1970)--Stevens' last film with Elizabeth Taylor, his female lead in "A Place in the Sun" and "Giant"--was about two outsiders, an aging chorus girl and a petty gambler.
Stevens' reputation suffered after the 1950s, and he didn't make another film until halfway into the 1960s. The film he did produce after that long hiatus was misunderstood and underappreciated when it was released. The Greatest Story Ever Told (1965), a picture about the ministry and passion of Christ, was one of the last epic films. It was maligned by critics and failed at the box office. It was on this picture that Stevens' improvisatory method began to take a toll on him. It took six years from the release of "Anne Frank," which had garnered Oscar nominations for Best Picture and Best Director, until the release of "Greatest Story." There had been a long gestation period for the film, and it was renowned as a difficult shoot, so much so that David Lean helped out a man he considered a master by shooting some ancillary scenes for the picture. The film has a look of vastness that many critics misunderstood as emptiness rather than as a visual correlative of the soul. Stevens' script is inspired by the three Synoptic Gospels, particular the Gospel According to St. John. John stresses the interior relation between the self and things beyond its knowledge. Though misunderstood by critics at the time of its release, the film has become more appreciated some 40 years later. Stevens is a master of the cinema, and is fully in command of the dissolves and emotive use of sound he used so effectively in "A Place in the Sun."
His last film, The Only Game in Town (1970), also was not a critical or box-office success, as Elizabeth Taylor's star had gone into steep decline as the 1970s dawned. Frank Sinatra had originally been slated to be her co-star, but Ol' Blue Eyes, notorious for preferring one-take directors, likely had second thoughts about being in a film directed by Stevens, who had a (well-deserved) reputation for multiple takes. His filmmaking method entailed shooting take after take of a scene during principal photography from every conceivable angle and from multiple focal points, so he'd have a plethora of choices in the editing room, which is where he made his films (unlike John Ford, famous for his lack of coverage, who had a reputation of "editing" in the camera, shooting only what he thought necessary for a film). Warren Beatty, typically underwhelming in films in which he wasn't in control, proved a poor substitute for Sinatra, and the film tanked big-time when it was released, further tarnishing Stevens' reputation.
In a money-dominated culture in which the ethos "What Have You Done For Me Lately?" is prominent, George Stevens was relegated to has-been status, and the fact that he had established himself as one of the greats of American cinema was ignored, then forgotten altogether in popular culture. Donald Richie's 1984 biography "George Stevens: An American Romantic" tags Stevens with the "R" word, but it is too simplistic a generalization for such a complicated artist. Stevens' films demand that the audience remain in the moment and absorb all the details on offer in order to fully understand the morality play he is telling. James Agee had been a great admirer of Stevens the director, but Agee died in the 1950s and the 1960s was a new age, an iconoclastic age, and George Stevens and the classical Hollywood cinema he was a master of were considered icons to be smashed. Film critic Andrew Sarris, who introduced the "auteur" theory to America, disrespected Stevens in his 1968 book "The American Cinema." Stevens was not an auteur, Sarris wrote, and his latter films were big and empty. He became the symbol of what the new, auteurist cinema was against.
The Cahiers du Cinema critics attacked Stevens by elevating Douglas Sirk. Sirk's Magnificent Obsession (1954), so the argument went, was a much better and more cogent exegesis of America than "Giant," which was "big and empty" as was the country they attacked (though they loved its films). The point of iconoclasm is to smash idols, no matter what the reason--and Stevens, the master craftsman, was an idol. However, to say "Giant" was empty is absurd. To imply that George Stevens did not understand America is equally absurd. "Giant" contains what is arguably the premier moment in America cinema of the immediate postwar years, and it is an "American" moment--the confrontation between patrician rancher Bick Benedict and diner owner Sarge (Robert J. Wilke). Many critics and cinema historians have commented on the scene, favorably, but many miss the full import of it.
The film has been built up to this climax. Benedict has shared the prejudices of his class and his race. All his life he has exploited the Mexicans whom he has lived with in a symbiotic relationship on HIS ranch, giving little thought to the injustice his class of overlords has wrought on Latinos, on poor whites, or on his own family. His wife, an Easterner, is appalled by the poverty and state of peonage of the Mexicans who work on the ranch and tries to do something about it. Her idealism is echoed in her son, who becomes a doctor, rejects his father's rancher heritage, and marries a Mexican-American woman, giving his father an Anglo/Mexican-American grandson.
While out on a ride with his wife, daughter, daughter-in-law and her child, they stop at a roadside diner. Sarge, the proprietor, initially balks at serving them because of the Latinos in their party. He backs down, but when more Latinos come into his diner, he moves to throw them out. Benedict decides to intervene in a display of noblesse oblige, and also out of family duty. Sarge is unimpressed by Benedict's pedigree, and a fight breaks out between the hardened veteran--recently returned from the war, we are meant to understand--and the now aged Benedict. Bick first holds his own and Sarge crashes into the jukebox, setting off the song "The Yellow Rose of Texas" while he recovers and then sets out to systematically demolish Mr. Bick Benedict, the overlord. As the song plays on in ironic counterpoint, shots of his distraught daughter and other family members are undercut with the cinematic crucifixion of Bick Benedict, the overlord, by the former Centurion. After Sarge has finished thrashing Benedict, he takes a sign off of the wall and throws it on Benedict's prostrate body: "The management reserves the right to refuse service to anyone". This is not only America of the 1950s, but America of the 21st century. For just as Sarge is defending racism, he is also defending his once-constitutional right to free association, as well as exerting his belief in Jeffersonian-Jacksonian democracy in thrashing a plutocrat. This is a type of yahooism that Bruce Catton, in his Pulitzer Prize-winning history of the Civil War, attributed to the rebellion. There had always been a very well developed strain of reckless, individualistic violence in America, frequently encouraged, ritualized and sanctified by the state. The diner scene in "Giant" could only have been created by a man with a thorough knowledge of what America and Americans were (and continue to be). Sarge will try to accommodate Benedict, who has stepped out of his role as racist plutocrat into that of paternalistic pater familias, just as the sons of the robber barons of the 19th century--who justified their economic depravities with the doctrine of social Darwinism--did in the 20th century, endowing foundations that tried to right many wrongs, including racism, but Sarge will only go so far. When he is stretched beyond his limit, when his giving in is then "pushed too far," he reacts, and reacts violently.
This scene sums up American democracy and the human condition in America perhaps better than any other. America is a violent society, a gladiator society, in which progress is measured in, if not gained by, violence. Yes, Sarge is standing up for racism and segregation (a huge topic after the 1954 Brown v. Board of Education Supreme Court ruling outlawing segregation), but he is also standing up for himself, and his beliefs, something he has recently fought for in World War II. The ironies are rich, just as the irony of American democracy, which excluded African-Americans and women and the native American tribes from the very first days of the U.S. Constitution, is rich. This is America, the scene in Sarge's diner says, and it is a critique only an American with a thorough knowledge of and sympathy for America could create. It is much more effective and philosophically true than the petty neo-Nazi caricatures of Lars von Trier's Dogville (2003), who are cowards. Characters in a George Stevens film may be reluctant, they may be hesitant, they may be conflicted, but they aren't cowardly.
Another ironic scene in "Giant" features Mexican children singing the National Anthem during the funeral of Angel, who in counterpoint to Bick's son, his contemporary in age, is of the land, to the manor born, so to speak, but lacking those rights because of the color of his skin. Angel had gone off to war, and he returns to the Texas in which he was born on a caisson, in a coffin, starkly silhouetted against the Texas sky as the Benedict mansion had been earlier in the film when Leslie had first come to this benighted land. Angel, who had experienced racial bigotry due to his birth into poverty on the Benedict ranch, had fought Adolf Hitler. He is the only hero in "Giant," and his death would be empty and meaningless without Bick Benedict's reluctant conversion to integration through fisticuffs.
The great turning points in American cinema typically have involved race. The biggest, most significant movies of the first 50 years of the American cinema death with race: Uncle Tom's Cabin (1903), Edwin S. Porter's major movie before his The Great Train Robbery (1903) and the first film to feature inter-titles; The Birth of a Nation (1915), D.W. Griffith's racist masterpiece--which was a filming of a notorious pro-Ku Klux Klan book called "The Clansman"--in which a non-sectarian America is formed in the linking of Southern and Northern whites to fight the African-American freedman; The Jazz Singer (1927), in which a Jewish cantor's son achieves assimilation by donning blackface and disenfranchising black folk by purloining their music, which he deracinates, while turning his back on his Jewish identity by marrying a Gentile; and Gone with the Wind (1939), the greatest Hollywood movie of all time--in which the Klan is never shown and the "N" word is never used, although the entire movie takes place in the immediate post-Civil War South--a sweeping, romantic masterpiece in which a reactionary, ultra-racist plutocracy is made out to be the flower of American chivalry and romance.
Stevens' "Giant" was a major film of its time, and remains a motion picture of the first rank, but it was not the cultural blockbuster these movies were. Yet it more than any other Hollywood film of its time, aside from Elia Kazan's rather whitebread Gentleman's Agreement (1947) and Pinky (1949), directly addresses the great American dilemma, race, and its implications, and not from the familiar racist, white supremacist point of view that had been part of American movies since the very beginning. Those attitudes had been rooted in the American psyche even before the days of The Perils of Pauline (1914) serials (simultaneously serialized in the white supremacist Hearst newspapers), in which many a sweet young thing was threatened with death or--even worse, the loss of her maidenhead--by a sinister person of color (always played by a Caucasian in yellow or brown face).
A 1934 "Fortune Magazine" story about the rosy financial prospects of the Technicolor Corp.'s new three-strip process contained a startling metaphor for a 21st-century reader: "Then - like the cowboy bursting into the cabin just as the heroine has thrown the last flowerpot at the Mexican - came the three-color process to the rescue." It was this endemic, accepted racism that Stevens challenged in "Giant," which is at the root of America's expansionist philosophy of manifest destiny, and which was at the root of much of the southern and western economies. Those who died in World War II had to have died for something, not just the continuation of the status quo. It was a direct and knowing challenge to the system by someone who thoroughly knew and thoroughly cared about America and Americans.
George Stevens died of a heart attack on March 8, 1975, in Lancaster, California. He would have been 100 years old in 2004, and in that year he was celebrated with screenings by The Academy of Motion Picture Arts and Sciences, London's British Film Institute, and the Museum of Modern Art in New York. His legacy lives on in the directorial work of fellow two-time Oscar-winning Best Director Clint Eastwood, particularly in Pale Rider (1985), which suffers from being too-close a "Shane" clone, and most memorably in his masterpiece, Unforgiven (1992).- Actor
- Director
- Writer
An eccentric rebel of epic proportions, this Hollywood titan reigned supreme as director, screenwriter and character actor in a career that endured over five decades. The ten-time Oscar-nominated legend was born John Marcellus Huston in Nevada, Missouri, on August 5, 1906. His ancestry was English, Scottish, Scots-Irish, distant German and very remote Portuguese. The age-old story goes that the small town of his birth was won by John's grandfather in a poker game. John's father was the equally magnanimous character actor Walter Huston, and his mother, Rhea Gore, was a newspaperwoman who traveled around the country looking for stories. The only child of the couple, John began performing on stage with his vaudevillian father at age 3. Upon his parents' divorce at age 7, the young boy would take turns traveling around the vaudeville circuit with his father and the country with his mother on reporting excursions. A frail and sickly child, he was once placed in a sanitarium due to both an enlarged heart and kidney ailment. Making a miraculous recovery, he quit school at age 14 to become a full-fledged boxer and eventually won the Amateur Lightweight Boxing Championship of California, winning 22 of 25 bouts. His trademark broken nose was the result of that robust activity.
John married his high school sweetheart, Dorothy Harvey, and also took his first professional stage bow with a leading role off-Broadway entitled "The Triumph of the Egg." He made his Broadway debut that same year with "Ruint" on April 7, 1925, and followed that with another Broadway show "Adam Solitaire" the following November. John soon grew restless with the confines of both his marriage and acting and abandoned both, taking a sojourn to Mexico where he became an officer in the cavalry and expert horseman while writing plays on the sly. Trying to control his wanderlust urges, he subsequently returned to America and attempted newspaper and magazine reporting work in New York by submitting short stories. He was even hired at one point by mogul Samuel Goldwyn Jr. as a screenwriter, but again he grew restless. During this time he also appeared unbilled in a few obligatory films. By 1932 John was on the move again and left for London and Paris where he studied painting and sketching. The promising artist became a homeless beggar during one harrowing point.
Returning again to America in 1933, he played the title role in a production of "Abraham Lincoln," only a few years after father Walter portrayed the part on film for D.W. Griffith. John made a new resolve to hone in on his obvious writing skills and began collaborating on a few scripts for Warner Brothers. He also married again. Warners was so impressed with his talents that he was signed on as both screenwriter and director for the Dashiell Hammett mystery yarn The Maltese Falcon (1941). The movie classic made a superstar out of Humphrey Bogart and is considered by critics and audiences alike--- 65 years after the fact--- to be the greatest detective film ever made. In the meantime John wrote/staged a couple of Broadway plays, and in the aftermath of his mammoth screen success directed bad-girl 'Bette Davis (I)' and good girl Olivia de Havilland in the film melodrama In This Our Life (1942), and three of his "Falcon" stars (Bogart, Mary Astor and Sydney Greenstreet) in the romantic war picture Across the Pacific (1942). During WWII John served as a Signal Corps lieutenant and went on to helm a number of film documentaries for the U.S. government including the controversial Let There Be Light (1980), which father Walter narrated. The end of WWII also saw the end of his second marriage. He married third wife Evelyn Keyes, of "Gone With the Wind" fame, in 1946 but it too lasted a relatively short time. That same year the impulsive and always unpredictable Huston directed Jean-Paul Sartre's experimental play "No Exit" on Broadway. The show was a box-office bust (running less than a month) but nevertheless earned the New York Drama Critics Award as "best foreign play."
Hollywood glory came to him again in association with Bogart and Warner Brothers'. The Treasure of the Sierra Madre (1948), a classic tale of gold, greed and man's inhumanity to man set in Mexico, won John Oscars for both director and screenplay and his father nabbed the "Best Supporting Actor" trophy. John can be glimpsed at the beginning of the movie in a cameo playing a tourist, but he wouldn't act again on film for a decade and a half. With the momentum in his favor, John hung around in Hollywood this time to write and/or direct some of the finest American cinema made including Key Largo (1948) and The African Queen (1951) (both with Bogart), The Asphalt Jungle (1950), The Red Badge of Courage (1951) and Moulin Rouge (1952). Later films, including Moby Dick (1956), The Unforgiven (1960), The Misfits (1961), Freud (1962), The Night of the Iguana (1964) and The Bible in the Beginning... (1966) were, for the most part, well-regarded but certainly not close to the level of his earlier revered work. He also experimented behind-the-camera with color effects and approached topics that most others would not even broach, including homosexuality and psychoanalysis.
An ardent supporter of human rights, he, along with director William Wyler and others, dared to form the Committee for the First Amendment in 1947, which strove to undermine the House Un-American Activities Committee. Disgusted by the Hollywood blacklisting that was killing the careers of many talented folk, he moved to St. Clerans in Ireland and became a citizen there along with his fourth wife, ballet dancer Enrica (Ricki) Soma. The couple had two children, including daughter Anjelica Huston who went on to have an enviable Hollywood career of her own. Huston and wife Ricki split after a son (director Danny Huston) was born to another actress in 1962. They did not divorce, however, and remained estranged until her sudden death in 1969 in a car accident. John subsequently adopted his late wife's child from another union. The ever-impulsive Huston would move yet again to Mexico where he married (1972) and divorced (1977) his fifth and final wife, Celeste Shane.
Huston returned to acting auspiciously with a major role in Otto Preminger's epic film The Cardinal (1963) for which Huston received an Oscar nomination at age 57. From that time forward, he would be glimpsed here and there in a number of colorful, baggy-eyed character roles in both good and bad (some positively abysmal) films that, at the very least, helped finance his passion projects. The former list included outstanding roles in Chinatown (1974) and The Wind and the Lion (1975), while the latter comprised of hammy parts in such awful drek as Candy (1968) and Myra Breckinridge (1970).
Directing daughter Angelica in her inauspicious movie debut, the thoroughly mediocre A Walk with Love and Death (1969), John made up for it 15 years later by directing her to Oscar glory in the mob tale Prizzi's Honor (1985). In the 1970s Huston resurged as a director of quality films with Fat City (1972), The Man Who Would Be King (1975) and Wise Blood (1979). He ended his career on a high note with Under the Volcano (1984), the afore-mentioned Prizzi's Honor (1985) and The Dead (1987). His only certifiable misfire during that era was the elephantine musical version of Annie (1982), though it later became somewhat of a cult favorite among children.
Huston lived the macho, outdoors life, unencumbered by convention or restrictions, and is often compared in style or flamboyancy to an Ernest Hemingway or Orson Welles. He was, in fact, the source of inspiration for Clint Eastwood in the helming of the film White Hunter Black Heart (1990) which chronicled the making of "The African Queen." Illness robbed Huston of a good portion of his twilight years with chronic emphysema the main culprit. As always, however, he continued to work tirelessly while hooked up to an oxygen machine if need be. At the end, the living legend was shooting an acting cameo in the film Mr. North (1988) for his son Danny, making his directorial bow at the time. John became seriously ill with pneumonia and died while on location at the age of 81. This maverick of a man's man who was once called "the eccentric's eccentric" by Paul Newman, left an incredibly rich legacy of work to be enjoyed by film lovers for centuries to come.- Actor
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For many years Walter Huston had two passions: his career as an engineer and his vocation for the stage. In 1909 he dedicated himself to the theatre, and made his debut on Broadway in 1924. In 1929 he journeyed to Hollywood, where his talent and ability made him one of the most respected actors in the industry. He won a Best Supporting Actor Academy Award for The Treasure of the Sierra Madre (1948).- Producer
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One of the kingpins of Hollywood's studio system, Zanuck was the offspring of the ill-fated marriage of the alcoholic night clerk in Wahoo, Nebraska's only hotel and the hotel owner's daughter. Both parents had abandoned him by the time he was 13. At 15, he joined the U.S. Army, and he fought in Belgium in World War I. Mustered out, he kept himself alive with a series of desultory jobs -- steelworker, foreman in a garment factory, professional boxer -- while pursuing a career as a writer. He turned his first published story (for "Physical Culture, " a pulp magazine) into a film scenario for William Russell; his next important sale was to Irving Thalberg. Although often described as barely literate, Zanuck turned out to have a knack for movie plots. After a well-paid apprenticeship with Mack Sennett, Syd Chaplin and Carl Laemmle, Zanuck hit his stride by devising (with Malcolm St. Clair) the Rin Tin Tin series of police-dog movies for Warner Brothers. For Warner, under his own name and three pseudonyms, he ground out as many as 19 scripts a year and became head of production at age 23. He helped forge that studio's style with such films as The Jazz Singer (1927), The Public Enemy (1931) and I Am a Fugitive from a Chain Gang (1932). In 1933, after the Warners made it clear that Zanuck would never be more than an employee, he quit to form Twentieth Century Films (with backing from Louis B. Mayer and Joseph M. Schenck). In 1935, Twentieth absorbed a bankrupt giant, Fox. Zanuck ruled the combined studio for decades. He became known as the most "hands-on" of the major studio bosses, taking particular pride in his talent for remaking movies in the cutting room. His signature productions were such sentimental, content-laden dramas as How Green Was My Valley (1941), The Grapes of Wrath (1940), and Twelve O'Clock High (1949). In the late fifties, Zanuck relinquished day-to-day control of the studio, left his wife, and moved to Europe to concentrate on producing. Many of his later films were designed in part to promote the careers of his successive girlfriends, Bella Darvi, Juliette Gréco, Irina Demick and Geneviève Gilles -- none of whom found much favor with directors or audiences. After the success of The Longest Day (1962), Zanuck returned to run 20th Century-Fox; he promoted his son, Richard D. Zanuck, to head of production, then engineered his firing in a messy boardroom brawl. Within a few months, in May 1971, Zanuck himself was deposed. He was the last studio boss of his era to go down.- Lowell Mellett is known for The World at War (1942).
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Famed for his relentless ambition, bad temper and genius for publicity, Samuel Goldwyn became Hollywood's leading "independent" producer -- largely because none of his partners could tolerate him for long. Born Shmuel (or Schmuel) Gelbfisz, probably in 1879, in the Jewish section of Warsaw, he was the eldest of six children of a struggling used-furniture dealer. In 1895 he made his way to England, where relatives Anglicized his name to Samuel Goldfish. There he begged (or stole) enough money for a ticket in steerage across the Atlantic. He reached the US, probably via Canada, in 1898. He gravitated to Gloversville, New York, in the Adirondack foothills, which was then the capital of the US leather glove industry; he became one of the country's most successful glove salesmen. After moving his base of operations to Manhattan and marrying the sister of Jesse L. Lasky, who was then a theatrical producer, Goldfish convinced Lasky and Cecil B. DeMille to go into film production. The new company's first film, The Squaw Man (1914), was one of the first features made in Hollywood; the company later became the nucleus of what would later become Paramount Pictures. As his marriage fell apart, Goldfish dissolved his partnership with Lasky. His next enterprise was the Goldwyn Co., founded in 1916 and named for himself and his partners, brothers Edgar Selwyn and Archibald Selwyn--Goldfish liked the name so much he took it for his own. The Goldwyn Co.'s stars included Mabel Normand, Madge Kennedy and Will Rogers, but its most famous legacy was its "Leo the Lion" trademark, which was adopted by its successor company, Metro-Goldwyn-Mayer (MGM). Goldwyn himself was ousted from his own company before the merger, which was why his name became part of MGM even though he himself had nothing to do with the company. After his firing Goldwyn would have nothing to do with partners and went into independent production on his own, and for 35 years was the boss and sole proprietor of his own production company, a mini-studio specializing in expensive "quality" films, distributed initially by United Artists and later by RKO. His contract actors at various times included Vilma Bánky, Ronald Colman, Eddie Cantor, Gary Cooper, David Niven and Danny Kaye. In some cases, Goldwyn collected substantial fees for "lending" his stars to other producers. Touted by publicists for his "Goldwyn touch" and loathed by many of his hirelings for his habit of ordering films recast, rewritten and recut, Goldwyn is best remembered for his films that teamed director William Wyler and cinematographer Gregg Toland.- Producer
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With his brothers Harry M. Warner, Albert Warner, and Sam Warner, he founded Warner Bros. Pictures Inc. in 1923. They released the first motion picture with synchronized sound, The Jazz Singer (1927) with Al Jolson. In the 1930s they gave employment to a parade of stars, including Bette Davis, Errol Flynn and Paul Muni, as well as James Cagney, Edward G. Robinson, and a man whose star would eventually rise in the 1940s, Humphrey Bogart. Decades later, the firm's successor, Warner Communications Inc., merged with Time Inc. to become Time Warner Inc., the world's largest media and entertainment company.- Actor
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John Wayne was born Marion Robert Morrison in Iowa, to Mary Alberta (Brown) and Clyde Leonard Morrison, a pharmacist. He was of English, Scottish, Ulster-Scots, and Irish ancestry.
Clyde developed a lung condition that required him to move his family from Iowa to the warmer climate of southern California, where they tried ranching in the Mojave Desert. Until the ranch failed, Marion and his younger brother Robert E. Morrison swam in an irrigation ditch and rode a horse to school. When the ranch failed, the family moved to Glendale, California, where Marion delivered medicines for his father, sold newspapers and had an Airedale dog named "Duke" (the source of his own nickname). He did well at school both academically and in football. When he narrowly failed admission to Annapolis he went to USC on a football scholarship 1925-7. Tom Mix got him a summer job as a prop man in exchange for football tickets. On the set he became close friends with director John Ford for whom, among others, he began doing bit parts, some billed as John Wayne. His first featured film was Men Without Women (1930). After more than 70 low-budget westerns and adventures, mostly routine, Wayne's career was stuck in a rut until Ford cast him in Stagecoach (1939), the movie that made him a star. He appeared in nearly 250 movies, many of epic proportions. From 1942-43 he was in a radio series, "The Three Sheets to the Wind", and in 1944 he helped found the Motion Picture Alliance for the Preservation of American Ideals, a Conservative political organization, later becoming its President. His conservative political stance was also reflected in The Alamo (1960), which he produced, directed and starred in. His patriotic stand was enshrined in The Green Berets (1968) which he co-directed and starred in. Over the years Wayne was beset with health problems. In September 1964 he had a cancerous left lung removed; in 1977 when Star Wars: Episode IV - A New Hope was being made, John Waynes archive voice was used for the character Garindan ezz Zavor, later in March 1978 there was heart valve replacement surgery; and in January 1979 his stomach was removed. He received the Best Actor nomination for Sands of Iwo Jima (1949) and finally got the Oscar for his role as one-eyed Rooster Cogburn in True Grit (1969). A Congressional Gold Medal was struck in his honor in 1979. He is perhaps best remembered for his parts in Ford's cavalry trilogy - Fort Apache (1948), She Wore a Yellow Ribbon (1949) and Rio Grande (1950).- Cinematographer
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Born in Illinois in 1904, the only child of Jennie and Frank Toland, Gregg and his mother moved to California several years after his parents divorced in 1910. Through Jennie's work as a housekeeper for several people in the movie business, Gregg may had gotten a $12-a-week job at age 15 as an office boy at William Fox Studios. Soon he was making $18 a week as an assistant cameraman. When sound came to movies in 1927, the audible whir of movie cameras became a problem, requiring the cumbersome use of soundproof booths. Toland helped devise a tool which silenced the camera's noise and which allowed the camera to move about more freely. In 1931, Toland received his first solo credit for the Eddie Cantor comedy, "Palmy Days." In 1939 he earned his first Oscar for his work on William Wyler's "Wuthering Heights." In the following year he sought out Orson Welles who then hired him to photograph "Citizen Kane." (Toland was said to have protected the inexperienced Welles from potential embarrassment by conferring with him in private about technical matters rather than bringing these up in front of the assembled cast and crew.) For "Kane" Toland used a method which became known as "deep focus" because it showed background objects as clearly as foreground objects. (Film theorist Andre Bazin said that Toland brought democracy to film-making by allowing viewers to discover what was interesting to them in a scene rather than having this choice dictated by the director.) Toland quickly became the highest paid cinematographer in the business, earning as much as $200,000 over a three year period. He also became perhaps the first cinematographer to receive prominent billing in the opening credits, rather than being relegated to a card containing seven or more other names. Tragically, Toland's career was cut short in 1948 by his untimely death at age 44. Toland had a daughter, Lothian, by his second wife and two sons, Gregg jr. and Timothy, by his third. Lothian became the wife of comic Red Skelton.- Producer
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David O. Selznick was a son of the silent movie producer Lewis J. Selznick. David studied at Columbia University until his father lost his fortune in the 1920s. David started work as an MGM script reader, shortly followed by becoming an assistant to Harry Rapf. He left MGM to work at Paramount then RKO. He was back at MGM in 1933 after marrying Irene Mayer Selznick the daughter of Louis B. Mayer. In 1936, he finally set up his own production company, Selznick International. Three directors and fifteen scriptwriters later, Gone with the Wind (1939) was released.- Actor
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Robert Parrish was an Academy Award-winning film editor who also directed and acted in movies. As a child he appeared in films during the early 1930s, such as City Lights (1931) by Charles Chaplin and Lewis Milestone's All Quiet on the Western Front (1930). As an editor he won an Academy Award for Body and Soul (1947), the 1947 Robert Rossen film that starred John Garfield as a money-grubbing, two-timing boxer on the make. Parrish also worked on All the King's Men (1949), an account of the rise and fall of a Louisiana politician that won the Academy Award for Best Picture. Parrish then moved on to direct films during the 1950s and 1960s. Among his best received works was the brooding western Saddle the Wind (1958).- Producer
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He was crude, uneducated, foul and, even on his best behavior, abrasive. No major studio executive of the so-called "Golden Age" was more loathed (although at times the dictatorial Samuel Goldwyn and the hard-nosed Jack L. Warner came close) than Harry Cohn.
Born in the middle of 5 children to Joseph Cohn, a Jewish tailor, and Bella, a Polish émigré, Harry was raised on New York's rough lower-class East 88th St., where he followed his older brother Jack Cohn into show business. Harry's life and the origins of Columbia Pictures are closely associated with Jack, whose early career paved the way for Harry's own ambitions, despite the fact that the two brothers fought bitterly and each harbored deep resentment over the other's success. By 19 Jack had left a job with an advertising agency to work for Carl Laemmle's newly formed Independent Motion Picture Company (IMP), rapidly working his way from entry-level job in the processing lab and through various positions where he founded Universal Weekly, one of the first newsreel outfits, for Laemmle. Jack soon found himself in charge of IMP's shorts as an uncredited producer. He was involved in Laemmle's first stab at feature production, Traffic in Souls (1913), which returned a then-whopping $450,000 on a $57,000 negative cost, convincing Uncle Carl to head west and invest in his own studio, Universal City. During this period Jack had convinced Laemmle to hire Joe Brandt, an attorney he'd worked for in advertising. Brandt, who would become the head of Universal's East Coast operations, would later be a key factor in the brothers' success.
Harry had grown up in his brother's shadow, working for much of the first decade of the 20th century as a lowly shipping clerk for a music publishing company. In 1912 he teamed with Harry Ruby at a local nickelodeon, singing duo for $28 per week, with Ruby receiving the biggest slice of the pie. The act would split up within a year and, after a brief stint as a trolley-car fare collector, Harry hit on the idea of applying song plugging to motion pictures. He produced a handful of silent shorts in which popular songs were mimed by actors, inviting the audiences to join in. His relatively modest success at this greased the skids for his brother to recommend him for a job at Universal. At age 27 Harry was working for Laemmle.
By 1919 Jack was itching for a change and wanted to become an independent film producer--he produced a series of shorts called Screen Snapshots, which purported to show stars' lives off-screen. Their popularity encouraged Jack to jump ship and Harry, sensing an opportunity, went with him. With them went Joe Brandt. The three formed CBC Film Sales, which released shorts, mostly terrible--so terrible, in fact, they earned the studio the nickname "Corned Beef and Cabbage Productions" (Harry would explode into a rage whenever he heard this). Desperate to put distance between he and his brother, Harry headed for Hollywood to oversee CBC productions there. By design or opportunity he ended up working out of the old Balshofer Studio on Hollywood Boulevard and gradually created his own studio, renting out the Independent Studios lot on Sunset and Gower. This was the heart of "Poverty Row"--so-called because it was an area filled with the offices of low-budget production companies and fly-by-night producers, who ground out ultra-cheap programmers (mostly westerns) hoping to make a few bucks. Harry was home.
He began producing two-reelers cheaply and nearly everything he sent east made money for CBC. It soon dawned on him that the big money wasn't in shorts but features, and the company scraped $20,000 together and produced More to Be Pitied Than Scorned (1922). Through the then-complex system of exchange releasing and so-called states rights sales, CBC netted $130,000 on the picture and, even more importantly, scored a deal for five additional features. By the end of 1923 CBC had released ten features, none of which lost money--a remarkable event along Gower Gulch. Harry was extremely conscious of his place in Hollywood and took offense at the derision CBC films received. He finally had enough, and on January 10, 1924, the company's name became Columbia Pictures Corporation. The next year the company paid $150,000 for a property at 6070 Sunset Boulevard. The partners made a fateful decision about the same time: unlike most of the other major studios (and this definition certainly didn't include Columbia at the time), they opted to forego theater ownership. This decision would prove extremely wise over the next 3three decades. Under Harry, Columbia rose from the Gower Gulch ash heap. His releases rarely featured A-list stars but consistently made money. Columbia took its first tentative stab at A-list feature production with The Blood Ship (1927) (its first featuring the now-familiar torch lady logo), and even that was made using a faded star, Hobart Bosworth, who agreed to appear in the melodrama for free.
Fate smiled on Harry when former Mack Sennett writer/director Frank Capra became available, and he was able to initially secure Capra's services for $1000 per picture. Capra's importance to the fortunes of Columbia Pictures cannot be overstated and, to be fair to Cohn, he recognized it. With rare exceptions the studio utilized competent journeymen directors like Erle C. Kenton, Malcolm St. Clair or Edward LeSaint, usually assigned to projects starring capable B-level actors hired on a one-shot basis (every so often Columbia would splurge and hire an "A"-list director like Howard Hawks. With each of his features, Capra's significance to Columbia grew, and with each hit Capra was given increasing carte blanche; the congenitally tightfisted Cohn would still fight bitterly with his star director over budgets, but would usually relent to the demands of his productions. Strangely, Columbia's status as a Poverty Row outfit actually helped. The major studios loaned them temperamental stars who demanded pay raises or script approval--since working for a "low-rent" studio like Columbia was considered punishment in the class-conscious world of Hollywood--and Harry enthusiastically assigned them to Capra's pictures, a tactic that usually paid off big. A top actor from MGM or Warners was expected to suffer in the low-budget purgatory of Gower Gulch but usually left eagerly wanting to work for Capra again. One such production, It Happened One Night (1934), single-handedly propelled the studio into the ranks of the majors and garnered Columbia its first Oscars (although the studio had been nominated for productions infrequently since 1931). Cohn never looked back; signing directors to contracts was one thing, but hordes of potentially unruly actors was another thing entirely--he held firm to his long-standing belief that contract stars were nothing but trouble, after paying keen interest to Jack L. Warner's battles with James Cagney, Bette Davis and Olivia de Havilland. In 1934 he signed The Three Stooges (who would enjoy a 22-year run at Columbia) and recent German émigré Peter Lorre (Cohn was at a loss on how to utilize him and Lorre would spent most of his time at Columbia being loaned out to other studios) to long-term contracts, but wouldn't begin to build a roster of contract stars in earnest until the late 1930s, beginning with Rosalind Russell, and always he kept their numbers comparatively small (William Holden, Glenn Ford and Rita Hayworth were among the select few in the late 1930s and early 1940s).
The vast majority of Columbia's output remained at the B-level well into the 1950s, but most of its films were profitable. It took Columbia until 1946 to experience its first bona fide blockbuster with The Jolson Story (1946), which netted $8 million on a $2-million investment and resulted in a profitable sequel in 1949. Among the major studios only Paramount and Columbia eagerly welcomed the intrusion of television, and Columbia responded by creating a subsidiary, Screen Gems (created by Harry's nephew Ralph Cohn) in the early 1950s. The division would pay off handsomely over the next 20 years.
Harry and his brother Jack continued to fight fiercely over business matters until Jack's death in 1956. Harry himself died of a heart attack in 1958. Despite his undeniable crudeness--the boorish, thuggish, crooked, loudmouthed "Harry Brock" character in Garson Kanin's classic Born Yesterday (1950), memorably played by Broderick Crawford, was largely based on Cohn), Harry Cohn's Columbia Pictures never had a negative year during his 30-year-plus reign--a record only approached by Louis B. Mayer, who ruled MGM from 1924 through mid-1951. Columbia began from a far more disadvantaged position than MGM did, though, and it thrived due to Cohn's keen judge of talent and his near-fanatical adherence to early business policies that were originally ridiculed.- Producer
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Robert Montgomery was born Henry Montgomery Jr., the elder son of New York businessman Henry Montgomery and his wife, Mary Weed (Barney), a native of Brooklyn, Kings County, New York. Montgomery had a younger brother, Donald. He was not related to Belinda Montgomery.
As a child, he enjoyed a privileged life. His father, Henry Montgomery, was the president of the New York Rubber Co. When Henry Montgomery died and owing to the Depression, the family fortune was gone. Henry Jr. and his younger brother, Donald, worked at a number of jobs. He later went to New York to be a writer, and on the advice of a friend, tried acting. He worked with George Cukor on the stage and his first film, at MGM, was So This Is College (1929), changing his forename.
When Norma Shearer picked him to be her leading man in Private Lives (1931), he was set. He ran the gamut of different characters over the years. He served as President of the Screen Actors Guild from 1935-38 and 1946-47.. His stay with MGM lasted 16 years, and was only interrupted by WWII when he joined the navy. He saw action in both Europe and the Pacific.
He returned to MGM in 1945 and co-starred with John Wayne in the John Ford-directed They Were Expendable (1945) and then made his directorial debut with Lady in the Lake (1946) (although he had directed a few scenes, uncredited, in They Were Expendable (1945) when John Ford took ill). He left MGM to become an independent director, preferring work behind the camera instead of in front.
A staunch Republican, he was a friendly witness before the House Un-American Activities in 1947 during the McCarthy era and then spent most of his time on television and stage. His popular show, Robert Montgomery Presents (1950), was where his daughter, Elizabeth Montgomery (who later gained lasting fame as beautiful witch Samantha Stevens on Bewitched (1964)), got her first acting job.
Robert Montgomery died of cancer on September 27, 1981, aged 77, at Columbia-Presbyterian Hospital in Manhattan, New York City. His body was cremated and the ashes were given to the family.- Writer
- Script and Continuity Department
Robert E. Sherwood, a brilliant multifaceted writer, was born to Arthur Murray and Rosina Emmet Sherwood, educated at the Milton Academy (Massachusetts) and Harvard, and was wounded while serving with the Canadian Black Watch in WWI. His literary career started with jobs as movie critic at Vanity Fair and Life magazines, but he became a full-time writer with the success of his play "The Road to Rome" in 1927. His first movie writing job came in 1924, rewriting the subtitles for The Hunchback of Notre Dame (1923). Over the years he worked with most of the major talents in the film business, including Alexander Korda, George S. Kaufman and Samuel Goldwyn, often working without credit. During WWII Sherwood served in a number of posts, most notably as director of the overseas branch of the Office of War Information (OWI). He resigned in 1944 and returned to film writing, winning an Oscar for his script for The Best Years of Our Lives (1946). Sherwood received numerous literary awards throughout his career, including the Pulitzer Prize in 1936, '39, '41, and '49, and the Bancroft Prize for distinguished writing in American history in 1949.- Actor
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Carlton Moss was born on 14 February 1909 in Newark, New Jersey, USA. He was an actor and writer, known for Frederick Douglass: The House on Cedar Hill (1953), Harlem After Midnight (1934) and Phantom of Kenwood (1933). He died on 10 August 1997 in Los Angeles, California, USA.- Writer
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Eric Ambler was born on 28 June 1909 in London, England, UK. He was a writer and producer, known for A Night to Remember (1958), The Purple Plain (1954) and The Cruel Sea (1953). He was married to Joan Harrison and Louise Smith Crombie. He died on 22 October 1998 in London, England, UK.- Actor
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Born to Alice Cooper and Charles Cooper. Gary attended school at Dunstable school England, Helena Montana and Grinnell College, Grinnell, Iowa (then called Iowa College). His first stage experience was during high school and college. Afterwards, he worked as an extra for one year before getting a part in a two-reeler by the independent producer Hans Tiesler . Eileen Sedgwick was his first leading lady. He then appeared in The Winning of Barbara Worth (1926) for United Artists before moving to Paramount. While there he appeared in a small part in Wings (1927), It (1927), and other films.- Eric Knight was born on 10 April 1897 in Menston, Ilkley, Bradford, West Yorkshire, England, UK. He was a writer, known for This Above All (1942), Lassie Come Home (1943) and Lassie (1954). He was married to Jere Brylawski and Dorothy Hall. He died on 13 January 1943 in Dutch Guiana [now Suriname].
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Irwin Shaw was born on 27 February 1913 in New York City, New York, USA. He was a writer and producer, known for The Talk of the Town (1942), In the French Style (1963) and The Big Gamble (1961). He was married to Marian Edwards. He died on 16 May 1984 in Davos, Graubünden, Switzerland.- Writer
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Acclaimed writer, Dr. Seuss was born Theodor Geisel in Springfield, Massachusetts, on Wednesday, March 2nd, 1904. After attending Dartmouth College and Oxford University, he began a career in advertising. His advertising cartoons, featuring Quick, Henry, the Flit!, appeared in several leading American magazines. Dr. Seuss's first children's book, titled "And To Think That I Saw It On Mulberry Street", hit the market in 1937, changing the face of children's literature forever. It was rejected 27 times before it was finally published by Vanguard Press in 1937.
Following World War 2, Geisel and his first wife Helen moved to La Jolla, California, where he wrote and published several children's books in the coming years, including If I Ran the Zoo and Horton Hears a Who! A major turning point in Geisel's career came when, in response to a 1954 Life magazine article that criticized children's reading levels, Houghton Mifflin and Random House asked him to write a children's primer using 220 vocabulary words. The resulting book, The Cat in the Hat, was published in 1957 and was described by one critic as a "tour de force." The success of The Cat in the Hat cemented Geisel's place in children's literature.
In the following years, Geisel wrote many more books, both in his new simplified-vocabulary style and using his older, more elaborate technique, and including such favorites as Green Eggs and Ham and How the Grinch Stole Christmas! (1966). In 1966, with the help of eminent & longtime cartoonist, Chuck Jones, The Grinch was immediately adapted into an animated film & Boris Karloff was the narrator, (& as the evil Grinch, that turned away from its bitterness, as the special begins) of the half-hour Christmas animation special.
Winner of the Pulitzer Prize in 1984 and three Academy Awards, Seuss overall was the author and illustrator of 44 children's books, some of which have been made into audio-cassettes, animated television specials, and videos for people of all ages. Even after his death in Autumn of 1991, Dr. Seuss continues to be the best-selling author of children's books in the world. Following the death of his first wife Helen Geisel in 1967, Geisel wed Audrey Geisel, who remained his wife until his death on Tuesday, September 24th, 1991, at the age of 87 years 6 months and 22 days. His full life-time was 31,982 days, equaling 4,568 weeks & 6 days.- Actor
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Humphrey DeForest Bogart was born in New York City, New York, to Maud Humphrey, a famed magazine illustrator and suffragette, and Belmont DeForest Bogart, a moderately wealthy surgeon (who was secretly addicted to opium). Bogart was educated at Trinity School, NYC, and was sent to Phillips Academy in Andover, Massachusetts, in preparation for medical studies at Yale. He was expelled from Phillips and joined the U.S. Naval Reserve. From 1920 to 1922, he managed a stage company owned by family friend William A. Brady (the father of actress Alice Brady), performing a variety of tasks at Brady's film studio in New York. He then began regular stage performances. Alexander Woollcott described his acting in a 1922 play as inadequate. In 1930, he gained a contract with Fox, his feature film debut in a ten-minute short, Broadway's Like That (1930), co-starring Ruth Etting and Joan Blondell. Fox released him after two years. After five years of stage and minor film roles, he had his breakthrough role in The Petrified Forest (1936) from Warner Bros. He won the part over Edward G. Robinson only after the star, Leslie Howard, threatened Warner Bros. that he would quit unless Bogart was given the key role of Duke Mantee, which he had played in the Broadway production with Howard. The film was a major success and led to a long-term contract with Warner Bros. From 1936 to 1940, Bogart appeared in 28 films, usually as a gangster, twice in Westerns and even a horror film. His landmark year was 1941 (often capitalizing on parts George Raft had stupidly rejected) with roles in classics such as High Sierra (1940) and as Sam Spade in one of his most fondly remembered films, The Maltese Falcon (1941). These were followed by Casablanca (1942), The Big Sleep (1946), and Key Largo (1948). Bogart, despite his erratic education, was incredibly well-read and he favored writers and intellectuals within his small circle of friends. In 1947, he joined wife Lauren Bacall and other actors protesting the House Un-American Activities Committee witch hunts. He also formed his own production company, and the next year made The Treasure of the Sierra Madre (1948). Bogie won the best actor Academy Award for The African Queen (1951) and was nominated for Casablanca (1942) and as Captain Queeg in The Caine Mutiny (1954), a film made when he was already seriously ill. He died in his sleep at his Hollywood home following surgeries and a battle with throat cancer.- Writer
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During the 1930s, it was fashionable to be a part of the radical political movement in Hollywood. Lillian Hellman devoted herself to the cause along with other writers and actors in their zeal to reform. Her independence set her apart from all but a few women of the day, and gave her writing an edge that broke the rules. Born in New Orleans in 1905, but raised in New York after the age of five, she studied at Columbia. She married Arthur Kober in 1925, did some work in publishing and wrote for the Herald Tribune. When her husband, also a writer, got a job with Paramount, they moved out to California. It was there that she met Dashiell Hammett and subsequently divorced Kober. Their relationship lasted, in one form or another, for 30 years. Her first important work was the play "The Children's Hour," which was based on a true incident in Scotland. This was an amazingly successful play, and gave Lillian a definite standing in the literary community. Her next venture, a play called "Days To Come," was a complete failure so off she went to Europe. There, she took in the Spanish Civil War and traveled around with Ernest Hemingway. When back in the States, she wrote "The Little Foxes," which opened in 1939 and was a financial windfall for her. She also followed Dorothy Parker and other highly esteemed writers to Hollywood where she was well compensated for her screenwriting efforts. While it may have been fun and daring to be part of a radical political group in the 1930s, with the '40s came the Un-American Activities Committee. She was forced to testify in government hearings, and there was the threat of black lists and tax problems. She remained a visible force and became almost an icon in her later years. Despite an assortment of health issues, including being practically blind, she traveled, lectured, and promoted her political beliefs. She was 79 when she died in 1984, and yet she is still very much with us. It's been over 60 years since it originally opened, but "The Little Foxes," along with other works, is still being produced at all levels of the theater. What writer could ask for anything more?- Writer
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Ivan was a British screenwriter, socialite and producer. Nominated for an Academy Award with Fred Guiol for adapting Edna Ferber's G"Giant" and honored by the American Film Institute for his screenplays for "Shane" and "Giant". Born in Havana Cuba from a significantly famous photographer and artist, Curtis Moffatt and actress and poet Iris Tree. His grandfather was Sir Herbert Beerbohm Tree. His family family tree is directly traceable to Alec Guiness and through marriage to Ivana Lowell to Freud. A notorious member at Dartington Hall School and the London School of Economics. During this era he joined the Communist Party. He was befriended by Dylan Thomas and Christopher Isherwood. In 1943 he joined the United States Army, a writer for the Signal Corps. This group became known as the Hollywood Irregulars. It was here that he met and collaborated with George Stevens as a writer and assistant director. He supported the filming of the liberation of Paris and the infamous discovery of the Dachau concentration camps, an event that altered George Steven's emotionally for life. After the war Moffat joined Stevens as an assistant producer at Liberty Films. He contributed to the writing of "I Remember Mama", Shane", Place in the Sun", "Bhowani Junction", "D-Day the Sixth of June", "A Place in the Sun" and "Giant" as well as "The Wayward Bus", Boy on a Dolphin", "They Came to Cordura", "Tener is the Night", :"The Great Escape","The Greatest Story Evert Told" and "The Chase". He counted George Stevens, Christopher Isherwood and Billy Wilder among st his dearest friends. He has two sons, Jonathan and Patrick Moffat, Lorna Moffat and god daughter Jill Ann Davis.- Producer
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A graduate of Dartmouth College, New Hampshire, Walter Wanger was among the more literate and socially conscious American film producers of his time. At the peak of his career, his salary was exceeded only by that of Louis B. Mayer at MGM. Wanger had served in the air force on the Italian front during World War I. He joined the staff of President Woodrow Wilson as an attaché after the armistice, attending the peace conference in Paris. Having already staged theatricals at college and briefly directed on Broadway, he began in the film industry at Paramount as assistant to studio vice president Jesse L. Lasky in 1921. He worked his way up to a senior executive position, with the power to hire and fire writers, directors and stars. A disagreement with Lasky brought about his departure, but he was re-hired after having success in England as a theatrical producer and agent.
In 1923, he was appointed head of Paramount's Long Island Studio. Shortly after, he was made chief of production, holding that position until 1931. After leaving the company due to personality clashes with new senior management, he had brief spells with Columbia and MGM, producing several big hits, such as The Bitter Tea of General Yen (1932) and Queen Christina (1933). Nonetheless, he didn't get on particularly well with either Harry Cohn or L.B. Mayer and decided to turn independent, releasing his films through Paramount and United Artists. By 1936, Walter Wanger's own production company had the most substantial star roster of any independent filmmaker in Hollywood, including Madeleine Carroll, Charles Boyer, Henry Fonda and Sylvia Sidney.
Wanger's first major success as an independent was The Trail of the Lonesome Pine (1936), the first Technicolor feature for Paramount, and also the first to be shot primarily outdoors. In between solid black & white action films and dramas like You Only Live Once (1937) and Algiers (1938), Wanger also produced several expensive all-colour extravaganzas, not all of which paid off at the box office (point in case, Vogues of 1938 (1937), which failed to recoup its cost of $1.4 million). This rather forced United Artists to keep a closer reign on his future expenditure. However, by the end of the decade, Wanger's reputation increased, with films like Stagecoach (1939) and The Long Voyage Home (1940) (for John Ford) and Foreign Correspondent (1940) (for Alfred Hitchcock). Between 1946 and 1949, Wanger succeeded both in strengthening his own production company and in establishing a distribution network (in conjunction with the independent owners of Film Classics), the Wanger-Nassour Releasing Organisation.
Inevitably, the financial vagaries of independent production were beginning to take their toll. Already hamstrung by the financial woes of one of his subsidiaries, Diana Productions (formed in partnership with his wife Joan Bennett, screenwriter Dudley Nichols and director Fritz Lang),Wanger badly overextended himself in his financing of the 145-minute studio-bound Technicolor epic Joan of Arc (1948), starring Ingrid Bergman. The venture effectively bankrupted another of his production companies (Sierra Pictures), set up with Bergman exclusively for the making of the expensive fiasco. "Joan of Arc" ended up being shunned by audiences (who found it long and boring) and critics (who thought it naïve and altogether missing its spiritual mark) alike. Wanger's financial miscalculation was further compounded in 1951, by his shooting of his wife's paramour. It landed him in jail for four months for attempted murder.
That notwithstanding, Wanger bounced back, finagling a $5 million deal with Allied Artists. After his release from jail, he produced a socially conscious prison film, Riot in Cell Block 11 (1954), on a relatively modest budget. He followed this with one of the most iconic science fiction films ever made, the marvellous Invasion of the Body Snatchers (1956), directed by Don Siegel. On the flipside, Wanger's last throw of the dice, Cleopatra (1963) , with its excessive cost and production difficulties, almost ruined 20th Century Fox and brought about his own premature retirement. After his death from a heart attack in November 1968, a mere $18,000 remained of his estate.
In spite of its highs and lows, the career of Walter Wanger had been nothing but amazing. During his early days at Paramount (then Famous Players Lasky), he had bought the rights to The Sheik (1921), which made a star out of Rudolph Valentino. At the time of his second spell with the studio, he introduced headliners like Claudette Colbert, Hedy Lamarr, and The Marx Brothers to the screen. As a man of strong intellectual inclinations, he recognised the value of good writing. Indeed, many of his films combine a socio-political message with good entertainment. James Mason thought, Wanger had always longed 'to be European'.
In later years, Wanger openly criticised the established Hollywood hierarchy for being over-reliant on star power. His own self-proclaimed rebelliousness also engendered the enmity of practically every major studio boss and his liberal leanings got him into trouble during the HUAC witch hunts of the early 1950's. Nonetheless, Wanger was twice elected president of the Academy of Motion Picture Arts and Sciences and, at the height of his influence, was able to successfully lobby the Academy to introduce Best Foreign Film and Best Documentary as Oscar categories.- Alvin Cullum York was born in rural Pall Mall, Tennessee. Raised in the mountains, he learned to shoot guns when he was just a boy, becoming an expert with both a pistol and rifle before his teens. Under the influence of his high school girlfriend--and his future wife--Gracie Williams, he also became a devout born-again Christian and gave up the drinking, brawling, smoking, gambling and bare-knuckle fighting that marked his early days. When the US declared war on Germany in April 1917, York was drafted into the army, where he sought exemption as a conscientious objector, but was turned down. Inducted into the 328th Infantry Regiment on November 24, 1917, he distinguished himself in basic training until he was ordered to shoot at human forms on the target range. After days of soul-searching, York reconciled himself to military service and completed his training, and his unit sailed to France the following spring. His regiment was assigned to the Meuse-Argonne salient during the final great Allied offensive from September to the war's end on November 11, 1918. On October 8, 1918, York, then a corporal, was part of a company assigned to attack a heavily defended hill near Chatel-Chehery. Pinned down by intense machine-gun fire, York joined a squad of 17 men that attempted to outflank the German position from the rear of the hill. After capturing 20 German soldiers, the Americans were discovered by other German troops in neighboring trenches, who opened fire on them. Within minutes the squad was down to seven unwounded men, York included. The squad's officers and NCOs had all been killed or wounded, meaning that York was now in charge of the squad's survivors. He took his rifle and worked his way to a point near the occupied German trenches that were firing on his squad. From that position he shot and killed 17 Geman soldiers one after the other, then shot eight more with his pistol, killing three and wounding five. The surviving Germans had had enough and surrendered en masse to York; the final tally of captured German soldiers, counting the 20 the squad had taken earlier, was 132. Alvin York managed to work his way with his squad and the 132 prisoners through the bombed-out wasteland and back to the headquarters of the 328th Regiment. York was promoted to sergeant and awarded the Congressional Medal of Honor for his amazing feat. At the end of the war he returned to Tennessee, in 1919, married Gracie and settled on a farm presented to him by his home state. The modest hero turned down many offers for endorsements, claiming "this uniform ain't for sale," and used the proceeds from the book and movie of his life Sergeant York (1941)) to establish schools for poor mountain children. During World War II York served on the Tennessee draft board and was a colonel in the Tennessee State Guard, commanding the 7th Regiment. Alvin York died in his home in Nashville, Tennessee, on September 2, 1964.
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Joe Louis is considered by many fistic experts and fans as the greatest Heavyweight Boxing Champion in the sport's history. Born into a poor family, Joe Louis's mother felt the only way her son could escape poverty was through music. She bought him a violin and sent him off daily to lessons. On his way there, young Joe would pass by a boxing gym. In no time, he was working out at the gym, training for a boxing career. His amateur career started off disastrously, as he was knocked-out down 16 times in losing the fight. However, he was determined to continue and posted an outstanding amateur career with only 5 defeats in 60 fights. He turned professional and quickly racked up one of the most impressive winning streaks in boxing history. He was nicknamed, The Brown Bomber, and became the first boxer to defeat six heavyweight champions (Primo Carnera, Max Baer, Jack Sharkey, Jimmy Braddock, Max Schmeling, and Jersey Joe Walcott). After winning the championship, he held it almost 12 years to set a record, plus set another record with 25 successful title defenses. He retired with a 60-1 record, only to make an unsuccessful and very sad comeback at the age of 37. While champion, Joe Louis volunteered to join the U.S. Army at the height of his career. He made two title defenses in which he donated his entire purses to relief funds to help both the Army and the Navy. He spent almost five years in the service and boxed hundreds of exhibitions. However, after the war, he was hounded by the Internal Revenue Service to pay back taxes on the purses he had donated. He suffered terribly through this ordeal. and soon found himself broke. He launched a "controversial" pro-wrestling career and was undefeated in some 20 matches before retiring with a heart problem. He was helped by his good friend Frank Sinatra and acted in a few films, worked as a host in Las Vegas, and made numerous appearances for boxing. He died a few years after suffering a massive stroke. Joe Louis was buried with full-military honors, and it was said that he was "most" proud of his European-African-Middle Eastern Medal and his Victory Medal World War II. In or out of the ring, Joe Louis was a Champion.- Producer
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Anthony Veiller was born on 23 June 1903 in New York City, New York, USA. He was a producer and writer, known for The Killers (1946), The Stranger (1946) and The List of Adrian Messenger (1963). He was married to Ethel Grace (Rowley) Mellon Rose Hornburg, Laura Kerr and Elise LaRose. He died on 27 June 1965 in Hollywood, Los Angeles, California, USA.- Director
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Joseph Breen is known for The Prodigal (1955), Breakthrough (1950) and The Savior (1959). He was previously married to Patricia Hassett Breen.- Writer
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Philip Dunne was born on 11 February 1908 in New York City, New York, USA. He was a writer and director, known for Ten North Frederick (1958), How Green Was My Valley (1941) and The Last of the Mohicans (1992). He was married to Amanda Duff. He died on 2 June 1992 in Malibu, California, USA.- Wendell Willkie was born on 18 February 1892 in Elwood, Indiana, USA. He was married to Edith Willkie. He died on 8 October 1944 in New York City, New York, USA.
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Beirne Lay Jr. was born on 1 September 1909 in Berkeley Springs, West Virginia, USA. He was a writer and actor, known for Strategic Air Command (1955), Above and Beyond (1952) and Toward the Unknown (1956). He died on 26 May 1982 in Los Angeles, California, USA.- Writer
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Frank Wilber "Spig" Wead was a US Navy aviator turned screenwriter who helped promote United States Naval aviation from its inception through World War II.
Before and after World War I he was an early proponent of pushing the Navy into air racing and speed competitions. This competition, mainly against the United States Army (and their leader James Doolittle), helped push US military aviation forward. These competitions would give military aviation a much-needed spotlight in the public eye. The public attention that it generated helped push Congress to fund the advancement of military aviation. He served with distinction in World War I. After WWI he was a test pilot for the Navy.
In September of 1923 Wead was a member of the US Navy team that traveled to Cowes, England, to compete in the Schneider Cup Race (Jacques Schneider Maritime Seaplane Trophy). The Schneider Cup (or Schneider Trophy), which was named for the French aviation enthusiast, started in Monaco in 1913. This most prestigious seaplane racing cup resided in Europe until 1923 when Lieutenant David Rittenhouse won the race and brought the cup home to the United States for the Navy team.
On the 22nd and 23rd of June 1924 in Anacostla, DC,, as a lieutenant, Wead along with Lt. John Dale Price, using a Curtis CS-2 with a Wright T-3 Tornado engine, would set new Class C seaplane records for distance (963.123 miles), duration (13 hours, 23 minutes, 15 seconds) and three speed records (73.41 mph for 500 kilometers, 74.27 mph for 1000k, 74.17 mph for 1500k). Wead and Price would strike again on the 11th and 12th of July 1924, with new Class C seaplane records for distance (994.19 miles) and duration (14 hours, 53 minutes, 44 seconds) using a CS-2 with a Wright Tornado engine.
Wead would have no doubt continued to be an excellent naval aviator, as a squadron commander, had it not been for a tragic accident--in April of 1926 he broke his neck in a fall and was paralyzed. While convalescing, at the encouragement of his Navy friends, Wead began writing. That would turn into a second, and even more important, career for him. It would be the promotion of naval aviation through the pen and screen. This second, unforeseen, career would be his true position of importance in promoting naval aviation, far more important than his endeavors as a pilot. Wead's writings would lead him to Hollywood and the eventual friendship and collaboration with director John Ford. Wead would receive two Academy Award nominations in 1938, one for Best Original Story for Test Pilot (1938) and a second for Best Screenplay for The Citadel (1938). Wead also wrote for leading magazines (The Saturday Evening Post and The American Magazine), and he was published writer of at least two books, including "Ceiling Zero" (1936) and "Gales, Ice and Men" (1937). Frank Wead died in 1947.
John Ford would eventually be persuaded to make a movie about Wead, The Wings of Eagles (1957), and would cast John Wayne to play the part of Commander Frank "Spig" Wead. John Dale Price was played by Ken Curtis. Ward Bond would play director Ford in the character of John Dodge. Mrs. Minnie "Min" (Bryant) Wead (Frank's wife) is played by Maureen O'Hara.
Frank A. Andrews' book "Dirigible" (New York: A. L. Burt Co. 1931), is based on the Columbia Picture screenplay of the film Dirigible (1931) by Wead.- Actress
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Mary Astor was born Lucile Vasconcellos Langhanke on May 3, 1906 in Quincy, Illinois to Helen Marie Vasconcellos, an American of Portuguese and Irish ancestry from Illinois, and Otto Ludwig Langhanke, a German immigrant. Mary's parents were very ambitious for her and wanted something better for her than what they had, and knew that if they played their cards right, they could make her famous. Recognizing her beauty, they pushed her into various beauty contests. Luck was with Mary and her parents because one contest came to the attention of Hollywood moguls who signed her when she was 14.
Mary's first movie was a bit part in The Scarecrow (1920). It wasn't much, but it was a start. Throughout 1921-1923 she continued her career with bit or minor roles in a number of motion pictures. In 1924, she landed a plum assignment with a role as Lady Margery Alvaney opposite the great John Barrymore in the film Beau Brummel (1924). This launched her career to stardom, as did a lively affair with Barrymore. However, the affair ended before she could star with him again in the classic Don Juan (1926). By now, Mary was the new cinematic darling, with each film packing the theaters.
By the end of the 1920s, the sound revolution had taken a stronghold on the industry, and Mary was one of those lucky actresses who made the successful transition to "talkies" because of her voice and strong screen presence. Mary's career soared to greater heights. Films such as Red Dust (1932), Convention City (1933), Man of Iron (1935), and The Prisoner of Zenda (1937) kept her star at the top. In 1938, she turned out five feature films that kept her busy and in the spotlight. After that, she churned out films at a lesser rate. In 1941 she won the Best Supporting Actress Oscar for her role as Sandra Kovac in The Great Lie (1941). That same year she appeared in the celebrated film The Maltese Falcon (1941), but her star soon began to fall.
Because of her three divorces, her first husband Kenneth Hawks' death in a plane crash, alcoholism, a suicide attempt, and a persistent heart condition, Mary started to get smaller film roles. She appeared in only five productions throughout the 1950s. Her final fling with the silver screen was as Jewell Mayhew in Hush...Hush, Sweet Charlotte (1964).Although it was her final film, she had appeared in a phenomenal 123 motion pictures in her entire career.
Mary lived out her remaining years confined to the Motion Picture Country Home, where she died of a heart attack on September 25, 1987. She was 81.- Director
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The distinguished film director Anatole Litvak was born in the Ukrainian city of Kiev, the son of Jewish parents. His very first job was as a stage hand. In 1915, he became an actor, performing at a little-known experimental theater in St. Petersburg, Russia. As a teenager, he witnessed the 1917 Russian Revolution and the consequent nationalization of all theaters and drama schools. It was at this time Litvak decided to quit the stage and join the burgeoning Soviet film industry. He was given a job at the Leningrad Nordkino studio as a set designer, but, before long, he worked his way up to directing short features, notably Tatiana (1925), a film about children.
In 1925, he left the Soviet Union for Berlin and was hired by the renowned director Georg Wilhelm Pabst to edit The Joyless Street (1925) starring Greta Garbo. He then began directing numerous short films for Ufa, and, eventually, moved on to full-length features. The most important of these was the romantic comedy Dolly macht Karriere (1930). Litvak's stay in Germany was cut short by the rise to power of Adolf Hitler. Litvak moved to France, and directed Mayerling (1936), starring Charles Boyer and Danielle Darrieux. This production was the turning point in Litvak's career, being a major hit on both sides of the Atlantic. He received effusive praise from critic Frank S. Nugent of the New York Times, who commented on the director's "superb assembling of scenes" and the "matchless performances" of the stars (September 14,1937). Hollywood soon beckoned, and, from 1937 to 1941, Litvak became a contract director for Warner Brothers. His first film was The Woman I Love (1937), which starred his future wife Miriam Hopkins. His experience with diverse aspects of stagecraft, as well as his fluency in four languages (Russian, German, French and English), enabled him to competently tackle a wide variety of subjects: from sophisticated continental comedy (Tovarich (1937)) to historical drama (Anastasia (1956)) and romance (All This, and Heaven Too (1940)).
Litvak was at his best directing taut, suspenseful crime dramas, such as The Amazing Dr. Clitterhouse (1938) with Edward G. Robinson and Humphrey Bogart, hailed by Variety as "an unquestionable winner"; and two tough action films starring John Garfield: Castle on the Hudson (1940) and Out of the Fog (1941). Having become an American citizen in 1940, Litvak enlisted in the US army and collaborated with Frank Capra on the wartime "Why we Fight" series of documentaries. At war's end he left the army with the rank of colonel and returned to Hollywood to direct the classic thriller Sorry, Wrong Number (1948) with Barbara Stanwyck. Arguably his best film was the superb psychological drama The Snake Pit (1948), Hollywood's first attempt to seriously examine the treatment of mental illness. Indeed, the film was so influential that it precipitated changes in the American mental health system. Litvak was nominated for an Academy Award as Best Director, but lost out to John Huston for The Treasure of the Sierra Madre (1948).
In 1949, the director -- who had once described Hollywood as a "Mecca" -- returned to Europe and settled in Paris, working only infrequently. He undertook several projects under contract to 20th Century Fox (in 1951, and from 1955 to 1956). Notable among his later efforts are two contrasting films with Ingrid Bergman: the lavishly produced Anastasia (1956), about a woman claiming to be the Romanoff dynasty's last living direct descendant; and the moody, introspective romantic drama Goodbye Again (1961), shot on location in Paris. In stark thematic contrast to these, he also directed the suspenseful wartime thriller The Night of the Generals (1967), starring Peter O'Toole.
Anatole Litvak died in a hospital in Neuilly, Paris, in December 1974 at the age of 72.- Bosley Crowther was born on 13 July 1905 in Lutherville, Maryland, USA. He was married to Florence Marks. He died on 7 March 1981 in Mount Kisco, New York, USA.
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Once told by an interviewer, "Everybody would like to be Cary Grant", Grant is said to have replied, "So would I."
Cary Grant was born Archibald Alec Leach on January 18, 1904 in Horfield, Bristol, England, to Elsie Maria (Kingdon) and Elias James Leach, who worked in a factory. His early years in Bristol would have been an ordinary lower-middle-class childhood, except for one extraordinary event. At age nine, he came home from school one day and was told his mother had gone off to a seaside resort. However, the real truth was that she had been placed in a mental institution, where she would remain for years, and he was never told about it (he would not see his mother again until he was in his late 20s).
He left school at age 14, lying about his age and forging his father's signature on a letter to join Bob Pender's troupe of knockabout comedians. He learned pantomime as well as acrobatics as he toured with the Pender troupe in the English provinces, picked up a Cockney accent in the music halls in London, and then in July 1920, was one of the eight Pender boys selected to go to the United States. Their show on Broadway, "Good Times", ran for 456 performances, giving Grant time to acclimatize. He would stay in America. Mae West wanted Grant for She Done Him Wrong (1933) because she saw his combination of virility, sexuality and the aura and bearing of a gentleman. Grant was young enough to begin the new career of fatherhood when he stopped making movies at age 62.
One biographer said Grant was alienated by the new realism in the film industry. In the 1950s and early 1960s, he had invented a man-of-the-world persona and a style - "high comedy with polished words". In To Catch a Thief (1955), he and Grace Kelly were allowed to improvise some of the dialogue. They knew what the director, Alfred Hitchcock, wanted to do with a scene, they rehearsed it, put in some clever double entendres that got past the censors, and then the scene was filmed. His biggest box-office success was another Hitchcock 1950s film, North by Northwest (1959) made with Eva Marie Saint since Kelly was by that time Princess of Monaco.
Although Grant retired from the screen, he remained active. He accepted a position on the board of directors at Faberge. By all accounts this position was not honorary, as some had assumed. Grant regularly attended meetings and traveled internationally to support them. The position also permitted use of a private plane, which Grant could use to fly to see his daughter wherever her mother Dyan Cannon, was working. He later joined the boards of Hollywood Park, the Academy of Magical Arts (The Magic Castle - Hollywood, California), Western Airlines (acquired by Delta Airlines in 1987) and MGM.
Grant expressed no interest in making a career comeback. He was in good health until almost the end of his life, when he suffered a mild stroke in October 1984. In his last years, he undertook tours of the United States in a one-man-show, "A Conversation with Cary Grant", in which he would show clips from his films and answer audience questions. On November 29, 1986, Cary Grant died at age 82 of a cerebral hemorrhage in Davenport, Iowa.
In 1999, the American Film Institute named Grant the second male star of Golden Age of Hollywood cinema (after Humphrey Bogart). Grant was known for comedic and dramatic roles; his best-known films include Bringing Up Baby (1938), The Philadelphia Story (1940), His Girl Friday (1940), Arsenic and Old Lace (1944), Notorious (1946), An Affair to Remember (1957), North by Northwest (1959) and Charade (1963).- Additional Crew
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Mayer was born Lazar Meir in the Ukraine and grew up in Saint John, New Brunswick, Canada after his parents fled Russian oppression in 1886. He had a brutal childhood, raised in poverty and suffering physical and emotional abuse from his nearly-illiterate peddler father. In the early 1890s, he changed his name to Louis and fudged his birth date to reflect the more "patriotic" date of July 4, 1885. He moved to Boston in 1904 and struggled as a scrap-metal dealer until he was able to purchase a burlesque house. Although he made large sums by showing films (he made a sizable fortune off The Birth of a Nation (1915)), his early business ventures favored legitimate theater in New England. As his theater empire expanded, he had acquired and refurbished enough small movie theaters that he was able to move his business to Los Angeles and venture into movie production in 1918. Along with Samuel Goldwyn and Marcus Loew of Metro Pictures, he formed a new company called Metro-Goldwyn-Mayer (MGM).
Over the next 25 years, MGM was "the Tiffany of the studios," producing more films and movie stars than any other studio in the world. Mayer became the prime creator of the enduring Hollywood of myth, home to stars like Clark Gable, Judy Garland, Joan Crawford, and Jean Harlow. Mayer became the highest-paid man in America, one of the country's most successful horse breeders, a political force and Hollywood's leading spokesman. Both he and MGM reached their peaks at the end of World War II, and Mayer was forced out in 1951. He died of leukemia in 1957.- MacKinlay Kantor was born on 4 February 1904 in Webster City, Iowa, USA. He was a writer and actor, known for The Best Years of Our Lives (1946), Gun Crazy (1950) and Happy Land (1943). He was married to Florence Irene Layne. He died on 11 October 1977 in Sarasota, Florida, USA.
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Olivia Mary de Havilland was born on July 1, 1916 in Tokyo, Japan to British parents, Lilian Augusta (Ruse), a former actress, and Walter Augustus de Havilland, an English professor and patent attorney. Her sister Joan, later to become famous as Joan Fontaine, was born the following year. Her surname comes from her paternal grandfather, whose family was from Guernsey in the Channel Islands. Her parents divorced when Olivia was just three years old, and she moved with her mother and sister to Saratoga, California.
After graduating from high school, where she fell prey to the acting bug, Olivia enrolled in Mills College in Oakland, where she participated in the school play "A Midsummer Night's Dream" and was spotted by Max Reinhardt. She so impressed Reinhardt that he picked her up for both his stage version and, later, the Warner Bros. film version in 1935. She again was so impressive that Warner executives signed her to a seven-year contract. No sooner had the ink dried on the contract than Olivia appeared in three more films: The Irish in Us (1935), Alibi Ike (1935), and Captain Blood (1935), this last with the man with whom her career would be most closely identified: heartthrob Errol Flynn. He and Olivia starred together in eight films during their careers. In 1939 Warner Bros. loaned her to David O. Selznick for the classic Gone with the Wind (1939). Playing sweet Melanie Hamilton, Olivia received her first nomination for an Academy Award for Best Supporting Actress, only to lose out to one of her co-stars in the film, Hattie McDaniel.
After GWTW, Olivia returned to Warner Bros. and continued to churn out films. In 1941 she played Emmy Brown in Hold Back the Dawn (1941), which resulted in her second Oscar nomination, this time for Best Actress. Again she lost, this time to her sister Joan for her role in Suspicion (1941). After that strong showing, Olivia now demanded better, more substantial roles than the "sweet young thing" slot into which Warners had been fitting her. The studio responded by placing her on a six-month suspension, all of the studios at the time operating under the policy that players were nothing more than property to do with as they saw fit. As if that weren't bad enough, when her contract with Warners was up, she was told that she needed to make up the time lost because of the suspension. Irate, she sued the studio, and for the length of the court battle she didn't appear in a single film. The result, however, was worth it. In a landmark decision, the court said that not only would Olivia not need to make up the time, but also that all performers would be limited to a seven-year contract that would include any suspensions handed down. This became known as the "de Havilland decision": no longer could studios treat their performers as chattel. Olivia returned to the screen in 1946 and made up for lost time by appearing in four films, one of which finally won her the Oscar that had so long eluded her: To Each His Own (1946), in which she played Josephine Norris to the delight of critics and audiences alike. Olivia was the strongest performer in Hollywood for the balance of the 1940s.
In 1948 she turned in another strong showing in The Snake Pit (1948) as Virginia Cunningham, a woman suffering a mental breakdown. The end result was another Oscar nomination for Best Actress, but she lost to Jane Wyman in Johnny Belinda (1948). As in the two previous years, she made only one film in 1949, but she again won a nomination and the Academy Award for Best Actress for The Heiress (1949). After a three-year hiatus, Olivia returned to star in My Cousin Rachel (1952). From that point on, she made few appearances on the screen but was seen on Broadway and in some television shows. Her last screen appearance was in The Fifth Musketeer (1979), and her last career appearance was in the TV movie The Woman He Loved (1988).
Her turbulent relationship with her only sibling, Joan Fontaine, was press fodder for many decades; the two were reported as having been permanently estranged since their mother's death in 1975, when Joan claimed that she had not been invited to the memorial service, which she only managed to hold off until she could arrive by threatening to go public. Joan also wrote in her memoir that her elder sister had been physically, psychologically, and emotionally abusive when they were young. And the iconic photo of Joan with her hand outstretched to congratulate Olivia backstage after the latter's first Oscar win and Olivia ignoring it because she was peeved by a comment Joan had made about Olivia's new husband, Marcus Goodrich, remained part of Hollywood lore for many years.
Nonetheless, late in life, Fontaine gave an interview in which she serenely denied any and all claims of an estrangement from her sister. When a reporter asked Joan if she and Olivia were friends, she replied, "Of course!" The reporter responded that rumors to the contrary must have been sensationalism and she replied, "Oh, right--they have to. Two nice girls liking each other isn't copy." Asked if she and Olivia were in communication and spoke to each other, Joan replied "Absolutely." When asked if there ever had been a time when the two did not get along to the point where they wouldn't speak with one another, Joan replied, again, "Never. Never. There is not a word of truth about that." When asked why people believe it, she replied "Oh, I have no idea. It's just something to say ... Oh, it's terrible." When asked if she had seen Olivia over the years, she replied, "I've seen her in Paris. And she came to my apartment in New York often." The reporter stated that all this was a nice thing to hear. Joan then stated, "Let me just say, Olivia and I have never had a quarrel. We have never had any dissatisfaction. We have never had hard words. And all this is press." Joan died in 2013.
During the hoopla surrounding the 50th anniversary of GWTW in 1989, Olivia graciously declined requests for all interviews as the last of the four main stars. She enjoyed a quiet retirement in Paris, France, where she resided for many decades, and where she died on 26 July, 2020, at the age of 104.
As well as being the last surviving major cast member of some of cinema's most beloved pre-war and wartime film classics (including The Adventures of Robin Hood (1938) and Gone with the Wind (1939)), and one of the longest-lived major stars in film history, Olivia de Havilland was unquestionably the last surviving iconic figure from the peak of Hollywood's golden era during the late 1930s, and her passing truly marked the end of an era.- Writer
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Charles A. Lindbergh was born on 4 February 1902 in Detroit, Michigan, USA. He was a writer, known for The Spirit of St. Louis (1957), Coast to Coast in 48 Hours (1929) and 40,000 Miles with Lindbergh (1928). He was married to Anne Morrow Lindbergh. He died on 26 August 1974 in Kipahulu, Maui, Hawaii, USA.- Actress
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Katharine Houghton Hepburn was born on May 12, 1907 in Hartford, Connecticut to a suffragist, Katharine Martha (Houghton), and a doctor, Thomas Norval Hepburn, who both always encouraged her to speak her mind, develop it fully, and exercise her body to its full potential. An athletic tomboy as a child, she was very close to her brother Tom; at 14 she was devastated to find him dead, the apparent result of accidentally hanging himself while practicing a hanging trick their father had taught them. For many years afterward, she used his November 8 birth date as her own. She became shy around girls her age and was largely schooled at home. She did attend Bryn Mawr College, where she decided to become an actress, appearing in many of their productions.
After graduating, she began getting small roles in plays on Broadway and elsewhere. She always attracted attention, especially for her role in "Art and Mrs. Bottle" (1931). She finally broke into stardom when she took the starring role of the Amazon princess Antiope in "A Warrior's Husband" (1932). The inevitable film offers followed; after making a few screen tests, she was cast in A Bill of Divorcement (1932), opposite John Barrymore. The film was a hit, and after agreeing to her salary demands, RKO signed her to a contract. She made five films between 1932 and 1934. For her third, Morning Glory (1933), she won her first Academy Award. Her fourth, Little Women (1933), was the most successful picture of its day.
But stories were beginning to leak out, of her haughty behavior off- screen and her refusal to play the Hollywood Game, always wearing slacks and no makeup, never posing for pictures or giving interviews. Audiences were shocked at her unconventional behavior instead of applauding it, and so when she returned to Broadway in 1934 to star in "The Lake", the critics panned her, and the audiences, who at first bought up tickets, soon deserted her. When she returned to Hollywood, things didn't get much better. From 1935-1938, she had only two hits: Alice Adams (1935), which brought her her second Oscar nomination, and Stage Door (1937); the many flops included Break of Hearts (1935), Sylvia Scarlett (1935), Mary of Scotland (1936), Quality Street (1937), and the now-classic Bringing Up Baby (1938).
With so many flops, she came to be labeled "box-office poison". She decided to go back to Broadway to star in "The Philadelphia Story" (1938) and was rewarded with a smash. She quickly bought the film rights and so was able to negotiate her way back to Hollywood on her own terms, including her choice of director and co-stars. The Philadelphia Story (1940) was a box-office hit, and Hepburn, who won her third Oscar nomination for the film, was bankable again. For her next film, Woman of the Year (1942), she was paired with Spencer Tracy, and the chemistry between them lasted for eight more films, spanning the course of 25 years, and a romance that lasted that long off-screen. (She received her fourth Oscar nomination for the film.) Their films included the very successful Adam's Rib (1949), Pat and Mike (1952), and Desk Set (1957).
With The African Queen (1951), Hepburn moved into middle-aged spinster roles, receiving her fifth Oscar nomination for the film. She played more of these types of roles throughout the 1950s, and won more Oscar nominations for many of them, including her roles in Summertime (1955), The Rainmaker (1956), and Suddenly, Last Summer (1959). Her film roles became fewer and farther between in the 1960s, as she devoted her time to the ailing Tracy. For one of her film appearances in this decade, in Long Day's Journey Into Night (1962), she received her ninth Oscar nomination. After a five-year absence from films, she then made Guess Who's Coming to Dinner (1967), her last film with Tracy and the last film Tracy ever made; he died just weeks after finishing it. It garnered Hepburn her tenth Oscar nomination and her second win. The next year, she did The Lion in Winter (1968), which brought her her eleventh Oscar nomination and third win.
In the 1970s, she turned to making made-for-TV films, with The Glass Menagerie (1973), Love Among the Ruins (1975), and The Corn Is Green (1979). She still continued to make an occasional appearance in feature films, such as Rooster Cogburn (1975) with John Wayne and On Golden Pond (1981) with Henry Fonda. This last brought her her twelfth Oscar nomination and fourth win - the latter still the record.
She made more TV-films in the 1980s and wrote her autobiography, 'Me', in 1991. Her last feature film was Love Affair (1994), with Warren Beatty and Annette Bening, and her last TV- film was One Christmas (1994). With her health declining, she retired from public life in the mid-1990s. She died at 96 at her home in Old Saybrook, Connecticut.- Writer
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Dwight D. Eisenhower was born on Tuesday, October 14, 1890, as Dwight David Eisenhower, in Denison, Texas. He was the third of seven sons born to David Jacob Eisenhower and Ida Elizabeth Stover. Both of his parents were of German descent. Eisenhower studied at the West Point Military Academy from 1911-1915. He served with the infantry, became the #3 leader of the tank corps, and rose to the rank of Lieutenant Colonel by the end of the First World War. From 1922-1924 he served in the Panama Canal Zone as executive officer to General, Fox Conner. From 1925-1926 he studied at the Command and General Staff College in Kansas, and from 1928-1933 he served as executive officer to Gen. George V. Moseley: Assistant Secretary of War, in Washington, DC.
Eisenhower was chief military aide to Gen. Douglas MacArthur from 1933-1935. He accompanied MacArthur to the Philippines in 1935, and served there as assistant military adviser to the Philippine government until 1939. Back in Washington, he held various staff positions and was promoted to Brigadier General in September 1941. Shortly after the Japanese attacked Pearl Harbor, on Sunday, December 7th, 1941. Eisenhower was assigned to the General Staff. There he gradually rose to Assistant Chief of Staff under the Chief of Staff, Gen. George C. Marshall. Although Eisenhower had no experience in active military command, Marshall recognized his organizational and administrative strength. It was his association with Marshall that brought Eisenhower to London in June 1942 as Commanding General of the European Theater of Operations. He was also appointed Supreme Commander of the Allied Forces of the North African Theater of Operations, which was renamed the Mediterranean Theater of Operations after the capitulation of the German army in Africa. In September of 1943 Eisenhower oversaw the Allied invasion of Sicily and then of Italy, which led to the immediate surrender of Italian forces in southern Italy. However, the German Winter Line fortifications in Italy, kept fighting even after the fall of Berlin.
Eisenhower was in charge of planning and carrying out the Allied landings in Normandy, France, and the invasion of Germany. The first part of his plan, named Operation Overlord, was the largest seaborne operation in history. Under this plan, 2.8 million Allied troops from 12 nations crossed the English Channel. Starting on Tuesday, June 6th, 1944, known as "D-Day", they landed on the beaches of Normandy, France. After extremely fierce heavy fighting, the Allies breached the fortifications and pushed back the defending German forces. Two months later they reached Paris. Adolf Hitler had ordered the German commander of Paris to destroy the city rather than let it fall into Allied hands, but that officer refused to carry out those orders and eventually surrendered the city to the Allies. After fighting that was not as fierce as was expected, the city of Paris was liberated on Friday, August 25th, 1944. Eisenhower was with French Gen. Charles de Gaulle at the Hotel de Ville, where they greeted the Allied forces and took part in the French victory parade. After liberating Belgium and the Netherlands, the Allied troops crossed into Germany. In 1945 US and Soviet armies linked up on the Elbe River, west of Berlin. Soon Eisenhower met with Russian Gen. Georgi Zhukov and the two made a trip to the Soviet Union; the first (and only) time Eisenhower did so. After the German surrender on Tuesday, May 8th, 1945, Eisenhower was made the Military Governor of the US Occupied Zone in Germany, based in Frankfurt. He ordered the detailed search, documentation, photographing and widespread dissemination of what went on in the Nazi death camps. By actions such as these, Eisenhower began the process of documenting the horrors of the Holocaust.
Although he had never been in action himself, Eisenhower was respected as a brilliant military strategist and skilled political leader during the Second World War. He successfully dealt with conflicting demands from many sides, and managed to mollify such tough and determined personalities as Winston Churchill, Joseph Stalin, Gen. Bernard L. Montgomery and Gen. George S. Patton. From 1945 to 1948 Eisenhower was Chief of Staff of the U.S. Army, and from 1950-1952 was Supreme Commander of all NATO forces.
Eisenhower won the 1952 US presidential elections, with Richard Nixon as his Vice President, and brought the Republicans back to national power after 20 years. He was President from 1953-1960, becoming the first and only army general to serve as President in the 20th Century, formally becoming a civilian during his term in office. He ended the Korean War and offered peaceful co-existence with the Soviet Union after the death of Stalin in 1953. He authorized the 1953 Iranian coup d'etat and the 1954 Guatemalan coup d'etat. He invited Nikita Khrushchev to his first visit to the US in 1959, and hosted him at his farm at Gettysburg, Pennsylvania, where his children and grandchildren met the family of the Soviet leader. Shortly after that, however, the Soviets shot down an American U2 spy plane, captured the pilot and canceled Eisenhower's reciprocal visit to the Soviet Union. Relations between the two superpowers deteriorated very quickly, leading to an increasingly rapid nuclear arms race and a dangerous standoff in the Cold War.
Domestically, Eisenhower began the modernization and integration of American roads into the interstate highway system, modeled after the autobahn, which he saw in Germany. In spite of some serious setbacks with US-Soviet relations, overall his presidency was a successful example of a non-partisan approach to politics.
After his presidential term expired (US Presidents can only serve two terms), Eisenhower was again commissioned a five-star general in the army. He lived in retirement on his farm in Gettysburg, where he wrote his memoirs. He died on Friday, March 28th, 1969, at the Army Hospital in Washington, DC, and was laid to rest in Abilene, Kansas, at the Eisenhower Presidential Library.
The complete lifetime of Dwight D. Eisenhower, was from Tuesday, October 14th, 1890, to Friday, March 28th, 1969. He lived 28,654 days, equaling 4,093 weeks & 3 days.- Ernest W. Marland was born on 8 May 1874 in Pittsburgh, Pennsylvania, USA. He was married to Lydie Roberts and Mary Virginia Collins. He died on 3 October 1941 in Ponca City, Oklahoma, USA.
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Robert Riskin was born on 30 March 1897 in New York City, New York, USA. He was a writer and producer, known for It Happened One Night (1934), You Can't Take It with You (1938) and Mr. Deeds Goes to Town (1936). He was married to Fay Wray. He died on 20 September 1955 in Beverly Hills, Los Angeles, California, USA.- Writer
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Born in Blenheim Palace, the residence of his grandfather, the 7th Duke of Marlborough. His father was the Duke's third son, Lord Randolph Churchill. His mother, Jennie Jerome, was the daughter of an American financier.
After passing through famous English public schools such as Harrow, he went on to fulfill his ambition for a life in the army. He fought in various parts of the British Empire until in 1900 when he won the Conservative seat in Oldham in the general election. From here until 1929 he held various offices in British Parliament.
The 1930s saw fascism grow in strength throughout Europe with dictators such as Italy's Benito Mussolini, Germany's Adolf Hitler and Spain's Francisco Franco. When the UK and France declared war on Germany in 1939, Neville Chamberlain was British Prime Minister. On May 10, 1940 Hitler's forces invaded Holland, Belgium, and Luxembourg in order to invade France. Chamberlain was widely blamed for the failed British invasion of Norway, although realistically Churchill as First Lord of the Admiralty was largely to blame for the failure of the Norwegian Campaign. Chamberlain recommended the King should ask Churchill to succeed him as Prime Minister. He made a speech on 13 May: "You ask: 'What is our policy?' I will say: 'It is to wage war by sea, land and air, with all our might and with all the strength that God can give us: to wage war against a monstrous tyranny, never surpassed in the dark lamentable catalog of human crime.' That is our policy. You ask: 'What is our aim?' I can answer in one word: 'Victory! Victory at all costs, victory in spite of all terror, victory however long and hard the road may be; for without victory there is no survival.'"
The United States officially entered the war after the bombing of Pearl Harbor. The US's participation was excellent news to Churchill and after success on D-Day and as the Nazi forces were gradually forced back, the war in Europe gradually drew to a close. He lost the 1945 General Election by a landslide, lost again in 1950, but was re-elected as Prime Minister in 1951 despite receiving fewer votes than Labour. Due to deteriorating health he retired in 1955. He died at Hyde Park Gate, London, on January 24, 1965 at the age of 90. He had succeeded in the uniting of thought and deed. He had succeeded in uniting everyone in the common purpose, inspiring them with fortitude and strength to face whatever hardships that would have to be incurred in the process of first surviving and ultimately winning the war. His daughter Mary wrote to him on his death bed: "I owe you what every Englishman, woman, and child owes you - liberty itself."
As one of the most significant British politicians of the 20th century, Churchill remains one of the country's most widely recognized figures. He has been played by an almost incalculable number of actors on screen, but three of the most notable and acclaimed screen portrayals were by Robert Hardy in Winston Churchill: The Wilderness Years (1981) (which covers Churchill's life from 1929 to 1939), Albert Finney in The Gathering Storm (2002) (also set in the 1930s before he became Prime Minister) and Gary Oldman in Darkest Hour (2017) (set in May 1940).
As well as a politician, Churchill was also an author and a prolific artist, who painted over 500 canvases, exhibited at the Royal Academy and at Paris, and sold paintings.- Writer
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Benito Amilcare Andrea Mussolini was born in Predappio, Emilia-Romagna, Italy. He was the son of Alessandro Mussolini, a socialist, and Rosa Maltoni, a devout Catholic schoolteacher. In 1915, Mussolini married Donna Rachele Guidi. Together, they had five children. On October 31, 1922, at the age of 39, Mussolini became the Prime Minister of Italy. He was removed from power and placed under arrest by order of King Victor Emmanuel III in July 1943, but two months later was rescued by the Germans and installed as the puppet leader of a German client state, the Italian Social Republic. On April 28, 1945, Mussolini was shot dead by Italian Communists in Giulino di Mezzegra, Lombardy, Italy and his corpse was hung by its feet. He was 61 years old.- Born the fourth of six children to Austrian customs officer Alois Hitler--who had been married twice before--and the former Klara Polzl, Adolf Hitler grew up in a small Austrian town in the late 19th century. He was a slow learner and did poorly in school. He was frequently beaten by his authoritarian father. Things got worse when Adolf's older brother, Alois Jr., ran away from home. His mild-mannered mother occasionally tried to shield him, but was ineffectual. Adolf's attempt to run away at 11 was unsuccessful. At the age of 14 he was freed when his hated father died - an event that he did not mourn.
Hitler dropped out of high school at age 16 and went to Vienna, where he strove to become an artist, but was refused twice by the Vienna Art Academy. By this time Hitler had become an ardent German nationalist--although he was not German but Austrian--and when World War I broke out, he crossed into Germany and joined a Bavarian regiment in the German army. He was assigned as a message runner but also saw combat. Temporarily blinded after a gas attack in Flanders in 1918, he received the Iron Cross 2nd Class and was promoted from private to corporal. In 1918, when the war ended, Hitler stayed in the army and was posted to the Intelligence division. He was assigned to spy on several radical political parties that were considered a threat to the German government. One such organization was the German Workers' Party. Hitler was drawn by party founder Dietrich Eckart, a morphine addict who propagated doctrines of mysticism and anti-Semitism. Hitler soon joined the party with the help of his military intelligence ties. He became party spokesman in 1919, renamed it the National Socalist German Workers Party (NSDAP/NAZI) and declared himself its Führer (leader) one year later. In 1920 Hitler's intelligence handler, Munich-based colonel named Karl Haushofer, introduced the swastika insignia. In 1921 Haushofer founded the paramilitary Storm Troopers ("Sturmabteilung", or SA), composed of German veterans of WWI and undercover military intelligence officers. They helped Hitler to organize a coup attempt--the infamous "beer hall putsch"--against the Bavarian government in Munich in 1923, but it failed. The "rebels" marched on Munich's city hall, which was cordoned off by police. Hitler's men fired at the police and missed; the police fired back and didn't, resulting in several of Hitler's fellow Nazis being shot dead. Hitler himself was arrested, convicted of treason and sent to prison. During his prison time he was coached by his advisers and dictated his book "Mein Kampf" ("My Struggle") to his deputy Rudolf Hess. He only served several months in prison before being released. By 1925 the Nazi party was in much better straits both organizationally and financially, as it had secured the backing of a large group of wealthy conservative German industrialists, who funneled huge amounts of money into the organization. Hitler was provided with a personal bodyguard unit named the "Schutzstaffel", better known as the SS. The Nazis began to gain considerable support in Germany through their network of army and WWI veterans, and Hitler ran for President in 1931. Defeated by the incumbent Paul von Hindenburg, Hitler next attempted to become Chancellor of Germany. Through under-the-table deals with powerful conservative businessmen and right-wing politicians, Hitler was appointed Chancellor in January 1933. One month later, a mysterious fire--which the Nazis claimed had been started by "terrorists" but was later discovered to have been set by the Nazis themselves--destroyed the Reichstag (the building housing the German parliament). Then Hitler's machine began to issue a series of emergency decrees that gave the office of Chancellor more and more power.
In March of 1933 Hitler persuaded the German parliament to pass the Enabling Act, which made the Chancellor dictator of Germany and gave him more power than the President. Two months later Hitler began "cleaning house"; he abolished trade unions and ordered mass arrests of members of rival political groups. By the end of 1933 the Nazi Party was the only one allowed in Germany. In June of 1934 Hitler turned on his own and ordered the purge of the now radical SA--that he now saw as a potential threat to his power--which was led by one of his oldest friends, a thug and street brawler named Ernst Röhm. Röhm's ties to Hitler counted for nothing, as Hitler ordered him assassinated. Soon President Hindenburg died, and Hitler merged the office of President with the office of Chancellor. In 1935 the anti-Jewish Nuremburg laws were passed on Hitler's authorization. A year later, with Germany now under his total control, he sent troops into the Rhineland, which was a violation of the World War I Treaty of Versailles. In 1938 he forced the union of Austria with Germany and also took the Sudetenland, a region of Czechoslovakia near the German border with a large ethnic German population, on the pretext of "protecting" the German population from the Czechs. In March 1939 Hitler overran the rest of Czechoslovakia. On 23 August 1939 Hitler and Joseph Stalin made a non-aggression treaty. In September of 1939 Hitler and Stalin invaded Poland. France and the British Commonwealth and Empire declared war on Germany. In 1940 Germany occupied Denmark, Norway and the Low Countries, and launched a major offensive against France. Paris fell and France surrendered, after which Hitler considered invading the UK. However, after the German Air Force was defeated in the Battle of Britain, the invasion was canceled. The British had begun bombing German cities in May 1940, and four months later Hitler retaliated by ordering the Blitz. In 1941 German troops assisted Italy, which under dictator Benito Mussolini was a German ally, in its takeover of Yugoslavia and Greece. Meanwhile, in Germany and the occupied countries, a program of mass extermination of Jews had begun.
On June 22, 1941, German forces invaded the Soviet Union. In addition to more than 4,000,000 German troops, there were additional forces from German allies Romania, Italy, Czechoslovakia, Hungary, Croatia, Spain and Finland, among others. Hitler used multinational forces in order to save Germans for the future colonization of the Russian lands. Following the detailed Nazi plan, code-named "Barbarossa," Hitler was utilizing resources of entire Europe under Nazi control to feed the invasion of Russia. Three groups of Nazi armies invaded Russia: Army Group North besieged Leningrad for 900 days, Army Group Center reached Moscow and Army Group South occupied Ukraine, reached Caucasus and Stalingrad. After a series of initial successes, however, the German Armies were stopped at Moscow, Leningrad and Stalingrad. Leningrad was besieged by the Nazis for 900 days until the city of 4,000,000 virtually starved itself to death. Only in January of 1944 was Marshal Georgi Zhukov able to finally defeat the German forces and liberate the city, finally lifting the siege after a cost of some 2,000,000 lives. In 1943 several major battles occurred at Kursk (which became the largest tank battle in history), Kharkov and Stalingrad, all of which the Germans lost. The battle for Stalingrad was one of the largest in the history of mankind. At Stalingrad alone the Germans lost 360,000 troops, in addition to the losses suffered by Italian, Hungarian, Romanian, Czech, Croatian and other forces, but the Russians lost over one million men. By 1944--the same year the Western allies invaded occupied Europe--Germany was retreating on both fronts and its forces in Africa had been completely defeated, resulting in the deaths and/or surrender of several hundred thousand troops. Total human losses during the six years of war were estimated at 60,000,000, of which 27,000,000 were Russians, Ukrainians, Jews and other people in Soviet territory. Germany lost over 11,000,000 soldiers and civilians. Poland and Yugoslavia lost over 3,000,000 people each. Italy and France lost over 1,000,000 each. Most nations of Central and Eastern Europe suffered severe--and in some cases total--economic destruction.
Hitler's ability to act as a figurehead of the Nazi machine was long gone by late 1944. Many of his closest advisers and handlers had already fled to other countries, been imprisoned and/or executed by the SS for offenses both real--several assassination attempts on Hitler--and imagined, or had otherwise absented themselves from Hitler's inner circle. For many years Hitler was kept on drugs by his medical personnel. In 1944 a group of German army officers and civilians pulled off an almost successful assassination attempt on Hitler, but he survived. Hitler, by the beginning of 1945, was a frail, shaken man who had almost totally lost touch with reality. The Russians reached Berlin in April of that year and began a punishing assault on the city. As their forces approached the bunker where Hitler and the last vestiges of his government were holed up, Hitler killed himself. Just a day earlier he had married his longtime mistress Eva Braun. Hitler's corpse was taken to Moscow and later shown to Allied Army Commanders and diplomats. Joseph Stalin showed Hitler's personal items to Winston Churchill and Harry S. Truman at the Potsdam Conference after the victory. Hitler's personal gun was donated to the museum of the West Point Military Academy in New York. Some of his personal items are now part of the permanent collection at the National History Museum in Moscow, Russia. - Writer
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Franklin Delano Roosevelt was born on January 30, 1882, in Hyde Park, New York, to James and Sara Roosevelt. His father was 54 at the time of FDR's birth and already had a grown son, nicknamed "Rosy". Sarah was only 27 when FDR was born. Growing up, FDR had a happy but sheltered childhood. His family was very wealthy and FDR had a very privileged upbringing, with trips to Europe and private tutors. Sara Roosevelt was a loving but domineering and overprotective mother. FDR was a devoted son, but found clever and subtle ways to get around his mother's domination. At 14 he was sent to Groton, an exclusive prep school led by the Rev. Endicott Peabody. FDR did not enjoy his time at Groton, often being teased by the other kids for having a formal and stuffy manner. Since he had a nephew who was older than him, kids at Groton called him "Uncle Frank". He graduated from Groton in 1900 and went to Harvard, where he edited the "Crimson" but failed to be accepted into the Porcellian Social Club. He graduated Harvard in 1903. Soon after that he fell madly in love with his sixth cousin, Eleanor Roosevelt. They married in 1905, with President Theodore Roosevelt giving the bride away. However, from the start Franklin and Eleanor's marriage was not a happy one. She was quiet and shy, whereas he was boisterous and outgoing. The fact that his mother moved into the house next door to theirs, and ran things, did not help. Franklin and Eleanor had six children (one child died in infancy). In 1910 Franklin was elected to the New York State Legislature from Duchess County. There he made a name for himself as a crusading reformer who favored the "average guy" over big business and championed for honest government. In 1913 he was appointed Assistant Secretary of the Navy and served under Josephus Daniels and President Woodrow Wilson. In 1918 he began a love affair with his wife's social secretary, Lucy Mercer. When Eleanor discovered the affair, she was understandably devastated and told Franklin she wanted a divorce. At the urging of his mother, Frankilin chose to save the marriage and promised Eleanor that he would never have anything more to do with Lucy. The damage was done, however, and Franklin and Eleanor never again shared the intimacies of marriage, becoming more like political partners. In 1921 FDR was stricken with polio and paralyzed. He permanently lost the use of his legs, but refused to let that thwart his political ambitions. He spoke at the 1924 Democratic Convention for the candidacy of Alfred E. Smith, then the Governor of New York, calling him the "Happy Warrior". In 1928 FDR was elected Governor of New York and was well placed when the stock market crashed in 1929. As governor he took the lead in providing relief and public works projects for the millions of unemployed in the state. His success as New York's governor made him a strong candidate for the Presidency in 1932. He easily beat incumbent President Herbert Hoover.
When Franklin Roosevelt was sworn in as President on March 4, 1933, more than 15 million Americans were unemployed. Millions more had been hard hit by the Depression and the banking system had collapsed. FDR wasted no time in launching a radical economic recovery program, known as the New Deal. He created the Federal Deposit Insurance Corporation (FDIC), which made the federal government the guarantor of people's bank deposits - not the banks themselves - and allowed drought-stricken farmers to refinance their mortgages, He created public works programs including the Works Progress Administration (WPA) and Civilian Conservation Corps (CCC)--thus making the government the employer of last resort--as well as setting up the Social Security system, instituting a minimum wage, outlawing child labor--a widespread practice at the time, especially in mines, factories and textile mills--and mandating a 40-hour work week with overtime pay. In responding to the Depression, FDR forever changed the role of the federal government in American life. He was easily reelected in 1936, defeating Republican Alf Landon in a landslide. His second term as president was less successful than his first, however. The Supreme Court had ruled a number of New Deal measures unconstitutional. With an electoral mandate in the bank, FDR proposed "packing" the Supreme Court with justices of his political persuasion for every judge over the age of 70 that did not retire. However, Congress refused to pass the Supreme Court packing plan, and from that point on FDR was unable to get Congress to pass much of his legislation. Also, fascism was rising rapidly throughout Europe and Asia. Germany's Adolf Hitler and Italy's Benito Mussolini had both seized power and began to conquer other countries, such as Ethiopia, Austria and Czechoslavakia. FDR was unable to respond to the threats from Europe and Asia, however, because sentiment in the US was strongly isolationist and Congress had passed a series of neutrality laws that gave the President very little power to respond to international aggression. World War II began in September 1939 when Hitler invaded Poland. Nine months later all of Western Europe had fallen to Hitler. The UK and its Commonwealth and Empire was standing alone. FDR wanted to help Britain, but had to move carefully and skillfully. He negotiated a deal in which the US gave Britain 50 old destroyers in exchange for bases in the Western Hemisphere. With World War II underway, FDR took the unprecedented move of seeking a third term as president. He won that term in November 1940, defeating Republican Wendell Willkie. Safely re-elected, he proposed a radical new program for helping Britain, known as Lend-Lease, in which Britain could buy armaments and other supplies from the US but not have to pay for them until after the war. FDR used the analogy of borrowing a neighbor's hose to put out a house fire to sell Lend-Lease. It passed and America became the "arsenal of democracy" as it began to build armaments for Britain and then the Soviet Union, when Hitler invaded it in mid-1941. Roosevelt met Britain's Prime Minister, Winston Churchill, for the first time in August 1941 where they drew up the Atlantic Charter. On December 7, 1941, the Japanese launched a surprise attack on Pearl Harbor, destroying much of America's Pacific fleet. The next day,FDR declared war on Japan, calling December 7 "a date that will live in infamy." America was in the war, and not only against Japan, but also against Germany and Italy. Under FDR's leadership, America quickly transformed itself from a decaying nation of idle factories, impoverished families, abandoned farms and masses of hobos roaming the streets to a nation turning out planes, tanks, guns, military vehicles and other armaments on a scale that quickly dwarfed the capability of Nazi Germany to do the same. World War II also changed American life as blacks got better jobs in the war plants and women began working outside the home in unprecedented numbers. Helped by Eleanor, FDR used the war as a vehicle for social progress, securing better treatment for minorities and women, higher wages and better benefits for workers and a GI bill, which guaranteed a free college education for all American soldiers who fought in the war. In so doing, he created the American middle class of today.
After a series of military defeats, the US and its allies began to win the war. Invasions of North Africa and Italy were launched and the US started retaking islands in the South Pacific it had lost to Japan at the beginning of the war, starting with the Battle of Midway in 1942. FDR met with Churchill several times throughout the war and with Soviet leader Joseph Stalin at Tehran in 1943 and at Yalta in 1945. The Allied invasion of France, known as D-Day, was launched on June 6, 1944. As the war ended, FDR pushed for his dream of a United Nations and for reforms that would ensure that another World War would never happen. The United Nations did come to pass, as well as new global institutions such as the World Bank and IMF. Also, FDR advocated for decolonization of Africa and Asia, leading to the collapse of the old European empires.
Because of the war, FDR felt he had no right to leave the presidency while Americans under his command were still fighting. So he sought a fourth term in 1944. His opponent was the new governor of New York, Thomas E. Dewey, who ran a campaign of innuendo, hinting that FDR was too ill to lead and that his government had gone stale. FDR retaliated with a speech accusing the Republicans of attacking his dog, Fala. FDR won his fourth term in November 1944. In January 1945 he journeyed to Yalta to confer with Churchill and Stalin for the last time, to settle the postwar world and push for Russian participation in the United Nations. By this time FDR was gravely ill. After the Yalta Conference, he traveled to his resort at Warm Springs, Georgia, where he died suddenly of a massive stroke on April 12, 1945. It was revealed that Lucy Mercer, his one-time lover, was with him when he died and that she had secretly visited him in the White House a number of times during his last year.
There was an elaborate funeral for him, with a train procession from Warm Springs to Washington DC, then to Hyde Park, where he was buried.- Ernest Hemingway was an American writer who won the Pulitzer Prize (1953) and the Nobel Prize in Literature (1954) for his novel The Old Man and the Sea, which was made into a 1958 film The Old Man and the Sea (1958).
He was born into the hands of his physician father. He was the second of six children of Dr. Clarence Hemingway and Grace Hemingway (the daughter of English immigrants). His father's interests in history and literature, as well as his outdoorsy hobbies (fishing and hunting), became a lifestyle for Ernest. His mother was a domineering type who wanted a daughter, not a son, and dressed Ernest as a girl and called him Ernestine. She also had a habit of abusing his quiet father, who suffered from diabetes, and Dr. Hemingway eventually committed suicide. Ernest later described the community in his hometown as one having "wide lawns and narrow minds".
In 1916 Hemingway graduated from high school and began his writing career as a reporter for The Kansas City Star. There he adopted his minimalist style by following the Star's style guide: "Use short sentences. Use short first paragraphs. Use vigorous English. Be positive, not negative." Six months later he joined the Ambulance Corps in WWI and worked as an ambulance driver on the Italian front, picking up human remains. In July 1918 he was seriously wounded by a mortar shell, which left shrapnel in both of his legs causing him much pain and requiring several surgeries. He was awarded the Silver Medal. Back in America, he continued his writing career working for Toronto Star . At that time he met Hadley Richardson and the two married in 1921.
In 1921, he became a Toronto Star reporter in Paris. There he published his first books, called "Three Stories and Ten Poems" (1923), and "In Our Time" (1924). In Paris he met Gertrude Stein, who introduced him to the circle that she called the "Lost Generation". F. Scott Fitzgerald, Thornton Wilder, Sherwood Anderson and Ezra Pound were stimulating Hemingway's talent. At that time he wrote "The Sun Also Rises" (1926), "A Farewell to Arms" (1929), and a dazzling collection of Forty-Nine stories. Hemingway also regarded the Russian writers Lev Tolstoy, Fyodor Dostoevsky, Ivan Turgenev and Anton Chekhov as important influences, and met Pablo Picasso and other artists through Gertrude Stein. "A Moveable Feast" (1964) is his classic memoir of Paris after WWI.
Hemingway participated in the Spanish Civil War and took part in the D-Day landings during the invasion of France during World War II, in which he not only reported the action but took part in it. In one instance he threw three hand grenades into a bunker, killing several SS officers. He was decorated with the Bronze Star for his action. His military experiences were emulated in "For Whom the Bell Tolls" (1940) and in several other stories. He settled near Havana, Cuba, where he wrote his best known work, "The Old Man and the Sea" (1953), for which he won a Pulitzer Prize and the Nobel Prize in Literature. This was adapted as the film The Old Man and the Sea (1958), for which Spencer Tracy was nominated for an Academy Award as Best Actor, and Dimitri Tiomkin received an Oscar for Best Musical Score.
War wounds, two plane crashes, four marriages and several affairs took their toll on Hemingway's hereditary predispositions and contributed to his declining health. He was diagnosed with bipolar disorder and insomnia in his later years. His mental condition was exacerbated by chronic alcoholism, diabetes and liver failure. After an unsuccessful treatment with electro-convulsive therapy, he suffered severe amnesia and his physical condition worsened. The memory loss obstructed his writing and everyday life. He committed suicide in 1961. Posthumous publications revealed a considerable body of his hidden writings, that was edited by his fourth wife, Mary, and also by his son Patrick Hemingway. - Writer
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Sam Spewack was born on 16 September 1899 in Bakhmut, Yekaterinoslav Governorate, Russian Empire. Sam was a writer and producer, known for My Favorite Wife (1940), Move Over, Darling (1963) and Week-End at the Waldorf (1945). Sam was married to Bella Spewack. Sam died on 14 October 1971 in New York City, New York, USA.- Bella Spewack was born on 25 March 1899 in Bucharest, Romania. She was a writer, known for My Favorite Wife (1940), Move Over, Darling (1963) and Week-End at the Waldorf (1945). She was married to Sam Spewack. She died on 27 April 1990 in Manhattan, New York, USA.
- Harry S. Truman was the 33rd president of the United States, serving from 1945 to 1953. A lifetime member of the Democratic Party, he previously served as a U.S. senator from the state of Missouri from 1935 to 1945. He was chosen as incumbent president Franklin D. Roosevelt's running mate for the 1944 presidential election. Truman was inaugurated as the 34th vice president in 1945 and served for less than three months until President Roosevelt died. Now serving as president, Truman implemented the Marshall Plan to rebuild the economy of Western Europe and established both the Truman Doctrine and NATO to contain the expansion of communism. He proposed numerous liberal domestic reforms, but few were enacted by the Conservative Coalition that dominated the Congress.
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The woman who will always be remembered as the crazy, accident-prone, lovable Lucy Ricardo was born Lucille Desiree Ball on August 6, 1911 in Jamestown, New York, the daughter of Desiree Evelyn "DeDe" (Hunt) and Henry Durrell "Had" Ball. Her father died before she was four, and her mother worked several jobs, so she and her younger brother were raised by their grandparents. Always willing to take responsibility for her brother and young cousins, she was a restless teenager who yearned to "make some noise". She entered a dramatic school in New York City, but while her classmate Bette Davis received all the raves, she was sent home; "too shy". She found some work modeling for Hattie Carnegie's and, in 1933, she was chosen to be a "Goldwyn Girl" and appear in the film Roman Scandals (1933).
She was put under contract to RKO Radio Pictures and several small roles, including one in Top Hat (1935), followed. Eventually, she received starring roles in B-pictures and, occasionally, a good role in an A-picture, like in Stage Door (1937) or The Big Street (1942). While filming Too Many Girls (1940), she met and fell madly in love with a young Cuban actor-musician named Desi Arnaz. Despite different personalities, lifestyles, religions and ages (he was six years younger), he fell hard, too, and after a passionate romance, they eloped and were married in November 1940. Lucy soon switched to Metro-Goldwyn-Mayer, where she got better roles in films such as Du Barry Was a Lady (1943); Best Foot Forward (1943) and the Katharine Hepburn-Spencer Tracy vehicle Without Love (1945). In 1948, she took a starring role in the radio comedy "My Favorite Husband", in which she played the scatterbrained wife of a Midwestern banker. In 1950, CBS came knocking with the offer of turning it into a television series. After convincing the network brass to let Desi play her husband and to sign over the rights to and creative control over the series to them, work began on the most popular and universally beloved sitcom of all time.
With I Love Lucy (1951), she and Desi promoted the 3-camera technique now the standard in filming sitcoms using 35mm film (the earliest known example of the 3-camera technique is the first Russian feature film, "Defence of Sevastopol" in 1911). Desi syndicated I Love Lucy. Lucille Ball was the first woman to own her own studio as the head of Desilu Productions.
Lucille Ball died at Cedars-Sinai Medical Center, age 77, of an acute aortic aneurysm on April 26, 1989 in Los Angeles, CA.- P. James Roosevelt was born on 22 August 1928 in Manhattan, New York City, New York, USA. He was married to Philippa B. Roosevelt. He died on 27 November 1998 in Oyster Bay, New York, USA.
- Robert Morgan was born on 31 July 1918 in Asheville, North Carolina, USA. He was married to Linda Dickerson and Elizabeth Morgan. He died on 15 May 2004 in Asheville, North Carolina, USA.
- George Catlett Marshall Jr. GCB (December 31, 1880 - October 16, 1959) was an American army officer and statesman. He rose through the United States Army to become Chief of Staff of the US Army under Presidents Franklin D. Roosevelt and Harry S. Truman, then served as Secretary of State and Secretary of Defense under Truman. Winston Churchill lauded Marshall as the "organizer of victory" for his leadership of the Allied victory in World War II. After the war, he spent a frustrating year trying and failing to avoid the impending Chinese Civil War. As Secretary of State, Marshall advocated a U.S. economic and political commitment to post-war European recovery, including the Marshall Plan that bore his name. In recognition of this work, he was awarded the Nobel Peace Prize in 1953.
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George Stevens Jr. was born on 3 April 1932 in Los Angeles, California, USA. He is a producer and writer, known for Separate But Equal (1991), George Stevens: A Filmmaker's Journey (1984) and The 35th Annual Kennedy Center Honors (2012). He has been married to Elizabeth Polk Guest since 5 July 1965. They have two children.- Animation Department
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Starting as a cel washer, Chuck Jones worked his way up to animator and then director at the animation division of Warner Bros. He is famous for creating such beloved cartoon characters as Wile E. Coyote, Henery Hawk, Pepé Le Pew, Marvin the Martian, Ralph Wolf, Road Runner, Sam Sheepdog, Sniffles, and many others, as well as adding to the development of Warner favorites such as Bugs Bunny, Daffy Duck, Porky Pig and countless others.
His most famous cartoons tend to have been created with writer Michael Maltese. Jones' autobiography, published by Simon & Schuster "Chuck Amuck"--a pun on his Daffy Duck short Duck Amuck (1953)--gives a very amusing account of his life. It is liberally sprinkled with hundreds of cartoons with some color plates.