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Home , Arthur Lubin, A Game of Death, Blood on the Moon, Clara Beranger, Daniel Taradash, Donn Tatum

Ramon. Navarro_ C~o~re Windsor Bi ~ - ~ ij e Burke Vio~a Dana Thomson Be t t y t3 ll y t.rTe Zazu P~tts Wendel I Corey -- President of the Aco derr1y George Chan·.d ij 1er 9">~= President of the Screen Actor ~· .. s Gu i ~ d

James Webb === Representat ive of the Writ..er~CSfs Gui ~d --- Representative of Producers Arthur Mi~ ~er --Representat ive o~ the Direc.tor's of Photography Rouben. Mam.oL" ~~an: -==0 i rEctor - =<....:;..;:.::===:::--===--===. :::..;..,o.;:.;==c.;;;:;:.;;=.-~c=:::;:.;..~. ==~~~. =~~=-:;;r~~- §12n~~ng_~~!l!_2ll_hQ~§=~~~n=­ introducedo P~ease ho~d ~~c:.;;..;;o~~ -=--~~~===c.:.;;..~=;,~- - ~~~c;,.::;;::.10=-c;:o=:..=~~=~--. . - - - 2221 QH2~=~L!:}:t ~J=gll==b9Y~=-zQ§~rl~ introducedo

Actresses: t===c==o==.===c:.=~= I r~ene Dunne Madge Kennedy Dorothy Davenport (Mrs ~ ~a~ lace Reed)

Bar bai'?o Eden. (Mrs Cl Mi chae I) Ansar~a)

Ann Rutherford (Mrs Q Wi ~ ~ ij arn Doz ~ r-.·n) Gai ~ Patrick (Mrso Cornwel ~ Jackson) Jeanette Mac Oono~d (Mrso G~ne Roymon.c Ro s i t a lv1 o r e n o ( Mrs .. tvi e f J i ~ ~ e S c h a L: :~ ) Marion Nixon. (Mrs .. Wi I ~ i am Seiter~) Jon Ster I i ng. page 2 Actors :. iLeon Ames Michael Ansoro Scott Br')ody Joe E,. Brovvn . ~lock Cess i dy Robert Conrad John Conte Robert Cumm 'i ngs Don OeFor·e John Ericson Reg i n.a !I d Gord i ner Robert Horton Lon MeGa- I~ i st.er Louis Nye Jack Oakie Gene Raymond Caesar R-omero Robert Young Efrem Zimbol ist Jro . ..L ' '"'= .~ (• I Q V> C' ~ D~(C:~c..t 0 ...... Toy Garnett Horr y L.achman Don~ e !l Mann Jean Negu esco

W1 J i 1om Seiter Norman Tauroq

Producers:: \Jock Cummings Wi I~ iam Oozier David We1sbort

Comer~ omen Karl Freund .James Wong_ Howe Ha ;'") o ~ d Ro s s o n Joseph Ruttenberg Robert Surtees · Lester Shorr Ralph Woolsey page 4

Edith Head

Wol ~y Westmore

!. ==...... _...~~=~~~Comnosers · ~ Eijmer Bernstein David Raksin

Writers:. Bi - ~ ~ Joseph Malvin Waild Cb g i.. Cm.o r} =Qf=QQ1!rl1Y_§ o.Q r d __QL

~=~=-==--=~~""=~==Suner'v i sors :. Burton Chace

~2§9.i2l~§!d~§!~: Ore Herbert T& Kalmus of Technico lor l" (')-

0 ...... • • ..... ~ .,.J Ul , en u *"'"'4 ~ • r.LJ 8 ..... 0 • 0 en 0 ..... ~ 0 (b :::3 ~ r::::r c ~ (f)

0 D KA H onoraries 1ulie Andrews Steve McQueen In Memoriam Lucien Ballard Eric Berndt Les Novros Joe E. Brown Richard rooks Jack Oakie C. B. DeMille Frank Capra Charles Palmer William Castle Grego!J Peck Karl Freund Stanley Cortez Marr Pickford William Goetz . George Cukor Dav1d Raksin Sir Cedric Hardwlcke Hal Roach James Wong Howe Miklos Rosza Ub Iwerks Fritz L Stanley Donen Jesse Lasky Mark Serrurier Allan Dwan 1ean Simmons Mogen Skat-Hansen Rudy Fehr Sidney Solow Fred Metzler Sylvia Fine Robert Snyder John Flory Boris V. Morkovin Glenn Ford William Perlberg William Seiter Gene Fowler George Stevens Marjorie Fowler kobert Surtees John G. Frayne Gloria Swanson JerryWald Arthur Freea Lawrence Weingarten Norman Taurog Adolph Zukor Greer Garson William Tuttle John Green Slavko Vorkapich Conrad Hall Hal Wallis Howard Hawks Jack Warner Edith Head Wally Westmore Wilton Holm Haskel Wexler Ross Hunter Charles Wheeler Lyle Wheeler ''Chuck'' lones Elmo Wi11iams Gene Kel y Robert W·ise Roy Wolford Joanne Woodword Mervyn LeRoy

-- May 10, 1976

National Honorary Cinema Fraternity IMPORTANT DATE CHANGE DKA SPRING AWARDS DINNER MOVED TO JUNE 1.3 Dear members and friends of DKA, Through a series of unforeseen complications and conflicts in. scheduling Delta Kappa Alpha has rescheduled its 1976 Spring Awards Banquet. We regret any inconvenience this may have caused our members and Di'Vision of Cinema friends. We look forward to seeing you. UNIVERSITY OF SouTHERN CALlFORNIA ScHooL oF PERFORMING ARTs On Sunday, June 1.3, 1976 the Alpha chapter of Del UNIVERSITY PARK Kappa Alpha will hold its Annual Spring Awards dinner a , 90007 • • i l • • • H • W wh~ch t~me we w 1 ~n~t~ate our new onorar~es. e are DKA Honoraries most pleased this year to welcome as Honorary members 1

ulie Andrews Lucille Ball Delmer Daves for his work as a writer and director Lucien Ballard Anne Baxter of such films as Destination Tokyo, Eric Berndt Broken Arrow, 3a10 To Yuma, Dark Passaf Frank Capra William Castle Stanley Cortez Glenn Ford for his work in such films as Cowboy, George Cukor John Cromwell Blackboard Jungle, Teahouse of the Irene Dunne Allan Dwan August Moon and currently M~dway Blake Edwards Rudy Fehr Sylvia Fine Lyle Wheeler art director for Gone With the Wind, John Flory Gene Fowler Anna and the King of S~am, The Robe, Marjorie Fowler John G. Frayne Diary of Anne Frank, .Arthur Freed Lee Garmes Greer Garson Hal Roach Sr. will accept the Pioneer In Film Award To.1n Green Conrad Hall for his work in comedy (Harold Lloyd, Henry Hathaway Howard Hawks Laurel & Hardy, Patsy Kelly, Our Gang) Edith Head Alfred Hitchcock and also drama, as Of Mice and Men Wilton Holm James Wong Howe Ro!S Hunter Among those joining the program for this year's John Huston NoMtan Jewisou Honoraries will be , Walter Plunkett, Arthur "Chuck." Jones Gene Kelfy , Tony Slide, George Duning, Barry Shear, Dale Stanley Kramer Hennesy and Frank McCarthy. Jack Lemmon Mervyn LeRoy Sol Lesser The Spring Awards dinner is planned as a less forma Rouben Marnoulian Walter Matthau and more personal gathering to allow a more direct Steve McQueen Paul Ne,vman interchange between members and our honored guests and Les Novros Jack Oakle friends. Charles Palmer GreROrv Peck Dinner will be served at the Faculty Center on the Davtd Raksin Miklos Rosza USC campus, at 7a00 PM. Cocktails are at 6cOO PM. If Rosalind Russell Geor~~:e Seaton you plan to attend please return the enclosed envelope Mark Serrurier Ttan Simmons with your check as soon as possible, or reservations may Mov:

1/1/1939 1/1/1940 1/7/1940 5/21/1940 5/26/1940 1/1/1941 3/14/1941 1/7/1951 5/27/1951 5/17/1953 Giro's 18 2/11/1956 Biltmore Hotel Daulat Masuda 25 1/6/1963 Town & Gown 26 2/9/1964 Town & Gown 27 2/7/1965 Town & Gown 28 1/30/1966 Town & Gown Bob Crane 29 1/15/1967 Town & Gown Carl Reiner 30 2/11/1968 Town & Gown 31 2/9/1969 Town & Gown 32 3/8/1970 Town & Gown 33 5/16/1971 Gate of Spain Restaurant 34 5/21/1972 Town & Gown 35 12/8/1973 Town & Gown (?) (?) 36 3/3/1974 Town & Gown Norman Corwin 37 11/16/1975 Town & Gown 38 6/13/1976 Faculty Center (?) 39 5/15/1977 Universal Studio Comissary (?) 40(39) 4/9/1978 Town & Gown Arthur Knight yo Delta Happa·AJpha's j'?th. Annual Awards Bonquet

~-r-7;-

e Watt OiSMf ProduchOM

GORDON MEYER BANQUET PROGRAM: FINAL REVISION (4-6-78) Chairman (213) 741-2235 1) Genera 1 Introductions: Gordon Meyer, Russ McGregor, Mort Zarcoff

2) M.C.: Arthur Knight Disney was in cartoon business before Mickey Mouse. clip from ALICE IN CARTOONLAND starring Walt and (35mm silent) Arthur introduces Virginia Davis McGhee who talks about Walt and ALICE

3)Arthur expl~ins that to better understand how cartoons are made, let's follow Robert Benchley through the Camera Dep't. at Disney's in this clip from THE RELUCTANT DRAGON (16mm) 2:06

4) Arthur introduces Clarence 110ucky'' Nash, voice of Donald Duck, who tdlks about Mickey ' s 50th Birthday. Mickey accepts cupcake with candle .

5) Arthur says that Walt himself will explain what happened after Mickey. clip from STORY (35mm, scope, interlock) 5:10 which goe.s right into clip from SNOW WHITE (35mm, 1.33) 3:00

6) Arthur introduces Ward Kimball who talks about the following films from the 40's: (all 35mm, 1.33) PINOCCHIO (escape from Monstro) 3:40 (Opening and Bambi 's birth) 3:00 (approx.) THREE CABALLEROS (title song and dance) 2:20 (Dewdrop Fairies & Mushroom dance from NUTCRACKER) 3:30 (Pink Elephants) 4:45

7) Peggy Lee ta}ks about 50's with following clips: LADY & THE TRAMP (35mm, 1.33, interlock) 1: 40 PETER PAN (35mm~ 1.33) 3:00 (approx.) SLEEPING BEAUTY (35mm, scope) 1:40 TRUE LIFE ADVENTURES montage (35mm, 1 .33, interlock) 3:00 (approx. ) 20,000 LEAGUES UNDER THE SEA (35mm, scope)1:40

8) Segue to TV sequence . clip of opening montage: titles from , WALT DISNEY PRESENTS, WONDERFUL WORLD OF COLOR, WONDERFUL WORLD OF DISNEY (35mm , 1.33) 4:00 (approx . : comes on, talks about following TV shows & clips: XMAS 1951 SPECIAL (35mm, 1.33) 3:00 (approx.) Walt's speech on Disneyland's 10th Anniversary (audio tape) DAVY CROCKETT (16mm) 2:00 ADVENTURES IN COLOR (35mm, 1.33, interlock) 3:00

DELTA KAPPA ALPHA, DIVISION OF CINEMA/TELEVISION, SCHOOL OF PERFOR~IING ARTS UNIV ERSITY OF SOUTHERN CA LIFOR NIA , UNIVERSITY PARK, LOS ANGELES, CALIFOR NIA 90007 .. BANQUET PROGRAM: FINAL REVISIONS page 2.

9) Arthur says, "Ladies and gentlemen, the voice of the Magic Mirror, Mr. Hans Conried. 11 Conried lit from bottom for entrance, then 1 ight removed during first clip. 101 DALMATIONS (35mm, 1 .33) 3:00 (approx.) SWORD IN THE STONE (35mm, 1.33) 3:00 (approx.) MARY POPPINS (35mm, 1.66) 2:30 (approx.) JUNGLE BOOK (35mm, 1.66) 3:00 (approx)

10) Ray Bradbury comes on to talk about the Parks & EPCOT (slides)

11) Arthur introduces Jodie foster who talks about films of the 70 1 5 (2 clips, 35mm, 1.66) total time: 3:20 PETE 1 S DRAGON (16mm) 2:22 ROBIN HOOD (35mm, 1.66) 2:30 CANDLESHOE (16mm) 1:10 RETURN FROM WITCH MOUNTAIN (T6mm) 1:58

12) Arthur introduces Mel Shaw who talks about The Future w/ slides from following: THE SMALL ONE SPACE PROBE HERO FROM OTHERWHERE THE BLACK CAUlDRON

i3) Presentation of Awards f ,rom Eric Schubert, DKA President, to: 1) Honorary Membership for Ron Miller, Chris Miller accepting. 2) Pioneer In Film Awards to 10 Animators, proxy acceptences: Florence Lounsbery for , Marc Davis for Milt Kahl. 3) Pioneer In Film Award to Studio, Donn Tatum accepting. 14) Goodnights from Arthur clip. from ARISTOCATS (35mm, 1.66) end title.

th-th-th-that•s all folks

cc: Howard Green Tom Jones Tom Wilhite Arthur Knight Mort .Zarcoff Russ McGregor Herb Farmer Peter Callister National Honorary Cinema Fraternity ALPHA CHAPTER UNIVERSITY OF SOUTHERN CALIFORNIA UNIVERSITY pARK Los ANGELES 7, CALIFORNIA

Herbert A. Thurman December 101 1956 President S. Martin Shelton Vice-President :xxxxxx Robert Bethard xxxxx Recording Secretary xxxxx Ramon Ponce xxxxx Corresponding Secretary Ralph Rodine Treasurer Dear xxxxxx: Barry Kirk Public Relations AIJ you no doubt recall in recent correspoDdence 1 DEDl'A Ramon Ponce KAPPA ALmA is renewing it contact with aU its honoraries 1 Film Classics associates and alumni. Fr. Sean A. Dunne Chaplain As a result1 we are extendiDg you a cordial invitation to be our guest at our meeting Frid.a\1 night, December 141 1956, William S. Mehring at 8:00 PM. The meeting is to be held in tbe Cinema Department Fac.ulty Adviser ot tbe University of Southern CaJ.itornia1 at 659 West 35th stre• et - the corner of 35th street and Hoover boulevard.

HONORARY MEMBP.RS Elmo Williams The gueat speaker will be Alan Stensvold, a cameraman Karl Freund Roy Wolford tor the and shows, Who bas filmed an George Stevens educational. aeries ot'hia ovn. His most recent production, Mogen Skot-Hansen FOOD FROM THE SEA, will be shown. Joe E. Brown Wally Westmore Arter the meeting we will be happy to re-acquaint you Jesse L. Lasky Arthur Miller with the department, ita facilities and staff.; and, have you William Perlberg renew personal acquaint&Dces. · Arthur Freed Stanley Kramer Following the meeting, retresbmenta will be served in John Huston the lounge. Jerry Wald William C. Menzies Miklos Rosza SiDcerely yours, Slavko Vorkapich Fred L. Metzler DEI1l'A KAPPA ALPHA John L. Cromwell Sir Cedric Hardwicke Gregg Toland Boris V. Morkovin Ramon L. Ponce 1 Corresponding Secretary RLP:bks:rt To: Tom Nickell, Larr7Hagerwon tram Bernie Kantor aa requested

DKA HONORARIES (Delta Kappa Alpna, Rational Cinema FraternitJ) Joe E. Brown George Cukor John Cromwell John Flory--Eastman Kodak Co. Arthur Freed Karl Freund Sir Cedric Harwicke Jamea Wong Howe John Huston Stanley Kramer ** Jesse LaskJ ** William Cameron Menzies Fred Metzler--studio manager at 20th Century --pre w.w. II Arthur Miller, Director of CinematographJ Boris v. Markovin (once head of Cinema) Charles Palmer--indistrial tilm producer, formerly with MGM & Disney William Perlberg Miklos Rozsa George Stevena Slavko Vorkapltoh (formerly head ot Cinema} Jerry Wald Jack Warner ially Westmore Elmo Williams Roy Wolford ** C.B. DeMille Robert Snyder John G. Frayne, scientist at Weatrex William Goetz Mark Serrur,er--owner ot Joviola co. ** Gregg Toland Mogen Skot•Hansen--UN representative to , now head ot own company in Denmark William Seiter ASSOCI ATE MEMBERS (partial list) David Raksin ~ f>* Clara Beranger Bernie Cooper--editor Ralph Jester Leo Kuter--Art Director Andrew Marton, director Arthur Knight--critic, writer Boris Morris Sidney Solow, V. P. Republic Ptcbures Malvin Wale, writer

** deceased Note: The main DKA chapter & the national, as such, is here at usc. There waa a chapter ot DKA at UCLA, one at Boaton Univerait7 & one at NYU. At the moment, these laat three

are inactive. It QUESTIONS TO BE ASKED OP lf91JMAN TAUROi

I LET'S STAR'!' AT THE BEGINNING, BORMA!f. HOW DID YOU HAPPEN TO GET INTO THE MOVIE INDUSTRY?

II TELL US ABOUT YOUR EARLY DAXS I HOLLYWOOD. DID YOU COME HERE AS AN ACTOR?

III WHAT WAS YOUR FIRST JOB AS A .DI OTOR, NORMA.t~? DID YOU DO ANY TWO. REELERS?

IV WHAT WERE YOUR FIRST PICTURES WORKING WITH CHILDREN?

v GET~ING DOWN TO SPECIFIC PICTURES, NO , EVERYONE IS FAMILIAR WITH YOUR ORE IN "", FOR WHICH YOU WON AM OSCAR. WAS THIS YOUR FIRST FULL-LENGTH WITH A MOPPET STAR?

VI WHICH IS MORE DIFFICULT, NORMAN •• TO G T A COMEDY PERFORMAflOE OR A DRAMATIC PERFORMANCE OUT OF A CHILD STAR?

VII DID THE FACT THAT YOU WERE A CHILD ACTOR YOURSELF HELP YOU I HA DLING YOUNGSTERS? PAGE 2 . QUESTIONS... TO BE SXED OF NORMAB TAUROG&

V'III THERE'S SOXETHIBG fRAT PUZZLES ME, NORMAR, AHD .MAYBE YOU OAK ANSWER IT. WBA'l' 1 3 !HE REASOI THERE ARE NO IKPOR!AB'l OliiLD STARS •• THE XIlfD WHO CARRX THE PIOTORE SUCH AS JACKIE COOPER, JACIIE OOOGAI, SHIRLEY fEMPLE •• IN THE INDUSTRY TODAY?

IX DO THE TRICKS YOU DEVELOPED IN HABDLI .. G CHILD STARS! HELP YOU WITH ADULT AO!ORB?

(.

X DID YOU HAVE ANY PROBLEMS tH YOUR PICTURES WITH STAGE MOTHERS OR STAGE FA HERS?

XI NORM• YOU'VE DIREO'I'ED KUS.ICALS FROM THE EARLY TALKIE DAYS RIGHT Ui TO TH.E PRESENlf TIME. IS THERE ABY COMPARISON BETWEEN DIRECTING BIN(} CROSBY OR JIAURIOE CHEVALIER IN A MUSICAL ILM AS COMPARED WITH, SAY, OR ELVIS PRESLEY?

XII ON THE SAME SUBJECT, NORM, WHAT' 8 THE DIFFERUO BETWEEN DIRECTING A OOMEDY WITH JERRY LEWIS AB AGAINST THE OIJ)o. TIJrli: TWO REELERS VITH LLOYD HAMILTON AlfD LARRY SEMON?

XIII NORM. IT SO HAPPE S Y~U TWO ACTORS I PARTICUL4R WHO WERE XNO POR THEIR EXPLOSIVE INDIVIDUALIS!:f •• W. C. IELDS A D MARIO LANZA. WHAT'S A DIRECTO '6 APPROACH 'WHO HE DOWB HS' S WALKI G I 1'0 THE LION' S DEN? HO DO YOU HANDLE THESE STRO G-WILLED PERSONALITIES •• DO THEY RUB THE PICTURE OR DO YOU? ' 'Q,UEsTIO S '1'0 BE ASKED OF NORMAN TAUROG: PAGE 3

XIV RECENTLY, Tlb.RE' S BEEN A RASH OF FRENCH AND BRITISH COMEDIES BlMPLOYliG BROAD SLAPSTI CX. WHY DO YOU THINK THESE 'l'ALEIITED :IOUNG FOREIGN DIREOTORS ARE SO INTRIGUES WITH OUR ~ SILENT PICTURE COMEDY TECHNIQUE?

XV NORM, WHY IS IT THAT lN ALL YOUR PICTURES, FROM THE TWO REELERS RIGHT UP TO THE PRESENT YOU'VE ALWAYS USED AN ANIMAL? A DUCK, A GOAT, A PARAKEET, DOGS, A BEAR, A JACKASS •• WHI IS THAT? IS I! A GOOD LUCK OMEN?

XVI (THIS SHOULD BE 'S QUESTION) - NOW FOR OUR LAST AND FINAL QUESTION, NORM . !ELL ME , HOW DO YOU FEEL WHEN YOU SEE YOUR .QLY PICTURES ON TELEVISION? - . WILLIAr1 CASTLE

"I spent most of my life laughing all the way to the bank. I made millions." "There are many people more talented at directing than I am. But there is nobody in the whole · industry that I will take a back seat to in show­ manship." "Stars don't mean much at the box office any more. Gimmicks, surprises, shocks --that's what draws the crowd." , 1960. (it would seem Castle was a · prophet, i.e., THE EXORCIST~

William Castle was known for spending more money on promoting pictures than producing pictures.

Born in 1914 in he decided by the age of 15 to be an actor. He always liked horror. At the age of nine he sat for hours in front of a mirror making himself up as Lon Chaney and the hunchback of Notre Dame. His first acting job was in EBB TIDE with Marjorie Main. At 18 he directed his first play, DRACULA. He wrote and directed radio series like THE ROMANCE OF HELEN TRENT,, and LIGHTS OUT. In 19.39 he took over stock company at Stoney Creek, Conn. Felling himself a better showman than Welles and trying to sell tickets to a play that sold no tickets one week before opening, he fell into some good luck with the unlikely help of Adolf Hitler. Hitler had asked his leading lady to come back to Germany to attend an arts festival. She didn't want to and Castle sent_ a telegram to Hitler saying he represented her and that she \I'TOuld have nothing to do with him or his Nazis. He took copies of the telegram to the newspapers and got local headlines and eventual national coverage for the girl who was billed as "The Girl Who Said No To Hitler". It was with this impressive showmanship that he came to the attention of Harry Cohn who brought him out here and set him to work making low-budget westerns. Since then he has worked as both an Independent and for Paramount and Universal. He has 104 feature film credits. In the 1960's he developed two television shows, GHOST STORY and CIRCLE OF FEAR. He gave up features until !~ arcel Marceau asked for him to produce SHOCK in 197.3. In 1962 he produced and directed Barbara Stanwyck in TH NIGHT WALKER. Other films he's produced and/or directed are ••• MACt1Sl£ (ry~ij-?.THE WHISTLER (1944) THE HOUSE ON HAUNTED HILL (1959) THE TINGLER (1959) HO!UCIDAL ( 1961) I SA\'l WHAT YOU DID (1965) 2.

LET'S KILL UNCLE (1966) ROSEMARY'S BABY (1968) SHOCK (1973) He is currently preparing ROSEMARY'S BABY NO. 2 which is being written by USC Cinema graduate, W.D. Richter. He has always been a great admirer of Alfred Hitchcock and believes that people want to be shocked. That it's a release for them. In 1969 Castle once again became a prophet in the movie business -­ he sold his business to Arnold Constable Corp.-- a clothe store.

Some of his zany promotional stunts •••

For J-.~ ACABRE he insured each member of the audience for $1000 with Lloyds of against death by fright. There were also signs around the theater proclaiming : "Attention Doctors. Please let an usher know where you are seated. You may be needed during the showing of 'Macabre'.

For THE TINGLER he had the seats wired for electric vibrators that responded to loud speakers proclaiming that the tingler was lose and the only way he wouldn't ge you was to scream. (Considering the way movies are headed today, Wilnam Castle once again has proved himself a proph

For HOMICIDAL he had the film stopped after 1 hr. and 40m f or an announcment that anyone too scared to see the last 2 minutes of the film could leave now and get a refund. BUT to insure against losses he had yellow lines painted down the aisles that led to the 'coward's corner' where the money was to be refunded. People vfere too embarrasse( 'to take the chance and stayed.

Through most of his career he remained one of the top box office attractions and has an amazingly~ng list of top-rate films to his credit. Katherine Hepburn said, " ••• he has a lovely sense of timeing, an amusing face and a lovely voice." He was born in 1904 in Bristol, England as Archibald Leach. He was a callboy at the Bristol Hippodrome and joined Bob Penders' company of acrobats. He sang, danced, and juggled his way to the in 1920. He liked the U.S. and stayed on doing odd jobs after the company returned ·to England (he sold ties and· was part of a vaudville mind-reading act). · 1932 he returned to England and got small parts in musicals. Arthur Hammerstein took him back to New York where he appeared in such musicals as GOLDEN DAWN, POLLY, and BOOM-BOOM (with Jeanette MacDonald). He did operettas in St. Louis and then returned to N.Y. in NIKKI playing the part of Cary Lockwood -- hence, his first name. He then went to Hollywood and was hired by Paramount to feed lines to an actress being tested. He got a contract and she didn't. 1932 he did his first picture, THIS IS THE NIGHT, a musical. He went on to such 'classics' as SINNERS IN THE SUN, HOT SATURDAY, and, IvTERRILY \!JE GO TO HELL.

1933 he did SHE DONE HU-1 WRONG & I'M NO ANGEL with Hae West -- these roles helped his career imensely. After this he played the Mock T~tle in ALLICE IN WONDERLAND. 1936 did SYLVIA SCARLETT for RKO opposite Katherine Hepburn with George Cukor directing. He then did SUZY with Jean Harlo1 at ~JIGl\1. VJhen his con tract ended and Paramount wouldn't give him power to choose his roles in a new contract--he didn't sign. He went back to England and did some film work. \'!hen he returned to Hollywood he found that his demand had increased -- mainly due to the two above mentioned films. He signed a joint contract with RKO and Columbia. Some of his best films followed soon: TOPPER (37); (: (37); HOLIDAY (38); GU NGA DIN (39); ONLY ANGELS HAVE \•liNGS ( 39); ( 40); THE PHILADELPHIA STORY (40) 2.

In the 1940's he did •••• SUSPICION (41); MR. LUCKY (43); ARSENIC & OLD LACE (44); NOTORIOUS (46) --the famous kiss with Ingrid Bagman -- ; I WAS A MALE WAR BRIDE (49) -- at times dressed in drag. In the 1950's he turned down the lead parts in SABRINA and A STAR IS BORN. He did do TO CATCH A THIEF (55) AN AFFAIR TO REHEI•IIBER (57) NONKEY BUSINESS with Ginger Rot;ers and r·.Iarilyn Monroe; NORTH BY NORTHWEST (59) OPERATION PETTICOAT (60) .

In the 1960's did THAT TOUCH OF MINK (6~; CHARADE 963); and became a director of Rayett-Faberge

In 1970 he received a special Oscar for his brilliant film career. He has an unbroken record in that his films have a total playing time of 113 weeks at Radio City f\1usic Hall. Katherine Hepburn is second with 64 weeks. JOHN GREEN

Asked if he ever skiis, he replied, "Never. I won't even risk walking past a sporting goods store. In my business,you don't have to go looking for that kind of -trouble; you can get badly hurt just starring in front of a symphony orchestra."

Born in 1908 in New York City. Famed as Composer, Bandleader, and Chef. He graduated at the age of 19 from Harbard with a degree in Economics. \Vhile at school he was very active in Music and even took some courses as well as heading the Harvard Band. His first song was "Coquette" (1928). He played piano for and wrote "Body and Soul" for her • . In .1929 he went to Paramounts Astoria Studio and stanEd as a rehearsal pianist. He soon became staff orchestrator, assistant conductor and eventually reached full status as Conductor­ Composer. -At this same time he was also conductor at the New York and Brooklyn Paramount theaters. 1930-33 arranger and pianist for Ethel Merman and wrote songs \·Ti th James Melton -- I'M YOURS; OUT OF NOWHERE; EASY COI·1E , EASY C I COVER THE WArERFRONT. In 1932 Paul Vlhitemant commissioned "The Night Club Suite". John Green was the soloist in performances in the u.s. and London. vlhile in London he wrote a show, MR. WHI1,TINGTON and songs for Carroll Gibbons. After London he went into radio as a conductor on the Oldsmobile shov1 with Ruth Etting; Jell-0 with and on the Packard show with Fred Astaire; and was on the Phillip f·1orris programs for two full years and on its c cast-to­ coast shows. He did many recording with Fred Astaire. 1942 he returned to the orchestra pit on Broadway in Richard Rogers' BY JUPITER. Because of the publicity that followed this he was eventually called to Hollywood. 1942 became composer and conductor at IJIGH. In 194 7 he received his _ first nomination for FIESTA. T<1us ic for BROADWAY RHYTHJ.i & ~) r-Ar11ou.s 6CN(- • FfU:mt ~bl'td .sH:-·v - ".1J.It= . .Sre-+~1 ~~ 0'~: f!le &.&~,'1·' WEEKEND AT THE :lAL 1946 at Un~versal wrote songs vnth Leo Rob~n. 1948 came back to f.:IGM on Arthur Freed's asking and scored EASTER PARJDS His first Academy Avmrd was for this picture. 1949 Golden Globe Award for I NS PECTOR GENERAL. From 1949-58 he was the General rilus ical Director at MGl\1 and worked on such films as ROYAL WEDDING & AI·1ERICAN IN PARIS (his 2nd Academy Award). In the late forties and early fifties he produced recordings himself and with Danny Kay and Ezio Pinza. ' 2.

1951 nominated for Academy Award for score of THE GREAT CARUSO. In the late forties he hired Andre Previn and gave him his start. 1953 produced short ~'IERRY \!liVES OF WINDSO OVERTURE for which he received an Oscar. 1953 Produced and directed the first televised show. For many years he \vas musical director of the Oscars show. 1954 nominated for producing short, THE STRAUSS FANTASY.

All in all, he's received 11 Academy nominations and 5 Oscars (the other tvw for \VEST SIDE STORY & OLIVER). He was head of the Screen Composers Association. 1953 voted Life Membership by Board of Governors of the Academy of !'-1otion Picture Arts and Sciences. He later served on this Board. He has performed as soloist and conductor in orchestras all over the world playing his own works and those of the masters. Esp. The Hollywood Bowl. and has been a guest lecturer. In 1961 he had his own daily }~~ radio show. In February of 1973 his star was placed in the in front of Grauman's Theater. The money was raised by a large number of friends. The extra money was used to set up a Husic Scholarship at USC in his name. . ' BARBARA STANWYCK

Her steady rise to fame in the 1930's was very much a part of the character she p-ojected -- reliable, dovm-to-earth, and self-assured. Even if some of her roles made her an unlikely nightened heroine she has never given a bad performance and had given many great ones: R~1BER THE NIGHT, BALL OF FIRE, THE LADY EVE, COUBLE INDEMNITY, and FORTY GUNS. Called 'Missy' by those who worked with her. Of the many 'stars' of the era, she was one of the most loved. She was Cecil B. DeMille's favorite actress and he said, "I have never worked -vii th an actress who was more co-operative, less temperamental, and a better workman, to use my term of highest compliment. Fritz Lang said that, " ••• working with Barbara Stanwyck was one of the greatest pleasures of my career." Robert Preston said, "A lof of people feel like I do about Barbara Stanwyck--or Missy, as we all called her. Bill Holden wa~ one newcomer she helped a great deal, and she helped me. She was the first big star with whom I worked, and later, when I got involved with others who were selfish or put on the big star act, I didn't get bugged because r.1 issy had shown me that all stars aren't like that. It's true that nobody else was quite like her. For 20 years I haven't stepped on a staee, or in front of a camera, without wearing the St. Genesius medal se gave me. If he was the patron saint of actors, she, in my opinion, is the patroness."

Born in Brookl~1, New York in 1907. Youngest of five children from Scots-Irish parents. Orphaned at the age of four and raised by an older sister -- a showgirl. Did menial jobs from age 13 - 15. She had a great ambition to be a dancer. At times she also wanted to be a missionary to China. At 15 she began dancine at speakeasies, then on Broadway and tours. 1926 she had a straight part as a dancer in THE NOOSE (play). The pari was enlarged en route to Broadway and when it arrived she was a 'star' Afterwards she really hit it big in BURLESQUE 1927 silent for Warner Bros. , BROADWAY NIGHTS,in New York. 1930, in New York, did, THE LOCKED DOOR. After this she went to Hollywood and did a small part in Columbia's MEXICALI ROSE.

She then did a Frank Capra film, LADIES OF LEISURE (also did r~RACLE WOJI[AN & THE BITTER TEA OF GENERAL YEN for Capra) • . .. 2.

She did many films for Warner's and Columbia -- they shared her contract. 1932 FORBIDDEN put her on top. Her films' image was one of a working girl, pushy, jaded, amoral -- even to go as far as murder, if needed. She worked at many studios -- for it's time, this was a typically bold move on her part. 1941 did Howard Hawk's BALL OF FIRE in whichme sang the immortal, "Drum Boogie" and also revealed a preat pair of gams. In 1943 she did LADY OF BURLESQUE and sang "Take It Off The E String, Put It On The G String" -- a tasteful classic. In the following year she made many films with such leading me as , Joel McCrea, William Holde, , Edward G. Robinson, Fred MacMurray, and . She made fewer films in the fifties but one of her biggest was . In 1962 She played a lesbian madame in A WALK ON THE WILD SIDE. 1960 she did a television entitled, THE BARBARA STANWYCK SHOW. 1965 began a four year stint with an hour-long , THE BIG VALLEY...... LAWRENCE WEINGARTEN

Born in 1893 in . Raised in Sioux Falls, So. Dak. His father owned the Barrisin Theater (the first theater to show motion pictures in town). His first job was that of a movie usher. He then became a newspaper reporter. Then came work as a motion picture publicist. He worked for Tom Ince. and for First National he developed the world build up for "The Kid". He began \'rork at MGM in 1927 (and remained there through 1969). At first he was an assistant to Producer, Harry Rapf on Tim McCoy Westerns. He went on to be an assistant to , i.e. on BROADWAY r-1ELODY OF 1929. He then became Producer of and Dressier­ Moran comedies. After becoming and executive at fi1GM he did such films as LIBELED LADY, TOO HOT TO HANDLE, ADAM'S RIB, PAT AND MIKE, and I'LL CRY TOBORROW. In 1932 he did better than marrying the boss's daughter. He married the boss's sister, Sylvia Thalberg. Among some of the other films he's produced are A DAY AT THE RACES, CAT ON A HOT TIN ROOF, ·and THE UNSINKABLE HOLLY BROWN. In 1962 he was elected the President of the Producers Guild. In 1965 he addressed cinema students at USC after a group of his films had been shown. In 1969 he left MGM and became an independent Producer. CABLE ADDRESS TELEPHONE "WANEWAR" HOLLYWOOD 9·1251

PICTURES, I~ WEST COAST STUDIOS BURBANK, CALIFORNIA

January 29, 1965

Mr. Stan Musgrove 1540 N. Highland Hollywood, Cal ifornia 90028 Dear Stan: If these questions aren't numerous enough or exhaustive enough, please call immediately and I'll come up . with some more.

Ernest Lehman

Encl. THE QUESTIONS ARE NOT PUT DO l-IN HERE NECESSARILY I N THE ORDER I N WHICH THEY SHOULD BE USED.

Like so many people who are now working in Hollywood, you grew up in a small town far away from California -- in this case, Connersville, . How did you, Bob, make the great escape to Hollywood?

I've heard that your brother, David, was instrumental in getting you started in the motion picture industry. What did he do for you, Bob? (And how are you two associated together now?) * * You were twenty-one years old when you first saw your name on the screen. What was that screen credit for? * I've heard tell that directors and George Stevens were very early influences on your career. Can you tell us what you feel you learned from them which is still serving you well?

-~- Your wife Pat was Irene Dunne's standin during the shooting of "" for which you served as film editor and adviser to director Garson Kanin. If you hadn't been assigned to that picture do you think you would ever have met Pat? 2.

Anyone who knows about motion pictures, and about your career, is aware that you were closely associated with Orson Welles in the making of "Citizen Kane," both as film editor and adviser to "boy genius" who had never directed a film. What did you learn from Welles, and more important, what did he learn from you? * It's a far cry from "Curse of the Cat People" (your first directorial effort) to "The Sound of Music." In the twenty- some-odd years that have intervened, do you feel you had something then as a director that you don't have now? We all know that you have an awful lot now that you didn't have then. * You have worked as a director and producer-director for large studios and small studios and as an independent producer yourself. What are the studio "ills" that you have been trying to cure by going independent? And what are the ills of being an independent producer that you still haven't been able to cure?

Looking back over some of your best-known films---"The Set-up," "The Day the Earth Stood Still," "Executive Suite," "Somebody Up There Likes Me," "I Want to Live," and "West Side Story" -- can you pick out ONE SCENE or ONE MOMENT in each of these pictures t hat you would direct differently if you had a chance to do it over again? 3.

Like all directors, you probably study the work o~ other directors, evan i~ it is only unconsciously done while seeing their ~ilms. Are there any relatively new directors whose work has been changing your ~eelings about your own lately? * You had a long career as a ~ilm editor be~ore your long

career as a director. vfuat can a ~ine ~ilm editor do ~or

a director that he can't do ~or himsel~? * Forgetting all the technical aspects o~ ~ilm direction,

can .you te 11 us how you direct your actors? It's probable

that you don't use the same techniques ~or each individual, but in general what is your approach to ~ilm acting? * It is generally accepted that two o~ your best ~ilms were "The Set-up" and "Somebody Up There Likes Me," both of them

~ight ~ilms. Is this pure happenstance, or do you have a

special affinity ~or the world o~ pugilism?

One of the hallmarks of your "style" seems to be the use o~

the quick cut instead o~ the dissolve -- see "Executive

11 Sui.te"- "Somebody Up There Likes Me"- "I Want to Live1 - and "\.Yes t Side Story," to name a few . Can you tell us how you came to value this technique of story-telling? * Some of your colleagues, who have worked with you on many pictures, say that you are a man of infinite patience and quiet voice who can fly into towering rages. What are some of the things, in the daily tedium of picture-making, that send you into the most towering?

You have made horror films, comedies, adventure pictures, dramas, science-fiction, and musicals. Is there anything left that you haven't done that you would still like to do and intend to do? * * Bob, naturally you know what free association means. Let's play a game. I'm going to throw the title of each of your pictures at you and I want you -- without any hesitation -- to tell us the first t hing tha t comes into your head, good, bad, funny, sad, whatever. Ready? Here goes.

CURSE OF THE CAT PEOPLE MAD~10ISELLE FIFI THE DESERT RATS THE BODY SNATCHER SO BIG EXECUTIVE SUITE CRIMINAL COURT HELEN OF TROY BORN TO KILL MYSTERY I N MEXICO SOMEBODY UP THERE LIKES ME BLOOD ON THE MO ON THIS COULD BE THE NIGHT THE SET-UP THREE SThtCRE TS RUN SILENT, RUN DEEP I WANT TO LIVE HOUSE ON TELEGRAPH HILL ODDS AGAINST T OMORROW THE DAY THE EARTH STOOD STILL WEST SIDE STORY CAPTIVE CITY DE STINATI ON GOBI THE HAUNTING THE SOUND OF I'-IDSIC HAL WALLIS 2 • Fugitive From a Chain Gang," and "Gold Diggers of 1933·" When Zanuck left in 1934 to form 20th Century-Fox, Wallis returned to the executive chair. In 1934-5 Bette Davis won the best actress award in Hal Wallis' "Dangerous" while two more Oscars went to "Midsummer Night's Dream." The next year was even more successful for Warner Brothers and Wallis with "Anthony Adverse" and "The Charge of the Light Brigade." From 1936 until 1944 when Wallis broke his long association with Warners to move over to Paramount as an independent producer, a long list of box-office and prestige films emerged from the Warner Studios. Although Wallis himself disclaims credit for all these successes it is universally acknowledged that his presence in the executive producer's chair was of prime importance in continuing the steady flow of first class product from these studios. Among his 400 films as producer are numbered classics and many box-office winners including "Casablanca," "The Maltese Falcon," "This Is ·the Army," "Air Force," "," "Yankee Doodle Dandy," "King's Row," "Sergeant York," "Captains of the Clouds," "Dive Bomber," "All This and Heaven Too," "Virginia City," "The Fighting 69th," "Dark Victory," "Come Back Little Sheba," "Rose Tattoo," "Gunfight at the O.K. Corral," "The Rainmaker," "Love Letters," "Strange Love of Martha Ivers," "The Searching Wind." Among his recent films are included "Summer and Smoke;" Dean Martin and Jerry Lewis subjects; the Elvis Presley films, "G.I. Blues," "Blue Hawaii," "Fun in Acapulco;" "A Girl Named Tamiko" and "Wives and Lovers." Apart from being a prolific and successful producer Hal Wallis has that rare talent, the ability to make a success of a popular box­ office story as well as a prestige picture. Probably no producer in Hollywood takes such an active part in every facet of picture making. His writers, directors, players, film editors and technicians in every department know he talks their language, is aware of their problems, yet somehow mana ges to keep his finger on every phase of preparation, production and completion without losing sight of his over-all goal - a movie as fine, as thorough, thoughtful, knowledgeable as craftsman­ ship can make it. HAL WALLIS 3. In 1965 twelve Academy Award nominations went to his screen adaptation of Jean Anouilh1 s play, "Becket," starring and Peter 0 1 Toole. He has since produced the big Western, "The Sons of Katie Elder," which stars and Dean Martin, and the -Jerry Lewis comedy, "Boeing Boeing," based on Europe's reigning stage hit of the 1 60s, now in its sixth year in Paris and its third in London. UNIVERSAL CITY STUDIOS MAY 14, 1965

GREGORY PECK - Biography

Tall, quiet-spoken, Academy Award winner Gregory Peck has reached a stature unsurpassed in the entire motion picture industry. For his most recent film, "Arabesque," a Universal relea se in which he stars with Sophia Loren, Peck elected to join forces with producer-director Stanley Donen not only before receiving a completed screenplay but two years before the picture went before the cameras. Donen, who wanted to film "Arabesque" from the time he first read Gordon Coulter's novel "The Cipher", on which the film is based, had waited patiently for Peck's availability to mesh with that of Miss Loren's, to complete the casting chemistry that Donen felt was desired. In "Arabesque" Peck portrays a wryly-humerous American professor of ancient languages who becomes involved in intrigue and romance while working at England's Oxford University. It is one of the star's few comedy portrayals in recent years. The actor previously starred in "Mirage," playing an amnesia victim fleeing from assassins. Prior to that assignment he had a long stay in Europe during production of "Behold A Pale Horse," in which he played a Spanish exile. Earlier he essayed the challenging title role of a psychologist in "Captain Newman, M.D." It was Peck's classic portrayal of the Lincolnesque southern lawyer, Atticus Finch, in the widely-hailed "To Kill a Mockingbird" that won him an Academy Award for best performance by an actor. Previously he had received four Oscar nominations, for "Keys of the Kingdom, 11 "The Yearling," "Gentleman's Agreement" and "Twelve O'Clock Higho It Peck's numerous screen credits provide a cross-section of some of Hollywood's finest cinematic contributions. These include "Spellbound ~" "Duel in the Sun," "Roman Holiday," "The Snows of Kilimanjaro," and "The Guns of Navarone." The actor was born at La Jolla, California, April 5, 1916, the son of Gregory and Bernice Peck. His father operated a drug store and, in his spare time, captained the San Diego rowing teamo Peck attended grammar school in La Jolla San Diego High School and Sto John ' s Military Academy in Los Angeles. He originally intended to become a physician, enrolling in a pre-medical course at the University of California at Berkeley. By now a six-foot-two­ and-a-half-i nch specimen, Peck was a standout as a university oarsman until a spi nal injury compelled him to forsake sports. He tur ned t o college theatricals. He was given such enthusiastic encouragement that he soon decided to shift from medicine to show busi ness o Armed wi th a letter of introduction to a business friend of hi s father ' s , he set out f or Broadway. The let ter got him a j ob -- as a barker at a concession in the (more) GREGORY PECK '- Biography Page 2 amusement zone at the World's Fair. Later he became a guide at Radio C'ityo Meanwhile he had won an audition for a scholarship at the Neighborhood Playhouse School Gf Dramatics. Later he won a second award, from the famous Barter Theatre in Abingden, Va. Guthrie McC~intic then engaged Peck for a tour with Katharine Cornell in "The Doctor's Dilemma." His big break came when he was signed for the Broadway production of "Morning s;tar. II This led to the lead opposite in "The Willow and I, 11 and to another starring role opposite in "Sons and Soldier so 11 His theatrical successes brought him to Hollywood for his first motion picture assignment, "D'ays of Glory," followed by "The Keys of the Kingdom." The rest is motion picture historyo Peck was first married to Greta Rice, from whom he was divorced in 1954o They have three sons, Jonathan, S'tephen and c·arey Paulo In De cember, 1955, he married the French newspaper writer, Veronique Passanio They have a son, Anthony, born Oct. 24, 1956, and a daughter, c·ecilia, born May 1, 1958. Peck was co-founder of the famed La Jolla Playhouse, with Mel Ferrer, , Jennifer Jones and Dorothy McGuire. He is a cattle rancher and is one of the film colony's finest horsemen. An ardent student of Lincoln, calling himself a "poor man's Carl Sandburg, tt he prizes a library of 500 volumes( df Lincolnianao ·

PICTURES DAYS OF GLORY MOBY DICK THE KEYS OF THE KINGDOM NIGHT PEOPLE THE VALLEY OF DECISION THE PURPLE PLAIN SPELLBOUND MAN WITH A MILLION DUEL IN THE SUN THE MAN IN THE GREY FLANNEL SUIT THE YEARLING DESIGNING WOMAN THE MACOMBER AFFAIR THE BIG COUNTRY PARADINE CASE THE BRAVADOS GENTLEK~N'S AGREEMENT PORKCHOP HILL BELOVED INFIDEL THE GREAT SINNER ON THE BEACH THE GUN FIGHTER THE GUNS OF NAVARONE TWELVE O'CLOCK HIGH CAPE FEAR CAPTAIN HORATION HORNBLOWER HOW THE WEST WAS WON ONLY THE VALIANT TO KILL A MOCKINGBIED DAVID AND BATHSHEBA CAPTAIN NEWMAN, Mo'D. THE SNOWS OF KIL IMANJARO BEHOLD A PALE HORSE ROMAN HOLIDAY MIRAGE ARABESQUE

--oOo-- OF ~eJ..ilu PRODUCTIONS, INC. 710 NOIITH GOWEll ITUIT • HOlLYWOOO U, CALIPOIINIA • HOlLYWOOO ':-St11

LUCILLE BALL (Biography)

Lucille Ball is truly one of the most remarkable women in the history of show business. From the obscurity of a doubtful career as a New York model to top Hollywood stardom in motion pictures, radio and television, is in itself a notable achievement. Today however Lucille Ball stands alone as a re­ freshingly rare example of a girl who finally managed to. combine such ingredients as career, motherhood and busi­ ness into a formula that has· spelled success in big bold letters. Not only has Lucille, or Lucy, as she is known to millions, realized all her early ambitions as. a perform­ er, but she has also become' one o~ the television indus­ try's most influential leaders -quite an achievement for a gal. As president of . Inc., a sprawl­ ing (largest in the world) television film produc·ing em­ pire? Miss Ball heads an organization that grew from an idea ("") to a public corporation with an an­ nual· gross of approximately $25,000,000. lucille ball. biography

- 2 -

All this however was not achieved without a lion's ~ share of obstacles. No story about Miss Ball can of course be complete without dove-tailing it with that of . Before Lucy. met the dynamic ex-bandleader her life shaped up like this: She was born in Jamestown, New York, on August 6, the daughter of Desiree and Henry Ball. Her father, a mining engineer, died when Lucille was four. Her mother, a former concert pianist, and her brother, Fred, moved in with her grandfather. However by the time Lucy was 15 she had wearied of all that Jamestown had to offer, which covered such endeavors ··a.s high school dramatics, her own amateur

pr'!ductions and t}:le d .re~y life in which a teenage girl lives . before setting her sights on a goal. She headed for New York and enrolled in the John Mur- ray Anderson Dramatic School. Her first lines caused the instructor to close .his eyes in disbelief. "No talent," was his verdict. Mr. Anderson tactfully wrote Mrf.Ball that . her daughter would be much better off in some other line of work. Disillusioned but not discouraged, young Lucille went for bread-and-butter jobs to ·help -pay the rent. She worke.d as office help, waitress, soda jerk and wholesale garment lucille ball biography

- 3 -

~ . model. In between she managed to land chorus jobs with various Broadway musical productions, but she never got beyond the rehearsal stage. The most significant thing about her struggles dur­ ing this period was ·the fact that her modeling experience kept her in touch with people who could help. One of these, agent Sylvia Hahlo, met Lucille ·one day on Fifth Avenue. "Sam Goldwyn ·needs a showgirl right awayl Can you leave for Hollywood'? 11 Sylvia asked explaining that a last minute cancellation had. left ·her one girl short. The film was "Roman Scandals"· starring Eddie Cantor. She was· signed to a six month contract at Gold\o~yn Studios. Her next step was decided for her when Columbia signed her to· a stock contract which brought a succession of feature roles. "I have never regretted doing all those

'B' films, 11 Lucy explains. "I was getting paid for learning, what more can: you want'?" Then RKO picked up her contract following a small but noticeable role in ". 11 Her salary was now up to $75 .oo per· we'ek. She took time out to do a lead in an out­ of-town musical called "Hey, Diddle, Diddle," but it never reached Broadway. She returned to Hol~ywood and immediate­ ly went into "Stage Door" and, "Too Many Girls." It was dur- ing filming of the latter she met a young Cuban bandleader lucille ball biography

- 4 -

and bongo player by the name of Desi Arnaz who was brought ; to Hollywood· to repe.at .· his role in the film version of the Broadway hit. ·,: There are many .anecdotes about what they said ·to each other during that first meeting, but one thing is cer­ tain, it was a case of love at first sight. Later, Desi and Lucy met in New York. Then it happened . One day Lu­ cille was going on a magazine interview on the subject of "Why I'm Not Ready For Marriage." Desi arrived during the

·session and trie~ to get Lucy's attention, but she waved him· off until the interview was finishe.d and when they were

alone her aske~ her to marry him. They went to Greenwich,

Connecticut·, and tied the knot.. That was on N~vember 30, 1940. The newlyweds returned to Hollywood where Lucille

resumed her career in the RKO production of the Damon Run~ yon classic, ·"The ·Big Street." Her role in the .film launched her on the road to stardom. Desi continued to tour the country with his band. Neither of them enjoyed the idea of being apart, besides the phone bills began to look like the national debt.

They began to think se~iously about plans that would

keep them together proress~onally as well· as domestically. .. lucille ball biography

- 5 -

It looked as if the problem ~as close to being solved

~hen MGM bought Lucy's contract from RKO and also signed

Desi. But World War II came along and Des! ~ent into the U. s. Army Medical Corps.

Meanwhile Lucille became one of Holly~ood 1 s biggest stars with top assignments in such films as "Easy to Wed" and "Du Barry Was a Lady." Then she asked for and received her release from MGM to freelance, did several top films be­ fore signing a multiple picture pact with Columbia. Later with Des! out of the service they resumed dis­

cussions on how best to combine their careers ~ith marriage. Also both wanted to raise a family. At this time Lucille was in her second season of starring on the popular radio

sho~, "My Favorite Husband." Then Desi and Lucy got an idea. Why not pattern a show after themselves• They discussed it with writers Jess

Oppenheimer, ·Madelyn Martin and Bob Carroll _ Jr., who ~ere

already writing for Lucy. They helped them ~ith the first script which the couple tried out on audiences around the country. It ·was received enthusiastically. In May, 1950, Lucy and Desi formed Desilu Productions Inc. to handle their joint business ventures. Even though television was in comparative infancy, Desi saw the great potential of the then struggling medium. He confronted CBS lucille ball biography

.. 6

with the prototype of the "I Love .Lucy'' show. They were interested, . but a number o f problems had to be solved. CBS didn't want the .pair to use their real names. Thus Ricky and Lucy Ricardo were born. Desi wanted to film · the show, CBS said it was too expensive. Desi then ex­ hibited some o·f th!3 native business acumen that has since

· proven his . uncanny ability to ~ake quick and good decisions. He and Lucy agreed to take less money, Desilu would shoulder the extra expenses involved in filming if CBS would finance the ·project. However Desilu would retain production con­ trol and ownership of the series. The rest is history. "1 Love Lucy' .. not only became a bonanza for Desilu, but th&; nation's all timeI TV favorite. Another important event took place·. On July 17,

1951, just before the debut of the first "I Lov~ Lucy" the Arnazes ·had their first child, Lucie Desiree. From that day the Ball-Arnaz patnership prqspered · on all fronts. A son, Desi IV, was born on January 19, 1953. It was also the year that "I Love Lucy" achieved the highest rating ever racked up in the history of tele­ vision. It hasn't been topped since. Scene of their first show was ·crowded General Service Studios where they worked for two years. Then they moved to Motion Picture Center in July, 1953, finally took over the entire lot and bought lucille ball biography

- 7 - controlling interest in the studio.

Desilu P~oductions continued to grow into a TV in­ dustry giant climaxed with the· purchase in 1958 of the en­ tire RKO studio facility. In the process ·Lucille became · an even greater star and the Number One comedienne in the land.

With the completion of the 11 I Love Lucy" half-hour shows in 1957, Lucy and Desi continued to make a limited series of special one-hour shows which were televised through 1959. Meanwhile Lucy had been thinking seriously of doing a Broadway musical. After pondering numer9us possibilities she decided on '"" by N. Richard Nash which was directed and choreographed by Michael Kidd. It opened in October 1960 at the Alvin Theater in New York and ran as a successful hit until illness forced .her out of the show. Although Lucy and .Desi were divorced on May 4, 1960, the end of their 20 year marriage did not affect their professional careers for each continued to act, produce and work under the Desilu aegis without disruption. Following the closing of "Wildcat," Lucy returned to her Beverly Hills home for a much earned rest. On November 19, 1961, Lucy returned to New York and married comedian Gary Morton whom she had. met during the closing months of ' • . lucille ball biography

8 - ; "Wildcat." .Today the couple l i ve i n Beverly H ls.

Miss Ball returned to te l c v~:. •n in 1962 wlt "" for CBS television, and again for the second time in her career became t he star of another successful television series. In November of 1962 Mr. Arnaz retired as president of Desilu and his entire holdings were purchased by Miss Ball making her the first woman president of a major

Hollywood film producing co~pany.

# # # From th : . e desk of ...:

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OLLYWOOD ••--&K.I~i~.~oooo.jYIMIM&ol...... _ .. FRIENDS OF THE LIBRARIES DINNER Time: 7:30, Sunday Evening, February 12

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Place: Town & Gown, University Campus

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D, ~;f j· o~ ,fi-fo • .r---~ • ( For the growth ) ( and enrichment of ) Friends of the Libraries ~ the University of ~ ( Southern California ) UNIVERSITY OF SOUTHERN CALIFORNIA ( Libraries ) UNIVERSITY PARK, LOS ANGELES, CALIFORNIA 90007 ~--~

January 6, 1967

Dear Friend:

On Sunday evening, February 12, we shall hold our annual dinner, and it will again be an important event. This year we shall honor the composer-lyricist Cole Porter. Ethel Merman, Fred Astaire, Cary Grant, Gene Kelly, Dr. Raymond Kendall, Alan Lerner, and will join in paying personal tribute with conversation and song. Mrs. William Goetz is chairman of the Planning Committee for the occasion.

We have again received permission to use the manuscript of a new book. Portions of George Eells' biography, Cole Porter: the Life That Late He Led, which will be published in April by Putnam, will be the framework of our program.

This tribute will be held in Town and Gown on the USC earn­ pus at 7:30, and we sincerely hope that you and your friends will join us.

If you wish to host a group of 10 or more persons, tables seating from 10 to 16 can be held in your name. Because we must make a commitment to the Town and Gown kitchen by February 6, will you kindly mail your reservation by February 3, at the latest? A form is enclosed for your reply.

For any further information please call 746-6058.

Sincerely yours,

~~Stanley Musgrove President . . 1A?fZ- ..J..-(j?fjTC--1+.- · ~· ~ M.''"E~

()Q. ~E-Q~AQl) ·K/\ -Nfo R_

usc COLE PORTER EVENING 12 FEBRUARY 1967

RUNNING ORDER

1. STANLEY MUSGROVE {Introduces PRESIDENT NORMAN TOPPING {?), MRS. SAM YORTY, TRUSTEES, MR. JAMES COLE, DR. RAY KENDALL, and MR. GEORGE EELLS)

2 . DR. RAY KENDALL {Introduces MRS. WILLIAM GOETZ)

3. MRS. WILLIAM GOETZ {Introduces FRANK SINATRA, ETHEL MERMAN, FRED ASTAIRE, GENE KELLY, and GARSON KANIN)

4. GARSON KANIN reads Section One {Anything Goes) from "COLE PORTER: THE LIFE THAT LATE HE LEAD" , by GEORGE EELLS

5. ETHEL MERMAN sings "ANYTHING GOES" and "I GET A KICK OUT OF YOU"

6. Conversation

7. F'RANK SINATRA s1ngs "I'VE GOT YOU UNDER MY SKIN"

8. ETHEL MERMAN reads Section Two {Night And Day) of George Eells book

9. FRED ASTAIRE sings "NIGHT AND DAY"

10. Conversation

12. GENE KELLY READS Section Three (Hedonism)

13. ETHEL MERMAN sings "DOWN IN THE DEPTHS"

14. Conversation

15. FRANK SINATRA sings "IT'S ALL RIGHT WITH ME"

16. FRANK SINATRA reads Section Four (Courage)

17. GENE KELLY sings "BE A CLOWN"

-·l. - 2 -

18. Conversation

19. ETHEL MERMAN sings "MAKE IT ANOTHER OLD-FASHIONED, PLEASE"

20. FRED ASTAIRE reads Section Five (Hollywood)

21. JAMES STEWART sings "EASY TO LOVE"

22. ALAN JAY LERNER reads Section Six (Family) 23. FRANK• SINATRA sings "I CONCENTRATE ON YOU" '-' '' ••=;:g;nr:S~8W , 24. Conversation

25. COLE PORTER sings "THANK YOU SO MUCH MRS. LOUSBOROUGH-GOODBYE"

26. GARSON KANIN reads Section Seven (Style)

' 27. ETHEL MERMAN sings "LET'S BE BUDDIES" joined by FRANK SINATRA for "FRIENDSHIP" later joined, for the final chorus, by FRED ASTAIRE, GENE KELLY, ALAN JA¥ LERNER and GARSON KANIN

From "COLE PORTER: THE LIFE THAT LATE HE LED" by GEORGE EELLS

Section One - "ANYTHING GOES"

Read by: GARSON KANIN

"In 1934 when Cole first played the score of "ANYTHING GOES" for his collaborators Howard Lindsay and Russel Crouse, Crouse· recorded his reaction: "All I can say is that no doubt Ludwig van Beethoven,

Johann Sebastian Bach, Wolfgang Amadeus Mozart, Richard Wagner, Johannes

Brahms, Felix Mendelsohn, Claude Debussy, Frederic Chopin, Giuseppe

Verdi, Jacques Offenbach, Johann Strauss, Joseph Haydn and Francis

Scott Key could have marched into the room and I wouldn't have looked up. " Cole's response to Ethel Merman, who had been cast in the lead­ ing role, was roughly comparable to Crouse's reaction to the score.

Upon hearing her siren song blasting a brassy comedy line across the footlights or pushing a quiet sentiment to the highest reaches of ·the second balcony, he placed her among the living divinities. From the beginning he referred to her as The Great Ethel, The Great Merman or

La Merman. Her no-nonsense recognition and appreciation of her own talent, her lack of middleclass modesty, her free-wheeling directness and her

longshoreman's vocabulary-- all of these appealed to him. "She's too honest to be anything but herself," he said.

Probably the situation that expressed the admiration he felt

for her better than anything else was his willingness to submit the

Anything Goes

score of his show for her father's and mother's approval . • On November 21, 1934, Anything Goes exploded at the Alvin

Theater. Everyone connected with the production was applauded for bringing a bit of relief during the grim depression days ...

Ladies and gentlemen:

The Great Ethel, The Great Merman, La Merman:

(ETHEL MERMAN)

ANYTHING GOES

Times have changed And we've often re-wound the clock Since the Puritans got a shock When they landed on Plymouth Rock. If today ~ny shock they should try to stem 'Stead of landing on Plymouth RockJ Plymouth Rock would land on them!

In olden days a glimpse of stocking Was looked on as s omething shocking . But nm-1, God knows, ANYTHING GOES. Good authors, too, who once kne~r better words Now only use four-letter words Writing prose ••••• ANYTHi t~G GO ES. The world has gone mad . today And good's bad today And black's white today And day's night today, When most guys today That women prize today Are just silly gigolosl So though I'm not a great romancer, I know that you're boundto answer, when I propose •••• ANYTHI NG GOESl

When you hear that Lady Hendl, standing up, Now does a handspring, landing up On her toes, ANYTHI NG GO ES • . . when. Sam . Goldwyn can, with great conviction, . Instruct Anna Sten in dict{on, Then Anna shows ANYTHii~G GO ES. If driving fast cars you like, If low bars y ou like, If old hymns you like, · Or bare limbs you like, If Mae West you like, Or me undressed you like, Why, nobody Hould opposel So Mrs. R., with all her trimmi n's, Can broadca st a bed for Simmons Cause Frank lin knows ANYTH I NG GOES l ..- (ETHEL MERMAN)

I GET A KICK OUT OF YOU

My story is much too sad to be told , But practic'lly ev 1 rything leaves me totally cold. The only exception I know is the case When I'm out on a quiet spree, Fighting vainly the old ennui, And I suddenly turn and see Your fabulous facel

I get no kick from . Mere alcohol doesn't thrill me at all, So tell me why should it be true That I get a kick out of you?

Some get a kick from cocaine. I'm sure that if I had even one sniff It would bore me terrific 1 lly too, Yet I get a kick out of you.

I get a kick ev 1 ry time I see You're standing there before me. I get a kick though it's clear to me You obviously don't adore me.

I get no kick in a plane. Flying too high with some guy in the sky Is my ide~ of nothing to do ••••• Yet I GET A KICK OUT OF YOU.

C 0 N V E R S A T I 0 N ... (FRANK SINATRA)

I'VE GOT YOU UNDER MY SKIN

I've g ot you under my skin, I've g ot you deep in the heart of me, So deep in my heart you 1 re really a part · of me, I'VE GOT YOU UNDER MY SKIN.

I tried so, not to g ive in ••• I said to myself, "This affair never will go so welll" But why should I try to resist whe~, .darling, I know so well I'VE GOT YOU UNDER MY SKIN?

I'd sacrifice anything, come what might, For the sake of having you near, In spite of a warning voice that comes in the night And repeats and repeats in my ear • • •

~Don't you know, little fool, you never can win? Use your mentalityl Wake up to realityl"

But each time I do Just the thought of you Makes me stop •••••• Before I begin, 'CAUSE I'VE GOT YOU UNDER MY SKIN.

(FRA NK SI NATRA )

LET 1 S DO ITt

Wh en the little bluebird , wh o has never sai d a word , Starts t o sing : "Spring , Spring l" Wh en the l i ttle bluebell in the bottom of the dell Starts to ring : "Ding , ding !" When t h e l i ttle blue cle rk in the middle of his work Starts a tune to the mo on up above, It is n a ture , t hat' s all , simply telling us to fall In Love.

And -- tha t's - -why Chinks d o it , Jap s do it, Up in Lapl a nd , l i ttle Laps do it, LET ' S DO I T , LET ' S FALL I , LOVE. In Spain, the best upper sets do it, Lithuanians and Letts do it, LET ' S DO IT, LET'S FALL I N L OVE . The Dutch in old Amsterdam do it, Not to menti on the Finns ••• Folks i n Siam d o it; Think of Siamese Twins ! Some Ar a entines , without means, d o it, People say, in Bos ton, even beans do it, LET'S DO IT, LET'S FALL I N LOVEl

Romantic s p onges , they say, d o it, Oysters, down in Oyster Bay, do it, LET 1 S D 0 IT, LET 1 S FALL I N LOVE . Cold Cap e Cod clams , ' gainst their wish, do it, Even lazy jel lyfish do it, LET 1 S DO IT , LET 1 S FALL I N LOVE . Electric eels , I migh t add, do it, Th ough it s hoc k s 'em, I know ••. Why ask if shad do it? Waiter , bring me shad r oe l I n s ha_low shoals, Engl i sh soles d o it, Goldfish , in the privacy of bowls, do it, LET'S DO IT , LET ' S FALL I N LOVEl

The ch i mpanzees , i n the ~oo s, d o it, S ome c ou rageou s kang aroos do it, LET ' S DO IT, LET ' S FALL I N LOVE . I' m s u r e g ira ff fes, on the sly, do it, Heavy hippopotami do it, LET' S DO IT, LET ' S FA LL I N LOVE. Old sloths , wh o hang down from twigs, do it, Thou gh t h e effort is great • • • Sweet gu i nea pi ~ s do it; Buy a couple and wait ! The world a dmits bears in pits do it, Even Pekineses in t h e Ritz d o it, LET Is DO IT' LET'S FALL I N LOVE !!

Section Two - 11 NIGHT AND DAY"

-Read by: ETHEL MERHA N (/

It \·TaS for Gay Divorce that Cole becan his practice of composing a song to emphasize a singer's natural assets. The song he wrote was for Fred Astaire and it was called "Night and Day." In this case, Cole wrote the music before the lyrics and sat down at the piano to try out the melody. As he pla.yed, Monty lvoolley arrived, listened and announced that he had no idea what Cole was trying to do but that it was terrible and he should give it upo

Next day, Cole left for a weekend at the Vincent Asters in Nelvport.

On the train, he worked on the lyric, but, perhaps disheartened by Monty's reaction he found hDnself blocked.

All weekend he remained stymiedo Then on Sunday, he joined his hostess

for luncheon from trays on a porch. A rai n storm vras in progress. As the meal progressed, Mrs . Astor became unnerved by the noise caused by a broken eavesspout

and said, "I must have that eave mended. That drip, drip, drip 5.s driving me mad!"

Cole l eaped up immediately, saying, "I think that v-rill workl" He tried it out on the piano where for the first time the completed version of "Night and·

Day" was played and sung.

lfuen the sho-..r opened, "Ni ght and Day" was dismissed by the critics. ,Song pluggers tried to interest orchestra leaders and singers in it, but, there was a great deal of resistance from them too. They said the song with its 48 instead

pf the usual 32 bar s was 11 too long." Some called it a "tapeworm song." v'lhen Cole told a reporter that he had been i nspired by a }1oha.mrnedan priest calling the

faithful to prayers in Morocco, Tin Pan Alley took the position that he ought to

have left it thereo 11

Garson Kanin: Have you anJ~hing to ·add to t hat, ' Fred? ' 1 (Fred Astaire talks ad lib)

(FRED ASTAIRE)

NIGHT AND DAY

Lik e t he b e at beat beat of the tom-tom Wh en t he jung le shadows fall • • • Like the tick tick tock of the stately clock As it s t a nds a gainst the wall ••• Lik e t he drip drip drip of the raindrops Wh en a summer shower is through, So a voice within me keeps repeating, "YOU" . . 11 YOU" • • "YOU" • • • •

NI GHT AND DAY, you are the one, Only you beneath the moon and under the sun • • • Whether near to me or far (It's no matter, darling , where you are) I t h ink of you, NI GH T AND DAY.

DAY AND NIGHT, why is it so Th at this longing for you follows wherever I go? In the roaring traffic's boom, In the silence of my lonely room, I think of you, NIGHT AND DAY.

NI GHT AND JAY, under the hide of me, Th ere's an oh, such a hungry yearning Burning inside of me • • •

And its torment won't be through 'Til you let me spend my life making love to you,

Day and night1

NI GHT AND DAYl • C 0 N V E R S A T I 0 N .... YOU'RE THE TOP Ethel & FranlC

ETHEL: At words poetic I'm so pathetic That I always have found it best, Instead of gettin' 'em off my chest, To let 'em rest, un-expressed •••

FRANK: I hate parading my serenading As I'll probably miss a bar, But if this ditty is not so pretty, At least, it'll tell you hmv great you are ••• FRANK: You're the top - you're the Coliseum, ETHEL: You're the top - you're the Louvre Museum,

FRANK: You're a melody from a symphony by Strauss,

ETHEL: YOU're a Bendel bonnet, a Shakespeare sonnet, You're Mickey Mousel FRANK: You're the Nile - you're the Tower of Pisa,

ETHEL: You're the smile of the Mona Lisa • . . FRANK: I'm a worthless check, a total wre ck, a flopl

BOTH: But, if baby, I'm the bottom, YOU'RE THE TOPL ~;. ~:· ~~ ~=.. ~:- j,-" ~:· ETHEL: You're the top, you're Mahatma Gandhi,

FRANK: You're the top, you're brandy,

ETHEL: You're the purple light of a summer night in Spain,

FRANK: You're the National Gallery, you're Garbo's salary, You're cellophane! ETHEL: You're sublime, you 're a turkey dinner,

FRANK: You 1 re the tiuia, · of the Derby winner • • • ETHEL: I'm a toy ablloon that's fated soon to pop,

BbTH: But~ if baby, I'm the bottom, YOU'RE THE ·TOPt ~:- FRA NK : You're the top, you're a Waldorf salad,

ETHEL: You're the top, youre a Berlin ballad,

FRANK: You're the nimble tread of the feet of Fred Astaire,

ETHEL: You're an O' Neill drama, you're Wn istler's mama, you're Camembe rt! FRA NK : You're a rose, you're Inferno's Dant e,

ETHEL: You're the nose - on the great Durante •••

FRA NK: I' m a lazy lout wh o is just about to stop •

BOTH: But, if baby, I'm the bottom, YO U' RE THE TOP~t~

Section Three - 11 HEDONISW' Read by: GENE KELLY

In 1919, Michael Arlen wrote this fanciful wor d portrait of Cole:

"Every morning at half-past seven Cole Porter leaps lightly out of bed and, having said his prayers arranges himself in a riding habit. Then, having lvritten a song or t lvo, he will appear at the stroke of half-past tvJelve at the Ritz, where

leaning in a manly way on the bar, he will say: 'Champagne cocktail, please.

Had a marvelous ride this morningl' That statement gives him strengt h and confidence on which to suffer this, our life, until ten minutes past three in the afternoon

w-hen he ~rill fall into a childlike sleep. 11

In fact, the sketch captures the texture of Cole's existence during the

next nine years--at least as the public kneW" it. It vias a time to be elegant,

·t-Ii tty and s elfish.

All life long, Cole claimed that he v10uld have wanted to be the best

at wr :~.t he did, "'Tha t ever his lot. If he had been a bootblack, he said, he ~rould

have tried to be the best on the street; if a waiter, then the best in the establish­ ment. Thrown in with a group of hedonists, he set out to become the world's second

greatesto

He conceded the title to Linda (his wife), viho for 24 hours, had had possession of the Hope Diamond, which was purported to transmit a curse. She

~ad sent it back not because she was superstitious but because she was repelled

by its "dirty blue" color. On one occasion, having some spare cash, he decided to surprise her with

a smart, custom-made car. ~fuen it arrived, Linda seemed delighted with her gift,

but she used it only once. Finally, Cole inquired why she didn't like it. Quite

~eriously, she informed him th:1. t the springs were . so sti ff they brui sed her sables.

Cole was noted for his -vrit, his wealth and his l..rastefulness. ~ J hen oss Hart sought him out in the Ritz bar and delivered dancer Georgie Hale's

-2- Hedonism

Christmas gift, Cole opened the .pack age at once. He found that it contained garters with solid gold buckles. He removed the ones he 1vas lvearing--Hhich also sported gold buckles~- a nd gave them to the bartender.

It was that sort of thing which gained him the reputation as the greatest hedonist 1v-ho ever lived. In later years, he complained wistfully, "1-Jhat they don't understand, is that everyone lived like that in those days!"

: . . ' I•

(ETHEL MERMAN)

DOWN IN THE DEPTHS

Manhattan, I'm up a treet The one I've most a dored is bored with me. Manhattan, I'm awfully nice, Nice people dine with me, and even twicel Yet the only one in the world I'm mad about Talks of somebody else ••• and walks out.

With a million neon rainbows burning below me, And a million blazing taxis raising a roar, Here I sit above the town, In my pet pailletted gown, DOWN I N THE DEPTHS ON THE NINETIETH FLOOR.

While the crowds in El Morocco punish the parquet, And the bars are packed with couples calling for more, I 1 m deserted and depressed, In my regal eagle nest, DOWN IN THE DEPTHS ON THE NI NETIETH FLOOR.

When the only one you've wanted wants another, What's the use of swank and cash in the bank galore?

Why, even the janitor 1.s wife Has a perfectly good love-life, And here am I, facing tomorrow, Alone with my sorrow •••

DOWN IN THEDEPTHS ON THE NINETIETH FLOOR...... C 0 NV E R SAT I .O N

(FRANK SINATRA)

IT'S ALL RIGHT WITH ME

It's the wrong time -and the wrong place - Tho' your face is charming, it's the wrong face, It's not her f ace, But such a charming face THAT IT'S ALL RIGHT wiTH ME. It's the wrong song - in the wrong style - Tho' your smile is lovely, it's the wrong smile, It's not her smile, But such a lovely smile THAT IT' S ALL RIGHT WITH ME.

You c~ 1 t know how happy I am that we met, I'm s trangely attracted to y ou. There 1 s s orne one I 1 m trying so hard to forget, Don 1 t y ou want to for get some one, too? I t 's the wrong game -with the wrong chips - Th o' your lips are tempting, they're the wrong lips, They're not her lips, But they're such tempting lips That, if some night you're free, Dear, it's all right, IT'S ALL RIGHT WITH ME.

Section Four - "COURAGE"

Read by: FRANK SINATRA

In 1937 while weekending on Long Island, Cole went riding.

As his horse came up over a hill, it was frightened by a clump of bushes, reared and fell backward. Tragically, for Cole, he failed to kick the stirrups free. The frantic animal attempted to rise, fell back and rolled, pulverising Cole's legs.

The accident happened so swiftly that Cole hardly realized he was hurt. As a friend disappeared to call an ambulance, Cole calmly took out the ever-present pencil and notebook and finished the lyric to the title song of You Never Know.

Operation after operation followed, but in the hospital or out, under sedation or without it, tunes kept rolling through Cole's mind. Soon after the accident he began writing again and he was pleased to discover that for him concentration on music was almost as effective

as sedation.

After recovering from the initial shock of the accident and

after his legs had seemingly been saved, Cole still faced the problem

of learning to live with what he regarded as a temporary disability.

He was to try to solve the problem in a variety of ways--even after

an infection of the marrow of the bone made full recovery an almost

;impossible goal.

To help him along, his doctor urged that as soon as he was

-2- Courage

able pe travel to some sun-drenched country where, as Cole put it,

11 They could set me out in the sun like a potted plant."

Cole agreed to go, but complicated plans by scheduling an arduou:

journey which many full-bodied men would have hesitated undertaking and

by insisting upon learning to speak Spanish fluently before setting out.

With Ray Kelly and his faithful valet Paul Sylvain to move him about

Cole set out for the Machu Picchu ruins in Peru.

In order to reach the site, Cole, whose legs were still in

braces, had to be lifted to the back of a horse, after which the tension-

filled group slowly wound their way around the dusty, narrow mountain

roads. There were sheer drops on each side, and once they faced a

' precarious-looking wooden bridge which made Kelly and Paul suggest

turning back. Cole refused and insisted upon going forward even though

one misstep could have proved fatal.

Upon arrival at the ruins, the party was confronted by the most

primitive accomodations. Both Kelly and Paul expected an explosion from

the man who sometimes sent back a daiquiri three times so that it was

1not too sweet, not too sour, but just right.

In Machu Picchu, there were no such demands. Cole fell into

the spirit of the place and enjoyed roughing it, even insisting upon

having a photo made of himself bathing from a basin on a tree stump so

l that he could send it to Linda.

Through endless operations the mask seldom slipped. Cole's ~ jo, ,. \ 1 I explanation was simple. "I made a game of behaving well," he said.

(GENE KELLY)

BE If CLOWN

I'll remember forever, when I was but three, Mama, who was clever, remarking to me ••• "Son, when you're grown up And you want ev 1 rything nice, I've g ot your future sewn up If you 1 ll take this advice • • •

Be m clown1 Be a clown! All the world loves a clownt Show 'em tricks, tell 'em jokes, And you'll only stop with top folks. Dress in huge baggy pants And you'll ride the road to romance ••• A butcher or a baker lad ies never embrace, A b arber for a beau would be a social disgrace ••• They all will come t o call if you can fall on your face, BE A CLO WN l BE A CLOWN l BE A CLO\.VN 1

Be a clown! Be a clown! All the world loves a clownl Be a era~ buffoon And the demoiselles'll all swoon. Be a crack jackanapes And they'll imitate ya' like apes ••• Why be a great composer with your rent in arrears? Why be a major poet and you'll owe it for years? When crowds 1 ll pay to giggle if you wigg-le your ears, BE A CLOvllit BE A CLOWNt BE A CLOWNt

Be a clown! Be a clownt All the world loves a clown! Be the poor silly ass And you'll always travel first class1 Give 'em quips, give 'em fun, And they'll pay to say you're A:-one ••• If you become a farmer, you've the weatherto buck • • • If you become a gambler, you'll be stuck with your luck! But, jack, you'll never lack if you can quack like a duck • • •• BE A CLOWNt BE A:. CLOWN t ! BE A CLOWN111

C 0 NV E R SAT I.O N

(ETHEL MERMAN)

MAKE IT ANOTH ER OLD-FASHIO NED, PLEASE

Since I went on the wag on I'm Certain drink is a major crime, For when you lay off the liquor You feel so much slicker ••• Well, that is, most of the time!

But there are moments, sooner or later, Wnen lt. 1 s ' tough, I've got to say, Not to say, 11 Wai ter ••.••

Make it another Old-Fashioned, plea se! Make it anoth er double Old-Fashioned, please! Make it for one who's due To join the disillusioned crew, Make it for one of love's new refugees.

Once, high in my castle I reigned supreme, And oh, what a castle! Built on a heavenly dream • • • Then, quick as a lightning flash, That castle beg an to crash, So mak e it another Old-Fash ioned , please!

Leave out t h e ch erry ••• Leave out t he orage . • • Leave out the bitters •

Just mak e it a straight rye. ... Section Five - 11 HOLLYHOOD"

Read by: FRED AS'l'AIRE

When a reporter asked him how he liked the film capitol, Cole replied:

"HollY'fOod? It's rather like living on the moon, isn't it?" He quickly added that he had been warned that nobody talked about anything except motion pictures, but luckily he didn't want to talk about anything else.

Cole immediately became an enthusiast for Southern California •••

Probably no other facet of r~s life is so fully documented as his experience in making his first film, Born to Dance •••• His diary begins: Friday, December 20,

1935: Went to Sam Katz's office. He could not have been more charming and told me he had engaged Jack McGm.;an and Sidney Silvers to construct the book of my picture. The idea was based on a recent escapade of Jack Barrymore and Elaine

Barrie. Sam Katz explained that what they wanted to do was to have play the Jack Barrymore part, and Jean Harlow the Elaine Barrie part. I held out for rr)re singers in the principal leads. Sam Katz said; "Come back in a few weeks." Monday, January 6, 1936: Dined With Sam Katz in the commissary on the MGM lot. After dinner we went to his office for a conference. Immediately I was told that all idea of having Clark Gable and Jean Harlow had been discardedo

Sam held forth that it 1vas dangerous to have tHo principal leads who coulci not sing, play in a musical. I remarked that the box office draiv of "Utlo such great stars as Gable and Harlow would give the picture importance, which would make up for their not singing. So I found myself holding up for their ideas at the first conference, and they holding up for mine at this second conference. Tuesday, January 14, 1936: Sam Katz telephoned me and asked me to be at his office at two -P.M. for a conference. I went there and found that he had just had a meeting with Louis B. Mayer, and that Mayer definitely wanted my

-2- HollyHood

picture to be a revue, i n order to utilize all the stars on the lot and for a. half hour there was complete havoc. Then I suggested that it mi ght be interesting to base our revue on the different sections of a nev1spaper. They all leaped at thi:;>, as if I had suddenly discovered radium, and Sam suggested that after such a great idea I should go to the desert and take three vreeks rest. Silvers and HcGowan then asked if they could go too.

c:· •'· a

JAMES STEWART sings "EASY TO LOVE"

Section Six - 11 FANILY 11

Read by: ALAN JAY LERNER

w"hen the ne\v baby arrived at 102 South Third Street in Per';l, Indiana, on June 9, 1891, Kate and 2a.muel Femrick Porter christened him Coleo Six years later, Katie, like many rich, pampered women distracted herself by taking up with a gypsy numerologist. He convinced her that any person ~-rhose initials spelled a simple Hord was assured of achieving success in life. Katie hurried dot

Albert Porter. C-a-p, cap.

That reaction of Katie's indi cates the extreme limits to uhich she vrould

go in attempting to insure all manner of social and material advantages ~or Cole.

Even before he was six, she had instituted l·rhat lvas to be a lifelong campaign to

secure a niche among the elite for her offspring.

She dreamed of his becoming a musician and engaged piano and violin

instructors for him; and, because in her opinion "the best people 11 were socially

accomplished, she placed him in dancing class. Not much later, she hired }~ e.

Cattin, the local dressmaker who -vras originally from Dijon, France, to tutor him

in French. Thus, the course was set that was t o establish Cole Porter as a unique

figure in the "~

social graces that were to help shape a personality th ~ t f or 40 years fascinated a world not much given to curiosity about popular songwriters. Yet Cole was so

unusual that one afternoon Hhen Al exander Uoollcott, Jane Cotvl, Herbert Bayard

Swope, Neysa NcHein and other clebrated figures Hhiled a'li:?.Y time by selecting the

person with the most original personality, they unanimously chose Cole. ~J hen

informed of their decision, he responded, "But I'm not playing."

(FRANK SINATRA)

I CONCENTRATE ON YOU

Whenever skies look gray to me, And trouble beg ins to brew • • • Whenever the winter winds become too strong, I CO NCENTRATE ON YO~t

When Fortune cries, "Nay, nayt" to me, And people declare, "You 1 re throughl" Whenever the blues become my only song, I CO NCENTRATE ON YOU!

On your smile so sweet, so tender, When at first my kiss you decline ••• On the light in your eyes, when you surrender, And once a g ain our arms mntertwinel

And so, when wise men say to me, That love 1 s young dream never comes true, ·To prove that even wise men can be wrong, I concentrate on you • • •

I concentrate,

And concentrate,

On you.

C 0 N V E R S A T I 0 N

COLE PORTER s1ngs "THANK YOU SO MUCH MRS. LOUSBOROUGH-GOODBYE"

(MERMAN & SINATRA)

LET 1 S BE BUDDIES and FRIENDSHIP

ETHEL: What say? Let•s · be buddies! What say? Let's be pals. What say? · Let 1 s be buddies And keep up each other's morales. I may never shout it, But many's the time I 1 m blue ••• ~fuat say? How's about it? Can't I be a buddy to you?

FRANK: If you're' ever in a jam, here I am. ETHEL: If you're even in a mess, S.O.S.

FRANK: If you ever f e el so happy you land in jail, I'm your bail,

BOTH: It's FRIENDSHIP, FRIENDSHIP, Just a perfect blendship ••• When other friendships have been forgot, Ours will still be hot! Deedle oodle oodle dig dig dig , Deedle oodle oodle dQm dum dum.

ETHEL: If you're ever up a tree, phone to me.

FRANK: If you're ever down a v.rell, ring my bell.

ETHEL: If you ever lose your teeth when you're out to ili ne, borrow mine !

BOTH: It's FRIENDSH IP, FRI ENDSH I P , Just a perfect blendship •• ~men other friendships g o up in smoke, Ours will still be "oke"l Deedle oodle oodle jig jig jig , Deedle oodle oodle jug jug jug , ~~ :~ ~=- ""n.. . ~~ . ~=..

FRANK : If they ever black your eyes, put me wise.

ET HE L: If they ever cook your g oose, turn me loose. FRANK : If they ever put a bullet through your b-rain, I'llcomplain,

BOTH: IT'S FRIEN DS HIP, FRIENDSHI P , Just a perf ect blendshi p ••• \men othe r frie nds h ips have b een ferg i t, OURS wiLL STILL BE IT!!!