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Fredric March VOICE Journal of the Alex Film Society Vol. 13, No. 2 April 28, 2007, 2 pm & 8 pm 4/07 of theTHEATRE The Best Years of Our Lives By Randy Carter irector William Wyler returned from World War II a changed man. He lost the hearing in one ear Dfrom explosions filming the Italian campaign, but it was the emotional debt he owed to his fallen comrades that weighed on his conscience. Like fellow veterans George Stevens, John Ford and Frank Capra he came home to postwar Hollywood and cautiously took up the wand of make believe after years of filming carnage, death and concentration camps. Postwar movie attendance reached peaks that have never been duplicated, but it was the soldiers themselves who shaped the presentation of The Best Years of Our Lives. Across four long years GI’s fought and died and… The Greatest Generation watched movies… movies on returned to work sheets, movies to write a story treatment. He turned out a novel in on the decks of blank verse entitled GLORY FOR ME, the story of three battleships, movies in jungle camps, movies in bombed men coming back to face civilian life. out churches and castles. These men facing real death and injury had no patience for phony heroics on In the original story, Homer, the young enlisted man screen. They booed lustily any actor or situation that returned with war wounds that produced spastic didn’t ring true. There was a new reality in post war paralysis. Concerned that an actor portraying that type Hollywood and Wyler and his peers got the message. of wound would be hopelessly unconvincing, Wyler and screenwriter Robert Sherwood visited veterans’ hospitals According to Goldwyn legend, Time Magazine printed and were introduced to amputees. Non-actor Harold a picture showing a group of homecoming Marines Russell, a sergeant who had lost both hands when a leaning out of windows of a railway car on which had dynamite charge exploded prematurely during training been chalked “Home Again!” Sam picked up the phone in North Carolina and had been featured in an Army and for $12,500 commissioned author MacKinlay Kantor Pictorial Service documentary, intrigued Wyler. Russell Continued on Page 7 The Best Years Of Our Lives ..................... 1 Perspective: Fredric March ...................... 6 Perspective: Samuel Goldwyn ................. 2 Short Subjects ............................................. 7 Feature credits ............................................ 4 Calendar ........................................................ 8 SAMUEL GOLDWYN the producer Pictures are for entertainment, was born. DeMille moved the I was always an independent messages should be delivered operation into a barn in Cahuenga producer, even when I had by Western Union” Pass and they became the first permanent feature film company partners – S. Goldwyn – S. Goldwyn actually located in the town of independently. In 1923 he became Hollywood – it was 1913 and the an independent producer and movie was The Squaw Man. e was an independent formed Samuel Goldwyn, Inc. He long before the break- said: “I found that it took a world Hup of major studios and of time trying to explain my plans their chains. He was among the to my associates; now I can save first advocates of the primacy of all that time and energy, and put writers, of putting classics on film, it into making better pictures.” of transferring Broadway hits to Hollywood cameras. But he was In 1925, he married actress also infamous for his relentless Frances Howard who became ambition, bad temper and genius his lifelong partner – both in for publicity – Samuel Goldwyn marriage and business. became Hollywood’s mentor for For the next 35 years, Goldwyn all future independent producers. was the boss and sole proprietor of his own production company, Born in Warsaw, Goldwyn, with the a mini-studio specializing in newly “Americanized name” Samuel expensive “quality” films, distributed Goldfish, became a factory worker initially by United Artists and later at a glove factory in Gloversville, by RKO. The Goldwyn lot, now NY where he discovered he was called Hollywood Center Studios an extraordinary salesman. Goldfish remained in New York to is located on Formosa Avenue and sell the film to theatres, but soon Santa Monica Boulevard. Touted by On a bitter cold winter day in New grew tired of selling – he wanted to publicists for his “Goldwyn Touch,” York, he walked into a nickelodeon be a producer. The company merged he boosted the careers of many on Herald Square to warm up. in 1916 with Adolph Zucker’s actors at various times included, Watching the jerky, silent one- Famous Players and eventually Lawrence Olivier, Merle Oberon, reelers fired his imagination. became Paramount Studios. Dana Andrews, Ronald Colman, Eddie Cantor, Gary Cooper, David He rushed directly from the Goldfish sold his interest in 1917 Niven and Danny Kaye with movies nickelodeon on Thirty-fourth Street for $900,000. He then formed a like Wuthering Heights, Dodsworth, to his brother-in-law’s apartment, new production company (as a Pride of the Yankees, The Bishop’s passionate about launching a career producer!) with the famous theatrical Wife, and Best Years of Our Lives. in motion pictures. Jesse Lasky Selwyn family. The new partners asked how long Sam had been invented the name Goldwyn Ironically, Goldwyn had a falling- contemplating this idea. “About Pictures. The Goldwyn Company out with Wyler over who should get a half hour,” Goldfish replied, “as stars including Mabel Normand the lion’s share of credit for Best long as it took me to get home.” and Will Rogers. But a short time Years. Their friendship was soon later, to the Selwyn’s dismay, restored - speaking for the majority Lasky was not enthusiastic, but Goldfish made the company name of those who worked under the lash Goldwyn stirred the interest of a his own – he officially became of the Goldwyn whip when Wyler young playwright, Cecil B. DeMille, Samuel Goldwyn and promptly said, “Even when you can’t agree to direct their first movie and the left the partnership. That company with Sam, you have to respect him.” Jesse L. Lasky Feature Play Company later merged to become M-G-M. But Goldwyn preferred to produce Continued on Page 3 www.AlexFilmSociety.org – – Vol. 13, No. April 8, 007 Goldwynisms From that cold day in the nickelodeon to 1959, Goldwyn producer over 100 films. His “In two words: last film was Porgy and Bess im-possible.” (1959) starring Sidney Poitier and Dorothy Dandridge. Samuel Goldwyn, who had been wheelchair-bound after a debilitating stroke in 1969, died in his sleep on January 31, 1974 at the age of 95. Looking at Goldwyn’s contribution to the American cinema, no one would deny that some of “...We’ve all passed Hollywood’s best years were spent a lot of water since with Samuel Goldwyn. then.” We welcome once again Linda Harris as a contributor. Samuel Goldwyn Filmography “A verbal contract isn’t worth the paper it’s written on.” (partial, in viewer preference) The Internet Movie Database lists 174 titles for Goldwyn including: “The movies is a place where everybody can go and not blush Dodsworth (1936) over what they see on the Porgy and Bess (1959) The Little Foxes (1941) screen.” Street Scene (1931) Wuthering Heights (1939) ”Too caustic? To hell with the costs, Pride of the Yankees (1942) we’ll make the picture anyway.” The Bishop’s Wife (1947) Stella Dallas (1937 and 1925) “Anyone who goes to a Guys and Dolls (1955) psychiatrist should have The Secret Life of Walter Mitty his head examined.” (1947) Barbary Coast (1935) Hans Christian Andersen (1952) Goldwyn also appeared on On Fredric March: “When you’re a star, The Ed Sullivan Show in 1952 “I’m overpaying him, but you have to take the bitter he’s worth it.” with the sour.” Vol. 13, No. April 8, 007 – 3 – VOICE of the THEATRE William Wyler’s Black and White – 1946 – 172 min Samuel Goldwyn Productions The Best Years Print Courtesy of Metro-Goldwyn-Mayer Directed by ................................... William Wyler (AA) of Our Lives Written by ..................................... MacKinlay Kantor (Novel Glory for Me) Robert E. Sherwood (AA) Cast Producer by ................................... Samuel Goldwyn (AA) Myrna Loy ..................................... Milly Stephenson Cinematographer ........................ Gregg Toland Fredric March (AA) ..................... Al Stephenson aerial Cinematographer ............ Paul Mantz* Dana Andrews .............................. Fred Derry Editor .............................................. Daniel Mandell (AA) Teresa Wright ............................... Peggy Stephenson executive in charge of production Leon Fromkess Virginia Mayo ............................... Marie Derry assistant director ........................ Joseph Boyle Cathy O’Donnell .......................... Wilma Cameron Original Music by ........................ Hugo Friedhofer (AA) Hoagy Carmichael ...................... Butch Engle musical director ......................... Emil Newman Harold Russell (2 AA) ................ Homer Parrish Art Directors................................. Perry Ferguson & George Jenkins Gladys George .............................. Hortense Derry Set Decorator ............................... Julia Heron Roman Bohnen ............................ Pat Derry illustrator ....................................... Dorothea Holt* Ray Collins .................................... Mr. Milton Costume Designer ....................... Sharaff Minna Gombell ............................ Mrs. Parrish Hair Stylist ...................................
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