O’Hara, Maureen, 144, 145, 146, 244
On Dangerous Ground (film): cast of, 195, 196; editing of, 203; ending of, 194; filming of, 193, 195, 196–98, 283; French release of, 233; influence of Ray’s personal life on, 1, 17, 196–97, 214; influences on, 2; on location, 196–97; previews of, 216; Ray’s views about, 479; release of, 231; reviews of, 231, 233, 238; screenings of, 492; script for, 192–96, 271, 421
On the Waterfront (film), 268, 283, 356, 357, 377
“Only Lovers Left Alive” project, 443, 450
Paley, William S., 84, 97
Paramount Studios, 112, 113, 126, 191, 193, 241, 244, 256, 263, 323, 342
Parrish, Robert, 216, 219n, 223, 359, 443
Parsons, Louella, 148–49, 180, 181, 189, 236–37, 239, 435
Party Girl (film), 2, 11, 373, 376, 378–81, 394, 413, 414, 432, 455, 460, 479
“Passport” (Ray story), 236–37
Paton, Alan, 337–38, 467
Peary, Gerald, 480–81
Pelligrin, Raymond, 349–50
Perkins, V. F., 413, 415, 452, 453, 485
Pine, William H., 256, 258
Piranese Calico (comedy), 40–41
Plummer, Christopher, 43, 359, 362, 365, 367–71, 373, 465
PM tabloid, 79, 114, 193, 194, 237
pornography, 475–76, 484
Positif, 2, 413, 414
Powell, Dilys, 178, 179
Prager, Stanley, 109, 133, 230
Presley, Elvis, 342
producers: Ray’s views about, 268. See also specific person
Production Code Administration: Bigger Than Life and, 324, 325; Born to Be Bad and, 175; homosexuality and, 296; In a Lonely Place and, 182, 183, 186; Knock on Any Door and, 152, 153, 154, 163, 165, 182; They Live by Night and, 118–20, 121, 124, 127–31, 152; Wind Across the Everglades and, 358
Project X, 464–65
Quinn, Anthony, 383–84, 385, 441
Racket, The (film), 213
Racquet newspaper (La Crosse), 15, 16, 17, 18–19, 29–30
radical theater movement, 49–61, 72, 108. See also Theatre Collective; Theatre of Action; Workers Laboratory Theater
radio: Ray’s early interest in, 12–13. See also WKBH
Rathvon, Peter, 119, 120, 141
Ray, Anthony Nicholas “Tony” (son): acting ambitions of, 267, 399; birth of, 71, 76; Dean introduced to, 274; Evans-Ray relationship and, 79, 85, 88; Grahame-Ray divorce and, 214; Grahame’s relationship with, 206–7, 214, 242, 267, 399, 422; marriage of, 399, 422; Mineo’s resemblance to, 294; personality of, 193; Ray’s relationship with, 193, 266, 267, 422; Ray’s support for, 88, 103, 193; Ray’s visits to New York and, 274; Rebel Without a Cause and, 292; as Tim’s babysitter, 266
Ray, Betty Utey (wife). See Utey, Betty
Ray, Ellen, 458–59, 463
Ray, Julie Christina (daughter), 390, 400, 433, 477
Ray, Nicca (daughter), 418, 428, 433, 438, 477, 478
Ray, Nicholas: ambitions of, 30–31, 62, 137, 234, 428; appearance of, 14, 30, 43, 51, 126, 137, 361, 428, 441, 449, 458, 465–66, 482, 486, 489, 490; as artist’s model, 36; as “arty” director, 231, 237, 310, 427, 470; autobiography of, 458; awards and honors for, 27, 359; birth of, 3–4; bisexuality/homosexuality of, 24–25, 43, 45, 80, 89, 105, 152, 154, 160, 239, 261, 295, 321, 322–23; career frustrations of, 337; changes his name from Kienzle to, 32; childhood and youth of, 1, 4, 5–11, 13–14, 17–20; comeback of, 441; death of, 492; depression of, 47, 51, 109–10, 207–8, 311, 318–19, 340, 364, 467; divorces of, 87, 91, 98, 147, 148, 189, 209, 212, 213–14, 239, 242, 438; drama school of, 27; family background of, 2–4; as father figure, 275, 276, 470, 472; fire at home of, 223, 274; health/injuries of, 140, 223, 343, 345, 353–54, 360, 368, 374, 379, 406, 408, 434–45, 449, 465–66, 485, 487–92; idealism of, 20, 30, 427–28; legends about, 454; loneliness of, 6, 8–9, 12, 47, 428; marriages of, 62, 148–49, 380; as “melodrama specialist,” 239; as member of Communist party, 56, 61, 96, 210; mentors/role models of, 22, 23, 24, 27, 50, 56, 270, 275, 326, 427; modernism of, 44; nicknames for, 49; optimism of, 71, 138, 158, 437, 447, 471; passport and security problems of, 102, 103, 140; as producer, 233, 234, 254; recognition for, 178–80; reflections of, 478–80; religion and, 5, 389–90, 399; retrospectives of, 414–15; self-image of, 410; sexuality of, 24–25, 43, 45–46, 80, 105, 226, 239, 296, 321; therapy sessions of, 77, 79, 85, 87, 241, 242, 282, 442; as “victim,” 157–58; views on color, 378, 484
Ray (Schwartz), Susan (wife), 8, 461, 463–64, 466, 468, 471, 475, 483, 485, 489–90, 493
Ray, Timothy “Tim” (son), 167, 181, 214, 266, 422, 441–42, 452–53, 454, 458, 487–88, 490
Rebel Without a Cause (film): Academy Awards and, 266, 317–18, 326, 358; “The Blind Run” and, 265, 266, 268, 269, 277, 307; bungalow talks and rehearsals for, 292–94, 297; casting for, 273, 275–76, 284–90, 291–95; as CinemaScope and color film, 297, 299–300, 305; credits for, 306–8, 307n, 326; ending for, 305–6, 305n, 307, 331; European release of, 313, 314–16, 318, 319, 320, 322, 337, 339; festivals screening of, 414; filming of, 283, 291, 297, 298–302, 303, 304–5, 306; Frascell and Weisel book about, 265, 268, 272, 275, 277, 278, 291, 294, 298, 306–7; French novel of, 354; influence of Ray’s personal life on, 1–2, 4, 5, 7, 10–11, 17, 18, 20, 76, 88, 121, 266, 267, 340; as juvenile delinquency story, 263–64; Kazan’s influence on, 267, 268, 283, 296–97, 301; Lindner book about, 264–65, 268–69, 269n, 295; Mason screening of, 324; memorable highlight of, 277; as moneymaker, 317, 417, 438; popularity of, 479; postproduction activities for, 309–10, 312, 315; premiere of, 313, 316–17; previews of, 315; publicity for, 312, 316; Ray’s cameo appearance in, 305–6, 438; Ray’s diary about, 334; Ray’s drinking and drugs during production of, 343; as Ray’s favorite film, 318; Ray’s preparation for, 36; Ray’s reputation and, 318, 384, 395, 460–61, 471; Ray’s views about, 196, 479; release of, 296, 309–10; reviews of, 317, 318, 322; rights to, 268, 269; screenplay for, 317; script/themes for, 121, 194, 247, 266, 269–72, 276–79, 280–84, 288, 290–93, 296–97, 299, 306–8, 338, 417, 421; sexual motifs in, 25, 269, 295–96; as signature film for Ray, 121; title for, 268, 269; Warner-Ray relationship and, 357; Wasserman-Ray-Warner Bros. deal about, 264–66; as watershed for Ray, 311–12
Republic pictures, 244, 248, 259, 261
Revuers, 88, 89, 109–10
Rexray Production Company, 335, 337
Richards, Silvia, 138, 191, 194, 217, 277
RKO Studios: anti-Communist film projects of, 167–69, 174, 378; blacklisting at, 141, 174; as defunct, 350; distribution of movies by, 234, 238; divestiture of theaters owned by, 167; Dozier’s selling of, 118; General Tire as owner of, 345; Grahame-Ray marriage and, 148–49; HUAC and, 149; Hughes impact on, 174, 191, 234, 235; Hughes selling of, 235; Hughes takeover of, 131n, 149–50, 158; morale at, 235; morals clauses in contracts with, 148; Ray as “head” of, 234; Ray’s contracts with, 117, 119, 126, 170, 195, 233–34, 237; Ray’s departure from, 233, 238; Ray’s potential screen stories for, 137–38, 139, 143, 190; Ray’s special projects for, 170, 174–75, 211–13, 234, 336; Wald proposed as head of, 235; “youth movement” at, 126. See also specific person or film
Road to the Snail, The (McGivern). See Children’s Crusade project
Robinson, Earl: Almanac House and, 85; Back Where I Came From and, 82; at Brookwood Labor College, 68; Cabaret TAC and, 73; Dollar Top Theatre and, 86; FDR Memorial and, 113; HUAC and, 230; Living Newspaper Project and, 67; radical theater movement and, 50, 51, 55, 56, 57, 60–61, 61n; Ray’s relationship with, 76, 86; Town Hall concert and, 94; “Twilight Alley” and, 120; Voice of America and, 94; Washington visits of, 76
Rodero, José Lopez, 423, 428, 431, 435, 436
Rogell, Sid, 168, 174, 191, 192, 324, 335
Rohmer, Eric, 233, 318, 355
Rolling Stones, 449–50
Romeo and Juliet (play): Ray’s staging of, 132
Roosevelt, Eleanor, 70, 152
Roosevelt, Franklin Delano, 62,
64, 70, 73, 91, 96, 100, 113, 124
Roseanna McCoy (film), 167, 170, 174
Rosenbaum, Jonathan, 44, 346, 399, 418, 492, 493
Rosenman, Leonard, 275, 278, 287, 290, 303, 310, 312
“Rough Company.” See The Lusty Men
“Round Trip” (Ray story), 236
Run for Cover (film), 10, 256–59, 262, 263, 270, 360, 465
Rush, Barbara, 328, 330, 342
Russell, Jane, 212, 227, 234, 237, 310, 311, 312, 390
Ryan, Robert, 147, 175–76, 192–93, 197, 198, 199, 203–4, 214, 221, 231, 290, 397, 399
San Sebastián International Film Festival, 446–47, 478
Santana Productions, 151–55, 156, 157, 159, 162, 169, 170, 181, 183, 184
Sarris, Andrew, 455–56, 480, 492
Savage Innocents, The (film), 381–88, 389, 393, 405, 413, 414, 426, 432
Saxe, Al, 55–56, 57, 58, 59, 60, 62, 73, 104
Schary, Dore: Academy Awards and, 113, 118; comments about Ryan of, 197; FDR Memorial and, 113, 124; Grahame’s relationship with, 144, 147; Harpur student film and, 473; Houseman and, 124; HUAC testimony of, 141, 142; Losey’s staging of Academy Awards and, 118; at MGM, 113, 149, 175, 373, 376; Ray and, 126, 139; reputation of, 113, 124; at RKO, 124, 126, 139, 149; They Live by Night and, 124, 131, 132–33; Waldorf-Astoria Hotel conference and, 141, 149; A Woman’s Secret and, 143–45; as “youth movement” leader, 126
Schnee, Charles, 127–31, 133, 136, 175, 176, 270, 373, 376, 377, 410, 410n
Schulberg, Budd: Communism and, 227, 229, 357, 357n, 358; Donoghue story and, 267–68, 337, 361; drinking by, 368; firing of Ray and, 366, 367, 372–73, 435; Kazan and, 356, 357, 358, 368; Ray’s commitment to Wind Across the Everglades and, 358–61; Ray’s relationship with, 368, 372, 376; Ray’s two-picture deal with, 358, 361; Sarris ranking of Ray and, 456; Wind Across the Everglades and, 357–68, 369, 370–75, 435, 456
Schulberg, Stuart: firing of Ray and, 366, 367, 372–73, 435; Ray’s commitment to Wind Across the Everglades, 358–61; Ray’s relationship with, 376; Ray’s two-picture deal with, 358, 361; Wind Across the Everglades and, 357–68, 370–75, 435, 456
Scott, Adrian, 140, 141, 147, 199
Security Pictures, 402–3, 408, 411, 418, 437. See also Yordan, Philip
Seeger, Charles, 72, 77, 78, 79
Seeger, Pete, 77–78, 79, 81–82, 84, 94
Selznick, David O., 91, 113, 235
Senate Fact-Finding Committee on Un-American Activities (California), 141
Sequence journal, 178, 179, 231
Seven Arts Pictures, 447–48, 449
Sevilla Studios, 391, 400, 405, 407
Sezezechowski, Clarence. See Hiskey, Clarence Sezezechowski
Shulman, Irving, 276–78, 279, 283, 285, 307, 307n, 308
Siegel, Sol C., 394–95, 401, 404, 407
Sight and Sound journal, 319, 334, 386, 414, 455, 492
Simmons, Jack, 274, 293, 294
Sit-Down (play), 67–68
Skin of Our Teeth, The (play), 22, 101, 115
Skouras, Spyros, 228, 335, 344, 345
Snodgrass, Kathryn “Kay,” 15–16, 17, 18, 20
Solt, Andrew, 183–84, 187, 222, 223
“Son of Man.” See King of Kings
Sontag, Ferdinand, 5, 15, 26, 28–29, 30, 31
Sorry, Wrong Number (radio/TV show), 114–15, 262
Stack, Robert, 389, 397, 401
Stanislavski, Konstantin, 24, 53, 56, 63, 64, 225, 286, 292, 367, 486
Stark, Harold, 24, 27, 31, 33–35, 38, 45–46
State Department, U.S., 99, 100, 201
States of the Union (Voice of America), 93–94, 95
Stern, Stewart, 211, 278–84, 290, 292, 296–98, 305–8, 317, 354, 468, 477
Sternberg, Josef von, 211–12, 212n
Stevens, George, 275, 290, 308, 313
Strasberg Institute, 486–87, 488, 490
Streetcar Named Desire, A (play), 228, 267, 273, 295, 340
Supreme Court, U.S., 63–64, 65, 65n, 125, 141, 201
Swing Parade of 1946 (film), 111
Swope, Herbert Bayard Jr., 335, 341, 344
Sylt Island: Ray on, 451–53, 458, 459
Taliesin Fellowship, 31–36, 38–48, 51, 52, 61, 81, 140, 276, 381, 427, 470
“Tambourine” project. See Hot Blood
Taradash, Daniel, 155–57, 158, 160, 162–63
Taylor, Robert, 140, 377, 378, 379, 479
television, 114, 124, 125, 262, 274
“Ten Feet Tall” (New Yorker), 320, 321–22, 323–25, 326–27; See also Bigger Than Life
Thacher, Molly Day, 58, 86, 100, 101, 105, 108, 272
“That Girl From Memphis” project, 116
Theatre of Action: Communism and, 72, 97, 141; HUAC hearings and, 73; Losey interrest in, 64; non-New Yorkers in, 68; radical theater movement and, 46–62; as training ground for Ray, 81; Washington Political Cabaret compared with, 74. See also specific person
Theatre Collective, 37, 38, 47, 49
They Live by Night (film): blacklisting and, 141–42; budget for, 136–37, 157; casting/shooting of, 131–37, 283; ending of, 235; European release of, 178–79, 231, 232, 233; Fontaine screening of, 175; Houseman-Schary discussion about, 124; Hughes takeover of RKO and, 150; Hughes views about title for, 131n; influence of Ray’s personal life on, 8, 130; influences on, 2; postproduction editing of, 138–39; Production Code and, 118–20, 124, 127–31, 152; publicity for, 137, 138; Ray named writer-director for, 126–27; Ray’s reputation and, 231, 232, 233, 260n, 414; Ray’s views about, 163, 479; release of, 143, 150, 169, 178–79; retrospectives of, 415, 454; reviews of, 150, 178–79, 232, 319; screenings of, 142–43, 144, 159, 492; script/themes for, 117–20, 121–22, 126–31, 192, 194, 250, 257, 263, 417; television showing of, 467; “The Twisted Road” preview of, 150, 154, 159; “Your Red Wagon” as working title for, 131
Thieves Like Us. See They Live by Night
“This Man Is Mine.” See The Lusty Men
Thomas, Bob, 251, 252, 253, 255
Thomas, Dylan, 442, 443, 444, 445, 446, 447, 448
Thomson, David, 244, 340, 489, 492–93, 493n
Thomson, Virgil, 65, 66, 112
Three Stooges, 111
To Meet the Prince (play), 22
Todd, Sherman, 133, 134, 138
Tonti, Aldo, 383, 384, 385, 426
Town Hall concert (1942), 94
Tree Grows in Brooklyn, A (film), 105–8, 109–11, 118, 137, 159, 438
Tribe That Lost Its Head, The, project, 411, 412, 418
Trilling, Steve: disparaging reports about Ray and, 357; Hopper-Ray disagreement and, 304; Ray’s meeting with, 264–65; Rebel Without a Cause and, 264–65, 288, 290, 304, 306, 315, 316, 357; Wind Across the Everglades and, 359, 360, 368, 370, 373, 374–75, 376
Triple-A Plowed Under (play), 63–64, 65
True Story of Jesse James, The (film), 335–37, 339–45, 358, 399, 409, 417
Truffaut, François, 232, 233, 260–61, 387, 457, 472, 475
Tuesday in November (OWI movie), 112–13, 140, 208
“Twisted Road, The.” See They Live by Night
Universal Studios, 153, 276, 376, 445
University of Chicago, 16, 17, 18, 20, 21–25, 26, 28, 100, 458, 463
Uris, Leon, 271–72, 276, 278
Utey, Betty: at ABC-TV, 476; Androcles and the Lion and, 234–35; Bronston-Ray contract and, 390; divorce of, 438; 55 Days at Peking and, 432–33; Hlasko and, 444–45; King of Kings and, 400; personal and professional background of, 379–80; pregnancies of, 386, 388, 390, 409, 418; Ray first meets, 234–35, 379, 380; and Ray’s dream about 55 Days at Peking, 428; Ray’s drinking as concern of, 381; Ray’s health and, 435; Ray’s relationship with, 382, 388, 399, 423, 432–33, 437, 438, 476–77; Ray’s special projects and, 450; Ray’s vacation with, 380; reputation of, 432; Savage Innocents and, 385–86; wedding of, 380, 389; Wisconsin trip of, 380, 384
Vakhtangov, Yevgeny, 53, 54
, 136, 161, 225, 286, 486
Van der Heide, Dr. Carel, 242, 274, 282, 302
Variety (newspaper), 58, 114, 150, 198, 334, 368, 396, 398, 484
Vatican, 389, 390, 394, 396, 417
Venice Film Festival, 339–40, 355, 361, 493
Vidal, Gore, 263, 416, 446, 448
Village Vanguard, 88, 89–91, 466
Village Voice, 198, 387, 455, 478, 480
Vogel, Joseph R., 394, 395, 401
Voice of America, 91–96, 98–100, 103, 104, 108, 109, 111, 113, 115, 134, 140, 193
Voskovec, George, 363, 370, 375
Voskovec-Werich story (Ray), 102
Wagner, Robert, 225, 342, 343–44, 452, 474
Waiting for Lefty (play/book), 50, 53, 59, 60, 64
Wald, Jerry, 213, 215–22, 226–27, 234–36, 240, 268, 270, 458
Waldorf-Astoria Hotel conference, 141
Warner Bros. Studios: Dean-Ray relationship versus, 275; disparaging reports about Ray and, 357; Lindner’s threat of legal action against, 269; Ray commitment to Wind Across the Everglades, 359; Ray’s contract with, 358; Ray’s job offers from, 262–63; Schulberg brothers two-picture deal with, 358; Seven Arts merger with, 447; Shulman’s protest about Rebel credits to, 307n; Wasserman-Ray discussion about Rebel Without a Cause with, 264–66. See also specific person or film
Warner, Jack L.: Bogart’s relationship with, 183; Dean-Ray relationship and, 312; disparaging reports about Ray and, 357; Kefauver Committee appearance of, 309; Ray letter to, 309; Ray as persona non grata with, 376; Ray’s job offers from, 262–63; Rebel Without a Cause and, 264, 265, 286, 288, 290, 296, 299, 299n, 309–10, 315, 357; skepticism about Ray of, 359; Waldorf-Astoria Hotel conference and, 141; Wind Across the Everglades and, 359, 360, 370, 372–73, 374, 376, 457
Wasserman, Edie, 243, 263, 287, 381
Wasserman, Lew, 243–44, 252, 253–54, 263–64, 265, 266, 309, 310, 317, 359, 381. See also Music Corporation of America
Watson, Morris, 63, 65, 65n, 66, 67
Wayne, John, 202, 203–4, 209, 210, 211, 217, 249, 308, 438, 470, 492
We Can’t Go Home Again (film), 472–78, 483–84, 489, 493
Weisbart, David, 267, 268, 270, 271, 276, 283, 305, 309, 310, 312, 315, 342