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Copyright © 2004 by Siegel & Siegel Ltd.
All rights reserved. No part of this book may be reproduced or utilized in any form or
by any means, electronic or mechanical, including photocopying, recording, or by any
information storage or retrieval systems, without permission in writing from the
publisher. For information contact:
Facts On File, Inc.
132 West 31st Street
New York NY 10001
Library of Congress Cataloging-in-Publication Data
Siegel, Scott.
The encyclopedia of Hollywood/Scott Siegel and Barbara Siegel; revised and updated
by Tom Erskine and James Welsh.
p. cm.
Includes bibliographical references and index.
ISBN 0-8160-4622-0 (alk. paper)
1. Motion picture industry—United States—Dictionaries. I. Siegel, Barbara.
II. Erskine, Thomas L. III. Welsh, James Michael. IV. Title.
PN1993.5.U6S494 2004
791.43′0973′03—dc22 2003014967
Facts On File books are available at special discounts when purchased in bulk
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Cover design by Nora Wertz
Printed in the United States of America
VB Hermitage 10 987654321
This book is printed on acid-free paper.
For Barbara—
She’s the winner of the Irving Thalberg Award for her sparkling
originality, the Jean Hersholt Award for her kindness and gentle
compassion, and (despite her ardent desire for Paul Newman) an Oscar
for most spectacularly lovable wife. She’s the star who makes everyone
shine in her presence, whose everyday script for life has more wit and
creativity than a Preston Sturges screenplay, and whose score for the
soundtrack of our lives provides the sweetest harmony since Max
Steiner. MGM might have had more stars than there are in the
heavens, but I’ve got the most brilliant, scintillating, and enduring star
of them all. Simply said, I’m proud to be her best boy.
—S.
For Scott—
He’s a man rich in qualities plentiful in the movies but rare in real
life. His selfless devotion, idealism, and high personal standards leave
no doubt that George Bailey lives on in his soul (as well as in Bedford
Falls). Being cast as Scott’s leading lady has made it easy for me to see
that It’s a Wonderful Life. His inventive mind, quiet intelligence, and
delightfully comic perspective are among the Paramount reasons why
these Twentieth Century writers have become two blissfully
United Artists.
Scott lassos the moon.
—B.
For the gals who have lit up our lives.
For fireworks forever.
—T. & J.
Acknowledgments
ix
Introduction
xi
Entries A to Z
1
Selected Bibliography
481
About the Authors
490
Index
491
we hasten to thank, however, first and foremost is Kate Kelly, whose editorial stew-
ardship, enthusiasm, and unflagging support proved her to be a writer’s ideal. In addi-
tion, Neal Maillet’s efficient and thoughtful efforts made a long and complicated
process both pleasant and worry-free; it was a pleasure to work with him. And we cer-
tainly must thank Michael Laraque for his heroic job of copyediting this substantial
volume.
Special thanks go to Albert J. LaValley, an inspirational professor (and friend) who
instilled in Scott an interest in a writing career and respect for movies as an art form. In
that same vein, heartfelt thanks are also offered to two hugely influential people: Roger
Greenspun and Leslie Clark.
We wish we had the space to detail the reasons why we’re thanking the friends listed
below, but suffice it to say that they were our movie partners, the people who shared that
special time with us between the coming attractions and the final credits: Gary Bordzuk,
Steve Bornstein, Doug Byrne, Heda and Steve (Chan Is Missing) Chazen, Rowena
Coplan, Mimi, Karen, and Laurie Dubin, Gene Grady, Lena Halpert, Claire (Hester
Street) Katz, Steve Kleinman, Rhoda Koenig, Allen (Burden of Dreams) Kupfer, Cliff
(Attack of the Star Creatures) Lacy, Maura Lerner, David Leverenz, David (The Road War-
rior) Luhn, Matt (Star Trek—The Motion Picture) Meis, Eric and Claudia Mink, Marna
(The Way We Were) Mintzer, Jeff (The Thin Man) Pollack, Jerry and Pat Preising, Nancy
Prestia, Stewart (Duck Soup) Scharfman, Carmine (The Godfather) Sessa, Howie (High
Sierra) Singer, and Terri Wall.
Mimi Dubin’s generous help in the area of costuming will be treasured as the very
fiber of true friendship; we tip an antique hat to her.
This book was greatly enhanced by the participation of scores of celebrated actors,
screenwriters, directors, producers, and composers; their cooperation is gratefully
acknowledged.
Finally, we owe a debt of gratitude to Shirley and Samuel Siegel, Clare and Samson
Teich, Lillian and Jack Goldberg, and Stephanie Tranen who took us to the movies when
we were too young to take ourselves. They were the first to introduce us to the images
of light and shadow that would so strongly shape our lives.
—Scott Siegel and Barbara Siegel
New York, NY
May 2003
And for the Revised Edition . . .
We also wish to thank a few scholars who came to our aid and assistance at the final
hour for the second edition: Michael Scott Peters of Salisbury University in Maryland
for writing the new entry on blaxploitation films; Carol Matthews, also of Salisbury
University, for updating the entry on teen movies; Rev. Gene D. Phillips of Loyola
University of Chicago for help with updating Fred Zinnemann; and, in particular,
John C. Tibbetts of the University of Kansas, who wrote fine updates for animation
and for all the major studios. We would also like to thank Dr. Connie Richards and Dr.
Timothy O’Rourke, dean of the Fulton School at Salisbury University, for academic
Acknowledgments
ix
x
arrangements that enabled us to work at close range in 2002 and 2003. For this sec-
ond edition, we add our thanks to editor James Chambers for his calm dedication to
an exceedingly difficult project.
—Tom Erskine
Portland, Maine
—Jim Welsh
Salisbury, Maryland
May 2003
THE ENCYCLOPEDIA OF HOLLYWOOD
Hollywood. The name conjures up images of dancing
pianos, shootouts at high noon, alien spaceships, and
just about any romantic, fantastic, or emotionally
wrenching sequence that could possibly be committed
to film. The Japanese might make better VCRs, the
Germans might make better beer, and the French
might make better lovers, but nobody makes better
movies than Hollywood, U.S.A. This book is both a
celebration of that excellence and a unique history of
the American film industry in encyclopedic form.
In the 16 years since the publication of the first edi-
tion of this book, we witnessed hundreds of stars soar-
ing and crashing and watched movies heralded for their
greatness that were immediately forgotten. From the
giddy excitement of having the Star Wars movies return
(then fizzle), to enjoying the evolving genius of Jim
Carrey and applauding the incredible growth of the
American independent movie, the changes in Holly-
wood have been momentous. It was time, therefore, to
bring those changes within the covers of this book.
In our research for the original edition, we discov-
ered a pattern that fit virtually all but the greatest of
film stars. With few exceptions other than icons, gen-
uine stardom for most leading men and women lasts no
more than five years. This is not to say that these stars
have not made a tremendous impact or that they have
faded into obscurity; it’s simply that their celebrity
burned bright for just half a decade.
Among those with more lasting appeal, consider Brad
Pitt, who was not in the original edition. He wasn’t dis-
covered by critics or the general public until his break-
through supporting role in Thelma & Louise in 1991, two
years after this book was initially published. And Pitt is
just one of an army of actors, directors, and producers
who are now part of this newly revised edition. Madonna,
John Malkovich, Wesley Snipes, Billy Bob Thornton, and
Bruce Willis are just a sampling of the names you’ll find
here. And, of course, major film personalities, from Tom
Cruise to Clint Eastwood and from Woody Allen to Bar-
bra Streisand, have been brought up to date.
With all the work involved in adding more than 15
years of research to this edition, we are pleased to
report that the principles that guided the original book
continued to prove sound. Therefore, in the pages that
follow you will find tens of thousands of facts, figures,
and tales of the fabulous, organized so that you can eas-
ily find the information that you seek.
The actors, directors, producers, screenwriters, edi-
tors, cinematographers, composers, choreographers,
studio histories, events, films, genres, job descriptions,
term definitions, etc. that you will find in this book were
chosen because they seemed to best form a representa-
tive collage of the American film industry from Thomas
Edison to the present. Most, if not all, of Hollywood’s
movers and shakers have been included within these
pages. If there is a bias in this book, however, it can be
found in the predisposition to include a tad more of the
old-timers than the new kids on the block. Our reason-
ing, quite simply, is that hot stars, directors, etc. can
come and go rather quickly. Someone who appears to be
the next Cary Grant may fall into obscurity two years
hence. Time is the ultimate test of the art of the film.
A word of advice. If you look up a person or a film
and discover there is no corresponding entry, check the
index. A great deal of information is folded into larger
categories. For instance, we elected to discuss a number
of people within the context of general thematic entries
rather than in individual biographies (e.g., The Ritz
Brothers can be found under Comedy Teams and
Thomas Mitchell under Character Actors). In short,
the index is the most valuable tool in this book and you
ought to consult it freely.
Speaking on behalf of ourselves and our collabora-
tors, we found the research and writing of this volume
both arduous and exhilarating. Whether reliving the
pleasure of a favorite old movie or discovering startling
facts about a new one, we approached all of our work
with the same sense of wonder that we felt when the
house lights suddenly dimmed and the magic began. It
is our deepest wish that The Encyclopedia of Hollywood
will touch that same emotion in you.
—Scott Siegel and Barbara Siegel
New York, NY
2004
Introduction
xi
STUDIO SYSTEM
a
film designated as an “A” movie featured one or more of a
company’s biggest stars, was handled by one of its best direc-
tors, and was given a great deal of promotion and publicity.
Examples of “A” movies are Queen Christina (1933), starring
GRETA GARBO
, directed by
ROUBEN MAMOULIAN
, and Mr.
Smith Goes to Washington (1939), starring
JAMES STEWART
,
directed by
FRANK CAPRA
.
“A” movies were the highlight of double bills, while “B”
movies, generally made on a much smaller budget with actors
who had a more modest appeal, were often thrown in as fillers.
Since the demise of the studio system, most first-run
films are considered “A” movies.
See also “
B
”
MOVIE
.
Abbott and Costello (Bud Abbott: 1895–1974, Lou
Costello: 1906–1959) One of the most popular comedy
teams of the sound era, Abbott and Costello enjoyed enor-
mous success in the 1940s and early 1950s before their brand
of inspired childish humor was supplanted by that of the
Dean Martin and Jerry Lewis team. Slender, streetwise Bud
Abbott was the straight man; the laugh maker was short,
round, and innocent Lou Costello. Their humor was hardly
sophisticated; yet it was decidedly verbal. Unlike such com-
edy teams as the
MARX BROTHERS
,
LAUREL AND HARDY
, and
even the
THREE STOOGES
, Abbott and Costello had virtually
no visual style—even their physical comedy consisted of little
more than Costello’s fumbling with his hat. But the team’s
clever vaudeville-type routines, with the pair bantering back
and forth and completely misunderstanding each other, have
become legendary.
William A. “Bud” Abbott’s parents worked as circus per-
formers, and they inspired their son to pursue a show busi-
ness career of his own. It was a long time in coming, however.
When Abbott was 15, he was shanghaied and forced to work
as a sailor on a boat heading for Europe. Throughout his 20s
and most of his 30s, he tried to make a career of entertain-
ment but without success. He had all but given up and was
working as a cashier at a Brooklyn vaudeville house in 1931
when a young comic named Lou Costello reported that his
partner was sick. Abbott filled in as Costello’s straight man
that night, and a new comedy team was born.
Louis Francis Cristillo, later known simply as Lou
Costello, had an odd assortment of early jobs that included
selling newspapers, soda jerking, and working in a hat shop.
At one time, he was a rather unlikely prizefighter. Deter-
mined to make it in show business, he quit the ring in the late
1920s and made his way to Hollywood. The best he could do,
though, was to become a stuntman, at one point assuming the
extraordinary responsibility of doubling for Dolores del Rio.
After joining up, the team honed their routines on the
vaudeville and burlesque circuits until they got their big
break in 1938, appearing on Kate Smith’s popular radio show.
They quickly became radio favorites, which led to their
appearance in the Broadway revue, Streets of Paris, with
CAR
-
MEN MIRANDA
.
Hollywood beckoned and Abbott and Costello were
hired by
UNIVERSAL PICTURES
as comic relief in an innocu-
ous musical called One Night in the Tropics (1940). Audiences
roared at the antics of the two comedians and Universal
promptly signed the team to a long-term contract. They
were the stars of their next film, Buck Privates (1941).
Buck Privates, a service comedy, was a huge hit and was
followed quickly by comic romps in two other branches of
the military in In the Navy (1941) and Keep ’em Flying (1941).
The pair made a total of five films in 1941 and their com-
bined success put Abbott and Costello among Hollywood’s
top 10 box-office draws. Except for the years 1945–47, they
would sustain that level of popularity until 1951.
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