waitress. Centennial Summer (1946), Preminger's next film, would be his first shot entirely in color. The reviews and box office draw were tepid when the film was released in July 1946, but by the end of that year Preminger had one of the most sumptuous contracts on the lot, earning $7,500 a week. Forever Amber, based on Kathleen Winsor's internationally popular novel Forever Amber, published in 1944, was Zanuck's next investment in adaptation. Preminger had read the book and disliked it immensely. Preminger had another bestseller aimed at a female audience in mind, Daisy Kenyon. Zanuck pledged that if Preminger did Forever Amber first, he could make Daisy Kenyon afterwards. Forever Amber had already been shooting for nearly six weeks when Preminger replaced director John Stahl. Zanuck had already spent nearly $2 million on the production. Only after turning to his revised script did Preminger learn Zanuck had recast Linda Darnell. Zanuck was convinced that whoever played Amber would become a big star, and he wanted that woman to be one of the studio's own. Zanuck had bought the book because he believed its scandalous reputation promised big box-office returns, and he was not surprised when the Catholic Legion of Decency condemned the film for glamorizing a promiscuous heroine who has a child out of wedlock; they successfully lobbied 20th Century Fox to make changes to the film. Forever Amber opened to big business in October 1947 and garnered decent reviews. Preminger called the film "the most expensive picture I ever made and it was also the worst". Preminger maintained a busy schedule, working with writers on scripts for two planned projects, Daisy Kenyon (1947) and The Dark Wood; the latter was not produced. Joan Crawford starred in Daisy Kenyon alongside Dana Andrews, Ruth Warrick and Henry Fonda. Variety proclaimed the film "high powered melodrama surefire for the femme market". After the modest success of Daisy Kenyon, Preminger saw That Lady in Ermine as a further opportunity. Betty Grable was cast opposite Douglas Fairbanks, Jr. The film had previously been another Lubitsch project, but after Lubitsch's sudden death in November 1947, Preminger took over. His next film was a period piece based on Lady Windermere's Fan. Over the spring and early summer of 1948 Preminger turned Oscar Wilde's play into The Fan (1949), which starred Madeleine Carroll; the film opened to poor notices. Challenging taboos and censorship Several of his