City of Nets

by Otto Friedrich

  154 Gene Tierney considered: Gene Tierney, Self-Portrait, pp. 98, 12–14, 92 (1980).

  155 Just before she left: Ibid., pp. 99–100, 108.

  156 These were individual: Lingeman, Don’t You Know, pp. 168, 210.

  156 There were problems: John Huston, An Open Book, p. 99 (1981).

  157 The material demands: Lingeman, Don’t You Know, pp. 176–81.

  158n Loo, who was born: New York Times, Nov. 22, 1983.

  159 The reason for: Peter Irons, Justice at War, p. 6.

  159 This admirable advice: Allan R. Bosworth, America’s Concentration Camps, p. 60.

  159 This may seem: Roy Hoopes, Americans Remember the Home Front, pp. 175–6. Hoopes, Cain, p. 320.

  160 This was largely: Bruce Cook, Brecht in Exile, p. 72. Bosworth, America’s Concentration Camps, pp. 63, 211, 68, 59–60. Carey McWilliams, The Education of Carey McWilliams, p. 102.

  161 The Japanese who: Irons, Justice at War, pp. 9–13.

  162 The FBI and: Jeanne Wakatsuki Houston, Farewell to Manzanar, p. 7.

  162 The pressure for: Bosworth, America’s Concentration Camps, pp. 56, 71. Irons, Justice at War, p. 7. McWilliams, Education, p. 104. G. Edward White, Earl Warren, pp. 69–75. Cabell Phillips, The 1940’s, p. 109.

  163 California’s other chief: Bosworth, America’s Concentration Camps, pp. 61, 100–1, 180. Donald I. Rogers, Since You Went Away, p. 82.

  163 DeWitt was no: Phillips, The 1940’s, p. 110. Bosworth, America’s Concentration Camps, pp. 116, 171.

  164 Just as Hollywood: Hoopes, Americans Remember, p. 264. Houston, Farewell to Manzanar, pp. 12–13.

  165 Mineta and the rest: Bosworth, America’s Concentration Camps, p. 118. Hoopes, Americans Remember, pp. 260–1.

  166 “Concentration camp” is: Houston, Farewell to Manzanar, pp. 28, 16.

  167 While Pearl Harbor: Leo C. Rosten, Hollywood, p. 379. Donald L. Barlett and James B. Steele, Empire, p. 105. This is the best of many books on Howard Hughes.

  167 Though Glenn Martin: Christopher Rand, Los Angeles: The Ultimate City, pp. 71–2. David Halberstam, The Powers That Be, p. 114. John Gunther, Inside U.S.A., p. 27. Peter Wiley and Robert Gottlieb, Empires in the Sun, p. 27. Barlett and Steele, Empire, p. 75.

  167 Pearl Harbor naturally: Lingeman, Don’t You Know, pp. 128, 132. Barlett and Steele, Empire, p. 106.

  168 Through no foresight: Carey McWilliams, Southern California Country, p. 339. Wiley and Gottlieb, Empires in the Sun, p. 110.

  168 One of the few: Barlett and Steele, Empire, pp. 107, 60–1, 63–7. John Keats, Howard Hughes, p. 58.

  170 Hughes was nearly: Barlett and Steele, Empire, pp. 66–8, 73–97. Keats, Howard Hughes, p. 9.

  170n As often happened: Lester Cole, Hollywood Red, p. 94.

  172 On the other hand: Gussow, Zanuck, p. 126. Turner, Lana, p. 77. Roland Flamini, Ava, p. 69 (1984).

  172 Hughes apparently suffered: Charles Higham, Bette, pp. 123–40 (1982).

  174 This aspect of Hughes: Veronica Lake, Veronica, p. 136.

  174 The disastrous crash: Barlett and Steele, Empire, pp. 106–10. Roland Flamini, Scarlett, Rhett, and a Cast of Thousands, p. 88.

  174 The D-2 was: Barlett and Steele, Empire, pp. 113, 115, 117, 156–7. Keats, Howard Hughes, pp. 165, 159.

  175 He had other: Ibid., p. 174. Ben Hecht, A Child of the Century, pp. 486–7.

  175 Then came the: Jane Russell, My Path and My Detours, pp. 1–8, 44. Keats, Howard Hughes, pp. 174, 182, 148, 151–2, 164, 170–3.

  179 The greatest playwright: James K. Lyon, Bertolt Brecht in America, pp. 45, 53–6, 59–62, 66–9. Cook, Brecht in Exile, p. 81. Ronald Hayman, Brecht, pp. 256–61, 204–5.

  184 Like Detroit, Hollywood: John Kobal, Rita Hayworth, p. 127. This is the best of several books on Miss Hayworth. Donald Spoto, The Dark Side of Genius, p. 252.

  185 George M. Cohan: James Cagney, Cagney on Cagney, p. 105. Patrick McGilligan, Cagney, pp. 145–6, 407.

  186 William Cagney was: Hal Wallis and Charles Higham, Starmaker, p. 103. McGilligan, Cagney, pp. 149–50. Also Doug Warren, James Cagney, pp. 142–7.

  186 Cagney’s impression: Cagney on Cagney, pp. 104–7. McGilligan, Cagney, pp. 155, 158, 161.

  187n Miss Leslie was: Michael Freedland, The Warner Brothers, p. 148.

  188 Warners had planned: McGilligan, Cagney, p. 158.

  188 It was typical: John Russell Taylor, Strangers in Paradise, p. 62. New York Times, April 12, 1962. Wallis and Higham, Starmaker, p. 25.

  189 If Curtiz knew: David Niven, Bring on the Empty Horses, p. 117 (1976). It is worth noting that Michael Korda attributes exactly this same line to his uncle Zoltan Korda (Charmed Lives, p. 208).

  189 And there was more: Wallis and Higham, Starmaker, p. 24. Time, April 20, 1962. New York Herald Tribune, June 16, 1940.

  189 None of this: New York Times, April 12, 1962; Sept. 23, 1943.

  190 Out of somewhere: Wallis and Higham, Starmaker, pp. 83–4. Howard Koch, As Time Goes By, p. 77.

  190n The standard Warners: New York Times, Oct. 10, 1985.

  190n Raft eventually became: Freedland, The Warner Brothers, p. 169.

  191 Wallis also encountered: Ingrid Bergman and Alan Burgess, My Story, pp. 78–9.

  191 Selznick was perhaps: Bergman and Burgess, My Story, pp. 87–8, 91, 102. Laurence Leamer, As Time Goes By, pp. 73, 79, 88, 103, 124.

  193 Miss Bergman went: Irene Mayer Selznick, A Private View, p. 230.

  193 He rented Ingrid: Wallis and Higham, Starmaker, p. 86. Koch, As Time Goes By, p. 78. I have altered this scene slightly to conform with an interview with Julius Epstein by Aljean Harmetz in the New York Times, Feb. 5, 1984.

  194 The stars were: Wallis and Higham, Starmaker, pp. 87–8. Rudy Behlmer, Inside Warner Bros., p. 199.

  194 And there was: Koch, As Time Goes By, pp. 79–82. Behlmer, Inside Warner Bros., p. 240.

  195 The expensive cast: Bergman and Burgess, My Story, p. 145.

  195 Bogart seemed to: Joe Hyams, Bogie, pp. 76–7 (1967).

  196 In this state: Paul Henreid, Ladies’ Man, pp. 128–9.

  197 Casablanca came to: Bergman and Burgess, My Story, p. 145.

  197 Even that ending: Wallis and Higham, Starmaker, pp. 91–2.

  5 Prejudice (1943).

  199 Just after dark: Time, June 21, 1943. Rodolfo Acuña, Occupied America: A History of Chicanos, p. 327.

  199 There was more: Carey McWilliams, North from Mexico, p. 249. John D. Weaver, Los Angeles, p. 137.

  200 And more: Acuña, Occupied America, p. 327. New York Times, June 9, 10, 1943.

  200 The irony was: McWilliams, North from Mexico, p. 233. Acuña, Occupied America, p. 323.

  201 That was because: Nathanael West, The Day of the Locust, p. 137.

  201 The reality was: Acuña, Occupied America, p. 326.

  202 The police attitude: Ibid., pp. 323, 325. McWilliams, North from Mexico, p. 234.

  202 Against that background: McWilliams, North from Mexico, pp. 244–5. Julian Samora and Patricia Vandel Simon, A History of the Mexican-American People, p. 117.

  202 The next night: Acuña, Occupied America, p. 327. McWilliams, North from Mexico, pp. 246–8. New York Times, June 7, 1943.

  204 The Los Angeles police: Samora and Simon, A History, pp. 327–9. New York Times, June 10, 12, 1943.

  204 The anti-Mexican riots: McWilliams, North from Mexico, p. 256.

  205 Washington was eager: Charles Higham, The Films of Orson Welles, pp. 85, 87.

  206 The only movie: Henry Fonda, My Life, p. 178.

  206 Hollywood’s final verdict: John Kobal, Rita Hayworth, pp. 18–20. I have relied mainly on Kobal’s thorough work for the details of the young Rita Hayworth.

  207 Young Margarita: Ibid., pp. 28–9, 36, 43–50, 174, 181.

  208 Middle-aged men: Ibid., pp. 50–1. Bob Thomas, King Cohn, p. 169.

  209 Sheehan shortened: Kobal, Rita Hayworth, pp. 52, 63, 70–4. Joe Morella and Edward Z. Epstein, Rita, p. 253.
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  209 Then along came: Charles Higham, Orson Welles, p. 210.

  210 But Judson: Thomas, King Cohn, pp. 72, 170–2. Kobal, Rita Hayworth, pp. 76, 80–2, 95, 102, 113, 123.

  212 Once Miss Hayworth: Time, Nov. 10, 1941. Morella and Epstein, Rita, p. 257.

  213 It was apparently: Kobal, Rita Hayworth, pp. 154, 159, 161.

  213 Cover Girl was an: Author’s notes on TV showing.

  214 The purpose of: Kobal, Rita Hayworth, pp. 157, 161–3, 142–4.

  216 Love is eternal: Joseph McBride, Orson Welles, p. 11. Anne Baxter, Intermission, p. 119 (1978). André Bazin, Orson Welles, pp. 30, 40.

  216 The trip to: Charles Higham, The Films of Orson Welles, pp. 91–2, 95. Bazin, Orson Welles, p. 86.

  217 But in 1943: McBride, Orson Welles, p. 42.

  217 Of the Hollywood figures: Frank Capra, The Name Above the Title, pp. 360–3.

  218 Major William Wyler: Axel Madsen, William Wyler, pp. 220–40. John Huston, An Open Book, pp. 99ff.

  218 Jack Warner: Jack Warner, My First Hundred Years in Hollywood, p. 283. Michael Freedland, The Warner Brothers, pp. 153–5. Rudy Behlmer, Inside Warner Bros., p. 161.

  219 Before that unfortunate: Warner, First Hundred Years, pp. 290ff. Freedland, The Warner Brothers, p. 150.

  219 White House officials: Freedland, The Warner Brothers, p. 189. Colin Shindler, Hollywood Goes to War, pp. 58–9. Warner, First Hundred Years, p. 293. Howard Koch, As Time Goes By, pp. 101ff.

  219n In her witty book: Nora Sayre, Running Time, p. 6.

  220 Warner’s other big: Freedland, The Warner Brothers, pp. 155–6.

  220 Reagan had managed: Ronald Reagan and Richard C. Hubler, Where’s the Rest of Me?, pp. 124–5, 127–8, 130.

  220 The Army Air Corps: Reagan and Hubler, Where’s the Rest, pp. 132–3. Huston, An Open Book, 108.

  221 Lieutenant Reagan apparently: Laurence Leamer, Make-Believe, pp. 122–3.

  221 Reagan was always: Reagan and Hubler, Where’s the Rest, p. 134.

  221 There was equally: Gottfried Reinhardt, The Genius: A Memoir of Max Reinhardt, pp. 10, 20, 24–5.

  224 In one reasonably: Time, Sept. 20, 1943. James Naremore, The Magic World of Orson Welles, p. 137. William Robert Faith, Bob Hope, pp. 32–3.

  224 Hope began simply: Faith, Bob Hope, pp. 161–4. Bob Hope, Have Tux, Will Travel, p. 189.

  225 A friend urged: Faith, Bob Hope, pp. 173–6. Bob Hope, I Never Left Home, p. 48.

  226 By now, the Allies: Bob Hope, I Never Left Home, pp. 3, 8–9, 161–2, 178.

  227 Billy Wilder, who: Maurice Zolotow, Billy Wilder in Hollywood, p. 35.

  227 This Double Indemnity: Roy Hoopes, Cain, p. 258. Gay Talese, The Kingdom and the Power, p. 22 (1970).

  228 Cain, who had: Hoopes, Cain, pp. 268, 331–2.

  229 At that point: Zolotow, Billy Wilder, p. 108.

  230 Paramount bought Double: Ibid., p. 111. Hoopes, Cain, pp. 332–3.

  230 Chandler was a: Frank MacShane, The Life of Raymond Chandler, pp. 35–40 (1978). S. J. Perelman, The Most of S. J. Perelman, p. 17.

  231 Summoned to Paramount: Zolotow, Billy Wilder, pp. 113–14.

  231 It was a kind: MacShane, Raymond Chandler, pp. 107, 101. Zolotow, Billy Wilder, p. 121.

  232 So the struggles: Zolotow, Billy Wilder, pp. 114–16. MacShane, Raymond Chandler, pp. 108–9. Tom Wood, The Bright Side of Billy Wilder, Primarily, p. 20.

  234 “I don’t read”: Zolotow, Billy Wilder, pp. 117–19, 123. Hoopes, Cain, p. 335. Wood, Billy Wilder, p. 84.

  235 It was never: Gene D. Phillips, Hemingway and Film, p. 41. Ingrid Bergman and Alan Burgess, My Story, pp. 125, 128. David O. Selznick, Memo from David O. Selznick, p. 333.

  236 Hemingway had turned: Ernest Hemingway, Selected Letters, 1917–1961, pp. 577, 540.

  237 Ingrid Bergman was: Paul Henreid, Ladies’ Man, p. 130.

  237 The day after: Bergman and Burgess, My Story, pp. 148–9.

  237 Dialogue was one: Richard Corliss, ed., Talking Pictures, pp. 225ff. Nancy Lynn Schwartz, The Hollywood Writers’ Wars, p. 53. Carlos Baker, Ernest Hemingway, p. 371. Hemingway, Letters, p. 540.

  238 But even then: Phillips, Hemingway and Film, p. 43. Larry Ceplair and Steven Englund, The Inquisition in Hollywood, pp. 210–11.

  238 Wood was by no means: Ceplair and Englund, The Inquisition, p. 211.

  239 After that heroic: Maurice Zolotow, Shooting Star: A Biography of John Wayne, pp. 249–53 (1975).

  239 By this time: Ceplair and Englund, The Inquisition, p. 209.

  239 But all this: Phillips, Hemingway and Film, p. 42.

  240 Miss Bergman was: Bergman and Burgess, My Story, pp. 151, 153.

  240 One major Hollywood: David Niven, Bring on the Empty Horses, p. 127. Charles Higham, Errol Flynn, pp. 140ff. Michael Freedland, The Two Lives of Errol Flynn, p. 164.

  241 To Warner Bros.: Errol Flynn, My Wicked, Wicked Ways, pp. 253–4 (1974). Alvah Bessie, Inquisition in Eden, p. 80.

  241 Flynn’s search: Flynn, Wicked Ways, p. 239.

  241 Among the many: Freedland, The Two Lives, p. 95.

  242 It was to this: Flynn, Wicked Ways, pp. 239–40. Walsh acknowledged in his own memoirs that he had done the deed. He said that he had done it alone, that no money had changed hands, and that he was a friend of the undertakers, whom he identified as the Malloy Brothers. Raoul Walsh, Each Man in His Time, pp. 331–3.

  243 Betty Hansen was: Jerry Giesler, The Jerry Giesler Story, pp. 94–8.

  244 As charges of rape: Florabel Muir, Headline Happy, p. 137. Kenneth Anger, Hollywood Babylon, pp. 296, 363–4.

  245 Florabel Muir: Muir, Headline Happy, pp. 136–7, Higham, Errol Flynn, p. 185.

  245 Betty Hansen claimed: I have taken all this verbatim testimony from Giesler, pp. 95, 104, 107, 100, 110–11, 113, 115, 116, 123–5, 130–1, 133, 136, 141.

  251 Two of the three: Higham, Errol Flynn, p. 213.

  251 If Bertolt Brecht: Luis Buñuel, My Last Sigh, p. 189.

  6 Reunions (1944).

  253 The Hollywood people: John Huston, An Open Book, pp. 109–10.

  256 Darryl F. Zanuck: Mel Gussow, Darryl F. Zanuck, pp. 58–9, 105, 75, 109. Leonard Mosley, Zanuck, pp. 197, 200–1, 169. Stephen Farber and Marc Green, Hollywood Dynasties, pp. 66–7, 93.

  258 Zanuck did produce: Colin Shindler, Hollywood Goes to War, p. 86. Mosley, Zanuck, pp. 203–5.

  259 Another one of: Otto Preminger, Preminger, pp. 1, 13.

  260 Then Zanuck handed him: Preminger, Preminger, pp. 21–5, 73, 82. Willi Frischauer, Behind the Scenes of Otto Preminger, p. 85.

  262 One of the remarkable: Preminger, Preminger, pp. 85–6.

  263 Laura was all: Gene Tierney, Self-Portrait, p. 119.

  263 Zanuck read the script: Preminger, Preminger, pp. 86–9, 92–3. Tierney, Self-Portrait, pp. 121–2.

  265 After the emotional: Charles Chaplin, My Autobiography, pp. 396–7, 414–15, 418–19. Also David Robinson, Chaplin, pp. 512–28.

  267 For most of his life: John McCabe, Charlie Chaplin, pp. 201, 209.Chaplin, My Autobiography, pp. 229–30, 240.

  268 Lillita McMurray was: McCabe, Charlie Chaplin, pp. 141, 143, 160–3.

  269 Paulette Goddard, née: Chaplin, My Autobiography, pp. 400, 407–9, 413–15, 417. Charles Chaplin, Jr., My Father, Charlie Chaplin, pp. 258–9.

  272 Warner himself later: Jack Warner, My First Hundred Years in Hollywood, pp. 295–6.

  272 Chaplin insisted that: Chaplin, My Autobiography, p. 407. Warner, First Hundred Years, p. 297.

  273 Chaplin went to: Chaplin, My Autobiography, p. 416. McCabe, Charlie Chaplin, p. 204.

  274 With the three hundred: Jerry Giesler, The Jerry Giesler Story, p. 187.

  274 A week later: Chaplin, My Autobiography, pp. 419–22. Giesler, Story, pp. 183–90. McCabe, Charlie Chaplin, pp. 204–8. Hedda Hopper, From Under My Hat, pp. 149–53.

  277 One of the cornerstones: Charles Higham, Sisters, p. 145. Also Larry Swindell, Charles Boyer, p. 168.


  277 They were frightened: Lana Turner, Lana, p. 17. Daniel Fuchs, West of the Rockies, p. 84.

  278 In addition to: Roland Flamini, Ava, pp. 17–18 (1984).

  278 If an actor: Hortense Powdermaker, Hollywood: The Dream Factory, pp. 34–5, 85.

  279 The first rebel: Charles Higham, Bette, pp. 109–21. Bette Davis, The Lonely Life, pp. 194–208. Warner, First Hundred Years, pp. 248–50.

  279 Still, holdouts and: Larry Swindell, Body and Soul, John Garfield, p. 157. Warner, First Hundred Years, p. 234. Joseph Blotner, Faulkner, pp. 1121, 1154.

  280 The one star: Higham, Sisters, pp. 135ff., 144–5. Ronald Reagan and Richard C. Hubler, Where’s the Rest of Me?, p. 123.

  281 What happened was: Tony Thomas, The Films of Olivia de Havilland, pp. 35–7. Higham, Sisters, pp. 146, 148.

  282 There was another: Garth Jowett, Film: The Democratic Art, p. 276.

  282 The long and complicated: Charles Higham, Hollywood at Sunset, pp. 22–3.

  283 The suit served: Jowett, Film, pp. 277–8. Higham, Sisters, pp. 24–7.

  284 Thunder and lightning: Author’s notes on a TV broadcast.

  285 It is Boris: Dennis Gifford, Karloff, pp. 267–8.

  286 Absurdity: John Brosnan, The Horror People, p. 253. Stephen King, Stephen King’s Danse Macabre, p. 155.

  286 It is hard to tell: Cynthia Lindsay, Dear Boris, pp. 47–52. Gifford, Karloff, p. 37.

  287 Then along came: Brosnan, Horror People, pp. 69, 43. Gifford, Karloff, pp. 37–43, 47. Lindsay, Dear Boris, p. 54.

  290 It was an enormous: Gifford, Karloff, pp. 190–230, 44, 57. Brosnan, The Horror People, pp. 73, 287. Carlos Clarens, An Illustrated History of the Horror Film, pp. 73ff.

  290 Karloff, who appeared: Gifford, Karloff, p. 58.

  291 The one man: Brosnan, Horror People, pp. 73–6. Gifford, Karloff, p. 269.

  294 One last question: Brosnan, Horror People, p. 287. Clarens, Illustrated History, pp. 63–69.

  295 The Hays Office: James Curtis, Between Flops: A Biography of Preston Sturges, p. 180. I have relied on Curtis’s splendid biography for most of the details on Sturges’s life. See pp. 189, 8–9, 11, 17–19, 21, 26, 29, 50, 55, 62, 67, 58, 66–7, 74, 77, 79, 82–3, 88, 303–9, 116, 125, 128, 131, 135, 119, 109, 175.

  301 At Paramount, though: André Bazin, The Cinema of Cruelty, p. 42.