Hollywood Legends Series – serie

Van Johnson's dazzling smile, shock of red hair, and suntanned freckled cheeks made him a movie-star icon. Among teenaged girls in the 1940s, he was popularized as the bobbysoxer's heartthrob.He won the nation's heart, too, by appearing in a series of blockbuster war films - A Guy Named Joe, Thirty Seconds Over Tokyo, Weekend at the Waldorf, and Battleground. Perennially a leading man opposite June Allyson, Esther Williams, Judy Garland, and Janet Leigh, he rose to fame radiating the sunshine image Metro-Goldwyn-Mayer chose for him, that of an affable, wholesome boy-next-door. Legions of adoring moviegoers were captivated by this idealized persona that generated huge box-office profits for the studio.However, Johnson's off-screen life was not so sunny. His mother had rejected him in childhood, and he lived his adult life dealing with sexual ambivalence. A marriage was arranged with the ex-wife of his best friend, the actor Keenan Wynn. During the waning years of Hollywood's Golden Age, she and Johnson lived amid the glow of Hollywood's A-crowd. Yet their private life was charged with tension and conflict.Although morose and reclusive by nature, Johnson maintained a happy-go-lucky façade, even among co-workers who knew him as a congenial, dedicated professional. Once free of the golden-boy stereotype, he became a respected actor assigned stellar roles in such acclaimed films as State of the Union, Command Decision, The Last Time I Saw Paris, and The Caine Mutiny.With the demise of the big studios, Johnson returned to the stage, where he had begun his career as a song-and-dance man. After this, he appeared frequently in television shows, performed in nightclubs, and became the legendary darling of older audiences on the dinner playhouse circuit. Johnson (1916-2008) spent his post-Hollywood years living in solitude in New York City.This solid, thoroughly researched biography traces the career and influence of a favorite star and narrates a fascinating, sometimes troubled life story.

Best known as the woman who "ran MGM," Ida R. Koverman (1876-1954) served as talent scout, mentor, executive secretary, and confidant to American movie mogul Louis B. Mayer for twenty-five years. She Damn Near Ran the Studio: The Extraordinary Lives of Ida R. Koverman is the first full account of Koverman's life and the true story of how she became a formidable politico and a creative powerhouse during Hollywood's Golden Era.For nearly a century, Koverman's legacy has largely rested on a mythical narrative while her more fascinating true-life story has remained an enduring mystery - until now. This story begins with Koverman's early years in Ohio and the sensational national scandal that forced her escape to New York where she created a new identity and became a leader among a community of women. Her second incarnation came in California where she established herself as a hardcore political operative challenging the state's progressive impulse. During the Roaring Twenties, she was a key architect of the Southland's conservative female-centric partisan network that refashioned the course of state and national politics and put Herbert Hoover in the White House. As ""the political boss of Los Angeles County,"" she was the premiere matchmaker in the courtship between Hollywood and national partisan politics, which, as Mayer's executive secretary, was epitomized by her third incarnation as ""one of the most formidable women in Hollywood,"" whose unparalleled power emanated from her unique perch inside the executive suite of Metro-Goldwyn-Mayer.Free to adapt her managerial skills and political know-how on behalf of the studio, she quickly drew upon her artistic sensibilities as a talent scout, expanding MGM's catalog of stars and her own influence on American popular culture. Recognized as ""one of the invisible power centers in both MGM and the city of Los Angeles,"" she nurtured the city's burgeoning performing arts by fostering music and musicians and the public financing of them. As the ""lioness"" of MGM royalty, Ida Koverman was not just a naturalized citizen of the Hollywood kingdom; at times during her long reign, she ""damn near ran the studio.

Alice Howell (1886-1961) is slowly gaining recognition and regard as arguably the most important slapstick comedienne of the silent era. This new study, the first book-length appreciation, identifies her place in the comedy hierarchy alongside the best-known of silent comediennes, Mabel Normand. Like Normand, Howell learned her craft with Mack Sennett and Charlie Chaplin. Beginning her screen career in 1914, Howell quickly developed a distinctive style and eccentric attire and mannerisms, successfully hiding her good looks, and was soon identified as the ""Female Charlie Chaplin.""Howell became a star of comedy shorts in 1915 and continued her career through 1928 and the advent of sound in film. While she is today recognized as a pioneering female filmmaker, during her career she never expressed much interest in her work, seeing it only as a means to an end, with her income carefully invested in real estate. It has taken many years for her to gain her rightful place in film history, not only as a comedienne, but also as matriarch of a prominent American family that includes son-in-law and director George Stevens and grandson George Stevens Jr., founder of the American Film Institute and the Kennedy Center Honors, who provides a foreword.

The full story of one of Hollywood's most accomplished character actresses.Moviegoers know her as the housekeeper in White Christmas, the nurse in Now, Voyager, and the crotchety choir director in Sister Act. This book, filled with never-published behind-the-scenes stories from Broadway and Hollywood, chronicles the life of a complicated woman who brought an assortment of unforgettable nurses, nuns, and housekeepers to life on screen and stage.Wickes was part of some of the most significant moments in film, television, theatre, and radio history. On that frightening night in 1938 when Orson Welles recorded his earth-shattering ""War of the Worlds"" radio broadcast, Wickes was waiting on another soundstage for him for a rehearsal of Danton's Death, oblivious to the havoc taking place outside.When silent film star Gloria Swanson decided to host a live talk show on this new thing called television, Wickes was one of her first guests. When Lucille Ball made her first TV appearance anywhere, Wickes appeared with her--and became Lucy's closest friend for more than thirty years. Wickes was the original Mary Poppins, long before an umbrella carried Julie Andrews across the rooftops of London. And when Disney began creating 101 Dalmatians, it asked Wickes to pose for animators trying to capture the evil of Cruella de Vil.The pinched-face actress who cracked wise by day became a confidante to some of the day's biggest stars by night, including Bette Davis and Doris Day. Bolstered by interviews with almost three hundred people, and by private correspondence from Ball, Davis, Day, and others, Mary Wickes: I Know I've Seen That Face Before includes scores of never-before-shared anecdotes about Hollywood and Broadway. In the process, it introduces readers to a complex woman who sustained a remarkable career for sixty years.

More than any other male movie star, the refined Clifton Webb (1889-1966) caused the movie-going public to change its image of a leading man. In a day when leading men were supposed to be strong, virile, and brave, Clifton Webb projected an image of flip, acerbic arrogance. He was able to play everything from a decadent columnist (Laura) to a fertile father (Cheaper by the Dozen and The Remarkable Mr. Pennypacker), delivering lines in an urbanely clipped, acidly dry manner with impeccable timing. Sitting Pretty is his remarkable story.Long before his film career began, Webb was a child actor and later a suavely effete song-and-dance man in numerous Broadway musicals and revues. The turning point in his career came in 1941 when his good friend Noël Coward cast him in Blithe Spirit. Director Otto Preminger saw Webb's performance and cast him in Laura in 1944.Webb began to write his autobiography, but he said that he eventually had gotten ""bogged down"" in the process. However, he did complete six chapters and left a hefty collection of notes that he intended to use in the proposed book. His writing is as witty and sophisticated as his onscreen persona. Those six chapters, information and voluminous notes, and personal research by the coauthor provide an intimate view of an amazingly talented man's life and times.

Best known for her Oscar-nominated roles in the smash hits Paper Moon and Blazing Saddles, Madeline Kahn (1942-1999) was one of the most popular comedians of her time - and one of the least understood. In private, she was as reserved and refined as her characters were bold and bawdy. Almost a Method actor in her approach, she took her work seriously. When crew members and audiences laughed, she asked why - as if they were laughing at her - and all her life she remained unsure of her gifts.William V. Madison examines Kahn's film career, including not only her triumphs with Mel Brooks and Peter Bogdanovich, but also her overlooked performances in The Adventure of Sherlock Holmes' Smarter Brother and Judy Berlin, her final film. Her work in television - notably her sitcoms - also comes into focus. New York theater showered her with accolades, but also with remarkably bad luck, culminating in a disastrous outing in On the Twentieth Century that wrecked her reputation on Broadway. Only with her Tony-winning performance in The Sisters Rosensweig, fifteen years later, did Kahn regain her standing.Drawing on new interviews with family, friends, and such colleagues as Lily Tomlin, Carol Burnett, Gene Wilder, Harold Prince, and Eileen Brennan, as well as archival press and private writings, Madison uncovers Kahn's lonely childhood and her struggles as a single woman working to provide for her erratic mother. Above all, Madison reveals the paramount importance of music in Kahn's life. A talented singer, she entertained offers for operatic engagements long after she was an established Hollywood star, and she treated each script as a score. As Kahn told one friend, her ambition was ""to be the music.

Winnie Lightner (1899-1971) stood out as the first great female comedian of the talkies. Blessed with a superb singing voice and a gift for making wisecracks and rubber faces, she rose to stardom in vaudeville and on Broadway. Then, at the dawn of the sound era, she became the first person in motion picture history to have her spoken words, the lyrics to a song, censored.In Winnie Lightner: Tomboy of the Talkies, David L. Lightner shows how Winnie Lightner's hilarious performance in the 1929 musical comedy Gold Diggers of Broadway made her an overnight sensation. She went on to star in seven other Warner Bros. features. In the best of them, she was the comic epitome of a strident feminist, dominating men and gleefully spurning conventional gender norms and moral values. So tough was she, the studio billed her as ""the tomboy of the talkies.""When the Great Depression rendered moviegoers hostile toward feminism, Warner Bros. tried to craft a new image of her as glamorous and sexy. Executives assigned her contradictory roles in which she was empowered in the workplace but submissive to her male partner at home. The new persona flopped at the box office, and Lightner's stardom ended. In four final movies, she played supporting roles as the loudmouthed roommate and best friend of actresses Loretta Young, Joan Crawford, and Mona Barrie.Following her retirement in 1934, Lightner faded into obscurity. Many of her films were damaged or even lost entirely. At long last, this biography gives Winnie Lightner the recognition she deserves as a notable figure in film history, in women's history, and in the history of show business.

José Ferrer (1912-1992) became the first Puerto Rican actor to win the Best Actor Academy Award for the 1950 film version of Cyrano de Bergerac.His portrayal of the lovelorn poet/swordsman had already won him the Tony in 1947, and he would be identified with Cyrano for the rest of his life. Ferrer was a theatrical dynamo; in 1952 he directed Stalag 17, The Fourposter, and The Shrike (which he starred in) on Broadway, while New York City movie marquees were heralding his appearance in Anything Can Happen.At his apex in the 1950s, Ferrer capitalized on his Oscar with such triumphs as Moulin Rouge and The Caine Mutiny. He soon became a force behind the camera, acting and directing such critically well-received films as The Shrike and The Great Man. Yet in the late 1950s, such ambitious theatrical productions as Edwin Booth and Juno were critical and commercial flops and film studios lost their patience. By the mid-1960s, Ferrer took whatever roles he could get.He led a turbulent personal life. His first marriage to actress Uta Hagen ended in divorce and scandal. His personal and professional relationship with Paul Robeson landed Ferrer before the House Un-American Activities Committee. Ferrer's marriage to actress/dancer Phyllis Hill was marred by his infidelity, while initial wedded bliss with singer Rosemary Clooney soon eroded. In spite of everything, Ferrer endured and worked practically right up to his death. Proud of his Puerto Rican heritage, he donated his Oscar to the University of Puerto Rico and championed the work of Latino writers. He continuously evolved, stretching his talents. Ferrer's life is an American success story and a testament to reinvention and resilience.

A master sailor when he was barely in his twenties, Sterling Hayden (1916-1986) became an overnight film star despite having no training in acting. After starring in two major films, he quit Hollywood and trained as a commando in Europe. Hayden joined the OSS and fought in the Balkans and Mediterranean, earning a Silver Star for his distinguished service. Hayden's wartime admiration for the Yugoslavian Partisans led to a brief membership in the Communist Party after the war, and this would come back to haunt him when he was called to testify in front of the House Un-American Activities Committee (HUAC) where he became the first star to name names.After returning to Hollywood, Hayden's film career flourished as he starred in several films including The Asphalt Jungle, Denver and Rio Grande, and The Killing. His personal life, however, descended into chaos. His bitter custody battle with his second wife led to his well-publicized and controversial kidnapping of their four children for a voyage to Tahiti. Increasing alcohol and substance abuse would take its toll, but Hayden's career would be revived as a character actor in such classics as Dr. Strangelove and The Godfather. In addition, he proved to be an excellent author, penning two international bestsellers.Despite these achievements, his later years were characterized by depression, self-doubt, alcoholism, and substance abuse. His life was metaphorically a series of wars, including the most difficult of them all--the war that Sterling Hayden fought with himself.

As only an accomplished author, consummate collector, and savvy insider can, John Kobal tells the story of the man who invented Hollywood, Cecil Blount DeMille. Kobal narrates the story of DeMille’s life and follows the director’s career from his first film, The Squaw Man, in 1914, through the seventy films he directed culminating with The Ten Commandments in 1956 before his death in 1959. Even that first film received an enthusiastic response from the public, and that popular enthusiasm would follow DeMille throughout his career. DeMille got his start by observing a film being shot—once standing for hours on a box looking through a window, watching every move made by the director, players, and cameraman. From that humble beginning, he soon mastered the craft of directing and created one of show business’s greatest careers. Autocrat and artist, DeMille immersed himself totally in each picture he directed and demanded complete fealty from his casts and crews. DeMille was said to know more about what the American public wanted than anyone else in Hollywood. He pushed the boundaries of censorship, and Audiences responded by forming long lines at the box office. From the American West to ancient Egypt, he created such magical films as The Crusades and The Greatest Show on Earth that brought vividly to life fantasies perfectly suited to post–World War I and mid-century America.Kobal describes DeMille’s impact on Hollywood as a director and showman. He argues that this master filmmaker stands for something largely lost in American filmmaking, a sort of naïve, generous, big-thinking self-confidence—a belief that all things are possible.John Kobal wrote over thirty books on film and photography. His final manuscript, The Lost World of DeMille, was completed shortly before his death in 1991. It is published at last by University Press of Mississippi.

There was a time when no one would have left Dick Haymes (1918-1980) out of the top class of such contemporaries as Frank Sinatra and Perry Como. But now the Argentine-born baritone is known only to those ardent fans and music historians who still claim him as one of the most talented popular singers of the twentieth century. Haymes worked with several great bandleaders, including Benny Goodman and Tommy Dorsey, before beginning a solo career that vaulted him to Hollywood stardom. In 1944, he worked with Twentieth Century-Fox, headlining such hit musicals as Billy Rose's Diamond Horseshoe and State Fair. Such popular recordings as "Little White Lies"; "The More I See You"; "How Blue the Night"; "For You, For Me, For Evermore"; "Speak Low"; and "Another Night Like This" made him a top draw at the box office.In the 1950s, when television took over the media landscape and the appeal of musicals declined, Haymes's career suffered. Despite efforts in the 1970s, he never reestablished success. In The Life of Dick Haymes: No More Little White Lies, Ruth Prigozy uses over forty personal interviews with singers, musicians, composers, arrangers, and Haymes's family members. She searches archival recordings of The Dick Haymes Show, films, recordings, music studies, and histories to present a full portrait of this complicated man. Prigozy chronicles Haymes's childhood, his rise in the 1940s, his decline into alcoholism, his multiple marriages and divorces (among them to such leading stars as Rita Hayworth and Joanne Dru), and the minor resurgence of his career in Europe during the last years of his life.

Dan Duryea (1907-1968) made a vivid impression on moviegoers with his first major screen appearance as the conniving Leo Hubbard in 1941's classic melodrama The Little Foxes. His subsequent film and television career would span from 1941 until his death. Duryea remains best known for the nasty, scheming villains he portrayed in such noir masterpieces as Scarlet Street, Criss Cross, and The Woman in the Window. In each of these, he wielded a blend of menace, sleaze, confidence, and surface charm. This winning combination led him to stardom and garnered him the adoration of female fans, even though Duryea's onscreen brutality so often targeted female characters. Yet this biography's close examination of Duryea's oeuvre finds him excelling in various roles in many genres - war films, westerns, crime dramas, and even the occasional comedy.Dan Duryea: Heel with a Heart is a full-scale, comprehensive biography that examines the tension between Duryea's villainous screen image and his Samaritan personal life. At home, he proved to be one of Hollywood's most honorable and decent men. Duryea remained married to the former Helen Bryan from 1931 until her death in 1967. A dedicated family man, he and Helen took an active role in raising their children and in the community.In his career, Duryea knew villainous roles were what the public wanted - there would be a public backlash if fans read an article depicting what a decent guy he was. Frustrated that he couldn't completely shake his screen image and public persona, he wrestled with this restriction throughout his career. Producers and the public did not care to follow any new directions he hoped to pursue. This book, written with Duryea's surviving son Richard's cooperation, fully explores the life and legacy of a Hollywood icon ready for rediscovery.

Born Alfred Reginald John Truscott-Jones, Welsh American actor Ray Milland (1907–1986) appeared in more than 135 theatrical releases between 1929 and 1985 and on radio, television, and the stage, while also becoming a film director; Milland’s extensive canon across such a period is remarkable, especially considering his lack of formal training, his belated start in show business in his late twenties, and the fact he only lived to age seventy-nine. Perhaps best remembered for his Oscar-winning performance as the tortured alcoholic in Billy Wilder’s The Lost Weekend (1945) or his outstanding collaboration with Alfred Hitchcock in Dial M for Murder (1954), there is much more to Milland’s life and career than the few films which elevated him from star to icon.Despite his prolific and successful career, Dashing to the End: The Ray Milland Story is the first comprehensive biography of the star. Milland’s personal and professional trajectory epitomize quintessential Hollywood lore: the British army soldier-turned-actor who went from unknown, struggling bit player to Oscar-winning star to aging, scandal-haunted "has-been" to comeback character actor to present-day cult figure. Using interviews with Milland’s costars and colleagues, as well as research from several major archives, author Eric Monder brings into sharp relief both the positive and negative aspects of the Hollywood film and television industries and paints a well-rounded portrait of this complex man and artist.

One Tough Dame: The Life and Career of Diana Rigg offers a sweeping portrait of the revered performer’s life and career. Deemed a Dame Commander of the Order of the British Empire in 1994, Diana Rigg (1938–2020) initially found fame as super sleuth Mrs. Emma Peel in the 1960s BBC/ABC-TV espionage series, The Avengers. A classically trained and multi-award-winning thespian, Rigg is known for her diverse body of work—from her big-screen debut in 1969 as Countess Teresa di Vincenzo, wife of James Bond in On Her Majesty’s Secret Service, to her Tony Award–winning, leading role in Medea on Broadway, culminating with her Emmy-nominated portrayal as Lady Olenna Tyrell on the heralded small-screen gem, Game of Thrones.This eclectic volume traces Rigg’s career as a renowned star of television, film, and the stage. The author includes insights from rare, archived interviews, encompassing both video dialogues conducted by the University of Kent and Oxford Union. The meticulously curated archival material is further complemented by equally rare photos, and retrospections drawn from diverse media sources and hitherto unpublished accounts from the people who knew Rigg best, affording readers an unprecedented, all-encompassing glimpse into her private world.With exclusive commentary from Rupert Macnee (son of Riggs’s Avengers costar and dear friend Patrick Macnee); the show’s stunt coordinator/director Ray Austin; actors Samuel West, Bernie Kopell, Barbara Barrie, Juliet Mills, John Schuck, and Damon Evans; director Bruce Beresford; and documentarian David Naylor, among others, One Tough Dame delivers an in-depth perspective of a beloved, brave, brilliant, and trailblazing actor.

Lauren Bacall (1924–2014), or Betty, as she was known to friends, was one of the last great movie stars of the Golden Age of Hollywood. Her career spanned seven decades and was one of the longest and most distinguished in the history of show business. Yet it wasn’t easy. After becoming a star at nineteen with her first film, To Have and Have Not (1944), she joked there was nowhere for her to go but down. She became an icon of film noir before the term was even coined. A cool, sophisticated, sexy, and ultramodern woman, she projected confidence and independence. Lauren Bacall: The Queen of Cool is the first book to bring together all aspects of the legendary star’s life and career, exploring her iconic style, her extensive body of work, as well as her friendships and relationships with some of the most famous figures of the twentieth century. Her relationship with Humphrey Bogart is the stuff of legend, the most beloved pairing of classical Hollywood, a perfect blend of romance, glamour, and cinematic glory. When Bogart died in 1957, Bacall was a mere thirty-three years old, and for the rest of her life she would wrestle with the legend of her late husband, struggling to prove to the industry that she was more than just the most famous widow in Hollywood. That she managed to achieve in spades, becoming a two-time Tony Award–winning Broadway star, a bestselling author, and continuing a successful, though at times rocky, screen career, which brought her an Academy Award nomination in 1996 and an Honorary Oscar in 2009. Combining meticulous research with stunning photographs, author Anthony Uzarowski presents in this volume a multidimensional portrait of the woman and the star that was Lauren Bacall.

Winner of the 2020 Peter C. Rollins Book AwardLonglisted for the 2020 Moving Image Book Award by the Kraszna-Krausz FoundationNamed a 2019 Richard Wall Memorial Award Finalist by the Theatre Library AssociationHerman J. (1897–1953) and Joseph L. Mankiewicz (1909–1993) wrote, produced, and directed over 150 pictures. With Orson Welles, Herman wrote the screenplay for Citizen Kane and shared the picture’s only Academy Award. Joe earned the second pair of his four Oscars for writing and directing All About Eve, which also won Best Picture.Despite triumphs as diverse as Monkey Business and Cleopatra, and Pride of the Yankees and Guys and Dolls, the witty, intellectual brothers spent their Hollywood years deeply discontented and yearning for what they did not have—a career in New York theater. Herman, formerly an Algonquin Round Table habitué, New York Times and New Yorker theater critic, and playwright-collaborator with George S. Kaufman, never reconciled himself to screenwriting. He gambled away his prodigious earnings, was fired from all the major studios, and drank himself to death at fifty-five. While Herman drifted downward, Joe rose to become a critical and financial success as a writer, producer, and director, though his constant philandering with prominent stars like Joan Crawford, Judy Garland, and Gene Tierney distressed his emotionally fragile wife who eventually committed suicide. He wrecked his own health using uppers and downers in order to direct Cleopatra by day and finish writing it at night, only to be very publicly fired by Darryl F. Zanuck, an experience from which Joe never fully recovered.For this first dual portrait of the Mankiewicz brothers, Sydney Ladensohn Stern draws on interviews, letters, diaries, and other documents still in private hands to provide a uniquely intimate behind-the-scenes chronicle of the lives, loves, work, and relationship between these complex men.

Barbara Stanwyck (1907–1990) rose from the ranks of chorus girl to become one of Hollywood's most talented leading women—and America's highest-paid woman in the mid-1940s. Shuttled among foster homes as a child, she took a number of low-wage jobs while she determinedly made the connections that landed her in successful Broadway productions. Stanwyck then acted in a stream of high-quality films from the 1930s through the 1950s. Directors such as Cecil B. DeMille, Fritz Lang, and Frank Capra treasured her particular magic. A four-time Academy Award nominee, winner of three Emmys and a Golden Globe, she was honored with a Lifetime Achievement Award by the Academy.Dan Callahan considers both Stanwyck's life and her art, exploring her seminal collaborations with Capra in such great films as Ladies of Leisure, The Miracle Woman, and The Bitter Tea of General Yen; her Pre-Code movies Night Nurse and Baby Face; and her classic roles in Stella Dallas, Remember the Night, The Lady Eve, and Double Indemnity. After making more than eighty films in Hollywood, she revived her career by turning to television, where her role in the 1960s series The Big Valley renewed her immense popularity.Callahan examines Stanwyck's career in relation to the directors she worked with and the genres she worked in, leading up to her late-career triumphs in two films directed by Douglas Sirk, All I Desire and There's Always Tomorrow, and two outrageous westerns, The Furies and Forty Guns. The book positions Stanwyck where she belongs—at the very top of her profession—and offers a close, sympathetic reading of her performances in all their range and complexity.

Dana Andrews (1909–1992) worked with distinguished directors such as John Ford, Lewis Milestone, Otto Preminger, Fritz Lang, William Wyler, William A. Wellman, Mervyn Le Roy, Jean Renoir, and Elia Kazan. He played romantic leads alongside the great beauties of the modern screen, including Joan Crawford, Elizabeth Taylor, Greer Garson, Merle Oberon, Linda Darnell, Susan Hayward, Maureen O'Hara, and most important of all, Gene Tierney, with whom he did five films. Retrospectives of his work often elicit high praise for an underrated actor, a master of the minimalist style. His image personified the "male mask" of the 1940s in classic films such as Laura, Fallen Angel, and Where the Sidewalk Ends, in which he played the "masculine ideal of steely impassivity." No comprehensive discussion of film noir can neglect his performances. He was an "actor's actor."Here at last is the complete story of a great actor, his difficult struggle to overcome alcoholism while enjoying the accolades of his contemporaries, a successful term as president of the Screen Actors Guild, and the love of family and friends that never deserted him. Based on diaries, letters, home movies, and other documents, this biography explores the mystery of a poor boy from Texas who made his Hollywood dream come true even as he sought a life apart from the limelight and the backbiting of contemporaries jockeying for prizes and prestige. Called "one of nature's noblemen" by his fellow actor Norman Lloyd, Dana Andrews emerges from Hollywood Enigma as an admirable American success story, fighting his inner demons and ultimately winning.

From 1947 to 1955, Jean Peters (1926–2000) appeared in films opposite such Hollywood leading men as Tyrone Power, Marlon Brando, Burt Lancaster, Spencer Tracy, Richard Widmark, and Robert Wagner, as well as international stars including Louis Jourdan and Rossano Brazzi. Despite her talent and status, Peters eschewed the star-studded lifestyle of 1950s Hollywood, turning down roles that were "too sexy" and refusing to socialize with other actors, discuss her private life in the press, or lead the glamorous lifestyle often associated with her peers. She was seen as a mystery to reporters, who constantly tried to discover titbits about her personal life.In 1957, her marriage to Howard Hughes led to her retirement from acting and her further withdrawal from social events in Hollywood. Instead, she shifted her attention to charitable work, arts and crafts, and university studies in psychology and anthropology. Her status as an enigma only grew as she agreed never to speak of her marriage with Hughes. After her divorce, however, Peters attempted to resume her acting career in television but never regained her previous level of stardom. Jean Peters: Hollywood's Mystery Girl grants an in-depth analysis of each of her nineteen films and is enriched by several high-quality photographs from the author’s personal collection.

James Mason (1909–1984) was born to be an actor. He just didn’t know it. A Cambridge graduate with a degree in architecture, he arrived in London at a time when nothing was being built. With few prospects, he turned to the stage, where his modest experience proved enough to land him a spot in repertory theater. Those early performances led to film roles in which he was initially deemed "adequate" before finding his niche as a brooding, sophisticated villain—an identity that made him a star in British cinema.At the height of his fame and spurred on by his Hollywood-obsessed wife, Pamela, Mason made the leap to California. There, he built a successful career in films that are now deemed classics, like A Star Is Born and Lolita, while attempting to enjoy the trappings of Hollywood life—lavish parties, late nights on the town, and high-profile friendships. But in spite of a beloved collection of cats, whimsically captured in his own sketches in this volume, his sumptuous Beverly Hills house never truly felt like home. Surprising everyone—including Pamela—after Lolita’s New York premiere, Mason abruptly boarded a one-way flight to Switzerland, where he would spend the rest of his life, often travelling with his second wife to remote movie locations around the world, and settling happily into the role of character actor.James Mason: The Movie Star Hollywood Forgot explores the complexities of Mason’s life and career—a reluctant star whose refined demeanor and enigmatic choices made him one of cinema’s most intriguing figures. From British popularity to Hollywood prestige, from exile to final triumph, his story is one of artistry, reinvention, and quiet rebellion.

American actress and socialite Diana Barrymore (1921–1960) was a figure often overshadowed by her famous lineage and tragic narrative. In Too Fast, Too Short: The Life of Diana Barrymore, author Jennifer Ann Redmond illuminates Barrymore’s complex world, revealing a woman caught between the glittering facade of Hollywood and the dark shadows of her personal struggles.That she was the confused, neglected daughter of legendary actor John Barrymore is common knowledge. Just as central to Barrymore’s story is the profound influence of her mother, poet/playwright Michael Strange. Both distant and domineering, Strange’s contradictory nature stifled Barrymore and her siblings, thrusting her into a socialite world she neither desired nor understood. Barrymore’s familial relationships were marked by pain and complexity. Her older brother, Leonard, was detached and the golden child brother Robin, who lived openly as a gay man in an era of secrecy, died by suicide after the death of his lover, Billy Rambo. Barrymore’s later years were colored by her relationship with the iconic playwright Tennessee Williams. Viewing Williams as the gateway to her dreams of a successful career, a happy marriage, and motherhood, Barrymore’s interactions with him reveal her vulnerability and resilience. Unpublished correspondence with mutual friends sheds light on her aspirations and the poignant desperation of her delusions.This biography endeavors to present Diana Barrymore not as a cautionary tale but as a complex individual. Volatile, bristly, and unreliable, yet also clever, funny, and profoundly intelligent, Barrymore was a woman of remarkable talent and beauty, even if she rarely saw it herself. Through this volume, Barrymore emerges as a fully realized person, reclaiming her place in Hollywood’s history.

Claudette Colbert's mixture of beauty, sophistication, wit, and vivacity quickly made her one of the film industry's most famous and highest-paid stars of the 1930s and 1940s. Though she began her career on the New York stage, she was beloved for her roles in such films as Preston Sturges's The Palm Beach Story, Cecil B. DeMille's Cleopatra, and Frank Capra's It Happened One Night, for which she won an Academy Award. She showed remarkable prescience by becoming one of the first Hollywood stars to embrace television, and she also returned to Broadway in her later career.This is the first major biography of Colbert (1903–1996) published in over twenty years. Bernard F. Dick chronicles Colbert's long career, but also explores her early life in Paris and New York. Along with discussing how she left her mark on Broadway, Hollywood, radio, and television, the book explores Colbert's lifelong interests in painting, fashion design, and commercial art. Using correspondence, interviews, periodicals, film archives, and other research materials, the biography reveals a smart, talented actress who conquered Hollywood and remains one of America's most captivating screen icons.

Tall in the Saddle: The Life of Ben Johnson, Hollywood’s Real Cowboy is the definitive biography of Ben Johnson (1918–1996), the only man to win both an Academy Award and a world rodeo championship. Born on a historic Oklahoma ranch, Johnson could rope cattle before he could read, and his horsemanship took him straight to Hollywood when tycoon Howard Hughes needed horses for The Outlaw in 1943. What started as a behind-the-scenes gig turned into an acting career that spanned six decades.Discovered by legendary director John Ford, Johnson became a fixture in classic Westerns alongside John Wayne, before stepping into more complex roles with filmmakers like Sam Peckinpah, Steven Spielberg, and Peter Bogdanovich—who guided him to his Oscar-winning performance in The Last Picture Show. Though he worked with Hollywood greats like Steve McQueen, Marlon Brando, and Clint Eastwood, Johnson remained rooted in the authenticity of the American West, both on and off screen.Drawing from a wealth of interviews with costars, directors, and rodeo companions, Kathryn Jones captures the grit, grace, and enduring legacy of a man who didn’t just play a cowboy—he was one. Tall in the Saddle is a rich, cinematic portrait of a Hollywood legend whose real-life story is as unforgettable as any role he played.

Loretta Young (1913–2000) was an Academy Award-winning actress known for devout Catholicism and her performances in The Farmer's Daughter, The Bishop's Wife, and Come to the Stable, and for her long-running and tremendously popular television series. But that was not the whole story. Hollywood Madonna explores the full saga of Loretta Young's professional and personal life. She made her film debut at age four, became a star at fifteen, and many awards and accolades later, made her final television movie at age seventy-six. This biography withholds none of the details of her affair with Clark Gable and the daughter that powerful love produced. Bernard F. Dick places Young's affair in the proper context of the time and the choices available to women in 1935, especially a noted Catholic like Young, whose career would have been in ruins if the public knew of her tryst. With the birth of a daughter, who would have been branded a love child, Loretta Young reached the crossroads of disclosure and deception, choosing the latter path. That choice resulted in an illustrious career for her and a tortured childhood for her daughter.

The actress Teresa Wright (1918–2005) lived a rich, complex, magnificent life against the backdrop of Golden Age Hollywood, Broadway and television. There was no indication, from her astonishingly difficult—indeed, horrifying—childhood, of the success that would follow, nor of the universal acclaim and admiration that accompanied her everywhere. Her two marriages—to the writers Niven Busch (The Postman Always Rings Twice; Duel in the Sun) and Robert Anderson (Tea and Sympathy; I Never Sang for My Father)—provide a good deal of the drama, warmth, poignancy and heartbreak of her life story. "I never wanted to be a star," she told the noted biographer Donald Spoto at dinner in 1978. "I wanted only to be an actress." She began acting on the stage in summer stock and repertory at the age of eighteen. When Thornton Wilder and Jed Harris saw her in an ingénue role, she was chosen to understudy the part of Emily in the original production of Our Town (1938), which she then played in touring productions. Samuel Goldwyn saw her first starring role on Broadway—in the historic production of Life with Father—and at once he offered her a long contract. She was the only actress to be nominated for an Academy Award for her first three pictures (The Little Foxes; The Pride of the Yankees; and Mrs. Miniver), and she won for the third film. Movie fans and scholars to this day admire her performance in the classics Shadow of a Doubt and The Best Years of Our Lives. The circumstances of her tenure at Goldwyn, and the drama of her breaking that contract, forever changed the treatment of stars. Wright's family and heirs appointed Spoto as her authorized biographer and offered him exclusive access to her letters and papers. Major supporting players in this story include Robert Anderson, Alfred Hitchcock, William Wyler, Karl Malden, Elia Kazan, Jean Simmons, Dorothy McGuire, Bette Davis, George Cukor, Marlon Brando, George C. Scott, the artist Al Hirschfeld, Stella Adler, and more.

Walter Brennan (1894–1974) was one of the greatest character actors in Hollywood history. He won three Academy Awards and became a national icon starring as Grandpa in The Real McCoys. He appeared in over two hundred motion pictures and became the subject of a Norman Rockwell painting, which celebrated the actor's unique role as the voice of the American Western. His life journey from Swampscott, Massachusetts, to Hollywood, to a twelve thousand-acre cattle ranch in Joseph, Oregon, is one of the great American stories.In the first biography of this epic figure, Carl Rollyson reveals Brennan's consummate mastery of virtually every kind of role while playing against and often stealing scenes from such stars as Gary Cooper, Humphrey Bogart, and John Wayne. Rollyson fully explores Brennan's work with Hollywood's greatest directors, such as Howard Hawks, John Ford, and Fritz Lang. As a father and grandfather, Brennan instilled generations of his family with an outlook on the American Dream that remains a sustaining feature of their lives today. His conservative politics, which grew out of his New England upbringing and his devout Catholicism, receive meticulous attention and a balanced assessment in A Real American Character.Written with the full cooperation of the Brennan family and drawing on material in archives from every region of the United States, this new biography presents an artist and family man who lived and breathed an American idealism that made him the Real McCoy.

Steve Cochran (1917–1965) was Hollywood’s ultimate contradiction—an intense, rugged leading man with a con man’s charm, a craftsman’s discipline, and a wild streak that made him both irresistible and dangerous. In Steve Cochran: Bad Boy of Hollywood, author Michelangelo Capua paints a richly detailed portrait of a man who was more than just a Hollywood rogue. Drawing from rare sources and packed with revealing anecdotes, this volume reclaims Cochran’s rightful place in film history.With breakout roles in White Heat, The Damned Don’t Cry, and Dallas, Cochran quickly earned a reputation as the quintessential "virile villain"—often cast as a gangster, a racist, or a ruthless playboy. Yet behind the screen persona was a surprisingly nuanced actor, whose greatest performance came in Michelangelo Antonioni’s Il Grido. Though he never quite reached marquee-name status, Cochran worked with such legends as Joan Crawford, James Cagney, Ginger Rogers, Doris Day, Burt Lancaster, and Rock Hudson, under the direction of some of the industry’s finest filmmakers.Off-screen, Cochran lived as boldly as he acted. He built a rustic retreat in the Hollywood Hills and filled it with animals, raced planes and cars, and romanced countless women. His personal life, often tabloid fodder, included three marriages, brushes with the law, and an obsession with freedom that culminated in his mysterious and still-unresolved death at age forty-eight when his body was found aboard his schooner adrift in the Pacific.A compelling blend of Hollywood scandal, cinematic insight, and cultural history, this biography is an essential read and a long-overdue examination of one of classic cinema’s most charismatic and controversial figures.

Lew Ayres (1908–1996) became known to the public when he portrayed the leading character in the epic war film All Quiet on the Western Front. The role made him a household name, introduced him to his closest friends, brought him to the attention of his first two wives, and would overshadow the rest of his career. To be a movie star was his first and only ambition as a child, but once he found success, he was never fully satisfied in his choice of profession. Although lacking a formal education, Ayres spent the rest of his life pursuing dozens of intellectual studies, interests, and hobbies. He even considered ending his acting career after just a few years to pursue a more "respectable and fulfilling" path as a director. Ayres was given not one but two comeback opportunities in his acting career, in 1938 and 1945. He was cast in the film series Dr. Kildare where he showed his abilities in comedy and his unique strength at bringing a level of sincerity to even the most outlandish or idealist character. But he was willing to give up his star status to follow his moral compass, first as a conscientious objector and ultimately as a noncombat medic during World War II. To everyone’s surprise, he was welcomed back to Hollywood with open arms and new opportunities despite his objector status. Biographer Lesley L. Coffin presents the story of a man of quiet dignity, constantly searching for the right way to live his life and torn between the public world of Hollywood and secluded life of spiritual introspection.

Despite appearing in twenty-eight movies in little over a decade, Carole Landis (1919-1948) never quite became the major Hollywood star her onscreen presence should have afforded her. Although she acted in such enduring films as A Scandal in Paris and Moon over Miami, she was most often relegated to supporting roles. Even when she played the major role in a feature, as she did in The Powers Girl and the film noir I Wake Up Screaming!, she was billed second or third behind other actors. This biography traces Landis's life, chronicling her beginnings as a dance hall entertainer in San Francisco, her career in Hollywood and abroad, her USO performances, and ultimately her suicide. Using interviews with actors who worked with Landis, contemporary movie magazines and journals, and correspondence, biographer Eric Gans reveals a tragic figure whose life was all too brief. Landis's big break came in 1940 with Hal Roach's One Million B.C. She appeared in thirteen Twentieth Century-Fox pictures between 1941 and 1946. In 1942-43, Landis entertained troops in England and North Africa in the only all-female USO tour. The trip led to her memoir, Four Jills in a Jeep, and a Fox movie of the same title. After her last American film in 1947, she completed two projects in England while having an affair with married actor Rex Harrison. Tormented by a love that could not lead to matrimony and depressed about growing older, she took a fatal drug overdose on July 5, 1948.