Authors: Barbara Leaming
Chapter Six is based on letters and memos by Frank Delaney, Charles Feldman, Frank Ferguson, William Gordon, Milton Greene, Elia Kazan, Lew Schreiber, Sam Shaw, Harry Sokolov, Tennessee Williams, Audrey Wood, Loyd Wright, and Darryl Zanuck.
Collections include those of Charles Feldman, William Gordon, and Sidney Skolsky (Academy of Motion Picture Arts and Sciences). Also important are Marilyn Monroe’s and Elia Kazan’s Twentieth Century–Fox legal files.
Additional information comes from: Virginia Spencer Carr,
The Lonely Hunter: A Biography of Carson McCullers;
Cheryl Crawford,
My Fifty Years in the Theater;
Gilbert Maxwell,
Tennessee Williams and Friends;
Sam Shaw and Norman Rosten,
Marilyn Among Friends.
Chapter Seven is based on letters and memos by Kermit Bloomgarden, Harold Collins, Charles Feldman, Frank Ferguson, Jack Gordean, Elia Kazan, Rudolph Loewenstein, Arthur Miller, Lew Schreiber, Sam Shaw, Spyros Skouras, Ray Stark, George Wasson, John Wharton, Tennessee Williams, Audrey Wood, and Darryl Zanuck.
Collections include those of Kermit Bloomgarden, Charles Feldman, Arthur Miller, Joseph Rauh, Martin Ritt (Academy of Motion Picture Arts and Sciences), Sidney Skolsky, Tennessee Williams, and Audrey Wood. Also important are Marilyn Monroe’s and Lee Strasberg’s Twentieth Century–Fox legal files. A copy of the original script for
A View from the Bridge
is on deposit in the Martin Ritt collection at the Academy of Motion Picture Arts and Sciences.
A number of books provide revealing glimpses of Lee Strasberg and his world: Cindy Adams,
Lee Strasberg: The Imperfect Genius of the Actors Studio;
Margaret Brenman-Gibson,
Clifford Odets: American Playwright;
Cheryl Crawford,
My Fifty Years in the Theater;
Harold Clurman,
The Fervent Years;
Frank Corsaro,
Maverick;
David Garfield,
A Player’s Place;
Robert Hethmon, ed.,
Strasberg at the Actors Studio;
Foster Hirsch,
A Method to their Madness;
Robert Lewis,
Slings and Arrows;
Maureen Stapleton,
A Hell of a Life;
John Strasberg,
Accidentally on Purpose;
Susan Strasberg,
Bittersweet;
Susan Strasberg,
Marilyn and Me.
Additional information comes from: Marlon Brando,
Songs My Mother Taught Me;
Carroll Baker,
Baby Doll: An Autobiography;
Truman Capote,
Music for Chameleons;
Irene Mayer Selznick,
A Private View.
Chapter Eight is based on letters and memos by Hugh Beaumont, Kermit Bloomgarden, Charles Feldman, Frank Ferguson, Vivien Leigh, Harry McIntyre, Arthur Miller, Laurence Olivier, Lew Schreiber, Irene Selznick, Spyros Skouras, Tennessee Williams, and Darryl Zanuck.
Collections include those of Charles Feldman, Ruth Gordon (Library of Congress), Joseph Rauh, and Tennessee Williams. Also important are Marilyn Monroe’s Twentieth Century–Fox legal files.
Additional information comes from: Cindy Adams,
Lee Strasberg: The Imperfect Genius of the Actors Studio;
Eve Arnold,
Marilyn Monroe;
Philip Dunne,
Take Two;
James Haspiel,
Marilyn: The Ultimate Look at the Legend;
Laurence Olivier,
Confessions of an Actor;
Laurence Olivier,
On Acting;
Tarquin Olivier,
My Father Laurence Olivier;
Maureen Stapleton,
A Hell of a Life.
Chapter Nine is based on letters and memos by Hugh Beaumont, Kermit Bloomgarden, Charles Feldman, Lloyd Garrison, William Gordon, Milton Greene, Ben Kadish, Elia Kazan, Arthur Miller, Joseph Rauh, Larry Rice, Sid Rogell, Lew Schreiber, Irving Stein, and Paula Strasberg.
Collections include those of Carson McCullers (University of Texas), Joseph Rauh, and Tennessee Williams. Also important are Marilyn Monroe’s Twentieth Century–
l
Fox legal files, as well as the production files and daily production reports for
Bus Stop
.
Additional information comes from Joshua Greene,
Milton’s Marilyn;
Joshua Logan,
Movie Stars, Real People, and Me;
Arthur Miller,
Timebends.
Chapter Ten is based on letters and memos by Charles Feldman, Lloyd Garrison, Lillian Hellman, Arthur Miller, Joseph Rauh, and Francis E. Walter.
Collections include those of Charles Feldman, Hedda Hopper, and Joseph Rauh.
The transcript of Arthur Miller’s HUAC testimony is contained in “Investigation of the Unauthorized Use of United States Passports—Part 4.”
Additional information comes from: Lillian Hellman,
Scoundrel Time;
Elia Kazan,
A Life;
Arthur Miller,
Timebends;
Arthur Miller and Inge Morath,
In the Country;
Victor Navasky,
Naming Names;
Norman Rosten,
Marilyn: An Untold Story;
Frederick Ungeheuer with Lewis and Ethel Hurlbut,
Roxbury Remembered;
Robert Vaughn,
Only Victims: A Study of Show Business Blacklisting.
Chapter Eleven is based on letters and memos by Hugh Beaumont, Lloyd Garrison, Vivien Leigh, Arthur Miller, Laurence Olivier, Joseph Rauh, and Harry Sokolov.
Collections include those of Charles Feldman, Joseph Rauh, Irene Selznick (Boston University), and Tennessee Williams.
My sense of Laurence Olivier’s character owes much to conversations with Orson Welles and Kenneth Tynan.
The best portrait by far of the filming of
The Prince and the Showgirl
is Colin Clark’s
The Prince, The Showgirl and Me.
Also invaluable is Jack Cardiff’s memoir,
Magic Hour: The Life of a Cameraman.
Additional information comes from: Joshua Greene,
Milton’s Marilyn;
Fred Lawrence Guiles,
Legend;
Radie Harris,
Radie’s World;
Anthony Holden,
Olivier;
Laurence Olivier,
Confessions of an Actor;
Laurence Olivier,
On Acting;
Tarquin Olivier,
My Father Laurence Olivier;
Sandra Shevey,
The Marilyn Scandal;
Donald Spoto,
Marilyn Monroe;
Susan Strasberg,
Marilyn and Me;
Kenneth Tynan,
Curtains;
Hugo Vickers,
Vivien Leigh;
Geoffrey Wansell,
Terence Rattigan;
W. J. Weatherby,
Conversations with Marilyn.
Chapter Twelve is based on letters and memos by Hugh Beaumont, Kermit Bloomgarden, Charles Feldman, Lloyd Garrison, Harold Halperin, Lillian Hellman, Arthur Miller, Joseph Rauh, and Harry Sokolov.
Collections include those of Kermit Bloomgarden, Charles Feldman, Arthur Miller, and Joseph Rauh. Also important are Marilyn Monroe’s Twentieth Century–Fox legal files.
Additional information on
The Prince and the Showgirl
comes from the works listed for Chapter Eleven.
Chapter Thirteen is based on letters and memos by Herb Brenner, Charles Feldman, Frank Ferguson, Lloyd Garrison, Richard S. Harris, John Huston, Harry McIntyre, Arthur Miller, Robert H. Montgomery, Jr., Joseph Moskowitz, Joseph Rauh, May Reis, Lew Schreiber, Frank Taylor, Spyros Skouras, Harry Sokolov, and George Stephenson.
Collections include those of John Huston, Arthur Miller, and Joseph Rauh. Also important are Marilyn Monroe’s Twentieth Century–Fox legal files. Drafts of “I Don’t Need You Anymore” are on deposit in the Arthur Miller collection at the University of Texas.
Additional information comes from: Tony Curtis,
Tony Curtis: The Autobiography;
Radie Harris,
Radie’s World;
Laurence Olivier,
Confessions of an Actor;
Laurence Olivier,
On Acting;
Lena Pepitone,
Marilyn Monroe Confidential;
Norman Rosten,
Marilyn: An Untold Story;
Susan Strasberg,
Marilyn and Me;
Maurice Zolotow,
Billy Wilder in Hollywood.
Chapter Fourteen is based on letters and memos by Buddy Adler, Harold Bow, Herb Brenner, Ned Brown, Ted Cain, George Chasin, Jack Codd, George Cukor, Bill D’Arcy,
Frank Ferguson, H. William Fitelson, Ralph Greenson, Richard S. Harris, John Huston, Elia Kazan, Marianne Kris, Irving Lazar, Harry McIntyre, Arthur Miller, Robert H. Montgomery, Jr., Joseph Rauh, Sid Rogell, Lew Schreiber, Abe Steinberg, Frank Taylor, Jerry Wald, Peter Witt, and Darryl Zanuck.
Collections include those of Brooks Atkinson (Lincoln Center), Kermit Bloomgarden, Montgomery Clift (Lincoln Center), George Cukor (Academy of Motion Picture Arts and Sciences), Robert Downing (University of Texas), Anna Freud (Library of Congress), Ralph Greenson, John Huston, Paul Osborn (State Historical Society of Wisconsin), and Joseph Rauh.
Also important are Elia Kazan’s, Arthur Miller’s, and Marilyn Monroe’s Twentieth Century–Fox legal files, as well as the production files and daily production reports for
Let’s Make Love.
Additional information comes from: Cheryl Crawford,
My Fifty Years in the Theater;
Catherine David,
Simone Signoret;
Lawrence Grobel,
The Hustons;
Hervé Hamon and Patrick Rotman,
Yves Montand: You See I Haven’t Forgotten;
Elia Kazan,
A Life
; Gavin Lambert,
On Cukor;
Robert Lewis,
Slings and Arrows;
Arthur Miller,
Timebends;
Berniece Baker Miracle and Mona Rae Miracle,
My Sister Marilyn;
Lena Pepitone,
Marilyn Monroe Confidential;
Simone Signoret,
Nostalgia Isn’t What It Used to Be;
Susan Strasberg,
Marilyn and Me;
Maurice Zolotow,
Billy Wilder in Hollywood.
Chapter Fifteen is based on letters and memos by John Bodnar, Harry Brand, George Chasin, George Cukor, Frank Ferguson, Ralph Greenson, David Hall, Richard S. Harris, Gladys Hill, John Huston, Vivien Leigh, Arthur Miller, Joseph Rauh, Sid Rogell, Lew Schreiber, Paula Strasberg, Frank Taylor, Marietta Tree, Jerry Wald, and Max Youngstein.
Collections include those of George Cukor, Anna Freud, Hedda Hopper, John Huston, and Joseph Rauh. Also important are Marilyn Monroe’s Twentieth Century–Fox legal files, as well as the production files and daily production reports for
Let’s Make Love.
Additional information comes from: Eve Arnold,
Marilyn Monroe;
Catherine David,
Simone Signoret;
Hervé Hamon and Patrick Rotman,
Yves Montand: You See I Haven’t Forgotten;
James Goode,
The Making of The Misfits;
Lawrence Grobel,
The Hustons;
Fred Lawrence Guiles,
Legend;
James Haspiel,
Marilyn: The Ultimate Look at the Legend;
Elia Kazan,
A Life
; John Kobal,
People Will Talk;
Alice McIntyre, “Making the Misfits,”
Esquire
, March 1961; Arthur Miller,
Timebends;
Lena Pepitone,
Marilyn Monroe Confidential;
Norman Rosten,
Marilyn: An Untold Story;
Simone Signoret,
Nostalgia Isn’t What It Used to Be.
Chapter Sixteen is based on letters and memos by David Brown, Jack Codd, George Cukor, Joseph V. DiMauro, Charles Feldman, Frank Ferguson, Aaron R. Frosch, Bob Goldstein, Ralph Greenson, Gladys Hill, John Huston, Marianne Kris, C. S. Landau, Irving Lazar, Owen McLean, W. C. Michel, Arthur Miller, Joseph Rauh, Milton Rudin, Lew Schreiber, Spyros Skouras, Harry Sokolov, Ted Strauss, Frank Taylor, and Jerry Wald.
Collections include those of George Cukor, Charles Feldman, Anna Freud, Ralph Greenson, and John Huston. Also important are Lee Strasberg’s and Marilyn Monroe’s Twentieth Century–Fox legal files, as well as the production file for
Something’s Got to Give.
Additional information comes from: Eve Arnold,
Marilyn Monroe;
Philip Dunne,
Take Two;
James Hilty,
Robert Kennedy: Brother Protector;
Berniece Baker Miracle and Mona Rae Miracle,
My Sister Marilyn;
Eunice Murray,
Marilyn: The Last Months;
Lena Pepitone,
Marilyn Monroe Confidential;
Norman Rosten,
Marilyn: An Untold Story;
Edward Wagenknecht, ed.,
Marilyn Monroe;
Nathan Weiss and Jack Brodsky,
The Cleopatra Papers.
Monroe’s letter to Dr. Greenson is quoted in full in Donald Spoto,
Marilyn Monroe.
Chapter Seventeen is based on letters and memos of Alvah Bessie, George Cukor, Phil Feldman, Frank Ferguson, Anna Freud, Ralph Greenson, Stan Hough, Vivien Leigh, Peter Levathes, F. L. Metzler, Arthur Miller, W. C. Michel, Marilyn Monroe, Jesse R. O’Malley, Larry Rice, and Milton Rudin.
Collections include those of Alvah Bessie (State Historical Society of Wisconsin), George Cukor, Robert Downing, Anna Freud, Ralph Greenson, Hedda Hopper, Arthur Miller, and Joseph Rauh. Also important are Marilyn Monroe’s Twentieth Century–Fox legal files, as well as the production file and daily production reports for
Something’s Got to Give.
Additional information comes from: George Barris,
Marilyn;
Joshua Greene,
Milton’s Marilyn;
Elia Kazan,
A Life;
Arthur Miller,
Timebends
, Eunice Murray,
Marilyn: The Last Months;
Victor Navasky,
Naming Names;
Richard Reeves,
President Kennedy: Profile of Power;
Norman Rosten,
Marilyn: An Untold Story;
Arthur M. Schlesinger, Jr.,
Robert Kennedy and his Times;
Bert Stern, “The Last Sitting,”
Vogue
, September 1982; Susan Strasberg,
Marilyn and Me;
Edward Wagenknecht, ed.
Marilyn Monroe;
Nathan Weiss and Jack Brodsky,
The Cleopatra Papers;
Earl Wilson,
Show Business Laid Bare;
Earl Wilson,
The Show Business Nobody Knows;
Elizabeth Young-Bruehl,
Anna Freud: A Biography.