1. Faulkner often omitted the apostrophe from contractions like “won’t” and “don’t,” both in his letters and in his fiction (although not in his screenplays).
2. Dardis, Some Time in the Sun, 80.
3. Kawin, “Faulkner and Film,” 89.
4. Blotner, Faulkner, 1:787.
5. Fine, West of Eden, 98–99.
6. Jameson even calls Faulkner “the greatest novelist in the world” (The Modernist Papers, 361).
7. Langford, “Beyond McKee,” 252.
8. King, “Faulkner’s Brazen Yoke,” 303. In this vein, see also Fiedler, “Pop Goes the Faulkner.”
9. Schwartz, Creating Faulkner’s Reputation, 46.
10. Matthews, “Faulkner and the Culture Industry,” 51. One recent example of this is Philip Weinstein’s biography, Becoming Faulkner; Weinstein seems to take Faulkner’s dissatisfaction with Los Angeles almost as grounds for the dismissal of cinema in his work altogether: “Hollywood could never, for Faulkner, be other than a perversely willed invention, a huge stage set, a scene of bloated egos and untrustworthy performances: all of this resting on a meretricious art form. It was a place of exploitative machinations disguised by tinselly mirages—alluring surfaces with nothing reliable underneath. It battened on sentimental illusion. The unceasing hum of high profit—greed—bespoke its subterranean motor if one listened hard enough” (Becoming Faulkner, 88). While it is certainly true that Faulkner seems to have detested both the Hollywood industry and the city that housed it, we need not simply accept as true his own comments on the matter, and we should certainly not allow them to exclude the screenwriting work from our research altogether.
11. In this regard, see Baldwin, “Putting Images into Words,” Folks, “William Faulkner and the Silent Film,” Murphet, “Faulkner in the Histories of Film,” Murray, “Faulkner, the Silent Comedies, and the Animated Cartoon,” Nyerges, “Immemorial Cinema,” Rhodes and Godden, “The Wild Palms,” and Watson, “The Unsynchable William Faulkner.”
12. Lurie does not engage the screenplays directly, since he views them as being too implicated in the culture industry to perform the same kind of dialectical critique as the novels. While I would agree with Lurie to an extent, I believe that an attentive reading of the screenwriting work reveals that it has a critical edge as well as shows how various screenplays were themselves foundational for Faulkner’s “enormously ambitious novels of social and historical questioning” (Vision’s Immanence, 177).
13. See Bloom, “The Hollywood Challenge,” Brinkmeyer, The Fourth Ghost, 188–195, Gleeson-White, “Auditory Exposures,” Gleeson-White, “Faulkner Goes to Hollywood,” Gleeson-White, William Faulkner at Twentieth Century–Fox, Gleeson-White, “William Faulkner, Screenwriter,” Hamblin, “The Curious Case of Faulkner’s ‘The De Gaulle Story,’” Hayhoe, “Faulkner in Hollywood,” Hulsey, “ ‘I Don’t Seem to Remember a Girl in the Story,’” Kawin, “Faulkner and Film,” Liénard-Yeterian, Faulkner et le cinéma, Liénard-Yeterian, “William Faulkner and Howard Hawks,” Ramsey, “ ‘Touch Me While You Look at Her,’” Robbins, “Inscrutable Images and Cultural Migrations,” Robbins, “The Pragmatic Modernist,” Solomon, “Faulkner and the Masses,” and Urgo, “Absalom, Absalom!.”
14. Strychacz, Modernism, Mass Culture, and Professionalism, 7–8. This passing statement on Faulkner’s writing process anticipates Lurie’s far more in-depth argument about the complex divestment of Hollywood in the novels of the 1930s.
15. Blotner, Faulkner, 2:927.
16. Throughout this book, I distinguish between a screenplay and a finished film by placing the screenplay in quotation marks—“The Big Sleep”—and italicizing the film title—The Big Sleep. Although this system at times ignores the italicized titles of published screenplays (in the volume of Faulkner’s MGM screenplays edited by Bruce Kawin, for instance), it makes for a much simpler distinction between the two, and often saves an unnecessary explanation of the distinction.
17. Jameson, afterword, 232.
18. Pasolini, “The Screenplay as a ‘Structure That Wants to Be Another Structure,’” 193, italics in original.
19. Boozer, introduction, 1–2.
20. See Boon, Script Culture and the American Screenplay, Maras, Screenwriting, Nannicelli, A Philosophy of the Screenplay, Price, A History of the Screenplay, Price, The Screenplay, Sternberg, Written for the Screen, and Tieber, “ ‘Story Conferences and the Classical Studio System.’”
21. Price, A History of the Screenplay, 4.
22. See Stempel, Framework, 78.
23. LaValley, introduction, 18–19.
24. Bazin, “De la politique des auteurs,” 154.
25. Schatz, The Genius of the System, 6.
26. Christensen, America’s Corporate Art, 2.
27. Ibid., 7.
28. See Kawin, “Faulkner and Film,” 96–100, McCarthy, “Phantom Hawks,” Phillips, Fiction, Film, and Faulkner, 40–42. In her helpful comparative analysis of this screenplay and Absalom, Absalom!, Michelle E. Moore points out that Karlova wrote Hawks on 1 October 1945 asking why the film was not yet in production (“ ‘The Unsleeping Cabal,’” 55). Also missing are extended considerations of the farcical “One Way to Catch a Horse,” the romantic comedy “Continuous Performance,” the Nazi thriller “Escape in the Desert/Strangers in Our Midst,” the convict drama “Deep Valley,” and the Jekyll and Hyde story “Fog over London.” For a brief analysis of “One Way to Catch a Horse” and “Fog over London,” see Grimwood, Heart in Conflict, 16, 306.
1. “Metro-Goldwyn-Mayer,” Fortune 6 (December 1932), 54.
2. Blotner, Faulkner, 1:772.
3. Ibid., 1:773.
4. Ibid., 1:774n19.
5. “Greta Garbo Expected to Return,” New York Times, January 29, 1933, X5.
6. Hammill, Women, Celebrity, and Literary Culture between the Wars, 63.
7. Faulkner was well aware of Loos’s Hollywood fame, having written to his mother about her in 1925: “She is rather nice, quite small—I doubt it if she is five feet tall. Looks like a flapper. But she and [husband John] Emerson get $50,000.00 for photoplays” (Thinking of Home, 189–90).
8. Vieira, Irving Thalberg, 164–66, 177.
9. Adela Rogers St. Johns, “Can Mary Pickford Come Back?,” New Movie Magazine, August 1932, 24.
10. Haskell, From Reverence to Rape, 79.
11. Ibid., 125.
12. Rogin, Blackface, White Noise, 161.
13. See ibid., 161.
14. Another antebellum film from the year before Gone with the Wind places its female lead on a similar trajectory. In Jezebel (William Wyler, 1938), as Ida Jeter has observed, Julie (Bette Davis) “originally violates the Southern codes of proper behavior,” which is acceptable to viewers as it may seem “anachronistic and quaint.” However, once she attempts “to transgress the more universal moral and religious codes of society which sanctify marriage and the family,” she is labeled a sinner—a Jezebel (“Jezebel and the Emergence of the Hollywood Tradition of a Decadent South,” 42, 43). Once again, female rebellion is permissible in the South only if it is rebellion against a code that is no longer binding.
15. For a good overview of the tensions between the New Woman and southern womanhood, see Fujie, “Modern Sexuality.” See also Jones, “Faulkner, Sexual Cultures, and the Romance of Resistance,” and Roberts, Faulkner and Southern Womanhood.
16. Fiedler, Love and Death in the American Novel, 311–12.
17. “Writers War on Filth,” Hollywood Reporter, February 27, 1933, 1–2.
18. Blotner, Faulkner, 1:729.
19. Ibid., 1:729.
20. “Chatter,” Variety, December 8, 1931, 56.
21. Kawin, Faulkner’s MGM Screenplays, 34.
22. Ibid., 36.
23. Ibid., 34.
24. Bankhead, Tallulah, 1.
25. Burns Mantle, “Tallulah Bankhead Splendid in Quieter Parts of ‘Rain,’” Chicago Sunday Tribune, February 24, 1935, 33.
26. See Lawrence, Echo and Narcissus, 88.
27. Silverman, The Acoustic Mirror, 61.
28. Price, A History of the Screenplay, 148–49.
29. Blotner, Faulkner, 1:773.
30. Ibid., 1:781. For more on the disruption of Faulkner’s short story in the adaptation process, see Hulsey, “ ‘I Don’t Seem to Remember a Girl in the Story.’”
31. The screenplay that Kawin includes in his edited MGM volume is attributed to both Hawks and Faulkner and is dated August 24, 1932.
32. Matthews, “Faulkner and the Culture Industry,” 66.
33. See Kawin, Faulkner and Film, 78.
34. “Dorothy Gray,” Hollywood Filmograph, December 3, 1932, 6.
35. Kawin, “Howard Hawks,” 90.
36. Kozloff, Overhearing Film Dialogue, 92.
37. For a reading attentive to the influence of the star system and that connects Ann to some of Faulkner’s other female characters, see Ramsey, “ ‘Touch Me While You Look at Her.’”
38. Aronowitz, Dead Artists, Live Theories, 54.
39. See Kawin, Faulkner’s MGM Screenplays, 106.
40. Ibid., 106.
41. Ibid., 108.
42. Blotner, Faulkner, 1:798.
43. See Sklar, Movie-Made America, 175ff. Although a useful division for thinking about Faulkner’s career, such a schematic ordering of Hollywood film history does not ring true with many films of the era. For a more robust discussion of pre- and post-code cinema in the United States, see Lugowski, “Queering the (New) Deal.”
44. Pravadelli, Classic Hollywood, 46.
45. Faulkner cowrote the original story with Estelle Oldham Faulkner, but it was rejected by Scribner’s for being “too febrile” (SL, 42).
46. See Petry, “Double Murder,” 231–32.
47. See Volpe, A Reader’s Guide to William Faulkner, 88.
48. Petry, “Double Murder,” 229.
49. Blotner, Faulkner, 1:899; Ferguson, Faulkner’s Short Fiction, 39.
50. See Blotner, Faulkner, 2:491.
51. Faulkner, “The Christmas Tree,” 29.
52. See Volpe, A Reader’s Guide to Faulkner, 62. Indeed, Patricia C. Willis suggests that the story may have been written first as “Christmas Tree” around 1921, which would also explain its affinities with flapper culture. See Faulkner, “The Christmas Tree,” 26.
53. Volpe, A Reader’s Guide to William Faulkner, 62.
54. See Cavell, Pursuits of Happiness, 18–19.
55. Ibid., 86.
56. Christensen, America’s Corporate Art, 5.
57. Kawin, Faulkner’s MGM Screenplays, 545.
58. Vieira, Irving Thalberg, 226–27.
59. Blotner, Faulkner, 1:699–700.
60. Frow, Character and Person, 1.
61. Ibid., 1.
62. Ibid., 35.
63. See Dyer, Stars, 126.
64. Ibid., 20.
65. Sternberg, Written for the Screen, 109.
66. See Kawin, Faulkner’s MGM Screenplays, 73.
67. See Sternberg, Written for the Screen, 116.
68. Mulvey, Death 24x a Second, 36.
69. See Kawin, Faulkner’s MGM Screenplays, 257.
70. “Faulkner on ‘Birds,’” Variety, February 7, 1933, 29.
71. Blotner, Faulkner, 1:648. In September 1934, he would write a piece for the Memphis Commercial Appeal about his chance encounter with Grider’s son, also a pilot. See Faulkner, “Mac Grider’s Son” (ESPL, 264–69).
72. Towner, The Cambridge Introduction to William Faulkner, 15.
73. Faulkner, however, refers to the film as Secrets (Kawin, “Howard Hawks,” 90).
74. “Thru the Lens of the Critic,” American Cinematographer, November 1932, 12.
75. Turim, Flashbacks in Film, 108.
76. Grider and Springs, War Birds, 128.
77. Kawin, Faulkner’s MGM Screenplays, 430.
78. “Mayer Tells MG Execs to Work Only,” Variety, January 10, 1933, 4.
79. Vieira, Irving Thalberg, 224ff.
80. Kawin, Faulkner’s MGM Screenplays, xxxii.
81. Ibid., 431.
82. Ibid., xxxv.
83. Ibid., xxxvii.
84. Apparently he wasn’t the only southerner working on the screenplay; Erskine Caldwell had been assigned to the film around the same time. See “New Writer for MGM,” Hollywood Reporter, May 9, 1933, 4.
1. “Faulkner’s Briefs,” Variety, May 1, 1934, 49.
2. As Faulkner only made very small, indefinable contributions to “Four Men and a Prayer” and “Dance Hall,” I do not address those screenplays here.
3. See Montagu, With Eisenstein in Hollywood, 109, and Eisenstein, Beyond the Stars, 284–85.
4. Eisenstein, Beyond the Stars, 292.
5. “O’Neil Scripts ‘Gold,’” Variety, November 28, 1933, 31.
6. Schatz, The Genius of the System, 233–34.
7. “Nine New Production Companies Organize,” Motion Picture Herald, May 26, 1934, 26.
8. Gleeson-White, “William Faulkner, Screenwriter,” 433.
9. Eisenstein, Alexandrov, and Montagu, “Sutter’s Gold,” 159; see Gleeson-White, “Auditory Exposures,” 88.
10. Gleeson-White, “Auditory Exposures,” 88.
11. Eisenstein, Pudovkin, Alexandrov, “Statement on Sound,” 234–35.
12. See Price, A History of the Screenplay, 140–62. Price also points out (148–49) that the master-scene format was more routinely used at Warner Brothers than at MGM, who preferred its own in-house format throughout the 1930s—Faulkner, who worked at both studios, would have experienced the transition firsthand.
13. Ibid., 118.
14. Ibid., 116.
15. Montagu, With Eisenstein in Hollywood, 107.
16. Ibid., 150.
17. Eisenstein, Alexandrov and Montagu, “Sutter’s Gold,” 151.
18. Ibid., 178–79.
19. Gleeson-White, “Auditory Exposures,” 91.
20. Price, A History of the Screenplay, 151.
21. See Riley, Frankenstein, Riley, The Bride of Frankenstein, and Riley, Dracula.
22. This screenplay is archived in the HHP and is cited by page number in the text.
23. Dolar, A Voice and Nothing More, 14; Barthes, “The Grain of the Voice,” 179–89.
24. Zeitlin, “Pylon, Joyce, and Faulkner’s Imagination,” 182.
25. Ross, Fiction’s Inexhaustible Voice, 60–61.
26. Zeitlin, “Pylon, Joyce, and Faulkner’s Imagination,” 201.
27. Matthews, Seeing through the South, 61.
28. For a reading of Pylon that is acutely aware of its incorporation of different media, see Hagood, “Media, Ideology, and the Role of Literature in Pylon,” 112–14. Hagood’s interpretation of the presence of the loudspeaker amplifies my own reading.
29. Murphet, introduction, 5.
30. Chion, The Voice in Cinema, 3.
31. Jackson, Seeking the Region in American Literature and Culture, 59. For another careful interpretation of the story, see Ramsey, “ ‘All That Glitters.’”
32. Gomery, The Hollywood Studio System, 119.
33. Red Kann, “Insiders’ Outlook,” Motion Picture Daily, May 29, 1935, 2.
34. Lev, Twentieth Century–Fox, 26.
35. Kawin, “Howard Hawks,” 106.
36. “Fox Takes Natan’s War Film For U.S.,” Variety, August 9, 1932, 15.
37. Stempel, Screenwriter, 59.
38. See Sheets vs. Twentieth Century–Fox Film Corporation, 33 F. Supp. 389 (DDC 1940), 4.
39. Frank S. Nugent, “An Objective War Film Is ‘The Road to Glory,’ at the Rivoli,” New York Times, August 6, 1936, 22.
40. See Phillips, Fiction, Film, and Faulkner, 26–27.
41. This version of the screenplay has been published, however it does not incorporate the revisions that Faulkner (at least until January 7) and Sayre continued to make. See Sayre and Faulkner, The Road to Glory.
42. Tieber, “Story Conferences and the Classical Studio System,” 234.
43. There were two further screenplays—dated January 24 and 27, 1936—that bore Faulkner’s name, even though by this time he had returned to Oxford.
44. James Fisher to Estelle Faulkner, July 14, 1965, Twentieth Century–Fox Archives, University of Southern California, Los Angeles.
45. Weinstein, Becoming Faulkner, 179.
46. Carpenter Wilde and Borsten, A Loving Gentleman, 96.
47. Bob Stern, “Paris,” Variety, March 11, 1936, 62.
48. “$1,000,000 Plagiarism Suit Over ‘Road to Glory,’” Variety, July 14, 1937, 33.
49. “20th-Fox Wins Suit Brought by Soldier,” Motion Picture Daily, June 5, 1940, 2.
50. “Swing along with 20th Century-Fox,” Motion Picture Herald, June 13, 1936, 50.
51. Max Wilk, “A ‘Little’ from Hollywood ‘Lots,’” Film Daily, March 20, 1936, 10.
52. “Chatter,” Variety, February 26, 1936, 66.
53. “20th Cent-Fox Wins First Clash with Play Producer,” Film Daily, December 22, 1936,2.
54. Nunnally Johnson gave this information to George Sidney in an interview. See Sidney, “Faulkner and Hollywood,” 159n1.
55. Price, A History of the Screenplay, 153–54.
56. Faulkner, “Banjo on My Knee,” March 3, 1936, 19, Twentieth Century–Fox Collection, University of Southern California, Los Angeles.
57. Ibid., 20.
58. Blotner, Faulkner, 2:960.
59. Ibid., 2:930.
60. Ibid., 2:941.
61. Although, as Sean Cubitt has pointed out, “its lack of house style and apparent disinterest in searching for one is typical of classicism” (The Cinema Effect, 160).
62. Balio, Grand Design, 195.
63. “RKO Film Budget Biggest Ever,” Motion Picture Daily, June 16, 1936, 1; Jewell, RKO Radio Pictures, 116.
64. Jewell, RKO Radio Pictures, 170, 168.
65. Behlmer, America’s Favorite Movies, 88; Blotner, Faulkner, 2:901.
66. Faulkner, “Pukka Sahib,” April 10, 1936, Rudy Behlmer Papers, Margaret Herrick Library, Los Angeles.
67. Faulkner, untitled story, April 15, 1936, Rudy Behlmer Papers, Margaret Herrick Library, Los Angeles.
68. Faulkner, sequence outline, May 14, 1936, Rudy Behlmer Papers, Margaret Herrick Library, Los Angeles.
69. Brecht, “Two Essay Fragments,” 209–10.
70. Faulkner, notes for an original story, April 15, 1936, Rudy Behlmer Papers, Margaret Herrick Library, Los Angeles.
71. Faulkner, sequence outline, May 14, 1936, Rudy Behlmer Papers, Margaret Herrick Library, Los Angeles.
72. Carpenter Wilde and Borsten, A Loving Gentleman, 136.
73. Blotner, Faulkner, 2:936.
74. Ibid., 2:933–34.
75. Rascoe, “An Interview with William Faulkner,” 70.
76. Blotner, Faulkner, 2:135.
77. B. R. Crisler, “Footnotes on Pictures and People,” New York Times, June 21, 1936, X3; King, The Last Slaver, 54.
78. Ibid., 55–56.
79. Karem, “Fear of a Black Atlantic?,” 166.
80. Quoted in Cripps, Slow Fade to Black, 289.
81. See Scott, Cinema Civil Rights, 223n18.
82. Blotner, Faulkner, 2:945.
83. Karem, “Fear of a Black Atlantic?,” 171.
84. Scott, Cinema Civil Rights, 112.
85. Karem, “Fear of a Black Atlantic?,” 167.
86. See Matthews, “Recalling the West Indies,” 240.
87. Waid, The Signifying Eye, 164.
88. Urgo, “Absalom, Absalom!,” 60.
89. Blotner, Faulkner, 2:946–47.
90. Williamson, William Faulkner and Southern History, 256.
91. Matthews, “Faulkner and the Culture Industry,” 264.
92. Blotner, Faulkner, 2:946.
93. Ibid., 2:945. Among other films, Markey and Scola together worked on two Barbara Stanwyck pictures at Warner Brothers—Baby Face (Alfred E. Green, 1933) and A Lost Lady (Green, 1934)—and one picture—Luxury Liner (Lothar Mendes, 1933)—that was set at sea, giving them at least some credentials for their current project.
94. Millholland, The Splinter Fleet of the Otranto Barrage, 48.
95. Burrows, A Familiar Strangeness, 131–32.
96. Gomery, The Hollywood Studio System, 6–7.
97. Blotner, Faulkner, 2:950–51.
98. Ibid., 2:953.
99. “Book Notes,” New York Times, November 12, 1936, 25; “Purely Personal,” Motion Picture Daily, October 8, 1936, 2; “20th-Fox Buys Two,” Motion Picture Daily, November 30, 1936, 8.
100. An annotated copy of this treatment is included in Sidney, “Faulkner in Hollywood,” 113–51.
101. Ibid., 111.
102. See Gleeson-White, “William Faulkner, Screenwriter,” 437–38; see also Sidney, “Faulkner in Hollywood,” 130.
103. In between the treatment and the continuity for Drums along the Mohawk, Faulkner may have developed one of his own stories for the screen. “One Way to Catch a Horse” is a thirty-six-page screenplay centered around Ernest V. Trueblood, a farcical character and proxy for himself, that was initially thought to have been written in 1946. However, given a number of contextual factors in the screenplay (especially the inclusion of a Hollywood address at the top of the typescript) Michael Grimwood has suggested that it may have been written around the same time that Faulkner shared another Trueblood story with his French translator Maurice Coindreau (Heart in Conflict, 308n14).
104. Edmonds, Drums along the Mohawk, 345.
105. Gleeson-White, “William Faulkner, Screenwriter,” 437.
106. Blotner, Faulkner, 2:968.
107. Of the proceeds, 20 percent went to his publisher, Random House, and 5 percent of what remained went to his agent, Morty Goldman, leaving Faulkner with $19,000 (Ibid., 2:984).
1. Kawin, Faulkner and Film, 130; Baldwin, “Putting Images into Words,” 55; Schoenberg, Old Tales and Talking, 68.
2. B. R. Crisler, “Footnotes on Pictures and People,” New York Times, July 18, 1937, X3.
3. Ibid.
4. “Associated Artists Plan Four Pictures First Season,” Film Daily, June 14, 1937, 2.
5. The last day Faulkner was charged to this project was June 16, although the treatment is dated July 3 (Blotner, Faulkner, 2:960).
6. Schoenberg, Old Tales and Talking, 64.
7. Although, as Schoenberg points out, Wash’s curse ignores the fact that he himself has Sutpen blood (Old Tales and Talking, 66).
8. Kawin, Faulkner and Film, 135.
9. This screenplay is archived in the WFFC and is cited by page number in the text.
10. Friedman, Hollywood’s African-American Films, 23.
11. Ibid., 25.
12. See Delson, Dudley Murphy, 89.
13. Donald, “Jazz Modernism and Film Art,” 46.
14. Cripps, Slow Fade to Black, 258.
15. For a thorough account of this phenomenon, see Maurice, “ ‘Cinema at Its Source,’” 31–71.
16. Cripps, Slow Fade to Black, 204.
17. Donald, “Jazz Modernism and Film Art,” 41.
18. Ibid., 46.
19. “Sam Coslow Will Head ‘Soundies’ Production,” Film Daily, October 14, 1941, 2. See also Delson, Dudley Murphy, 168–75.
20. Moritz, “Americans in Paris,” 131.
21. Kawin, Faulkner and Film, 134.
22. Delson, Dudley Murphy, 110.
23. Murphet, Faulkner’s Media Romance, n.p. For more on the significance of the photographic negative in Faulkner’s work, see Morrell, “Kodak Harlot Tricks of Light.”
24. Delson, Dudley Murphy, 160.
25. Louella O. Parsons, “Howard to Head New Company of Film Producers,” Milwaukee Sentinel, April 3, 1937, 3.
26. Urgo, “Absalom, Absalom,” 58.
27. Ibid., 69.
28. Schoenberg, Old Tales and Talking, 67.
29. Blotner, Faulkner, 2:927.
30. Owada, “Faulkner, Haiti, and Questions of Imperialism,” 221.
31. Blotner, Faulkner, 2:947.
32. Ibid., 2:1129.
33. Ibid., 2:1138.
1. See Polan, Power and Paranoia, 194.
2. Faulkner, notes on Steve Fisher’s “God Is My Co-Pilot,” 2, February 22, 1944, box 1653, folder 4.12, series 9, subseries 1, Louis Daniel Brodsky Collection, Kent Library, Southeast Missouri University, Cape Girardeau.
3. Blotner, Faulkner, 2:1155.
4. Hawks appears to have borrowed this idea for a self-referential joke in one of his later films: when asked if he knows how to use a pistol, Lieutenant Ken MacPherson in The Thing from Another World (1951) responds by stating that he “saw Gary Cooper in Sergeant York.”
5. Schatz, The Genius of the System, 300.
6. Blotner, Faulkner, 2:1112.
7. As Ben Robbins has noted in a recent article on Faulkner’s work for Warner Brothers, Mrs. Brix emerges as an obviously noirish femme fatale in the story, such that “Snow” evokes more than the grand affairs of national conflict (“Inscrutable Images and Cultural Migrations,” 60–61).
8. Additionally, as Jessica Follansbee has argued, Faulkner creates another kind of fascist character in Thomas Sutpen, and so in a sophisticated fashion Absalom, Absalom! “depicts fascism emerging from American culture,” offering “access to a moment before ‘democracy’ became fascism’s ‘other’” (“ ‘Sweet Fascism in the Piney Woods,’” 70).
9. Mann, “What’s Wrong with Anti-Nazi Films,” 28.
10. Birdwell, Celluloid Soldiers, 78.
11. Warner, “Harry Warner’s Testimony to a Senate Subcommittee on War Propaganda in Film, 1941,” 244.
12. Hamblin and Brodsky, F, 3:x.
13. Schatz, Boom and Bust, 280.
14. For more on these adaptations, see Arnold, “Faulkner Writ Large/Faulkner Ritt Small,” and Wald, “Faulkner and Hollywood.”
15. Stempel, Framework, 127. In 1956, Faulkner worked with Wald again, completing a “9-page story line” for an unsatisfactory script called “A Stretch on the River,” based on the novel by Richard Bissell. However, he resisted any further involvement in the project, suggesting that he “act as advisor to the script writer,” rewriting scenes and dialogue as required rather than working full time on the screenplay (SL, 396–97).
16. See Schatz, Boom and Bust, 50.
17. “W. B. to Film War Leaders,” Motion Picture Daily, August 28, 1942, 2.
18. Hamblin and Brodsky, F, 3:xiii.
19. Later, when he was working on the screenplay for Mildred Pierce (Michael Curtiz, 1945), Faulkner would write out a similar formula, which Jerry Wald found in his desk: “Boy meets girl . . . Boy gets girl . . . Boy loses girl . . . Boy sues girl. . . .” It continued for pages (Blotner, “Faulkner in Hollywood,” 293).
20. Nichols would earn an Academy Award nomination for Best Original Screenplay in 1944 for Air Force, but Faulkner’s name was not mentioned. See Hamilton, Writers in Hollywood, 1915–1951, 204–5.
21. See Nichols, Air Force, 115–17.
22. Faulkner, “Air Force,” screenplay scene, 71, October 5, 1942, box 1650, folder 016, Louis Daniel Brodsky Collection, Kent Library, Southeast Missouri University, Cape Girardeau.
23. Nichols, Air Force, 169.
24. Kawin, Faulkner and Film, 95, 108.
25. Faulkner, “Air Force,” screenplay scene, September 14, 1942, box 1650, folder 016, Louis Daniel Brodsky Collection, Kent Library, Southeast Missouri University, Cape Girardeau.
26. For Robert Jackson, this scene exemplifies Faulkner’s capacity for collaborative authorship and for knowing what was required in a particular moment in a film: “There’s something in the smallness of this scene, both its modest contribution to the film’s larger narrative and its diminutive size as evidence of Faulkner’s collaborative persona, that invites us to think about other overlooked details in Faulkner’s life and work” (“Images of Collaboration,” 41).
27. Hamblin and Brodsky, F, 3:xxx.
28. Hedda Hopper, “Looking at Hollywood,” Chicago Daily Tribune, May 29, 1944, 10. In November 1990, Faulkner’s work for “The De Gaulle Story” was adapted for French television as Moi, General De Gaulle. For more on this see Hamblin, “The Curious Case of Faulkner’s ‘The De Gaulle Story.’”
29. Blotner, Faulkner, 2:1129.
30. McCall and Plimpton, “The Art of Fiction LXX,” 11.
31. Blotner, Faulkner, 2:1097.
32. Fussell, Wartime, 191.
33. Agee, Agee on Film, 28.
34. Ibid., 153.
35. Faulkner, report on visit to Consolidated Aircraft factory for “Liberator,” box 1651, folder 003, Louis Daniel Brodsky Collection, Kent Library, Southeast Missouri University, Cape Girardeau.
36. Faulkner, “Liberator” notes, box 1651, folder 003, Louis Daniel Brodsky Collection, Kent Library, Southeast Missouri University, Cape Girardeau. Thanks to Ben Robbins for pointing this out.
37. Geller to Buckner, November 13, 1942, Warner Archive, University of Southern California, Los Angeles.
38. Farmer, Celluloid Wings, 189.
39. Kerouac, Road Novels, 1957–1960, 220.
40. Fuchs, The Golden West, 5.
41. Faulkner and Fuchs, retakes for “Background to Danger,” 60, May 12, 1942, in “Background to Danger,” revised final, November 6, 1942, Warner Archive, University of Southern California, Los Angeles.
42. Wald, “Faulkner and Hollywood,” 130.
43. Fuchs, The Golden West, 6.
44. “In the Short Shops,” Showmen’s Trade Review, December 23, 1939,32.
45. Carruthers, suggestions on “To the Last Man” script, February 26, 1943, 4, Warner Archive, University of Southern California, Los Angeles.
46. Ibid., 14.
47. Bessie, Inquisition in Eden, 63–64.
48. As Charles Hannon has pointed out, Faulkner had likely been aware of crediting standards in Hollywood from day one, for it was in 1932, the year he arrived at MGM, that the Academy of Motion Pictures’ writer’s agreement was struck. The guidelines it laid out determined that all writers on a script would review the cutting continuity and finished film and decide which one or two among them was most deserving of the credit. However, as we see in this instance, there was also a provision that allowed a writer to voluntarily relinquish his credit in favor of another (Faulkner and the Discourses of Culture, 85; see also Bordwell, Staiger, and Thompson, The Classical Hollywood Cinema, 313).
49. Blotner, Faulkner, 2:1140.
50. Hamblin and Brodsky, F, 4:xix.
51. William Weaver, “Hollywood,” Motion Picture Daily, May 12, 1943, 4; “Warner Film to Hail Allies,” Motion Picture Herald, June 12, 1943, 36.
52. Red Kann, “Insider’s Outlook,” Motion Picture Daily, March 31, 1943, 2. In July, Gary Cooper, Claudette Colbert, Charles Boyer, and Irene Dunne joined the cast (“Add to ‘Battle’ Cast,” Motion Picture Daily,” July 12, 1943, 4).
53. William Weaver, “Hollywood,” Motion Picture Daily, March 31, 1943, 7.
54. Hamblin and Brodsky, F, 4:xxv.
55. “24 Writers Contributing to 18-Reel ‘Battle Cry,’” Film Daily, May 14, 1943, 2.
56. Roberts, “John Wayne Goes to War,” 147.
57. Carpenter Wilde and Borsten, “Faulkner,” F, 4:xiii.
58. Hamblin and Brodsky, F, 4:xxix, xxx.
59. Ibid., 4:xxxv.
60. Blotner and Polk, “Note on the Texts,” 1109.
61. Hamblin, “Faulkner and Hollywood”; Solomon, “Faulkner and the Masses.”
62. Phillips, Fiction, Film, and Faulkner, 56.
63. Godden, William Faulkner, 156.
64. Blotner, Faulkner, 2:1155–56.
65. Faulkner, notes on Steve Fisher’s “God Is My Co-Pilot,” 3, February 22, 1944, box 1653, folder 4.12, series 9, subseries 1, Louis Daniel Brodsky Collection, Kent Library, Southeast Missouri University, Cape Girardeau.
66. Kawin, “Howard Hawks,” 95–96.
67. Hemingway, To Have and Have Not, 225.
68. Kawin, To Have and Have Not, 32.
69. Ibid., 27.
70. Robbins, “The Pragmatic Modernist,” 248.
71. Breen to Warner, March 2, 1944, Motion Picture Association of America, Production Code Administration Records, Margaret Herrick Library, Los Angeles.
72. Furthman, “To Have and Have Not,” temporary, 142, October 14, 1943, Warner Archive, University of Southern California, Los Angeles.
73. Ibid., 168.
74. Furthman and Faulkner, To Have and Have Not, 123.
75. Ibid., 174–75.
76. McBride, Hawks on Hawks, 56–57. For more on this rivalry, see Fruscione, Faulkner and Hemingway.
1. This chapter is heavily indebted to Richard Godden’s analysis of the changing South in Faulkner’s work during the interwar period and owes a great deal to his careful and ambitious historicizing of the novels in both Fictions of Labor and William Faulkner: An Economy of Complex Words.
2. On the other hand, while code-era Hollywood might have repressed female sexuality, Patricia White has argued that it also unwittingly “revived forms of homosocial culture that were now suspiciously sexual” (Uninvited, 20).
3. Although perhaps, as Mary Anne Doane argues, most films of the time were less concerned with social class: “In the ’40s, the issues of social class so important to the maternal melodrama of the ’30s are repressed or marginalized.” She suggests that Mildred Pierce is a possible exception, as “Mildred’s problems are a direct result of her desire to move up the social scale)” (The Desire to Desire, 80).
4. Cripps, Slow Fade to Black, 374–83.
5. Suid, Air Force, 24.
6. Ellison, Shadow and Act, 277.
7. As Faulkner’s letters to Robert Haas and Commins confirm, this incomplete sentence was from “page 295” of the manuscript, which he sent in late December (SL, 146, 147).
8. Godden and Polk, “Reading the Ledgers,” 337.
9. Blotner, Faulkner, 2:1090.
10. Kawin, Faulkner and Film, 108.
11. “Production Notes from the Studios,” Showmen’s Trade Review, February 20, 1943, 26.
12. Partridge, Country Lawyer, 11.
13. “Name News,” Motion Picture Herald, 17 February 1940, 35; Bessie, Inquisition in Eden, 49.
14. Partridge, Country Lawyer, 312.
15. Ibid., 12.
16. Ibid., 308.
17. See Godden, William Faulkner, 15. For more on this particular act, see Smith, “ ‘Southern Violence’ Reconsidered.”
18. Renoir, “Jean Renoir Presents Twenty of His Films,” 239.
19. Blotner, Faulkner, 2:1184. Bruce Kawin makes an association between this scene and Faulkner’s detective story “Hand upon the Waters” because both feature a body snagged on a line. However, Kawin cautions that the film itself is such a collaborative effort that one would be hard pressed to uphold connections of this kind: “The parts of The Southerner that most directly echo Renoir’s other pictures—in this case the Tuckers’ battle with despair, the contrast between city and country, and the complex ways nature is presented—can also be described as Faulknerian” (Faulkner and Film, 122).
20. Perry, Hold Autumn in Your Hand, 241.
21. Butler, “The Southerner,” 367.
22. Blotner, Faulkner, vol. 2, 1184.
23. Renoir, My Life and My Films, 234–35.
24. “Memphis Censor Hits Advertising,” Motion Picture Herald, August 4, 1945, 45.
25. Bazin, Jean Renoir, 93; Agee, Agee on Film, 167.
26. For an interpretation of the lack of black characters in the film, see Poague, “Jean Renoir, American Artist.”
27. LaValley, introduction, 29–30.
28. Schatz, Bust and Boom, 233. Albert LaValley suggests that the overly gothic tones of some scenes in Faulkner’s screenplay might have ultimately ruled it out of contention as the final shooting script (introduction, 34–35).
29. Faulkner to Wald, interoffice communication, November 16, 1944, Warner Archive, University of Southern California, Los Angeles.
30. See LaValley, introduction, 34–35.
31. Oeler, A Grammar of Murder, 167.
32. Blotner, Faulkner, 2:1245–46.
33. Wiener, “Class Structure and Economic Development in the American South, 1865–1955,” 990.
34. See Woodward, The Strange Career of Jim Crow, 128, and Mandle, The Roots of Black Poverty, 84.
35. Miner, The World of William Faulkner, 88. Cheryl Lester is correct to point out that Miner is “seemingly indifferent to the perspectives of the Afro-Mississippians” and ignorant of population increases in Oxford itself (“Changing the Subject of Place in Faulkner,” 210). However, irrespective of his analytical weaknesses, Miner’s countywide migratory statistics are usefully suggestive, and his preliminary question helped motivate some of the concerns of this chapter.
36. Matthews, Seeing through the South, 231.
37. Avila, Popular Culture in the Age of White Flight, 30; Kurashige, The Shifting Grounds of Race, 207–8.
38. Williams, “My Man Himes,” 56.
39. Naremore, More Than Night, 234–35.
40. As Ben Robbins helpfully reminded me, noir was even more notably shaped by the influx of Jewish émigrés to Hollywood throughout the 1930s, a contingent that included Fritz Lang, Billy Wilder, and Otto Preminger. For more on how this particular exiled population helped to develop the genre, see Brook, Driven to Darkness.
41. Lott, “The Whiteness of Film Noir,” 551. For a cognate argument, see Murphet, “Film Noir and the Racial Unconscious.”
42. Lott, “The Whiteness of Film Noir,” 548.
43. LaValley, introduction, 35–36.
44. Lott, “The Whiteness of Film Noir,” 560.
45. Faulkner, “Mildred Pierce,” scene 107, November 14, 1944, Warner Archive, University of Southern California, Los Angeles.
46. Ibid., scene 115.
47. Meta Carpenter Wilde writes of Faulkner singing “Steal Away to Jesus” on Mulholland Drive en route to a cocktail party during his time at Fox in the late 1930s (Carpenter Wilde and Borsten, A Loving Gentleman, 141).
48. LaValley, introduction, 35–36. Malcolm X remarked that “when Butterfly McQueen went into her act, . . . I felt like crawling under the rug.” (Autobiography, 32). Thanks to Ben Robbins for alerting me to this.
49. Warner to Wald, memo, December 28, 1944, Warner Archive, University of Southern California, Los Angeles.
50. Sobchack, “Lounge Time,” 144.
51. Faulkner and Brackett, “The Big Sleep,” 267.
52. Kawin, Faulkner and Film, 119.
53. Breen to Warner, September 27, 1944, The Big Sleep, 1944–48, Motion Picture Association of America, Production Code Administration records, Margaret Herrick Library, Los Angeles.
54. Breen, “Memo reporting on conversation with Howard Hawks,” and Breen to Warner, September 27, 1944, The Big Sleep, 1944–48, Motion Picture Association of America, Production Code Administration records, Margaret Herrick Library, Los Angeles.
55. Chandler, The Big Sleep, 36; Breen to Warner, September 27, 1944, The Big Sleep, 1944–48, Motion Picture Association of America, Production Code Administration records, Margaret Herrick Library, Los Angeles.
56. Breen, memo reporting on conversation with Howard Hawks, October 5, 1944, The Big Sleep, 1944–48, Motion Picture Association of America, Production Code Administration Records, Margaret Herrick Library, Los Angeles.
57. Chandler, The Big Sleep, 19.
58. Chandler, Selected Letters of Raymond Chandler, 48.
59. Stewart, Between Film and Screen, 59.
60. Jameson, “Synoptic Chandler,” 39.
61. Blotner, Faulkner, 2:1175.
62. Faulkner to Geller, interoffice communication, December 12, 1944, Warner Archive, University of Southern California, Los Angeles.
63. Brackett describes the nature of his and Faulkner’s collaboration on The Big Sleep: “I went to the studio the first day absolutely appalled. I had been writing pulp stories for about three years, and here is William Faulkner, who was one of the great literary lights of the day, and how am I going to work with him? What have I got to offer, as it were? This was quickly resolved, because when I walked into the office, Faulkner came out of his office with the book The Big Sleep and he put it down and said: ‘I have worked out what we’re going to do. We will do alternate sections. I will do these chapters and you will do those chapters.’ And that was the way it was done. He went back into his office and I didn’t see him again, so the collaboration was quite simple. I never saw what he did and he never saw what I did. We just turned our stuff in to Hawks” (Swires, “Leigh Brackett,” 17).
64. Faulkner, “The Big Sleep,” additional scenes, December 12, 1944–December 15, 1944, 154, Warner Archive, University of Southern California, Los Angeles, California.
65. Ibid., 155.
66. See Thomson, The Big Sleep, 58–59.
67. Ibid., 55.
68. Kawin, Faulkner and Film, 117.
69. Furthman, “The Big Sleep,” story changes, December 30, 1944, 1, Warner Archive, University of Southern California, Los Angeles.
70. Indeed, it is highly likely that Faulkner completed work on “Dreadful Hollow” around this time, given that Hawks had recently acquired the rights to the property. Although Kawin’s suggestion that the screenplay was written between October 1942 and May 1944 is inaccurate (given that Hawks only purchased the rights to Irina Karlova’s novel in November 1944), it is likely that “once he had the rights he would have started the adaptation process promptly” (“Faulkner and Film,” 97).
71. Blotner, Faulkner, 2:1175, 1180.
72. “WB Buys Hoss Yarn,” Variety, April 18, 1945, 7.
73. See Blotner, Faulkner, 2:1184.
74. Longstreet, Stallion Road, 14.
75. “Studio Size-Ups,” Film Bulletin, September 17, 1945, 25; “Studio Size-Ups,” Film Bulletin, November 26, 1945, 25.
76. Blotner, Faulkner, 2:1190. This sentiment echoes Robert Buckner’s earlier interpretation of “The De Gaulle Story” as “nouvelle vague.”
77. Jelliffe, Faulkner at Nagano, 9; Blotner, Faulkner, 2:1166–67.
78. Longstreet, Stallion Road, 11.
79. Christensen, America’s Corporate Art, 107.
80. Faulkner, Stallion Road, 16.
81. Grimwood, Heart in Conflict, 188.
82. Blotner, Faulkner, 2:161.
83. See Negulesco, Things I Did and Things I Think I Did, 95.
84. See Goff and Roberts, “The Shadow,” October 24, 1947, 12I: Scripts, 1935–54, box 1090, folder 2, Selznick Collection, Harry Ransom Center, University of Texas at Austin.
85. See the untitled script concerning “Sarastro,” “Anna,” “Rico” in the WFFC.
86. See McCarthy, “Phantom Hawks,” 73.
87. Blotner, Faulkner, 2:166.
88. See Fadiman, Faulkner’s “Intruder in the Dust,” 60–61.
1. See Faulkner, ESPL, 312–16.
2. Godden, “The Authorship of William Faulkner,” 342.
3. “New Theatrical Firm: Walker Towne Inc., Acquires Four Plays for Next Season,” New York Times, May 29, 1931, 28.
4. Blotner, Faulkner, 2:826–28.
5. Howard, “Faulkner Steps Out of His ‘Land of Pharaohs’ into Memphis,” 118.
6. Polk writes that the material “on versos of 160–161, 163–172” of the third volume of the manuscripts in Garland Publishing’s series “appears to be from a movie script” (F, 3:xii).
7. “Bernhardt Conquers New World,” Motion Picture Weekly, March 9, 1912, 874.
8. Remshardt, “The Actor as Intermedialist.”
9. Weaver, Duse, 303, 312.
10. Bazin, What Is Cinema?, 122.
11. Lawson, Theory and Technique of Playwriting and Screenwriting, 318.
12. Benjamin, “The Work of Art in the Age of Its Material Reproducibility,” 112, 113.
13. O’Thomas, “Analysing the Screenplay,” 238.
14. In his discussion of the idiosyncracies of the form, Fredric Jameson suggests that the reading play gives us “the seeming immediacy of a theatrical representation which is in reality the unmediated experience of the printed book” (The Modernist Papers, 148).
15. Carpenter Wilde and Borsten, A Loving Gentleman, 320.
16. All of this suggests that Faulkner was still working on the screenplay back home in Oxford. Meta Carpenter Wilde writes that there “was more work to be done for Howard Hawks on The Left Hand of God” (A Loving Gentleman, 321) even after he had returned from a trip to Europe in April 1951, but there is no record of his ever having visited Hollywood again.
17. Thomas F. Brady, “Hollywood in China,” New York Times, April 1, 1951, 101.
18. See Barrett, The Left Hand of God, 40–43.
19. Ibid., 261.
20. Polk, Faulkner’s “Requiem for a Nun,” 92.
21. Mast, Howard Hawks, Storyteller, 338.
22. Ibid., 342.
23. Sternberg, Written for the Screen, 136.
24. Kozloff, Invisible Storytellers, 49.
25. Blotner, Faulkner, 2:930.
26. McCarthy, Howard Hawks, 486.
27. Kozloff, Invisible Storytellers, 28.
28. Jameson, “Synoptic Chandler,” 36.
29. Ibid., 37.
30. Ibid., 36.
31. Thompson, “Through Faulkner’s View-Finder,” 162.
32. See Jewell, RKO Radio Pictures, 21, 179.
33. Kozloff, Invisible Storytellers, 35. Indeed, Faulkner would later make brief use of off-screen voiceover narration in his teleplay for “The Brooch.”
34. For more on this history, see Jewell, Slow Fade to Black.
35. See Polk, Faulkner’s “Requiem for a Nun,” 243.
36. Ibid., 162.
37. Morrison, “Requiem’s Ruins,” 324.
38. Murphet, introduction, 4.
1. Adorno, Critical Models, 239.
2. Adorno and Horkheimer, “The Culture Industry,” 130–31.
3. Adorno, Critical Models, 55.
4. Ibid., 65.
5. Ibid., 60.
6. Poe, “Twice-Told Tales,” 572.
7. The final teleplay for this program is dated August 23, 1960 and was an adaptation Faulkner’s and Williams’s initial work by William Cox. See William Cox, teleplay of William Faulkner’s “The Graduation Dress,” accession #6251-bz, Special Collections, University of Virginia Library, Charlottesville.
8. Vidal, Palimpsest, 277.
9. Blotner, Faulkner, 2:1705. For a more detailed account of this comment, see Kodat, “What Is Television For?,” 34–48.
10. See Polk, Children of the Dark House, 242ff. Footage from the Omnibus episode was later used in a documentary written by A. I. Bezzerides, and the script is included in Bezzerides, William Faulkner. For more on the Omnibus episode and its afterlife, see Phillips, Fiction, Film, and Faulkner, 182–83.
11. Blotner, Faulkner, 2:1587.
12. Ibid., 2:1812.
13. Gilbert Seldes, “Regarding Video Experiments,” New York Times, December 24, 1944, 35.
14. Kraszewski, New Entrepreneurs, 50.
15. Blotner, Faulkner, 2:1452.
16. For more on the tension between these two Omnibus programs, see McCarthy, The Citizen Machine, 141–54.
17. Kraszewski, New Entrepreneurs, 50.
18. For a more thoroughgoing analysis of television in the South, from midcentury to the present day, see the forthcoming collection edited by Lisa Hinrichsen, Gina Marie Caison, and Stephanie Rountree, Small-Screen Souths.
19. Blotner, Faulkner, 2:884.
20. June Bundy, “Faulkner Adaptation Proves TV Can Be Great, tho Simple,” Billboard, April 11, 1953 2, 11.
21. Jack Gould, “ ‘The Brooch’ on TV,” New York Times, April 12, 1953, 11.
22. Deming, “Locating the Televisual in Golden Age Television,” 138.
23. Billips and Pierce, Lux Presents Hollywood, 516.
24. See Solomon, “A Little Boy and an Idea.”
25. Gross, “Turning an Idea into a Print,” 97.
26. Williams, Television, 91.
27. Ibid., 93.
28. Interestingly, the lines that most openly allude to suicide—Major Blakestone’s instructions to his servant to “Leave now. You’ll know when to come back”—were culled from the final teleplay, as they clearly implied an act that was verboten for the program to engage with (“FH,” 206).
29. McDonagh et al., “Points on Shall Not Perish,” WFFC.
30. MacDonald, Blacks and White TV, 54.
31. For the history of this dismemberment, see Kodat, “C’est Vraiment Dégueulasse,” 69.
32. Godden, Fictions of Labor, 221.
33. This screenplay is archived in the WFFC and is cited by page number in the text.
34. Foote also wrote a screenplay for another Faulkner adaptation, Tomorrow (Joseph Anthony, 1972), and a teleplay for Barn Burning (Peter Werner, 1980).
35. Hampton, Horton Foote, 127.
1. See Warner, “Contempt Revisited,” 209n9.
2. For a more comprehensive account of the uses of Faulkner in Godard’s cinema, see Du Graf, “What Is a Digital Author?”
3. Faulkner to McDermid, November 27, 1954, Margaret Herrick Library, Los Angeles.
4. Wilk, “Faulkner and the Pyramids,” 285.
5. Blotner, Faulkner, 2:1538.
6. Becker, Rivette, and Truffaut, “Howard Hawks Interview,” 4.
7. Howard, “Faulkner Steps Out,” 117–18.
8. Blotner, Faulkner, 2:1490.
9. Faulkner, “Land of the Pharaohs,” basis of second draft, 109, February 17, 1954, Warner Archive, University of Southern California, Los Angeles.
10. Becker, Rivette, and Truffaut, “Howard Hawks Interview,” 229.
11. Belton, “Glorious Technicolor, Breathtaking CinemaScope, and Stereophonic Sound,” 195–96.
12. Ibid., 197.
13. Bordwell, Staiger, and Thompson, Classical Hollywood Cinema, 361.
14. Becker, Rivette, and Truffaut, “Howard Hawks Interview,” 229.
15. Blotner, Faulkner, 2:1483.
16. Stempel, Screenwriter, 145, 170.
17. Greif, The Age of the Crisis of Man, 125.
18. Lindsay, The Art of the Moving Picture, 117.
19. Faulkner, “Land of the Pharaohs,” basis for second draft,” 4, February 17, 1954, Warner Archive, University of Southern California, Los Angeles.
20. Costa, “The Mystery of the Great Pyramid,” n.p.
21. Faulkner, “Land of the Pharaohs,” 120, October 2, 1954, Warner Archive, University of Southern California, Los Angeles.
22. The lines from the film may also recall the famous closing negations of Quentin Compson in Absalom, Absalom!: “I dont. I dont! I dont hate it! I dont hate it!” (N, 3:311).
23. Godden, William Faulkner, 201.