301:. She helped raise funds for causes and sign petitions but never actually became a true believer. Nonetheless, one of the last things her mother did before she died was to scold Caspary for associating with "filthy reds". Upon returning to Greenwich Village, Caspary was invited to join the Communist party by a very prominent playwright, and did so, though under the alias of "Lucy Sheridan". Caspary found the Party's code of secrecy to be contrary to her search for truth and questioning of values, which had led her to join in the first place. Though she claimed to never actively recruit anyone, she admitted performing Party chores such as fund-raising and hosting the fortnightly Confidences Club meetings at her home, which were mostly for socializing.
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she continued to contribute money and support similar causes. She eventually married her lover and writing collaborator of six years, Isidor "Igee" Goldsmith; but despite this being a successful partnership, her
Communist connections later led to her being "graylisted", temporarily yet significantly affecting their offers of work and income. The couple split their time between Hollywood and Europe until Igee's death in 1964, after which Caspary remained in New York where she wrote a further eight books.
608:, and when United Artists went into bankruptcy and restructuring in 1950, the films of Gloria Films were tied up in litigation and the couple lost everything. Many small production companies went bankrupt as a result of United Artists' troubles – Caspary could not afford to, as she would have lost future royalties for works she had written and any payments for reprints of her books. Igee was devastated at the loss; he never became the bread winner of the couple. In December, Caspary drove to
350:. She also taught classes in writing screenplays to raise funds to bring refugee writers to America. In June 1941, Germany attacked Russia, and Hollywood benefits for Russian war relief drew huge crowds. During this time Caspary started tinkering with a murder mystery, but instead of producing an original story for the screen she was encouraged to turn it into a novel. It was finished by October, and to get some perspective she went to work on a story about a night plane to Chungking for
269:. Caspary could not sell that play and by winter she was broke again, but Ornitz insisted they write another and brought her back to Hollywood where her luck was always better. Within a week she had sold three stories to studios and gotten a five hundred dollar-a-week contract. She bought herself a completely new wardrobe and brought her mother from New York. Like most people, Caspary did not get along with
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filthy." By
December 1939, she was actively trying to resign from the Communist Party; she was informed that she couldn't just exit, but could be asked to leave if she was brought up on charges. She called their bluff and agreed to it; however they were reluctant to let her go quietly, and agreed to call it a "temporary leave of absence". In January she closed up her house and moved back to Hollywood.
211:. She and her mother moved to Connecticut to do the rewrites on the play. The play was disastrous – Caspary's inexperience with the process caused her to take everyone's advice, altering the play's text constantly. When she and Lenihan weren't present, the producers even rewrote the play themselves. When Caspary returned, the true original copy could not be found and the play closed in two weeks.
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from people with bad grammar. While working at an advertising agency composing copy, she invented the fictitious "Sergei
Marinoff School of Classic Dancing", a mail order dance course. Caspary wrote all the materials for this and other correspondence courses she had little knowledge of, including one that taught screenwriting. She was also producing articles for publications such as
674:, Caspary learned she had been added to the gray list and told to abandon the project. If someone appeared before the HUAC committee and refused to name names, they were blacklisted, if their file indicated that they had signed pledges, attended congresses or contributed to doubtful causes, they were graylisted. Caspary described the former as hell, the latter merely purgatory.
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Germany by train, being strip-searched at border crossings. She visited Moscow and
Leningrad, visiting factories, seeing the "worker's paradise", and finding time to attend the ballet, where a Russian Jewish gentleman proposed to her during the intermission. On her return trip through the Finnish border, the first-class car was empty, save for Caspary and
273:, and after one spat, she no longer received writing assignments. Since her contract had five more months, she merely stopped going to the studio and spent her days at the beach while her agent picked up her paycheck. Again wanting to write her own material she got her contract canceled and set sail for New York.
109:. Though she claimed she was not a "real" mystery writer, her novels effectively merged women's quest for identity and love with murder plots. Independence is the key to her protagonists, with her novels revolving around women who are menaced, but who turn out to be neither victimized nor rescued damsels.
768:. None equaled the popularity of her early suspense work. In her 18 published novels, 10 screenplays and four stage plays, Caspary's main theme, whether in a murder mystery, drama or musical comedy, was the working woman and her right to lead her own life, to be independent. Caspary died of a stroke at
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The good feeling from being financially secure for the first time in ages was lost when Igee was diagnosed with lung cancer. In between surgeries and bouts of illness, the couple traveled: Greece, Las Vegas, New
England—all the places they had meant to go. They traveled until Igee no longer could; he
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My agent wrote one of the worst contracts ever written. I signed it as carelessly as a five-dollar check. As I would be reminded in restaurants and parking lots, I had signed away a million dollars. Who would have thought that a film which for all its elegance, was not expensive, whose stars were not
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was too old for the part (yet had much influence), the producer was inexperienced and intimidated letting
Hopkins run "rough shod" over the production, the lighting designer was replaced as was the stage manager and finally the director himself. Caspary and her co-writer Sklar saw the work of a year
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castle in Wales, St Donat's. All but empty and abandoned during the war, it provided much needed seclusion for her to write the story. She returned to London and Igee, where they enjoyed the few months they had left, but when the war ended and the screenplay was finished, the
Ministry of Information
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After her graduation from high school in 1917, her father enrolled her in a six-month course in a business college, and by
January 1918, Caspary found herself working as a stenographer. She went through a string of menial office jobs, looking for one where she could write instead of taking dictation
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Caspary was concerned; if she was subpoenaed to appear she would not be able to leave the country unless she became a "friendly witness" and named names. On a lawyer's advice the couple left the country as soon as possible. They remained in Europe, Igee going from studio to studio trying to finance
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and
Caspary traveled to New York to assist with preproduction on the play. Despite their efforts, Olney could not secure backing and gave up the option on the play. When Caspary returned to Hollywood Igee was waiting for her with bouquets of red roses. Caspary moved into a Mexican farmhouse on Horn
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had described as a paradise. During her trip across Europe she was nearly persuaded from guilt to marry an
Austrian Jew in order to get him to the United States, but due to a slowness in paperwork she was saved that fate. She later learned that he made it to America on his own. She traveled through
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under an alias, but not being totally committed and at odds with its code of secrecy, she claimed to have confined her activities to fund-raising and hosting meetings. Caspary visited Russia in an attempt to confirm her beliefs, but became disillusioned and wished to resign from the Party, although
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The couple returned to Hollywood early in January 1954, but found the climate in Hollywood had gone from chilly to severe. They left again after six months, and what followed were two more years of bad luck. In 1956, Caspary and Igee returned to Hollywood when the HUAC had finally lost interest in
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By May 1946, Igee had returned to the U.S., and the couple lived openly together in their Hollywood Hills house. They were terribly happy in post-war Hollywood, jobs were plentiful, salaries high and the parties seemed endless – Caspary's newfound fame brought her into contact with anyone who was
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Caspary was born prematurely in Chicago – her mother, Julia (née Cohen), already over 40 with three other nearly-grown children, had hidden her condition. Her father Paul was a buyer for a department store. Caspary’s parents were both second generation German Jewish and Russian Jewish immigrants.
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and sold them a story treatment for $ 50,000 with a 50% advance. In January, she sold them another for $ 45,000, and in February, sold one to Paramount for $ 35,000. This last sale, the couple deposited in New York, which was fortunate as it was a long time before they worked again in Hollywood.
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Despite their arrangement and a previous wife long-abandoned in England, by 1948 Igee was anxious to marry Caspary, though she had serious reservations about the practice. After three years of physical separation, Igee got his divorce on the grounds of abandonment. While in Europe finalizing the
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disillusioned many Party members, including Caspary. In her words, "Loss of faith is a slow process, and painful. A last desperate effort to cling to belief attacks the nerves. I became irritable, disliked my friends, slept badly, lost tolerance. Haunted by ghosts of deeds and statements. I felt
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s rough patches. At Christmas 1942, their love affair was interrupted as every able-bodied British citizen was recalled to help with the defense of Great Britain. Igee, born in Austria, had emigrated to England in 1932 and would have to return there. She did not see him again for 13 months.
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anyone. Her stories improved by Igee's contribution were selling at inflated prices, and her salary rose due to high demand for her work and her limited availability. Caspary made it a practice only to accept jobs of adaptation; she found it more creative and fun, as in the case of
688:, and was eager for her to adapt it for the screen. However MGM wouldn't employ Caspary unless she wrote a letter stating that she had never been a member of the Communist Party; under such duress, she capitulated and wrote the letter. Years later, Caspary remembered
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Late in 1944, tired of the long separation from her love, Caspary devised a method to reunite with Igee. The war had made civilian travel generally difficult and going to Europe nearly impossible. However, Caspary cabled Igee that he could have the film rights to
230:, a forty-page original story written over a weekend for which Paramount paid her $ 2,000. Caspary admitted in her memoir that she rewrote and resold this exact plot exactly eight times in the coming years. The week after she sold it to Paramount the first time,
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about two emancipated girls in the 1920s and heavily based on her own experiences, was begun in London, continued in New York, finished in Beverly Hills, and proofed in Paris. The novel won faint reviews, but Caspary considered it one of her best, and famed
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she agreed to write articles about wartime England for American newspapers and magazines. Finally on January 12, 1945, Vera Caspary disappeared from New York only to reappear on a dock in England, just in time to see the British stage production of
655:, when MGM abruptly and illegally questioned Caspary regarding her Communist links. They were duly worried, as they had just bought two expensive stories from her, and if she were named and blacklisted, they would not be able to release them.
354:. When the United States declared war on Germany and Japan in early December, that story was canceled, and Caspary asked to be laid off and returned happily to her murder mystery. During Christmas 1941, she typed "The end" on the last page of
182:, published in January 1929. Its plot is about a Southern black woman who moves North and passes as white. The reviews were better than she had hoped and some people speculated that it was written by a black woman who was indeed passing.
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Since Caspary had left the Party before she came to Hollywood, she told the truth about which committees she attended and the initiatives she had worked on, but the one thing they never asked was if she had ever been a member.
647:, the House's rabid anti-communist investigations pitted Hollywood's residents against one another. If people testified, they were "friendly" witnesses; if they were named as communist sympathizers, they were "
189:, a free entertainment guide distributed through hotels. This job provided free tickets to theater shows, concerts, and nightclubs and introduced her to a wide circle of press agents and celebrities. While at
417:, convincing him that the production would be inexpensive. Tired of shopping it around and against her own advice, "Once a writer sells a story to Hollywood, they can kiss it goodbye", she sold it to Fox.
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and the resultant film. Caspary and Igee pestered every official they knew and didn't know on both sides of the Atlantic, trying to grease the wheels of bureaucracy. As part of the deal with the British
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By the time her father died in 1924, Caspary was fully supporting her mother, who was impressed that her daughter could pound money out of a typewriter. She moved to Greenwich Village in New York as
753:, the contract signed and the first payment sent, but then Monroe became undisciplined and unreliable and was suspended by the studio. Caspary completed a first draft, but the film was never made.
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paid all her expenses and all her Stork Club dinners were free. Unfortunately one night she was seated next to Otto Preminger, and they proceeded to start a fiery argument regarding the script for
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removed another one. Due to a loophole in the Academy Awards nomination rules, Mankiewicz alone was nominated and won the Oscar for Best Screenplay. However, when the same screenplay won the
604:. Unfortunately, Caspary and Igee forgot the first rule of finance, "never use your own money", and had put all their own funds and savings into the company. Their films were contracted to
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393:. Igee, who had grown annoyed at the Hollywood habit of keeping producers on the payroll and not giving them anything to produce, was overjoyed at her request for assistance in working on
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and other materials. Though not truly committed, she allowed her work to be affected by changing attitudes, but found that having never been a proletarian, she could not write the great
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She could no longer work with the intensity and fervor of her youth, but she still needed to earn a living and pay their debts. Caspary even broke a twenty-year vow and took work from
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However, Caspary's conscience would not let her simply abandon causes. She continued to sign petitions, contributed money, wrote to congressmen and maintained her memberships in the
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was publishing it in the spring. J. Arthur Rank could only pay a fraction of what a Hollywood studio could pay for the rights, but Caspary didn't want the money; she wanted Igee.
515:, like Mayes in New York continually checked on the story's progress. Unfortunately, there were too many distractions for her to write in London, but luckily she had the loan of
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had increased her salary fivefold, Caspary was unhappy in Hollywood without Igee. Her work on a new novel was interrupted by preproduction on the doomed stage version of
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Following her father's death, the income from Caspary's writing was at times only just sufficient to support both herself and her mother, and during the
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741:. She reworked an idea that she had begun in Austria and that had been rejected in London, altering it to fit American situations, and to her shock
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for a British production, if she could be brought over to write the screenplay, thus putting into motion a plan involving two British ministries,
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193:, she had lived under an assumed name in a "working girl's home". In March 1929, she again quit her job to write full time, and her 1930 novel
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651:". Either way, the decision was made for them. The couple were preparing to leave for Europe, as Igee was negotiating a French remake of
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Taking advantage of their new-found success and status, the couple formed a production company, "Gloria Films", producing the comedy
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99:(November 13, 1899 – June 13, 1987) was an American writer of novels, plays, screenplays, and short stories. Her best-known novel,
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which was not published for two years due to a publisher's delay. When her mother fell ill, she took still another job writing a
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award for Best Written American Comedy, Mankiewicz was forced to share the award and credit with Caspary, the original adaptor.
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sent her packing back to Hollywood for another separation without a foreseeable end. Igee had to stay and finish the picture.
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In April 1939, Caspary used the profits of a Hollywood story sale to travel to Russia to "see how people lived" in what the
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Back in New York in 1932, Caspary was supporting herself and her mother writing magazine articles, including interviews for
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information, she tried to join the Army but was turned down. She had just met her future husband, a recent European émigré
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222:, a thinly veiled Roman á clef about her own family. Caspary was almost broke, but after bumping into a story editor from
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divorce, Igee traveled to visit his grown son in Switzerland and, while there, bought Caspary a small chalet in nearby
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146:. By 1922, she had turned down a raise from $ 50 to $ 75 to write from home and work on her first novel.
561:. To streamline the film, one wife was eliminated by Caspary, and when the script reached production,
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313:, the Russian ambassador to Britain, who would have been carrying the ill-fated Russian offer for "
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Caspary returned to New York after Igee's death, where she published eight more books, including
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577:. After living together for the better part of seven years, they were married within the week.
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with George Sklar, while waiting around for some meaningful war-related work to come from the
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166:. Once again leaving a job to write her own material, Caspary wrote her first published novel
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265:. She spent that summer in Hollywood, writing a treatment for Fox and working on a play with
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received good reviews, but by then even her publisher Liveright was feeling the pangs of the
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By this point in the Depression many intellectuals were flirting with Socialist causes, and
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s new editor, achieving a Bohemian lifestyle. Here she met lifelong friend and collaborator
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was set in a working girl's home. Moving back to Chicago, she co-wrote the play version
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new projects or remake old ones, finally inspiring Caspary to write a musical comedy,
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Emrys, A. B.: "All My Lives: Vera Caspary's Life, Times, and Fiction", Vera Caspary:
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Giffuni, Cathe. "A Bibliography of Vera Caspary," Clues, Vol. 16.2 Fall/Winter 1995.
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then considered important, would become a box office smash and a Hollywood legend?
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Being such a surprise to her family, Caspary was thoroughly spoiled as a child.
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503:"I should have never committed that murder", Caspary complained. The English
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wanted to put it on the stage, but no producer or backer would finance it.
205:, which featured an all-female cast and formed the basis for the 1931 film
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764:, a study of a group of frustrated amateur Communists; and the memoir
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931:. Norfolk, VA: Crippen & Landru, 2009. Collection of novelettes.
861:. NY: Harpers, 1957; London: W.H. Allen, 1957 (with dust-wrapper by
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The couple split their time between Hollywood and Europe. The novel
1388:"How the FBI Destroyed the Careers of 41 Women in TV and Radio"
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came out of retirement long enough to denounce it as obscene.
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story editor called and asked for another original just like
1021:. (as Sergei Marinoff) Chicago: Sergei Marinoff School, 1922
1475:, Vera, and Wilkie: Deep Sensation Roots of a Noir Novel".
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their playthings. A job was waiting for her; an old friend
636:-founded and funded and was part of the US government's
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destroyed day by day. The play ran for 44 performances.
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program, which overwhelmingly targeted women in media.
1517:"Obituary: Vera Caspary, Screenwriter and Novelist".
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and Caspary was again nearly broke. In March 1933, a
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open at the Q Theatre in London on January 30, with
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643:Hollywood in 1951 was the feeding ground for the
536:. Unfortunately the play was dreadfully miscast,
363:1942 found Caspary working on a dramatization of
1703:20th-century American dramatists and playwrights
929:The Murder in the Stork Club and Other Mysteries
749:; a deal was made for the 100-page treatment of
1582:"Dangerous Women: Vera Caspary's Rewriting of
1060:, (1935; contributor to treatment; uncredited)
980:Geraniums in My Window; a Comedy in Three Acts
956:"Stranger Than Truth", Colliers, Sept–Oct 1946
378:Producer Dorothy Olney had taken an option on
1528:Women's Film and Female Experience, 1940–1950
1487:(The Feminist Press: New York, 2005) 189-213.
1456:Current Biography Yearbook: Annual Cumulation
745:offered $ 150,000 for it. They wanted it for
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950:"Out of the Blue", Today's Woman, Sept 1947
849:. Boston: Little, Brown & Company, 1952
843:. Boston: Little, Brown & Company, 1950
1663:Jewish American dramatists and playwrights
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1683:American women dramatists and playwrights
1658:American people of Russian-Jewish descent
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757:died while they were in Vermont in 1964.
704:as her most enjoyable studio experience.
234:publishers gave her a $ 1,000 advance on
1653:American people of German-Jewish descent
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285:tried to interest Caspary by giving her
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944:"Marriage '48", Colliers, Sept–Oct 1948
174:correspondence course. While living in
1577:New York Times Obituary, June 17, 1987
1498:Theatre: Stage to Screen to Television
990:June 13; a Mystery-Drama in Three Acts
645:House Un-American Activities Committee
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1328:
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682:had purchased the rights to the book
667:. It was while working in Austria on
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795:. NY: J.H. Sears & Company, 1929
1728:20th-century American screenwriters
1698:20th-century American women writers
401:Meanwhile, every director who read
187:Gotham Life: the Metropolitan Guide
1458:. New York: H.W. Wilson Co. 1947.
623:women identified as communists in
79:Screenwriter, novelist, playwright
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1502:. Metuchen, NJ: Scarecrow Press.
185:By 1928, Caspary was writing for
913:. NY: Simon & Schuster, 1975
823:. Boston: Houghton Mifflin, 1945
815:. Boston: Houghton Mifflin, 1943
801:. NY: Sears Publishing Co., 1930
621:In 1950, Caspary was one of the
460:was running it as a serial, and
456:, which brought her to England.
1638:20th-century American novelists
1046:, (1934; story "In Conference")
789:. NY: The Century Company, 1929
1713:American women mystery writers
1161:I Can Get It for You Wholesale
1052:, (1934; story "Odd Thursday")
1:
1594:Clues: A Journal of Detection
1550:"Contemporary Authors Online"
1477:Clues: A Journal of Detection
1471:Emrys, A. B. (Spring 2005). "
953:"Stranger in The House", 1943
413:into buying the property for
1688:American women screenwriters
1494:Leonard, William T. (1981).
1411:Bibliographic Guide to Dance
841:The Weeping And The Laughter
835:The Murder in the Stork Club
1723:Screenwriters from Illinois
1355:Contemporary Authors. 2003.
1172:, (1951; screenplay; story)
1140:, (1946; novel; screenplay)
1068:, (1935; story; uncredited)
1034:, (1931; play "Blind Mice")
1019:A Manual of Classic Dancing
261:, which had been filmed as
120:causes. Caspary joined the
16:American writer (1899–1987)
1744:
1613:Internet Broadway Database
1454:"Current Biography 1947".
992:, w/ Frank Vreeland (1940)
919:. London: W.H. Allen, 1978
901:. London: W.H. Allen, 1971
887:The Man Who Loved His Wife
772:in New York City in 1987.
669:the musical adaptation of
474:had conceived the idea of
348:League of American Writers
344:Hollywood Anti-Nazi League
178:she was inspired to write
1668:Jewish American novelists
1526:Walsh, Andrea S. (1986).
1439:. New York: McGraw-Hill.
1193:The 20th Century Fox Hour
1088:, (1938; story "Suburbs")
1040:, (1932; story "Suburbs")
855:. London: W.H Allen, 1954
555:, filmed under the title
142:, and the New York-based
116:she became interested in
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1693:American women novelists
1435:The secrets of grown-ups
1413:. New York: Hall. 1981.
1343:Current Biography. 1947.
1050:Such Women Are Dangerous
1008:, w/ George Sklar (1947)
923:The Secrets of Grown-Ups
831:. NY: Random House, 1946
766:The Secrets of Grown-ups
567:Writers Guild of America
509:Murder at the Stork Club
476:Murder at the Stork Club
442:, the State Department,
1718:Novelists from Illinois
1708:Communist women writers
1153:A Letter to Three Wives
1100:Sing, Dance, Plenty Hot
925:. NY: McGraw Hill, 1979
737:and the ever-irascible
558:A Letter to Three Wives
489:Ministry of Information
288:The Communist Manifesto
770:St. Vincent's Hospital
528:Though the success of
424:
156:Dance Lovers Magazine'
1530:. Praeger Paperback.
837:. NY: AC. Black, 1946
807:. NY: Liveright, 1932
419:
164:Radio Lovers Magazine
144:Dance Lovers Magazine
140:Finger Print Magazine
90:(1948–1964) his death
1678:Jewish women writers
1643:Writers from Chicago
1584:Lady Audley's Secret
1218:, (1962; TV; writer)
1209:Bachelor in Paradise
1164:, (1951; adaptation)
1156:, (1949; adaptation)
1132:, (1946; adaptation)
1110:, (1941; screenplay)
1072:I'll Love You Always
1038:The Night of June 13
875:Bachelor in Paradise
602:Mercedes McCambridge
592:, and the film noir
563:Joseph L. Mankiewicz
552:Letter to Five Wives
263:the Night of June 13
1648:American communists
1592:by Laura Vorachek,
1224:, (1968; TV; novel)
1177:Give a Girl a Break
1107:Lady from Louisiana
828:Stranger Than Truth
799:Music in the street
383:Avenue across from
319:Court of St James's
315:collective security
226:, she came up with
195:Music in the Street
97:Vera Louise Caspary
71:New York City, U.S.
43:Vera Louise Caspary
1572:Allmovie Biography
1196:, (1955; episodes)
907:. NY: Pocket, 1972
895:. NY: Putnam, 1967
893:The Rosecrest Cell
889:. NY: Putnam, 1966
883:. NY: Putnam, 1964
871:. NY: Harper, 1960
805:Thicker than Water
762:The Rosecrest Cell
387:and began work on
247:Thicker than Water
236:Thicker Than Water
220:Thicker than Water
105:, was made into a
1673:Jewish socialists
1185:The Blue Gardenia
1129:Claudia and David
735:Columbia Pictures
511:, and its editor
480:Good Housekeeping
472:Good Housekeeping
458:Good Housekeeping
445:Good Housekeeping
352:Paramount Studios
299:proletarian novel
218:. She also wrote
176:Greenwich Village
162:, then editor of
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88:Isadore Goldsmith
55:Chicago, Illinois
52:November 13, 1899
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1521:. June 17, 1987.
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996:Wedding in Paris
974:Winifred Lenihan
881:A Chosen Sparrow
877:. NY: Dell, 1961
787:Ladies and Gents
743:20th Century Fox
665:Wedding in Paris
632:publication was
462:Houghton Mifflin
415:20th Century Fox
251:Great Depression
203:Winifred Lenihan
172:Charm and Beauty
168:Ladies and Gents
114:Great Depression
107:successful movie
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1148:, (1947; story)
1145:Out of the Blue
1124:, (1944; novel)
1116:, (1943; story)
1102:, (1940; story)
1096:, (1938; story)
1093:Service de Luxe
1082:, (1937; story)
1057:Hooray for Love
1044:Private Scandal
1028:
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941:"In Conference"
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723:Chicago Tribune
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671:Daddy Long Legs
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638:anti-communist
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538:Miriam Hopkins
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517:W. R. Hearst's
450:the Stork Club
440:J. Arthur Rank
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373:Igee Goldsmith
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65:June 13, 1987
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1609:Vera Caspary
1600:Vera Caspary
1593:
1587:
1583:
1553:. Retrieved
1545:
1527:
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1497:
1484:
1476:
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1428:
1410:
1403:Bibliography
1391:
1386:Kelly, Sam.
1381:
1376:Walsh. 1986.
1372:
1339:
1252:Emery. 2005.
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1000:Sonny Miller
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690:George Cukor
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598:John Ireland
593:
590:Ruth Warrick
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67:(1987-06-13)
25:Vera Caspary
18:
1633:1987 deaths
1628:1899 births
1596:28.2 (2010)
1079:Easy Living
1013:Non-fiction
917:Elizabeth X
859:The Husband
649:blacklisted
513:Ben McPeake
454:White House
311:Ivan Maisky
216:Gotham Life
191:Gotham Life
1622:Categories
1229:References
1065:Party Wire
970:Blind Mice
853:False Face
739:Harry Cohn
698:Gene Kelly
680:Sol Siegel
630:right-wing
500:as Laura.
271:Harry Cohn
199:Blind Mice
76:Occupation
48:1899-11-13
1555:April 30,
1464:0084-9499
1394:. Pocket.
1201:Les Girls
959:"Suburbs"
726:reviewer
694:Les Girls
685:Les Girls
617:Gray list
596:starring
594:The Scarf
586:Eve Arden
317:" to the
277:Communism
242:Hollywood
232:Liveright
224:Paramount
129:Biography
118:socialist
1548:(2003).
1431:(1979).
911:Dreamers
708:Time out
549:'s book
452:and the
409:bullied
395:Bedelia'
346:and the
150:New York
1611:at the
1588:Bedelia
1485:Bedelia
1137:Bedelia
820:Bedelia
751:Illicit
628:. This
436:Bedelia
428:Bedelia
390:Bedelia
1534:
1506:
1462:
1443:
1417:
1002:(1956)
986:(1934)
976:(1930)
847:Thelma
781:Novels
575:Annecy
380:Laura,
329:Hitler
325:Stalin
291:, the
283:Ornitz
259:Suburb
228:Suburb
84:Spouse
57:, U.S.
1473:Laura
1222:Laura
1216:Laura
1121:Laura
1006:Laura
998:, w/
982:, w/
964:Plays
869:Evvie
812:Laura
776:Works
715:Evvie
696:with
584:with
534:Laura
530:Laura
494:Laura
484:Laura
403:Laura
365:Laura
357:Laura
337:Laura
201:with
102:Laura
1604:IMDb
1557:2006
1532:ISBN
1504:ISBN
1460:ISSN
1441:ISBN
1415:ISBN
905:Ruth
700:and
600:and
588:and
524:Igee
62:Died
40:Born
1602:at
1586:in
972:w/
692:'s
634:FBI
610:MGM
255:Fox
1624::
1390:.
1360:^
1348:^
1325:^
1257:^
1237:^
375:.
360:.
321:.
238:.
1590:"
1559:.
1540:.
1512:.
1479:.
1466:.
1449:.
1423:.
865:)
717:,
447:,
50:)
46:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
