by Anne Edwards
41. THE LITTLE PRINCESS, Twentieth Century-Fox, 1939, 94 minutes.
Directed by Walter Lang; Produced by Darryl F. Zanuck; Associate Producer, Gene Markey; Screenplay by Ethel Hill and Walter Ferris, based on the story by Frances Hodgson Burnett; Photography by Arthur Miller, A.S.C. and William Skall, A.S.C.
42. SUSANNAH OF THE MOUNTIES, Twentieth Century-Fox, 1939, 73 minutes.
Directed by William A. Seiter; Produced by Kenneth Macgowan; Story by Fidel La Barba, based on the book by Muriel Denison; Adapted by Fidel La Barba and Walter Ferris; Screenplay by Robert Ellis and Helen Logan; Photography by Arthur Miller; Edited by Robert Bischoff; Musical Direction by Louis Silvers.
43. THE BLUE BIRD, Twentieth Century-Fox, 1940.
Directed by Walter Lang; Produced by Darryl F. Zanuck; Associate Producer, Gene Markey; Based on the play by Maurice Maeterlinck; Screenplay by Ernest Pascal; Photography by Arthur Miller and Ray Renahan; Special Effects by Fred Sersen.
44. YOUNG PEOPLE, Twentieth Century-Fox, 1941.
Directed by Allan Dwan; Produced by Harry Joe Brown; Screenplay by Edwin Blum and Don Ettlinger; Director of Photography, Edward Cronjager, A.S.C.
45. KATHLEEN, Metro-Goldwyn-Mayer, 1941, 85 minutes.
Directed by Harold S. Bucquet; Produced by George Haight; Based on the story by Kay Van Riper; Screenplay by Mary C. McCall, Jr.; Photography by Sidney Wagner; Edited by Conrad A. Nervig.
46. MISS ANNIE ROONEY, United Artists, 1942, 85 minutes.
Directed by Edwin L. Marin; Produced by Edward Small; Screenplay by George Bruce; Photography by Lester White.
47. SINCE YOU WENT AWAY, United Artists, 1944, 172 minutes.
Directed by John Cromwell; Produced by David O. Selznick; Based on the book by Margaret Buell Wilder; Screenplay by David O. Selznick; Production Designed by William L. Pereira; Photography by Stanley Cortez, A.S.C., Lee Garmes, A.S.C.; Music by Max Steiner; Settings by Mark Lee Kirk; Special Effects by Jack Cosgrove; Supervising Film Editor, Hal C. Kern; Sound Editor, Charles L. Freeman; Interior Decoration by Victor A. Gangelin; Technical Adviser, Lt. Col. J. G. Taylor, U.S. Army; Cameras, Edward P. Fitzgerald and Harry Webb; Makeup by Robert Stephanoff; Hair Stylist, Peggy Higgins; Wardrobe Director, Elmer Ellsworth.
48. I’LL BE SEEING YOU, United Artists, 1944, 82 minutes.
Directed by William Dieterle; Produced by Dore Schary; Story by Charles Martin; Screenplay by Marion Parsonnet, based on the novel Double Furlough by Charles Marton; Cinematography by Tony Gaudio; Art Director, Mark Lee Kirk; Edited by William H. Ziegler; Music by Daniele Amfitheatrof; Song by Irving Kahal and Sammy Fain.
49. KISS AND TELL, Columbia, 1945, 90 minutes.
Directed by Richard Wallace; Produced by Sol C. Siegel; Screenplay by F. Hugh Herbert, based on his play of the same name.
50. HONEYMOON, RKO, 1947, 74 minutes.
Directed by William Keighley; Produced by Warren Duff; Based on the story by Vicki Baum; Screenplay by Michael Kanin; Director of Photography, Edward Cronjager, A.S.C.; Executive Producer, Robert Sparks; Art Direction by Albert S. D’Agostino and Ralph Berger; Music by Leigh Harline; Edited by Ralph Dawson.
51. THE BACHELOR AND THE BOBBY-SOXER, RKO, 1947, 93 minutes.
Directed by Irving Reis; Produced by Dore Schary; Story by Sidney Sheldon; Screenplay by Sidney Sheldon; Photographed by Robert de Grasse, A.S.C. and Nicholas Musuraca, Art Directors, Albert S. D’Agostino, Carroll Clark; Set Decorations, Darrell Silvera, James Atwels; Music by Leigh Harline; Edited by Frederic Knudtson.
52. THAT HAGEN GIRL, Warner Bros.-First National, 1947, 83 minutes.
Directed by Peter Godfrey; Produced by Alex Gottlieb; Based on the novel by Edith Roberts; Screenplay by Charles Hoffman; Photography by Karl Freund; Art Direction by Stanley Fleischer; Edited by David Weisbart; Sound by Stanley Jones; Set Decorations by Lyle B. Reifsnider; Special Effects by William McGann; Associate, Weslie Anderson; Music by Franz Waxman; Orchestral Arrangements by Leonid Raab; Musical Director, Leo F. Forbstein; Dialogue Director, Herschel Daugherty; Wardrobe by Travilla; Makeup by Perc Westmore.
53. FORT APACHE, Argosy Pictures Production, RKO release, 1948, 127 minutes.
Directed by John Ford; Produced by John Ford and Merian C. Cooper; Story by James Warner Bellah, based on “Massacre” in Saturday Evening Post; Screenplay by Frank S. Nugent; Cinematographer, Archer Stout; Edited by Jack Murray; Art Director, James Basevi; Musical Score by Richard Hageman; Sound by Frank Webster and Joseph I. Kane; Technical Advisers, Major Phillip Kieffer, USA Rtd. and Katharine Spaatz; Special Effects, Dave Koehler; Dance Sequences, Kenny Williams; Musical Arranger and Conductor, Lucien Cailliet; Set Dressings, Joseph Kish; Ladies Wardrobe, Ann Peck; Men’s Wardrobe, Michael Meyers; Makeup, Emile LaVicne.
54. ADVENTURE IN BALTIMORE, RKO, 1949, 89 minutes.
Directed by Richard Wallace; Produced by Richard H. Berger; Screenplay by Lionel Houser; Original Story by Lesser Samuels and Christopher Isherwood; Photography by Robert de Grasse; Art Direction by Albert S. D’Agostino and Jack Okey; Musical Score by Frederick Hollander; Musical Direction by C. Bakaleinikoff; Edited by Robert Swink.
55. MR. BELVEDERE GOES TO COLLEGE, Twentieth Century-Fox, 1949, 82 minutes.
Directed by Eliott Nugent; Produced by Samuel G. Engel; Story by Gwen Davenport, based on a character from Sitting Pretty; Screenplay by Richard Sale, Mary Loos and Mary McCall, Jr; Music by Alfred Newman; Photography by Lloyd Ahern; Art Direction by Lyle Wheeler, Richard Irvine; Set Decorations by Thomas Little; Edited by Harmon Jones; Wardrobe Direction by Charles Le Maire; Costumes Designed by Bonnie Cashin; Orchestral Arrangements by Edward Powell; Makeup by Ben Nye; Special Effects by Fred Sersen; Sound by E. Clayton Ward and Roger Heman.
56. A KISS FOR CORLISS, United Artists, independently produced by Enterprise Studios at General Service, 1949, 88 minutes.
Directed by Richard Wallace; Produced by Colin Miller; Associate Producer, Marcus Lowe II; Story based on character created by F. Hugh Herbert; Screenplay by Howard Dimsdale; Music by Werner R. Reymann; Production Manager, Lewis J. Rachmil; Photography by Robert de Grasse; Editor, Frank Doyle; Assistant Directors, Robert Aldrich, Frank Baur; Musical Director, Rudolph Polk; Set Decorations, Edward G. Boyle; Wardrobe by Eloise Jenssen; Dialog Director, Anthony Jowitt; Sound, Frank Webster.
57. THE STORY OF SEABISCUIT, Warner Bros.-First National, 1949, 96 minutes.
Directed by David Butler; Produced by William Jacobs; Screenplay by John Taintor Foote; Photography by Wilfred M. Cline; Technicolor color consultant, Mitchell Kovaleski; Music by David Buttolph; Edited by Irene Morra.
TELEVISION CREDITS: SHIRLEY TEMPLE
1. January 12, 1958, to December 21, 1958, NBC, Shirley Temple’s Storybook, hostess/narrator, Shirley Temple. Anthology series featuring entertaining adaptations of fairy tales and classic children’s stories. Included stories (16): “Tom and Huck,” “The Land of Oz,” “Kim,” “Little Men,” “Beauty and the Beast,” “Rapunzel,” “The Sleeping Beauty,” “Rip Van Winkle,” “The Nightingale,” “Dick Whittington and His Cat,” “Hiawatha,” “Charlotte’s Web,” “Son of Aladdin,” “Rumpelstiltskin” and “Mother Goose.” Shirley Temple appeared in “The Land of Oz,” “Little Men” and (with her children) “Mother Goose.” She also performed the theme song, “Dreams Are Made for Children.” A special presentation of the regular series to mark her dramatic TV acting debut was telecast on NBC March 5, 1958, when she appeared in “The Legend of Sleepy Hollow.” The series was shown again on ABC from January 12, 1959, to December 21, 1959.
2. September 18, 1960, to September 10, 1961, ABC, Shirley Temple Theater, hostess/narrator, Shirley Temple. She also performed the theme song, “The Enchanted Melody.”
3. Pilot film for proposed series Go Fight City Hall (never released).
4. In addition to her own television programs, she appeared as a guest on other shows, including those of Red Skelton (April 1963), Mitch Miller (1964), Dinah Shore (1972) and Mike Douglas (1972).
NOTES
The abbreviation PI, used in the notes section, stands for Personal Interview.
Preface
Page
5“in mortal combat”: Diana Serra Cary, PI.
“larger-than-life”: Ibid.
6“Little Shirley Temple”: Windeler, p. 80.
Chapter 1
18“Our home in”: letter from George F. Temple to Mrs. Robert Hetz, March 19, 1976.
“driving through”: Ibid
20“the cute little”: California, p. 122.
21“ ‘Your child should”: Cary, p. 93.
“This was heady”: Ibid.
22“Sometimes they did”: Ibid.
(fn) “My mother was”: Windeler, pp. 16–17.
23“She looked like”: Parents Magazine, undated article.
Chapter 2
25“remarkably sensitive”: Perrett, America in the Twenties, p. 314.
“urban provinciality”: Ibid.
“thanks to radio”: Ibid.
26“When Mom and”: Temple, My Young Life, p. 30.
27“America’s Boy”: Cooper, P..49.
28“She told him”: Parade, December 7, 1986.
29“The place was”: Cary, p. 201.
31“About Shirley Temple”: Maltin and Bann, p. 17.
“a virtual factory”: Katz, p. 376.
32“There was a”: Temple, My Young Life, p. 30.
“exploitative, racist and”: Mosley, p. 111.
“And then the”: Temple, My Young Life, p. 31.
“I was walking”: Columbia University Oral History Project.
33“Mom gave my curls”: Temple, My Life and Times (pages unnumbered)
“Mr. Hays wanted”: Ibid.
“As soon as I”: Ibid.
34“All of us”: Temple, My Young Life, p. 32.
35“A movie lot”: Ibid.
“word for word,”: Temple, My Life and Times.
“cheap-jack comedy”: Windeler, p. 111.
37“[My father] said”: Temple, My Life and Times.
38“sufficiently bad”: Variety, 10/25/32.
“a wealthy”: Temple, My Life and Times.
“the incomparable”: movie credits.
“wearing lots of”: Temple, My Young Life, p. 32.
“really dreamy,”: Ibid.
“I was Jane”: David, p. 38.
39“Children were treated”: Diana Serra Cary, PI.
40“The picture lasted”: America Magazine, circa 1934.
“She kept whispering”: Temple, My Life and Times.
“about three hundred”: Ibid.
42“[Hays] came to”: David, p. 40.
43“The family lived”: Moore, p. 72.
“Many of us”: Ibid.
“He wore plaid”: Ibid, p. 264.
“I was seven”: Delmar Watson, PI.
“called for Shirley”: David, p. 41.
44“Pair of kids”: Variety, September 8, 1933.
45“Shirley was too”: Robert Young, PI.
Chapter 3
50“I stopped and”: David, pp. 45–46.
51“[Mr. Gorney] asked”: Temple, My Young Life, p. 43.
“If it wasn’t”: Ibid., p. 46.
52“As we were”: Ibid.
53“was the start”: Temple, My Young Life, p. 46.
“I came in”: Ibid.
“I hadn’t been”: Ibid, p. 47.
54“I almost fainted”: Fox Films Studio biography.
“The vista of”: Ibid.
“We took a taxi”: Temple, My Young Life, p. 48.
55“the same man”: Allvine, p. 80.
56“loved, feared and”: Ibid.
“He was a”: Ibid, p. 81.
“manufacturing new young”: Ibid, p. 83.
“dreamed up the”: Ibid.
57“Shirley Temple sparkles”: Variety, May 25, 1934.
“Mom remembered a”: Temple, My Young Life, p. 48.
“on the theory”: Ibid.
58“a three word”: Ibid.
“at long last”: Ibid, p. 49.
“Mom prayed”: Ibid.
“If nothing else,”: Variety, April 24, 1934.
“Although Stand Up”: undated publicity release, circa 1934.
“Despite the fact”: Ibid.
59“You must see”: Ibid.
Chapter 4
61DILLINGER FORCES DOCTOR: Wilson, p. 468.
62“Shirley Temple, the”: LA Times, May 25, 1934.
“What took Mom”: Temple, My Young Life, p. 67.
63“I first met”: Nancy Majors Voorheis, PI.
64“for an hour”: Ibid.
65“a very handsome”: Ibid.
“Gertrude had a”: David, p. 52.
“monitored Shirley’s entire”: Ibid.
“Shirley was the”: Windeler, p. 38.
“I wouldn’t stand”: Parents Magazine, undated article.
“The mother was”: David, p. 54.
66“at the ease”: LA Times, August 23, 1934.
“hungrily eyeing”: Harold Hefferman, Detroit News, April 13, 1949.
“Gentlemen”: Ibid.
67“rather like an”: The Listener, August 1931.
“On the one side”: Ibid.
“Mom always went”: Temple, My Life and Times.
68“very anxious that”: Temple, My Young Life, p. 69.
“I couldn’t even”: Moore, p. 88.
69“was on the set”: Joseph LaShelle, PI.
“I wanted desperately”: Moore, p. 89.
“Naturally, Shirley was”: Ibid, p. 87.
“. . . after Bright Eyes”: Ibid, p. 88.
70(fn) “Some writer started”: Temple, My Young Life, p. 71.
(“Well, I started”: Parade, December 7, 1986.
“I don’t have”: Moore, p. 83.
“[Acting] was something”: Ibid, p. 66.
71“practically every agent”: Cary, p. 210.
“and walked up”: Ibid, p. 209.
“drawn into the”: Ibid.
Chapter 5
73“Darryl always thought”: Mosley, p. 137.
74“They didn’t buy”: Detroit News, April 13, 1949.
“the first time”: Mosley, p. 153.
“bigger, richer, better”: Ibid.
75“like a lodestone”: Jump Cut Magazine, July/August 1974.
“figures of cold”: Ibid.
“She assaults, penetrates”: Ibid.
76“It is a splendid”: FDR speech.
“[Shirley’s] work entails”: Time, circa 1935.
“Motion picture acting”: Jump Cut Magazine, July/August 1974.
77“on the dot”: Temple, My Young Life, p. 88.
“as outside Hansel”: Delmar Watson, PI.
“because our schedules”: Temple, My Young Life p. 88.
78“Lillian was not”: Moore, p. 137.
“I remember once”: Cary, p. 22.
“photographed her that”: Ibid.
79“You tend to”: Ibid.
“To me [making”: Temple, My Young Life, p. 69.
“carried a marvelous”: Ibid, p. 70.
“handcuff people to”: Ibid.
“whisked away”: Alice Faye, PI.
“looking through the”: Temple, My Young Life, p. 70.
“Sometimes he pretended”: Ibid.
“a droop of”: Ibid, p. 88.
80“to have a complete”: Ibid, p. 72.
“After the studio”: Ibid.
“in grateful recognition”: Academy of Motion Picture Arts and Sciences.
81“I liked the”: Parade, December 7, 1986.
“Mrs. Roosevelt was”: Good Housekeeping, February 1981.
82(fn) “I was being”: Current Biography, 1941, Robinson, p. 720.
(fn) “until they are”: Ibid.
“kissed each of”: Windeler, p. 147
83“a well-behaved, mannerly”: Bogel, p. 48.
“Now, Honey, all”: dialogue from film.
“curse
d and cussed”: Bogel, p. 48.
“who knew de ole”: Ibid.
“tremendously proud of’: Current Biography, 1941, Robinson, p. 719.
84“During this period”: Ibid, p. 36.
“The black low-lifers”: Ibid, p. 46.
85“Perfect Temple formula”: University of Indiana Archives.
86“Leave her here”: dialogue from film.
“a modernist construction”: Photoplay, March 1937.
87“like a department”: Ibid.
“They arrived”: Nancy Majors Voorheis, PI.
88“What a shame”: Mosley, p. 162.
89“a second father”: Ibid.
“He hemmed and”: Ibid, p. 163.
“[My father] was”: Ibid, pp. 172-73.
“You know that Darryl”: Ibid, p. 176.
90“Darryl Zanuck was”: Moore, p. 186.
“a health fanatic, worried”: Mosley, p. 173.
“Then he was off”: Ibid.
91“Star, a waif”: University of Indiana Archives, Bookman #15, p. 39.
“the arrival of”: Ibid.
“a chase scene”: Ibid.
92“was not a normal”: June Lang, PI.
“a small bit”: Diana Serra Cary, PI.
“someone responsible for”: Ibid.
93“Shirley Temple acts”: The Spectator, August 7, 1936.
“sentimental, a little”: Ibid.
94“earned fifteen times”: Rosten, p. 343.
95“who came all”: David, p. 88.
“They were children”: Ibid.
“I felt so darned”: Ibid.
“I do not let”: Windeler, pp. 34-35.
“Why don’t you”: Ibid., p. 38.
Chapter 6
97“a psychological”: Powdermaker, p. 229.
98“We [child stars]”: Moore, p. 67.
“We all knew”: Ibid.
“When I came down”: Ibid, p. 83.
“outgrew the other”: Ibid, p. 86.