Bitter Victory (film): casting for, 346, 347, 349; Criterion Collection and, 493; ending for, 353, 371; European release of, 413; Film Festivals and, 354, 355, 361; filming of, 349–53, 405; and Graetz warning about Ray, 356; influence of Ray’s personal life on, 4–5; influences on, 2; as international project, 338; location for, 384; plot of, 338–39; postproduction activities of, 354–55, 359, 360; premiere of, 355; Ray’s drinking and, 346–47, 356; Ray’s reputation and, 355, 358, 413, 414; Ray’s views about, 345–46, 383; reviews of, 352, 355; script/themes for, 338, 345, 346–47, 349, 350–51, 352, 383; setting/location for, 347–48
blacklisting, 141–42, 150, 202, 203, 208, 210, 230, 247, 294, 347, 376, 411, 415, 479–80. See also specific person
Blair, Betsy, 10, 109, 142, 207–8, 240, 278
“Blind Run, The” (Ray). See Rebel Without a Cause
Bogart, Humphrey: anti-Communism of, 181; Cagney compared with, 256; Committee for the First Amendment and, 140, 151; death of, 345, 430; drinking by, 163, 171; early films of, 154, 162; film successes of, 151, 153, 163, 181; Grahame-Ray relationship and, 187; Hellinger and, 153; HUAC hearings and, 151, 154; as icon, 163; In a Lonely Place and, 37, 181–88, 196, 206, 214, 226, 232, 250, 260, 270, 302, 382, 415; Knock on Any Door and, 153–56, 157, 159, 160, 161, 163–66, 170, 171, 181–82, 185, 232, 250, 302; Mitchum compared with, 225; The Oklahoma Kid and, 256; personal life of, 158; personality of, 163; Ray’s first meeting with, 154; Ray’s Harpur stories about, 470, 479; Ray’s multipicture deal with, 149, 150; Ray’s relationship with, 181, 185, 186, 209, 221, 236–37, 296, 312, 326; Ray’s views about, 224; Ryan compared with, 197; Santana Productions formed by, 151–52; Warner Bros. relationship with, 183, 263
Bond, Ward, 195, 202, 203, 209, 210, 248, 415
Borgnine, Ernest, 10, 248, 258, 317
Born to Be Bad (film), 175–78, 182, 189, 205, 231, 373, 479
Brando, Marlon: Dean compared with, 272; “Gypsy Life” project, 234, 243, 311; Kazan and, 285; On the Waterfront and, 268, 357; Ray’s comments about, 334, 334n; Ray’s relationship with, 263; Rebel Without a Cause and, 273; Streetcar Named Desire and, 273; Viva Zapata and, 209; The Wild One and, 487; Wood’s crush on, 287
Brecht, Bertolt, 64, 112, 119, 140
Breen, Joseph I., 121, 127, 128, 129, 130
Bronston, Samuel: ambitions of, 388–89, 429; The Fall of the Roman Empire, 412, 418, 420; 55 Days at Peking, 421, 423, 425, 426, 429, 431, 435, 436, 437; fundraising by, 388–89; King of Kings and, 389–92, 394–99, 401, 402, 404, 407, 408, 416, 417; at Nikka’s, 439; personal and professional background of, 388; Pope John’s audience with, 396; Ray and, 435, 436; Ray’s contracts with, 390, 418, 436, 439; superspectacles of, 388–90, 411, 438; Yordan and, 391, 394–95
Brooks, Richard, 159, 237, 296, 315
Brookwood Labor College, 67–68, 95, 97, 469
Brun, Joseph C., 361, 372, 376
Bruskin, Perry, 57, 120, 122–23, 466
Bryant, Marie, 120, 122, 131, 185
“Bull-shevist, The” (Ray newspaper column), 19, 20
Buñuel, Luis, 242, 263, 282, 440–41
Burton, Richard, 346, 349, 350, 355, 397, 409–10
Buskin Club (La Crosse State Teachers College), 15, 18, 19, 26, 29, 30, 31, 61
Cabaret TAC (Theatre Arts Committee for Peace and Democracy), 73, 93
Cagney, James, 113, 176, 219, 256–59, 262, 263, 435
Cahiers du Cinéma: and arguments between French and English critics, 413, 414, 415, 416; Ray’s first interview with, 14; support for Ray in, 2, 232, 233, 260–61, 318, 322, 387, 413, 414, 415, 416. See also specific critic
Canby, Vincent, 353, 454, 471–72
Cannes Film Festival, 354, 387, 394, 445, 458, 473–74, 475
Casablanca (film), 112, 151, 163, 439
Chamartín Studios (Estudios Chamartín), 391, 392, 405, 429
Chanslor, Roy, 245, 251, 252, 253, 254, 402, 472
Chanslor, Torrey (Marjorie), 245, 246, 247
Chaplin, Ethyl, 109, 132, 230
Charisse, Cyd, 377–80
Chicago Seven trial, 460–64, 466–67, 483
Children’s Crusade project, 412, 418
CinemaScope. See specific film
Cinémathèque Française, 414, 474, 475
Circus World (film), 418, 436, 438–39
Citizen Kane (film), 91, 116, 126, 172, 195–96, 342
Citron, Herman, 243, 256, 339, 359, 419
“City Blues” project, 484–85
Civilian Conservation Corps (CCC), 56–57, 58
Clash by Night (play), 175, 217, 240
Columbia Studios, 126, 149, 152, 183, 236, 310, 339, 356, 376
Committee for the First Amendment, 140–41, 142, 151
Communism/radicalism: congressional concerns about Ray’s links to, 104; FBI B-2 rating and, 97–98, 103–4; and FBI search for Hollywood Communists, 174; folkarts group and, 72, 82, 94; Living Newspaper Project and, 66; On the Waterfront and, 357; radical theater movement and, 55–61, 72, 109; Ray’s abandonment of, 109, 142; Ray’s activities in 1940s and, 96–98, 103–5; Ray’s early interest in, 18–19, 20, 28–29; Rebel Without a Cause and, 294; Taliesin and, 42; Voice of America and, 95–96, 109, 140. See also Hollywood: Communism and; House Un-American Activities Committee; specific person
Communist Party USA, 28–29, 56, 64, 73, 80, 84. See also specific person
Congress of Industrial Organization (CIO), 60, 67, 95
Congress, U.S., 63, 73, 80, 104, 105. See also House Un-American Activities Committee
Cooper, Barrington, 442–43, 447, 449
Coronet Theatre (Hollywood), 134, 138
“Cowpoke.” See The Lusty Men
Crawford, Joan: Academy Award for, 240; Chanslor and, 245, 246, 251; Douglas and, 144; drinking by, 241, 242, 251, 254; gossip columnists and, 241; Johnny Guitar and,
Crawford, Joan (cont.) 209, 244, 246, 247, 248, 249, 250–55, 259, 260–61, 300; Lambert-Ray discussion about, 320; Lisbon and, 244; McCambridge and, 248, 251–55; Mildred Pierce and, 240; Montana Moon and, 244; Ray’s attraction to, 15; Ray’s relationship with, 240–41, 250–55, 258, 312
Crime, The (Blankfort play), 58, 59–61, 62, 64
Cromwell, John, 168, 170, 213
Crossfire (film), 144, 147, 176, 199, 237
Crowther, Bosley, 49–50, 172, 179, 231, 260, 417
Cukor, George, 177, 358, 457
Cunningham, Inez, 23–24, 31, 34
Curcio, Vincent, 148, 181, 200, 205–7, 209, 213–14; Suicide Blonde (book), 148, 200, 522n
Da Silva, Howard, 111, 133, 136, 230, 377–78
Dartmouth College: Ray at, 489
Dassin, Jules, 133, 153, 191, 208, 381, 425
Davis, Bette, 195, 197, 243, 245, 484
Dean, James: Academy Award nominations for, 317; appearance of, 273; Brando compared with, 272; death of, 315–16, 334, 339; East of Eden and, 267, 272, 275, 299, 317; French release of Rebel and, 314; Giant and, 308, 313, 317n; gun of, 454, 454n; Kazan and, 272–73, 275, 297–98; Lambert-Ray discussion about, 320, 334; Mineo and, 294–96, 303; panic attack of, 297–98; personal background of, 273; personality of, 273, 276, 282; Presley as “another kind” of, 342; Ray’s book about, 334; Ray’s first meeting with, 272–73; Ray’s memories of, 318, 393, 470; as Ray’s mirror image, 273; Ray’s proposed projects with, 308, 313, 335; Ray’s relationship with, 273–75, 276, 292–93, 297–99, 301–2, 312, 313, 326, 385; Ray’s reputation and, 461; Ray’s views about, 36, 224, 273, 275, 300; Rebel Without a Cause and, 1, 7, 10–11, 18, 20, 25, 88, 194, 268, 273, 278–79, 282, 284, 290–91, 292–93, 294–95, 297–302, 304, 306, 312, 317, 385, 452; sexuality of, 295; Stern and, 278–79, 282; therapy sessions of, 274–75, 302; Warner’s views about, 310; Wood and, 285, 303–4, 303n
DeMille, Cecil B., 137, 147, 168, 202–3, 205, 310, 392, 418, 427, 457
Derek, John, 159–62, 164, 166, 171, 257, 258, 259
Directors Guild, 202–3, 203n, 208
Diskant, George E., 133–
34, 146, 195, 218, 222
Dmytryk, Edward, 140, 141, 147, 199, 201, 208–9, 211, 227
Doctor and the Devils, The (film), 442, 443–49, 449n, 451
Dollar Top Theatre (New York City), 85–87
Donnell, Jeff, 185, 200, 205–6
Donoghue, Roger, 267–68, 276, 311, 315, 316, 337, 358, 361, 484
Dortort, David, 216, 216n, 217, 219n, 236
Douglas, Melvyn, 137, 144, 146
drinking/alcoholism, Ray’s: Bigger Than Life and, 343; Bitter Victory and, 346–47, 356; Chicago Seven trial and, 461, 466; Crawford and, 241, 242; during early years in Hollywood, 107–8, 109; during early years in New York City, 59, 85, 87, 88, 102–3; Evan’s concern about, 442; Evans-Ray marriage and, 77, 79, 85; 55 Days at Peking and, 424, 435; Graetz letter to studio officials about, 356; Grahame-Ray relationship and, 199, 200, 207–8; at Harpur College, 470, 472; Heston-Yordan-Ray deal and, 420; hiding of, 428; Hlasko project and, 444–45; Houseman-Ray relationship and, 115, 117; increase in, 181, 312; insurance and, 380; King of Kings filming and, 407; Knock on any Door and, 163; Lambert’s concerns about, 330, 348; Mitchum and, 213, 227; Odets-Ray relationship and, 270; Party Girl and, 379; and quitting, 163, 486–88; Ray’s ability to get jobs and, 381; Ray’s appearance and, 361; and Ray’s injuries/health, 343; Ray’s MGM contract and, 373; Ray’s special projects and, 444; Ray’s trip to Mexico and, 47–48; Rebel Without a Cause and, 343; Schwartz’s views about, 483, 485; on Sylt Island, 453; at Taliesin, 45–46; The True Story of Jesse James and, 341; at University of Chicago, 22, 25; Utey-Ray relationship and, 380, 399, 477; in Washington, 76, 77; Wind Across the Everglades and, 360, 368; womanizing and, 239; as a youth, 6–78
drug abuse, Ray’s, 181, 302, 312, 330, 341, 343, 353, 363, 367, 373, 379, 380, 428, 435, 442, 453, 463, 466, 468, 470, 472, 477, 489
Dunn, James, 107, 111, 118
Dyson, Helen, 26, 27, 30, 33
East of Eden (film), 267, 274, 275, 285, 299, 309, 317, 359
Ebert, Roger, 260, 460, 462
Eisenschitz, Bernard: and Crawford-Ray relationship, 242; and Evans-Ray relationship, 79, 87, 121; and Kazan-Ray relationship, 105; and MGM-Ray relationship, 409; and ranking of Ray films, 318; and Ray at Chicago Seven trial, 462; and Ray’s draft notice, 80; and Ray’s drinking, 407; and Ray’s eye-patch, 465; and Ray’s financial affairs, 445; and Ray’s health, 435; and Ray’s HUAC appearances, 210; and Ray’s Mexico trip, 47; and Ray’s potential RKO screen projects, 137–38; and Ray’s promotion of Gardner at Cannes, 446–47; and Ray’s reputation, 480; and Ray’s signing of loyalty oath petition, 203; and Ray’s special projects, 467; and Ray’s student-teacher film, 474; and Ray’s womanizing, 109; Rebel Without a Cause and, 277; and sister’s influence on Ray, 11; and They Live by Night script, 127; and We Can’t Go Home Again, 475; and “Wet Dreams” project, 476; Wind Across the Everglades filming and, 371; Wright-Ray falling out according to, 44
El Cid (film), 407–8, 412, 418, 419, 420, 421
Emerald Films, 442–43
Ernst, Constance “Connie,” 93, 95, 96, 98–100, 102–3, 105, 110, 121, 318, 460, 466, 488, 490
Ethiopia (play), 63
Evans, Jean (wife): ambitions of, 37; appearance of, 37–38; birth of, 37; as Communist, 56; depression of, 51; divorce of, 87, 91, 98, 103; financial affairs of, 62, 85, 88; Grahame’s psychological problems and, 200; Guggenheim studies of, 194; Gypsy Life project and, 234, 237, 311; Jackson visit and, 78; Lindner’s work and, 264, 268; motherhood and, 71, 76; On Dangerous Ground and, 194; personality and character of, 76; PM job of, 78–79, 114, 193, 237; radical theater movement and, 51, 59; and Ray at Taliesin, 38, 46; and Ray-Tony relationship, 206; Ray’s cancer diagnosis and, 490; Ray’s depression and, 47, 87; and Ray’s HUAC appearances, 210, 211; Ray’s marriage to, 62; Ray’s relationship with, 37, 47, 48, 51, 59, 62, 76–80, 85, 87, 110, 121, 193, 200, 274, 311, 380, 400, 432, 442, 460; Ray’s thoughts of Dean and, 318; Ray’s trip to Mexico and, 47; They Live by Night and, 121; in Washington, 69, 70, 76; Washington move of, 68; Washington Political Cabaret and, 74; WPS travels of, 69; Wright interview by, 45
eye-patch, Ray’s, 465–66
Fairweather, Ruth Kienzle. See Kienzle, Ruth (sister)
Fall of the Roman Empire, The (film), 412–13, 418–19, 420
Falstaff Club (La Crosse Central High School), 12, 14
Farrell, Tom, 470, 474–75, 478, 492
FDR Memorial, 113, 124, 347
Federal Bureau of Investigation (FBI), 29, 96–98, 103–4, 106, 140, 168, 174
Federal Music Project, 71, 72
Federal Theatre Project, 62–63, 69, 71, 73, 81, 89, 97, 140, 141, 230
Flanagan, Hallie, 62–63, 64, 66, 67, 73
Flippen, Jay C., 133, 136, 146, 148, 204
Flying Leathernecks (film), 138, 203–5, 209, 211, 231, 249
folk arts, 69–73, 75, 77–78, 84, 89–90, 94. See also Almanac House; specific person or project
Fontaine, Joan, 106, 113, 175, 177, 189, 223, 258
Ford, John, 137, 162, 195, 221, 257, 308, 312, 328, 431, 457, 466
France: Ray’s reputation in, 230–33, 314, 318, 320, 322, 355, 413, 457; release of Ray’s films in, 230–33, 314, 315, 318, 319, 320, 322
Frascella, Lawrence (Al Weisel), 265, 268, 272, 275, 277, 278, 291, 294, 306–7; Live Fast, Die Young (book), 265
Free Thaelmann (play), 55
Fries, Robert, 15, 16, 28
Galileo (film), 112, 134, 166
gambling, Ray’s, 102, 115, 139, 148, 155–56, 157, 158, 180, 181, 209, 348, 352, 353, 354, 360, 428, 450, 488
Gardner, Ava, 425, 430–36, 446–47
Garner, Peggy Ann, 106, 118, 159
General Electric Theater (TV show), 262, 285
“Go Where You Want, Die as You Must” project, 452
Godard, Jean-Luc, 232, 233, 249, 340, 355, 387, 454, 457
Gold (film), 458–59
Gordon, Bernard, 410–11, 419–24, 426, 428–30, 434
Gosta Berling project, 450–51
Graetz, Paul, 339, 345–51, 351n, 353, 356
Grahame, Gloria: Academy Awards and, 144, 147, 175; alimony for, 213, 266; appearance of, 289; The Bad and the Beautiful and, 175; Bogart-Bacall relationship with, 181; Born to Be Bad and, 205; Crossfire and, 199; divorces of, 147, 148, 189, 209, 212, 213–14, 239, 242; financial affairs of, 209; The Greatest Show on Earth and, 205, 206, 211; In a Lonely Place and, 11, 37, 181, 184, 185, 186, 187, 188, 196, 205, 260, 261, 407; Kazan’s views about, 267; Macao and, 212; Man on a Tightrope and, 266, 267; marriages of, 147, 239, 266, 399; as mother, 199–200, 266; Motley and, 159; “Mr. and Mrs. contract” for, 184, 186; personal and professional background of, 147; personality of, 147; pregnancy of, 147–48, 149, 155, 167; psychological problems of, 200; Ray as ladies man and, 239; Ray (Tony) relationship with, 206–7, 242, 267, 399, 422; Ray’s recordings of, 213–14; Ray’s relationship with, 146–48, 158–59, 180–81, 187, 188–89, 193, 198–200, 205–12, 260, 266, 400, 415, 432; Ray’s surveillance of, 206–7, 439; Ray’s wedding to, 148–49, 155; RKO anti-Communist films and, 169; Schary’s relationship with, 144, 147; self-image of, 199–200; sex addiction of, 200, 205; A Woman’s Secret and, 144, 146, 159
Granger, Farley, 7, 131–32, 131n, 136, 138, 142, 144, 167, 226, 342
Grapes of Wrath concert (New York City), 78
Greatest Show on Earth, The (film), 205, 206, 211
Greenwich Village (film), 109
Group Theatre, 50–52, 54, 55, 58, 59, 81, 85, 108, 228, 229, 463n. See also specific person
Guthrie, Woody, 78, 79, 81, 82–84, 87, 89, 90n, 92, 94, 139, 139n, 190n, 230
“Gypsy Life” project. See Hot Blood
Hambleton, John Edward, 299, 363, 378
Hammer, Al, 88, 146, 230
Happy Journey to Trenton and Camden, The (play), 22–23, 26–27
Hardy, René, 4, 338, 346, 355
Harpur College: Ray at, 468–74, 479; See also We C
an’t Go Home Again
Hauser, Alonzo, 12, 33, 36, 37, 55n, 68
Hauser, Winona, 12, 14, 16
Hayden, Sterling, 209, 211, 248, 251, 252, 254, 255, 259, 472, 475
Hayes, Alfred, 222, 278, 360
Hayward, Susan, 87, 221–22, 223, 235, 258, 396
Hellinger, Mark, 153, 154, 159, 160, 162
“Heroic Love” project, 308, 313, 335
Heston, Charlton, 362, 403–4, 407, 408, 412–13, 419, 420, 422, 424–26, 430–36, 445
Hiegel, Helen Kienzle. See Kienzle, Helen (sister)
Hillside Playhouse. See Taliesin
Hiskey, Clarence Sezezechowski, 15, 16, 26, 28, 29, 32, 201
Hitchcock, Alfred, 98, 105, 143, 175, 195, 243, 310, 355, 358, 413, 448, 457
Hlasko, Marek, 444–45
Hoffman, Abbie, 460–63
Holliday, Judy, 15, 88, 89, 109–10, 115, 230, 327
Hollywood: Communism and, 125–26, 140–42, 150–51, 153, 163, 168–69, 174, 181, 199, 201–3, 205, 208–9, 210–11, 230–31, 378; end of Golden Age of, 345; homosexuality in, 322–23; left-wing theater movement in, 108–10; Ray’s reputation in, 388, 447, 457; Ray’s views about, 112, 380, 427. See also blacklisting; film industry
Hollywood Ten/Nineteen, 140–41, 142, 150, 151, 153, 181, 199, 201, 202, 378
Hollywood Writers Mobilization Committee for Democracy, 108, 113
Holman, Libby, 88–89, 90, 120, 122, 123, 250
Hopper, Dennis, 287, 288, 289–90, 302, 303, 304, 306, 308, 467–68, 486, 487
Hopper, Hedda, 143, 147, 148–49, 181, 212, 221, 223, 239, 316, 333, 380, 386, 408
Hot Blood (film), 234, 237, 242–43, 308–14, 319, 336, 337, 356, 358, 400, 413
House Committee on Un-American Activities (HUAC): cooperative witnesses for, 357n, 463n; Hollywood fears and, 125–26, 163; Hollywood investigation by, 140–42, 149, 199, 202, 203, 205, 208–9, 210–11, 230–31, 378; Knock on Any Door and, 153; Ray and, 142, 157, 208–9, 210–11, 217, 229, 230–31, 239, 242, 254, 267, 347, 480; Ray’s comments about, 97; WPA workers and, 73. See also Hollywood Ten/Nineteen; specific person or organization