City of Nets (90 page)

96    
The federal prosecutors:
New York Herald Tribune,
Oct. 23, 1961.

96    
So then Bioff:
Time,
Oct. 20, 1941.

96    
Bioff described:
New York Herald Tribune,
Nov. 4, 1943.
Time,
Nov. 17, 1941; Nov. 14, 1955.
New York World-Telegram,
Feb. 1, 1949.

97    
Bioff was a star:
New York Times,
Oct. 12, 1943.
New York Herald Tribune,
Oct. 23, 1961.

97    
On emerging from prison:
Time,
Nov. 14, 1955. Westbrook Pegler columns in
New York Journal-American,
March 26–30, 1956.
New York Times,
Nov. 5, 1955. McWilliams,
Education,
p. 91.

98    
Joe Schenck spent:
Anita Loos,
A Girl Like I,
p. 196.

98    
At a meeting:
Budd Schulberg,
What Makes Sammy Run?,
p. 251 (1978). Nancy Lynn Schwartz,
The Hollywood Writers' Wars,
p. 167.

98    
What Makes Sammy Run?:
Schulberg, p. 203. Irene Mayer Selznick,
A Private View,
p. 50.

98n    
Samuel Goldwyn, after:
Arthur Marx,
Goldwyn,
p. 286.

99    
“Don't pull that”:
Schulberg,
What Makes Sammy Run?,
p. 108.

99    
Jewish anti-Semitism:
Schulberg,
What Makes Sammy Run?,
pp. 215, 232.

100    
Hollywood was accustomed:
Budd Schulberg,
Moving Pictures,
pp. 51, 307.

100    
The element that:
Carey McWilliams,
Southern California Country,
pp. 224–9.

100    
The arrival of:
David Halberstam,
The Powers That Be,
pp. 99–111.

101    
In the prosperous 1920's:
Schwartz,
Hollywood Writers' Wars,
pp. 8–9.

102    
The studios were:
Samuel Marx,
Mayer and Thalberg,
pp. 206–7.

103    
The technicians were:
Schwartz,
Hollywood Writers' Wars,
pp. 12, 14.

103n    
Thau was sometimes:
Roland Flamini,
Ava,
p. 18. S. N. Behrman,
People in a Diary,
pp. 157–8.

104    
Early in 1933:
Schwartz,
Hollywood Writers' Wars,
pp. 21, 59, 129, 60, 67.

106    
When the meeting:
Schulberg,
What Makes Sammy Run?,
p. 158.

106    
But that was:
Schwartz,
Hollywood Writers' Wars,
pp. 31, 73–9.

107    
Schulberg published:
Victor S. Navasky,
Naming Names,
pp. 239–40 (1981).

108    
What remains most:
Schulberg,
What Makes Sammy Run?,
p. 250. Schwartz,
Hollywood Writers' Wars,
pp. 99–130, 172–3.

109    
Sheridan Gibney:
Dore Schary,
Heyday,
p. 113 (1981).

110    
Dashiell Hammett knew:
William F. Nolan,
Hammett,
p. 14.

110    
Hammett had become:
Diane Johnson,
Dashiell Hammett, A Life,
pp. 16–27. Richard Layman,
Shadow Man,
pp. 6–10. Hugh Eames,
Sleuths, Inc.,
p. 107. Also Dashiell Hammett,
The Continental Op,
“Introduction” by Steven Marcus.

110    
Hammett apparently enjoyed:
Eames,
Sleuths, Inc.,
p. 104. Also interview by David Fechheimer, quoted in Eames, p. 108.

110    
As part of:
Ibid., p. 107. Lillian Hellman,
Scoundrel Time,
p. 45 (1977).

111    
Miss Hellman's admiring:
Johnson,
Dashiell Hammett,
pp. 96, 100, 106–7, 130, 162–3. Nolan,
Hammett,
pp. 127, 237. Layman,
Shadow Man,
p. 237.

112    
The screenwriter Nunnally Johnson:
The Letters of Nunnally Johnson,
p. 188.

112    
When Hammett's third:
Nolan,
Hammett,
pp. 110, 113, 90.

112    
The Maltese Falcon
:
Dashiell Hammett,
The Maltese Falcon,
p. 187 (1972).

113    
In a Hollywood:
Nolan,
Hammett,
pp. 117, 156. Hammett,
The Maltese Falcon,
p. 227.

114    
And in 1941:
John Huston,
An Open Book,
p. 88 (1981). Nolan,
Hammett,
p. 179.

115    
Jack Warner grudgingly:
Allen Rivkin and Laura Kerr,
Hello, Hollywood,
pp. 155–6.

115    
The next accident:
Jon Tuska,
The Detective in Hollywood,
pp. 169–72. Also Lewis Yablonsky,
George Raft,
p. 139. Joe Hyams,
Bogie,
p. 68 (1967). Michael Freedland,
The Warner Brothers,
p. 128. Larry Swindell,
Body and Soul,
p. 184.

116    
Now Raft didn't:
Rudy Behlmer,
Inside Warner Bros.,
p. 151. Tuska,
The Detective in Hollywood,
p. 176. Nolan,
Hammett,
p. 180. Huston,
An Open Book,
p. 89.

117    
Much of that success:
Charles Higham and Joel Greenberg,
Hollywood in the Forties,
pp. 20, 36. Charles Higham,
Hollywood at Sunset,
p. 16.

117    
Huston also had:
Hammett,
The Maltese Falcon,
p. 1.

117    
Bogart had not:
Hyams,
Bogie,
pp. 20ff. Louise Brooks,
Lulu in Hollywood,
p. 59.

119    
On late-night television:
Hyams,
Bogie,
pp. 57–63. Raymond Chandler,
The Big Sleep,
p. 72 (1971).

121    
Humor combined:
Hammett,
The Maltese Falcon,
p. 227.

121    
And what financial:
Nolan,
Hammett,
p. 197. Layman,
Shadow Man,
p. 212.

122    
Despite Hollywood's three:
Tony Thomas,
The Films of Ronald Reagan,
pp. 99–132. Reagan and Hubler,
Where's the Rest of Me?,
p. 153. Rosten,
Hollywood,
p. 342.

122    
The year 1941:
Laurence Leamer,
Make-Believe: The Story of Nancy and Ronald Reagan,
pp. 115, 112. Thomas,
The Films of Ronald Reagan,
p. 122. Reagan and Hubler,
Where's the Rest,
p. 8.

123    
Warners had spent:
Hal Wallis and Charles Higham,
Starmaker,
p. 98. Henry Bellamann,
Kings Row,
p. 3.

123    
Of such burgeoning:
Wallis and Higham,
Starmaker,
pp. 99–100.

123n    
In an interview:
Rex Reed,
Conversations in the Raw,
p. 31.

125    
There was one scene:
Bellamann,
Kings Row,
p. 464.

126    
Ronald Reagan, having:
Reagan and Hubler,
Where's the Rest,
pp. 8–9. Leamer,
Make-Believe,
p. 119.

128    
“As in some grotesque”:
Pauline Kael,
The Citizen Kane Book,
p. 60. This book (which happily includes the script of the film) was the first major investigation of Mankiewicz's claims to having written
Citizen Kane;
it was strongly attacked by Welles's admirers, notably Peter Bogdanovich (in
Esquire,
October 1972). Richard Meryman,
Mank,
p. 244.

128    
The saga of
Citizen Kane:
Charles Higham,
The Films of Orson Welles,
pp. 3, 15–16. Charles Higham,
Orson Welles,
pp. 139–42. Higham's second book on Welles is probably the most reliable account of his career. Meryman,
Mank,
pp. 244–5, 133.

129    
Mankiewicz was also:
Kael,
Citizen Kane Book,
pp. 43, 46–47. Meryman,
Mank,
pp. 130, 242. Higham,
Films of Orson Welles,
p. 10.

129n    
As though to test:
Dore Schary,
Heyday,
pp. 54a–75.

130    
Hearst was one:
Joan Didion,
Slouching Towards Bethlehem,
p. xvi. Kael,
Citizen Kane Book,
pp. 50, 101–3.

130    
Welles was pleased:
Ibid., pp. 5–9, 58–67. Higham,
Orson Welles,
pp. 146–59. Barbara Leaming,
Orson Welles.
The Leaming work contains much entertaining detail from her interviews with Welles.

132    
Welles relied:
George Eels,
Malice in Wonderland,
pp. 28, 43–5, 50, 85–6 (1985).
Time,
July 28, 1947.

132n    
She achieved happiness:
Eels,
Malice in Wonderland,
pp. 147–81.

132    
What Mrs. Parsons:
Higham,
Orson Welles,
pp. 168–72. Leaming,
Orson Welles,
pp. 204–11.

134    
It is difficult:
William Shirer,
The Rise and Fall of the Third Reich,
pp. 851–4. Bertolt Brecht,
Seven Plays,
p. 261.

135    
Brecht himself:
Frederic Ewen,
Bertolt Brecht,
pp. 330, 301. Also Martin Esslin,
Brecht.
Brecht,
Seven Plays,
p. 392.

135    
Brecht never wanted:
James K. Lyon,
Bertolt Brecht in America,
pp. 23, 27–30. This is the best account of Brecht's Hollywood years, though Bruce Cook's
Brecht in Exile
is also good. Bertolt Brecht,
Mahagonny,
libretto for CBS recording, pp. 16, 20, 22.

137    
But to the Brecht:
Lyon,
Brecht in America,
p. 33. Brecht,
Poems, 1913–1956,
p. 367. Anthony Heilbut,
Exiled in Paradise,
p. 182.

137    
“On thinking about Hell”:
Brecht,
Poems,
p. 367.

137    
Despite all these:
Bruce Cook,
Brecht in Exile,
pp. 43–54.

138    
in Hollywood, now:
Lyon,
Brecht in America,
pp. 48–51. Cook,
Brecht in Exile,
p. 41.

140    
“Again and again”:
Brecht,
Poems,
pp. 378–9, 392. Cook,
Brecht in Exile,
p. 104.

140    
By arriving on:
Salka Viertel,
The Kindness of Strangers,
pp. 250–1.

142    
One of the pleasant:
William Robert Faith,
Bob Hope,
pp. 125, 154.

143    
Rubinstein himself recalled:
Arthur Rubinstein,
My Many Years,
p. 486.

143    
Not everyone was:
Lana Turner,
Lana,
p. 75.

143    
The news on the radio:
Ingrid Bergman and Alan Burgess,
My Story,
p. 148 (1981). Beverly Linet,
Ladd,
pp. 63–4 (1980).

144    
John Houseman and:
John Houseman,
Front and Center,
pp. 19–20 (1980).

144    
Maxine Andrews was:
Studs Terkel,
The Good War,
pp. 294–7.

144    
Mary Astor was:
Mary Astor,
My Story,
p. 218.

144    
Gene Tierney and:
Gene Tierney,
Self-Portrait,
p. 21 (1980).

145    
This mixture of:
New York Times,
Dec. 8, 9, 1941.

145    
None too soon:
Richard R. Lingeman,
Don't You Know There's a War On?,
pp. 24–5.

146    
Los Angeles dreaded:
New York Times,
Dec. 8, 1941.
Time,
Dec. 22, 1941.

146    
The authorities kept:
Lingeman,
Don't You Know,
p. 28.
New York Times,
Dec. 9, 1941. Peter Irons,
Justice at War,
p. 19.

147    
So Hollywood began:
Time,
Dec. 22, 1941. Jack Warner,
My First Hundred Years in Hollywood,
p. 282.