Houseman, John: agents for, 138; appearance of, 91; The Bad and the Beautiful and, 175; Beggar’s Holiday and, 119–20, 121, 122, 123–24; The Blue Dahlia and, 191; Citizen Kane and, 91; Communism and, 94, 95–96, 208; The Company She Keeps and, 192; Coronet Theatre project of, 134; Ernst-Ray relationship and, 102–3; Grahame-Ray relationship and, 198–99, 214; Holliday-Ray relationship and, 89; Hughes impact on RKO and, 191; and Kazan-HUAC issues, 228–29; Losey and, 63; and Losey-Ray relationship, 65; love interests of, 113, 116n, 175; Lute Song and, 114–16, 119, 124; “midnight meetings” of, 98; New York visits of, 102; On Dangerous Ground and, 190, 191, 192, 194–95, 215; OWI work of, 112–13; Paramount films of, 113, 191; passport for, 99–100; personal background of, 91; personality and character of, 145; and Ray at Strasberg Institute, 486; Ray’s comments about Knock on Any Door to, 163; Ray’s comments about Schary to, 149; and Ray’s Communist activities, 104–5; and Ray’s draft notice, 80; Ray’s early years in Hollywood and, 105, 109, 110, 112–24; Ray’s letter about fears in Hollywood to, 150; Ray’s relationship with, 92, 100, 101–2, 109, 112–24, 126, 134, 145, 214, 215, 410, 487; and Ray’s student-professor film, 477–78; Ray’s views about, 268; and Ray’s womanizing, 239; at RKO, 113, 116, 118–9, 124, 126, 190; Rogell and, 168; Schary and, 124; Schnee and, 127, 128; Selznick contract with, 91; Sorry, Wrong Number and, 114–15; television and, 114, 124; theater as first love of, 114; They Live by Night and, 117–18, 119, 120, 124, 127, 129–30, 132–33, 138, 142–43, 163; Two Weeks in Another Town and, 410; views about film industry of, 114; Voice of America and, 91–92, 93, 94, 95–96, 98, 99–100; Welles relationship with, 91; A Woman’s Secret and, 146. See also Mercury Theatre productions
Howard, David Cyrus . See Ray, Timothy “Tim”
HUAC. See House Committee on Un-American Activities
Huber, Russell, 12, 16, 17, 21, 26–27, 31, 64, 464–65
Hughes, Howard: Androcles and the Lion and, 234, 235; anti-Communism of, 167–69, 174, 213, 217; Born to Be Bad and, 175, 176, 189; death of, 173; divestiture of RKO theater chain by, 167; Flying Leathernecks and, 203, 249; Fontaine and, 175; Gypsy Life project and, 234; Hayward and, 222; impact on RKO of, 174, 191, 234, 235; In a Lonely Place and, 182, 184; Losey and, 168; The Lusty Men and, 216, 217, 218, 220, 221, 222, 224, 227; Macao and, 212; The Racket and, 213; and Ray as producer, 215; and Ray as running RKO, 234; Ray’s complaint against, 189; Ray’s relationship with, 169, 173–74, 184, 209, 216, 324; Ray’s special projects and, 167, 169, 170, 189, 211, 212n, 215, 336; as recluse, 473; reputation of, 149; RKO studios taken over by, 131n, 149–50, 158; Russell and, 237; selling of RKO by, 235, 238; They Live by Night and, 178; and Wald-Dietrich meeting, 235; Wald-Krasna deal with, 215, 216. See also RKO Studios
Hunter, Jeffrey, 342, 398–99, 406–7
Huston, John, 140, 237, 456, 457
“I Married a Communist” (RKO film project), 168–69, 174, 190, 210
“I’m a Fool” (GE production), 285, 303n
I’m a Stranger Here Myself (documentary), 472
In a Lonely Place (film): Bogart-Ray relationship in, 302; Bogart’s views about, 181; casting for, 184–85; ending for, 187–88, 235, 331; filming of, 184–88, 205, 291; French release of, 232, 415; influence of Ray’s personal life on, 11, 37, 121, 186, 198, 209, 214, 260, 333, 415; influences on, 2; Lambert-Ray discussion about, 320; “Mr. and Mrs. contract” for, 184, 186; plot of, 182, 226; producers as characters in, 268; Production Code and, 182, 183, 186; publicity for, 184; Ray’s reputation and, 231; Ray’s views about, 196, 479; release of, 198; reviews of, 198, 260–61; script/themes for, 121, 182–84, 194, 270; as signature film for Ray, 121, 198; Yordan-Ray relationship and, 252
Injunction Granted (play), 65–67
Ives, Burl, 82, 85, 86n, 89, 230, 359, 362, 366, 367, 368, 369–70, 371, 375–76
Jahr, Cliff, 299n, 478, 486
James, Jesse. See The True Story of Jesse James
Jet Pilot (film), 211–12
John Paul Jones (film), 389, 391, 392, 397, 401
Johnny Guitar (film): budget for, 256; cast for, 10, 248–49, 251; Communism and, 415; Crawford as producer for, 250; Crawford-Ray relationship and, 250; editing of, 255; filming of, 250–54; French release of, 315, 322, 415; homosexuality and, 261; influence of Ray’s personal life on, 5, 121, 260–61; influences on, 2; Lambert-Ray discussion about, 320; as moneymaker, 262; plot of, 245–46; premiere party for, 259; publicity for, 255; Ray as producer of, 244; Ray’s reputation and, 256, 261, 457; Ray’s views about, 196, 479; release of, 255; retrospectives with, 454; reviews of, 259–61, 315, 322, 415; rights to, 244, 246; screenings of, 480; script/themes for, 121, 246–48, 252–53, 254, 257, 270, 402, 415, 489, 492; as signature film for Ray, 121; as technicolor production, 249–50, 299, 300
Jürgens, Curd (Curt), 346, 351, 351n, 355
Kael, Pauline, 455–56
Kaufman, Millard, 109, 142, 199
Kazan, Elia: Academy Awards and, 228; actors relationship with, 58; Actors Studio and, 274; ambitions of, 53, 57, 61; appearance of, 57; Baby Doll and, 379; Baker as protegé of, 288–89; birth of, 52; Brando and, 285; Broadway plays of, 101, 221, 229, 377, 398; Cat on a Hot Tin Roof and, 362; comments about Ray by, 108, 110, 111, 480; as Communist Party member, 227; Dean and, 272, 273, 275, 297–98; Dollar Top Theatre and, 85, 86; East of Eden and, 272–73, 275, 285, 317, 359; A Face in the Crowd and, 357; Houseman-Ray relationship and, 92; HUAC and, 209, 210, 227–29, 267, 463, 463n, 480; influence on Rebel Without a Cause of, 267, 268, 272, 283, 296–98, 301; Losey compared with, 64; Losey’s “Social Circus” and, 66; love interests of, 109; Man on a Tightrope and, 229, 266, 267; On the Waterfront and, 283, 356, 357; personality and character of, 61; as producer, 229–30; radical theater movement and, 50, 51, 52–53, 54–61, 108; ranking as director of, 456; and Ray at Brandeis, 467; Ray compared with, 343–44; and Ray at Strasberg Institute, 486; and Ray’s cancer diagnosis, 487, 490–91; Ray’s comments about, 457; Ray’s early years in Hollywood and, 105–8, 110–11; Ray’s eye-patch and, 465; Ray’s last encounter with, 491; Ray’s relationship with, 50, 52, 54, 65, 86, 108, 110–11, 229, 267, 326, 364; and Ray’s student-professor film, 477–78; Rebel Without a Cause comments of, 318; reputation of, 58, 276; Schulberg brothers and, 356, 357, 358, 368; The Skin of Our Teeth and, 101; at Spiegel New Year’s Eve celebration, 143; A Streetcar Named Desire and, 228, 267, 273, 295, 340; Thacher’s relationship with, 58; A Tree Grows in Brooklyn and, 105–8, 110, 118, 137, 159, 438; 20th Century-Fox and, 101, 105, 106, 110–11, 228, 229; Venice Film Festival and, 340; Viva Zapata! and, 209, 228, 328, 384; Voice of America and, 108; in Waiting for Lefty, 53; Warner Bros. and, 101–2, 267; Washington visits of, 70; Wilder comment by, 22
Kefauver, Estes, 309
Kelly, Gene, 109, 140, 142, 207, 240, 278
Kennedy, Arthur, 221, 222, 223, 224, 235–36
Kienzle, Alice (sister), 3, 5, 11, 14, 20, 167, 173, 189
Kienzle, Helen (sister), 3, 5, 6, 8, 11, 12, 14, 70, 189, 464
Kienzle, Olene Toppen “Lena” (mother), 3, 5, 7–11, 14, 27, 47, 75, 188, 189, 218, 262, 384
Kienzle, Raymond Nicholas Jr. See Ray, Nicholas
Kienzle, Raymond Nicholas Sr. (father), 3–11, 16, 31, 80, 140, 173, 180, 467
Kienzle, Ruth (sister), 3, 5–6, 8, 11, 14, 189
Kilgallen, Dorothy, 239, 345, 354
King of Kings (film): British premiere of, 415; budget for, 394, 396–97, 401, 403; casting for, 395, 397–99, 400; credits for, 396n, 408; dealmaking for, 389–90, 391–92; ending for, 409; filming of, 394, 401–2, 403–7; financing for, 395; high points of, 398, 400, 405; influence of Ray’s personal life on, 5; MGM role in, 403–5; as moneymaker, 417; narration for, 408; postproduction activities for, 407, 408, 414; promotion of, 416, 417; Ray’s views about, 399, 404, 409, 416, 427, 479; reviews of, 416–18; screening of, 405; script for, 391–95, 396–99, 402, 403, 404–5, 425; title for, 392; U.S. release of, 416–17
Klotz, George, 373, 374, 375
Knock on Any Door (film): Bogart-Ray relationship and, 181–82, 302; budget for, 157; cast of, 142, 159–60, 173, 195, 225; Chicago setting for, 152, 156, 160, 161, 162, 170–71, 460; filming of, 162–67; French release of, 232; HUAC and, 153; Motley criticism of, 171–72; plot in, 152; premiere of, 170–71; Production Code and, 152, 153, 154, 163, 165, 182; Ray hired as director for, 155; Ray’s reputation and, 231, 232, 458; Ray’s views about, 163, 263; release of, 169; reviews of, 172, 232; script/themes for, 155–62, 164–65, 182, 257, 263, 269; as success, 152, 153–54
Knox, Mickey, 142, 166–67, 230, 439
Koch, Howard, 112, 140, 151
Korean War, 202, 208, 210
Krasna, Norman, 213, 215, 217, 222, 227, 406
Krohn, Bill, 473, 476, 477–78, 487, 488
La Crosse Central High School, 6, 9, 11–15
La Crosse State Teachers College, 14–19, 21, 26–31, 74
La Crosse, Wisconsin: Communist meetings in, 28–29, 210; Depression in, 18; musical and cultural events in, 13, 17; “Ole Granddad” landmark in, 17–18; Project X and, 464–65; as Ray hometown, 2–3, 4–5, 9; Ray returns from Chicago to, 25; Ray’s grave in, 492; Ray’s visits to, 188–89, 211, 218, 262, 380, 384, 464–65; Washington Bicentennial Pageant in, 27–28
Lady Vanishes, The (film), 98, 102, 102n
Lambert, Gavin: autobiography of, 321, 330; Bigger Than Life and, 327, 328, 329–30, 331; Bitter Victory and, 338–39, 345, 346–49, 351, 353, 355; Crawford-Ray relationship and, 254; crisis atmosphere of Ray films comment by, 406; and Ford comments about Ray, 457; and French release of Johnny Guitar, 315; Holliday-Ray relationship comment by, 327; In a Lonely Place views of, 320; Manon-Ray relationship and, 348–49; Mason and, 326, 327; Oxonians and, 413, 414; and Presley as fan of Dean, 342; ranking of Ray as director by, 231; and Ray’s ambitions, 428; and Ray’s bad luck, 139–40; Ray’s discussion about Dean with, 320, 334; and Ray’s drinking and drug abuse, 341, 343, 344, 346–47, 348, 353; Ray’s first meeting with, 319–20; and Ray’s frustrations with his career, 337; and Ray’s injuries, 343; and Ray’s invitation to come to U.S., 322; and Ray’s King of Kings comments, 402; and Ray’s relationship with his son, 267; Ray’s relationship with, 77, 241, 320–23, 330, 332–34, 347, 351, 353–54, 355; Ray’s reputation and, 179, 233, 241, 413, 414; Ray’s views about, 326; Ray’s womanizing and, 333–34; Rebel Without a Cause views of, 320; They Live by Night comments of, 178, 233, 414; The True Story of Jesse James and, 339; at 20th Century-Fox, 326, 327; views about Ray of, 330, 349, 355, 400; and Wasserman-Ray affair, 243; Wood-Ray relationship comments of, 286, 287–88, 289, 312; and Wood in The Searchers, 308
Lang, Fritz, 126, 217, 236, 240, 245, 458, 466
Last Movie, The (film), 468
Lawson, John Howard, 57, 58–59, 140, 151, 201, 228
Lead Belly (aka Huddie Ledbetter), 70, 75, 76, 77–78, 81–83, 89–91, 90n, 94
leading men: Ray’s views about, 160, 197
Lee, Will, 51, 81, 133, 141–42, 142n
Legion of Decency, 394
Lewis, Bobby, 59, 85, 86
Lichtig, Lucie, 423, 428, 447
Lichtig, Renée, 352, 401, 407, 409, 423, 447
Lightning over Water (film), 491, 492
Lindfors, Viveca, 258, 259, 398
Lindner, Robert, 264–65, 268–69, 269n, 295
Lisbon (film), 244, 256
Little Theatre Group, La Crosse, 26–27, 31
Living Newspaper Project, 63–67, 72, 73, 97, 104
Lloyd, Norman, 50, 52, 53, 56, 58, 59, 60, 66, 67, 81, 91, 207
Lomax, Alan, 70–72, 74, 76–78, 81, 83, 84, 86–87, 90, 92, 121, 230, 466, 490
Lomax, Elizabeth, 70, 72, 78, 92, 101
“Long Denial, The.” See A Woman’s Secret
Lord, Robert, 154–55, 156–57, 159, 160, 162, 163, 165, 182, 183, 184, 187, 188, 270
Los Negroes, 410, 411, 412, 425, 429–30, 433, 449
Losey, Joseph W.: Academy Awards staging by, 118, 124; appearance of, 65; The Boy with Green Hair and, 168, 176; Cabaret TAC and, 73; education of, 64; Evans discussion about Ray with, 442; FDR Memorial and, 113; financial affairs of, 10; Galileo and, 112, 134; Houseman-Ray relationship and, 92; HUAC and, 208; Hughes-RKO anti-Communist pictures and, 168, 169, 170, 174; Kazan and, 53, 64; leaves RKO, 168; Living Newspaper Project and, 63–66; Lomax-Ray plans and, 77; marriage of, 64–65; MGM contract of, 113; at National Film Theatre, 415; personality and character of, 10, 52; radical theater movement and, 59, 64; Ray’s relationship with, 10, 64, 65, 112–13, 118, 442; “Social Circus” ensemble of, 66, 66n; Soviet Union trip of, 64, 65; style of, 65; as success, 442; Who Fights This Battle? and, 67; youth of, 9–10
Lovejoy, Frank, 185, 205, 252
loyalty oath, Directors Guild, 202–3, 203n
Lupino, Ida, 195, 197, 198, 231
Lusty Men, The (film): casting for, 217, 220–22; ending of, 235–36, 331; filming of, 222–23, 231; Hughes approval for, 218; influence of Ray’s personal life on, 1, 87; influences on, 2; Mitchum-Ray relationship in, 302; Mitchum screening of, 227; Pendleton Round-Up and, 218; plot for, 224; postproduction activities for, 226–27, 234, 235; preview of, 236; publicity for, 235; Ray’s reputation and, 238; Ray’s views about, 457, 479; release of, 238; reviews of, 238, 352; screenings of, 344, 489; script/themes for, 216–20, 222, 247, 270, 338; title for, 217, 218, 224, 227; Wald-Ray relationship and, 235–36
Lute Song (musical), 114–16, 119, 124, 131, 132, 133, 467
Macao (film), 212–13, 212n, 216, 219
Mad with Much Heart (Butler). See On Dangerous Ground
Mahar, Ted, 481–82
Maltz, Albert, 56, 57, 140, 153
Man on a Tightrope (film), 229, 266, 267
Mankiewicz, Herman, 116–17, 119, 123, 126, 143–44, 143n, 145, 146
Mankiewicz, Joseph L., 202–3, 203n
Mann, Anthony, 71, 133, 252, 399, 407–8
Manon (Ray’s girlfriend): Bitter Victory and, 354; drug abuse by, 349, 353, 366, 369; gossip columnists writings about, 354; Lambert-Ray breakup and, 353, 354; murder attempt on Ray by, 371; Ray first meets, 348–49, 364; Ray’s breakup with, 379; Ray’s relationship with, 349, 352, 364–65, 369, 374; Schulberg brothers-Ray discussion and, 361; suicide attempt by, 366; Wind Across the Everglades and, 363, 364–65, 366, 367, 369, 371, 373, 374
Mansfield, Jayne, 15, 287, 319
Marco (film), 488
martyrlogue: Ray in, 416, 454, 456
Mason, James: Bigger Than Life and, 12, 76, 323–26, 327, 329, 330, 331, 332, 333, 339, 346, 348; Hume and Maibaum draft and, 323–26, 327; Lambert and, 326, 327; Lambert reading of Ray project from, 320, 321–22; Monroe appearance in Bigger Than Life and, 333; Ray’s project discussions with, 319, 443, 444; Ray’s relationship with, 325, 327, 330, 332, 335; Ray’s views about, 332; A Star Is Born and, 323; views about Ray of, 325, 332
MCA. See Music Corporation of America; Wasserman, Lew
McCambridge, Mercedes, 5, 196, 248, 251–55, 259
McCoy, Esther, 62, 85, 87, 138, 194, 277
McCoy, Horace, 218, 219, 219n, 220
Meisel, Myron, 465, 473, 482–83
Mercury Theatre productions, 85, 86, 89, 91, 93, 127, 248
Metro-Goldwyn-Mayer (MGM) Studios: Gower Gulch and, 126; Hughes offices at, 149; King of King and, 394–95, 403–5, 408–9; morality clauses at, 373; Ray barred from, 409; Ray’s contract with, 373. See also specific person or film
Meyerhold, Vsevolod, 54, 56, 63, 64, 65–66
Mineo, Sal, 18, 20, 25, 196, 274, 294–96, 298, 303, 304, 305, 308, 317, 483
Mitchum, Robert: Bogart compared with, 225; Crossfire and, 199; drinking of, 213, 227; Gypsy Life project and, 234, 311; Johnny Guitar and, 248; The Lusty Men and, 87, 217, 218–27, 235, 238, 270, 302, 396; Macao and, 212, 213; Ray’s relationship with, 213, 222, 225, 227, 302, 326
Monks, John Jr., 155, 158, 182
Monroe, Marilyn, 15, 239–40, 278, 287, 333, 345, 4
30, 457
Mortgage on Life (Baum). See A Woman’s Secret
Motion Picture Alliance for the Preservation of American Ideals, 202, 203, 204
Motion Picture Association of America, 392
Motley, Willard, 152–56, 159–62, 164, 165, 165n, 170, 171–72, 230, 232
Movie magazine, 319, 345, 409, 415
“Mr. and Mrs. contract,” 184, 186, 212
Music Corporation of America (MCA), 243, 252, 256, 358, 359, 361, 380, 392
National Film Theatre (NFT), 414
Navasky, Victor, 210, 357n, 378
Negro Theater of Harlem, 63, 91, 119
Nelson, Willie, 476
New Deal, 62, 64, 68–69, 74, 96, 113, 201
New Playwrights Theatre, 50, 57
New Poor, The (comedy), 16
“New York After Midnight” project, 467
New York University (NYU), 487, 488, 490
New Yorker magazine, 79, 179, 320, 321, 323
Newman, Walter, 213, 237, 242, 310, 336–37, 340, 341, 344–45
Nikka’s (Madrid club), 438–39
Niven, David, 424, 425, 430
Northwest Film Student Center: Ray reception at, 481–82
Odets, Clifford: Bigger Than Life and, 325, 326, 327–28, 331–32; blacklisting and, 230; Clash by Night by, 175, 240; Dean’s views about, 278; The Flowering Peach by, 411; Golden Boy of, 155; HUAC and, 217, 229, 230–31, 463n; as mentor/role model for Ray, 56; radical theater movement and, 50, 56; Ray’s fan letter to, 411; Ray’s relationship with, 56, 263, 270; Rebel Without a Cause and, 267, 270–71, 276, 305; reputation of, 57, 270; Waiting for Lefty by, 50
O’Donnell, Cathy, 132, 136, 138, 164, 232
Office of War Information (OWI), 91, 95–99, 103, 104, 105, 112–13
O’Hara, Frank Hurburt, 22, 23–25, 31, 80