Index
461 index “WW” refers to William Wyler. Ace in the Hole (b. Wilder), 307, 311 Adding Machine, The (rice), 49 affron, Charles, 28, 145, 155, 184, 199, 246 affron, Jona Mirella, 246 agee, James, 246 ahearn, Daniel: “The Wild boys of the road,” 46 albert, eddie, 281 allied artists, 335, 346–49 All My Sons (Miller), 17, 250 All Quiet on the Western Front (Milestone), 39 america-First Committee, 211 American Cinema, The (Sarris), 2 American Tragedy, An (film; Von Sternberg), 123, 263 American Tragedy, An (novel; Dreiser), 263, 280 anderegg, Michael, 158, 160, 199, 258, 308, 320, 326 anderson, Maxwell, 229 Andersonville (Kantor), 239 andrews, Dana, 244 andrews, Julie, 367–68 anthony Productions, 350 anti-Semitism, French, 16 arnold, edward, 106 Arrowsmith (film; John Ford), 73, 87–88, 171 Arrowsmith (novel; Lewis), 86–87 arthur, art, 316–17 ashcroft, Peggy, 264 astor, Mary, 89–91, 92, 99 atkinson, brooks, 66 atomic bomb/energy, 245 auteurism, 1–2, 13 Babbitt (Lewis), 83, 84 Bad Companions (roughead), 64–66 Bad Day at Black Rock (Sturges), 233 bainter, Fay, 87, 143, 328 baker, Carroll, 351 balaban, barney, 265, 294 balkin, Karen, 328–29 ball, Lucille, 379 bankhead, Tallulah, 197 barnes, George, 6 barrymore, John, 52–55, 57–58, 92 bartlett, Sy, 222; Strategic Air Command, 224; Twelve O’Clock High, 224, 263 baxter, John, 74–75 bazin, andré: on The Best Years of Our Lives, 258–59; on cinematic realism, 1, 71–72; on The Little Foxes, 198–99; on WW, 1–4, 9, 12, 71–72, 145 bel Geddes, Norman, 120, 124 bellamy, ralph, 304 bendix, William, 307 Ben-Hur (film, 1907), 360 Ben-Hur (film, 1925; Niblo), 28, 360 Ben-Hur (film, 1959; WW), 326, 358–65; chariot race scene, 362; composition/framing, 361; 462 Index Ben-Hur (film, 1959; WW) (cont.) conversion scene, 364; crucifixion scene, 363; ending, 24, 359, 364; house as setting for, 8; JudahChrist relationship, 359, 361, 363; Judah-Messala relationship, 173, 358–59, 360–62; Judah’s love for esther, 363, 364; Judah’s mother and sister cured of leprosy, 363–64, 370–71; Messala’s death, 333, 362; Oscars won by, 360, 375; on pacifism vs. violence, 23, 340, 359, 362, 365; political message of, 333; realism of, 9; script, 360; staircase scenes, 363, 364; success of, 360, 367; Lew Wallace’s novel adapted for, 360–61, 363; WW chosen to direct, 359–60; WW’s salary for, 360 Ben-Hur (play; Young and L. Wallace), 360–61, 363 bentley, eric, 66 berg, Scott, 14, 107, 113, 124 bergman, ingrid, 339 berlin, irving: This Is the Army, 232 bessie, alvah, 302 Best Years of Our Lives, The (WW), 239–60; aircraft graveyard scene, 10, 255–56; al, Fred, and Homer meet, 247–48; al, Fred, and Homer’s homecoming scenes, 248– 49, 252, 361; al’s banquet scene, 251; al’s character/story, 243, 247, 257; businessmen in, 247, 250; casting, 243, 244; “Chopsticks” scene, 4–5, 258; composition/ framing, 246, 248, 250–51, 252, 257, 258–59; on corrupting effects of money, 19–20; critical reception/success of, 2, 4, 25, 259, 262; deep focus used in, 257–59; disillusionment in, 250; Fred’s character/story, 244, 247, 253–54, 256–57; Fred’s drugstore scene, 250–51; Goldwyn as producer for, 14; Goldwyn on, 301; Homer’s bedroom scenes, 252–53; Homer’s character/story, 242–44, 247, 252; HUaC on, 301; Kantor’s Glory for Me adapted for, 239–40, 243, 246– 47, 254, 260; mirrored shots, 256– 57; music, 259; opening shot, 247; Oscars for, 259; Peggy and Marie’s character, 251–52, 254; postwar possibility/wariness reflected in, 245; preview/release date, 259; realism of, 9–10, 243, 246, 257– 58; on rehabilitation of/jobs for veterans, 245, 248, 250–51, 256– 57; rift between WW and Goldwyn over, 259–60; Sherwood’s script for, 10, 240–41, 243–44, 246, 251, 254–55; title, 244; Toland’s camera work on, 246, 257–59; war veterans’ experience depicted in, 17; wedding scene, 257; wrap date, 259; WW on the making of, 17–18 bickford, Charles, 351 Big Country, The (novel; Hamilton), 350–51 Big Country, The (film; WW), 326, 350–58, 364; betrayal in, 23–24; bigness vs. smallness theme, 354–55; buck tries to rape Julie, 353, 355–56, 370; budget, 351; casting, 351; composition/framing, 37, 354, 356–57; critical reception/ success of, 358; departures from conventions of westerns, 352–53, 355; duel scene, 356; elegiac tone...
OR
