Tag Archives: Hollywood

Clarence Brown’s Legacy in Films

Image59.jpg

Brown and Jarman Jr. on the set of The Yearling,Courtesy of Claude Jarman Jr.

Though he crafted films that garnered thirty-eight Academy Award nominations, Brown is not as well remembered as many of his contemporaries. Historian Gwenda Young hopes to change that with the publication of Clarence Brown: Hollywood’s Forgotten Master, the first full-length biography of the seminal director. She recounts his upbringing as the son of hardworking Irish immigrants, as well as his work with stars such as Lionel Barrymore, Joan Crawford, Clark Gable, and Mary Pickford, which created his reputation for introducing new discoveries as well as revitalizing fading careers. Throughout his long tenure behind the camera, Brown defied expectations to create a lasting body of work that spanned Hollywood’s silent and golden eras.

Over the course of a five decade–long career, Brown directed numerous films that have stood the test of time—The Last of the Mohicans (1920), Anna Christie (1930), Anna Karenina (1935), The Human Comedy (1943), National Velvet (1944), The Yearling (1946), and Intruder in the Dust (1949), among others. Here, we have given you a look into a selection of Brown’s “starmaker” credits, of which have been remembered for defining Hollywood for decades.


The Great Redeemer, Maurice Tourneur Productions, 1920

The Last of the Mohicans, Maurice Tourneur Productions, 1920

The Foolish Matrons, Maurice Tourneur Productions, 1921

The Light In the Dark (short), Vitagraph Company of America, 1922

Don’t Marry for Money, Weber & North Productions, 1923

The Acquittal, Universal Pictures,1923

The Signal Tower, Universal Pictures, 1924

Butterfly, Universal Pictures, 1924

Anna Christie

Anna Christie, MGM, 1930

Smouldering Fires, Universal Pictures, 1925

The Goose Woman, Universal Pictures, 1925

The Eagle, Art Finance Corporation, 1925

Kiki, Norma Talmadge Film Corporation, 1926

Flesh and the Devil, Metro-Goldwyn-Mayer (MGM), 1926

The Trail of ’98, MGM, 1928

The Cossacks (uncredited), MGM, 1928

A Woman of Affairs, MGM, 1928

Wonder of Women, MGM, 1929

Navy Blues, MGM, 1929

Romance (uncredited), MGM, 1930

Inspiration, MGM, 1931

A Free Soul, MGM, 1931

Possessed (uncredited), MGM, 1931

 

 


National Velvet

National Velvet, MGM, 1944

 

Emma, MGM, 1932

Letty Lynton, MGM, 1932

The Son-Daughter, MGM, 1932

Looking Forward, MGM, 1933

Night Flight, MGM, 1933

Chained, MGM, 1934

Anna Karenina, MGM, 1935

Ah Wilderness!, MGM, 1935

Wife vs. Secretary, MGM, 1936

The Gorgeous Hussy, MGM, 1936

Conquest, MGM, 1937

Of Human Hearts, MGM, 1938

Idiot’s Delight, MGM, 1939

The Rains Came, Twentieth Century Fox, 1939

Edison, the Man, MGM, 1940

Come Live with Me, MGM, 1941

The Met in Bombay, MGM, 1941

Sadie McKee

Sadie McKee, MGM, 1934

The Human Comedy, MGM, 1943

The White Cliffs of Dover,MGM, 1944

The Yearling, MGM, 1946

Song of Love, MGM, 1947

To Please a Lady, MGM, 1950

The Schumann Story (short), MGM, 1950

It’s a Big Country: An American Anthology, MGM, 1951

When in Rome, MGM, 1952

Advertisements

The Taylor-Burton Diamond, Excerpts from My Life in Focus

On this day nearly fifty years ago (forty-nine to be exact), on October 24th, 1969, Richard Burton purchased the now-famous Cartier Taylor-Burton diamond as a present for Elizabeth Taylor. The diamond was rumored to have served as an apology after another one of their tumultuous arguments. The diamond was the first to ever be sold at public auction for over a million dollars, though the exact amount has never been disclosed.

04-01 copy

All of the photos from above come from Gianni Bozzachi’s photo collection and autobiography, MY LIFE IN FOCUS: A PHOTOGRAPHER’S JOURNEY WITH ELIZABETH TAYLOR AND THE HOLLYWOOD JET SET. Bozzachi recounts his own life story from humble beginnings to notoriety as an acclaimed photographer. In addition to his own remembrances, Bozzachi reveals private moments in the Taylor-Burton love story and includes photos of other notable stars, including Marlon Brando, Ringo Starr, and Audrey Hepburn.

Jarmila Novotná: Singer, Actress, Icon, Ambassador

“Glamorous yet sensitive, Novotná believed and proved that any kind of
music, any kind of art, can bring people together for the common good:
to resist tyranny, to celebrate freedom, to heal and to nurture.”
—Joyce DiDonato, Grammy Award winning mezzo-soprano

A legendary beauty, hailed as one of the greatest si9780813176116nging actors of her time, Jarmila Novotná (1907–1994) was an internationally known opera soprano from the former Czechoslovakia. She began her opera career as a teenage soprano and debuted at the National Theater in 1925. After leaving her homeland, she began performing all across Europe and the Metropolitan Opera in New York City.

Best known for her performances in Der Rosenkavalier, The Marriage of Figaro, and La Traviata, including over 200 performances at the Met, Novotná was an accomplished singer. Jarmila Novotná: My Life in Song offers Novotná’s perception of these great achievements, as well as with her ventures into modeling, theater, film, television, and radio. She continually defied the “sex siren” role that everyone from Franz Lehár to Louis B. Mayer wanted her to play. From the beginning of her career, she ignored the fascination that adoring men had for her uncommon beauty, choosing to embody her artistry in a variety of forms, including notable films like The Bartered Bride (1932), Frasquita (1934), and The Search (1948), which won her critical acclaim for her performance as a mother in search of her young son. She also used her fame to dame her a national heroine among the Czech people, serving as a cultural ambassador.

Editor William V. Madison brings Novotná‘s own English-language version of Jarmila Novotná: My Life in Song to readers for the first time. Throughout the memoir, Novotná shares stories of those she worked, her experience in the “unending party” that is Hollywood. She attended parties hosted by Mayer, co-founder of MGM Studios, who repeatedly offered her a movie contract. Novotná also offers profiles on the notable artistic figures who surrounded her, including singer Bing Crosby, Montgomery Clift,  composer Cole Porter, and conductor Arturo Toscanini, as well as dignitaries like Dwight Eisenhower and Tomáš Garrigue Masaryk, the first president of Czechoslovakia.

Lavishly illustrated with photos from her personal collection, her memoir not only recounts her remarkable life and career, but also shares stories of her interactions with other artistic luminaires whom she worked with in a variety of settings. She also witnessed and recorded her thoughts on the birth of an independent Czechoslovakia, the country’s takeover by the Nazis, and its fall to the Soviets. With a foreword by late opera critic Brian Kellow, the autobiography sheds light on the fascinating life of one of the greatest opera singers of the twentieth century.

An event celebrating the exclusive English-language release of her best-selling memoir will be held at 7 pm Wednesday, October 10 at the Bohemian National Hall in New York City. William V. Madison will speak at the celebration, which will also feature Novotná’s granddaughter, violinist Tatiana Daubek, and the ensemble House of Time. An exhibition of archival images and memorabilia, courtesy of George Daubek, will be on display in the Hall’s Dvořák Room. Hosted by The Dvořák American Heritage Association, the event is free and open to the public, with limited seating.

 

This slideshow requires JavaScript.

Happy 80th Birthday, Jack Nicholson!

Happy 80th birthday to Jack Nicholson! A prolific actor and filmmaker who has brought to life some of the most iconic characters in American film, Jack is also the most nominated male actor in the history of the Academy Awards.

In this special excerpt from Crane: Sex, Celebrity, and My Father’s Unsolved Murder, author Robert Crane steps away from the stories surrounding his father and recounts the time he and coauthor Chris Fryer interviewed then up-and-coming actor Jack Nicholson for their film class at USC:


During the early 1970s the two of us had become great observers of the ascendant star of Jack Nicholson. Easy Rider, Five Easy Pieces, and Carnal Knowledge were big, important films, at least to us. Jack represented an honesty, an abandon that I had seen elsewhere only in old Marlon Brando films. Nicholson crying in front of his paralyzed father in Five Easy Pieces was a landmark moment for me. It was a shocking and spellbinding scene. How could you be a man and allow yourself to show emotion like that in front of millions of people? I was stunned by it, but I felt nothing but admiration. Ultimately I wanted to be like that character. I wanted to be that honest and open with other people. That particular scene spoke to me about my relationship with my dad, because except when I was a really young kid I could never cry in front of him. I wouldn’t allow myself to be that exposed. Seeing Nicholson do that was a revelation.

The semester after the release of Five Easy Pieces Chris and I took a class at USC called The Film Heroes of the ’30s and ’60s taught by screenwriter Steven Karpf, and we had the idea of teaming up to interview Jack Nicholson as the “antihero” for the ages. It never occurred to us that a couple of tyros from Tarzana and USC film school might not be able to talk to Jack Nicholson for their class project. We just didn’t know any better. Hell, we’d been told no by curmudgeonly gift shop buyers in college bookstores all over this great land, but we still managed to sell them license frames. So even though we’d heard the word no umpteen times, it just hadn’t made that much of an impression. We weren’t deterred by the word. We weren’t put off by the word. We just stepped around it, coming at the target from a different direction.

I had seen Jack once on a film panel at USC, and at that point in his career he was a great supporter of film, foreign cinema, and up-and coming filmmakers. He’d been to the Cannes Film Festival with his directorial debut, Drive, He Said, but he was still accessible enough that he could be persuaded to make an appearance at a college. This was well before the curtain of opportunity closed for nobodies to get near Jack Nicholson.

Talking to Jack Nicholson was remarkably easy. Through a family connection of Chris’s we got what turned out to be Jack’s home phone number, though we didn’t know it at the time. I dialed it, and damned if the guy himself didn’t answer the phone on the second ring. I knew who it was, but I still asked for Mr. Nicholson just to be polite. He asked, “Who’s calling?” and I introduced myself and launched into my pitch for an interview. To our incredible surprise and elation, Jack Nicholson agreed to sit down with us and talk film. It was absolutely unreal. Chris and I were bouncing off the walls.

Jack invited us up to his house on Mulholland Drive. To illustrate how different the world was in 1972, there was no gate on the driveway— the same driveway Jack shared with his next-door neighbor, Marlon Brando. We rolled up to the open front door and were escorted into the two-story ranch house as Michelle Phillips, Jack’s girlfriend at the time, passed us in the foyer. Chris and I exchanged looks, trying to be cool, as we stepped down into the living room. We were in a different world. There was a large, plush, brown suede couch opposite the wall of windows that overlooked Franklin Canyon and Los Angeles. The house was comfortable, lived-in. I felt pretty much at ease even though I was about to meet one of my film heroes. Jack came down the stairs wearing a navy blue bathrobe with a bat pin on the lapel. He might have just gotten out of bed, although it was well past lunchtime. As I discovered over the next several hours spent talking about film, Jack’s upcoming projects, his past experiences, and the future of cinema, Jack wasn’t wearing anything under that robe as he inadvertently flashed me several times.

After finally switching off the tape recorder, we took a few commemorative photos—for our benefit, not Jack’s—and left the house on cloud 99. We were so juiced that Chris almost killed us, spinning out his Porsche on a Mulholland curve and doing a 360 into a cloud of dust. We came to a stop between a telephone pole and the edge of a cliff. As the dust settled we could hear our pounding hearts, and then laughed like lunatics. Needless to say, we got As in that class.

Serendipitously, after that first interview, Chris and I, separately and together, began bumping into Jack around L.A. I saw him at a Rolling Stones concert, and we exchanged pleasantries. My date, Barbara Stephens, who had been my government teacher at Taft High School, was suitably impressed. Chris ran into Jack at an antiwar/pro-McGovern rally at UCLA. Jack was always where the action was.

Because these chance meetings made us think we were becoming pals, we did the only logical thing—we decided to write a book about our new best friend. There had never been a book about Jack Nicholson, and we felt it was high time and that we were just the guys to do it. Frankly, in 1972 the name Jack Nicholson wasn’t yet on the American public’s radar screen. On more than one occasion when I mentioned the idea I was told, “Gee, Bobby, I didn’t know you were that interested in golf…”


crane.final.indd

For more interviews and stories, check out Crane: Sex, Celebrity, and My Father’s Unsolved Murder by Robert Crane, now in a new paperback edition.

In this poignant memoir, Crane discusses the terrible day that his father Bob Crane, known to Hogan’s Heroes fans as Colonel Hogan, was discovered brutally murdered and how he has lived with the unsolved murder of his father. But this storyline is just one thread in his tale of growing up in Los Angeles, his struggles to reconcile the good and sordid sides of his celebrity father, and his own fascinating life. Through disappointment, loss, and heartbreak, Crane’s humor and perseverance shine. Beyond the big stars and behind-the-scenes revelations, this riveting account of death, survival, and renewal in the shadow of the Hollywood sign makes a profound statement about the desire for love and permanence in a life where those things continually slip away. By turns shocking and uplifting, Crane is an unforgettable and deeply human story.

Robert Crane is coauthor of My Life as a Mankiewicz: An Insider’s Journey through Hollywood, Jack Nicholson: The Early Years, and Bruce Dern: A Memoir, and a contributor to Hal Ashby: Interviews.

Christopher Fryer is coauthor of Jack Nicholson: The Early Years and Bruce Dern: A Memoir, and a contributor to Hal Ashby: Interviews.

5 Unforgettable Gene Kelly Dance Numbers

Suffering from the rainy day blues? We’ve got you covered!

As told by Cynthia and Sara Brideson in the new biography, He’s Got Rhythm, Gene Kelly was one of the brightest stars in the world of Hollywood dance musicals. From tap dancing on roller-skates, to creating rhythms with a squeaky floorboard, to collaborating with dance legend Fred Astaire, Gene was a creative genius and a master of his craft.

These iconic song and dance numbers are guaranteed to put a “smile on your face” and have you “laughing at the clouds”:


1. “I Like Myself” from It’s Always Fair Weather (1955)

In this unforgettable number, Gene provides one of his most energetic and entertaining performances, and proves that he can hoof it even when wearing roller-skates!

2. “The Babbitt And The Bromide” from Ziegfeld Follies (1946)

Two legends of American dance go head-to-head in this Gershwin brothers number from Ziegfeld Follies. In a classic sketch of friendly one-upmanship, the technical perfection of Fred Astaire meets the easy grace of Gene Kelly. This was the only time Astaire and Kelly appeared together on film in the prime of their careers.

3. “I Got Rhythm” from An American in Paris (1951)

Gene oozes charm in this clip from the Academy Award winning An American in Paris, as he taps and sings a classic jazz tune while teaching French children a few words of English.

4. “Squeaky Floor Routine” from Summer Stock (1950)

In what Kelly himself would later call his favorite solo routine, he creates a dance inspired by the environment in which it takes place. Employing a squeaky floorboard and an old newspaper as the basis for his rhythm, Gene displays his remarkable ability to explore a space through dance.

5. “Singin’ In The Rain” from Singin’ in the Rain (1952)

“From where I stand the sun is shining all over the place.”

In perhaps the most iconic number in any Hollywood musical, Gene taps and splashes his way through a California downpour and right into film history.


UKY06 He's Got Rhythm Selected.inddTo read the stories behind these and many other iconic Gene Kelly films, check out the newly released He’s Got Rhythm: The Life and Career of Gene Kelly. In the first comprehensive biography written since the legendary star’s death, authors Cynthia Brideson and Sara Brideson disclose new details of Kelly’s complex life. Not only do they examine his contributions to the world of entertainment in depth, but they also consider his political activities—including his opposition to the Hollywood blacklist. Drawing on previously untapped articles and interviews with Kelly’s wives, friends, and colleagues, Brideson and Brideson illuminate new and unexpected aspects of the actor’s life and work. He’s Got Rhythm is a balanced and compelling view of one of the screen’s enduring legends.

New Releases In Film History

In recognition of the 89th Academy Awards, we’re featuring our favorite new releases in the fields of film history. Which ones will you read?


UKY05 Showman of the Screen Selected.inddShowman of the Screen: Joseph E. Levine and His Revolution In Film Promotion

Short, immaculately dressed, and shockingly foul-mouthed, Joseph E. Levine (1905–1987) was larger than life. He rose from poverty in Boston’s West End to become one of postwar Hollywood’s most prolific independent promoters, distributors, and producers. Alternately respected and reviled, this master of movie promotion was responsible for bringing films as varied as Godzilla: King of the Monsters! (1956), Hercules (1958), The Graduate (1967), The Lion in Winter (1968), and A Bridge Too Far (1977) to American audiences.

In Showman of the Screen: Joseph E. Levine and His Revolution In Film Promotion, the first biography of this controversial pioneer, A. T. McKenna traces Levine’s rise as an influential packager of popular culture. Despite his significant accomplishments and prominent role in shaping film distribution and promotion in the post-studio era, Levine is largely overlooked today. McKenna’s in-depth biography corrects misunderstandings and misinformation about this colorful figure, and offers a sober assessment of his contributions to world cinema. It also illuminates Levine’s peculiar talent for movie- and self-promotion, as well as his extraordinary career in the motion picture business.

Purchase Here


Hollywood Divided

On October 22, 1950, the Screen Directors Guild (SDG) gathered for a meeting at the opulent Beverly Hills Hotel. Among the group’s leaders were some of the most powerful men in Hollywood—John Ford, Cecil B. DeMille, Joseph L. Mankiewicz, John Huston, Frank Capra, William Wyler, and Rouben Mamoulian—and the issue on the table was nothing less than a vote to dismiss Mankiewicz as the guild’s president after he opposed an anticommunist loyalty oath that could have expanded the blacklist. The dramatic events of that evening have become mythic, and the legend has overshadowed the more complex realities of this crucial moment in Hollywood history.brianton_cover

In Hollywood Divided, Kevin Brianton explores the myths associated with the famous meeting and the real events that they often obscure. He analyzes the lead-up to that fateful summit, examining the pressure exerted by the House Un-American Activities Committee. Brianton reveals the internal politics of the SDG, its initial hostile response to the HUAC investigations, the conservative reprisal, and the influence of the oath on the guild and the film industry as a whole. Hollywood Divided also assesses the impact of the historical coverage of the meeting on the reputation of the three key players in the drama.

Purchase Here


gregory_cover

Stuntwomen: The Untold Hollywood Story

They’ve traded punches in knockdown brawls, crashed biplanes through barns, and raced to the rescue in fast cars. They add suspense and drama to the story, portraying the swimmer stalked by the menacing shark, the heroine dangling twenty feet below a soaring hot air balloon, or the woman leaping nine feet over a wall to escape a dog attack. Only an expert can make such feats of daring look easy, and stuntwomen with the skills to perform—and survive—great moments of action in movies have been hitting their mark in Hollywood since the beginning of film.

Here, Mollie Gregory presents the first history of stuntwomen in the film industry from the silent era to the twenty-first century. For decades, stuntwomen have faced institutional discrimination, unequal pay, and sexual harassment even as they jumped from speeding trains and raced horse-drawn carriages away from burning buildings. Featuring sixty-five interviews, Stuntwomen showcases the absorbing stories and uncommon courage of women who make their living planning and performing action-packed sequences that keep viewers’ hearts racing.

Purchase Here


Harry Langdon: King Of Silent Comedy

Among silent film comedians, three names stand out—Charlie Chaplin, Buster Keaton, and Harold Lloyd—but Harry Langdon indisputably deserves to sit among them as the fourth “king.” In films such as The Strong Man (1926) and Long Pants (1927), Langdon parlayed his pantomime talents, expressive eyes, and childlike innocence into silent-era stardom. This in-depth biography, which features behind-the-scenes accounts and personal recollections compiled by Langdon’s late wife, provides a full and thoughtful picture of this multifaceted entertainer and his meteoric rise and fall.Harry Langdon.final.indd

In Harry Langdon: King Of Silent Comedy, authors Gabriella Oldham and Mabel Langdon explore how the actor developed and honed his comedic skills in amateur shows, medicine shows, and vaudeville. Together they survey his early work on the stage at the turn of the twentieth century as well as his iconic routines and characters. They also evaluate his failures from the early sound period, including his decision to part ways with director Frank Capra. Despite his dwindling popularity following the introduction of talkies, Langdon persevered and continued to perform in theater, radio, and film—literally until his dying day—leaving behind a unique and brilliant body of work.

Purchase Here


UKY06 He's Got Rhythm Selected.inddHe’s Got Rhythm: The Life and Career of Gene Kelly

He sang and danced in the rain, proclaimed New York to be a wonderful town, and convinced a group of Parisian children that they had rhythm. One of the most influential and respected entertainers of Hollywood’s golden age, Gene Kelly revolutionized film musicals with his innovative and timeless choreography. A would-be baseball player and one-time law student, Kelly captured the nation’s imagination in films such as Anchors Aweigh (1945), On the Town (1949), An American in Paris(1951), and Singin’ in the Rain (1952).

In He’s Got Rhythm: The Life and Career of Gene Kellythe first comprehensive biography written since the legendary star’s death, authors Cynthia Brideson and Sara Brideson disclose new details of Kelly’s complex life. Not only do they examine his contributions to the world of entertainment in depth, but they also consider his political activities—including his opposition to the Hollywood blacklist. The authors even confront Kelly’s darker side and explore his notorious competitive streak, his tendency to be a taskmaster on set, and his multiple marriages. Drawing on previously untapped articles and interviews with Kelly’s wives, friends, and colleagues, Brideson and Brideson illuminate new and unexpected aspects of the actor’s life and work. He’s Got Rhythm is a balanced and compelling view of one of the screen’s enduring legends.

Purchase Here


My Life in Focus

When Gianni Bozzacchi accepted an assignment as a photographer on the set of The Comedians (1967), he didn’t know that his life was about to change forever. His ability to capture the beauty of candid moments drew the attention of the film’s star, Elizabeth Taylor, and prompted her to hire him as her personal photographer. Not only did he go on to enjoy a jet-set life as her friend and confidant—preserving unguarded moments between the violet-eyed beauty and Richard Burton as they traveled the world—but Bozzacchi also became an internationally renowned photographer and shot some of the biggest celebrities of the 1960s and 1970s.9780813168746

In My Life in Focus, Bozzacchi traces his journey from humble beginnings to the sphere of the rich and famous. Beautifully illustrated with many of the photographer’s most iconic images, this lively memoir reveals private moments in the Taylor-Burton love story and provides an invaluable behind-the-scenes look at the business of filmmaking and the perils of celebrity.

Purchase Here

Behind the Screen

Film has become an integral part of American life.brianton_cover
Though the face of the film industry continues to change, it is undeniable that films and television continue to impact lives and culture. With the approach of the 69th Annual DGA awards, it is a time to celebrate some of the best among this year’s productions and, more importantly, the directors behind them. This year’s list of directors includes many first-time nominees, making it clear that the stage has been set for the recognition of new talent.

In addition to celebrating directorial achievements, the DGA (Directors Guild of America) helps to protect the rights of directors and to promote diversity within the film industry. However, in the earlier days of Hollywood, the film industry wasn’t always so welcoming.

One of the most famous (or, more appropriately, infamous) incidents in American film history is the Hollywood blacklist. In this time of directing giants, the looming reality of the Cold War led to an era of paranoia and tension within the film industry as actors and directors alike faced accusations about their connections to communism and communist sympathies. Countless actors and directors lost their careers due to the blacklist, but within the American tradition, there is one incident that stands out among the rest: the 1950 Screen Directors Guild Meeting.

In Hollywood Divided: the 1950 Screen Directors Guild Meeting and the Impact of the Blacklist, Kevin Brianton dives into the facts and myths surrounding that famous meeting which would go on to obtain something of a mythic status in the American memory. A large part of its fame, unfortunately, comes from the misinformation surrounding it, but how exactly did this information come to be? And what is the truth of this historical moment which would prove to have a lasting impact on the film industry? Part of this uncertainty can be attributed to ways in which time often obscures memory, but it might also be connected to Mankiewicz’s directing career, which was beginning to decline. As Brianton mentions in his book, in reference to a speech that Mankiewicz gave recounting the events of the SDG meeting, “When Mankiewicz had finished, the Master of Ceremonies, Carl Reiner, joked that Mankiewicz’s speech had the same problem as Cleopatra–it went on for too long. Makiewicz would be sure to enliven his future accounts of the meeting.”

In the following excerpt, Brianton draws on SDG minute records to provide an inside look at one of the many tense (and true) moments of the 1950 meeting:


Daves began, “I did not sign the petition. I wish I had. I am a Republican too, Mr DeMille … I resent beyond belief the things that you said as you summarized the twenty-five men.” Daves said he agreed with Wellman about the basic unfairness of the campaign. When he had received a phone call about recalling Mankiewicz, he told the caller he wanted to hear Mankiewicz’s side of the story. Looking up at the board members sitting on the dais, Daves said,

“All of us here look before us and see seated at this Board of Directors table dear friends, and the men who signed this telegram are some of my very dearest friends in this town. Mabel [Walker Willebrandt] is a very dear friend of mine. I can go right down the list … their kids play with my kids. We are as close as people can be, and I love a lot of people sitting at the table. This has nothing to do with personal acrimony at all, nor toward the men who signed the recall. It merely has to do with the faction and the attack that was made … [in] what I consider a completely undemocratic manner, and one which was so secretive by nature that I was shocked.” Daves said, “The next thing I knew I received a ballot, and it said, ‘This is a ballot to recall Joe Mankiewicz. Sign here – yes.’ There was nothing more. It was not yes and no. I was more deeply shocked.”

Perhaps drawing on his distant legal training at Standford, where he graduated as a lawyer but never had the opportunity to use the degree, Daves then presented damning evidence against DeMille. He said the recall committee deliberately misled the membership by pretending to be acting on behalf of the entire SDG board rather than a committee attempting to recall Mankiewicz. He said, “[Mankiewicz] is not a personal friend of mine. I am fighting for him here, because I feel our rights and our freedom have been violently hit by what has happened.” He discussed the telegram that appeared to be mailed from the board of directors in support of the recall: “It said twelve times, ‘The Board of Directors this,’ and ‘The Board of Directors that.’” Daves called the exercise “an abuse of privilege.”

image-1

  Before the storm, Cecil B. DeMille, Gloria Swanson, and Billy Wilder enjoyed working together on Sunset Boulevard (1950), which was released just before the October 22 SDG meeting. Wilder would become a strident opponent of DeMille over his treatment of Mankiewicz. (Photofest)

Mankiewicz was passed a note saying that some directors were leaving the room to provide updates to the journalists milling around outside the room. Mankiewicz was furious: “Now, good God, gentlemen, can’t we act like adult men? When you go home … tomorrow, remember that America is created on the system of sitting around an old stove in the grocery store and talking things over, and then going in a booth and voting the way you feel. Now we are here to talk. Let’s talk and let’s mind our own business.” Mankiewicz then called on another one of the anti-recall signatories H. C. Potter to speak. Henry Codman Potter was known for films such as The Story of Vernon and Irene Castle (1939), Second Chorus (1940) and Mr Blandings Builds His Dream House (1948). He had studied drama at Yale University, before carving out his career in the cinema. Describing himself as an SDG member older than Mr DeMille and also “an American, as good as Mr DeMille,” Potter demanded an inquiry into the “shameful thing of the recall.” It was another short speech, but it was the first such demand for an investigation of the recall faction, which would grow louder as the meeting progressed.