Fenin, George N., and William K. Everson. The Western. New York: Penguin, 1977.
Ferber, Edna. Come and Get It. Garden City, N.Y.: Doubleday, Doran, 1935.
Ford, Jesse Hill. The Liberation of Lord Byron Jones. Boston: Atlantic–Little Brown, 1965.
Fredericks, Ellsworth. “Photographing The Friendly Persuasion.” American Cinematographer 37, no. 4 (April 1956): 216–17, 250–52.
French, Brandon. On the Verge of Revolt: Women in American Films of the Fifties. New York: Frederick Ungar, 1978.
Gassner, John, and Dudley Nichols. Twenty Best Film Plays I & II. New York: Garland, 1977.
Geist, Kenneth. “Carrie.” Film Comment 6, no. 3 (Fall 1970): 25–27.
Giannetti, Louis. Masters of the American Cinema. Englewood Cliffs, N.J.: Prentice-Hall, 1981.
Gilman, Richard. The Making of Modern Drama. New York: Farrar, Straus & Giroux, 1975.
Goetz, Ruth, and Augustus Goetz. The Heiress. New York: Dramatists Play Service, 1975.
Griffin, Susan M., ed. Henry James Goes to the Movies. Lexington: University Press of Kentucky, 2002.
Griffith, Richard. Samuel Goldwyn: The Producer and His Films. New York: Museum of Modern Art Film Library, 1956.
———. “Wyler, Wellman, and Huston: Three Directors with a Past and a Future.” Films in Review 1, no. 1 (February 1950): 1–5.
Grobel, Lawrence. The Hustons. New York: Avon Books, 1990.
Hanson, Curtis Lee. “William Wyler.” Cinema 3, no. 5 (Summer 1967): 22–35.
Harris, Mark. Pictures at a Revolution. New York: Penguin, 2008.
Hayes, Richard. “These Three: The Influence of William Wyler and Gregg Toland on Lillian Hellman.” Film Literature Quarterly 37, no. 3 (2009): 176–83.
Hellman, Lillian. Four Plays by Lillian Hellman. New York: Random House, 1972.
———. Six Plays by Lillian Hellman. New York: Vintage, 1979.
Herman, Jan. A Talent for Trouble: The Life of Hollywood's Most Acclaimed Director, William Wyler. New York: G. P. Putnam's Sons, 1995.
Heston, Charlton. The Actor's Life: Journals 1956–1976. Edited by Hollis Alpert. New York: E. P. Dutton, 1976.
———. “Ben-Hur Diaries.” Cinema (California) 2, no. 2 (July 1964): 10–13, 29, 34.
———. In the Arena. New York: Boulevard Books, 1997.
———. “The Questions No One Asks about Willy.” Films and Filming 4 no. 11 (August 1958): 9, 32.
———. “William Wyler.” Dialogue on Film 1 (1972): 6–9.
Heston, Charlton, and Jean-Pierre Isbouts. Charlton Heston's Hollywood. New York: GT Publishing, 1998.
Higham, Charles. Bette: The Life of Bette Davis. New York: Macmillan, 1981.
———. Hollywood Cameramen. Bloomington: Indiana University Press, 1970.
———. “William Wyler.” Action 8, no. 5 (September–October 1973): 14–22.
Higham, Charles, and Joel Greenberg. Hollywood in the Forties. New York: Zwemmer and Barnes, 1968.
Horner, Harry. “Designing The Heiress.” Hollywood Quarterly 5, no. 1 (Fall 1950): 1–7.
Howard, Sidney. Sinclair Lewis's Dodsworth. New York: Harcourt, Brace, 1934.
Huston, John. An Open Book. New York: Knopf, 1980.
Isaacs, Hermine Rich. “William Wyler: Director with a Passion and a Craft.” Theater Arts 31, no. 2 (February 1947): 21–24.
Jacobsen, Wolfgang, Helga Belach, and Norbert Grob. William Wyler. Berlin: Argon, 1996.
Kael, Pauline. Going Steady. New York: Bantam, 1971.
———. Kiss Kiss Bang Bang. New York: Bantam, 1971.
Kahn, Gordon. Hollywood on Trial. New York: Boni and Gaer, 1948.
Kantor, Bernard, Irwin R. Blacker, and Anne Kramer, eds. Directors at Work. New York: Funk and Wagnalls, 1970.
Kantor, MacKinlay. Glory for Me. New York: Coward-McCann, 1945.
Kazan, Elia. A Life. New York: Knopf, 1988.
Kern, Sharon. William Wyler: A Guide to References and Resources. Boston: G. K. Hall, 1984.
Kingsley, Sidney. Five Prize Winning Plays. Columbus: Ohio State University Press, 1995.
Klein, Michael, and Gillian Parker, eds. The English Novel and the Movies. New York: Frederick Ungar, 1981.
Koenig, Lester. “Gregg Toland Film-Maker.” Screenwriter 3 (December 1947): 27–33.
Koppes, Clayton R., and Gregory D. Black. Hollywood Goes to War. Berkeley: University of California Press, 1990.
Kozloff, Sarah. The Best Years of Our Lives. London: Palgrave Macmillan (BFI Book), 2011.
———. “Wyler's Wars.” Film History: An International Journal 20, no. 4 (2008): 456–73.
Langlois, Henri. Hommage à William Wyler. Paris: Cinématheque Française, 1965.
Leaming, Barbara. Bette Davis: A Biography. New York: Simon and Schuster, 1992.
Leenhardt, Roger. “À bas Ford / vive Wyler!” L'Ecran francais 146 (April 13, 1948).
Lennart, Isobel. Funny Girl. New York: Random House, 1964.
Lewis, Sinclair. Dodsworth. New York: Harcourt, Brace, 1929.
Lyon, Peter. “The Hollywood Picture.” Hollywood Quarterly 3, no. 4 (Summer 1948): 341–61.
Madsen, Axel. William Wyler: The Authorized Biography. New York: Crowell, 1973.
Marcus, Daniel. “William Wyler's World War II Films and the Bombing of Civilian Populations.” Historical Journal of Film, Radio, and Television 29, no. 1 (March 2009): 79–90.
Marton, Andrew. “Ben-Hur's Chariot Race.” Films in Review 11, no. 1 (January 1960): 27–32, 48.
Marx, Arthur. Goldwyn: A Biography of the Man behind the Myth. New York: W. W. Norton, 1976.
McBride, Joseph. Frank Capra: The Catastrophe of Success. New York: Simon and Schuster, 1992.
———. Hawks on Hawks. Berkeley: University of California Press, 1982.
McCarthy, Todd. Howard Hawks: The Grey Fox of Hollywood. New York: Grove Press, 1997.
Meyers, Jeffrey. Gary Cooper: American Hero. New York: Cooper Square Press, 1998.
Miller, Gabriel. William Wyler: Interviews. Jackson: University Press of Mississippi, 2010.
Mills, Pamela. “Wyler's Version of Brontë's Storms in Wuthering Heights.” Literature Film Quarterly 24, no. 4 (1996): 414–22.
Monroe, Dale. “William Wyler: The Appeal of L. B. Jones.” Entertainment World, April 10, 1970, 19–20.
Morse, David. “Carrie.” Brighton Film Review 19 (April 1970): 10–11.
Niven, David. The Moon's a Balloon. New York: G. P. Putnam's Sons, 1972.
O'Connor, John E., and Martin A. Jackson. American History/American Film: Interpreting the Hollywood Image. New York: Frederick Ungar, 1979.
Orr, Christopher. “Authorship in the Hawks/Wyler Film, Come and Get It.” Wide Angle 6, no. 1 (1984): 20–26.
Palmer, R. Barton, ed. Nineteenth-Century American Fiction on Screen. Cambridge: Cambridge University Press, 2007.
Peary, Gerald, and Roger Shatzkin. The Classic American Novel and the Movies. New York: Frederick Ungar, 1977.
Pells, Richard H. Radical Visions and American Dreams. New York: Harper and Row, 1973.
Peters, Margot. The House of Barrymore. New York: Knopf, 1990.
Phillips, Gene D. Exiles in Hollywood: Major European Film Directors in America. Bethlehem, Pa.: Lehigh University Press, 1998.
———. “William Wyler.” Focus on Film 24 (Spring 1976): 5–10.
Plimpton, George. Writers at Work: The Paris Review Interviews, 3rd ser. New York: Viking Press, 1967.
Reid, John Howard. “A Comparison of Size.” Films and Filming 6, no. 6. (March 1960): 12, 31–32, 35.
———. “A Little Larger than Life.” Films and Filming 6, no. 5 (February 1960): 9–10, 32.
———. “William Wyler—His Rise and Fall.” Film Guide (Summer 1950): 4–10.
Reisz, Karel. “The Later Films of William Wyler.” Sequence 13 (1951): 19–30.
Rice, Elmer. Minority Report. New York: Simon and Schuster, 1963.
———. Seven
Plays. New York: Viking Press, 1950.
Riese, Randall. Her Name Is Barbra. New York: St. Martin's Paperbacks, 1994.
Rollyson, Carl. Lillian Hellman: Her Legend and Her Legacy. New York: St. Martin's Press, 1988.
Rorty, James. Where Life Is Better. New York: John Day/Reynal and Hitchcock, 1936.
Roud, Richard, et al. William Wyler: An Index. London: British Film Institute, 1958.
Sarris, Andrew. The American Cinema. New York: E. P. Dutton, 1968.
———. “Director of the Month.” Show 1, no. 6 (June 1970): 14–15.
———. “William Wyler.” Film Culture 28 (1963): 34.
Schorer, Mark. Sinclair Lewis: An American Life. New York: Dell, 1961.
Sherwood, Robert. The Petrified Forest. New York: Scribner's, 1935.
Shibuk, Charles. An Index to the Films of William Wyler. New York: Theodore Huff Memorial Film Society, 1957.
Sikov, Ed. Dark Victory: The Life of Bette Davis. New York: Henry Holt, 2007.
Slocombe, Douglas. “The Work of Gregg Toland.” Sequence 8 (Summer 1949): 69–76.
Slotkin, Richard. Gunfighter Nation. New York: Harper Perennial, 1993.
Smith, Wendy. Real Life Drama. New York: Knopf, 1990.
Stevens, George, Jr., et al. “The Test of Time: William Wyler.” American Film 1, no. 6 (April 1976): 4, 9, 13–14, 20, 22–23, 25, 27.
Stine, Whitney, with Bette Davis. I'd Love to Kiss You: Conversations with Bette Davis. New York: Pocket Books, 1990.
———. Mother Goddam. New York: Berkley Books, 1979.
The Story of the Making of Ben-Hur. New York: Random House, 1959.
Swindell, Larry. “A Life on Film.” American Film 1, no. 6 (April 1976): 7–27.
Troyan, Michael. A Rose for Mrs. Miniver. Lexington: University Press of Kentucky, 2005.
Tuska, John, ed. Close-up: The Hollywood Director. Metuchen, N.J.: Scarecrow Press, 1978.
Wallis, Hal, and Charles Higham. Starmaker: The Autobiography of Hal Wallis. New York: Macmillan, 1980.
Warshow, Robert. The Immediate Experience. 1962. Reprint, New York: Athenaeum, 1970.
West, Jessamyn. “Hollywood Diary.” Ladies’ Home Journal 73 (November 1956): 70–71, 158–84.
———. To See the Dream. New York: Harcourt, Brace, 1957.
Whitcomb, John. “Ben-Hur Rides Again.” Cosmopolitan 147 (December 1959): 26–29.
“William Wyler.” Film Reference. Last modified 2012.http://filmreference.com/Directors-Ve-Y/Wyler-William.html.
Wood, Robin. Howard Hawks. Garden City, N.Y.: Doubleday, 1968.
Wright, William. Lillian Hellman: The Image, the Woman. New York: Ballantine, 1986.
Wyler, William. “Censorship through Fear.” Screenwriter 3, no. 7 (December 1947): 20–21.
———. “Escape to Reality.” Liberty 24, no. 1 (January 4, 1947): 16. Reprinted in Picturegoer, March 15, 1947, 8.
———. “Flying over Germany.” News Digest 2, no. 13 (August 15, 1943): 25–26.
———. “Hand Tailored Films.” Hollywood Reporter 132, no. 4 (November 12, 1954): sec. 2.
———. “‘Heiress’ Director Finds Character Conflicts Exciting.” New York Herald Tribune, October 2, 1949, sec. 5, p. 3.
———. “A Letter from William Wyler.” Sequence 8 (Summer 1949): 68–69.
———. “No Magic Wand.” Screenwriter 2, no. 9 (February 1947): 1–14.
———. “Statement of Principles.” New York Times, June 18, 1950, sec. 2, p. 5.
Audiovisual Material
Higham, Charles. “William Wyler Directs Bette Davis in Jezebel.” Columbia University Oral History Office. Fathom: The Source for Online Learning. Last modified 2002.http://www.fathom.com/feature/35675/.
Directed by William Wyler & The Love Trap. Tatge Productions, 1986. New York: Kino Video, 2002. DVD.
Manuscript Collections
Ruth and Augustus Goetz Papers. Wisconsin Historical Society, Madison, Wisconsin.
Samuel Goldwyn Papers. Margaret Herrick Library, Academy of Motion Picture Arts and Sciences, Los Angeles, California.
William Wyler Collection. Margaret Herrick Library, Academy of Motion Picture Arts and Sciences, Los Angeles, California.
William Wyler Papers, 1925–1975. Arts Library Special Collections, Young Research Library, UCLA.
Index
The index that appeared in the print version of this title does not match the pages in your eBook. Please use the search function on your eReading device to search for terms of interest. For your reference, the terms that appear in the print index are listed below.
“WW” refers to William Wyler.
Ace in the Hole (B. Wilder)
Adding Machine, The (Rice)
Affron, Charles
Affron, Jona Mirella
Agee, James
Ahearn, Daniel: “The Wild Boys of the Road”
Albert, Eddie
Allied Artists
All My Sons (Miller)
All Quiet on the Western Front (Milestone)
America-First Committee
American Cinema, The (Sarris)
American Tragedy, An (film; Von Sternberg)
American Tragedy, An (novel; Dreiser)
Anderegg, Michael
Anderson, Maxwell
Andersonville (Kantor)
Andrews, Dana
Andrews, Julie
Anthony Productions
anti-Semitism, French
Arnold, Edward
Arrowsmith (film; John Ford)
Arrowsmith (novel; Lewis)
Arthur, Art
Ashcroft, Peggy
Astor, Mary
Atkinson, Brooks
atomic bomb/energy
auteurism
Babbitt (Lewis)
Bad Companions (Roughead)
Bad Day at Black Rock (Sturges)
Bainter, Fay
Baker, Carroll
Balaban, Barney
Balkin, Karen
Ball, Lucille
Bankhead, Tallulah
Barnes, George
Barrymore, John
Bartlett, Sy; Strategic Air Command; Twelve O'Clock High
Baxter, John
Bazin, André: on The Best Years of Our Lives; on cinematic realism; on The Little Foxes; on WW
Bel Geddes, Norman
Bellamy, Ralph
Bendix, William
Ben-Hur (film, 1907)
Ben-Hur (film, 1925; Niblo)
Ben-Hur (film, 1959; WW); chariot race scene; composition/framing; conversion scene; crucifixion scene; ending; house as setting for; Judah-Christ relationship; Judah-Messala relationship; Judah's love for Esther; Judah's mother and sister cured of leprosy; Messala's death; Oscars won by; on pacifism vs. violence; political message of; realism of; script; staircase scenes; success of; Lew Wallace's novel adapted for; WW chosen to direct; WW's salary for
Ben-Hur (play; Young and L. Wallace)
Bentley, Eric
Berg, Scott
Bergman, Ingrid
Berlin, Irving: This Is the Army
Bessie, Alvah
Best Years of Our Lives, The (WW); aircraft graveyard scene; Al, Fred, and Homer meet; Al, Fred, and Homer's homecoming scenes; Al's banquet scene; Al's character/story; businessmen in; casting; “Chopsticks” scene; composition/framing; on corrupting effects of money; critical reception/success of; deep focus used in; disillusionment in; Fred's character/story; Fred's drugstore scene; Goldwyn as producer for; Goldwyn on; Homer's bedroom scenes; Homer's character/story; HUAC on; Kantor's Glory for Me adapted for; mirrored shots; music; opening shot; Oscars for; Peggy and Marie's character; postwar possibility/wariness reflected in; preview/release date; realism of; on rehabilitation of/jobs for veterans; rift between WW and Goldwyn over; Sherwood's script for; title; Toland's camera work on; war veterans’ experience depicted in; wedding scene; wrap date; WW on the making of
Bickford, Charles
Big Country, The (no
vel; Hamilton)
Big Country, The (film; WW); betrayal in; bigness vs. smallness theme; Buck tries to rape Julie; budget; casting; composition/framing; critical reception/success of; departures from conventions of westerns; duel scene; elegiac tone of; ending; financing/distribution of; as first film in Technorama or widescreen; Hamilton's novel adapted for; Hannassey-Terrill feud; house as setting for; Leech-McKay fight scene; music; opening shot; on pacifism vs. violence; Peck's involvement in; script; shooting locations; Technorama and Technicolor used for; tensions on the set of; transformation of area by easterner McKay; WW's lack of involvement in
Bishop's Wife, The (Nathan)
Biskind, Peter
Black, Gregory D.
Blackmer, Sidney
Blazer Films
blinds, film noir's use of
Blue Dahlia, The (G. Marshall)
blue streak (five-reel) westerns. See also specific films
Bogart, Humphrey: in Dead End; in The Desperate Hours; illness/death of; in The Petrified Forest; on WW
Boleslawski, Richard: The Three Godfathers
Bolton, Guy: The Dark Angel
Bordwell, David
Bourdet, Edouard: The Captive
Boyd, Stephen
Boyer, Charles
Brando, Marlon
Brecht, Bertolt
Breen, Joseph. See also Production Code
Brennan, Walter; in My Darling Clementine; in The Westerner
Brent, George
Brewer, Roy
Brice, Fanny. See also Funny Girl
Bridges, Lloyd
Briskin, Samuel
Brontë, Emily: Wuthering Heights
Browne, Roscoe Lee
Buckner, Robert
Burrows, Abe
Busch, Niven
Bushman, Francis X.
Byington, Spring
Caged (J. Cromwell)
Cagney, James
Campbell, Alan
Cantor, Eddie
capitalism
Capra, Frank: authority/style of; It's a Wonderful Life; Liberty Films cofounded by (see also Liberty Films); Lost Horizon; military commission for; No Other Man; status of; Why We Fight series
Captive, The (Bourdet)
Carey, Harry, Sr.
Carrie (WW); Carrie's character/story; Carrie's success; casting; composition/framing; critical reception/failure of; deep focus used in; Dreiser's Sister Carrie adapted for; Drouet and Carrie's relationship; DVD version; ending; Fitzgerald and Julia's character; the Goetzes’ script; high society in; house as setting for; Hurstwood and Carrie's relationship; Hurstwood's decline; indoor scenes; on marriage as a trap; mirrored shots; on money's role in American life; Paramount's handling of; plot; release date; rocking chair scenes; rooming house scene; scenes cut/restored; script revisions by WW; social issues in; staircase scenes; wrap date; WW's motivation for making
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