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Lizabeth Scott
Lizabeth Virginia Scott[1] (born September 29, 1922) is an American film actress, known for her deep voice and smoky sensual looks. After performing the Sabina role in the first Broadway and Boston stage productions of The Skin of Our Teeth, she emerged internationally in such film noirs as The Strange Love of Martha Ivers (1946) with Barbara Stanwyck, Dead Reckoning (1947) with Humphrey Bogart, Desert Fury (1948) with John Hodiak, and Too Late for Tears (1949) with Don DeFore. No other actress has appeared in more film noir. Of her 22 feature films, she was leading lady in all but one. In addition to stage and radio, she appeared on television from the late 1940s to early 1970s.
Early life[edit]
She was born Emma Matzo[2] in Scranton, Pennsylvania,[3][4] oldest of six children born to John Matzo (1895–1968)[5] and Mary Matzo née Pennock[6] (1899–1981). Reference works[7][8][9] and biographies[10][11] have given conflicting accounts of the ethnic origins of her parents. However, Scott has described herself as Russian.[12] Her family lived in the Pine Brook section of Scranton, where John Matzo owned Matzo Market.[13] Scott characterized her father as a "lifelong Republican," which influenced her own capitalistic views. The family was immersed in all things cultural, especially music. This love of music would influence Scott's voice.[14]
Scott's famous accent, timbre and tempo began during first grade. Her parents sent her to weekly lessons at a local elocution school, held in "the living room of a Victorian house, where a Grande Dame would preside ..."[15] As a result, Scott lost the Northeast Pennsylvania English spoken in the Scranton area. Scott's trademark broad A[16] is characteristic of Mid-Atlantic English.[17][18] However, Scott has attributed the tone of her voice to heredity as a younger sister had a similarly deep voice.[19] In addition, Scott was given six years of piano lessons and two of voice.[20] As a young girl, working in her father's store, she dreamed of being a journalist, then an opera singer and finally an actress.[21] At the age of 11, she was the Fairy Godmother in a pantomime play, Cinderella, at summer camp.[22] During Christmas season she would take part in pageants at the local Catholic church her family attended. Yet despite a strict Catholic upbringing, Scott described herself as "rebellious and outspoken" as a young girl, despite her mother telling her to subdue her emotions and "be a lady."[20] When asked what was the best advice she was given, Scott replied, "I don't know, but I sure didn't take it." However, Scott mentioned adolescent favorites such as Ralph Waldo Emerson's Essays as having the greatest influence on her.[23]
Scott attended Marywood Seminary, a local Catholic girls' school.[24] She transferred to Scranton's Central High School, where she performed in several plays.[6] After graduating, she spent the summer working with the Mae Desmond Players[25] at a stock theater in the nearby community of Newfoundland.[26] She then travelled down to Abingdon, Virginia and worked at the Barter Theatre.[27] That autumn she attended Marywood College, but quit after six months.[20] Mary Matzo wanted her daughter to become a journalist. But when Scott said she would either become a stage actress—or a nun—her mother relented. In 1939, with her father's help, the 17-year-old Scott moved to New York City, where she stayed at the Ferguson Residence for Women.[28] Scott attended the Alvienne School of the Theatre.[29][30] There she studied for 18 months,[20] where she resisted attempts by the teachers to pitch her voice higher.[31] During this time, Scott read Maxwell Anderson's Mary of Scotland, a play about Mary, Queen of Scots and Elizabeth I, from which she derived the stage name "Elizabeth Scott." She would later drop the "E" from Elizabeth.[21]
In late 1940, an 18-year-old Scott auditioned for Hellzapoppin (1938). From several hundred women, she was chosen by vaudevillians John "Ole" Olsen and Harold "Chic" Johnson, stars of the original Broadway production. She was assigned to one of three road companies, Scott's being led by Billy House and Eddie Garr.[32] Landing her first professional job, she would be billed as "Elizabeth Scott."[33] Scott's tour opened November 3, 1940 at the Shubert Theatre in New Haven, Connecticut. Scott did blackouts and other types of sketch comedy[34][35] during her 18-month tour of 63 cities across the US.[3] Scott returned to New York in the spring of 1942, where she joined a summer stock company at the 52nd Street Theatre[36] on the subway circuit,[37] the then equivalent of off-Broadway. Eventually, she starred as Sadie Thompson in John Colton's play Rain (1923). Though no drama critic reviewed the play,[38] a press agent for new actresses, Joe Russell—known locally as "The Man who meets the Greyhound Bus"[39]—persuaded a producer with a problem to see it.[40]
Michael Myerberg just moved an experimental production from New Haven, Connecticut to the Plymouth Theatre. Impressed by Scott's Sadie Thompson, he hired her as the understudy for Tallulah Bankhead despite Bankhead's protests. Bankhead was the star of Thornton Wilder's then new play, The Skin of Our Teeth (1942). Bankhead had previously signed a contract forbidding an understudy for the Sabina role, which Myerberg breached when hiring Scott—rumors of an affair between the married Myerberg and the new understudy were rife.[41] Scott has said that her fondest memory is when Myerberg told her, "I love you." But the two would eventually part.[42]
Previously, Bankhead controlled the production by not showing up for rehearsal. Now Myerberg could simply put Scott in Bankhead's place.[41] Scott has acknowledged that Myerberg used her to keep Bankhead under control and that Bankhead was furious at the situation.[3] Describing her own experience with Bankhead, Scott recalled, "She never spoke to me, except to bark out commands. Finally, one day, I'd had enough. I told her to say 'please,' and after that she did."[28] The rivalry between the two actresses is cited as an alternative to the Martina Lawrence-Elizabeth Bergner origin[43] of Mary Orr's short story, The Wisdom of Eve (1946),[44] the basis of the 1950 film All About Eve. Broadway legend had it that Bankhead was being victimized by Scott, who was supposedly the real-life Eve Harrington.[45] However during the eight months[46] Scott was understudy, she never had an opportunity to substitute for Bankhead, as Scott's presence guaranteed Bankhead's. Scott was cast as "Girl/Drum Majorette."[47][48] Scott was 20-years old when the play opened—Bankhead was 40. Though the play ran November 18, 1942 – September 25, 1943, Scott left the production during Miriam Hopkins' tenure.[3][49]
Rise to fame[edit]
Hal Wallis[edit]
The continuing feud between Myerberg and Bankhead worsened her ulcer, leading her to not renew her contract.[50] Anticipating Bankhead's move, Myerberg suddenly signed 39-year-old Miriam Hopkins in March.[51] Caught off-guard, Scott would eventually quit in disappointment. Bankhead's final zinger to Scott was "You be as good as she (Hopkins) is."[52] For a brief period Scott understudied for Hopkins. While Scott liked Hopkins much more than Bankhead, she was still disappointed about being passed over for the Sabina role.[3] Before quitting, Scott replaced Hopkins for one night only.[53] When Scott finally went on stage as Sabina, she was surprised by both the approval and fascination of the audience.[3] Her replacement as Sabina understudy was another future femme fatale, 19-year-old Gloria Hallward, soon to be known as Gloria Grahame. When Michael Myerberg pulled Grahame from the play for another experimental production in Philadelphia[54]—Star Dust[55]—there was no understudy when Gladys George took over for Hopkins.[56] On August 30, 1943, Scott once again played Sabina when George was ill.[57] Joe Russell was in the Plymouth Theatre audience that night. Afterward, when a Californian friend came to New York on one of his biannual visits to Broadway, Russell told him about Scott's performance. Russell's friend was an up-and-coming film producer for Warner Brothers, Hal Wallis.[58]
Scott returned to her drama studies and some fashion modeling. Meanwhile, an associate[59][60] of Joe Russell's, Irving Hoffman,[61] a New York press agent and columnist for The Hollywood Reporter, had befriended Scott and tried to introduce her to helpful people. Hoffman earlier did the same for a 19-year-old model who was then being approached by several Hollywood studios[62]—Lauren Bacall.[63] On September 29, 1943, Hoffman held a birthday party at the Stork Club—Scott had turned 21. By happenstance or design, Wallis was also at the club that night.[64] Hoffman introduced Scott to Wallis, who arranged for an interview the following day. When Scott returned home, however, she found a telegram offering her the lead for the Boston run of The Skin of Our Teeth. Miriam Hopkins was ill. Scott sent Wallis her apologies, canceling the interview.[65] Scott recalled "On the train up to Boston, to replace Miss Hopkins, I decided I needed to make the name more of an attention-grabber. And that's when I decided to drop the 'E' from Elizabeth."[28]
Hopkins recovered in two weeks and Scott was back in New York.[66] Scott returned to modeling for the Walter Thornton Agency,[67] which Lauren Bacall also worked for.[68] Bacall was currently a cover girl for Harper's Bazaar. Later that year, Scott herself would appear in a Harper's photographic spread, which was allegedly admired by film agent Charles Feldman of Famous Artists Corporation (now ICM Partners). In a telegram to Scott he asked her to undergo a screen test. He invited her to Los Angeles and stay at the Beverly Hills Hotel, all expenses paid.[3] Coincidentally or not, he just signed on Bacall, who would soon be making her first film.[69]
On March 2, 1944, when Casablanca (1942) won the Best Picture Award at Grauman's Chinese Theatre, Casablanca 's producer, Hal Wallis, rose to accept the Academy Award, but the Warner family prevented him leaving the aisle of seats. Instead, the studio head, Jack Warner, accepted the award, while Wallis looked on helplessly.[70] This incident would change the focus of Scott's career from stage to screen actress. During that same month, Scott made a five-day trip to Los Angeles and stayed at the hotel, where she was forgotten by Feldman for 10 days.[3]
After reaching Feldman on the telephone, Scott was given a test script. Being a stage actress, Scott knew nothing about screen acting. Her first screen test was at Universal, then at William Goetz's International Pictures. She was rejected by both studios.[71] Then she tested at Warner Brothers. But this time around, Wallis' sister, Minna Wallis, arranged for film director Fritz Lang to coach Scott. Here he taught Scott not to stop when flubbing a line while the camera was rolling, as the bad footage could be cut out later.[3] She read a scene from The Male Animal (1942).[27] However, when Jack Warner saw the screen test, he also rejected Scott. The reason for Warner's rejection varies among film historians, ranging from Warner telling Charles Feldman: "She'll never be a star, only a second leading lady"[72] to stopping a rival to Bacall, who was signed on to Warner Brothers.[73] In addition to Bacall, at the Warner Teddington Studios in London, there was already a blonde actress named Elizabeth Scott,[74] who looked similar to the American. This Scott was the second leading lady in the Warner noir Fingers (1941).[75] A graduate from the Royal Academy of Dramatic Art, Scott had a contract with Warner Brothers in Hollywood, but did not come to California due to the war.[76]
Hal Wallis also saw the American Scott's test and recognized her potential.[77] In a meeting Wallis told Scott, "If I could, I would put you under contract." But she did not believe him. She thought him as powerful as Warner and was "prevaricating."[3][78] Unknown to Scott, years of infighting between Jack Warner and Wallis were about to climax. Under acrimonious circumstances, Wallis left Warner Brothers for Paramount Pictures.[79] On the day that Scott was scheduled to leave for New York, she read in Variety that Wallis was at Paramount. But she spent several months in New York[3][80] before Feldman telegraphed her in August 1944—Wallis wanted to sign her to a contract.[81]
To Have and Have Not (1944), Bacall's first film, made its New York premiere October 11, 1944.[82] This film would be basis of accusing Scott of being a "Bacall manquée" for the rest of her career.[83] Scott moved to Los Angeles in November 1944.[81] Later that winter, Scott tested for Love Letters (1945)[84] and the role of Susan in The Affairs of Susan (1945),[85] but was cast in neither.
At the age of 22, Scott's film debut was the comedy-drama You Came Along (1945) opposite Robert Cummings. Originally conceived as a Barbara Stanwyck (1907–1990) vehicle,[53] Ayn Rand's script concerns an Army Air Force officer, Bob Collins, who tries to hide his terminal leukemia from his handler, Ivy Hotchkiss (Scott), a US Treasury PR flack, whom Bob just met during a war bond drive. They become romantically involved, agreeing it's "just fun up in the air." Then Ivy finds out the truth and makes a fateful decision to make the most of the little time they have together. Production ran February 6–April 6, 1945.[86] During the shooting of You Came Along, Hal Wallis showed Scott's screen test to Hollywood columnist Bob Thomas. Wallis told Thomas: "Notice how her eyes are alive and sparkling ... Once in a while she reads a line too fast, but direction will cure that. That voice makes her intriguing." Almost four months before the release of Scott's first film, Thomas' March 16, 1945 column was the first to make an unfavorably comparison between Lauren Bacall and Scott, thus beginning a critical trend to marginalize Scott in favor of Bacall.[87][88][89]
Despite Scott's initial difficulties with Cummings, she soon gained his respect with her performance and force of personality. However, Scott never made any headway with the director, John Farrow. Farrow lobbied for Teresa Wright and when he did not get her, he made his displeasure known to Scott throughout the shoot.[78] You Came Along, remains, however, Scott's favorite of all the films she made.[90] The film premiered in Los Angeles on August 2, 1945.[86] Later in October 1945, Tallulah Bankhead denied Paramount publicity saying Scott was her understudy on Broadway. "'Nobody ever understudies me,' baritones the Alabam' belle. 'When I don't go on, the play doesn't go on!'"[91]
Paramount years[edit]
The Threat[edit]
Martha Ivers[edit]
In September 1945, Paramount public relations dubbed Scott "The Threat," which derived from a critic's description of Scott: "She's the Threat, to the Body, the Voice and the Look."[92] "The Body" (Marie McDonald, 1923–1965),[93] "The Voice" (Frank Sinatra)[94] and "The Look" (Lauren Bacall)[95] were supposed to be threatened by Scott's arrival on the Hollywood scene. However, McDonald's measurements were 36½-22½-35 with a height of 5'6", versus Scott's 34-24-34[72] with a height of 5'6".[20] Nor was Scott permitted to sing after her first film,[96] invariably being dubbed by Trudy Stevens.[97] Scott herself never cared for the moniker, though she found "meanie" roles easier to play.[98] Early in February 1946, Scott was dating a then unknown actor named Burt Lancaster, with whom Scott would do a screen test.[99] Lancaster's first marriage was in trouble and despite rumors of marriage between him and Scott,[100] the two would break-up the following year.
Later in 1946, Scott's moniker proved prophetic with a 37-year-old Barbara Stanwyck, who, in a letter, objected to Scott's top billing in The Strange Love of Martha Ivers (1946): "I will not be co-starred with any other person other than a recognized male or female star." Lawyers for Wallis and Stanwyck hashed it out. Eventually, the final billing ran Stanwyck, Van Heflin and Scott at the top, with newcomer Kirk Douglas in second place.[101] But Wallis' interest in promoting Scott was obsessive. The AFI page on Martha Ivers notes: "Director Lewis Milestone is quoted in an article in the Los Angeles Sun Mirror on 8 Dec 1946 as having said that he would never make another picture with producer Hal Wallis because Wallis wanted to reshoot scenes in this film for more close-ups of Lizabeth Scott; Milestone reportedly told Wallis to shoot them himself—which he did."[102] Wallis ended up adding extra footage of Scott at the expense of Stanwyck's footage, which later led to a contretemps between Stanwyck and Wallis.[103] Concerning her first film noir, Scott recalled how strange it was to be in a film with Stanwyck and only have one brief scene together.[29] The screenplay by Robert Rossen depicts two separate story-lines running parallel—one dominated by Martha Ivers (Stanwyck) and the other by Antonia "Toni" Marachek (Scott). The Heflin character, Sam, interfaces both story-lines, which only overlap in the one scene where the fatale Martha and ingénue Toni meet. Sam is a returning war veteran who is stuck with a wrecked car in his childhood hometown of Iverstown, owned by a matriarch industrialist, Martha, who runs it like the mob boss of a big corrupt city. After Toni is jailed on a parole violation, Sam approaches Martha's weak-willed husband, the local district attorney and Martha's childhood partner-in-crime, Walter O'Neil (Kirk Douglas). Though Sam only asks for help to free Toni, Walter suspects Sam of ulterior motives. Martha, fearing that Sam knows her secret, tries to trap him inside her opulent but dark world.[104] Due to its depiction of upper-class and police corruption, as well as the political affiliations of the screenwriter, the film was listed by the FBI as communist propaganda.[105][106] Production ran October 2–early December 1945. It was released September 13, 1946.[102]
In June 1946[107] Scott would gain the distinction of being the first Hollywood star to visit Britain since the end of the Second World War.[108] She was there to attend the London premiere of Martha Ivers[109] and do a promotional tour through the country. In Liverpool and Manchester she was met by massive crowds. Her appeal was now truly international.[110] During her stay in Britain, Scott was interviewed by Picture Page, a news magazine program, at the BBC's Alexandra Palace studios.[111] While Scott was still in Britain, shooting began on a new noir that Scott would join when she returned—Dead Reckoning.[112]
Dead Reckoning[edit]
Columbia originally intended Rita Hayworth (1918–1987) for the role,[113] who was busy with The Lady from Shanghai (1947). Then attention turned to Bacall, who also refused.[114][115] As a result, Scott was borrowed from Hal Wallis.[116]
The film itself starts in flashback. A US Army paratrooper, Captain "Rip" Murdock (Humphrey Bogart), fearing for his life, reveals everything he knows to a priest in church. Murdock and Johnny Drake (William Prince) are on their way to Washington DC by train. They are being escorted by an Army Public Relations Officer. When Rip and Johnny learn that they are to be decorated by the President in Washington for valor in combat behind enemy lines. Johnny is to receive the Medal of Honor and Rip the Distinguished Service Cross. Johnny does not appear happy to hear that the media will be covering the event. When the train stops in Philadelphia Johnny Drake goes AWOL by jumping onto another train. This leads Murdock on a manhunt to the southern United States that ends with him finding Drake's unidentified charred body in a morgue in Gulf City. Murdock is told that Drake is a murder suspect in a murder that took place before the beginning of the war. Murdock finds the widow of Drake's alleged victim, Coral "Dusty" Chandler (Scott), who sings at a nightclub owned by Martinelli (Morris Carnovsky), the local chief mobster. Scott here makes her debut as an Ann Sheridan-like figure, smoky, mysterious, ambiguous as to motive. As Murdock gradually discovers the truth behind Drake's death, he falls in love with Dusty, who may not be the innocent bystander that she seems.[117]
When the film was finally released and the reviews came in, they revealed that most critics never caught the differences in the accent, diction and timbre of Scott and Bacall.[118][119][120] Bacall's accent is pre-WW2, upper-middle-class New York metropolitan, often mistaken for Mid-Atlantic due to the broad "A" and non-rhotic pronunciation of words containing "R."[121] Unlike Scott's inherited low tone, Bacall originally had a naturally high tone with a nasal timbre and fast tempo, but trained herself to pitch her voice lower and slow down her delivery.[121] Despite Bacall's "mannered toughness" and Scott's "breathy theatricality,"[15] when Bacall did the voice-over for a 1990s cat-food commercial,[122] some people thought it was Scott.[123][124] But more notable than any actual similarity between Bacall and Scott are the same people, institutions and events that would affect to varying degrees their careers: the Second World War, the Walter Thornton Agency, Harper's Bazaar, Irving Hoffman, Charles Feldman and the Famous Talent Corporation, Humphrey Bogart, the Hollywood columnist community—and eventually the "Second Red Scare" (1947–1954).[125] Also, both actresses made Bogart's personal list of the nine "most potent" kissers "in movie love scenes" he filmed with.[126]
At the age of 24, Scott's billing and portrait were equal to Bogart's on the film's lobby posters and in advertisements. Most often portrayed in publicity stills was the Jean Louis gown-and-glove outfit worn in the nightclub scene, the most iconic gown Scott worn in her entire film career (see infobox).[127] In September 1946, a Motion Picture Herald poll of exhibitors voted her the seventh-most promising "star of tomorrow."[128] Production ran 10 June–4 September 1946. It premiered in New York the week of 23 January 1947.[117] Despite the initial positive publicity, the long-term effect of Dead Reckoning would be to typecast the former comedienne for her entire career. In the following year, contrary to general expectations, Bacall herself approved of the casting of Scott in Dead Reckoning.[129]
Other films[edit]
With the coming of the Second World War, a new type of Hollywood actress appeared on the big screen. California historian Kevin Starr described it thus: "The stars emerging in 1940, by contrast—Rita Hayworth, Ann Sheridan, Ida Lupino, Lupe Vélez, Marie Windsor, Lana Turner, Lizabeth Scott—each possessed a certain hardness, an invisible shield of attitude and defense, that suggested that times were getting serious and that comedy would not be able to handle all the issues... Just a few years earlier Hollywood had been presenting the wisecracking platinum blonde, frank, sexy, self-actualizing. Now with the war, that insouciance had become hard-boiled."[130]
This "hard-boiled" quality appeared in Scott's two previous films and would be repeated in Desert Fury (1947), which was the second noir filmed in color and a Western one as well.[131] It starred John Hodiak, Burt Lancaster, Wendell Corey and Mary Astor (1906–1987). Astor played Fritzi Haller,[132] a casino and bordello owner, who runs the desert town of Chuckawalla. Scott played Fritzi's 19-year-old daughter, Paula, who, on her expulsion from "her fifth finishing school,"[133] returns home. She falls for gangster Eddie Bendix (Hodiak), and faces a great deal of opposition from everyone else. Generally panned by critics when it first appeared,[134][135] it has been gaining critical praise in the passing years. Even the once ridiculed, high fashion clothes of Scott's[136]—by Edith Head with the colors the Southwest in mind[137]—play a role in the continued fascination with the film.[138] Robert Rossen's screenplay repeated the matriarch-run-town trope of The Strange Love of Martha Ivers. Originally, Hal Wallis hired Ramona Stewart, a 23-year-old graduate from the University of Southern California, to write the screenplay, which was based on her then unpublished novel, Desert Town (1947).[139] Another 23-year-old, Betsy Drake, was originally cast as Paula,[140] but failed the screen test[141] and was replaced by Scott (who was 24 at the time). Much of the shooting was done on location in Cottonwood, Arizona.[142] Shooting took place mid-August–early November 1946. The film was released August 15, 1947.[143] During the shooting of Desert Fury scenes that took place in Los Angeles, Scott would briefly reappear with Burt Lancaster in a spoof William Tell sketch in Variety Girl (1947).[144]
In December 1946, Scott again starred with Lancaster, Corey and Douglas in Wallis' I Walk Alone (1948), a noirish story of betrayal and vengeance. In her second torch singer role, Scott is Kay Lawrence, who befriends a convict, Frankie Madison (Lancaster), who returns to New York after 14 years in prison. Kay's boyfriend, Noll "Dink" Turner (Douglas) is the owner of the Regent Club, which Frankie claims to own half of. Tired of Kay, Noll sends her to sweet-talk Frankie in an effort to stall for time. Meanwhile, Noll intends to dump Kay and marry a socialite. Both men battle for control of the business that Turner built while Frankie was in prison.[145] The film was a dramatic hit with the audience.[146]
But there was more drama behind the scenes of the film, originally titled Deadlock. The Kay Lawrence role was originally intended to be Kristine Miller's breakout role.[147] But Scott, ever competitive with all actresses,[29] grabbed role for herself. Miller later recalled, "(Wallis) planned to star me in 'I Walk Alone.' He tested me with Burt; it was a wonderful test. But then Lizabeth Scott decided she wanted the role, and Lizabeth got whatever she wanted—from Hal Wallis! (Laughs) So, I got the second part instead."[148] Douglas, while working with Lancaster on the film, noted: "Lizabeth Scott played the girl we were involved with in the movie. In real life she was involved with Hal Wallis. This was a problem. Very often, she'd be in his office for a long time, emerge teary-eyed, and be difficult to work with for the rest of the day."[149] Though relations between Lancaster and Scott were previously romantic, there had been a falling-out. Lancaster's behavior toward Scott was chilly, especially during one kissing scene, leaving Scott looking exasperated.[150] Shooting took place early December 1946–mid-February 1947. The film was released January 16, 1948.[145] By April 9, 1947, Lancaster tried to break his 7-year contract with Paramount. He claimed it violated a previous freelance deal—but added that he did not want to work with Scott anymore.[151] Despite all the issues among the cast and past critics, I Walk Alone is usually judged now to be a film noir classic.[152]
In January 1948, a 26-year-old Scott played her third and last ingénue in the second favorite film she would make[153]—Pitfall (1948) with Dick Powell and Jane Wyatt as a middle-aged couple growing apart. Director André de Toth explained his reasons for casting Mona: "I wanted Lizabeth Scott. I didn't want some blonde with big tits. You had to believe that this girl was real. Even if I took one of these over-sexed types who could not act, it would change how the Powell character is drawn into the affair. Remember the point of the script was that he's just a middle-level insurance investigator. He's tired of his job, spending time in his little office with a drab secretary. So I could have made a different picture, with a prettier girl than Lizabeth Scott, and told the story of that girl, her problems; but that wasn't this movie. That would make it phony, if you cast it with Marilyn Monroe, a type like that. I needed somebody real."[154] In post-war Los Angeles, the Powell character, John Forbes, is investigating Mona Stevens (Scott), a department store model. Her jailed boyfriend brought expensive presents for Mona with embezzled funds. As John searches her apartment for evidence, she returns home and catches him in the act. Bored with his wife, John conducts an affair with Mona, but he soon competes for her with a voyeuristic detective, played by a then unknown Canadian actor, Raymond Burr. Shooting took place January 15–February 18, 1948 at General Service Studios. It was released August 19, 1948.[155]
In May 1948, it was announced that Jane Greer and Robert Mitchum would star in a football-themed story by Irwin Shaw, originally titled "Interference."[156] Afterward, Lucille Ball replaced Greer and Victor Mature replaced Mitchum. Scott was slated to play the club secretary. Then Scott replaced Ball as leading lady.[157] The reason for the role switch is unknown, though Ball never forgave Mature for his rudeness when they made Seven Days' Leave (1942).[158] But the 37-year-old Ball was in career slump at the time and had to take the secondary role meant for Scott. Mature played football star Pete Wilson, who has a heart problem. Scott played Pete's wife, Liza "Lize" Wilson, an avaricious, social climbing interior decorator, who might leave Pete if he quits football and loses his lucrative income.[159] The original ending has Pete leaving Lize for the nobler secretary. But to the bewilderment of critics, it was changed to an ambiguous ending where Pete stays with Lize.[160][161] The final film, titled Easy Living (1949), was shot early July–mid-August 1948, but was released October 8, 1949.[162] Despite the general negative response when it was released, the 1949 New York Times review was uncommonly positive, though typically dismissive of Scott's performance.[163] But current critiques tend to see Scott as an underrated dramatic actress in her Lize role.[164][165]
In September 1948, Scott would play the ultimate femme fatale in Too Late for Tears, with Don DeFore, Dan Duryea, Arthur Kennedy and Kristine Miller. The story again takes place in post-war Los Angeles, where the facade of a typical married couple is shattered when someone by mistake throws $60,000 into their car. In an effort to keep the money, the wife, Jane Palmer (Scott), leaves a trail of bodies to the very end.[166] This Hitchcock-like, black-and-white noir is widely considered Scott's best film and performance, eliciting praise even from the traditionally hostile New York Times.[167] But the film was a box-office failure when it was released and the producer, Hunt Stromberg, was forced into bankruptcy. The then discredited screenwriter, Roy Huggins, denounced the director Byron Haskin and said the film "had all the suspense of a two-hour ride on a merry-go-round."[168] Yet 64 years after the box office failure, a film historian has noted the film's staying power: "Too Late for Tears is a relatively 'unknown and unseen' noir and deserves this recognition, especially for its storyline, acting and the incredible performance of Lizabeth Scott in the femme fatale role."[169] Though shooting took place mid-September to mid-October 1948 at Republic Pictures, the film was released July 8, 1949.[166] During the shooting of a scene where Scott screams at Duryea, she accidentally broke a blood vessel in her throat.[170]
At the end of 1948, Scott shifted dramatic gears in Paid in Full (1950). Mousy Jane Langley (Scott), a department store illustrator, allows younger sister Nancy (Diana Lynn), a beautiful store model, to marry Bill Prentice (Robert Cummings), despite Jane's love for him. A few years later, Jane has an argument with Nancy, who catches Jane and Bill having an affair. Distraught, Jane backs up her car and accidentally kills her young niece. The Prentices then divorce. Jane eventually marries Bill herself and gets pregnant, despite warnings from all around. Before Jane dies after giving birth, she gives the baby to her sister.[171] In a film reminiscent of Stella Dallas (1937) and Mildred Pierce (1945), both Cummings and the original screenwriter, Robert Rossen, were out of their depth[172]—but the final film succeeded surprisingly well.[173] There was reportedly a "scene stealing" competition between Scott and Lynn on the set.[174] Production ran mid-October–late November 1948. The film would not be released until March 1950.[171]
On Tuesday, January 25, 1949, Scott collapsed and went into hysterics on the RKO set of The Big Steal (1949).[175] She immediately quit after three-days' production.[176] According to Scott's replacement, Jane Greer, Scott quit because she was concerned about being associated with the leading man, Robert Mitchum, who at the time was incarcerated at the local honor farm for a marijuana conviction[177]—Mitchum was convicted January 10, 1949.[178] It was also later alleged that Hal Wallis was supposedly responsible for Scott's bowing out.[179] Yet, Scott would star with Mitchum in a RKO film two years later. During this same period, the press would report rumors of Scott's stage fright, an ailment common to actors.[180] Scott herself has admitted to stage fright, explaining her absence during premieres of her films.[181] Scott's stage fright may have been associated with some psychosomatic illness.[182]
During Scott's recovery period, Walter Winchell, in his June 9, 1949 "On Broadway" column, repeated a rumor of Scott's impending marriage to Mortimer Hall,[183] CEO and president of radio station KLAC.[184] But Scott and Hall later broke up. Hall would eventually marry actress Ruth Roman, pursue Rosemarie Bowe[185]—who looked similar to Scott—divorce Roman, then marry Scott's Paid in Full co-star Diana Lynn.
By June 22, 1949 Scott was reportedly recovered from her January episode and was to be loaned out by Hal Wallis to the Princeton Drama Festival.[186] In July 1949, Scott returned to the stage in the title role of Philip Yordan's play, Anna Lucasta, at the McCarter Theatre, Princeton, New Jersey."[187] The press reported: "Folks who expected fireworks when Liz Scott and Tallulah Bankhead crossed paths at the Princeton Drama Festival were vastly disappointed. It was all sweetness and light."[188]
Finally, Scott decided to legalize her stage name. Having been known professionally as "Lizabeth Scott" for almost seven years, Superior Court Judge Clarence M. Hanson[189] granted on Wednesday, September 14, 1949, a request to legally change Emma Matzo to Lizabeth Scott, who was 15 days from her 28th birthday.[190] In November, Scott returned to the stage: "Lizabeth Scott, out of movies for the winter, opened at the East Hartford, Conn. theater in Anna Lucasta."[191]
1950 would see Scott act in four films. In a continuing effort to escape her femme fatale typecasting, Scott would play another self-sacrificing, June Allyson-like character before reverting to her usual torch singer/socialite roles. In The Company She Keeps (1951), she played Joan Willburn, a probation officer who sacrifices her fiancé to a scheming convict, Diane Stuart (Jane Greer), who echoes Scott's Toni Marachek from Martha Ivers. Diane moves to Los Angeles to start a new life. She is met there by Joan, who procures Diane a job in a hospital. After Joan turns down a marriage proposal from a journalist, Larry Collins (Dennis O'Keefe), Diane begins dating him. Joan initially resists the idea of Diane marrying Larry, but eventually gives it her blessing.[192] While Greer's famous beauty[193] was toned down for the film, Scott's was not. As a result, critics were generally unconvinced that the leading man would choose the dowdy Diane over Joan. Most critics thought Scott and Greer were miscast and should have switched roles.[194][195] Columnist Erskine Johnson summed it thus: "Lizabeth Scott is on her second reach-for-the-handkerchief-Mabel picture for RKO." Production ran early March–early April 1950. It was released Jan 6, 1951.[192] A box-office failure due to the then perceived miscasting and mix of noir and "weepie" genres, The Company She Keeps has risen in critical esteem with a more sophisticated audience in later years.[196]
Scott played her third torch singer role in Dark City (1950), a traditional film noir. Her boyfriend, Danny Haley—Charlton Heston in his film debut—is a bookie who is the apparent target of a vengeful brother of a dead man that Haley swindled. Originally Burt Lancaster was cast as the leading man, but he refused to work with Scott again.[197] Production ran April 5–May 12, 1950. It was released October 1950.[198] In a May interview Scott said she was reading the entire oeuvre of Aldous Huxley.[199] In another interview she admitted almost joining a "cult" endorsed by Huxley, but did not due to the vow of poverty required.[200] Huxley explored concepts like reincarnation, fate and destiny, of which Scott also acquired.[153][201] Yet, conversely, Scott was a friend and reader of Ayn Rand,[201] an Aristotelian atheist.[202] Later that year, Scott was cast to do the summer stock version of Tennessee Williams' Summer and Smoke (1948).[203] Instead, she quit the production and audited two morning courses—philosophy and political science—for six weeks at the University of Southern California.[204][205]
In Two of a Kind (1951), Scott is Brandy Kirby, a socialite who seduces a gambler, Michael "Lefty" Farrell (Edmond O'Brien), into joining a caper. Brandy is working with her boyfriend attorney, Vincent Mailer (Alexander Knox), both of whom want Mike to persuade an industrialist to change his will, making a long-lost son the beneficiary to ten million dollars. And Mike is to impersonate that son. Brandy coaches Mike on details of the McIntyre boy's life. She then arranges for Mike to meet Kathy McIntyre (Terry Moore), the McIntyres' niece, an ingenué who naïvely introduces Mike to her uncle and aunt. Production ran 10 October–November 2, 1950. It was released July 1951.[206] Originally titled Lefty Farrell,[207] much of the shooting was done on location at Malibu, California.[208]
Red Mountain (1952) is set in the 1860s, starring Scott as Chris, the only member of her family to survive the Civil War. Red Mountain would be the second of Scott's three Westerns, though the only traditional non-noir one. The leading man was Alan Ladd in a typical knight errant role—Brett Sherwood, a Confederate Army captain seeking to make a last stand against the Union. Arthur Kennedy, as a freed Confederate POW fiancé, rejoined Scott as one of her two love interests.[209] When the director, William Dieterle, became sick on the Gallup, New Mexico shooting location, Hal Wallis sent Scott's old adversary from You Came Along, John Farrow, to direct. Scott injured her knee during a stunt in which she jumped off a 12-foot ledge—she injured herself on the fourth try. She had to be flown out from location.[210] Production ran October 25-early December 1950. It was released May 1952.[209]
Scott would play her fourth and last torch singer role in The Racket (1951), another conventional noir. Irene Hayes (Scott) in caught up in a struggle between a big city police captain (Robert Mitchum) and a local crime boss (Robert Ryan), who resembled the real-life Bugsy Siegel. The film was released two months after the Kefauver hearings, in which Virginia Hill, a real-life femme fatale and mistress of Siegel,[211] denied having any knowledge of organized crime. While Irene Hayes was thought to be modeled on the smoky-voiced Hill, Scott denied the rumor.[212] Production ran April 9–May 14, 1951. It was released November 1951.[213]
Scott returned to Britain in October 1951 to film Stolen Face (1952), a noir that presages Alfred Hitchcock's Vertigo (1958) by several years.[214] It combined elements from medical science-fiction, which would be repeated in the later work of the director, Terence Fisher, in his cycle of Hammer horror films. Paul Henreid is Dr. Philip Ritter, a London plastic surgeon, who upon losing the love of an American concert pianist, Alice Brent (Scott), recreates her face on a disfigured female criminal. They marry with disastrous results when Alice returns to England.[215] Hal Wallis and Scott, by allowing Henreid to be the leading man, were among the first to break the Hollywood blacklist. As a former member of the Committee for the First Amendment, Henreid was forced to seek work in Europe. Scott would later star in an anti-McCarthy noir, with results to be compounded with a future visit to Cannes, France. Shooting took place late October–early December 1951 at Riverside Studios, London.[215]
Later that spring, Scott returned to her beginnings as a comedienne when she began work on her first comedy noir, Scared Stiff, with Dean Martin and Jerry Lewis. Scott played an heiress who inherits a haunted castle on Lost Island off the coast of Cuba.[216] Though Scott would recall fond memories of working on the set in the years ahead,[90] at the time of filming she found it trying. Scott found Lewis' impersonations of her offensive, while a jealous Hal Wallis instructed the director, George Marshall, not to let the romantic scenes between Scott and Martin get too steamy. Despite Scott's best efforts, including making excuses for Lewis' behavior to the press, most of her scenes ended up on the cutting-room floor.[217] Shooting took place late May–mid-July 1952. The film premiered the week of 28 May 1953 in Los Angeles.[216] Despite the negative experience and reviews, Scared Stiff remains Scott's third favorite film.[153]
Scott's stage fright was worsening. During the October 19, 1952 live broadcast of NBC's Colgate Comedy Hour, Scott reportedly hid in her dressing-room, until the casting director, Howard Ross, taunted her to face the audience.[218] By the end of October 1952, of the original 48 big name actors under contract to Paramount in 1947, only four were left—Bing Crosby, Bob Hope, William Holden and Lizabeth Scott.[219]
In April 1953, the 30-year-old Scott would do her last film as a Paramount contractee. Bad for Each Other (1953) is set in Scott's home state of Pennsylvania, though in the southwest near Pittsburgh. Scott played a decadent heiress, Helen Curtis, who tries to dominate a poor but idealistic physician, Colonel Tom Owen (Charlton Heston). Tom is a former US Army surgeon, who returns from the Korea War to his hometown of Coalville. When he finds out his brother was killed in a mine accident, he visits the owner, Dan Reasonover. During a party at Reasonover's mansion, he meets Reasonover's daughter, Helen, a two-time divorcée. She talks him into joining the practice of her physician, who treats the imaginary ailments of society matrons. They become engaged, but despite Helen's scheming to keep him in her jeweled world, he opts to leave it for his impoverished community. The source material for the screenplay, Horace McCoy's novel Scalpel, was more nuanced than the linear morality play of Bad For Each Other.[220] Shooting took place April 23–May 21, 1953. This film would be Hal Wallis' last attempt to re-pair Burt Lancaster and Scott. Patricia Neal was originally cast as Helen,[221] but when Scott replaced Neal, Lancaster had to be replaced by Heston.[222] Though Heston and Scott previously worked together in Dark City, there was reported feuding between the two on the set.[223] The film was a box office failure. Eight months later in February 1954, Hal Wallis and Scott parted ways. Scott was now a freelancer.[224]
In Scott's most overtly politically-themed film, Silver Lode (1954), she returned to the Western noir of Desert Fury, only in a traditional 19th century setting. Scott is a would-be bride, whose groom, Dan Ballard (John Payne), is the target of a lynch mob on their Fourth of July wedding day.[225] As the loyal fiancée, Scott is unwavering in facing volatile public opinion, fueled by the fear that Ballard is someone other than he appears.[226] The film repeats many of the themes found in previous Western noirs as The Ox-Bow Incident (1943), as well as the then recent anti-blacklist Johnny Guitar that premiered the previous month.[227] Dan Duryea was cast as a villain named Ned McCarty, ostensibly named after William Henry McCarty (alias Billy the Kid), but usually assumed by film historians to be an allusion to Wisconsin Senator Joseph McCarthy.[228][229][230] Shooting took place late December 1953–mid-January 1954 at Republic Studios.[226] Unlike previous Hollywood efforts against blacklisting, such as the Committee for the First Amendment, manned mostly by Democrats, Republicans dominated the Silver Lode production.[231] Though the screenwriter, Karen DeWolf, was a left-wing activist,[232] director Allan Dwan[233] and John Payne were Republican, as well as Scott and RKO's owner, Howard Hughes. The film premiered in Los Angeles, June 24, 1954. When released the critical response to the film itself was muted[234] as the film appeared immediately after the Army–McCarthy hearings and McCarthy's influence was already in decline.
In April 1954, Scott would attend the Cannes Film Festival, where she would pose wading barefoot in a fountain[235] and surf for photographers.[236] Though she would immediately leave for London after the festival,[237] her visit to France would have unforeseen consequences, in which she would face her own crisis of public opinion. Later that month it was announced that she would be the host of High Adventure (1957–1958), a travelogue television series for CBS, but she never appeared in it.[238] As Scott put it: "... out of the clear blue sky one morning, I woke and decided that I never wanted to make another film again. It was just a spark, I can't explain it."[239]
Critical reception[edit]
Though the public response to Scott was generally favorable during the Paramount years, the film critics were less so, repeating unfavorable comparisons with Lauren Bacall and Tallulah Bankhead.[118][119][120] With the revival of interest in film noir and its corresponding acting style, beginning in the 1980s, Scott's acting reputation has increased among critics and film historians.[240][241][242]
During the Golden Age of Radio, Scott would reprise her film roles in abridged radio versions. Typical were her appearances on Lux Radio Theatre: You Came Along with Van Johnson in the Robert Cummings role and I Walk Alone.[243] Scott was also a guest host/narrator on Family Theater.[244]
Rushmore's story[edit]
After being fired from the New York Journal-American in 1954,[245] Howard Rushmore became the chief editor[246] of a New York scandal magazine, Confidential. For Rushmore it was a return to his days as film critic of the communist Daily Worker, but on the opposing side. He was fired from the Worker in 1939 for giving an ambivalent review of Gone with the Wind (1939).[247][248] The firing made the front-page of all the major New York City newspapers. Rushmore became a professional anti-communist. Among Rushmore's heroes was Wisconsin Senator Joseph McCarthy. Rushmore was briefly director of research for the Senate Permanent Subcommittee on Investigations under McCarthy. In early 1955, several months after the Army–McCarthy hearings and premiere of Silver Lode, Rushmore wrote an exposé on Lizabeth Scott, a second-generation Republican[14] and Catholic host of Family Theater. The publisher, Robert Harrison, was initially intrigued but skeptical. To verify some aspects of the story, he hired an out-of-work actress, Veronica "Ronnie" Quillan,[249] to have luncheon with Scott, giving Quillan an opportunity to make a pass at Scott. Quillan was to be bugged with a wristwatch microphone supplied by the Hollywood Detective Agency. But the agency owner, H. L. Von Wittenburg, backed out and the plan never went through.[250] Despite the lack of evidence, Confidential then sent a copy of the story to Scott herself.[251]
What Scott read was that a police raid occurred on a Hollywood Hills bungalow[252] at 8142 Laurel View Drive the previous autumn.[253] Two female adults, one male adult and a 17-year-old female were arrested on prostitution charges. The police found an address book with the names and telephone numbers of various people in the film industry, including two numbers allegedly belonging to Scott. "HO 2-0064" had a Hollywood prefix[254] and was the residential number of an elderly couple, Henry A. and Mamie R. Finke,[255] of 4465 West 2nd Street, Los Angeles,[256] while "BR 2-6111"[257] belonged to the 20th Century Fox switchboard at 10201 West Pico Boulevard, Los Angeles.[258] Scott did not work for 20th Century until 1956, when she would do an episode of The 20th Century Fox Hour.
The Rushmore article further stated that Scott spent her off-work hours with "Hollywood's weird society of baritone babes" (a euphemism for lesbians). He also linked Scott's trip to Cannes to a Parisian woman named "Frede." "In one jaunt to Europe (Scott) headed straight for Paris and the left bank where she took up with Frede, the city's most notorious Lesbian queen and the operator of a night club devoted exclusively to entertaining deviates like herself."[259] Frédérique "Frédé" Baulé managed "Carroll's," an upper-class, cabaret-type nightclub[260] at 36 Rue de Ponthieu, Paris, France.[261] It featured mainstream entertainers of the day like Eartha Kitt[262] and was devoted exclusively to entertaining café society.[263] One of the owners was Marlene Dietrich, who happened to be the subject of "The Untold Story of Marlene Dietrich" in the then current issue of Confidential.[264]
Hollywood Research Inc. was the new intelligence-gathering front of Confidential. Run by Marjorie Meade, Robert Harrison's 26-year-old niece, she was the one of the most feared persons in Hollywood since her arrival in January 1955.[265] Once a proposed story was assembled, usually either she or an agent would visit the subject and present a copy as a "buy-back" proposal.[266] But instead of paying the magazine not to publish the article, Scott sued. On July 25, 1955—two months before the issue's printed publication date—while the Marlene Dietrich issue was still on the newsstands, Jerry Giesler, Scott's lawyer, initiated a $2.5 million libel suit.[267]
1957 mistrial[edit]
In retaliation, Confidential published the Scott story in the next issue. Under the byline of "Matt Williams," it was published as "Lizabeth Scott in the Call Girls' Call Book."[259][268] In November 1955, at the age of 33, Scott again went to Britain to film The Weapon (1957). As with other European films of the 1950s–1970s period aimed at a US audience, Scott starred with another American actor, Steve Cochran, who played US Army CID officer Mark Andrews. Scott is Elsa Jenner, the widowed mother of Erik Jenner (Jon Whiteley), who finds a pistol and accidentally shoots a friend. He hides the pistol and runs away. The weapon was used in a murder 10 years previously. Mrs. Jenner, Andrews and the murderer—Joshua Henry (George Cole)—are all in a race to find the boy. Though production took place early November–early December 1955, the film was not released until 1956 in Britain and 1957 in the US.[269]
The next spring, despite Giesler's reassurances to the press, the legal effort against Confidential would go nowhere. Since the magazine was domiciled in New York State, and Scott was a California resident who initiated the suit in her own state, the suit was stopped. On March 7, 1956, Los Angeles Supreme Court judge Leon T. David quashed Scott's suit on grounds that the magazine was not published in California. Despite this setback, Giesler said he also would refile in New York.[270] Lawsuits from other actors against the magazine were piling up. Meanwhile, Rushmore tried to get Harrison to publish a story about former First Lady Eleanor Roosevelt having an alleged affair with her African-American chauffeur.[271] When Harrison refused, Rushmore quit and became a witness for California Attorney General Edmund "Pat" Brown. Since Confidential was ensconced in New York state, and New York refused to let Brown extradite Harrison to California, Brown instead put Hollywood Research and Harrison's niece on trial. On August 7, 1957, The People of the State of California v. Robert Harrison et al. trial began.[272][273] It would eventually involve over 200 actors, most of whom fled California to avoid defense subpoenas. Rushmore, now the state's star witness, testified that the magazine knowingly published unverified allegations, despite the magazine's reputation for double-checking facts: "Some of the stories are true and some have nothing to back them up at all. Harrison many times overruled his libel attorneys and went ahead on something." According to Rushmore, Harrison told the attorneys, "I'd go out of business if I printed the kind of stuff you guys want."[274] Ronnie Quillan herself testified at the same trial that she never verified the Scott story, thus not making the story "suit proof," but that Rushmore agreed to publish it anyway.[251] But a mistrial was declared on October 1, 1957 when the jury could not agree on a verdict.[275]
In the wake of the sensational 1957 trial, Scott was forgotten by the media.[276] Despite latter day claims that Scott's film career was ruined by the Confidential scandal,[277][278] by the time the September 1955 issue of Confidential appeared, her career was already dormant. Scott began her career at a time when established actors were away at war, giving then unknowns like Scott a chance at stardom. When the old stars returned to the studio payrolls, the new stars declined.[279] In addition, the rise of television and breakup of the studio system further curtailed film production. Film historians generally agree that Scott's career essentially peaked between 1947 and 1949.[280] By February 1953 her stage fright was such that she even hid from friends.[281] Scott did not renew her Paramount contract in February 1954, 18 months before "Lizabeth Scott in the Call Girls' Call Book" was published. Between the end of her contract and Rushmore's article, she turned down numerous scripts, including a part in Wallis' The Rose Tattoo (1955).[282] But instead of reinventing herself as Bacall did, returning to Broadway, Scott chose another path.
Erskine Johnson reported back in January 1954 that Scott was being trained by Hollywood voice teacher Harriet Lee,[283] and later by Lillian Rosedale Goodman—the final result was that Scott "has a vocal range of two octaves, A below C to High C,"[284] making Scott a mezzo-soprano. In July 1956, Johnson reported that Scott was under the management of Earl Mills, who also managed the singing career of Dorothy Dandridge. Scott was planning to debut as a torch singer on the nightclub circuit.[285]
In 1957 Scott reemerged from retirement in Loving You, Elvis Presley's second musical. Scott played Glenda Markle, the manager of a failed country band, led by her disgruntled ex-husband, Walter "Tex" Warner (Wendell Corey). By accident, she discovers the musical talent of a young delivery man, Deke Rivers (Presley), and uses him to revive the band's fortunes by appealing to teenagers. Glenda creates interest in her protégé with unorthodox stratagems.[286] During the shooting of Loving You, Scott was reported to be infatuated with Presley. During a kissing scene, she playfully bit him on the cheek, leaving a red mark, which she called "just a little love nibble." The scene had to be reshot with the other side of his face to the camera.[287] But Scott's musical debut came to naught. Though Hal Wallis tried to get Scott's singing voice undubbed for the production, he was overruled by the studio heads, despite all of Scott's previous voice training. Production ran late January 1957–mid-March 1957.[288]
Undaunted by Paramount's refusal to let her true singing voice be heard, Scott signed a recording contract with Vik Records (a subsidiary of RCA Victor). Scott recorded her album with Henri René and his orchestra in Hollywood on October 28, 29 and 30, 1957. Simply titled Lizabeth, the 12 tracks are a mixture of torch songs and playful romantic ballads. The album includes Cole Porter's I'm In Love Again.[289] The inner notes has an interview with Scott by columnist Earl Wilson, who writes in typical Wilsonian prose, "Liz, who's quite a blouseful, is a fan of Ralph Waldo Emerson, sleeps in the nude, loves deep-sea fishing ... and adores sexy clothes."[290] Finally on Wednesday, April 23, 1958, Scott made her public singing debut on CBS' The Big Record.[284]
Later years[edit]
The 1960s saw Scott continuing to guest-star on television, including a notable 1960 episode of Adventures in Paradise, "The Amazon," opposite Gardner McKay. Scott played the titular character, derived from a boyfriend's dialog: "She is a sleek, well-groomed tigress, a man-eating shark—an Amazon! She chews men up and spits them out."[291] In Burke's Law "Who Killed Cable Roberts?" (1963), she camps it up as the ungrieving widow of a celebrity big game hunter.[292] But much of her private time was dedicated to classes at the University of Southern California.[293]
In May 1969, the future wedding of Scott to oil executive William Dugger of San Antonio, Texas was announced[294] after a two-year engagement.[295] In late 1969, musician Rexino Mondo was helping Scott decorate her fiance's mansion on Mulholland Drive before the wedding: "The urns were in place. Liz took my arm and guided me down a hall into a large room, then introduced me to her fiance, Texas oil baron William Lafayette Dugger, Jr. He was in his late forties, of medium build, good-looking, with dark hair, a warm personality, and a strong handshake." Dugger himself described Scott as "A misunderstood soul searching for love. Her outward appearance is just a shell." Dugger planned to make a film in Rome starring Scott, but suddenly died on August 8, 1969. A handwritten codicil to his will leaving half his estate to his fiancée was contested by Dugger's sister, Sarah Dugger Schwartz.[296] The will was judged invalid in 1971.[297]
Previous to Dugger, several books claimed Scott was a mistress of Hal Wallis, then married to actress Louise Fazenda.[149][298][299][300] Wallis had a falling out with Scott around the time of Bad for Each Other, with recriminations on Wallis' part. After Scott freelanced for a few years, Wallis made an effort to revive the relationship by making Scott the leading lady opposite Presley, as it might be his last chance to star Scott in anything.[301] After shooting was completed, Scott walked away film acting to try her hand at singing. The 14-year-relationship that began at the Stork Club in 1943 came to an end. Scott herself knew the relationship was over—only Wallis remained in denial. After Louise's death in 1962, Wallis went into a depression and became a recluse before marrying Martha Hyer in 1966. In later life, he was reticent on the subject of Scott,[302] despite an unjealous Hyer urging him to include Scott and his other mistresses in his autobiography. Though Casablanca was the film Wallis was most proud of, the ones he would repeatedly watch were those of Lizabeth Scott. Even during his second marriage, Wallis would continue to screen Scott at home, night after night.[303]
In 1948 Scott was reportedly divorced from Russian Prince Stass Reed,[304] whom she dated the previous year.[305] In 1953 Scott was briefly engaged to architect John C. Lindsey,[306] whom later became Diana Lynn's first husband before Mortimer Hall.[307] Scott herself tended toward secrecy in personal relationships and publicly disparaged former dates who tell all to the press. Once their date appears in the press, "... the man goes off (her) date list ... 'I think,' said Miss Scott, 'that gentlemen don't tell.'"[308] In 1948 Burt Lancaster said of Scott: "Becoming her close friend ... is 'a long stretch at hard labor.'"[19] In the period between 1945 to the 1970s, the press reported Scott dating Van Johnson,[16] James Mason,[309] Helmut Dantine,[310] plastic surgeon Gregory Pollock,[311] Richard Quine,[312] William Dozier,[313] Philip Cochran,[314] Herb Caen,[315] Peter Lawford,[316] Anson Bond of the clothing store chain family,[317] Seymour Bayer of the pharmaceutical family,[318] Marquess of Milford Haven,[319] race-track owner Gerald "Jerry" Herzfeld,[320] and Eddie Sutherland,[321] among others. Burt Bacharach himself would date Scott during his breakup with Angie Dickinson.[322] According to Bacharach: "She personified what I love about a woman, which is not too feminine but a little bit masculine. Just the strength and the coolness and the separation from the frilly woman who is always touching you and wanting something ... I think Diane Keaton had that kind of quality."[323]
Scott made her final film appearance in her second comedy noir, Pulp (1972), a nostalgic pastiche of noir tropes[324] starring Michael Caine and Mickey Rooney. Scott plays a man-eating cougar, Princess Betty Cippola, who lives with the Beautiful People on Malta. One of her ex-husbands is Preston Gilbert (Rooney), an expatriate Hollywood actor famous for his gangster roles. Gilbert hires a pulp writer, Mickey King (Caine), to ghost his autobiography, but murderous complications ensue.[325] The director and screenwriter, Mike Hodges, spent a long time coaxing Scott out of retirement to fly to Malta for the shooting. Scott said that while she enjoyed the monochromic beauty of Malta, she was not pleased that most of her footage was cut out—eight scenes in all.[326] Hodges for his part reported that Scott was challenging to work with while shooting. Scott "hadn't make a picture in 15 years and I had to really coax her into coming back." But Scott overcame her stage fright and Hodges was pleased with Scott's performance. The film premiered in London on August 16, 1972. Despite disagreements among the cast, crew and past critics, Pulp, as with the 1949 No Time for Tears, is increasingly considered an artistic success by film historians.[327]
Since then Scott has kept away from public view and declined most interview requests.[328] From the 1970s on, she has reportedly been engaged in real estate development[329] and volunteer work for various charities, such as Project HOPE[330][331] and the Ancient Arts Council of the Los Angeles County Museum of Art.[6]
Unlike her favorite actress, Greta Garbo, Scott's seclusion is not total. She did appear on stage at an American Film Institute tribute to Hal Wallis in 1987. In 2003, film historian Bernard F. Dick interviewed Scott for his biography of Hal Wallis. The results was an entire chapter titled "Morning Star." In the chapter, the author observed that during the interview, Scott (80 or 81-years-old) was still able to recite her opening monologue from The Skin of Our Teeth, which she had learned six decades earlier.[332]
Despite all the films she worked on, Scott's favorite is one she never appeared in—Doctor Zhivago (1965).[28] Ever the non-conformist,[124] she never stopped living Ralph Waldo Emerson's precept: "Insist on yourself."[333] Lizabeth Scott has a star on the Hollywood Walk of Fame for her contribution to motion pictures at 1624 Vine Street in Hollywood.[334]
- ^ Janice H. McElroy (Pennsylvania Division, American Association of University Women, June 1, 1983), Our Hidden Heritage: Pennsylvania Women in History, p. 379
- ^ [1] FamilySearch (accessed May 23, 2014) "Emma Matzo in household of John Matzo, 'United States Census, 1930.'" FamilySearch. Emma Matzo is the name given in the 1930 US Census, April 8, 1930, which lists Emma Matzo, aged 8, daughter of John and Mary Matzo.
- ^ a b c d e f g h i j k Carole Langer (Soapbox & Praeses Productions, 1996; accessed May 23, 2014), Lizabeth Scott 1996 Interview Part 1 of 8
- ^ AP (Friday, October 21, 1949), "Star Changes Name," The San Bernardino County Sun (San Bernardino, California), p. 25. AP article gives Scott's birthplace as Dunmore, Pennsylvania, while Scott gives her birthplace as Scranton in the Langer video interview.
- ^ [2] FamilySearch (accessed May 23, 2014), "John Matzo in household of John Munchak, 'United States Census, 1920'," FamilySearch
- ^ a b c Janice H. McElroy (Pennsylvania Division, American Association of University Women, June 1, 1983), Our Hidden Heritage: Pennsylvania Women in History, p. 380
- ^ Walter Dushnyck, Nicholas L. Chirovsky (Ukrainian Congress Committee of America, November 1, 1991), The Ukrainian Heritage in America, p. 331. Scott is described as Carpatho-Ukrainian.
- ^ Andrew Spicer (Scarecrow Press, March 19, 2010), Historical Dictionary of Film Noir, p. 273. Spicer says "Born Emma Matzo to Slovakian parents ..."
- ^ Paul R. Magocsi (Bolchazy-Carducci Publishers, July 30, 2005), Our people: Carpatho-Rusyns and their descendants in North America, 4th Revised edition, p. 81. Scott's parents are described as Rusyns from Carpathian Ruthenia, in what is present-day Uzhhorod, Ukraine.
- ^ James Robert Parish (Arlington House, 1972), The Paramount Pretties, p. 519. The father is described as English-born and the mother as Russian.
- ^ Bernard F. Dick (The University Press of Kentucky, May 21, 2004), Hal Wallis: Producer to the Stars, p. 96. John Matzo is described as Italian and Mary Matzo as Slovakian.
- ^ Carole Langer (Soapbox & Praeses Productions, 1996; accessed May 23, 2014), Lizabeth Scott 1996 Interview Part 5 of 8
- ^ Alfred N. Hare (Thursday, June 28, 1934), "Mercantile Appraisement," The Scranton Republican (Scranton, Pennsylvania), p. 18. Store address is 1001 Capouse (Avenue). The grocery store was on the ground floor of the Matzos' two-story house.
- ^ a b Burt Prelutsky (CreateSpace Independent Publishing Platform, November 3, 2012), Sixty Seven Conservatives You Should Meet Before You Die, p. 470
- ^ a b Bernard F. Dick (The University Press of Kentucky, May 21, 2004), Hal Wallis: Producer to the Stars, p. 96
- ^ a b Gene Hansaker (Tuesday, February 26, 1946), In Hollywood, Ironwood Daily Globe (Ironwood, Michigan), p. 7
- ^ Barbara Acker (Applause Books, February 1, 2000), The Vocal Vision: Views on Voice, pp. 161–162. Mid-Atlantic is referred as "World English" using a broad A as opposed to the US flat A.
- ^ Sandra Rennie (Mineco Designs, 1998), "Editor's Letter," Plays and Players Applause, Issue 521, p. 16. The mid-Atlantic accent is described as evoking old Hollywood black-and-white films and actresses like Lizabeth Scott.
- ^ a b Howard C. Heyn (Sunday, November 28, 1948), "Lush, Sultry and Single," "The Salt Lake Tribune" (Salt Lake City, Utah), p. 75
- ^ a b c d e James Robert Parish (Arlington House, 1972), The Paramount Pretties, p. 519
- ^ a b Karen Burroughs Hannsberry (McFarland & Company, 1998), Femme Noir: Bad Girls of Film, p. 445
- ^ Anonymous (Tuesday, July 31, 1934), "Little Flower Notes," The Scranton Republican (Scranton, Pennsylvania), p. 8
- ^ Burt Prelutsky (CreateSpace Independent Publishing Platform, November 3, 2012), Sixty Seven Conservatives You Should Meet Before You Die, p. 465
- ^ Anonymous (Saturday, June 3, 1933), "Marywood Seminary Pupils Give Recital," The Scranton Republican (Scranton, Pennsylvania), p. 6
- ^ [3] Joseph Myers (January 26, 2012; accessed May 23, 2014), University of the Arts lauds Mae Desmond: A new musical will address the life of a Queen Village theatrical legend
- ^ Anonymous (Thursday, May 18, 1939), "News and Comment Of Stage and Screen," Fitchburg Sentinel (Fitchburg, Massachusetts), p. 11
- ^ a b David Ragan (Prentice Hall, July 1, 1985), Movie Stars of the '40s, p. 191"
- ^ a b c d Burt Prelutsky (CreateSpace Independent Publishing Platform, November 3, 2012), Sixty Seven Conservatives You Should Meet Before You Die, p. 466
- ^ a b c Carole Langer (Soapbox & Praeses Productions, 1996; accessed May 23, 2014), Lizabeth Scott 1996 Interview Part 2 of 8
- ^ Bernard F. Dick (The University Press of Kentucky, May 21, 2004), Hal Wallis: Producer to the Stars, pp. 96–97. This school was housed in the Grand Opera House on 8th Avenue and 23rd Street, New York City.
- ^ David Ragan (Prentice Hall, July 1, 1985), "Lizabeth Scott," Movie Stars of the 40s, p. 192
- ^ Ray Peacock (Friday, May 22, 1942), "Vaudeville's Back But Sh-h-h! It's Only Been Hiding," The Evening Review (East Liverpool, Ohio), p. 19
- ^ Anonymous (Friday, May 16, 1941), "'Hellzapoppin' In Chicago," The News-Palladium (Benton Harbor, Michigan), p. 7
- ^ Erskine Johnson (Wednesday, January 10, 1945), In Hollywood, The Salt Lake Tribune (Salt Lake City, Utah), p. 12
- ^ Anonymous (Sunday, August 26, 1945), "Nickname Sticks: Lizabeth Succumbs To Hollywood Fad," The Salt Lake Tribune (Salt Lake City, Utah), p. 41
- ^ James Robert Parish (Arlington House, 1972), The Paramount Pretties, p. 520
- ^ Erskine Johnson (Friday, January 12, 1945), "That's California 'Dew,'" In Hollywood, Ironwood Daily Globe (Ironwood, Michigan), p. 10
- ^ Bernard F. Dick (The University Press of Kentucky, May 21, 2004), Hal Wallis: Producer to the Stars, p. 97
- ^ Louis Sobol (Sunday, January 22, 1950), "Ballyhoo That Backfired!" Idaho State Journal (Pocatello, Idaho), p. 30
- ^ Victor Gunson (Sunday, December 1, 1946), "Treason? Film Actress Lizabeth Scott Thinks N.Y. Glamorous, Not Hollywood," The Raleigh Register (Beckley, West Virginia), p. 13
- ^ a b Joel Lobenthal (It Books, October 26, 2004), Tallulah!: The Life and times of a Leading Lady, p. 347
- ^ Burt Prelutsky (CreateSpace Independent Publishing Platform, November 3, 2012), Sixty Seven Conservatives You Should Meet Before You Die, p. 471
- ^ Sam Stagg (St. Martin's Press, 1st edition, March 18, 2000), All About "All About Eve," pp. 319–335
- ^ Mary Orr, "The Wisdom of Eve," Cosmopolitan, May 1946, pp. 72–75, 191–95
- ^ Bruce Kirle (Southern Illinois University Press; 1st edition, October 24, 2005), Unfinished Show Business: Broadway Musicals as Works-in-process, p. 191
- ^ Dorothy Kilgallen (Thursday, June 24, 1943), "The $64 Questions," The Voice Of Broadway, Times Herald (Olean, New York), p. 13
- ^ Thornton Wilder (Samuel French, first acting edition, January 1, 1944), The Skin of Our Teeth, p. 5
- ^ George Jean Nathan (Ulan Press, reprint of 1943 edition, October 28, 2012), The Theatre Book of the Year, 1942–1943, p. 132
- ^ [4] IBDb (accessed May 23, 2014), "Elizabeth Scott," IBDb
- ^ Tallulah Bankhead (University Press of Mississippi, July 7, 2004), Tallulah: My Autobiography, pp. 258–259
- ^ David Bret (Robson Books, September 1998), Tallulah Bankhead: A Scandalous Life, p. 174
- ^ Eric Braun (Reynolds & Hearn, 2nd edition, May 1, 2007), Frightening the Horses: Gay Icons of the Cinema, p. 1927
- ^ a b Karen Burroughs Hannsberry (McFarland & Company, 1998), Femme Noir: Bad Girls of Film, p. 446
- ^ Laura Wagner (McFarland & Company, September 2004), Killer Tomatoes: Fifteen Tough Film Dames, p. 66
- ^ Anonymous (September 18, 1943), "Out-of-Town Opening," The Billboard (New York City, New York), p. 25
- ^ Anonymous (Sunday, August 15, 1943), "Myerberg 'Snatches' Gladys George Under Hollywood's Nose," The Brooklyn Daily Eagle (Brooklyn, New York), p. 31. George took over as Sabina on Monday, August 16, 1943.
- ^ Anonymous (Tuesday, August 31, 1943), "The 'Skin of Our Teeth' Stars Out of Cast," New York Post (New York City, New York), p. 20
- ^ Eileen Creelman (Tuesday, June 26, 1945), "Lizabeth Scott, of the Tawny Hair and Deep Voice, Talks of 'You Came Along,'" Picture Plays and Players, The New York Sun (New York City, New York), p. 13
- ^ Earl Wilson (Saturday, June 10, 1972), "A Couple Of Strangers Helped Cloris' Career," That's Earl For Today," Cafe Circuit: It Happened Last Night, The Terre Haute Star (Terre Haute, Indiana), p. 4
- ^ Arthur Gelb (Putnam Adult, 1st edition, October 13, 2003), City Room, p. 90
- ^ Ken Bloom (Routledge, 2nd edition, November 11, 2003), Broadway: Its History, People, and Places: an Encyclopedia, pp. 249–250
- ^ Lauren Bacall (Knopf, December 12, 1978), By Myself, pp. 70–72
- ^ Earl Wilson (Tuesday, December 17, 1968), "That's Earl For Today," The Evening Standard (Uniontown, Pennsylvania), p. 2
- ^ Louis Sobol (Crown Publishers, January 1, 1968), The Longest Street: A Memoir, p. 392. According to Sobol, Hoffman arranged for Hal Wallis to be at the Stork Club.
- ^ Bernard F. Dick (The University Press of Kentucky, May 21, 2004), Hal Wallis: Producer to the Stars, pp. 97–98
- ^ Maud M. Miller (Winchester Publications, 1948), Winchester's Screen Encyclopedia, p. 170
- ^ 1944 Walter Thornton Model Agency calendar, Lizabeth Scott Model of the month
- ^ [5] Anonymous (May 16, 1990; accessed May 23, 2014), "Walter Thornton, Agent for Models, Dies of Stroke at 88," The New York Times (New York City, New York)
- ^ Lauren Bacall (It Books, October 31, 2006), By Myself and Then Some, pp. 78–81
- ^ Harlan Lebo (Touchstone, 1st edition, October 1, 1992), Casablanca: Behind the Scenes, p. 194
- ^ J. D. Spiro (Sunday, September 11, 1949), "Lizabeth Is So Different," The Milwaukee Journal (Milwaukee, Wisconsin), p. 3
- ^ a b Hedda Hopper (Sunday, October 7, 1951), "She Lives For Her Job," The Salt Lake Tribune (Salt Lake City, Utah), p. 124
- ^ Eric Braun (Reynolds & Hearn, 2nd edition, May 1, 2007), Frightening the Horses: Gay Icons of the Cinema, p. 1928
- ^ [6] BFI (accessed May 23, 2014), Scott, Elizabeth. BFI Film & TV Database
- ^ David Ehrenstein (University of California Press, May 18, 1999), "Desert Fury, Mon Amour," Film Quarterly: Forty Years, a Selection, p. 481. Elizabeth Louise Scott (1915–2001) is sometimes confused with Lizabeth Virginia Scott due to the similar name and appearance.
- ^ [7] Anonymous (Oct 19, 2001; accessed May 23, 2014), "Museum founder dies, 85," Daily Post (Liverpool, England)
- ^ Burt Prelutsky (CreateSpace Independent Publishing Platform, November 3, 2012), Sixty Seven Conservatives You Should Meet Before You Die, p. 467
- ^ a b Bernard F. Dick (The University Press of Kentucky, May 21, 2004), Hal Wallis: Producer to the Stars, pp. 99–100
- ^ Bernard F. Dick (The University Press of Kentucky, May 21, 2004), Hal Wallis: Producer to the Stars, pp. 64–84
- ^ Burt Prelutsky (CreateSpace Independent Publishing Platform, November 3, 2012), Sixty Seven Conservatives You Should Meet Before You Die, p. 468. Waiting period given is six months.
- ^ a b James Robert Parish (Arlington House, 1972), The Paramount Pretties, p. 521
- ^ [8] AFI (accessed May 23, 2014), To Have and Have Not, Catalog of Feature Films
- ^ Barry Monush (Applause, April 1, 2003), Encyclopedia of Hollywood Film Actors, Vol. 1: From the Silent Era to 1965, p. 74
- ^ American Film Institute (University of California Press, 3 Volume Set edition, August 12, 1999), "Love Letters," The American Film Institute Catalog of Motion Pictures Produced in the United States: Feature Films, 1941-1950, Volume 1, p. 1425
- ^ American Film Institute (University of California Press, 3 Volume Set edition, August 12, 1999), "The Affairs of Susan," The American Film Institute Catalog of Motion Pictures Produced in the United States: Feature Films, 1941-1950, Volume 1, p. 36
- ^ a b [9] AFI (accessed May 23, 2014), You Came Along, Catalog of Feature Films
- ^ Bob Thomas (Friday, March 16, 1945), "Hollywood—It Takes A Spark To Make A Star," Big Spring Weekly Herald (Big Spring, Texas), p. 14
- ^ Gita Bumpass (Sunday, November 25, 1945), "Three First-Run Pictures Offered on Abilene Screen," Abilene Reporter-News (Abilene, Texas), p. 12
- ^ Rebel Hope (Sunday, May 11, 1947), On Film Fare, Abilene Reporter-News (Abilene, Texas), p. 88
- ^ a b Carole Langer (Soapbox & Praeses Productions, 1996; accessed May 23, 2014), Lizabeth Scott 1996 Interview Part 4 of 8
- ^ Dorothy Kilgallen (Monday, October 1, 1945), "You Meet Such Interesting People—" The Voice of Broadway, The News-Herald (Franklin, Pennsylvania), p. 4
- ^ Anonymous (September 10, 1945), "Inside Paramount," Life (New York City, New York), p. 11
- ^ Louella O. Parsons (Tuesday, June 5, 1945), "Marie McDonald Will Star In Getting Gertie's Garter," The Modesto Bee And News-Herald (Modesto, California), p. 3
- ^ Ben Lepkin (Saturday, March 25, 1944), I Like The Movies, The Winnipeg Tribune (Winnipeg Canada), p. 13
- ^ Francis Sill Wickware (May 7, 1945), "Lauren Bacall," Life, (New York City, New York), p. 101
- ^ Aline Mosby (Tuesday, February 12, 1957), "Lizabeth Scott Back In Hollywood Blossoming As Singer, Couturiere," The Daily Republican (Monongahela, Pennsylvania), p. 4. Scott sang for the first and only time in her film career in You Came Along (1945), with Helen Forrest and a chorus.
- ^ Robert Miklitsch (Rutgers University Press, February 1, 2011), Siren City: Sound and Source Music in Classic American Noir, p. 219. Trudy Stevens dubbed Scott's singing in Dead Reckoning (1946), I Walk Alone (1947) and Dark City (1950).
- ^ Alice Pardoe West (Sunday, July 2, 1950), Behind the Scenes, Ogden Standard-Examiner (Ogden, Utah), p. 7B
- ^ John Todd (Friday, May 3, 1946), In Hollywood, Tipton Tribune (Tipton, Indiana), p. 2
- ^ Jimmie Fidler (Monday, April 29, 1946), In Hollywood, Pottstown Mercury (Pottstown, Pennsylvania), p. 4
- ^ Bernard F. Dick (The University Press of Kentucky, May 21, 2004), Hal Wallis: Producer to the Stars, pp. 103, 130. Lauren Bacall talked Hallis Wallis into hiring Douglas for his debut role. Bacall and Douglas used to date as teenagers in New York City.
- ^ a b [10] AFI (accessed May 23, 2014), The Strange Love of Martha Ivers, Catalog of Feature Films
- ^ Jimmie Fidler (Sunday, July 14, 1946), Jimmie Fidler In Hollywood, Joplin Globe (Joplin, Missouri), p. 28
- ^ Eddie Muller (Titan, 1998), Dark City: The Lost World of Film Noir, pp. 64–66
- ^ Alan Casty (McFarland & Company, March 25, 2013), Robert Rossen: The Films and Politics of a Blacklisted Idealist, p. 154. Screenwriter Robert Rossen was a member of the Communist Party USA till he left sometime during 1946–47.
- ^ John Sbardellati (Cornell University Press, 1st edition, May 1, 2012) J. Edgar Hoover Goes to the Movies: The FBI and the Origins of Hollywood's Cold War, p. 98.
- ^ UP (Thursday, June 27, 1946), "It's Tough In London," Waukesha Daily Freeman (Waukesha, Wisconsin), p. 1
- ^ Anonymous (Sunday, November 18, 1951), "Lizabeth Scott Goes To England For Triple Role," The Brownsville Herald (Brownsville, Texas)
- ^ Hedda Hopper (Saturday, June 15, 1946), Hedda Hopper's Looking at Hollywood, Harrisburg Telegraph (Harrisburg, Pennsylvania) p. 21
- ^ Bernard F. Dick (The University Press of Kentucky, May 21, 2004), Hal Wallis: Producer to the Stars, p. 103
- ^ [11] Anonymous (accessed May 23, 2014), "Elizabeth Scott," Birth Television Archive
- ^ Anonymous (Sunday, June 23, 1946), Hollywood Spot News, Denton Record-Chronicle (Denton, Texas), p. 11
- ^ John Kobal (Berkley, reissue edition, December 1, 1983), Rita Hayworth, p. 161
- ^ Erskine Johnson (Tuesday, July 2, 1946), Hollywood, The Rhinelander Daily News (Rhinelander, Wisconsin), p. 4
- ^ Dan Walker (Thursday, June 13, 1946), "Gotham Gazette," Along Broadway, The Evening Independent, (Massillon, Ohio), p. 4
- ^ Bernard F. Dick (The University Press of Kentucky, May 21, 2004), Hal Wallis: Producer to the Stars, p. 105
- ^ a b [12] AFI (accessed May 23, 2014), Dead Reckoning, Catalog of Feature Films
- ^ a b Virginia Vale (Thursday, August 8, 1946), Star Dust: Stage, Screen, Radio, The Terril Record (Terril, Iowa), p. 7
- ^ a b Betty Gose (Wednesday, February 12, 1947), "Blonde Makes Trouble For Bogart in 'Dead Reckoning'," Scenes From The Cinema, The Amarillo Globe-Times (Amarillo, Texas), p. 19
- ^ a b Rebel Hope (Sunday, March 2, 1947), "Week's Screen Menu Is Varied," Abilene Reporter-News (Abilene, Texas), p. 81
- ^ a b Ann Sperber (It Books, reissue edition, November 29, 2011), Bogart, p. 245
- ^ Dick Kleiner (Monday, July 17, 1995), "Sinise was nominated for 'Gump,'" The Kokomo Tribune (Kokomo, Indiana), p. 7
- ^ Bettelou Peterson (January 14, 1992), "Where's Lizabeth Scott?" Deseret News
- ^ a b Karen Burroughs Hannsberry (McFarland & Company, 1998), Femme Noir: Bad Girls of Film, p. 454
- ^ Richard M. Fried (Oxford University Press, USA, reprint edition, March 28, 1991), Nightmare in Red: The McCarthy Era in Perspective, p. 77
- ^ Gene Handsaker (Thursday, January 17, 1952), Hollywood, The Pocono Record (Stroudsburg, Pennsylvania), p. 4
- ^ Erskine Johnson (Saturday, July 27, 1946), "In Hollywood," The Evening News (Harrisburg, Pennsylvania), p. 4. Designed with little front and no back, Jean Louis called it his 1948 "umbilicalar model."
- ^ UP (September 6, 1946), Dunkirk Evening Observer, p. 1
- ^ Erskine Johnson (Monday, August 5, 1948), "Crowd's Champion," In Hollywood, Evening News (Cumberland, Maryland), p. 7
- ^ Kevin Starr (Oxford University Press, USA, August 7, 2003), Embattled Dreams: California in War and Peace, 1940–1950, p. 10
- ^ Ronald Schwartz (McFarland & Company, November 6, 2013), Houses of Noir: Dark Visions from Thirteen Film Studios, p. 122
- ^ Carl Richardson (Scarecrow Press, June 28, 1992), Autopsy: An Element of Realism in Film Noir, pp. 44–45
- ^ David Ehrenstein (University of California Press, May 18, 1999), "Desert Fury, Mon Amour," Film Quarterly: Forty Years, a Selection, p. 481
- ^ [13] T.M.P. (September 25, 1947; accessed May 23, 2014), Desert Fury (1947) At the Paramount, New York Times (New York City, New York)
- ^ Walter Winchell (Tuesday, September 30, 1947), "Notes Of A Not-So-Innocent Bystander," In New York With Walter Winchell, Abilene Reporter-News (Abilene, Texas), p. 20
- ^ Herbert Cohn (Thursday, October 30, 1947), "'Desert Fury' at Brooklyn Paramount With Lizabeth Scott, Hodiak, Corey," The Brooklyn Daily Eagle (Brooklyn, New York), p. 13
- ^ Jay Jorgensen (2010), Edith Head: The Fifty-year Career of Hollywood's Greatest Costume Designer, pp. 125–126
- ^ David Ehrenstein (University of California Press, May 18, 1999), "Desert Fury, Mon Amour," Film Quarterly: Forty Years, a Selection, p. 479
- ^ Ramona Stewart (The World Publishing Company, 1947), Desert Town
- ^ Louella O. Parsons (Tuesday, July 10, 1945), "Joan Crawford And Louis B. Mayer Talk Over Film Star's Return To M-G-M," The Fresno Bee The Republican (Fresno, California), p. 13
- ^ Nancy Nelson (Applause, August 1, 2012), Evenings With Cary Grant: Recollections in His Own Words and by Those Who Knew Him Best, p. 166
- ^ Joe McNeill (Northedge & Sons, 2010), Arizona's Little Hollywood: Sedona and Northern Arizona's Forgotten Film History 1923–1973, pp. 312–319
- ^ [14] AFI (accessed May 23, 2014), Desert Fury, Catalog of Feature Films
- ^ [15] AFI (accessed May 26, 2014), Variety Girl, Catalog of Feature Films
- ^ a b [16] AFI (accessed May 23, 2014), I Walk Alone, Catalog of Feature Films
- ^ Kate Buford (Da Capo Press, May 22, 2001), Burt Lancaster: An American Life, p. 74
- ^ Todd Johnson (Friday, December 13, 1946), In Hollywood, The Courier-Gazette (McKinney, Texas), p. 2
- ^ Boyd Magers, Michael G. Fitzgerald (Mcfarland & Company, June 2004), "Kristine Miller," Westerns Women: Interviews With 50 Leading Ladies Of Movie And Television Westerns From The 1930s To The 1960s, p. 161
- ^ a b Kirk Douglas (Simon & Schuster, 1st edition, August 15, 1988), The Ragman's Son, p. 123
- ^ David Fury (Artist's Press, 1989), The Cinema History of Burt Lancaster, p. 20
- ^ Kate Buford (Da Capo Press, May 22, 2001), Burt Lancaster: An American Life, pp. 74–75
- ^ John Reid (Lulu.com, June 28, 2004), "I Walk Alone," Hollywood Classic Movies 1: New Light on Movie Bests, pp. 70–72
- ^ a b c Burt Prelutsky (CreateSpace Independent Publishing Platform, November 3, 2012), Sixty Seven Conservatives You Should Meet Before You Die, p. 468
- ^ Robert Porfirio, Alain Silver, James Ursini (Limelight Editions, August 1, 2004), Film Noir Reader 3: Interviews with Filmmakers of the Classic Noir Period, p. 19
- ^ [17] AFI (accessed May 23, 2014), Pitfall, Catalog of Feature Films
- ^ Hedda Hopper (Saturday, May 1, 1948), Hollywood, The Evening News (Harrisburg, Pennsylvania), p. 11
- ^ Erskine Johnson (Tuesday, August 3, 1948), In Hollywood, The Portsmouth Herald (Portsmouth, New Hampshire), p. 8
- ^ Stefan Kanfe (2007), Ball of Fire: The Tumultuous Life and Comic Art of Lucille Ball, pp. 85
- ^ James McKay (McFarland & Company, January 15, 2013), "Easy Living RKO 1949," The Films of Victor Mature, pp. 70–73
- ^ Bob Thomas (Friday, October 8, 1948), Life In Hollywood, The Times (San Mateo, California), p. 12
- ^ Jane Lockhart (December 1949), "Looking at Movies," The Rotarian, p. 38
- ^ [18] AFI (accessed May 23, 2014), Easy Living, Catalog of Feature Films
- ^ [19] H. H. T. (October 13, 1949; accessed May 23, 2014), "Easy Living (1949) At Loew's Criterion"
- ^ Michelle Nolan (McFarland & Company, reprint edition, February 16, 2010), Ball Tales: A Study of Baseball, Basketball and Football Fiction of the 1930s through 1960s, pp. 256, 261
- ^ James McKay (McFarland & Company, January 15, 2013), "Easy Living RKO 1949," The Films of Victor Mature, p. 71
- ^ a b [20] AFI (accessed May 23, 2014), Too Late for Tears, Catalog of Feature Films
- ^ [21] A. W. (August 15, 1949; accessed May 23, 2014), "Too Late for Tears (1949) THE SCREEN IN REVIEW; 'Too Late for Tears,' Adult and Suspenseful Adventure Film, Is New Bill at Mayfair" New York Times (New York City, New York)
- ^ Paul Green (McFarland & Company, February 28, 2014) Roy Huggins: Creator of Maverick, 77 Sunset Strip, the Fugitive and the Rockford Files, pp. 101–102
- ^ Ronald Schwartz (McFarland & Company, November 6, 2013), Houses of Noir: Dark Visions from Thirteen Film Studios, p. 130
- ^ Louella O. Parsons (Friday, October 22, 1948), "Gene Bearden Stops Show In Hollywood; Indian Star To Appear In Stratton Movie," Lubbock Morning Avalanche (Lubbock, Texas), p. 18
- ^ a b [22] AFI (accessed May 23, 2014), Paid in Full, Catalog of Feature Films
- ^ Anonymous (Monday, November 13, 1950), "'Paid In Full' Comes To Ritz Screen Tuesday," The Courier-Gazette (McKinney, Texas), p. 6
- ^ Bernard F. Dick (The University Press of Kentucky, May 21, 2004), Hal Wallis: Producer to the Stars, pp. 123–124
- ^ Dorothy Kilgallen (Wednesday, March 29, 1950), The Voice of Broadway, Pottstown Mercury (Pottstown, Pennsylvania), p. 4
- ^ Louella O. Parsons (Friday, January 28, 1949), "Robert Donat Agrees To Come To US, Gets Top Role In Broadway Show," The Fresno Bee The Republican (Fresno, California), p. 9
- ^ Allan R. Ellenberger (McFarland & Company, October 2000), Ramon Novarro: A Biography of the Silent Film Idol, 1899–1968; With a Filmography, p. 157
- ^ William Hare (Mcfarland & Company, August 2003), Early Film Noir: Greed, Lust and Murder Hollywood Style, pp. 101–102
- ^ AP (Monday, January 10, 1949), "Mitchum, Movie Star, Convicted on Narcotic Count," The Rhinelander Daily News (Rhinelander, Wisconsin), p. 1
- ^ Lee Server (St. Martin's Press, 1st edition, March 20, 2001), Robert Mitchum: "Baby I Don't Care," pp. 183–184
- ^ Dorothy Kilgallen (Thursday, February 24, 1949), Voice Of Broadway: Broadway Bulletin Board, The Record-Argus (Greenville, Pennsylvania), p. 9
- ^ Carole Langer (Soapbox & Praeses Productions, 1996; accessed May 23, 2014), Lizabeth Scott 1996 Interview Part 7 of 8
- ^ Louella O. Parsons (Monday, January 31, 1949), "Kipling's Famed Story Will Be Made Into Story, With India Background," The Fresno Bee The Republican (Fresno, California), p. 14
- ^ [23] Anonymous (accessed May 23, 2014), "Mortimer W. Hall Obituary," Legacy.com
- ^ Walter Winchell (Thursday, June 9, 1949), "On Broadway," The Daily Times-News (Burlington, North Carolina), p. 4
- ^ Louella Parsons (Wednesday, December 28, 1955), Hollywood, Corsicana Daily Sun (Corsicana, Texas), p. 10
- ^ Louella O. Parsons (Wednesday, June 22, 1949), "Sweet Judy Garland May Be Ready Soon For Work," The Bakersfield Californian (Bakersfield, California), p. 18
- ^ James Robert Parish (Arlington House, 1972), The Paramount pretties, p. 525
- ^ Erskine Johnson (Saturday, July 9, 1949), Johnson's Hollywood, The News-Herald (Franklin, Pennsylvania), p. 18
- ^ INS (Friday, October 21, 1949), "Lizabeth Scott Her Legal Name," New Castle News (New Castle, Pennsylvania), p. 19. Date of name change is given here as Thursday, October 20, 1949.
- ^ AP (Thursday, September 15, 1949), "Emma Matzo—She's Really Lizabeth Scott," Tucson Daily Citizen (Tucson, Arizona), p. 13
- ^ Anonymous (Sunday, November 13, 1949), "Filmdom Chatter Box," Toledo Sunday Blade (Toledo, Ohio), p. 7
- ^ a b [24] AFI (accessed May 23, 2014), The Company She Keeps, Catalog of Feature Films
- ^ Paul Donnelley (Omnibus Press, 3rd edition, November 1, 2005), "Jane Greer," Fade to Black: A Book of Movie Obituaries, p. 296
- ^ [25] Bosley Crowther (January 29, 1951; accessed May 23, 2014), "The Dancing Years (1949) THE SCREEN IN REVIEW; 'The Company She Keeps,' With Lizabeth Scott Playing a Parole Officer, Arrives at Loew's Criterion At the Little Carnegie At the Stanley," The New York Times (New York City, New York)
- ^ John Howard Reid (Lulu.com, March 23, 2005), Your Colossal Main Feature Plus Full Support Program, p. 52
- ^ James Robert Parish (Arlington House, 1972), "Lizabeth Scott," The Paramount Pretties, p. 527
- ^ Kate Buford (Da Capo Press, May 22, 2001), Burt Lancaster: An American Life, p. 108
- ^ [26] AFI (accessed May 23, 2014), Dark City, Catalog of Feature Films
- ^ Frank Neill (Tuesday, May 16, 1950), "No. 1 Bachelor Girl Talks on Smooching," The Bakersfield Californian (Bakersfield, California), p. 16
- ^ David Ragan (Prentice Hall, July 1, 1985), "Lizabeth Scott," Movie Stars of the 40s, p. 192. Ragan describes the cult as "Danteism."
- ^ a b Carole Langer (Soapbox & Praeses Productions, 1996; accessed May 23, 2014), Lizabeth Scott 1996 Interview Part 8 of 8
- ^ George H. Smith (Prometheus Books, June 1, 1990), Atheism, Ayn Rand, and Other Heresies, p. 30
- ^ Anonymous (Sunday, May 14, 1950), "Liz Scott To Play On Summer Circuit," Cumberland Sunday Times (Cumberland, Maryland), p. 24
- ^ Erskine Johnson (Monday, November 27, 1950), "Liz Gets Lots Of Color Doing Her First Horse Opera," In Hollywood, The Daily Register (Harrisburg, Illinois), p. 4
- ^ AP (Thursday, June 29, 1950) "Actress Lizabeth Scott Takes University Study," Tucson Daily Citizen (Tucson, Arizona), p. 9
- ^ [27] AFI (accessed May 23, 2014), Two of a Kind, Catalog of Feature Films
- ^ Mark Barron (Sunday, November 26, 1950), "Broadway Has Busiest Season Of New Week," Cumberland Sunday Times (Cumberland, Maryland), p. 41
- ^ Ben Marcus, Marc Wanamaker (Arcadia Publishing, November 7, 2011), Malibu, p. 78
- ^ a b [28] AFI (accessed May 23, 2014), Red Mountain, Catalog of Feature Films
- ^ AP (Saturday, November 11, 1950), "Lizabeth Scott Injures Knee," The Winona Republican-Herald (Winona, Minnesota), p. 2
- ^ Nate Hendley (ABC-CLIO, December 23, 2009), American Gangsters, Then and Now: An Encyclopedia, p. 233
- ^ Erskine Johnson (Monday, May 7, 1951), In Hollywood, The Portsmouth Herald (Portsmouth, New Hampshire), p. 7
- ^ [29] AFI (accessed May 23, 2014), The Racket, AFI Catalog of Feature Films
- ^ Paul Leggett (McFarland & Company, January 15, 2002), Terence Fisher: Horror, Myth and Religion, p. 4
- ^ a b [30] AFI (accessed May 23, 2014), Stolen Face, Catalog of Feature Films
- ^ a b [31] AFI (accessed May 23, 2014), Scared Stiff, Catalog of Feature Films
- ^ William Schoell (Taylor Trade Publishing, October 1, 1999), Martini Man: The Life of Dean Martin, pp. 80–81
- ^ Aline Mosby (Wednesday, February 25, 1953), "Movie Stars Still Scared On Opening Night," The Daily Herald (Provo, Utah), p. 8
- ^ Erskine Johnson (Monday, October 27, 1952), In Hollywood, The Portsmouth Herald (Portsmouth, New Hampshire), p. 7
- ^ David E. Wilt (Popular Press 1, January 1, 1991), Hardboiled in Hollywood: Five Black Mask Writers and the Movies, pp. 40–41. Film historians familiar with the novel usually conjecture that the screenwriter, Irving Wallace, deliberately tailored the script to take advantage of Scott's noir typecasting. Scott's original character in the novel was a maternal type.
- ^ Anonymous (Saturday, December 30, 1950), Screen, The Evening Sun (Hanover, Pennsylvania), p. 4
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- ^ Erskine Johnson, (Saturday, June 6, 1953), In Hollywood, Statesville Record & Landmark (Statesville, North Carolina), p. 16
- ^ Erskine Johnson (Thursday, February 18, 1954), "Robert Donat Refuses To Retire," The Rhinelander Daily News (Rhinelander, Wisconsin), p. 6
- ^ Jeff Smith (University of California Press, March 26, 2014), Film Criticism, the Cold War, and the Blacklist: Reading the Hollywood Reds, p. 222
- ^ a b [33] AFI (accessed May 23, 2014), Silver Lode, Catalog of Feature Films
- ^ [34] AFI (accessed May 23, 2014), Johnny Guitar, Catalog of Feature Films. New York premiere May 26, 1954.
- ^ Alan J. Levine (Transaction Publishers, May 13, 2008), Bad Old Days: The Myth of the 1950s, p. 95
- ^ Howard Hughes (I. B. Tauris, January 8, 2008), Stagecoach to Tombstone: The Filmgoers' Guide to the Great Westerns, p. 41
- ^ Brian Neve, Stephen Neale, ed. (Routledge, June 8, 2012), "Hollywood and Politics in the 1940s and 1950s," The Classical Hollywood Reader, p. 395
- ^ Bob Herzberg (McFarland & Company, August 16, 2013), Hang 'Em High: Law and Disorder in Western Films and Literature, p. 105
- ^ Frank Krutnik (Rutgers University Press, December 15, 2007), "Un-American" Hollywood: Politics and Film in the Blacklist Era, p. 287
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- ^ Anonymous (Friday, April 23, 1954), News of the World in Pictures, The Bradford Era (Bradford, Pennsylvania), p. 17
- ^ Anonymous (Sunday, April 11, 1954), "Wading Star," News-Journal (Mansfield, Ohio), p. 11
- ^ Louella O. Parsons (Thursday, April 15, 1954), "Richard Burton Due To Sign New Contract With 20th Century After Play In England," Lubbock Morning Avalanche (Lubbock, Texas), p. 11
- ^ Erskine Johnson (Thursday, April 29, 1954), Man-About Hollywood, The Daily Journal-Gazette and Commercial-Star (Mattoon, Illinois), p. 3
- ^ Robert Porfirio (2002), "Lizabeth Scott," Film Noir Reader 3: Interviews with Filmmakers of the Classic Noir Period, p. 197
- ^ Bruce Crowther (Columbus Books, 1988), Film Noir: Reflections in a Dark Mirror, p. 123
- ^ David J. Hogan (Applause Theatre & Cinema Books, April 15, 2013), Film Noir FAQ: All That's Left to Know About Hollywood's Golden Age of Dames, Detectives, and Danger
- ^ Foster Hirsch (Da Capo Press, 2nd edition, November 25, 2008), The Dark Side of the Screen: Film Noir, pp. 221–222
- ^ [36] Anonymous (accessed May 26, 2014), "Radio Broadcast Log Of: Lux Radio Theatre," Audio Classics Archive
- ^ [37] OTR (accessed May, 2014), Family Theater, "Old Time Radio"
- ^ UP (Saturday, January 4, 1958), "Former Confidential Editor Kills Wife, Self," Tucson Daily Citizen (Tucson, Arizona) p. 1
- ^ Anonymous, (September 1955), table of contents, Confidential, (New York City, New York), p. 4
- ^ Henry E. Scott (Pantheon, 1st reprint edition, January 19, 2010), Shocking True Story: The Rise and Fall of Confidential, "America's Most Scandalous Scandal Magazine, p. 49
- ^ Carlton Jackson (Madison Books, April 14, 1993), Hattie: The Life of Hattie McDaniel, p. 49
- ^ Henry E. Scott (Pantheon, 1st reprint edition, January 19, 2010), Shocking True Story: The Rise and Fall of Confidential, "America's Most Scandalous Scandal Magazine, p. 36
- ^ Neal Gabler (April 2003), "The Scandalmonger: Confidential's Reign of Terror," Vanity Fair (New York City, New York), p. 197
- ^ a b Henry E. Scott (Pantheon, 1st reprint edition, January 19, 2010), Shocking True Story: The Rise and Fall of Confidential, "America's Most Scandalous Scandal Magazine, p. 98
- ^ [38] Trulia (accessed May 23, 2014), "8142 Laurel View Dr Los Angeles, CA 90069 (Hollywood Hills)." Rushmore described the four-bedroom, two-story stucco residence, built in 1926, as a "swanky, four-story house."
- ^ AP (Saturday, October 2, 1954), "Juvenile, 3 Others Nabbed in Vice Raid," The San Bernardino County Sun (San Bernardino, California), p. 2
- ^ [39] Anonymous (accessed May 23, 2014), "Old Telephone Exchange Names Los Angeles County," Los Angeles Almanac
- ^ [40] FamilySearch (accessed May 23, 2014), "Henry A. Finke, 'United States Census, 1940'"
- ^ [41] Pacific Telephone & Telegraph Company (May 1956, accessed May 23, 2014), Los Angeles Street Address Directory, p. 866
- ^ Matt Williams (September 1955), "Lizabeth Scott in the Call Girls' Call Book," Confidential (New York City, New York), p. 32
- ^ [42] Pacific Telephone & Telegraph Company (May 1956, accessed May 23, 2014), Los Angeles Street Address Directory, p. 598
- ^ a b Matt Williams (September 1955), "Lizabeth Scott in the Call Girls' Call Book," Confidential (New York City, New York), pp. 33
- ^ Shirelle Phelps (Gale, Nov 21, 1997), Contemporary Black Biography: Profiles from the International Black Community, Volume 16, p. 118
- ^ Robert L. Griere (Saturday, August 3, 1963), "Eat in Paris And Swoon With Delight," The Pittsburgh Courier (Pittsburgh, Pennsylvania), p. 13
- ^ Serge Guilbaut (Museu Dart Contemporani de Barcelona, March 15, 2008), Be-Bomb: The Transatlantic War of Images and All That Jazz. 1946–1956, p. 116
- ^ Anonymous (Gray's Inn Press, 1963), Transport Salaried Staff Journal, Volumes 60-61, p. 18
- ^ Kenneth G. McLain (July 1955), "The Untold Story of Marlene Dietrich," Confidential (New York City, New York), pp. 22–25, 56, 58
- ^ Neal Gabler (April 2003), "The Scandalmonger: Confidential's Reign of Terror," Vanity Fair (New York City, New York), p. 200
- ^ Darden Asbury Pyron (University Of Chicago Press, June 1, 2001), Liberace: An American Boy, p. 216
- ^ James Robert Parish (Arlington House, 1972), The Paramount Pretties, p. 530
- ^ Anonymous, (September 1955), Confidential, (New York City, New York), p. 4. On the table of contents, the article had the longer title of "Why Was Lizabeth Scott's Name In The Call Girls' Call Book?"
- ^ [43] AFI (accessed May 23, 2014), The Weapon, AFI Catalog of Films
- ^ UP (Thursday, March 8, 1956), "Court Quashes Actress' Suit," Idaho State Journal (Pocatello, Idaho), p. 9
- ^ Neal Gabler (April 2003), "The Scandalmonger: Confidential's Reign of Terror," Vanity Fair (New York City, New York), p. 202
- ^ Sam Kashner, Jennifer MacNair (W. W. Norton & Company, May 17, 2003), The Bad & the Beautiful: Hollywood in the Fifties, pp. 40–41
- ^ INS (Wednesday, August 7, 1957), "Lawyer Opens Trial Of Two Magazines," Anderson Daily Bulletin (Anderson, Indiana), p. 3
- ^ Bob Houser, (Saturday, August 10, 1957), "Actress 'Offered to Have Affair' to Get Hot Story: Tells Role of Cabot's Ex-Wife," Independent (Long Beach, California), pp. 1–2
- ^ Darden Asbury Pyron (University Of Chicago Press, June 1, 2001), Liberace: An American Boy, p. 223. Maureen O'Hara settled out-of-court on July 2, 1958. Errol Flynn settled July 8, 1958. Liberace settled on July 16, 1958. O'Hara, Flynn and Liberace were only witnesses for the prosecution and not plaintiffs in the California trial. None of the other lawsuits—from Lizabeth Scott's to Maureen O'Hara's—ever went to trial.
- ^ Dorothy Kilgallen (Thursday, August 22, 1957), On Broadway, The Daily Reporter (Dover, Ohio), p. 6
- ^ Bonnie Zimmerman, ed. (Routledge, December 1, 1999), Encyclopedia of Lesbian Histories and Cultures, p. 374
- ^ Lillian Faderman, Stuart Timmons (2006), Gay L.A.: A History of Sexual Outlaws, Power Politics, and Lipstick Lesbians, p. 69
- ^ Erskine Johnson (Thursday, January 10, 1946), "Ingrid Bergman And Milland In Top Film Spots," Freeport Journal-Standard (Freeport, Illinois), p. 7
- ^ Bernard F. Dick (The University Press of Kentucky, May 21, 2004), Hal Wallis: Producer to the Stars, pp. 109–110
- ^ Erskine Johnson (Tuesday, February 24, 1953), Hollywood, Panama City News-Herald (Panama City, Florida), p. 2
- ^ Erskine Johnson (Thursday, November 17, 1955), "Lanza Sings Two Hours In Next Film, "Serenade," Erskine In Hollywood, The Gastonia Gazette (Gastonia, North Carolina), p. 25
- ^ Erskine Johnson (Monday, January 11, 1954), "Lizabeth Scott Develops La Dietrich Singing Style," The Fresno Bee The Republican (Fresno, California), p. 20
- ^ a b Steven H. Scheuer (April 29, 1958), "Jane Powell Tells Of First Picture," TV Keynotes, The Troy Record (Troy, New York), p. 27
- ^ Erskine Johnson (Thursday, July 5, 1946), Hollywood Today!, Daily Herald (Utah County, Utah), p. 4
- ^ Alanna Nash (Chicago Review Press, September 1, 2004), The Colonel: The Extraordinary Story of Colonel Tom Parker and Elvis Presley, pp. 151–152. The film's director, Hal Kanter, said that Glenda's marketing techniques were based on those of Presley's real-life manager, Colonel Tom Parker.
- ^ Hal Kanter (McFarland & Company, reprint edition, April 30, 2013), So Far, So Funny: My Life in Show Business, p. 219
- ^ [44] AFI (accessed May 23, 2014), Loving You, Catalog of Feature Films
- ^ [45] Anonymous (accessed May 23, 2014), "Lizabeth Scott With Henri René And His Orchestra—Lizabeth," Discogs
- ^ Lizabeth Scott, Henri René (Vik, 1957), Lizabeth: Lizabeth Scott with Henri René and His Orchestra. Notes by Earl Wilson.
- ^ 20th Century Fox Studios (March 21, 1960), Adventures in Paradise: Season 1, Episode 23, The Amazon
- ^ Paul Derrick (CreateSpace Independent Publishing Platform, August 7, 2013), "Who Killed Cable Roberts?" Burkes Law Case Files, pp. 13, 71
- ^ Bernard F. Dick (The University Press of Kentucky, May 21, 2004), Hal Wallis: Producer to the Stars, p. 112
- ^ Jack O'Brian (Thursday, May 15, 1969), "Voice of Broadway," Anderson Daily Bulletin" (Anderson, Indiana), p. 5
- ^ Walter Winchell (Friday, May 20, 1966), "On Broadway," News-Journal (Mansfield, Ohio), p. 33
- ^ Rexino Mondo (iUniverse, May 4, 2010), The Immigrants' Daughter, pp. 183–186
- ^ [46] Anonymous (accessed May 23, 2014), "Lizabeth Scott v. Sarah Dugger Schwartz (05/05/71)," FindACase
- ^ Edward Bunker (St. Martin's Griffin, 1st edition, August 18, 2001), Education of a Felon: A Memoir, p. 80
- ^ Shirley MacLaine (Bantam, 1st edition, October 1, 1991), Dance While You Can, p. 31
- ^ John Meredyth Lucas (Mcfarland & Company, May 2004), Eighty Odd Years in Hollywood: Memoir of a Career in Film and Television, p. 163
- ^ Bernard F. Dick (The University Press of Kentucky, May 21, 2004), Hal Wallis: Producer to the Stars, p. 119
- ^ Hal B. Wallis, Charles Higham (Macmillan, September 1, 1980), Starmaker: the autobiography of Hal B. Wallis, pp. 115–116
- ^ Charles Higham (University of Wisconsin Press, 1st edition, October 27, 2009), In and Out of Hollywood: A Biographer's Memoir, p. 214
- ^ Dorothy Kilgallen, (Thursday, November 18, 1948), "Broadway Grapevine—" Voice of Broadway, The News-Herald (Franklin, Pennsylvania), p. 4
- ^ Walter Winchell (Friday, June 20, 1947), "Bandsman Spike Jones Is To Marry His Vocalist In Fall," Lubbock Evening Journal (Lubbock, Texas), p. 16
- ^ Dorothy Kilgallen (Friday, July 17, 1953), "Jottings in Pencil," Voice Of Broadway, The Record-Argus (Greenville, Pennsylvania), p. 11
- ^ Walter Winchell (Friday, March 25, 1949), "G. B. Shaw Furnishes Answer to Infinitive Splitting Question," News-Journal (Mansfield, Ohio), p. 13
- ^ UP (Thursday, April 1, 1948), Hollywood, The Daily Notes (Canonsburg, Pennsylvania), p. 19
- ^ Erskine Johnson (Wednesday, November 20, 1946), In Hollywood, Pampa Daily News (Pampa, Texas), p. 6
- ^ Jack Lait (Tuesday, August 19, 1947), Broadway And Elsewhere, The Daily Times-News (Burlington, North Carolina), p. 4
- ^ Dorothy Kilgallen (Wednesday, March 29, 1950), "Voice Of Broadway," Times Herald (Olean, New York), p. 17
- ^ Dorothy Kilgallen (Tuesday, October 24, 1950), Voice of Broadway, Pottstown Mercury (Pottstown, Pennsylvania), p. 4
- ^ Dorothy Kilgallen (Thursday, November 30, 1950), "Broadway Bulletin Board," Voice of Broadway, Mansfield News-Journal, (Mansfield, Ohio), p. 4
- ^ Dorothy Kilgallen (Saturday, January 6, 1951), "Gossip a la Gotham," Voice Of Broadway, The Record-Argus (Greenville, Pennsylvania), p. 4
- ^ Hedda Hopper (Monday, October 1, 1951), "Lizabeth Scott To Wear 3 'Faces' In Picture," The Salt Lake Tribune (Salt Lake City, Utah), p. 29
- ^ Ed Sullivan (Monday, November 19, 1951), "Men and Maids, and Stuff. RCA engineering geniuses," Little Old New York, Valley Morning Star (Harlingen, Texas), p. 4
- ^ INS (Wednesday, May 6, 1953), "Bachelor-Girl Lizabeth Scott Finds A Man," Lubbock Evening Journal (Lubbock, Texas), p. 27
- ^ Dorothy Kilgallen (Tuesday, January 20, 1953), Voice of Broadway, The News-Herald (Franklin and Oil City, Pennsylvania), p. 4
- ^ Walter Winchell (Wednesday, January 4, 1956), Broadway and Elsewhere, Logansport Pharos-Tribune (Logansport, Indiana), p. 4
- ^ Earl Wilson, "Not For Us To Say," (Thursday, April 24, 1958), The Bristol Daily Courier (Bristol, Pennsylvania), p. 8. Herzfeld was an owner of Yonkers Raceway in New York.
- ^ Lee Mortimer (Friday, February 3, 1961), New York Confidential, Logansport Pharos-Tribune (Logansport, Indiana), p. 4
- ^ Burt Bacharach (Harper, 1st edition, May 7, 2013), Anyone Who Had a Heart: My Life and Music, p. 24
- ^ [47] Juile Miller (June 12, 2012; accessed May 23, 2014), "Chloë Grace Moretz on Her Carrie Remake and Being an Official 'Face of the Future,'" Vanity Fair (New York City, New York)
- ^ John Howard Reid (lulu.com, September 27, 2009), Mystery, Suspense, Film Noir and Detective Movies on DVD: A Guide to the Best in Cinema Thrills, pp. 387–388
- ^ [48] AFI (accessed May 23, 2014), Pulp, Catalog of Feature Films
- ^ Robert Porfirio (Limelight Editions, August 1, 2004), "Lizabeth Scott," Film Noir Reader 3: Interviews with Filmmakers of the Classic Noir Period, p. 197
- ^ Steven Paul Davies (Batsford, 1st edition, March 1, 2003), Get Carter and Beyond: The Cinema of Mike Hodges, p. 64
- ^ Michael Bowlin (Sunday, July 2, 1989), "Actress Lizabeth Scott doesn't give interviews," I Wonder What Happened To ... ? The Kerrville Times (Kerrville, Texas), p. 50
- ^ Pat Barham (Thursday, December 5, 1974), "What's A Celebrity? Here's One," Pat Barham's Showbiz, The Daily Herald (Provo, Utah), p. 40
- ^ Carol Thornton (Sunday, June 10, 1973), "A Circus for Project Hope," Valley News (Van Nuys, California), pp. 41, 43
- ^ AP (Tuesday, July 20, 1976), "Pennsylvania People," The Indiana Gazette (Indiana, Pennsylvania), p. 31
- ^ Bernard F. Dick (The University Press of Kentucky, May 21, 2004), Hal Wallis: Producer to the Stars, pp. 95–110
- ^ Ralph Waldo Emerson (Houghton, Mifflin and Company, 1884), "Self-Reliance," Essays: First Series, p. 71
- ^ [49] Anonymous (accessed May, 2014), "Lizabeth Scott at Walk of Fame," Hollywood Walk of Fame
External links[edit]
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- Lizabeth Scott 1996 Interview Part 1 of 8, Soapbox & Praeses Productions
- Lizabeth Scott at the American Film Institute
- Lizabeth Scott at the Internet Movie Database
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