3 “in any number of places”: Information about Loretta’s life and family comes from a variety of sources: the invaluable Gladys Hall Collection, Folder 506, and the Jane Ardmore Papers, Folders 14 and 15, both of which are in Special Collections, Margaret Herrick Library, the Fairbanks Center for Motion Picture Study; the Loretta Young Clippings File, Margaret Herrick; the Constance Mc-Cormick Collection, Vols. 1–3 (1935), Cinema–Television Library, University of Southern California; obituaries in the Hollywood Reporter International Edition, 15 August 2000, 22; New York Times, 13 August 2000, 39; Daily Variety, 14 August 2000, 8, 16; People, 28 August 2000, 117; Samuel Grafton, “The Loretta Young Story,” Good Housekeeping, March 1955, 65, 234–40; Dean Jennings, “Indestructible Glamour Girl,” Saturday Evening Post, 28 May 1960, 20, 108, 111, 113; Judy Lewis, Uncommon Knowledge (New York: Pocket Books/Simon & Schuster, 1995); “Loretta Young,” Biography, A&E, hosted by Peter Graves, first aired 24 February 1995. Loretta wrote an autobiography of sorts, The Things I Had to Learn, As Told to Helen Ferguson (New York: Bobbs-Merrill, 1961), in which she says little about her career. Exactly what she had to learn, apart from having to “think” through a role, as Capra taught her, is never clear. The studio biographies in the Loretta Young Clippings File are mostly on target. Joan Wester Anderson’s “authorized biography,” Forever Young: The Life, Loves and Enduring Faith of a Hollywood Legend (Allen, TX: Thomas Moore, 2000) is cloyingly reverential. Anderson became Loretta’s biographer because Loretta was taken with her books on angels and wanted such an author to tell her story. Still, there is information in it that is not available elsewhere. Joe Morella and Edward Z. Epstein’s popular biography, Loretta Young: An Extraordinary Life (New York: Delacorte, 1986), is readable but lacks both notes and a bibliography, in addition to being incomplete.
4 “a large number of businesspersons”: Craig Fuller, Associate Editor, Utah Historical Society, email to author, 15 April 2009.
5 “Universal released films”: Bernard F. Dick, City of Dreams: The Making and Remaking of Universal Pictures (Lexington: University Press of Kentucky, 1997), 40–41.
7 “‘one less mouth to feed’”: Lewis, Uncommon Knowledge, 47.
7 “according to Loretta’s daughter”: ibid
8 “she was going to be a movie star”: “Loretta Young,” Biography, A&E, 1995.
8 “priests were frequent dinner guests”: “Interview with Ricardo Montalban, Polly Ann Young, Sally Blane,” Jane Ardmore Papers, folder 14, Margaret Herrick Library, Special Collections.
9 “steel butterfly”: James Robert Parish, The Fox Girls (Secaucus, NJ: Castle Books, 1972), 202.
10 “Norma Jean Baker became Marilyn Monroe”: Donald Spoto, Marilyn Monroe (New York: Harper Paperbacks, 1993), 140.
10 “the most beautiful little girl I had ever seen”: Colleen Moore, Silent Star (Garden City, NY: Doubleday, 1968), 162.
11 “I named her”: ibid., 163.
11 “as her Paramount salary showed”: The Magnificent Flirt, Paramount Collection, #101. Margaret Herrick Library, Special Collections.
12 “She was my first discovery”: Mervyn LeRoy, Take One (New York: Hawthorn Books, 1974), 91
12 “he must have been very surprised”: Lewis, Uncommon Knowledge, 52.
12 “For Marry Loretta received”: Broken Dishes (Too Young to Marry) production file. 2722A, USC, Warner Bros. Archives.
13 “weekly check,” “That’s up to God,” “Interview,” Jane Ardmore Papers, box 28, folder 14, Margaret Herrick Library, Special Collections.
14 “her talent as an actress”: rev. of Laugh, Clown, Laugh, New York Times, 28 May 1928, 23.2.
14 “the finest speaking voice”: Hedda Hopper Collection, #3622, USC, Cinema–Television Library.
16 “stupid and useless,” “he even threw a chair”: Anderson, Forever Young, 39.
16 “hot fudge sundae”: Loretta Young, “I Like (These) Men,” Movieland, August 1945, 62.
16 “First National, then Associated First National”: David Cook, A History of the Narrative Film, 4th ed. (New York: Norton, 2004), 38, 170; Clive Hirschhorn, The Warner Bros. Story (New York: Crown, 1979), 59.
17 “often until 3:30 a.m.”: Jane Ardmore Papers, Box 28, folder 14, Margaret Herrick Library, Special Collections.
18 “a major player in the movie business”: see Cari Beauchamp Joseph P. Kennedy: The Hollywood Years (New York: Knopf, 2009).
18 “created his own”: ibid., 59.
21 “for which First National paid”: The Squall, story file, #222A, USC, Warner Bros. Archives.
22 “big bucks for a seventeen-year-old”: Loose Ankles, ibid.
23 “she received $4500”: The Truth about Youth, file 2723B, USC, Warner Bros. Archives.
23 “dissatisfied with the way”: A. Scott Berg, Goldwyn: A Biography (New York: Ballantine, 1989), 141.
26 “a third of the audience”: Eileen Bowser, The Transformation of Cinema, 1907–1915 (Berkeley: University of California Press, 1990), 2.
26 “free admission to prenoon shows”: Russell Merritt, “Nickelodeon Theaters, 1907–1914: Building an Audience for the Movies,” The American Film Industry, ed. Tino Balio, rev. ed. (Madison: University of Wisconsin Press, 1985), 96.
27 “the woman’s picture”: On the genre and its broad range of character types, see Marjorie Rosen, Popcorn Venus (New York: Avon, 1973), Chapters 3–5; and Molly Haskell, From Reverence to Rape: The Treatment of Women in the Movies, 2nd ed. (Chicago: University of Chicago Press, 1987), 153–88.
32 “extreme cruelty”: Ronald L. Davis, The Life and Image of John Wayne (Norman, OK: University of Oklahoma Press, 1998), 110.
38 “politically confused”: Andrew Bergman, We’re in the Money: Depression America and Its Films (New York: Harper Colophon, 1971), 97.
39 “CBC had become Columbia”: on CBC’s transformation into Columbia Pictures Corporation, see Bernard F. Dick, The Merchant Prince of Poverty Row: Harry Cohn of Columbia Pictures (Lexington: University Press of Kentucky, 1993), 31–57.
39 “great cast,” “breastworks”: Frank Capra, The Name Above the Title (New York: Vintage, 1985), 134.
39 “original title”: Joseph McBride, Frank Capra: The Catastrophe of Success (New York: Simon & Schuster, 1992), 231.
41 “Borzage has been labeled”: Herve Dumont, Frank Borzage: The Life and Films of a Hollywood Romantic, trans. Jonathan Kaplansky (Jefferson, NC: McFarland, 2006), 10–11.
42 “I don’t feel,” “Nearly 2000 years ago”: Los Angeles Times, 18 February 1934, A8.
44 “I proved,” “He made you believe”: Dumont, Frank Borzage, 198.
44 “She was never interested”: Judy Lewis interview, 1 June 2008.
46 “The first writer”: Midnight Mary, MGM Collection, #932, USC, Cinema—Television Library.
48 “The new name was”: Bernard F. Dick, Engulfed: The Death of Paramount Pictures and the Birth of Corporate Hollywood (Lexington: University Press of Kentucky, 2001), 10.
49 “‘There was a honeymoon’”: Sharon Rich, Sweethearts: The Timeless Love Affair—On Screen and Off—between Jeanette MacDonald and Gene Raymond (New York: Donald Fine, 1994), 186.
53 “the studio had suffered a net loss”: Clive Hirschhorn, The Warner Bros. Story (New York: Crown 1979), 112.
53 “RKO reported a loss”: Richard B. Jewell, with Vernon Harbin, The RKO Story (New York: Arlington, 1982), 56.
54 “to create a new studio, Twentieth Century”: George F. Custen, Twentieth Century’s Fox: Darryl F. Zanuck and the Culture of Hollywood (New York: Basic Books/Perseus, New York, 1997), 177–78.
63 “In 1932, Fox reported”: Glendon Allvine, The Greatest Fox of Them All (New York: Lyle Stuart, 1969), 152.
63 “In 1935, Twentieth Century”: Custen, Twentieth Century’s Fox, 194.
63 “mortal sin”: Lewis, Uncommon Knowledge, 442.
65 “I have been in love”: Gladys Hall, “I Have Been in Love Fifty Times,” Motion Picture, October 1933, 51.
65 “I like men”: Loretta Young, “I Like (These) Men,” Movieland, August 1945, 38.
66 “alimony suit”: Los Angeles Times, 9 Feb. 1930, A3.
67 “Loretta initiated divorce proceedings”: New York Times, 3 July 1931, 26.
67 “I never, I know”: Gladys Hall Collection, folder 506 (“Loretta Young”), Margaret Herrick Library, Special Collections.
67 “He has given me,” “a rare masculine quality”: Jack Grant, “Why Loretta Young Broke Up Her Romance,” Movie Mirror Weekly, Oct. 1934, 9.
67 “had nothing to do”: Gladys Hall, “Spencer Tracy’s Love Confession,” Movie Mirror, March 1934, 11, 72.
68 “I tried to save him”: phone interview, 11 May 2008.
68 “there were unconfirmed tales”: Michael Sragow, Victor Fleming: An American Master (New York: Pantheon, 2008), 37.
68 “never lovers,” “common knowledge”: Graham Lord, Niv: The Authorized Biography of David Niven (New York: St. Martin’s, 2004), 62, 71.
68 “fearful of”: Marc Eliot, Jimmy Stewart: A Biography (New York: Harmony Books, 2006), 116.
68 “beautiful”: Jeanine Basinger, The Star Machine (New York: Knopf, 2007), 143.
69 “by setting up a romance”: Lawrence Guiles, Tyrone Power: The Last Idol (New York: Doubleday, 1979), 15.
69 “perfectly terrible”: Nancy Nelson, Evenings with Cary Grant: Reflections in His Own Words and by Those Who Knew Him Best (New York: William Morrow, 1991), 77.
69 “I don’t mind”: Warren G. Harris, Cary Grant: A Touch of Elegance (New York: Doubleday, 1987), 144.
70 “Loretta idealizes,” “I don’t blame him”: Constance McCormick Collection, Vol. III. USC, Cinema–Television Library.
71 “the dominant primordial beast”: Jack London, The Call of the Wild and Selected Stories (New York: Signet, 1998), 19.
73 “National Legion of Decency”: Jack Vizzard, See No Evil: Life inside a Hollywood Censor (New York: Pocket Books/Simon & Schuster, 1971), 35.
73 “sex affair,” “lady friend,” “The Call of the Wild,” American Film Institute Catalog, F3, Feature Films, 1931–40 (New York: R.R. Bowker, 1971), 272–73.
74 “Studio contracts contained a morals clause”: David Bret, Clark Gable: Tormented Star (New York: Carroll & Graf, 2007), 24.
74 “George Cukor’s homosexuality,” “producer Anderson Lawler”: Patrick McGilligan, George Cukor: A Biography of the Gentleman Director (New York: St. Martin’s, 1991), 184.
76 “I thought she knew”: Lewis, Uncommon Knowledge, 29.
77 “the tomb … hewn out of rock”: Donald Spoto, The Hidden Jesus: A New Life (New York: St. Martin’s, 1998), 238–39.
78 “He set a cap”: The Crusades, folder five, Paramount Collection, Margaret Herrick Library. Subsequent production details derive from this source.
78 “Loretta has been in ill health”: Los Angeles Times, 22 August 1935, A1.
79 “The radio dramatization”: Lux Radio Theatre Collection, Margaret Herrick Library.
81 “You are the glory”: Daily Missal of the Mystical Body, ed. Maryknoll Fathers (New York: P.J. Kennedy, 1956), 1201.
81 “elephant ears”: Lewis, Uncommon Knowledge, 144.
81 “All I know”: “The Call of the Wild,” American Film Institute Catalog, F3, 273.
81 “She was identified”: Lewis, Uncommon Knowledge, 71.
82 “On 4 July”: Los Angeles Examiner, 4 July 1937, I, 3.
82 “I am the happiest girl,” “I can’t tell,” “bring herself to disclose”: ibid.
83 “In one version”: Box 28, 15, Jane Ardmore Collection, Margaret Herrick Library.
83 “In that account”: Scrapbook #2, Jane Ardmore Collection, Margaret Herrick Library.
83 “I don’t want them”: Los Angeles Examiner, 20 June 1937, N5.
83 “she was a lesbian”: Samantha Barbas, The First Lady of Hollywood: A Biography of Louella Parsons (Berkeley: University of California Press, 2005), 153.
83 “Guests could either receive”: ibid., 186–87.
84 “The day that Liza called”: Scrapbook #2, Jane Ardmore Collection, Margaret Herrick Library.
84 “Parsons: So you think”: Program 71, 27 April 1947, folder 8, Louella Parsons Collection, USC, Cinema–Television Library.
85 “Louella never wrote”: Box 15, folder 426, Hollywood Women’s Press Club Records, Margaret Herrick Library.
86 “Buckner claimed he was innocent”: Los Angeles Times, 2 December 1938, 1.
86 “It would be nice”: Los Angeles Times, 3 December 1938, 2.
86 “I have the fullest expectation”: New York Times, 24 December 1938, 32.
86 “Am I going to marry”: Los Angeles Times. 13 January 1939, A1.
87 “in a spot”: Box 28, folder 15, Jane Ardmore Collection, Margaret Herrick Library.
87 “iridescent water lily blue”: Los Angeles Times, 1 August 1940, A1.
88 “Oh, my child”: Charles Dickens, Bleak House, Chapter 11 (New York: Signet, 1964), 516.
90 “expecting little, if any, opposition”: A. Scott Berg, Goldwyn: A Biography (New York: Random House/Ballantine, 1989), 215.
94 “exhaustive tests”: Los Angeles Times, 1 October 1936, 10.
94 “sunny face,” “joyous voice,” “blessed child”: Helen Hunt Jackson, Ramona: A Story (New York: Roberts Brothers, 1886), 45.
95 “but the most beautiful”: ibid., 499.
98 “He pared down the budget”: Memo from Zanuck to Ed Ebele (Production Dept.), 14 January 1937, Café Metropole, Twentieth Century-Fox Collection, USC, Cinema–Television Library.
99 “Eliminate all references”: “Conference with Mr. Zanuck on Revised Final Script of 3/10/37, 15 March 1937,” Love under Fire, Twentieth Century-Fox Collection, USC, Cinema–Television Library. The film’s production history can also be found in this file.
103 “adapted from James M. Cain’s”: James M. Cain, Three of a Kind (New York: Knopf, 1944), 3–118.
104 “To coincide with the remake”: James M. Cain, Everybody Does It (New York: Signet, 1949).
105 “I just didn’t like”: Peter Bogdanovich, John Ford (Berkeley: University of California Press, 1968), 69.
107 “Once she learned”: Fred Lawrence Guiles, Tyrone Power: The Last Idol (New York: Doubleday, 1979), 13.
107 “In other words”: ibid., 15.
107 “his salary was raised “: Hector Arce, The Secret Life of Tyrone Power (New York: Morrow, 1979), 136.
107 “At Power’s funeral”: Guiles, Tyrone Power, 312.
111 “Darryl, I won’t”: “Loretta Young, ‘I’m Still a Ham,’” TV Guide, 19 October 1957, 10.
113 “Loretta insisted”: Lewis, Uncommon Knowledge, 116.
114 “semi-independent producer”: Matthew Bernstein, Walter Wanger, Hollywood Independent (Berkeley: University of California Press, 1994), 96.
115 “complete control of all production matters”: Tino Balio, United Artists: The Company Built by the Stars (Madison: University of Wisconsin Press, 1976), 140.
115 “wounding, but not killing, him”: Bernstein, Walter Wanger, 275.
116 “drew the line at $50,000”: Lewis, Uncommon Knowledge, 116.
116 “gleaming white office”: Bernard F. Dick, The Merchant Prince of Poverty Row: Harry Cohn of Columbia Pictures (Lexington: University Press of Kentucky, 1993), 72.
118 “time and feeding”: Charles Dickens, The Pickwick Papers (New York: Washington Square Press, 1960), 3.
123 “revenge on Loretta”: Bob Thomas, King Cohn: The Life and Times of Harry Cohn (New York: Bantam/Putnam’s, 1968), 249–50.
123 “came in under budget”: Daily Committee Meeting Reports, The Lady from Cheyenne production file, Universal Collection, USC, Cinema–Television Library.
127 “luxury of starting”: Paramount Collection, China production file, box 21, folder 3, Paramount Collection, Margaret Herrick Library.
128 “military escort”: Los Angeles Times, 4 August 1943, 10.
128 “greeted on her return”: Los Angeles Times, 23 February 1943, A3.
128 “$2,500 a week”: Thomas Schatz, The Genius of the System: Hollywood Filmmaking in the Studio Era (New York: Pantheon, 1988), 350.
128 “he convinced Universal”: ibid.
129 “the film became Ladies Courageous”: Bernstein, Walter Wanger, 185–86.
133 “agonizing experience”: William Luhr, Raymond Chandler on Film (New York: Ungar, 1982), 32.
135 “Goetz turned to Leo Spitz”: Bernard F. Dick, City of Dreams: The Making and Remaking of Universal Pictures (Lexington: University Press of Kentucky, 1997), 136.
135 “brokered a merger”: ibid., 138.
136 “adopted the alias”: Bernard F. Dick, Engulfed: The Death of Paramount Pictures and the Birth of Corporate Hollywood (Lexington: University Press of Kentucky, 2001), 114.
136 “He operated”: Andrew Sinclair, Spiegel: The Man behind the Pictures (Boston: Little, Brown, 1987), 37.
137 “When Welles wanted the script changed”: Charles Higham, The Films of Orson Welles (Berkeley: University of California Press, 1970), 100.
137 “a joyless experience”: Sinclair, Spiegel, 43–44.
138 “recalled the way”: James Naremore, The Magic World of Orson Welles, rev. ed. (Dallas: Southern Methodist University Press, 1989), 123.
138 “despite occasional bouts of illness,” “having to work”: International Pictures Collection, The Stranger, Daily Production Reports, USC, Cinema–Television Library.
139 “Wallis immediately rose from his seat”: Bernard F. Dick, Hal Wallis, Producer to the Stars (Lexington: University Press of Kentucky, 2004), 73.
140 “star,” “friend”: Hal Wallis and Charles Higham, Starmaker: The Autobiography of Hal Wallis (New York: Macmillan, 1980), 20.
141 “contracts imply”: The Perfect Marriage production file, Box 79, #205, Hal Wallis Collection, Margaret Herrick Library.
143 “according to Douglas Dick”: personal interview, 11 July 2001.
143 “She now insisted”: phone conversation with Douglas Dick, 20 May 2008.
143 “arbitrary stand,” “legal steps”: letter from Wallis to Loretta, 10 June 1948, The Accused, Box 221 (x–y correspondence), Hal Wallis Collection, Margaret Herrick Library.
144 “When you were”: phone conversation with Donald Spoto, 11 May 2008.
146 “Selznick came upon an obscure play”: Dore Schary, Heyday: An Autobiography (Boston: Little, Brown, 1970), 140–46.
146 “sold the rights to RKO”: Rudy Behlmer, ed., Memo from David O. Selznick (New York: Avon, 1973), 427.
146 “I honestly feel”: Schary, Heyday, 144; “plunged into the role”: ibid., 145.
148 “Her knowledge”: Joseph Cotten, Vanity Will Get You Somewhere (San Francisco: Mercury House, 1987), 85.
148 “it opened at the Golden”: Bernard F. Dick, Forever Mame: The Life of Rosalind Russell (Jackson: University Press of Mississippi, 2006), 109.
149 “When Fredric March opened the envelope”: Mason Willey and Damien Bona, Inside Oscar: The Unofficial History of the Academy Awards, ed. Gail McColl (New York: Ballantine, 1987), 179.
151 “he screened a number of films”: Bernard F. Dick, Claudette Colbert: She Walked in Beauty (Jackson: University Press of Mississippi, 2008), 15.
151 “which reaped profits”: Richard B. Jewell, with Vernon Harbin, The RKO Story (New York: Arlington House, 1982), 228, 231.
151 “Fast served three months”: Victor Navasky, Naming Names (New York: Viking, 1980), 36.
151 “if the hearings had not been”: Larry Ceplair and Steven Englund, The Inquisition in Hollywood: Politics in the Film Community 1930–1960 (Garden City, NY: Anchor/Doubleday, 1980), 283.
153 “How much does Miss Young charge”: Lloyd Robson, Oh Dad! A Search for Robert Mitchum (Cardigan, Wales: Parthian, 2008), 170.
156 “a great Catholic,” “a great script”: Memo from Zanuck to producer Sam Engel, 6 July 1948, folder 1, Come to the Stable production file, Twentieth Century-Fox Collection, USC, Cinema–Television Library. Further details about the film’s production history derive from this source.
156 “a comedy about faith”: Memo to Engel, 1 March 1948, ibid.
157 “an American raised”: “A Brief by Oscar Millard, 1/7/48,” ibid.
160 “Despite some unfavorable press”: Annette Bosco, Mother Benedict: Foundress of the Abbey of Regina Laudis (San Francisco: Ignatius Press, 2007), 332.
160 “unreal,” “contrived,” “crude”: Michael Abel to Zanuck, 8 May 1950, #2444-1a, Half an [sic] Angel production file, Twentieth Century-Fox Collection, USC, Cinema–Television Library.
160 “totally unacceptable,” “without dignity,” “breasts,” “the unconscious”: Letter from Joseph Breen to Jason S. Joy, 12 April 1950.
161 “on 23 April 1951”: Eric Bentley, Thirty Years of Treason (New York: Viking, 1971), 382.
162 “My only worry”: “Transcript of a 2 May 1950 Conference with Mr. Zanuck on Temporary Script, “ #2444-2, Half an Angel (Half Angel) production file, Twentieth Century-Fox Collection, USC, Cinema–Television Library.
163 “although he includes it in his filmography”: Dore Schary, Heyday: An Autobiography (Boston: Little, Brown, 1979), 373.
165 “it was not Loretta”: folder 96, Y/Z, Sidney Skolsky Collection, Margaret Herrick Library.
167 “a low-budget production, “time clause”: Because of You (“Magic Lady”) production file, #1708, Universal Collection, USC, Cinema–Television Library.
168 “filmed over twenty-five days”: Daily Production Reports, It Happens Every Thursday production file, #1726, Universal Collection, USC, Cinema–Television Library.
171 “which aired on CBS”: Connie Billips and Arthur Pierce, Lux Presents Hollywood: A Show-by-Show History of Lux Radio Theatre and Lux Video Theatre, 1934–1957 (Jefferson, NC: McFarland, 1969).
171 “there was a read-through”: John Dunning, On the Air: The Encyclopedia of Old-Time Radio (New York: Oxford University Press, 1998), 378.
174 “charity children”: Charlotte Brontë, Jane Eyre (New York: Random House, 1950), 51.
174 “Reader, I married him”: ibid., 489.
177 “was broadcast to members of the military”: Dunning, On the Air, 238.
178 “Bolingbroke (to Gracie)”: Irving Sette, A Pictorial History of Radio (New York: Grosset & Dunlap, 1967), 81.
179 “LORETTA: George always looked”: Script #525, The George Burns and Gracie Allen Collection, USC, Cinema–Television Library.
180 “a friend,” “do as you truthfully,” “beautiful fruition”: Loretta Young, folder 502, Gladys Hall Collection, Margaret Herrick Library.
180 “the bleak western part”: Father Patrick Peyton, All for Her: The Autobiography of Father Patrick Peyton, C.S. (Garden City, NY: Doubleday, 1967), 11.
180 “Joyful,” “Sorrowful”: The Holy Rosary: Mysteries and Meditations (Conception, MO: The Printery House/Conception Abbey, 2004).
181 “a network made up of four stations”: Christopher H. Sterling and John M. Kittross, Stay Tuned: A Concise History of American Broadcasting (Belmont, CA: Wadsworth, 1990), 157–58.
181 “to kneel and recite”: Father Patrick Peyton, All for Her, 125.
181 “Gladys advised her”: Joan Wester Anderson, Forever Young (Allen, TX: Thomas More, 2000), 218.
181 “Loretta presented her”: ibid., 41.
182 “Loretta may well have had a vision,” “Medjugorje solidified”: ibid., 261, 264.
182 “her Noble Contribution”: Loretta Young, The Things I Had to Learn, as Told to Helen Ferguson (Indianapolis: Bobbs-Merrill, 1961), 249–50.
183 “Then, when you get them”: Father Patrick Peyton, All for Her, 126.
183 “proved an essential cog”: ibid., 129.
183 “The family that prays together”: ibid., 144.
183 “The inaugural program”: available through Audio Classics Archive (www.audio-classics.com). This invaluable archive includes many Family Theater broadcast CDs. For specifics, contact terryotr@earthlink.net.
184 “the finest feminine speaking voice”: Loretta Young, The Things I Had to Learn, 252.
185 “By 1949”: Charles Higham, Hollywood at Sunset (New York: Saturday Review Press, 1972), 67.
186 “Holiday Hotel”: The title was soon changed to Don Ameche’s Musical Playhouse; see Tim Brooke and Earle Marsh, The Complete Directory to Prime Time Network and Cable TV Shows, 1946–Present (New York: Ballantine, 2007), 621.
187 “never get another script,” “next natural step”: Chicago Tribune, 6 December 1989, 7.
187 “Producer Jerry Wald”: Los Angeles Times, 10 March 1960, B9.
188 “I can give a better”: Dean Jennings, “Indestructible Glamour Girl,” Saturday Evening Post, 28 May 1960, 108.
188 “Loretta felt they were friends”: “Loretta Young and Television,” publicity release, n.d., Hal Humphrey Collection, USC, Cinema–Television Library.
189 “[Loretta Young] has succumbed”: Los Angeles Times, 18 September, 1952, 30.
189 “Loretta and Lewis splitting the stock”: Lewis, Uncommon Knowledge, 246.
190 “I am not going to interfere”: Hal Humphrey, The Mirror, 24 June 1953, 35.
190 “It’s hard to explain”: Los Angeles Times, 6 May 1953, 32.
191 “for spiritual reasons”: USA Today, 11 December 1989, 03D.
191 “tops,” “end this affair”: Photoplay, November 1948, 6, 8.
191 “A producer”: ibid.
191 “These letters seemed”: Movieland, December 1945, 14+.
192 “ambiguous replies”: Movieland, March 1948, 8+.
201 “Loretta was honored”: For a list of her awards, see Loretta Young, The Things I Had to Learn, as Told to Helen Ferguson (New York: Bobbs-Merrill, 1961), 246–54.
201 “In fall 1953”: William Manchester, The Glory and the Dream: A Narrative History of America, 1932–1972 (New York: Bantam, 1975), 473–513.
202 “she was rushed to St. John’s Hospital”: Los Angeles Times, 11 April 1955, 1.
203 “abdominal adhesions”: ibid., 1 July 1955, 26.
203 “finally discharged”: ibid., 2 August 1955, 11.
203 “Finally, I have”: Lewis, Uncommon Knowledge, 277.
203 “called her own meeting”: ibid.
203 “It was awfully hard”: Gregory Speck, “Loretta Young,” Interview, May 1987, 63.284; “her weekly schedule”: Loretta Young Production Schedule, July–March Inclusive, Helen Ferguson Public Relations, Hal Humphrey Collection, USC, Cinema–Television Library.
205 “seeking control of Lewislor”: Hollywood Citizen-News, 14 March 1958, 13.
205 “he agreed to relinquish”: Los Angeles Times, 8 April 1958, 88.
205 “He filed suit”: Los Angeles Mirror, 14 March 1958, 10.
205 “finally dismissed”: Los Angeles Times, 16 March 1966, D18.
205 “with Loretta receiving a dollar”: Los Angeles Times, 21 August 1969, C2.
205 “nice,” “tough”: Lewis, Uncommon Knowledge, 344–45.
205 “dreadful profession”: ibid., 296.
207 “estranged husband, “their estrangement”: Los Angeles Herald Examiner, 10 September 1962, D1.
208 “front-page news”: Los Angeles Times, 28 April 1957, 1.
208 “had assumed an aura”: Gregory Speck, “Loretta Young,” Interview, May 1987, 60.
209 “I must say,” “One could”: ibid., 63.
215 “shouting orders”: Los Angeles Times, 3 August 1962, C14.
215 “Dear Portland”: ibid.
216 “nothing dramatic happened”: ibid., 6 April 1965, 3.
216 “The case was resolved”: ibid, 17 April 1965.
219 “creative differences”: Los Angeles Times, 12 April 1985, 22.
220 “$559,000”: ibid., 18 January 1972, 3.
220 “a series of letters”: ibid., 24 January 1972, B6.
221 “depicts unnatural sex acts”: ibid., 2 August 1970, B2.
221 “The subject is me”: Chicago Tribune, 31 May 1985, 5.
222 “Each time I pass”: phone conversation with Donald Spoto, 11 May 2008.
222 “Oh! Don’t sit there!”: email from Dennis Dolph, former Sony executive and founder of Sony Pictures Classics, 2 January 2010.
222 “God gave me”: TV Guide, 16 May 1959, 19.
223 “career retrospective”: Los Angeles Times, 11 April 1981, D7.
223 “other than actresses”: Variety, 6 June 1988, 8.
223 “Ten of the sixteen”: Judith Mayne, Directed by Dorothy Arzner (Bloomington: Indiana University Press, 1974), 204.
224 “You … bring your sensitivity”: Variety, 6 June 1988, 8.
224 “braided,” “demanding,” “So tonight”: Variety, 27 June 1988, Loretta Young Clippings File, Margaret Herrick Library.
225 “My belief”: Peter Swet, “The Secret Strength of Loretta Young,” Parade, 28 January 1990, 9.
227 “an awfully big adventure”: James M. Barrie, Peter Pan, in The Plays of J.M. Barrie (New York: Scribner’s, 1956 rpt.), 308.
228 “It took out”: Tom Green, “Loretta Young, Forever a Lady,” USA Today, 11 December 1989, 3D.
232 “strapless black satin gown”: Tom Gilatto and Anne Marie Otey, “The Gift of Garb,” People, 12 May 1997, 44.
234 “designed by Garrett Van Pelt”: Donald Spoto, “Loretta Young: The Farmer’s Daughter on Sunset Boulevard,” Architectural Digest, April 1994, 216–19.
234 “Tiffany lamps,” “silver crucifix”: Lena Williams, “At Home with Loretta Young, Life Waltzes On,” New York Times 30 March 1995, C3.
236 “supposedly did for other actresses”: conversation with former publicist Walter Seltzer, 31 May 2009.
237 “revealed the names,” “spelled the end”: Donald Stenn, Clara Bow, Runnin’ Wild (New York: Cooper Square Press, 2000), 217, 222.
237 “The headline,” “Colorado senator”: Samantha Barbas, The First Lady of Hollywood: A Biography of Louella Parsons (Berkeley: University of California Press, 2005), 293, 296.
238 “elephant ears,” “Dumbo”: Lewis, Uncommon Knowledge, 144.
240 “the essence of Mama”: Jill Spalding, Only the Best (New York: Harry Abrams, 1985), Loretta Young Clippings File, Margaret Herrick Library.
241 “If I could talk,” “Daughter of Deception”: People, 18 April 1994, 54.
243 “Wyman converted to Catholicism”: Lawrence J. Quirk, Jane Wyman: The Actress and the Woman, An Illustrated Biography (New York: Dembner Books, 1986), 118, 119.
243 “She was my fairy godmother”: Bruce Fessier, “Loretta Young remembered as a special friend,” The Desert Sun, 17 August 2000, 1.
244 “she was ready to die”: ibid.
244 “on 7 October”: James Robert Parish, The Hollywood Book of the Dead (New York: Contemporary Books/McGraw-Hill, 2002), 247.