City of Nets (96 page)

473    
Back at the:
Schwartz,
Hollywood Writers' Wars,
pp. 312, 301, 314, 272. Kahn,
Hollywood on Trial,
pp. 87, 90, 94, 98, 100.

475    
Edward Dmytryk:
Bentley,
Thirty Years,
pp. 187, 207.

476    
“My name is”:
Lyon,
Brecht in America,
pp. 329, 207. Bentley,
Thirty Years,
pp. 207–8.

476    
Perhaps he had:
Martin Esslin,
Brecht,
p. 79.

477    
Stripling: “Have you”:
Bentley,
Thirty Years,
pp. 214, 211–12, 217–18, 209, 220. Cole,
Hollywood Red,
p. 285.

480    
Brecht's main concern:
Lyon,
Brecht in America,
p. 337. Cook,
Brecht in Exile,
p. 201.

480    
When J. Parnell Thomas:
Kahn,
Hollywood on Trial,
p. 132. Goodman,
The Committee,
p. 220.

480    
The leftist witnesses:
Ceplair and Englund,
The Inquisition,
pp. 288, 295. Schwartz,
Hollywood Writers' Wars,
pp. 263, 265.

481    
On the day:
Ceplair and Englund,
The Inquisition,
p. 326. Goodman,
The Committee,
pp. 218, 222. Schwartz,
Hollywood Writers' Wars,
pp. 278, 167.

481    
The problem, said:
Ceplair and Englund,
The Inquisition,
p. 329. Trumbo,
The Time of the Toad,
p. 21.

482    
Mayer and a few:
Dore Schary,
Heyday,
pp. 167–8.

482n    
Goldwyn and Mayer:
Gary Carey,
All the Stars in Heaven,
p. 276.

483    
“No vote was”:
Schary,
Heyday,
p. 169. Ceplair and Englund,
The Inquisition,
p. 329.

483    
Craziness was hardly:
Schary,
Heyday,
p. 365.

484    
So it was done:
Cole,
Hollywood Red,
pp. 265, 301–3. Dalton Trumbo,
Additional Dialogue, Letters of Dalton Trumbo, 1942–1962,
p. 85. Lardner,
The Lardners,
pp. 325–6. Axel Madsen,
Billy Wilder,
p. 285.

484    
When the RKO:
Schary,
Heyday,
p. 170. Dmytryk,
Hell of a Life,
p. 103.

485    
Not only were:
Kanfer,
Journal of the Plague Years,
p. 77. Schwartz,
Hollywood Writers' Wars,
p. 285. Philip Dunne,
Take Two,
p. 212.

485    
Scarcely a week:
Cole,
Hollywood Red,
p. 292. Bessie,
Inquisition in Eden,
p. 226. Kanfer,
Journal of the Plague Years,
p. 81.

486    
Once Bert Brecht:
Lyon,
Brecht in America,
p. 335.

486    
Everything called him:
Cook,
Brecht in Exile,
pp. 202–7.

487    
I sit by the
:
Bertolt Brecht,
Poems,
p. 439 (quoted in Cook,
Brecht in Exile,
p. 207).

 

10 Prejudice (1948).

489    
The first time:
Dore Schary,
Heyday,
p. 118. “Picture” included in Lillian Ross,
Reporting,
p. 240.

490    
There was just:
Budd Schulberg,
Moving Pictures,
pp. 149, 2–6. Schary,
Heyday,
pp. 80, 123, 126–8, 131–4.

492    
So Schary walked out:
Bosley Crowther,
Hollywood Rajah,
p. 278. Schary,
Heyday,
pp. 139, 153.

493    
One of the first:
Schary,
Heyday,
p. 158. Edward Dmytryk,
It's a Hell of a Life but Not a Bad Living,
p. 89. Patricia Erens,
The Jew in American Cinema,
p. 175.

494    
Schary had a:
Schary,
Heyday,
pp. 269, 160, 173. John Keats,
Howard Hughes,
pp. 228–30.

494n    
One surprising critic:
Alvah Bessie,
Inquisition in Eden,
p. 241.

495    
So Schary, who:
Schary,
Heyday,
p. 173. Keats,
Howard Hughes,
p. 230.

495    
Schary almost immediately:
Crowther,
Hollywood Rajah,
pp. 273–5. Garth Jowett,
Film: The Democratic Art,
pp. 347–8. Michael Conant,
Antitrust in the Motion Picture Industry,
pp. 4, 13. Martin Mayer,
About Television,
p. 26. Schary,
Heyday,
p. 237.

497    
One thing Schenck:
Garson Kanin,
Hollywood,
pp. 282–3.

498    
Mayer invited Schary:
Schary,
Heyday,
pp. 177–203.

499    
Well, Schary was:
Crowther,
Hollywood Rajah,
pp. 270–2.

499    
“This is a”:
Gerold Frank,
Judy,
pp. 251, 224, 227–8, 230–1, 244–52.

502    
What protected Dore Schary:
Schary,
Heyday,
pp. 208, 230. Crowther,
Hollywood Rajah,
p. 285.

503    
The controversy dated:
Jowett,
Film,
pp. 201, 276–8.

504    
In 1940, the:
New York Times,
Feb. 8, 10, 1948.

505    
One of the first:
Frank Capra,
The Name Above the Title,
pp. 412–13, 422, 424, 443.

506    
In the midst:
New York Times,
May 3, 1948; Oct. 2, 1948; Nov. 2, 9, 10, 1948.

507    
Having recently finished:
Robert Craft, “The Poet and the Rake,” in
W. H. Auden, A Tribute,
ed. Stephen Spender, pp. 149–55.

507    
Auden worried about:
Nancy Caldwell Sorel, “First Encounters,”
Atlantic Monthly,
January 1985.

508    
The two unlikely:
Vera Stravinsky and Robert Craft,
Stravinsky,
p. 397. Igor Stravinsky,
Themes and Conclusions,
p. 77.

508    
Back in New York:
Libretto and notes for CBS recording of
The Rake's Progress,
p. 11. Stravinsky,
Themes and Conclusions,
p. 54.

508    
Stravinsky worked methodically:
Stravinsky and Craft,
Stravinsky,
pp. 361, 398.

509    
“Kike.” Now that:
Carey McWilliams,
A Mask for Privilege: Anti-Semitism in America,
p. 3. McWilliams's evaluation is primarily economic. For a contemporary psychiatric analysis of the subject, see
Anti-Semitism: A Social Disease,
ed. Ernst Simmel, which includes contributions by Simmel, Otto Fenichel, Max Horkheimer, T. W. Adorno, and others.

509    
There had always:
McWilliams,
A Mask,
pp. 18–19.

511    
Harper's:
Article by Johan Smertenko, quoted in McWilliams,
A Mask,
pp. 40–1.

511    
Emmanuel Goldenberg:
Edward G. Robinson,
All My Yesterdays,
pp. 1–2.

512    
Julius Garfinkle:
Larry Swindell,
Body and Soul,
p. 111.

512    
Sam Goldwyn:
Stephen Birmingham,
“The Rest of Us,”
p. 259. Hedda Hopper,
The Whole Truth and Nothing But,
p. 96.

513    
The studio bosses:
Arthur Marx,
Goldwyn,
p. 338. Bessie,
Inquisition in Eden,
p. 64. Stephen Farber and Marc Green,
Hollywood Dynasties,
p. 25.

513    
Harry Cohn, as:
Norman Zierold,
The Moguls,
p. 190. Farber and Green,
Hollywood Dynasties,
p. 24. Michael Freedland,
The Warner Brothers,
p. 200. Nora Sayre,
Running Time,
p. 43. Schary,
Heyday,
pp. 210, 224. Ross,
Reporting,
p. 385.

513n    
Others felt a:
Bob Thomas,
King Cohn,
p. 295.

514    
In all this crudity:
Hopper,
The Whole Truth,
p. 93.

514    
Mayer was certainly:
Farber and Green,
Hollywood Dynasties,
p. 26.

515    
The suave Rabbi:
Schulberg,
Moving Pictures,
pp. 191–2.

516    
One of those:
Ben Hecht,
A Child of the Century,
p. 460. Richard Meryman,
Mank,
p. 133.

516    
It was true:
Hecht,
A Child,
pp. 476, 485, 488.

516    
While Hecht was:
Ibid., pp. 516, 519–21.

517    
This last column:
David S. Wyman,
The Abandonment of the Jews,
p. 85. An excellent and revealing study of this painful subject.

517    
The Irgun was:
Birmingham,
“The Rest of Us,”
pp. 247, 243.

518    
“I don't want”:
Hecht,
A Child,
pp. 539–40.

519    
Be it said:
Birmingham,
“The Rest of Us,”
pp. 249–51.

519    
Hecht would not:
Hecht,
A Child,
p. 443. Wyman,
Abandonment,
pp. 90–2.

519    
There were more:
Wyman,
Abandonment,
pp. 82, 86. Hecht,
A Child,
p. 587.

520    
Returning to the:
Wyman,
Abandonment,
p. 154.

521    
“Kike.” Representative John:
Laura Z. Hobson,
Laura Z.,
pp. 322, 324, 331, 345–9, 351, 363, 365.

523    
There were interruptions:
Laura Z. Hobson,
Gentleman's Agreement,
pp. 1, 9, 52–3, 55, 63, 109, 138, 96, 154, 188.

524    
It is a little:
Simmel,
Anti-Semitism,
p. xvii. McWilliams,
A Mask,
pp. 110–11, 134, 136, 144, 254.

526    
It still seems:
Hobson,
Laura Z.,
pp. 340, 382, 393, 396, 398, 400.

526    
Zanuck announced:
Mel Gussow,
Darryl F. Zanuck,
p. 149. Sayre,
Running Time,
p. 40.

527    
Zanuck naturally wanted:
Schary,
Heyday,
p. 159.

527    
Having failed:
Gussow,
Zanuck,
p. 150. Victor S. Navasky,
Naming Names,
p. 203.

528    
But what was:
Jowett,
Film,
p. 371. Sayre,
Running Time,
pp. 39–40.

529    
“I cannot remember”:
CBS recording of
The Music of Arnold Schoenberg,
vol. 1, recorded by Robert Craft.

529    
It is a complete:
Craft notes to CBS recording of
The Music of Arnold Schoenberg.
H. H. Stuckenschmidt,
Arnold Schoenberg,
p. 141.

530    
A far more interesting:
Arthur Knight,
The Liveliest Art,
p. 238.

530    
The lords of Hollywood:
Ingrid Bergman and Alan Burgess,
My Story,
pp. 13–15 (1981). This is, of course, the basic source.

530    
A few months later:
Bergman and Burgess,
My Story,
pp. 16–17, 18–20, 180–1, 186, 190, 206, 108, 200, 202, 207, 213, 215, 226, 20–1, 236. John Russell Taylor,
Ingrid Bergman,
p. 80. Laurence Leamer,
As Time Goes By,
pp. 73, 79, 88, 103, 124.

535    
Just as the Holocaust:
Time,
May 24, 1948.

536    
Out in southern:
Ezra Goodman,
The Fifty-Year Decline and Fall of Hollywood,
p. 186. (Goodman says “civil service,” which is presumably a typographical error.) Gary Carey,
All the Stars in Heaven,
p. 287.

536    
“You must write”:
Willi Frischauer,
Behind the Scenes of Otto Preminger,
pp. 179–80.

537    
Ten years after:
Otto Preminger,
Preminger,
pp. 196–9.

 

11 Expulsions (1949).

539    
The Naked and the Dead:
Hilary Mills,
Mailer,
p. 117.