Carver, George Washington
CFA (Committee for the First Amendment)
Champion (M. Robson)
Champlin, Charles
Chandler, Helen
Chaney, Lon
Chaplin, Charlie: The Great Dictator
Chatterton, Ruth
Chekhov, Anton: The Cherry Orchard
Children's Hour, The (film; WW)
Children's Hour, The (play; Hellman). See also under These Three
Chodorov, Edward
Chodorov, Jerome
Christians, Mady
Churchill, Winston
Cimino, Michael: Heaven's Gate
CinemaScope
Cinerama
Citizen Kane (Welles)
Civilian Conservation Corps
Civil War
Clair, René
Clark, Bennett Champ
Clift, Montgomery
Clothier, William
Clymer, John (“Jack”)
Cobb, Lee J.
Cock Robin (Rice)
Cohan, George M.
Cohens and the Kellys in Scotland, The (Craft)
coherence principle
Cole, Lester
Collector, The (film; WW); butterfly room scene; casting; composition/framing; critical reception/success of; dungeon setting; ending; Fowles's novel adapted for; Freddie kidnaps Miranda; Freddie's character/story; Freddie's narration; house as setting for; Miranda's escape attempt/death; Miranda's self-portrait; opening shot; on pacifism vs. violence; pessimism of; script; Surtees's camera work on; on victim vs. victimizer
Collector, The (novel; Fowles)
Collier's
Collinge, Patricia
Colman, Ronald
Come and Get It (film; H. Hawks and WW); “Aura Lee” used in; candy-making scene; casting; composition/framing; confessional scene; critical reception/success of; directorial credit for; ecology theme; ending; fathers/sons theme; Ferber's novel adapted for; Goldwyn replaces Hawks with WW; industrialization's role in; love theme of; lumberjacking scene; male group ethos theme; Maté's camera work on; optimism of; Oscars for; party scene; pessimism of; Toland's camera work on
Come and Get It (novel; Ferber)
Committee for the First Amendment (CFA)
concentration camps, liberation of
Conference for World Peace (1949)
Confessions of a Nazi Spy (Litvak)
Connelly, Marc
Cookson, Peter
Cooper, Gary: in Friendly Persuasion; in Love in the Afternoon; in Sergeant York; in The Westerner
Cooper, Gladys
Copland, Aaron
Coppola, Francis Ford
Cornell, Katharine
Costello, Dolores
Counsellor-at-Law (film; WW); Barrymore in; camera movements/framing; casting; censorship of; characters’ closeness/distance; on class/ethnicity; Cora and her children's visit to the office; Cora's and Mrs. Simon's visit to the office; Cora's betrayal; critical reception/success of; Depression-era context of; liberalism of; opening at radio City Music Hall; opening shot; optimism of; pace of; plot; Rice on; Rice's play adapted for; settings; shooting schedule; on society vs. nature
Counsellor-at-Law (play; Rice)
Counterattack
Coward, Noël: Private Lives
crab dollies
Craft, William: The Cohens and the Kellys in Scotland
Crawford, Cheryl
Crisp, Donald
Cromwell, Richard
Crook Buster (WW)
Crowther, Bosley
Crucible, The (Miller)
Cultural and Scientific Congress for World Peace (1949)
cultural radicalism
Cumming, Jane
Curtiss, Eddie
Curtiz, Michael: Virginia City
Daniels, Bebe
Dark Angel, The (film, 1925; Goldwyn)
Dark Angel, The (film, 1935; Franklin)
Dark Angel, The (play; Bolton)
Dark Angel, The (screenplay; Hellman)
Dark Victory (Goulding)
Davenport, Doris
Davis, Bette: affair with Brent; affair with WW; on Bainter; clashes with WW; in Dangerous; in Dark Victory; in Jezebel; legal battles with Warner Brothers; in The Letter; in The Little Foxes; Oscars won by; stature of; in That Certain Woman; on WW
Davis, Owen: Jezebel
Dawn Patrol, The (Goulding)
Day, Richard
Days to Come (Hellman)
Dead End (film; WW); casting; composition/staging; critical reception/success of; Dave and Drina's love; Dave's farewell to Kay; ending; expressionism of; Hellman adapts Kingsley's play for; Kay visits Dave's apartment; kidnap-planning scene; Martin's character; Martin's escape attempt and death; Martin's reunion with Francey; Martin's reunion with his mother; opening shot; optimism of; Oscar nominations for; set design; social issues in; on society vs. the individual; style; Toland's camera work on
Dead End (play; Kingsley). See also under Dead End (film; WW)
Dead End Kids
Dee, Frances
de Havilland, Olivia
Dell, Gabriel
DeMille, Cecil B.: epic films by; loyalty oaths instigated by; The Ten Commandments; Union Pacific
Desire under the Elms (O'Neill)
Desperate Hours, The (film; WW): anxiety/paranoia of 1950s in; casting; composition/framing; critical reception/modest success of; ending; as first black-and-white film in Vista-Vision; Glenn's character; Glenn's death; Griffin gang invades Hilliard home; Hayes's novel/play adapted for; Hilliard vs. Griffin family; indoor/outdoor scenes; opening shot; as a parable; plot; suburban setting; wrap date
Desperate Hours, The (novel/play; Joseph Hayes)
Detective Story (film; WW): abortion theme; casting; censorship of; composition/framing; critical reception/success of; deep focus used in; ending; Garmes's camera work on; HUAC's influence on; indoor/outdoor scenes; Kingsley's play adapted for; McLeod learns of Mary's past; McLeod's character; McLeod's death; opening shot; set design; success of
Detective Story (play; Kingsley)
Diary of a Sergeant
Dick, Bernard F.
Dighton, John
Dingle, Charles
Disney, Walt
Dodsworth (film; WW); on Americanism; burning-letter scene; casting; composition/framing; critical reception/failure of; ending; exploration theme; Fran's character; Fran's flirtations/affairs; on high society; Howard's play adapted for; importance of; industrialization's role in; interior scenes; Lewis on; Maté's camera work in; opening shot; Oscars for; preview/opening of; Sam and Edith; Sam and Fran fight/divorce; Sam's character; set design; shooting locations; on society vs. nature; on society vs. the individual; style; WW chosen to direct
Dodsworth (novel; Lewis)
Dodsworth (play; Howard)
Doll's House, A (Ibsen)
Donehue, Vincent
Douglas, Helen Gahagan
Douglas, Kirk
Douglas, Melvyn
Douglass, Kent
“Do You Remember Sweet Betsy from Pike,”
Dracula (film)
Drag, The (M. West)
dramatizing by equivalent
Dreiser, Theodore; An American Tragedy; Sister Carrie (see also Carrie)
Dreyfus, Alfred
Duggan, Pat,
Duncan, Claude E.
Dunne, Philip
Duryea, Dan
Eagels, Jeanne
Eaker, Ira B.
Edelman, Lou
Eden, Olive: “Heart and Hand”
Edward, Munson, Jr.
Eggar, Samantha
Eighth Air Force. See also Memphis Belle
Eisenhower, Dwight D.
Eisenstein, Sergei
England, American views of
Ephron, Phoebe and Henry
Epstein, Julius
“Escape to Reality” (WW)
Espy, Reeves
Etting, Ruth
Everson, William
Eyer, Richard
Falana, Lola
Farmer, Frances
Federal Parole Board
Federal Writers’ Project
Fenin, George
Ferber, Edna: Come and Get It
Ferrer, José
Ferry Command (WW)
Fifty-Seventh Fighter Group. See also Thunderbolt
films: depth of focus in, (see also under Wyler, William—FILMS); on the “enemy within”; gangster; investigations of the industry (see under HUAC); noir; realism in (see also specific films); studio system's structure; vs. television; war, (see also Memphis Belle; Mrs. Miniver; Thunderbolt); westerns; widescreen, first; women in (1950s). See also Hollywood
Finkel, Abem
First Americans, The (WW)
Flaherty, Robert
Fleming, Victor: Gone with the Wind
“Flying over Germany” (WW)
Flynn, Errol
Fonda, Henry
Ford, Jesse Hill: The Liberation of Lord Byron Jones
Ford, John: American Film institute's Life Achievement Award won by; Arrowsmith; authority/style of; The Grapes of Wrath; How Green Was My Valley; Leenhardt on; lends WW equipment to shoot war documentaries; Marked Men; military commission for; My Darling Clementine; Stagecoach; Three Godfathers; vs. WW
Foreign Correspondent (Hitchcock)
“Forgotten Boy” (script; WW and J. Huston)
Forty Carats (play)
Fowles, John: The Collector
Franco, Francisco
Frankfurter, Felix
Franklin, Sidney: The Dark Angel; The Guardsman; Mrs. Miniver produced by; Private Lives
Frankovich, Mike
Freeman, Kathleen
Freeman, Y. Frank
French, Brandon
Friedhofer, Hugo
Friendly Persuasion (film; WW); battle scenes; casting; in color; composition/framing; county fair scene; critical reception/success of; elegiac tone of; ending; evocative natural images in; Jess saves a wounded soldier; Jess's character; Josh's decision to fight; meetinghouse scene; Moscow showing of; music; opening credits/scenes; opening of; on pacifism vs. violence; Palm d'Or won by; script revisions by WW; as a series of stories; Jessamyn West's novel adapted for; Wilson's script and credit
Friendly Persuasion, The (novel; J. West)
Froeschel, George
Fry, Christopher; Venus Observed
Full Employment Act
Funny Girl (film; WW); budget; casting; choreography; composition/framing; ending; Fanny's liberation; Fanny's love for Nicky; Fanny's unraveling marriage; mirrored shots; music; “My Man,” staging of; opening shot; Oscars for; plot; shooting locations; success as a musical adaptation to film; success of; tugboat scene; WW replaces Lumet on
Funny Girl (play)
gangster films
Garbo, Greta
Garfield, John
Garmes, Lee
Garner, James
Garson, Greer
Gaudio, Tony
Gay Deception, The (WW)
German Expressionism
German Film Chamber
Gershwin, Ira
Gibbons, Cedric
Gide, André
Gielgud, John
Gilman, Richard
Gish, Lillian
glasnost
Glory for Me (Kantor)
Goetz, Ruth and Augustus; Carrie script; The Heiress (see also Washington Square)
Going My Way (McCarey)
Goldwyn, Samuel: vs. Gary Cooper; The Dark Angel; Dead End produced by; fastidiousness of; illness of; vs. Kantor; Oscar won by; reputation of; Wuthering Heights produced by; WW's clashes with; WW's early association with; WW's last association with; WW's lawsuit against
Goldwyn (Samuel) Productions: Best Picture Oscars won by; success brought by WW; vs. United Artists. See also The Best Years of Our Lives
Gone with the Wind (film; Fleming)
Gone with the Wind (novel; Mitchell)
Good Earth, The (Thalberg)
Good Fairy, The (WW)
Gorbachev, Mikhail
Gorcey, Leo
Gordon, Bobby
Gould, Elliott
Goulding, Edmund; Dark Victory,; The Dawn Patrol; That Certain Woman
Grand Tour, The (Rice)
Grant, Lee
Granville, Bonita
Grapes of Wrath, The (film; John Ford)
Grapes of Wrath, The (novel; Steinbeck)
Grayson, Jessie
Great Depression
Great Dictator, The (Chaplin)
Great Escape, The (Sturges)
Green Bay Tree, The (Sharp)
Greenberg, Joel
Greene, Graham
Griffith, Hugh
Griffith, Richard
Group Theatre
Guardsman, The (Franklin)
Guess Who's Coming to Dinner (Kramer)
Gypsy (LeRoy)
Hall, Huntz
Halop, Billy
Hamilton, Donald: The Big Country
Hamlet (Olivier)
Hammerstein, Oscar, II: The Sound of Music
Hammett, Dashiell
Hanson, Curtis
Harrington, John
Harris, Jed
Harris, Julie
Harris, Mark
Hart, Moss: Merrily We Roll Along; Winged Victory
Hart, William S.
Hartman, Don
Hawks, Howard; Red River; Sergeant York. See also Come and Get It
Hawks, Kenneth
Hayes, Helen
Hayes, John Michael
Hayes, Joseph: The Desperate Hours
Hays, Will
Hayward, Leland
Head, Edith
Hearst, William Randolph
“Heart and Hand” (Eden)
Heaven's Gate (Cimino)
Hecht, Ben
Hedda Gabler (Ibsen)
Heiress, The (film; WW); ads for; budget for/cost of; casting; Catherine and Morris's courtship/engagement; Catherine renounces her love; Catherine's character; Catherine's embroidery; Catherine's revenge/triumph; composition/framing; critical reception/success of; dance scene; elopement/jilting scene; ending; the Goetzes’ play adapted for (see also Washington Square); on high society; house as setting for; mirrored shots; Morris's character; music; openings for; opening shots; Oscars for; plot; postwar mood of; on the power of money; realism of; Sloper's death; staircase scenes
Heiress, The (play; the Goetzes)
Hellman, Lillian: The Children's Hour (see also under These Three); The Dark Angel; Days to Come; friendship with WW; at Harvard; HUAC investigation of; The Little Foxes; The Negro Soldier script; politics of; reputation/success of; on the Roy Bean story; An Unfinished Woman; Watch on the Rhine; writer friends of; on WW
Hell's Heroes (WW): assigned to WW; baby's birth, symbolism of; complications involved in making of; composition/framing/style; on death/redemption; endings; Kyne on; Kyne's Three Godfathers adapted for; opening shot; pessimism of; realism of; Robinson's camera work on; Sangster's character; screenplay; shooting location; success of; as Universal's first sound film
Hepburn, Audrey
Hepburn, Katharine
Her First Mate (WW)
Herman, Jan
Hershey, Barbara
Heston, Charlton
Higham, Charles
High Noon (Zinnemann)
Hiller, Wendy
Hilton, James; Lost Horizon
Hitchcock, Alfred; Foreign Correspondent; Psycho; Saboteur; Shadow of a Doubt; Vertigo
Hitler, Adolf
Hollywood: films on U.S.-British relations; investigations of (see also under HUAC); New York intellectuals working in; shooting schedules in
Hollywood blacklist
Hollywood Fights Back. See CFA
Hollywood Ten
homosexual theme
Hopkins, David
Hopkins, Miriam; in Carrie; in The Children's Hour; in The Heiress; in Jezebel; in These Three
Ho
use Divided, A (WW)
House Un-American Activities Committee. See HUAC
Howard, Sidney; Dodsworth; on dramatizing by equivalent; They Knew What They Wanted How Green Was My Valley (film; John Ford credited)
How Green Was My Valley (novel; Llewellyn)
How to Steal a Million (WW)
HUAC (House Un-American Activities Committee): vs. CFA; film industry investigated by (see also Hollywood blacklist; Hollywood Ten); hearings’ effects on Hollywood; impact on WW; Kingsley on; WW investigated by
Hughes, Howard
Hulburd, Merritt
Hunchback of Notre Dame, The (Laemmle)
Hunter, Ian McLellan
Huston, John; CFA cofounded by; CFA role of; “Forgotten Boy” (script); on Friendly Persuasion; investigation of communist affiliations of; Jezebel script revisions; Laughing Boy (script); Moby Dick; reputation of; “Steel”; WW's early association with; WW's friendship with
Huston, Walter: in Dodsworth; in A House Divided
Hyman, Eliot
Ibsen, Henrik: A Doll's House; Hedda Gabler
Industrial Revolution
In the Heat of the Night (Jewison)
Invasion of the Body Snatchers, The (Siegel)
Israel
It Can't Happen Here (Lewis)
It's a Wonderful Life (Capra)
Ives, Burl
I Wanted Wings (Lay)
Jacobs, Arthur
James, Henry: Washington Square
Jersey Bounce (B-17)
Jesse James (H. King)
Jewish mother syndrome
Jewison, Norman: In the Heat of the Night
Jezebel (film; WW); bank boardroom scene; bar scene; Buckner's screenplay; Buck's character; Buck's death in a duel; casting; composition/framing; Bette Davis in; Owen Davis's play adapted for; design/structure of; dinner scene; dressmaker's shop scene; ending; Finkel's script; vs. Gone with the Wind; on high society; house as setting for; John Huston's work on the script; industrialization's role in; interior scenes; Julie and Pres's breakup; Julie and Pres's love/engagement; Julie's apology to Pres/introduction to Amy; Julie's character; Julie's entrance; Julie's pleads with Amy; melodrama in; Olympus Ball scene; opening shot; Oscars for; politics in; realism of; retakes in; riding-crop retakes; Ripley's script; set decoration; social issues in; on society vs. nature; on society vs. the individual; the South in; staircase scene; stature of; “styleless style” of; WW chosen to direct; WW's interest in; yellow fever's symbolism in
William Wyler Page 57