Abbreviations
AFI American Film Institute
BFI British Film Institute
CF Carl Foreman
COMPIC FBI investigation Communist Influence in the Motion Picture Industry
FZ Fred Zinnemann
HH Hedda Hopper
HR Hollywood Reporter
HUAC House Committee on Un-American Activities
LAT Los Angeles Times
LOC Library of Congress
MB Martin Berkeley
MPAPAI Motion Picture Alliance for the Preservation of American Ideals
MHL Margaret Herrick Library, Academy of Motion Picture Arts and Sciences
NARA National Archives and Records Administration
NYPLNew York Public Library
NYT New York Times
NYU New York University
RB Rudy Belhmer
SEP Saturday Evening Post
SK Stanley Kramer
UCLA Special Collections Library, University of California at Los Angeles
USC Cinematic Arts Library, University of Southern California
1“A character is defined”: Arthur Miller, Timebends: A Life, (New York: Grove Press, 1987), p.367.
2“What is a Communist?”: Baarslag, “Know Your Enemy,” National Americanism Commission, 1948, American Legion files, MHL.
3“worse than … heart disease”: in Ellen Schrecker, Many Are the Crimes (Boston: Little, Brown, 1998), p. 144.
4“As I was writing the screenplay”: CF, “Anatomy of a Classic, Series 1,” p. 4, AFI.
5“A morality play”: Maltin, The Making of High Noon documentary film.
6“All I knew then”: Cooper, as told to George Scullin, “Well, It Was This Way,” Part 1, SEP, 2/18/56, p. 110. Cooper says he was nine or ten at the time, but Russell’s mural was unveiled in 1912, when Cooper was in private school in England. He couldn’t have seen it until his return a year later.
7For accounts of Cooper’s parents and his early life, see SEP, 2/18/56 and 3/3/56, and Jeffrey Meyers, Gary Cooper: American Hero (New York: Cooper Square Press, 2001), pp. 1–9.
8“swinging an ax at twenty below”: SEP, Part 3, 3/3/56, p. 56.
9the chinook: Patricia Neal, As I Am (New York: Simon & Schuster, 1988), p. 89.
10learned to speak French, solve an equation: Ibid., p. 90.
11“My wrists were too long …”: SEP, Part 3, 3/3/56, p. 56.
12“The more ferociously I scowled …”: SEP, Part 4, 3/10/56, p. 92.
13“did his own stunt work”: Homer Dickens, The Complete Films of Gary Cooper (New York: Citadel Press, 1970), pp. 6–7.
14It required only one take: William Wellman Jr., Wild Bill Wellman (New York: Pantheon, 2015), pp. 194–5.
15Cooper “does something mysterious”: Hanks introduction in Maria Cooper Janis, Gary Cooper Off Camera (New York: Harry N. Abrams, 1999), p. 6.
16“I’ve come to Hollywood”: in Jane Ellen Wayne, Cooper’s Women (New York: Prentice Hall, 1988), p. xiv.
17She saw the “terror in all their faces”: in Scott Eyman, The Speed of Sound (New York: Simon & Schuster, 1997), p. 160.
18“a slim young giant”: Owen Wister, The Virginian (New York: Grosset & Dunlap, 1929 edition), p. 4.
19the Norman Rockwell portrait: Deborah Solomon, American Mirror: The Life and Art of Norman Rockwell (New York: Farrar, Straus and Giroux, 2013), p. 140.
20“I began to wonder who I was”: SEP, 3/24/56, p. 142.
21“Inwardly I was a scared young man”: Ibid., 3/31/56, p. 129.
22“There were departments for everything”: Jeanine Basinger, The Star Machine (New York: Knopf, 2007), pp. 13–14.
23For an expert account of the studio system and its evolution, see Thomas Schatz, The Genius of the System (New York: Pantheon, 1988).
24“the absolute power of the tyrant”: Isherwood, Prater Violet (Minneapolis: University of Minnesota, 2001), p. 60.
25“Underneath is hostility”: Powdermaker, Hollywood: The Dream Factory (Boston: Little, Brown, 1950), p. 29.
26“Pretty young girls”: Ibid., p. 23. Other Powdermaker quotes are from pp. 37, 303, 254, and 44.
27“not a word of anyone else’s”: Ring Lardner Jr., I’d Hate Myself in the Morning (New York: Nation Books, 2000), p. 85.
28Sometimes you have to fake it: F. Scott Fitzgerald, The Love of the Last Tycoon (New York: Scribner, 1941, 1993 edition), pp. viii and 122.
29“These immigrants, these Jews”: in Jean Stein, West of Eden (New York: Random House, 2016), p. 43.
30“As soon as the Jews gained control”: in Neal Gabler, An Empire of Their Own (New York: Crown, 1988), p. 277.
31“a rotten bunch of vile people”: in Scott Eyman, Lion of Hollywood (New York: Simon & Schuster, 2005), pp. 342–3.
32most ignored … their Jewishness: see Gabler, pp. 1–7.
33Ronald Reagan in his memoirs: Ronald Reagan, An American Life (New York: Simon & Schuster, 1991), pp. 81–2.
34“We did everything for them”: Basinger, p. 47.
35“It had restrictive clauses”: Tino Balio, Grand Design (Berkeley: University of California, 1995), p. 145.
36stars were at the heart: Ibid., p. 144.
37“actors are just a commodity”: “Cooper is ‘Too Busy’ to Marry,” Chicago Herald, 3/31/29, NYPL.
38“Kid, stay out of Hollywood”: Meyers, p. 74.
39“Millions are to be grabbed”: Ben Hecht, A Child of the Century, (New York: Simon & Schuster, 1954), p. 446.
40“There is no avoiding the fact”: Lillian Ross, Reporting Back: Notes on Journalism (Washington: Counterpoint, 2002), p. 4.
41No room for Carl: CF, “Wagons West,” unpublished manuscript. Chetwynd Files.
42carried a torch for A Midsummer Night’s Dream: Reminiscences of CF (April 1959), Columbia Center for Oral History Collection, pp. 1664–5.
43It was an inauspicious beginning: Details of CF’s family and childhood in Chicago are from transcripts of CF Tapes, VIII-A and IX, 12/22-3/77, Chetwynd Files.
44Al Capone opened a soup kitchen: http://www.chicagotribune.com/
45“you couldn’t walk three doors”: in Studs Terkel, Division Street: America (New York: Pantheon, 1967), p. 130.
46he kept small bank accounts: Jonathan Foreman, “Witch-hunt,” Index on Censorship, June 1995, p. 97.
47“When I went home … I was a Communist”: CF Tape 13, 1/3/78, pp. 2–3.
48“I am pleading for the future”: CF, “Wagons West,” draft, p. 3. Chetwynd Files.
49“the individual in conflict”: CF, “Virtue and a Fast Gun,” Observer Magazine, 10/10/65, p. 23.
50“the movies are the great mass art”: CF, “For The Movies,” NYT Magazine, 4/29/62.
51He made forty dollars a week: CF Tape 15, 1/5/78.
52He’d exhaust himself: CF Tape, 14-B, pp. 1–2.
53“The second coming of Foreman”: CF Tape 13, 1/3/78, pp. 2–3.
54“You could hear the cars”: CF Tape IV Side 1, 12/20/77, p. 8.
55such respected luminaries: Nancy Lynn Schwartz, The Hollywood Writers’ War (New York: Knopf, 1982), pp. 163–4.
56“Mr. Foreman, you’re a writer”: CF Tape IV, p. 2
57“I ate the salami”: Ibid., p. 5.
58For a comprehensive history of the founding of the Screen Writers Guild, see Larry Ceplair and Steven Englund, The Inquisition in Hollywood (Garden City, NY: Anchor Press, 1980), pp. 16–46; Schwartz, pp. 12–81.
59“a device of Communist radicals”: in Ceplair and Englund, p. 37.
60“All you’ll get from me is shit!”: Dore Schary, Heyday (Boston: Little, Brown, 1979), p. 109.
61350 active party members: Ceplair and Englund, p. 66.
62“The men were always working”: Tender Comrades, Patrick McGilligan and Paul Buhle, eds. (Minneapolis: University of Minnesota Press, 2012), p. 164.
63“The people we met were very bright”: CF Tape 23, 1/19/78, p. 2.
64“The greatest contribution”: Irving Howe, World of Our Fathers (New York: Harcourt Brace Jovanovich, 1976), p. 345.
65Communism … “is the Americanism”: Larry Ceplair and Christopher Trumbo, Dalton Trumbo (Lexington: University Press of Kentucky, 2015), p. 139.
66“The activities I engaged in”: Collins HUAC testimony, Part 1, 4/12/51, p. 257.
67“When I joined the party”: Schwartz, p. 88.
68“the best social club in Hollywood”: Tender Comrades, p. 486.
69“because she was new in Hollywood”: Philip Dunne, Take Two (New York: McGraw-Hill, 1980), p. 111.
70“it sounds silly”: Norma Barzman, The Red and the Blacklist (New York: Nation Books, 2003), p. 29.
71the growth of mass culture: Michael Kazin, American Dreamers (New York: Knopf, 2011), pp. 157–9.
72“We knew who we were”: Nora Sayre, Previous Convictions (New Brunswick, NJ: Rutgers, 1995), p. 300.
73had “resorted to duplicity and conspiracy”: “The Moscow Trials: A Statement by American Progressives,” New Masses, 5/3/1938.
74“it was also a fatal flaw”: Author’s interview with Michael Kazin. See also Kazin, Chapter 5.
75“The Party tried very hard”: Tender Comrades, p. 209.
76“We treated the Soviet Union”: Steve Nelson, American Radical (Pittsburgh: University of Pittsburgh, 1981), pp. 249–50.
77For an excellent account of the Schulberg incident, see Schwartz, pp. 168–70.
78“The Yanks are not coming”: in John Cogley, Report on Blacklisting (Fund for the Republic, 1956), p. 39–40.
79“the industrious Communist tail”: Dunne, p. 128.
80Dore Schary was stunned: Schary, p. 107.
81“A Communist was an agent”: Ceplair and England, p. 151.
82“If you left the Party”: CF Tape 23, 1/19/1978, p. 8.
83“It was one of the happiest nights”: Schwartz, p. 174.
84“the most excruciatingly exciting thing”: Foreman, “Do It Yourself,” draft article for Screen Writers, 4/12/61, pp. 1–2. CF Papers, BFI.
85It was only a slight improvement: CF Tape 22, 1/18/78.
86A compelling account of Hollywood’s involvement with the U.S. Armed Forces during WWII is Mark Harris, Five Came Back: A Story of Hollywood and the Second World War (New York: Penguin, 2014).
87The Army had a dossier: CF Tape 23, 1/19/78.
88“That picture was made”: Jack L. Warner, HUAC, Hearings Regarding the Communist Infiltration of the Motion Picture Industry, 10/20/47, p. 152.
89“He had a brooding aura”: CF Tape No. 23, 1/19/78.
90“Charisma, the kind of natural power”: “The Oscars 2015: For the Birds,” New Yorker, 2/23/15, http://www.newyorker.com/
91Cooper was thriving: Ethan Mordden, The Hollywood Studios (New York: Knopf, 1988), p. 50.
92“All typing stopped”: Budd Schulberg, Moving Pictures (New York: Stein & Day, 1981), p. 266.
93“Gary kisses the way Charles Boyer looks”: Basinger, p. 8.
94“she was extremely shy”: Author’s interview with Maria Cooper Janis.
95“There is not an actor alive”: Janis, p. 7.
96“Every line in his face”: Frank Capra, The Name Above the Title (New York: Macmillian, 1971), pp. 182–3.
97“the honest and forthright fellow”: NYT, 3/13/41.
98“The personality of this man”: David Thomson, Gary Cooper (Faber & Faber, 2010), p. 89.
99“Ingrid loved me more than any woman”: Wayne, p. 100.
100“His clothing is handsome”: Flair, July 1950, pp. 46–7.
101“with a paycheck of $482,820”: Associated Press, 8/2/41, Cooper Clip Files, NYPL for the Performing Arts.
102“It’s astonishing to review”: Basinger, p. 78.
103“Words had to fit him”: Jesse Lasky Jr., Whatever Happened to Hollywood? (New York: Funk & Wagnalls, 1975), p. 200.
104“My screen character saw himself”: SEP, Part 8, 4/7/56, p. 36.
105“I was always conscious …”: SEP, Part 7, 3/31/57, p. 130.
106“As a persona he’s just … perfect”: Author’s interview with Jeanine Basinger.
107“the American Democrat, Nature’s Nobleman”: Richard Schickel, Schickel on Film (New York, William Morrow, 1989), p. 181.
108“if you make me the hero”: Thomson, p. 11.
109He tried to avoid playing Sergeant Alvin York: SEP, Part 8, 4/7/56, p. 120.
110Cooper himself gives the best account of the Gehrig speech: Ibid., pp. 120–1.
111“They came to our land”: Gabler, pp. 345–6.
112“a slime mongering kike,” Ibid., p. 355.
113among the “hard-nosed Red-baiters”: Schary, p. 86.
114“the biggest anti-Semite in Hollywood”: Hood Memo to Hoover, 3/22/44, FBI COMPIC, MPAPAI file, Leab Microfilm.
115“I’m gonna be one who rides”: in Schwartz, p. 63.
116“It’ invariably transformed Dad”: Otto Friedrich, City of Nets (London: Headline, 1986), p. 168.
117“For ten years I’ve been sitting back:” Hollywood Citizen-News, 2/8/44.
118“a subversive and dangerous organization”: “Double-Cross in Hollywood,” New Leader, 7/15/44.
119“Motion pictures are inescapably”: MPAPAI 1944–55, f.288, HH papers, MHL.
120“Why is Hollywood so Red?”: The Vigil, published by the MPAPAI, March 49, vol. 3, no. 1, MHL.
121“the subversive minority has connived”: Los Angeles Examiner, 2/9/44, Part 1, p. 10.
122Portrait of Wilkerson is from HR, 11/30/12; Marcia Borie, “Reporting on Hollywood for Sixty Years,” HR, 9/28/90; and the W. R. Wilkerson Bio File, MHL Core Collection.
123“Dear Irving” letter: Wilkerson to Thalberg, undated, Thalberg and Shearer Papers, f.2, MHL. There is no record of Thalberg’s reply.
124“not only employing but actually pampering”: “Tradeviews,” HR, 12/3/46.
125“part of a gigantic, world-wide conspiracy”: FBI, COMPIC, Internal Security Report, 2/18/43, Leab microfilm.
126fifty-six known Communist Party members: Memo, COMPIC File 100-138754, 10/13/1944, Leab microfilm.
127“the strength of Communist influence”: “Communist Infiltration of the MPI,” COMPIC Bureau File No. 100-138754, 12/12/45, F. 8, Communist Activity in the Entertainment Industry bureau files, MHL.
128 See also memos in FBI File No. 100-15732, 12/12/1946 and 1/3/1947, Leab Microfilm.
129FBI break-ins of CP offices in L.A.: Athan Theoharis, Chasing Spies (Chicago: Ivan R. Dee, 2009), p. 59.
130Brewer profile is from “Roy M. Brewer,” UCLA Oral History; and LAT obituary, 9/23/06.
131“That’s Bob Rossen”: Kirk Douglas, I Am Spartacus (New York: Open Road, 2012), p. 11.
132“There was no namby-pamby with me”: Brewer, UCLA Oral History, p. 128.
133Cooper’s role with the Hollywood Hussars: Anthony Slide, “Hollywood’s Fascist Follies,” Film Comment, 27:4, 7/8/91, pp. 63–4.
134“The Hussars are not the social group”: Milwaukee Journal, 1/9/35.
135“There’s no question in my mind”: Meyers, p. 206.
136“Terrible thing, civil war”: in Alvah Bessie, Inquisition in Eden, (Berlin: Seven Seas, 1967), pp. 120–1.
137“lukewarm Americans”: in Meyers, p. 206.
138Cooper’s role in the 1944 campaign: George Carpozi Jr., The Gary Cooper Story (New Rochelle, NY: Arlington House, 1970), pp. 167–9.
139“Despite the evidence before their eyes”: “Attack!!! Why?” MPAPAI pamphlet, FBI File 100-271036-12.
140“There is no substitute”: Fitzgerald, p. 122.
141“trim and rugged-looking”: Crowther, “Hollywood’s Producer of Controversy,” NYT Magazine, 12/10/1961.
142“I’ve never been close”: “High Noon for Stanley Kramer,” LAT, 2/24/78.
143For SK profile, see Donald Spoto, Stanley Kramer: Film Maker (New York: Putnam, 1978; Stanley Kramer, It’s a Mad Mad Mad Mad World (New York: Harcourt Brace, 1997), and Walter Wagner, You Must Remember This (New York: G.P. Putnam’s Sons, 1975) p. 284.
144“Neither of us had a brother”: CF Tape 23, 1/19/78.
145“I can’t say we were ever close”: SK, p. 18.
146“We saw things pretty much alike”: Ibid., p. 7.
147He … formed a company: SK, “The Independent Producer,” Films in Review II:3, 3/51, p. 4.
148George Glass profile: author’s interview with Stephen Glass.
149“George is the most brilliant”: SK interview, Champlin Collection, f. 70, MHL.
150the system was creatively sterile: SK audio interview with Michael Hoey, USC. 10/3/73.
151“The team of Kramer and Foreman”: Fleischer, Just Tell Me When to Cry (New York: Carroll & Graf, 1993), p. 35.
152“The walls were thin”: Dimitri Tiomkin, Please Don’t Hate Me (Garden City, N.Y.: Doubleday, 1959), p. 226.
153For studios and the rise of TV: Schatz, p. 412; and for statistics of the Radio, Electronics, and Television Manufacturers Association, www.earlytelevision.org/
154“euphoria steadily gave way”: Kinden, “SAG, HUAC, and Postwar Hollywood,” in Thomas Schatz, Boom and Bust: The American Cinema in the 1940s (New York: Scribner’s, 1997), p. 328.
155impact of the Supreme Court decision: Ibid., pp. 329–32.
156“The war is not yet over”: Friedrich, p. 179.
157“He was frustrated”: Author’s interview with Maria Cooper Janis
158he turned Hawks down: Todd McCarthy, Howard Hawks (New York: Grove Press, 1997), p. 412.
159“We all rolled on the floor”: SK interview, Champlin Collection, MHL, f. 70.
160“He understood Midge Kelly”: CF Tape 24 (2), 1/20/78.
161“My agency was against it”: Author’s interview with Kirk Douglas.
162“You mean Melvyn Douglas?”: in Wagner, p. 287.
163Portrait of Bruce Church comes from author’s interview with his daughter, Joanne Johnson Taylor, and from Roger Powers, “The Accidental Salinas Movie Magnate,” www.rogerpowers.com/
164a post-midnight meeting … with Howard Hughes: Kramer, pp. 30–31.
165“Many times I would hear Stanley:” CF Tape 24 (2) 1/20/78.
166“Before he is through”: SK, “The Independent Producer,” p. 2.
167“He could be stubborn”: Taradash Oral History, pp. 200 and 222, MHL.
168“Well, Boy Wonder”: SK interview, Champlin Collection, MHL, p. 23.
169Home of the Brave preparation: see SK, pp. 33–43.
170“We rehearsed for two weeks”: NY Daily News, 4/6/1949.
171Crowther review, NYT, 5/13/49.
172For Schary profile, see Schary, pp. 6; for Crossfire, see pp. 156–7.
173“It feels fine, hearing at last”: HR, 7/25/47, p. 6.
174“The greatest dangers to liberty”: Olmstead v. United States, 1928.
175For descriptions of Thomas, see Gabler, pp. 360–1, and Friedrich, p. 299–300.
176“brilliantly trained, fanatically dedicated”: Robert Stripling, The Red Plot Against America (Drexel Hill, Pa.: Bell Publishing, 1949), pp. 14 and 70.
177“Those who deny freedom …”: Schrecker, p. 139.
178“a revival of the Red hysteria”: Commager, “Who Is Loyal to America?” Harper’s 195:4168, September 1947, p. 195.
179[Jack Warner] “made a mistake”: HUAC Hearings. 10/20/1947, p. 14.
180“one of the main centers”: Walter Goodman, The Committee (New York: Farrar, Strauss and Giroux, 1968) pp. 202–3.
181“hundreds of very prominent … people”: in Friedrich, p. 300.
182“I do think it is long overdue”: Hoover memo, 6/24/1947, FBI Files f.9, MHL.
183Information on the FBI’s COMPIC campaign in Hollywood is from Theoharis, pp. 151–63; as well as from Leab Microfilm collection.
184Reagan had been an FBI informant: “Reagan acted as informant for FBI,” San Jose Mercury News, 8/25/85.
185“He has no fear of anyone”: “Ronald Reagan,” Smith Report, 9/2/47, Reagan file, HUAC.
186“men like Cooper”: “Gary Cooper,” Smith Report, 9/2/47.
187“the hard cold facts”: “Eternal Vigilance Is the Price of Liberty” full-page ad in HR, 10/1/47, p. 7.
188The building was renamed the Cannon House Office Building in 1962.
189“shadow-less as an operating theater”: J. Hoberman, An Army of Phantoms (New York: New Press, 2011), p. 53.
190“in love with a bullhorn”: Edward Dmytryk, Odd Man Out (Carbondale: Southern Illinois University, Press, 1996), p. 40.
191“bigots, racists, reactionaries”: David Halberstam, The Fifties (New York: Villard, 1993), p. 12.
192“Ideological hermits”: HUAC Hearings, 10/20/47, p. 10.
193“You could see the sweat”: Stein, p. 71.
194“I cannot prove it”: Dmytryk, p. 45.
195“As a writer try to get five minutes”: Lawson was likely referring to The General Dies at Dawn (1936), written by Clifford Odets. Cooper plays a freedom fighter working for a popular uprising against a Chinese warlord. “Your belief is in your own very limited self,” he defiantly tells the warlord. “Mine is in people. One day they’ll walk on earth straight, proud, men, not animals, but with no fear of hunger or poverty.” Moffitt’s HUAC testimony, 10/21/47, pp. 111.
196“the story of a boy and girl”: Mayer, HUAC Hearings, 10/20/47, p. 74.
197“The mere presentation”: Rand, Ibid., 10/20/47, p. 87.
198“If I were even suspicious”: Taylor, Ibid., 10/22/47, p. 168.
199“I abhor their philosophy”: Reagan, Ibid., 10/23/47, pp. 217–8.
200“I believe I have noticed some”: Cooper, Ibid., pp. 219–221.
201“I didn’t feel it was on the level”: Ibid., p. 224.
202“actors haven’t any business at all”: Meyers, p. 213.
203“All our hotel rooms were bugged”: Howard Koch, As Time Goes By (New York: Harcourt Brace Jovanovich, 1979), p. 167.
204“Tell the boys not to worry”: in Stefan Kanfer, A Journal of the Plague Years (New York: Atheneum, 1973), pp. 41–2.
205Schary suggested a variation: See Schary p. 162, and Ceplair and Trumbo, p. 203.
206“an illegal and indecent trial”: Lawson, HUAC Hearings, 10/27/47, p. 291.
207“a parade of stool pigeons”: Alan H. Ryskind, Hollywood Traitors (Washington: Regnery, 2015), p. 214.
208“Kill him, kill him!”: Sayre, p. 365.
209“A damaging impression”: Johnston, HUAC Hearings, 10/27/47, pp. 306–8.
210“I could answer it”: Lardner, Ibid., 10/30/47, p. 481.
211“I want to tell you something”: Schary, HUAC Hearings, 10/29/47, p. 472.
212Schary’s complete testimony is on pp. 469–78.
213Brecht as “a good example”: Brecht, Ibid., 10/30/47, p. 504.
214“We will resume the hearings”: Thomas, HUAC Hearings, Ibid., p. 522.
215“overtones of a broken record,”: Stripling, p. 75.
216“to clean its own house”: Thomas, Ibid., p. 522.
217Johnston wasted no time: Ceplair and Englund, pp. 328–9.
218“Do it, maybe they won’t go crazy”: Schary, pp. 164–5.
219“liars, hypocrites, and thieves”: Ceplair and Trumbo, p. 217.
220“I was clobbered”: Schary, p. 166.
221“I just came over to watch”: Kanfer, p. 99.
222the testimony would be “sensational”: XCIV, HR, 42, 7/31/47, p. 1.
223“somehow he had managed to disappear”: Dunne, p. 198.
224“One of the names”: Congressional Record, 93, 7, 11/24/47, p. 10792.
225Waldorf Statement: Schary, pp. 369–70.
226“to view them as arrogant”: Gabler, pp. 373–4.
227“They were frightened to death”: Ibid., p. 385.
228“the actual decision had been made on Wall Street”: Dunne, p. 21–2.
229proceeded to summon talent agents: Ceplair, “SAG and the Motion Picture Blacklist,” National Screen Actor, 1/88. http://www.cobbles.com/
230“I’m No Communist”: Photoplay, May 1948, p. 54.
231“You fuckers sold me out!”: Schwartz, p. 281.
232“How the Reds made a sucker out of me:” Robinson, American Legion Magazine, 10/52.
233Schary “acts dazed and looks sick”: Jennifer Langdon, Caught in the Crossfire (New York: Columbia University Press, 2009), p. 72.
234“behaved cowardly and cruelly”: Schary, p. 163.
235“That’s all they had to do”: Lillian Ross, “Come in, Lassie!” New Yorker, 2/21/48 p. 48.
236“It is odd how one finds”: Fred Zinnemann, A Life in the Movies (London: Bloomsbury, 1992), p. 220.
237The party was wrong to cling: CF Tape XXXV, Feb. 1978.
238FZ portrait: Zinnemann, pp. 7–16, and author’s interview with Tim Zinnemann.
239“My contribution”: As I See It, documentary film by Tim Zinnemann.
240“A Jew was an outsider”: Zinnemann, p. 11.
241Flaherty “didn’t know the meaning of compromise”: Ibid., p. 25.
242FZ at MGM’s shorts department: The Films of Fred Zinnemann, Arthur Nolletti Jr., ed. (Albany: State University of New York Press, 1999), p. 39.
243“They were speechless”: Marsha Hunt Interview , Pt. 2, Film Noir Foundation, 7/3/12, https://www.youtube.com/
244“a lean and wiry mountain climber”: George Stevens Jr., Conversations with the Great Moviemakers (New York: Vintage, 2007), p. 409.
245“the only person”: Nolletti, p. 12.
246“a gentleman and a dictator”: J.E. Smyth, Fred Zinnemann and the Cinema of Resistance (Jackson: University of Mississippi Press, 2014), p. 23.
247“My father had this courtly manner”: Author’s interview with Tim Zinnemann.
248“it doesn’t strike me very funny”: FZ letter to Minnelli, 8/28/44, FZ Papers, 106.f-1555M, MHL.
249“a perfectly normal, charming little boy”: Zinnemann, pp. 53–4.
250“MGM was happy”: Ibid., p. 57.
251“We were as on an island”: Ibid p. 55.
252“Where did you find a soldier”: Ibid., p. 69.
253“a major revelation”: NYT, 3/24/48.
254“the tiny little people”: Zinnemann, pp. 71–3.
255“Working in a small rental studio”: Ibid., p. 81.
256“I decided I had had enough”: Ibid., p. 77.
257Behind the story for The Men: Kramer, pp. 45–6.
258“The wonderful thing”: in Stevens, p. 421.
259“I can walk!”: Kramer, p. 48. Also “Preparing for Paraplegia,” Life, 6/12/50, pp. 129–132.
260“The courage, resolution, and compassion”: Houston, “Kramer and Company,” Films in Review, 1952, p. 22.
261“the best story in town”: Glass letter to HH, 4/13/50, HH Papers, f. 1994, MHL.
262a full-page ad: HR, 3/1/51.
263“the marriage has turned unhappy”: CF Tape XXVI, Side 1, 1/23/78.
264newspaper and subway ads: Schoenfeld letter to FZ, 7/11 and 7/19/50; and FZ’s letter to Schoenfeld, in FZ Papers, n.d., MHL.
265“Not only the nose”: CF Tape XXVI, Side 1, 1/23/78.
266“They were three men”: author’s interview with George Stevens Jr.
267“Katz was a polished, well-groomed man”: Schary, pp. 99–100.
268“Nobody can be as happy”: Eyman, Lion, p. 238.
269They called the new enterprise: Kramer, p. 75.
270“Thank you very much”: CF Tape 25/1, 1/20/78, p. 13.
271“vulgar, domineering, semi-literate”: Kramer, p. 74.
272Stanley authorized him: Ibid., pp. 75–6.
273“the most important deal we’ve ever made.”: Bob Thomas, King Cohn: The Life and Times of Harry Cohn (New York: G.P. Putnam’s Sons, 1967), p. 319
274“His eyes were the most fabulous shade”: Neal, p. 89.
275“an Ayn Rand character”: Friedrich, p. 398.
276“Cooper seems slightly pathetic”: NYT, 7/9/49.
277“She had an amazing ability”: Author’s interview with Maria Cooper Janis.
278Neal portrait is from As I Am.
279“a worthy adversary”: Ibid., p. 84.
280“Gary was famous”: Ibid., p. 87.
281“He’d been taught”: Ibid., p. 88.
282“No one else mattered”: Ibid., p. 91.
283“Have had one hell of a rush”: Patricia Neal Papers, Northwestern University.
284“Baby, I’m sorry”: Neal, pp. 100–1.
285“She was black and blue”: Author’s interview with Kirk Douglas.
286“My mother said to me”: Author’s interview with Maria Cooper Janis.
287“If I had been older and wiser”: Neal, pp. 118–9.
288“Gary Cooper has always talked very freely”: HH column, 6/3/52.
289“My hands were calloused”: Ibid., 8/28/47.
290Hopper portrait is from Hedda Hopper, The Whole Truth and Nothing But (New York: Doubleday, 1963), pp. 60–63.
29122.8 million copies: Jennifer Frost, Hedda Hopper’s Hollywood (New York: New York University, 2011), p. 18.
292“The studios created both of them”: Amy Fine Collins, “Idol Gossips,” in Vanity Fair’s Hollywood, Carter and Friend, eds. (New York: Viking Studio, 2000), p. 152.
293HH’s hats: Ibid., p. 154.
294“Hi, slaves!”: Frost, p. 50.
295“Duel in the Sun is sex rampant”: HH Columns 1947: 1/3; 3/7; 3/14, MHL.
296“To Victor Belong the Spoils”: HH Columns, 1947: 4/20; 9/28; 12/7/47.
297“Hedda, you old hop toad,”: HH Papers, f. 940, 11/15/40, MHL
298“Emphasizing the negative”: HH column, 5/21/51, HH Scrapbook 19, MHL.
299“She’ll have a hard time”: “Telephone conversation between HH and Cooper, May 1951,” HH Papers f.940, MHL.
300“He’s looking for happiness”: HH column, 5/24/51.
301“He was operated on once”: HH column, 8/6/51.
302“He just wanted to hide”: Tender Comrades, pp. 191–2.
303“The concept of loyalty”: Commager, “Who Is Loyal to America?” Harper’s, 195:4168, September 1947.
304he wanted no printed evidence: Ceplair and Trumbo, pp. 211–2.
305“It’ll ruin you”: Schwartz, p. 265.
306“This is a coercive way”: Zinnemann, p. 251.
307Rouben Mamoulian … rose to say: Robert Parrish, Growing Up in Hollywood, (New York: Harcourt Brace Jovanovich, 1976) p. 208. Two of the best accounts of the Screen Directors Guild meeting can be found in Parrish, pp. 201–10, and Kenneth L. Geist, Pictures Will Talk (New York: Scribner’s, 1978), pp. 173–206, plus the De Mille/SDG f. 1 file, MHL.
308Five days after the meeting: Geist, p. 205.
309“I had contempt for that Congress”: Hollywood on Trial documentary.
310“Hey, Bolshie!”: Lester Cole, Hollywood Red (Palo Alto: Ramparts, 1981), p. 317.
311party leaders generally warned their members: Cogley, p. 43.
312“The very nature of the … process”: Ibid., p. 197.
313“routine Hollywood fare”: Ibid., p. 206.
314“There was no plot”: Quoted in Red Hollywood, a documentary film written and directed by Thom Andersen and Noel Burch that offers a compelling analysis of the impact of leftist writers on the content of the films they helped make. My account relies heavily on their original work.
315“Joseph P. Kennedy … offered to pay”: Kazin, pp. 186–7.
316“As time went on”: See Red Hollywood.
317“the unthinking carelessness”: Screen Guide, p. 1, MPA file 303, MHL.
318“Don’t tell people”: Ibid., pp. 7–8 and 12.
319“People got scared”: Poe file, interview with William Wyler, 5/17/55, MHL.
320“I now read scripts”: Ross, p. 46.
321the shelving of Hiawatha: NYT, 9/13/50, p. 40.
322“The nation was ready,” Halberstam, p. 9.
323“with the firing of ‘The Ten’ ”: “Hollywood Meets Frankenstein,” Nation, 6/28/52.
324A leaked FBI report: “FBI report names Hollywood figures.” 6/8/49, www.history.com/
325Robinson was “an active cooperator”: Box 14, Executive Session Transcripts, Budenz, 3/14/51, p. 4. HUAC files, NARA.
326“My name has been besmirched”: Robinson, Ibid., 12/21/50, pp. 7 and 10.
327Cold war paranoia was reflected: See “Preview of the War We Do Not Want,” Collier’s, 10/27/51.
328“Where Communism is concerned”: Schrecker, p. 141.
329“You have to forget”: Ibid., p. 146.
330“The paranoid spokesman sees”: Hofstadter, “The Paranoid Style in American Politics,” Harper’s, Nov. 1964.
331“the grapevine has it”: HR, 1/10/51, p. 2.
332“Many of the 568 are innocent”: Billy Wilkerson, “TradeViews,” HR, 1/25/51, p. 2.
333“we’d like to suggest”: Ibid., 3/12/51, p. 2
334Characterization of HUAC members: Frank J. Donner, The Un-Americans (New York: Ballantine, 1961), p. 42.
335“I thought he was simply gorgeous”: Betty Garrett, Betty Garrett and Other Songs (Lanham, Md.: Madison, 1998), p. 70.
336“I feel I have done nothing wrong”: Parks’ quotation and the ones that follow are from HUAC Hearings into Communist Infiltration of Hollywood Motion-Picture Industry, Part 1, 3/21/1951, pp. 78–111.
337Joyce O’Hara … announced: Variety, 3/14/51, p. 1.
338Slaughter Trail scenes re-shot: Kanfer, p. 128.
339“I tell you frankly”: Parks, HUAC Executive Session, 3/21/51, p. 7, NARA.
340“It is no comfort whatsoever”: Ibid., p. 18.
341“When any member”: Maurice Zolotow, Shooting Star: A Biography of John Wayne (New York: Simon & Schuster, 1974), p. 245.
342 “The hell with Parks”: Hollywood Variety, 3/23/51.
343“Why so much emphasis?”: LAT, 3/26/51.
344“We do not want to associate”: L.A. Evening Herald Express, 3/23/51.
345“more than twelve Hollywood personages”: “12 Reported Names as Film Reds; More Stars to Talk,” International News Service, L.A. Examiner, 3/23/51.
346“by mutual consent”: Associated Press, L.A. Times Herald, 5/8/51, p. 3.
347“By going first Larry had shown”: Garrett, p. 140
348“They crucified Parks”: Author’s interview with Eve Williams-Jones.
349Gang wrote a letter: Gang letter to Hoover, 7/31/50; Hoover reply 8/15/50.
350Hayden file, HUAC files, NARA.
351“I feel like a bear”: Sterling Hayden, Wanderer (New York: Knopf, 1963), p. 375.
352“they want to put on a show”: Ibid., p. 386.
353“displayed like a service flag”: Ibid., p. 388.
354“the stupidest, most ignorant thing”: Hayden testimony, Part 1, 4/10/51, p. 144.
355“Their boundless bigotry”: Hayden executive session transcript, 4/4/1951, p. 43, HUAC Investigative Session, executive transcripts, Box 901, NARA.
356“courageous and forthright”: Ibid., p. 149.
357“consigned himself to oblivion”: Ibid., pp. 389–90.
358“That’s the bad part”: NYT, 4/15/1951.
359“a test of character”: Victor Navasky, Naming Names (New York: Viking, 1980), p. ix.
360“the committee is more un-American”: Donner, p. 36.
361“My life is an open book”: Garfield HUAC testimony, Part 2, 4/23/51, p. 358
362Garfield “did his best”: Goodman, p. 304.
363the FBI had opened a file: Larry Swindell, Body and Soul (New York: Morrow, 1975), p. 254.
364“came on like a penitent fox”: Kanfer, p. 140.
365a full-page ad: HR, 3/7/51, p. 12.
366“Well, today, among other things”: Ferrer testimony, HUAC Part 3, 5/22/51, p. 574.
367“Not that I know of”: Ferrer HUAC interview, 4/17/51, p. 18, Box 1334–70, NARA.
368“I am just wondering”: Gordon testimony, Part 4, 9/17/51, p. 1486.
369“I am a much older man”: Schoen testimony, Part 5, 9/21/51, pp. 1172, 1714.
370“The press does not merely mirror”: Donner, 148.
371“The tradition of objectivity”: Alan Barth, The Loyalty of Free Men (New York: Cardinal, 1952), p. 12.
372“Wipe the mud off his face:” Ibid., p. 82.
373“Politically Infantile Film Folk”: L.A. Times Herald, 7/30/51, p. 2.
374See Ceplair, “Reporting the Blacklist: Anti-Communist Challenges to Elizabeth Poe Kerby,” Historical Journal of Film, Radio, and Television, 28:2, June 2008, pp. 135–51. DOI: 10.1080/0143968080 2077139
375NYT firings: Sayre, p. 221; also Gay Talese, The Kingdom and the Power (New York: Dell, 1981, paperback) pp. 289–95.
376Bert Andrews of the NY Herald Tribune: Richard Kluger, The Paper (New York: Knopf, 1986), pp. 407–10, and 472–4.
377“People’s names have been mentioned”: Willner testimony, HUAC Part 2, 4/24/51, p. 383.
378Collins later said he had assumed: Navasky, pp. 229–30.
379rendered her an unfit mother: Sayre, p. 277.
380“I could not conceive”: CF Tapes, XXVIIa, 1/24/78.
381“You’re feeling kind of low”: Dmytryk letter, 7/25/50, Dmytryk File 2.24, MHL.
382“I was the only director”: Dmytryk, Odd Man Out, p 94.
383“I had to purge myself”: Ibid., p. 152.
384he gave them what they wanted: Dmytryk testimony, HUAC Part 2, 4/25/51, p. 437.
385“I didn’t want to be a martyr”: Hollywood on Trial documentary.
386“Of course, the whole story”: SK letter to Rudy Behlmer, 3/23/78, f.35, RB Papers, MHL.
387A United Nations representative: Rudy Behlmer, America’s Favorite Movies (New York: Frederick Ungar, 1982), pp. 269–70; also CF audio interview, RB Papers, MHL.
388“It was these events”: “Anatomy of a Classic: High Noon,” Series 1, p. 10, AFI.
389they carpooled to the studio: Fleischer interview for Darkness at High Noon, 12/15/00, pp. 2–3.
390A draft treatment: “High Noon,” An Original Story By Carl Foreman, 1/11/50, f.43, RB Papers.
391In a 1978 oral memoir, CF said it was his agent, Henry Lewis, who had warned him about “The Tin Star.” But the Sternad version is the one CF gave in a 1952 letter to Crowther and is more contemporaneous.
392“You risk your life”: Cunningham, “The Tin Star,” Collier’s, 12/6/1947.
393For a thoughtful discussion of the contrast between the short story and the film, see Phillip Drummond, High Noon (London: British Film Institute, 1997), pp. 60–1.
394he paid Cunningham eight hundred dollars: CF letter to SK Productions, 5/31/51, Chetwynd Files.
395“nothing short of a masterpiece”: FZ, p. 96.
396“I had grown up with the Western”: “Anatomy of a Classic: 2,” 2/27/76, p.10.
397“I was simply tired”: CF, “Virtue and a Fast Gun,” Observer Magazine, 10/10/65.
398“His films were … authentic”: Ibid.
399FZ’s love of Karl May: Author’s interview with Tim Zinnemann.
400“It’s a picture of conscience”: Nolletti, p. 15.
401High Noon plot details: “Some Notes About This Story,” Film Scripts Two, George P. Garrett, ed. (Milwaukee: Applause, 2013), pp. 40–1.
402“if I understand my characters”: CF, “Anatomy: 2,” pp. 3 and 9, AFI.
403“has enjoyed the prestige”: Character studies of Doane, Amy, Helen, and Pell appear in “High Noon: First Draft Outline,” 1/30/51, p. 1, RB Papers.
404“I was trying to write some women’s parts”: CF, “Anatomy: 2,” p. 24.
405Details of Warners contract: Meyers, p. 202.
406“The name of Gary Cooper”: CF Tapes, XXVII. Chetwynd Files.
407“Everybody felt he was old”: Hoey audio interview with SK, USC.
408“My concept”: Meyers, p. 239.
409Most previous accounts have put Cooper’s salary at $65,000. But a 12/22/52 letter from the William Morris Agency to FZ reports “Star’s Salary” at $100,000. B. 33. F.429, FZ Papers, MHL.
410Photos from New Year’s Eve, etc.: see Janis, Gary Cooper Off Camera.
411Salary figures are from an Inter-Office Correspondence, CF to SK, 8/29/51, f. 14, Chetwynd Files.
412Bridges profile and testimony: 10/22/51, HUAC B. 1.180–75, pp. 6 and 8.
413Bridges had been best man: Garrett, p. 72.
414willingness to work for … $750 a week: Donald Spoto, High Society (New York: Harmony, 2009), p. 68.
415“my life as a fairy tale”: Spoto, p. 7. Other details of Grace Kelly’s childhood and education are from Spoto and Robert Lacey, Grace (London: Sedgwick and Jackson, 1994).
416“beautiful in a prim sort of way”: Zinnemann, p. 100.
417“She was too young”: in Spoto, p. 75.
418“miles of empty space”: Zinnemann, p. 101.
419the location search: Behlmer, p. 274.
420For Crosby bio see American Cinematographer, 12/85, and Crosby microfiche file, MHL.
421Details of Williams’s early career: Elmo Williams, A Hollywood Memoir (Jefferson, N.C.: McFarland, 2006), pp. 16–17, 67–8. His decision to work on High Noon is from his audio interview with Rudy Belhmer, RB Papers, MHL.
422High Noon was not a priority: CF letter to Crowther, 8/7/52, Chetwynd Files.
423“The so-called ‘liberals’ were stunned”: Victor Riesel column, L.A. Daily News, 8/2/52, HH Papers f. 742, MHL.
424“I AM NOT NOW”: MB, 4/12/51, HUAC B.1168–70, NARA.
425“The reckless bigwigs”: MB, “Do we want to see scenarists behind bars?” in Navasky Papers.
426“Be kind to your sister”: MB, The Sparks Fly Upward, Act 3, Scene 3, p. 42, MB Papers, UCLA.
427“It’s been so empty”: MB, Obsession, pp. 10–11, MB Papers.
428“racing like the wind”: MB, Will James’ Sand, 6/12/48, pp. 118, MB Papers.
429led … Lardner … to the observation: Sayre, p. 333.
430“rather weakly handsome”: Tender Comrades, p. 122–3.
431“never written a great movie”: Author’s interview with Bill Berkeley.
432Collins’s memories of MB: Collins Executive Session, HUAC, 4/13/1951. NARA.
433“Berkeley had asked Collins”: Wheeler memo, MB file, HUAC, 5/14/51, NARA.
434“The Committee has … strong evidence”: Tavenner HUAC memo, 7/9/51.
435“the most important witness”: Wheeler to Tavenner, HUAC, 8/6/51.
436“a group of marooned sailors”: Cogley, p. 92.
437Carl … decided to begin: Behlmer, p. 279.
438“I honestly don’t remember”: CF, “Anatomy: 1,” p. 27, AFI.
439summary of High Noon: Script with FZ’s notes, FZ Papers, MHL.
440a pleasant young man: CF Tape VI, Side 2, p. 4, Chetwynd Files.
441“Who do you suppose”: CF letter to Crowther, p. 4.
442“No hero me, and no saint”: Ibid.
443Glass revealed that he, too, had been subpoenaed: CF Tape, XXVII-B. Also see CF letter, p. 5.
444“It was now happening to me”: CF audio interview with Behlmer, MHL.
445“I’m not leaving the picture”: CF Tape, XXVII-B.
446Do you have a lawyer?: Ibid.
447his clients never initiated: Navasky interview with Gang, p. 2, n.d., Navasky Papers, NYU.
448Martin Gang profile: Oral History by Stephen Lesser, 7/28/75, p. 9, Dorot Collection, NYPL.
449“Even when the big studios”: Ibid., pp. 20–1.
450“Movie people are like everybody else”: Ibid., p. 89.
451“The industry expert”: Gabler, p. 376.
452“they’re human beings”: Navasky interview, p. 12.
453Wheeler … was “a nice man”: Ibid., p. 37.
454“I didn’t like the committee”: Gang Oral History, p. 80, Dorot, NYPL.
455“It was such a cowardly thing”: CF Tape XXVII-B, Side 2.
456“He had set out to frighten me”: CF Tape XXXVII-A.
457“one of the twelve most important”: Wheeler Memo, 4/11/51. HUAC file, NARA.
458Rossen profile is from Alan Casty, Robert Rossen (Jefferson, N.C.: McFarland, 2013), and Paul Buhle and Dave Wagner, A Very Dangerous Citizen (Berkeley: University of California, 2001), pp. 110–11.
459“Now I had inherited Bob”: CF Tape 24 (2) 1/20/78) P. 6.
460Cohn … agreed to represent Carl: CF Tape VI, 12/21/77, p. 9.
461“You will beat them”: Ibid., p. 2.
462diminished Fifth and “you can’t win”: “Dialogue on Film: Carl Foreman,” American Film, 4/79, p. 36.
463“Always bear in mind”: CF Tape VI, p. 5.
464“Morality, we are told”: Navasky, Naming Names, p. 427.
465“We worked together beautifully”: CF letter to Crowther, p. 5.
466“It soon became obvious”: Ibid., p. 4.
467problems with the location shoot: Michael F. Blake, Code of Honor (Lanham, Md.: Taylor, 2003), has the best and most detailed description of the various sets.
468Columbia Ranch history: Steven Bingen. Warner Bros.: Hollywood’s Ultimate Backlot (Lanham, Md.: Taylor, 2014), p. 224.
469Guilty by Suspicion set: Ibid., p.235.
470“We agreed … we would do nothing”: Interview with Crosby, f.43, RB Papers.
471“The makeup men were busy”: Blake, p. 20.
472time would finally stand still: Zinnemann, p. 109.
473FZ’s personal script is in f.420 of FZ Papers, MHL.
474“Working fast is very helpful”: Nolletti, p. 29.
475Cooper attends rehearsals: Behlmer, p. 277.
476“I was searching”: Hoey audio interview with Bridges, 1/15/74, USC.
477“It seemed that the odds”: CF, “Anatomy: 3,” p. 28.
478“Everything was first take”: Crosby’s memories are from Lawrence Suid interview, 7/22/78, pp. 13–15. SUID, 1974–78, Box 127, MHL.
479Lighting problems: Suid interview: Crosby, p. 20. Hoey audio interview: SK.
480a huge Chapman crane: http://www.chapman-leonard.com/
481“It’s a pull-back-and-up”: Suid interview: Crosby, p. 12, MHL.
482“You could be a pretty good director”: Zinnemann, p. 110.
483Stanley felt compelled to “hedgehop”: Hoey interview with SK at USC.
484a letter from [Stanley] to Carl: Chetwynd Files, 9/14/51.
485“Floyd stood his ground”: Zinnemann, pp. 101–2.
486“It was supposed to be shot”: Hoey interview with SK, USC.
487“He seemed not to be acting”: Kramer, p. 70.
488“he was not my favorite”: Wagner, pp. 291, 294.
489“He made it so easy”: The Making of High Noon documentary.
490“She was miscast”: Spoto, p. 69.
491“From the very first day”: CF letter to Crowther, p. 6, Chetwynd Files.
492“We seemed to buck each other”: Ibid.
493“I think it stinks”: Glass’s HUAC executive session testimony: 9/5/51, p.15, NARA.
494The atmosphere got colder: CF Tape XXVIII-A.
495Carl was summoned to another meeting: CF Letter, p. 6.
496“You are hereby further instructed”: SK letter, 9/12/51, Chetwynd Files.
497“This was not my idea”: CF Tape XXVIII-A.
498“Tomorrow … I want you to go”: Ibid.
499Stanley went to Zinnemann, Cooper, and Church: Ibid. Also, CF Letter, p. 7.
500“neither we nor you”: SK letter to Foreman, 9/14/51, Chetwynd Files.
501“Well, you’ve won”: CF Tape XXVIII-A.
502“Let’s fight as long as we can”: CF, “Anatomy: 1,” p. 26.
503Stanley had reason to be anxious: see “Announcement of Courses,” Spring Term (1947), People’s Educational Center, CF file, HUAC, NARA.
504“the Kramer outfit is Red”: M. A. Jones Memo, re: SK, 2/7/55, p. 4. FBI files.
505“there was this veil of unspoken ideas”: Navasky, pp. 159–160.
506“My only problem with his stand”: Kramer, p. 86.
507He and I had a sad parting”: Ibid., pp. 87.
508“I am not going to hang anybody”: LAT, 9/20/51, p. 8.
509“If you name any names”: Ibid., p. 1.
510“a moment of panic”: MB testimony, HUAC, Part 4, 9/19/51, p. 1577.
511“His job was so good”: Ibid., p. 1581.
512“I will not mention a name”: Ibid., p. 1582.
513“My dad was not cruel”: Author’s interview with Bill Berkeley.
514Jerome … objectives: MB testimony, p. 1584.
515“that very excellent playwright”: Ibid., p. 1586.
516“the grand Poo-Bah”: Ibid., p. 1590.
517And then Carl Foreman: Ibid., 1599. Remaining quotes are from MB testimony, pp. 1595–1612.
518“What you have done”: MB Executive Session, 9/19/51, p. 7, NARA.
519He heard Cooper call after him: CF letter to Crowther, p. 8.
520“Do what you have to do”: CF Tape XXVIII-B.
521“I have already told you”: CF testimony, HUAC: Part 5, p. 1756.
522Foreman had a persistent daydream: CF Tape, XXVIII-B. Chetwynd Files.
523“We were together”: Word Into Image: Carl Foreman documentary.
524“a very sincere tie”: Ibid.
525“It is a suspense story”: CF testimony, p. 1755.
526Wheeler was … whispering in his ear: CF Tapes XXVIII-B, p. 27.
527“I hope you will believe this”: CF testimony, p. 1765.
528“I personally will place no credence”: Ibid., p. 1768. Other quotes are from CF Testimony.
529Katz had told Losey: Ceplair, “Shedding Light on Darkness at High Noon,” Cineaste, Fall 2002, p. 21.
530“There is a total disagreement”: United Press report, Washington Post, 9/26/51.
531He called the office: CF Tape, XXVIII-B.
532“They didn’t wait the sixty days”: CF “Anatomy: 1,” p. 26. BFI.
533MPIC announced: L.A. Mirror, 9/26/51.
534“it’s obvious he’s got to go”: CF Tape, XXIX-A, p. 2.
535“The … countryside was ravishingly beautiful”: FZ, p. 106.
536“the engine’s brakes were failing”: FZ, p. 102.
537“People go to a Western”: CF, “Anatomy: 3,” pp. 21–2.
538“Stanley liked it”: Ibid., p. 22.
539Fred insisted that he had hated the sub-plot: FZ, pp. 106 and 110.
540Carl supports Williams’s claim: 1982 letter from CF to Elmo Williams, p. 3. Chetwynd files.
541“My father did not tell me”: Jordan Riefe, “The fabulous Bridges boys,” 8/11/14, http://www.theguardian.com/
542“He was a sweet man”: The Making of High Noon documentary.
543“He was wonderful to work with”: Author’s interview with Roberta Haynes.
544“she was very serious”: Cooper interview, 1955, HH Papers, f.980, MHL
545“She fills a much needed gap”: Ibid., p. 12.
546“He’s the one who taught me”: George Scullin, “Grace Kelly: The Girl Who Dares to Do the Forbidden and Get Away with It!” Kelly File, NYPL.
547“Grace almost always laid the leading man”: Gene Sheppard “Grace Kelly: Hollywood’s Tarnished Princess,” Hollywood Studio Magazine, 20:11, 11/87.
548“I was used to being snubbed”: Neal, pp. 122–3.
549Grace’s sister Lizanne tagged along: Lacey, p. 118.
550“It’s good to be skeptical”: Author’s interview with Jeanine Basinger.
551“I used to work with her a lot”: CF: “Anatomy: 2,” p. 68.
552“I wanted a Mexican gal”: Hoey interview with SK, USC.
553Jurado profile: “Jurado, Katy,” Latinas in the United States: A Historical Encyclopedia. Vicki L. Ruiz and Virginia Sanchez Korrol, vol. 2. (Bloomington: Indiana University, 2006), p. 358.
554“You look into Gary Cooper’s face”: Spoto, p. 75.
555“All I do is use my instinct”: Nolletti, p. 17.
556Planning for the gunfight: “The Choreography of a Gunfight,” Sight and Sound, 22:1, 7–9/52, pp. 16–17.
557Comparative costs of High Noon and Shane: Blake, pp. 105–6.
558“One or two secretaries … dropped in”: CF letter to Crowther, p. 9.
559“I was convinced of Foreman’s loyalty”: in “Gary Cooper to Stay Out of Film Deal” by Hedda Hopper, LAT, 11/2/51.
560“differences of opinion”: Agreement between Stanley Kramer Productions and Carl Foreman, 10/22/51, Chetwynd Files.
561Carl and Cohn later put the final figure: CF Tape, XXIX-A, 1/27/78. Various accounts in earlier books have put the settlement amount at $250,000, but have presented no documentation.
562“what are you doing here, Bud?”: CF Tape, XXVI, Side 2.
563Gang wrote letters: Gang to Roy M. Brewer, 4/14/53, Navasky Papers, NYU.
564“Didn’t work for several years”: Maltin, The Making of High Noon.
565“they would certainly need the money”: CF Tape XXVIII-B, pp. 16–17.
566Chamberlin got $750: SK Co. Inter-Office Correspondence, 8/29/51, Chetwynd.
567“Both … had been named”: 1943 Tenney Report, p. 150. LOC. See also “Information from the Files of the Committee on Un-American Activities … on Mary Virginia Farmer,” Farmer HUAC file, NARA.
568“My present occupation is an actor”: Chamberlin and Wood’s exchange, HUAC Hearings, Part 4, 9/18/51, pp. 1505–7
569Wood cut her off: HUAC Hearings, Part 5, 9/21/51, p. 1737.
570“Never have I felt … so deservedly”: “Statement of Mary Virginia Farmer,” www.eaglesweb.com/
571“Hitherto I had been quite busy”: Corey Testimony, HUAC Hearings, Part 5, 9/21/51, p. 1733.
572“All I had to do”: Bob Thomas, “Jeff Corey Is Back from 10 Year Exile,” Associated Press, published in the LA Examiner, 1/20/61.
573“I don’t know if it was a blacklist”: Lawrence H. Suid interview with Crosby, 7/22/78, p. 27, FZ Papers, b.127, MHL.
574“Crosby was … not a Communist”: “Floyd Crosby,” Internet Encyclopedia of Cinematographers, www.cinematographers.nl/
575Foreman … was forming his own production company: Daily Variety, 10/25/51.
576“Use my name,”: Meyers, p. 248.
577“It’s not a gesture”: CF Tape, XXIX-A.
578“You mustn’t let him down”: Meyers, p. 248.
579Chadwick and Trilling’s warnings: Daily Variety, 10/31/51.
580Jack Warner had called him: CF Tape XXVI, Side 2.
581“Was Wayne pressuring him?” Author’s interview with Maria Cooper Janis.
582“I’m amazed to hear”: HH Column, LAT, 10/30/51.
583“My only desire, Miss Hopper”: CF Telegram, 10/30/51, HH Papers.
584“Okay, Mr. Foreman, that is $32 worth”: HH Column, LAT, 11/1/51.
585“My opinion of Foreman has not changed,”: LAT, 11/2/51.
586“Gary Cooper is the finest kind of an American”: Stuart Kaminsky, Coop (New York: St. Martin’s Press, 1980), p. 175.
587“I don’t care what Joe Ferrer says”: CF Tape XXXV, 2/6/78.
588Carl told Wayne: CF Tape XXIX-A.
589“shoot the wounded”: Garry Wills, John Wayne’s America (New York: Simon & Schuster, 1997), p. 197.
590Carl had one … meeting … with Martin Berkeley: CF Tape, XXIX-B, 1/27/78.
591“Maybe you ought to go”: CF Tape VI, 12/21/77, p. 8.
592“My partners … saw their own futures”: CF interview, 4/59, p. 17, Columbia University Center for Oral History Collection.
593“If they’d taken a stand”: Author’s interview with Walter Bernstein.
594“There’s no underestimating”: Author’s interview with George Stevens Jr.
595Carl booked a one-way passage: CF Tapes, XXX-A and B.
596“I can write my own ticket here”: CF letter to FZ, 8/5/52, FZ Papers B.103.
597“I make terrible pictures”: CF Tape XXX-B.
598“every page was agony”: CF Tape XXXI-A.
599“I had it very bad”: “Dialogue on Film: Carl Foreman,” American Film, 4/79.
600“I finally got tired”: CF letter to Crowther, 8/7/52, p. 10.
601“It’s nice to be wanted”: Ibid., p. 11.
602“What’s happening?”: CF Tape XXX-B.
603“The whole fabric of one’s existence”: CF Tape XXIX-B, 1/27/78.
604the subplot with Toby: FZ has implied that he did not include these scenes in his rough cut, but both Carl Foreman and Elmo Williams say he did.
605“I was terribly disappointed”: Kramer, p. 73.
606“He intimated to me”: Williams audio interview. RB Papers, MHL.
607“Every time you left Cooper”: Ibid.
608“I went out and shot”: Williams interview, Darkness at High Noon, 11/29/00, Tape 1. Williams in his memoirs, published in 2006 when he was 93, also claims CF flew to Washington to testify twice before a Senate committee and fled to London after his second appearance. These “facts” are wrong.
609“Stanley’s talking to George”: audio interview with Williams, RB Papers, MHL.
610Two of the more imaginative versions of Williams’s tale can be found in Ronald L. Davis, The Glamor Factory (Dallas: Southern Methodist University, 1993), pp. 280–2; and Geraldine Fabrikant, “Grace on the Cutting Floor,” New Times, 3/18/1977.
611“I hate to defend myself”: Williams interview for Darkness at High Noon.
612“Now Elmo was a very good editor”: Hoey audio interview with SK, USC.
613“I was certainly aghast”: Spoto, Stanley Kramer, p. 103.
614Stanley claims it was he, not Williams: Ibid., p. 73.
615“Kramer did not cut … the picture”: Suid interview with Elmo Williams, 8/2/78, p. 1, B.127, FZ Papers, MHL.
616“He cut it brutally”: CF Letter to Crowther, p. 10.
617“Elmo Williams is … the most creative editor”: Ibid.
618In a 1982 letter: Chetwynd Files.
619“the demon editor”: CF letter to Arthur Knight, 7/12/82, Chetwynd Files.
620“wanting to avoid unpleasant … disputes”: FZ letter to Maria Cooper Janis, 6/14/88, quoted in Inside High Noon documentary.
621“Music has always produced”: Dimitri Tiomkin and Prosper Buranelli, Please Don’t Hate Me, (Garden City, N.Y.: Doubleday, 1959) p. 10. Tiomkin profile and account that follows is based largely on the book.
622the Homeless Dog: Ibid., p. 26.
623“like loving a beautiful woman”: Ibid 121.
624“Walk like a man”: Ibid., p. 122–3.
625When Tiomkin won an Oscar: Christopher Palmer, The Composer in Hollywood, (London: T.E. Books, 1984), p. 118.
626“Having always been harassed”: Ibid., p. 211.
627“I remember that he wept”: Zinnemann, p. 85.
628compares Tiomkin’s scores: Palmer, pp. 120–1.
629“It isn’t orgasm music”: David Thomson, Showman: The Life of David O. Selznick (New York: Knopf, 1992,) p. 465.
630Williams’s use of temp tracks: See “The Relevance of Temp Tracks,” http://www.epicsound.com/
631“I find in cutting”: Behlmer audio interview with Williams, RB Papers..
632“I am not cowboy”: in Williams, p. 84.
633“looked like the ugliest duckling”: Tiomkin, p. 230. The account that follows: pp. 230–4.
634“Do Not Forsake Me”: Lyrics by Ned Washington, Music by Dimitri Tiomkin, c. 1952 (renewed) Volta Music Corp. Catherine Hinen and Patti Washington Music. All Rights Reserved. Used by permission.
635“The song at first glance”: Deborah Allison, “Do Not Forsake Me: The Ballad of High Noon and the Rise of the Movie Theme Song,” Cinema and Music, October 2003. http://senseofcinema.com/
636profile of Tex Ritter: see O’Neal, Tex Ritter. (Austin: Eakin Press, 1998).
637Ibid., p. 34.
638“Tex and his cowboys nearly fell”: Tiomkin, p. 270.
639“It wasn’t supposed to be”: O’Neal, p. 103.
640“The song … is the story line”: “High Noon Theme Sets Mood and Tells Story,” Billboard, 64:25, 6/21/52, p. 20. Author’s italics.
641they summoned Ritter: O’Neal, p. 103.
642“the only version … that ever rang true”: Ibid.
643“Tiomkin was very irritated”: Hoey interview with SK. This account matches Kramer’s versions in Mad Mad Mad Mad World, pp. 71–2, and Spoto, pp. 103–4.
644“what does a European Jew know?” Author’s interview with Tim Zinnemann.
645“What are you upset about?” Hoey interview with SK.
646“I can tell in five minutes”: LAT, 9/23/06.
647“no talent whatever is hired”: COMPIC memo, FBI LA Bureau, 100-15732, 11/30/54, p. 5, Leab microfilm.
648“I was blacklisted, I knew why”: Dmytryk, pp. 179–180.
649The American Legion played an important role: Cogley, pp. 124–7.
650For an excellent account of how the blacklist and graylist functioned, see Ceplair, “SAG and the Motion Picture Blacklist,” in National Screen Actor, 1/88.
651“I think Maltz hit the nail”: Hopper column, LAT 5/31/51.
652Berkeley met regularly: FBI COMPIC memo, 12/12/52, p. 14. Leab Microfilm.
653“Reagan and I spent countless hours”: Brewer, “Hollywood Whitewash of the Cold War’s Shameful Red Stain,” LAT, 2/6/02.
654Reagan … met his future wife: Reagan, An American Life, pp. 121–3.
655more than five hundred people: See Ceplair, “SAG and the Motion Picture Blacklist.”
656Sokolsky … personally had helped: Daily Variety, 92, no. 26, 7/12/56.
657“Our work will never finish”: MB column, LA Daily News, 8/2/52.
658“I am back on Freedom Road”: MB letter to HH, 9/22/51, HH Papers.
659“Believe me I’ll tell them”: MB letter to HH, 8/3/52.
660Berkeley names 21 more: see MB Executive Session, 1/29/52, HUAC Box 19 NARA.
661“And it would do your hearts good”: Ibid, pp. 2–3.
662“I cannot get a job”: Ibid., p. 7.
663“Ask yourself how many”: “Berkeley Charges Blacklisting by Reds Against Anti-Commies” n.d. Chetwynd file.
664“Berkeley is disgusted”: Wheeler HUAC memo to Russell, 11/7/51, NARA.
665“handled the producers with kid gloves”: MB letter to Wheeler, 1/7/52, HUAC.
666“If the Navy is eliminating this boy”: Wheeler letter, 7/12/53, HUAC.
667accusing … congressmen: MB “Red Congressmen?” American Mercury, 12/53.
668“The backbone of the Communist movement”: MB, “Reds in Your Living Room,” American Mercury, 8/53.
669“shocked beyond words”: Huston letter to Hogan, 8/23/52, f. 1100, Huston Papers, MHL.
670“If I accepted his offer”: Dunne, p. 215.
671“Metro Goldwyn Moscow”: Schary, p. 209.
672Hoover remained skeptical: FBI memo, SAC Los Angeles to Director, 1/2/51. FBI files, MHL.
673“What about Communists?” HH, “Man with a Mission,” Chicago Sunday Tribune, 7/27/52 Scrapbook 19, HH Papers, MHL.
674“a bitter and cynical hope”: The Hoaxters, LOC Motion Picture Collection.
675“A heavy cost in courage”: Schary, p. 241.
676“a vaporous and reckless romance”: NYT, 9/18/52.
677“it seethes with … emotionalism”: NYT, 4/9/52.
678“undoubtedly the greatest”: Hoberman, p. 195.
679“The answer is no”: Matthews, “Did the Movies Really Clean House?” American Legion Magazine, 12/51.
680“sickeningly accurate”: HH column, LAT, 11/28/51. In 1953 Matthews was named executive director of Senator Joseph McCarthy’s investigating subcommittee, but he was forced to resign after it was revealed he had written an article claiming 7,000 Protestant ministers were “party members, fellow travelers, espionage agents, party-line adherents, and unwitting dupes.” See Cogley, pp. 122–3.
681“You’ll never work in films again”: Interview with Marsha Hunt, 6/13/55, in E. P. Kerby papers, f.6, MHL; see also Tender Comrades, pp. 319–20.
682“I’m going to go back”: John Wayne on Oscar night, 1953.
683George J. Schaefer profile: NYT, 8/11/81.
684“A basic Western formula”: Variety, 4/29/52.
685its leaders were desperate: Behlmer, p. 288.
686“Every five years or so”: NYT, 7/25/52.
687“‘Do you know how good this is?’”: Hoey audio interview with SK, 10/3/73.
688“an American movie achievement”: New York Herald Tribune, 12/28/52.
689“a taut, sense-making horse opera”: Time, 7/14/52.
690box office achievements: Blake, p. 39.
691$2.5 million in eighteen weeks: Drummond, pp. 41–43.
692It became the eighth biggest: Variety, 1/7/53.
693For Cooper’s earnings, see Meyers, pp. 249–50.
694“It’s a great movie”: Author’s interview with Leonard Maltin.
695“Look, no one is there”: Lyman, “A Boy Shaped by High Noon,” NYT, 3/30/01.
696“Cooper is not just … Will Kane”: in Janis, Gary Cooper Off Camera, p. 6.
697“Dear Freddy”: f.428, FZ Papers, MHL.
698“a subtle attack”: Gwendolyn Foster, “The Women in High Noon,” Film Criticism, Spring/Fall 1994, p. 80.
699“The close-up is how”: Author’s interview with Charles Ramirez Berg.
700“What surprises us in retrospect”: Foster, p. 80.
701“It is the women who control”: Joanna E. Rapf, “Myth, Ideology, and Feminism in High Noon,” Journal of Popular Culture, Spring 1990, p. 79.
702“As lines of age have come”: Robert Warshow, The Immediate Experience (Garden City, N.Y.: Doubleday, 1962), p. 143.
703“a pathetic rather than a tragic figure”: Ibid., p. 149.
704“I don’t think a good sheriff”: McCarthy, Howard Hawks (New York: Grove Press, 1997), pp. 548–9.
705“runner-up” … “most overrated Western”: Andrew Sarris, “Western,” American Heritage, 50, no.3, 5/99, p71. Sarris’s most overrated Western was Cimarron (1931), the first to win an Oscar for best picture.
706“external and shallow”: Howard Hawks: American Artist, Hillier and Wollen, eds. (London: BFI, 1996), p. 33.
707“High Noon is not a Western”: Zinnemann, p. 67.
708“There was little regard”: Charles Silver, “Fred Zinnemann’s High Noon,” www.moma.org/
709“an expression of the genre”: Michael Selig, “High Noon,” Cinema Texas Program Notes, 16, no. 2, 2/28/79.
710For an entertaining summation of High Noon’s bastard cinematic children, see David Thomson, “The Winding Road of the Western Hero,” NYT, 8/20/00.
711“I saw no parallel”: Gavin Barrie interview with FZ, THE MOVIES, Museum of Modern Art, Job No. 5627/0188, p. 21.
712“a drama of one man’s bravery”: NYT, 8/3/1952.
713“There must be times”: “Darkness at High Noon,” The Nation, 176:2, 1/10/53.
714Pravda’s dismissal of High Noon: Jeremy Byman, Showdown at High Noon (Lanham, Md.: Scarecrow Press, 2004), p. 22.
715an “inflated archetype”: NYT, 5/22/07, p. E3.
716“What convinces in High Noon”: NYT, 7/13/12.
717Variety, 3/18/53, quoted in Byman, p. 24.
718“People were not really talking”: NYT, 3/30/01.
719“Looks to Sweep”: Variety, 3/18/53.
720“This is a rather stupid argument”: HR, 3/16/53.
721“We feel that the continued employment”: Tino Balio, United Artists (Madison: University of Wisconsin, 1987), p. 55.
722written reports to “Owen”: David N. Eldridge, “‘Dear Owen’: The CIA, Luigi Luraschi, and Hollywood, 1953,” Historical Journal of Film, Radio, and Television, 20:2, 2000.
723“none of the Kramer boys”: HR, 3/20/53.
724“spectacular but old-fashioned”: NYT, 3/29/53.
725“I still believe High Noon was the best”: Kramer, p. 73.
726“I’m over here in London”: CF Tape IV, p. 7.
727“Carl couldn’t get home”: Estelle Foreman interview, Darkness at High Noon, 1/17/01, p. 25. Chetwynd Files.
728“Carl was kind of a different man”: Ibid., p. 28.
729“It’s a cowardly business”: Author’s interview with Jonathan Foreman.
730By the end of the night: CF Tape 1, Part Two, BFI.
731“I felt it was important”: Ibid.
732“Carl changed completely”: Navasky interview with Estelle Foreman, 2/24/74.
733Dealings with the Rank Organisation: CF Tape, XXXI-A.
734An FBI memo: Memo 100-35625, 5/22/53, CF FBI file.
735“It was obvious”: CF Tape XXXI-A.
736Levy, Roberts, Shor, and Lang: See Memo from SAC, FBI LA bureau, to Hoover, 7/23/53, CF FBI file.
737“I felt terribly guilty”: CF Tape VI, p. 11.
738“He couldn’t live with the fact”: CF Tape XXX-B.
739“He was a very lucid”: CF Tape XXXI-A.
740“Carl, I’m your friend”: Author’s interview with Kirk Douglas.
741For a colorful and affectionate portrait of salon life at the Stewart-Wynter house, see Sayre, Previous Convictions, pp. 303–27.
742“The English assumed”: Ibid., p. 325.
743“I didn’t want to be part”: CF Tape 1, Part Two, BFI.
744“He handled himself magnificently”: Sidney Cohn Interview, CF Tape 1, BFI.
745Carl “was extraordinarily warm”: Michel Ciment, Conversations with Losey (London: Methuen, 1985), p. 133.
746“That kept me alive”: Ibid., p. 107.
747Evading Lela and Ginger Rogers: David Caute, Joseph Losey, (London: Faber and Faber, 1994), pp. 121–2.
748Barrymore had been pressured: Ibid., p. 107.
749“The English market wanted”: Ciment, p. 134.
750one of … Walter’s favorite films: Cohn, CF Tape 1, 2/17/77, Part 3, p. 5.
751“reason to believe”: David Caute, The Great Fear (New York: Simon & Schuster, 1978), p. 245.
752The panel relied on confidential information: Ibid., p. 245–6.
753the appeals board upheld the decision: “Memo for Case of Carl Nathan Foreman and Estelle Barr Foreman,” Passport Security Program, 10/4/56, HUAC Individual Name Files, Box 19. NARA.
754turn down … War and Peace: Rebecca Prime, Hollywood Exiles in Europe (New Brunswick: Rutgers, 2014), p. 70.
755“self-pity and rage”: CF Tape, XXX-B.
756A civil servant listened carefully: CF Tape VI, pp. 20–1.
757A judge ruled: “Film Writer Wins Battle,” NYT, p. 4, 1/14/56.
758“Paris was worth a mass”: CF Tape V-A, 12/20/77, pp. 10–11.
759Williams said he would charge: Evan Thomas, The Man to See (New York: Simon & Schuster, 1992), p. 73.
760Cohn set up a meeting: CF Tape 1, Part 3, pp. 3–4.
761“He’ll tell you all about it”: Ibid.
762“I had and have strong convictions”: “Testimony of Carl Nathan Foreman,” HUAC Executive Sessions, 8/8/56, p. 3, NARA.
763“a very unimportant little fellow”: Ibid p. 10.
764“I entered the party”: Ibid., p. 16. Subsequent quotes are from pp. 16–32.
765Cohn would later claim that the comittee had drastically edited the transcript. CF Tape 1, Part 3.
766eventually Cohn received a transcript: CF Tape 1, 12/17/77, Part 4, p. 1.
767“The artfully worded statement”: NYT, 3/11/57; see also Paul Jacobs, “Good Guys, Bad Guys, and Congressman Walter,” The Reporter, 5/15/58.
768a glittering party: Prime, p. 205.
769“to probe a report”: HR, 3/14/57, p. 2.
770“If Foreman can get away with it”: “Anti-Communist Front Is Crumbling in the Entertainment World,” Guardpost for Freedom, VFW, 4:4, 4/1/57, pp. 1–2.
771“until he testifies”: American Legion Firing Line, VI:14, 7/15/57.
772“not a formal hearing”: “Statement by Rep. Francis E. Walter,” 6/12/57, HUAC.
773“I wasn’t interested”: Jacobs, p. 31.
774“Nobody in the world”: LA Examiner, 6/3/57.
775“There was no proof”: Walter Bernstein, Inside Out (New York: Knopf, 1996), p. 261.
776“he made statements,”: in Navasky, p. 164.
777“Obviously there was corruption”: Ibid, p. 393.
778His old friend Hy Kraft: Hy Kraft, On My Way to the Theater (New York: Macmillan, 1971), p. 173.
779“he stooled”: Author’s (brief) telephone interview with Norma Barzman.
780“They were both island races”: CF, “Dialogue on Film,” American Film, April 1979.
781He bought a six-month option: CF Tape XXXI-A.
782“To me the ending is confusing”: Ibid., pp. 37–8.
783“The consequence of these hearings”: Joseph McBride, “A Very Good American,” Written By, February 2002.
784“Now that’s the sixty-four-thousand-dollar question”: Kevin Brownlow, David Lean: A Biography (New York: St. Martin’s Press, 1996), p. 388.
785Carl announced … in London: “Kwai His Script, Says CF,” United Press, 3/26/57.
786the Academy “had added a new trick”: “My Life on the Blacklist,” SEP, 10/14/61.
787“our bloody Oscar”: Miranda J. Banks, The Writers (New Brunswick, N.J.: Rutgers University, 2015), p. 115.
788“a custody arrangement”: Anthony Holden, The Oscars (London: Warner Books, 1994), p. 214.
789$250,000 for Carl, $10,000 for Wilson: Brownlow, pp. 387–8.
790a one-on-one session with Hedda Hopper: CF Tape XXXI-A.
791“the most un-American thing”: Playboy, May 1971, p. 82.
792“Wayne’s … senile maunderings”: Today’s Cinema, 5/16/71, Item 42. Personal Clippings, CF Collection, BFI.
793“I was in the counting house” and subsequent quotes: CF, “On the Wayne,” Punch, 8/14/74, pp. 240–42.
794“He decided we should move back”: Navasky interview with Estelle Foreman, 2/24/74, Navasky Papers.
795“He was very acerbic”: Author’s interview with Eve Williams-Jones.
796“I am indeed very happy”: CF letter to Claude Inverdane, 9/24/65, Part 6, Articles and Correspondence 1965, CF Collection, BFI.
797“That’s London”: “Carl Foreman’s London,” Saturday Review, 8/16/69.
798“It took me a long, long time”: “My Land of Hope and Glory,” John London interview with CF, Evening News, 5/27/72.
799“He recovered but the damage”: Author’s interview with Jonathan Foreman.
800“He was a mordant man”: Author’s interview with Lionel Chetwynd.
801“it was the opposite of High Noon”: Word Into Image: Carl Foreman.
802“On a technical level”: “The Road to The Victors,” Films & Filming, 9:12, 9/63.
803“It is galling to me”: Ibid.
804CF meeting with Churchill: Amanda and Jonathan Foreman, “Our Dad Was No Commie,” New Statesman, 3/26/99.
805“a backward look”: CF, “Road to the Victors.”
806“specious, sentimental, and false”: NYT, 12/20/63.
807“Carl laid his own job on the line”: Cole, pp. 382 and 390.
808“A Western of truly stunning absurdity”: NYT, 6/19/69.
809“a big balsa-wood monument”: NYT, 10/11/72.
810“Carl had a fit”: George Lucas interview, Darkness at High Noon, 2/12/01.
811“Your whole life will change”: CF, “Do It Yourself,” 4/12/61, draft for Screen Writers magazine, p. 4, Item 3: Articles 1961–2, CF Collection 2, BFI.
812“Carl absolutely adored Cooper”: Author’s interview with Eve Williams-Jones.
813“You know how much I have wanted”: Meyer, pp. 248–9.
814“They really liked each other”: Author’s interview with Maria Cooper Janis.
815“When the carving was over”: Cooper, “I Took a Good Look at Myself and This Is What I Saw,” as told to Leonard Slater, McCall’s, 1/61, p. 62.
816“I am uncomfortable”: Ibid., p. 138.
817“High Noon wasn’t new”: Ibid., p. 140.
818“I had worked with actors”: Dunne, p. 287.
819he stopped by Carl Foreman’s office: Author’s interview with Eve Williams-Jones.
820Arranging Fred Zinnemann’s remarriage: Janis, p. 98.
821Cooper’s declining health: Meyers, p. 314.
822“one of the bravest”: Draft piece by CF, Item 3, Articles 1961–2, BFI.
823Cooper’s last film: The Real West documentary, 1961.
824“like a continuous earthquake”: CF Tape, XXIX-B, 1/27/78.
825“Cowboys fight for justice”: Lech Wałesa, “In Solidarity,” Wall Street Journal, 6/11/04.
826Articles and headlines are from: Arizona Republic, 1/4/16; Edmonton Journal, 12/9/13; Chicago Daily Herald, 2/3/13; Salisbury (Maryland) Daily Times, 9/30/13; www.fryingpannews.org, 10/16/13; www.globalpost.com, 9/30/13; Mail & Guardian (Johannesburg, South Africa), 11/29/13; Kansas City Star, 3/7/14.
827“‘Run!’ shouted Ike”: Hoberman, “It’s Always High Noon at the White House,” NYT, 4/25/04.
828“High Noon has stayed with me”: Clinton quotes from Inside High Noon documentary.
829“This weary loner’s brave posture”: NYT, 4/25/04.
830Man’s Fate project: see FZ, pp. 208–9.
831“Carl Foreman’s High Noon is in fact NOT”: Unpublished letter, FZ to the Editor, The Observer, 10/12/65, b.103, FZ Papers, MHL.
832“a spiritual cousin:” “Fred Zinnemann: As I See It,” documentary by Tim Zinnemann.
833“There is a through line”: Author’s interview with Tim Zinnemann.
834“The Reds and their pals”: MB letter to Hopper, 10/31/53, HH Collection, MHL.
835“A plug from you”: MB to Hopper, 10/20/55.
836“self-esteem and importance”: FBI COMPIC Memo, 100-15732, 11/30/54, p. 30 Leab Microfilm.
837“There is no general authority”: Watkins v US, 6/17/57.
838“Kramer did not insist”: Joshua Smith, “The True Story of the Breaking of the Hollywood Blacklist,” press release, n.d.
839“We’ve lost the fight:” in Larry M. Wertheim, “Nedrick Young et al v. MPAA et al: The Fight Against the Hollywood Blacklist,” Southern California Quarterly, 57:4, Winter 1975, p. 389.
840“the danger and folly”: LA Examiner, 2/17/60.
841“un-American and reprehensible”: Independent Film Journal, 2/13/60.
842he debated McKneally: “Kramer Debates Legion Head,” NYT, 2/15/60.
843“Martyrdom comes hard”: Film Daily, 117: 85, 5/3/60.
844“It was fine”: “Kennedy Attends Movie in Capitol,” NYT, 2/5/61, p. 39.
845“unemployability by marriage”: Lardner, I’d Hate Myself, p. 139.
846“I know you named me”: Lee Grant, I Said Yes to Everything (New York: Blue Rider Press, 2014), p. 199.
847Lucille Ball: LAT, 11/24/76.
848Arens left the committee under a cloud: The Nation, May 14, 1960. 190:2.
849“moving relentlessly”: Richard Arens, “Dangers to U.S. Internal Security,” 6/22/59. National Education Program, p. 5, Arens file, HUAC Box 1487–76.
850“I know you will be disappointed”: MB letter to Navasky, 6/25/76, B.19, f.34.
851fiftieth anniversary of the Hollywood Ten: Greg Kritzman, “Hollywood Remembers the Blacklist,” Screen Actor, January 1998.
852members failed to stand: NYT, 3/21/99.
853“In his maniacal quest”: HR, 11/30/12.
854Dorothy B. Jones’s study: Cogley pp. 231–2.
855See Karina Longworth’s discussion of political movies, You Must Remember This podcast.
856“What I did not write about”: Author’s interview with Victor Navasky.
857“Gary Cooper in Europe”: Wall Street Journal, 8/23/15.
858“It’s too much to say”: Maria Cooper Janis, “The Tao of Cooper: Why High Noon Still Matters,” Time, 7/24/12.
859“We had shared a purgatory”: Neal, p. 358.
860The enduring economics of High Noon: “The Republic Pictures Film Library,” Film Score Monthly, 6/15/13. http://filmscoremonthly.com/
861“At the time I sold”: Kramer, p. 67.
862“the unhappiest period”: Ibid., p. 89.
863For the remaking of the studio system, see Schatz, Genius, pp. 4–5.
864“the apostle of the safely controversial”: CF, “Anatomy of a Classic”, 1, p. 27.
865“a deliberate hatchet job”: Author’s interview with Karen Kramer.
866“There were no heroes”: Ceplair, “Shedding Light on Darkness at High Noon,” Cineaste, Fall 2002, p. 22.
867“Why is it that some films”: This and subsequent quotes are from Hoey audio interview with SK, 10/3/73, USC.
868“The films you made”: David Robb, “Golden Globes’ Most Touching Moment.” Deadline Hollywood, 1/12/15.
869“A part of him wanted to come home”: Author’s interview with Jonathan Foreman.
870The Biko project was finally filmed in 1986 by Richard Attenborough as Cry Freedom, starring Kevin Kline, Denzel Washington, and Penelope Wilton.
871“Duke, I want you to meet”: Darkness at High Noon documentary.
872announced a deal: See “CF to Make Three Features, Two Major TV Projects, for Universal,” Universal Pictures Press Release, 7/17/78, Chetwynd Files.
873nonexclusive pact with Warner Bros.: “CF to WB in Spring,” Variety, 5/23/79.
874Weaver found a copy: John D. Weaver, Darkness at High Noon interview, 12/6/00, p. 8, Chetwynd Files.
875Weaver took the news: NYT, 3/16/85, p. 11.
876“I trust that you”: Dmohowski, “Under the Table: Michael Wilson and the Screenplay for The Bridge on the River Kwai,” Cineaste, Spring 2009, p. 21.
877“Every time I sat down”: CF interview with Ceplair, 5/19/77, Ceplair Files.