City of Nets (89 page)

48    
Hollywood's big musical:
Bob Thomas,
Walt Disney,
pp. 151ff.

48    
Disney felt a little:
This is mostly from Thomas, but see also Oliver Daniel,
Stokowski,
pp. 380–5.

50    
Out of such conferences:
Richard Schickel,
The Disney Version,
pp. 242–4.

50    
“Sacre de Printemps”:
Igor Stravinsky and Robert Craft,
Expositions and Developments,
pp. 159ff.

51    
By this time:
Time,
Nov. 18, 1940.

51    
Stravinsky had made:
Stravinsky and Craft,
Expositions,
pp. 82, 166.

52    
Stravinsky seemed to:
Saturday Review,
Jan. 30, 1960.

52    
The week after:
Vera Stravinsky and Robert Craft,
Stravinsky,
p. 354. Alexandre Tansman,
Igor Stravinsky,
pp. 237–8.

53    
Unlike Schoenberg:
Igor Stravinsky,
Themes and Conclusions,
p. 49.

53    
“I wonder if”:
Bernard Taper,
Balanchine,
p. 191 (1974).

53    
Thus was born:
Igor Stravinsky and Robert Craft,
Memories and Commentaries,
p. 93.

54    
But it was the movies:
Time,
July 26, 1948.

55    
Stravinsky thereupon stood:
Vera Stravinsky and Craft,
Stravinsky,
p. 357. Also Eric Walter White,
Stravinsky,
p. 376.

55    
Perhaps the most astonishing:
Vera Stravinsky and Craft,
Stravinsky,
p. 364. Also Stravinsky,
Memories,
p. 162.

56    
It was natural:
Mark Evans,
Soundtrack,
p. 69 (1979). Also Ezra Goodman,
The Fifty-Year Decline and Fall of Hollywood,
p. 398. Max Wilk,
The Wit and Wisdom of Hollywood,
p. 197. The story of Tiomkin and Selznick is in Bob Thomas,
Selznick,
pp. 232–5 (1972).

57    
“I like it.”:
Roland Flamini,
Scarlett, Rhett, and a Cast of Thousands,
p. 300. Flamini tells this same story, credited to Thomas, but states the obscenity, whereas Thomas leaves blanks.

57    
On this one occasion:
Hanns Eisler,
A Rebel in Music,
p. 103.

57    
André Previn, who:
Martin Bookspan and Ross Yockey,
André Previn,
p. 48. See also Miklós Rózsa,
Double Life,
who corroborates this absurd story and adds another of his own: “Another [studio head] told the composer that the heroine's music was to be in the major key, the hero's in the minor, and that when the two were together, the music should be in both major and minor!” (p. 98).

58    
Music, major and minor:
Evans,
Soundtrack,
pp. 38ff. Also Taylor,
Strangers in Paradise,
p. 237.

58    
The Hollywood authorities:
Evans,
Soundtrack,
p. 23.

59    
These were the stars:
Bookspan and Yockey,
Previn,
pp. 51, 43.

59    
For the true professionals:
Evans,
Soundtrack,
pp. 30–1.

59    
When these musicians:
New York Times,
Feb. 28, 1983; Aug. 20, 1976.

60    
These Hollywood musical:
Vera Stravinsky and Craft,
Stravinsky,
p. 359.

60    
The superb RCA:
Arthur Rubinstein,
My Many Years,
p. 494. Also Levant,
Memoirs,
p. 135.

61    
Ben Hecht played:
George Antheil,
Bad Boy of Music,
pp. 308–9.

62    
The rise of Hitler:
Maurice Zolotow,
Billy Wilder in Hollywood,
pp. 19–21, 52, 60, 71, 90. Hardly an inspired work but the best of several books on Wilder. See also Charles Higham,
Bette,
p. 166, and
Sisters,
pp. 122–3.

63    
Fritz Lang, by contrast:
Siegfried Kracauer,
From Caligari to Hitler,
p. 248 (1966).

64    
David Selznick, who:
Taylor,
Strangers,
p. 59.

64    
When David Selznick:
Kenneth L. Geist,
Pictures Will Talk,
pp. 76–8.

65    
Lang did not return:
Peter Bogdanovich,
Fritz Lang in America,
pp. 34–9.

66    
It is remarkable:
Schoenberg,
Letters,
p. 205.

66    
More important, though:
Leo C. Rosten,
Hollywood,
p. 140. Nancy Lynn Schwartz,
The Hollywood Writers' Wars,
p. 83. Bob Thomas,
King Cohn,
p. 102. The basic text on Harry Cohn.

67    
Hollywood's political timidity:
Raymond Chandler,
Selected Letters,
pp. 207–8.

68    
Most Jews of that time:
Ernest Jones,
The Life and Work of Sigmund Freud,
vol. 1, p. 22.

68    
That defense provided:
Author's conversation with someone who asked not to be identified.

69    
Scott Fitzgerald apparently:
Aaron Latham,
Crazy Sundays,
p. 178.

69    
This was the same Mayer:
Ibid., p. 145.

69    
Mayer apparently was:
Geist,
Pictures Will Talk,
p. 91. Latham,
Crazy Sundays,
p. 147. Larry Ceplair and Steven Englund,
The Inquisition in Hollywood,
p. 304.

70    
“We're not at war”:
Axel Madsen,
William Wyler,
pp. 215–17.

70    
Warners had a:
Geist,
Pictures Will Talk,
p. 91.

70    
It also began working:
Hal Wallis and Charles Higham,
Starmaker,
p. 70. Jack Warner,
My First Hundred Years in Hollywood,
p. 262.

71    
Self-dramatization:
Wallis and Higham,
Starmaker,
p. 72.

71    
The Hollywood Production:
Donald Spoto,
The Dark Side of Genius: The Life of Alfred Hitchcock,
pp. 222–36.

71n    
By comparison, Warners':
Colin Shindler,
Hollywood Goes to War,
p. 5.

72    
Such flights of rhetoric:
Michael Korda,
Charmed Lives,
pp. 154–5.Taylor,
Strangers,
pp. 134–5.

73    
Senator Burton Wheeler:
Ceplair and Englund,
The Inquisition,
p. 160. Richard R. Lingeman,
Don't You Know There's a War On?,
p. 172. An excellent account of this whole period.

74    
More ambiguous:
Ceplair and Englund,
The Inquisition,
pp. 156ff. Rosten,
Hollywood,
pp. 141–4. Dies's statements come from Martin Dies, “The Reds in Hollywood,”
Liberty,
Feb. 17, 1940, and “Is Communism Invading the Movies?”
Liberty,
Feb. 24, 1940.

74n    
Though Dies was:
Walter Goodman,
The Committee,
pp. 10–23.

75    
Dies kept announcing:
Rosten,
Hollywood,
pp. 145–9.

75    
Hollywood's progressives:
Stefan Kanfer,
A Journal of the Plague Years,
p. 27.

76    
None of these political:
Rosten,
Hollywood,
p. 154.

76    
When President Ronald Reagan:
New York Times,
April 21, 1983. Ronald Reagan and Richard C. Hubler,
Where's the Rest of Me?,
pp. 105–15 (1981). This was written during Reagan's years of obscurity, but the future President is all here. F. Scott Fitzgerald,
The Crack-Up,
p. 66 (1956).

78    
It is easy:
New York Times,
Oct. 19, 1940.

78    
The message of:
James K. Lyon,
Bertolt Brecht in America,
p. 137.

79    
The refugees kept coming:
Taylor,
Strangers,
pp. 219ff.

80    
Thomas Mann's white-bearded:
Nigel Hamilton,
The Brothers Mann,
p. 313. Taylor,
Strangers,
pp. 143–4.

80    
Franz Werfel:
Alma Mahler Werfel,
And the Bridge Is Love,
pp. 253ff. Karen Monson,
Alma Mahler,
p. 276. Mary Jayne Gold,
Crossroads Marseilles/1940,
p. 184.

81    
Roosevelt's request:
Werfel,
And the Bridge,
p. 265. Varian Fry,
Surrender on Demand,
pp. 57–69. Anthony Heilbut,
Exiled in Paradise,
pp. 40–3. Gold,
Crossroads Marseilles,
pp. 188–91. Monson,
Alma Mahler,
pp. 269ff.

81    
Money and cigarettes:
Werfel,
And the Bridge,
p. 268.

82    
Heinrich Mann contemplated:
Hamilton,
The Brothers Mann,
pp. 314, 320. Taylor,
Strangers,
pp. 145–6.

82    
Werfel was more fortunate:
Werfel,
And the Bridge,
pp. 281, 271.

83    
The Song of Bernadette:
Ibid., p. 272. White,
Stravinsky,
p. 96.

83    
Perhaps, though, the:
Taylor,
Strangers,
p. 163.

84    
And life with Alma:
Vera Stravinsky and Craft,
Stravinsky,
p. 411. S. N. Behrman,
People in a Diary,
p. 171. Werfel,
And the Bridge,
p. 276.

84    
Werfel suffered:
Werfel,
And the Bridge,
pp. 283–4, 292.

84    
The funeral was:
Thomas Mann,
The Story of a Novel: The Genesis of Doctor Faustus,
p. 136. Stravinsky and Craft,
Expositions and Developments,
p. 66.

 

3 Treachery (1941).

87    
Money attracts deals:
Raymond Chandler,
The Little Sister,
p. 181.

87    
Hardly anyone could fit:
Time,
Nov. 17, 1941. Also Gertrude Jobes,
Motion Picture Empire,
pp. 341–54.

88    
Schenck went to:
New York Times,
Oct. 10, 1941.

88    
That was the way:
Florabel Muir,
Headline Happy,
p. 91.

88    
His real name:
New York Herald Tribune,
Nov. 4, 1941; Oct. 28, 1941.
New York Times,
Oct. 28, 1941.

88    
Brought from Russia:
Muir,
Headline Happy,
p. 83.
Time,
Dec. 4, 1939.

89    
As an obscure:
New York World-Telegram,
Feb. 1, 1949.
New York Times,
Oct. 28, 1941.

90    
John and Barney Balaban:
New York Times,
Oct. 12, 1943.
New York Mirror,
Oct. 3, 1963.

90    
Bioff began grandly:
World-Telegram,
Feb. 1, 1949.

91    
So it was:
Bob Thomas,
King Cohn,
p. 199.

91    
“My God!”:
Time,
Oct. 18, 1943.

92    
There actually was:
Muir,
Headline Happy,
pp. 88–9.

93    
The antithesis of:
New York Herald Tribune,
Oct. 28, 1941. Carey McWilliams,
The Education of Carey McWilliams,
p. 89.

94    
The charge that:
New York Times,
Sept. 8, 1938. Ronald Reagan and Richard C. Hubler,
Where's the Rest of Me?,
p. 185 (1981).
New York Times,
Dec. 2, 1943. John Cogley,
Report on Blacklisting,
vol. 1, pp. 52–3. McWilliams,
Education,
p. 89.

94    
Bioff did win:
Muir,
Headline Happy,
p. 79.
Time,
Sept. 11, 1939.

95    
Many of the actors:
Leo C. Rosten,
Hollywood,
pp. 341, 345.

95    
The Internal Revenue:
New York Herald Tribune,
Oct. 28, 1941.
New York Times,
Jan. 11, 1940; June 4, 1940; Feb. 20, 1940; Sept. 21, 1940.