TomJH

What I like about The Fountainhead has nothing to do with its story or screenplay, which people love to criticize. I enjoy the film for its fevered depiction of passion, as presented by director King Vidor. There's the famous stone quarry scene, of course, Cooper holding that phallic drill, as Neal eyes him from the top of the quarry, with Max Steiner's remarkable score beautifully conveying the animal desire transmitted between these two. There is also the scene, of course, in which Cooper later bursts into Neal's bedroom and rapes her. Well, maybe she's partially going along with it, as well, and we don't,of course, see the act. But we know, just as we knew in that moment in which Rhett carried Scarlet up those stairs in GWTW what was about to happen. And don't forget, too that this was Gary Cooper playing this very sexually aggressive role (at least in this scene), something that he had not dared to tamper with in regards to his wholesome screen image since Von Sternberg had cast him in Morocco almost two decades before. Every bit as remarkable as these two scenes, too, is the combination of direction, camerawork, editing, and, perhaps above all, Steiner musical accompaniment, of the virtuoso final sequence. That has Neal in the external construction company elevator ascending the outside of the towering building under construction. The city below falls dizzyingly away, becoming smaller and still smaller, the images of the building quickly slipping past the camera, as Neal peers around, downward and then looks upward. Steiner's magnificent score builds and builds, the music finally reaching a crescendo as the camera closes in on Cooper standing triumphantly at the top of the building. It's an emotionally overwhelming scene, if you allow it to be, symbolically ending with the two lovers about to be united - on top of the world. These scenes, in my opinion, are a masterful tribute to all studio craftspeople involved, but probably director Vidor deserves special mention for their effectiveness., But, also, not enough can be said for Max Steiner's powerful score, one of the composer's best, in my opinion. So while people love to tear apart Ayn Rand's take on individualism versus the collective philosophy, let's also not forget the impressiveness of the studio craftsmanship that makes a few of scenes of this admittedly uneven production memorable. No matter what you may think of Ayn Rand's novel or the film version of The Fountainhead, I think this closing sequence is a breath taking piece of virtuoso filmmaking excellence. And Max Steiner's score, particularly here, is quite magnificent.

I don't think that Lancaster makes much of an impression in Separate Tables, at least, not beside the wonderful characterizations of Deborah Kerr, David Niven or Wendy Hiller.

clore, I agree with your assessment about Cagney being misguided by insisting that old pal Frank McHugh would have benefited White Heat. The post war violence and realism of that Raoul Walsh film is still quite jolting. I think that McHugh's little comic shticks would have been out of place and a distraction more than anything else. To be precise, Cagney wanted his "Irish Mafia" pal for the role of Tommy Ryley, one of Cody's cellmates who escapes prison with him (and whom Jarrett eventually shoots in the back when he tries to surrender to the police in the film's climax): Here's a picture of character actor Robert Osterloh who played the Ryley part in the film: 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! Cagney seemed to have had mixed feelings about White Heat, naturally pleased at the film's success and continued popularity over the years but perhaps a bit embarassed by the film's violence, I think. It was largely the image that the public had of him but the actor preferred to be remembered for his song-and-dance films. (Certainly those were the ones from his career that he watched when they came on television, he later wrote). The actor's mixed emotions about White Heat are reflected by the following reference to it in his autobiography, saying "although utlimately it turned out to be a good picture in a number of ways, it was another cheapjack job." He refers to the film's limited shooting schedule (done in about six weeks, I believe, which does seem rather short) and the studio putting everyone in it that they could get for six bits. At that point he then has his complaint about film veteran McHugh not being included. Cagney says that the idea of having his hoodlum character being nuts was his suggestion. It was not a part of the original script. Even Cagney, though, as much as he may have disparaged White Heat at times, acknowledged that the last scene in the film was a great one. In any event, Raoul Walsh was a director who worked with his cast and tried to gain insights into his film's characters, if possible. Even though Walsh and Cagney only made four films together, three of them were outstanding in my opinion (White Heat, Roaring Twenties, Strawberry Blonde). For my money, Walsh was Cagney's most fortuitous collaboration with any director, though I know some would make a case for the great Michael Curtiz (Jimmy the Gent, Angels with Dirty Faces, Captains of the Clouds, Yankee Doodle Dandy). Excluding Rocky Sullivan in Angels, I don't really believe that Cagney's characterizations in Curtiz films have quite the same depth as to be found in the best of his Walsh films. Then, again, the scripts for Jimmy the Gent and Captains of the Clouds didn't exactly call for depth.

I particularly enjoy Lancaster when he was in full macho strut in a number of his earlier performances, especially during the '50s. From Here to Eternity was, I believe, the first performance he gave in whch he was able to bring some subtlety and vulnerability to a macho role. Vera Cruz may have his most self-parodying performance of his macho characterizations. There's that wonderful moment in which, playing an uncouth soldier-of-fortune with allegiances to no one but himself, Lancaster stands in front of a mirror, slicks back his hair and shows more teeth in a self satisfied smile than most dentist will ever see in a year. If ever there was a moment of pure ham with a wink at the audience, this moment is it.

Looking at Cagney's quote about the "faker of the first order" director to whom he referred was not in reference to LeRoy, at least not regarding Hard to Handle. He mentioned the fact that that director was involved in the filming of a best seller with a first rate cast involved. Cagney didn't actually say that he worked with the director himself, though you assume that would be the case. Just to persue the LeRoy possibility a little further, he was the director of Anthony Adverse, a hugely popular novel and one of Warner's biggest releases of 1936. This is just wild speculation, however, that LeRoy was the showboat director for whom Cagney had obvious contempt. The only major novel adaption that comes to mind for me in which Cagney was involved was, as I mentioned earlier, City for Conquest. However, Kazan's descriptions of the problems associated with director Litvak on the set of that film do not reflect Cagney's complaints about a "director" trying to take credit for the professionalism of a cast in which he largely left it up to them to just do their thing. Litvak, by contrast, sounds like he was too controlling for Cagney's liking, at least, according to Kazan. I know that Cagney was so disappointed by the final film produced that he sent a letter of apology to Aben Kandal, the author of City for Conquest.

Jim, I believe that Cagney only worked with LeRoy twice, the first time being 1933's Hard to Handle, ironically the film that I had just reviewed a week ago or so.

I hadn't heard that Cagney had problems with Mervyn LeRoy, mrroberts. Looking at Cagney's autobiography and his reference to Mister Roberts (which he called a very easy film for him to make) he only refers to John Ford and, even then, says nothing about the friction that he had had with Pappy at the beginning of the production. One director that I know Cagney had problems with was Anatole Litvak, during the filming of City for Conquest. The following comes from TCM's writeup on that film: "City for Conquest is far more entertaining than it has any right to be. But it might have completely faded into the mists of movie history were it not for one of Cagney's co-stars- a young actor named Elia Kazan, who, of course, would go on to become a groundbreaking stage and screen director. Kazan wrote rather extensively about his work on City for Conquest in his autobiography, Elia Kazan: A Life. During the filming he learned a great deal about on-set politics while observing the battle of wills between Cagney and Litvak. "The crew liked and respected Cagney," Kazan wrote. "They were off the street too but they didn't like the way Tola spoke to them, and Jimmy didn't either. Tola had an abrupt way of giving orders, was always dominating and impatient with objection and error." Kazan also noted Litvak's unorthodox shooting technique, which consisted of filming as much of the scene as possible in one, catch-all take, via a panning camera that was being pushed on a dolly. This required the actors to hit scores of marks during a single scene. Locating sundry chalk lines on the floor soon began to overtake the all-important rehearsal process, and it drove Cagney to distraction. Cagney, however, would get his revenge while shooting the picture: "In his quiet way (Cagney) made Tola eat dirt. In the last scene of the film, Jimmy had a heavy scar over one eyebrow, the kind prizefighters acquire. It was carefully put on by a makeup man in the morning." Cagney would work with his usual intensity all day long, but when quitting time approached, he was done. "Toward the end of the afternoon, Cagney, whose contract specified that he was through at five-thirty, would look at his watch, and if, in his opinion Cagney's, not Tola's, not the cameraman's there wasn't enough time to get the shot the electricians were preparing, Jimmy would pull off the scar and so bring the day's work to a close. He'd walk off the set without a word to Litvak." Kazan grew to admire Cagney while working on the picture. "Jimmy was a completely honest actor," he wrote. "I imagine he'd have figured out each scene at home, what he'd do and how he'd do it, then come to work prepared. But what he did always seemed spontaneous." Kazan viewed Cagney as something of a natural: "He had no schooling in the art of acting, although he had tremendous respect for good actors. If the Actors Studio had existed then, I'm sure he would have despised it...Jimmy didn't see scenes in great complexity; he saw them in a forthright fashion, played them with savage energy, enjoyed his work." Anatole Litvak 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! City for Conquest

As a followup on my previous observation of the need that I believe Bogart had for a strong director to produce his best work, I would like to quote some pretty fascinating observations on the subject of directors made by James Cagney in his autobiography: "With some Hollywood years under my belt, I have obviously had quite a series of experiences with directors. Directors, like human beings, come in all sorts: very talented, talented, quasi-talented, untalented. . . . Directing I find a bore. I have no interest in telling other people their business. And that is just the heart of the director's job. . . . During most of my Hollywood time the directing business was not overcrowded with geniuses. My idea of a director was theater-derived: one who could get in and show the actor all the specifics if needs be, all moves, all intonations. In other words, a director, one capable of directing you to do just what was required. With the exception of Billy Wellman, Raoul Walsh, Bill Keighley, and their kindred, there were few directors I met who knew what they were doing in front of a camera to demonstrate. There was no reason why they should, of course. They probably never acted in their lives. But I always felt safer somehow with a director who knew first hand what the actor's job was like. One time, having heard that I was a bit difficult (something I admit to being when I strive to get a thing right), a director I know decided to put me in my place. After I finished a scene I noticed he was looking at the ground. He paid no attention to what we were doing in the shot. I said, "Let's go again," and we did. Same as before. He sat there, eyes on the ground. "Uh huh," I said to myself, "I see. Alright." The next time I played the scene just as written without adding an iota of imagination to help it along. We went through that night, and the next day, in that fashion. I did nothing more than say the words and do the action only as required in the dialogue. On the third day, Darryl Zanuck appeared. He asked me what the matter was, and I said, "Nothing." "Come on now. There is something the matter." "No, no. I'm just doing it as required. I'm playing the script just as written." "Now that isn't what we want," Zanuck said, in unconscious revelation, "Get with it, boys." He left the set, and the next day the director came in, nice as pie, and there was no further trouble. This director and I became good friends and we worked together several times after that without the slightest difficulty. Direction, I've always held, is implicit in the writing. One doesn't go to the post with a bad script if one can help it. If the script is right, the direction is all there, implicit in the writing. Consequently whenever I hear much ranting and roaring about this, that, or the other great director, I will admit there are some directors who are imaginative, who can get the most out of their material. Hawks, Wellman, Walsh, Keighley, Curtiz, Del Ruth, Ford, and others were all expert and did their job to the fullest. But many directors are just pedestrian, mechanics. Ostensibly they choose camera angles and on occasion they do, but I've often seen cameramen take over when needed. The director would indicate where he wanted it, and quietly the cameraman would indicate to his assistant a spot one good foot off the director's mark. Then the cameraman would turn to me, wink, and walk away. There are some directors I've seen, and with great reputations, who couldn't direct you to a cheap delicatessen. One fella, a faker of the first order, developed a highly workable technique to impress the front office. Having at least the shrewdness to get a best seller for a start and the best actors available, he'd let them all do the work, and fine work it would be. Then, to associate himself tangibly with all this, this "director" as the cameras were turning would walk into the set and say, "All right, come on now, kids - give me lots of heart!" Then he'd turn around, walk out, and say "Action!" The action promptly ensued, and very good action it would be. Then, just before he said "Cut," he strolled back into the scene to say, "All right, that's fine. Very good scene. You gave me everything I needed, kids. Just what I wanted. Cut!" The big bosses would look at these rushes with this gentleman's self-serving little prologue and epilogue, and come to the conclussion that he was quite a guy. This man, by the way, who in my view was a distinct failure as a director, failed himself right into a fortune." I'd sure love to know the name of that last well well known director to whom Cagney referred. The way Cagney describes him makes me think of Jack Buchanan's performance as the stage director imploring all his "kids" to give him something "great" in MGM's The Band Wagon. Cagney on the set of A Lion Is In the Streets, his last film with director Raoul Walsh, who is handling the rifle. That's sister Jeanne and brother Edward sharing the shot with the actor. Walsh, a former cowboy before coming to Hollywood, knew a thing or two about guns. He was the real deal, one of the directors whom Cagney respected and regarded as a friend. Cagney would later write a forward to Walsh's autobiography, Each Man in His Time.

Humphrey Bogart, Family Man Image is everything, as Bogart poses with Lauren Bacall and son Steven, circa 1949. The marriage to fourth wife Bacall unquestionably had a positive impact upon the life of the screen tough guy, who had been trapped in a hard drinking, dysfunctional, self destructive marriage to third wife and frequent hubby battler Mayo Methot. (Bogie liked to needle people when drinking, some saying his comments could be cruel, while Mayo could be a really ugly drunk, inclined towards physical violence, at times). Bogart's favourite pastimes had been drinking in night clubs through the night, and sailing on his yacht. This would continue throughout the Bacall marriage. He remained an alcoholic who (unlike some other famous film boozers) had enough self control that he didn't let his drinking affect his screen work, a fact in which he took great professional pride. Dave Chasen, however, owner of Chasen's night club, said of the actor who hoisted more than a few glasses in his establishment over the years, "Bogart's a hell of a nice guy until around 11:30pm. After that he thinks he's Bogart." Bogart became a star relatively late in life, in his early '40s. Legendary as he may be today, the fact still remains that his best performances were when he had the guidance of strong directors, be it Michael Curtiz, Raoul Walsh, Nicholas Ray or, in particular, John Huston. That doesn't make him unique, of course. The same is true of many other stars, as well. EDIT: I must add that on those occasions when Bogart gave those great performances with the above named directors he also had the benefit of very strong scripts, of course. Edited by: TomJH on Nov 2, 2013 9:50 AM

Maybe that's why Burt's smiling so much. He knows he looks better.

For those who don't normally associate Burt Lancaster with comedy, here are a couple of glimpses of Burt as a Friar's Club temptress (along with fellow hot temptress Bob Mitchum) at the LA Shrine Auditorium in 1950:

Great shot of Billy Wilder directing one of the classic moments of comedy from Some Like It Hot, Mongo. I love it!

Dothery, since you're a fan of Jack Carson, here's a link to a thread on the message boards last year that was devoted to him: http://forums.tcm.com/thread.jspa?messageID=8665202 Mongo, I hope you don't mind this link being placed on your own thread.

Everybody sing! It's 1942, and Der Bingle appears to be leading the way, along with Hedy Lamarr, Jimmy Cagney and Kay Kyser at the piano. Well, they certainly look like they're having a good time: that's a muscular Bert Lahr (sans his Cowardly Lion outfit) showing off his bare chested physique to Oliver Hardy, Bing Crosby and a clearly awe-struck James Cagney.

A gathering of filmland luminaries of the silent era at Joseph Schenck's home in 1925, honouring Rudolph Valentino having signed on with United Artists: Clockwise from left: William S. Hart, Norma Talmadge, Hiram Abrams, Douglas Fairbanks, Peg Talmadge, Allan Forrest, James Hood MacFarland, Buster Keaton, Mary Pickford, Charlie Chaplin, Charlotte Pickford (Mary's mother), Joe Schenck, Natacha Rambova, Sydney Chaplin, Rudolph Valentino, Constance Talmadge, John Considine, Lottie Pickford, and Arthur Kelly. Of all these many giant stars of the silent cinema pictured here, only Chaplin would have a career that would continue to thrive with the arrival of talkies two years later.

Charlie Chaplin and George Bernard Shaw at London's Dominion Theater in 1931.

With all this talk about how hard to handle Tracy was, I just finished watching an old TCM recording that I had of a James Cagney film with that title, Hard to Handle. This was a film released in one of the actor's busiest years, 1933. This was one of those typical mile-a-minute pre-code comedies, which moved faster and then still faster hoping that the audience didn't notice that the film had almost no story. Cagney is a joy, of course, as a wheeler dealer, constantly coming up with get-money-fast schemes, ranging from promoting a dance marathon (the film's fun opening sequence, which includes Allen Jenkins as the master-of-ceremonies) to an 18 day grapefruit diet fad (and, oh, how the script writers were clearly making inside reminders of the actor's previous famed connection with that same fruit, courtesy the hapless face of Mae Clarke just two years before in Public Enemy). 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! Cagney was known for his many hand gestures in scenes throughout his career but I doubt that there are many, if any, other films in which he indulges in them quite so much as in Hard to Handle. He's in constant hand motion in this film, rubbing them, pointing with them, waving them, making finger gyrations in the air even when he's in a clinch with his leading lady. The actor was known for his spontaneous "bits of business," anything he could add to a scene to spruce it up, and he appears to be in full sprucing up mode in this production. Also throughout the film, after frequently receiving an "Owww" from leading lady Mary Brian after kissing her a little too hard, Cagney's justifies it by pointing at her and exclaiming "That's love!" Anyone ever notice how seemingly "vacant" Cagney appears to be in any real life photos taken of him, particularly in his early Hollywood period? That's because we are so used to seeing him with all the eye shadow that Warners makeup personnel used to pile on him. (MGM tough guy heart throb Clark Gable had much the same thing). Well, in this film Cagney's eye shadow seriously competes in darkness with that of his leading lady, normally a brunette, her hair dyed blonde in this film (or is that a wig?). As much fun as Cagney is to watch, the film comes close to being stolen from him by Ruth Donnelly, who plays Brian's blatantly gold digging momma, always ready to do whatever scheming she must in order to get her little girl to marry into money (with Momma perhaps gaining from that, just a tad, as well). Donnelly is frequently hilarious, whether adopting a hoity toity English accent as she sells apartment furniture ("Chippendale" she beams over a chair that could have been thrown together by a carpenter living next door) that doesn't belong to her, or she is listening to a conversation at a key hole, falling face forward into the room when the door is suddenly opened. Donnelly's dialogue delivery is almost as fast as Cagney's, and it's fun to watch these two great pros banter with one another. After haggling over some money Cagney owes her, he then assures her, "You stick with me and I'll put a gold spoon right in your kisser." Donnelly reponds, "You better come back with that 500 bucks or I'll put my foot right in your kisser!" Cagney then points at her feet and shoots back, "My mouth ain't that big!" He laughs and giggles, escaping out a window, as Donnelly charges across the room at him. Aside from the comedic escapist elements of Hard to Handle, this kind of film must have been a tonic for depression weary audiences, watching the high energy actor playing a fast talking street guy doing whatever he can (within the law but, perhaps, skimming along the edges of it, as well, if necessary) to make some money because, well, those were times that called for it. Cagney's high energy level and little boy charm would always win an audience over in these small comedies, even if his actions were a little larcenous, at times. Clearly, Hard to Handle was a quickie, and it's no masterpiece. But director Mervyn LeRoy keeps this film in full speed again drive, propelled by his star's performance. This is the kind of larky little comedy that so helped to distinguish Cagney's pre-code period, an unpretentious phase in his career which the actor himself would later largely disparage but which contains little nuggets of comedic joy for viewers willing to invest a little of their time. This is one of those moments in which "Momma" Ruth Donnelly is obviously on Cagney's side. And just look at the face of that cocky mutt of an actor!

Thanks, clore, and, yet, still ANOTHER version of what happened, this time blaming Spencer Tracy's drinking as a cause for his getting sacked from the film. I have heard, though , that, alcohol caused or not, Tracy was late to the set (something like six days) and generally unprofessional. He had been difficult while making Bad Day at Black Rock, as well, just before Tribute to a Bad Man.

CB, here's an article from the Greenbriar website, trying to sort fact from the fiction, stating that director Robert Wise had Tracy fired from Tribute to a Bad Man and saw the actor break down in front of him over it: http://greenbriarpictureshows.blogspot.ca/2009/12/tribute-to-bad-men-and-changing-times.html At the same time here is a TCM article about the film which supports your statement that Cagney was hired to help Tracy. http://www.tcm.com/tcmdb/title/93915/Tribute-to-a-Bad-Man/notes.html The same article is a bit ambiguous as to the reason for Tracy's departure but makes no reference to his being fired. My question: Assuming (and many sources say this was the case) Tracy was fired and Cagney hired afterward, just how was Cagney helping his old friend by stepping in after he was already gone from the production? The reality is that with different books having different accounts of what occurred, not to mention different internet sources, it becomes a real challenge to sort the wheat from the chaff. There are also, apparently, two versions of a Mister Roberts DVD, one mentioning Ty Power and the other not. You didn't say that the DVD actually said Power was offered the title role for the 1955 film, or, at least, considered for it. If it does, this is the first I have heard of it. In the overall scheme of things, this is much ado about little, I suppose. It points out, however, the frustration, at times, in trying to know the true facts about an incident or casting in a film. If a false statement is repeated enough times, it may be regarded, with time, as "fact." I am sometimes leery of blindly repeating what others have said because it may have nothing to do with reality. A "fact," for example, that appears all over the internet and was once stated by Robert Osborne while introducing a film was that Michael Curtiz, director of Casablanca and Yankee Doodle Dandy, among many others films, was briefly married to French actress Lili Damita during the 1920s. Damita later went on to have a highly tumultuous marriage to Errol Flynn, who was, ironically, directed countless times by the same Curtiz (Robin Hood, among other films). Interesting except for one thing. There is no documentary evidence that I have ever seen that Curtiz and Damita were married. Nor is there a single quote in existence from any one of Curtiz, Damita or Flynn about a marriage between the director and actress. Yet the Curtiz-Damita "marriage" is broadcast loudly all over the internet. Not for a single second do I believe this "fact" to be true. Others, however, don't challenge it, or more likely, don't think to challenge it, and, therefore, make casual reference to the marriage (that never was, I more than strongly believe).

No offense, CB, but I see so many statements listed as "fact," particularly on a message board such as this, that it's always nice to see, if possible, the original source for a statement, particularly if it's one that I find questionable. I also realize that sometimes you think you read or hear things and have a difficult time afterward being able to verify the statement. I've been guilty of the same thing myself. Aside from the fact that I've never seen any reference anywhere of Cagney accepting the role in Tribute to a Bad Man as a way to help out Tracy, Cagney himself made no reference to it either in his autobiography, saying only that it was an offer he accepted from MGM after his friend had taken ill. (Again, since Tracy was actually fired from the project, I think Cagney was being kind to an old friend's memory by not mentioning that fact). I have the Mister Roberts DVD, as well. It says that Marlon Brando and William Holden were the two actors either offered or considered for the title role in the film project before Henry Fonda was signed. There is no mention at all of Tyrone Power who, as you say, had enjoyed a success in London in 1950 when he played the role on stage.

How about actors who are dubbed in non-singing parts? Memory tells me that Alexander Knox's voice was dubbed in You Only Live Twice when he played the U.S. President. What, he didn't sound "American" enough? That hadn't stopped them from allowing him to use his own voice years before when he had played Woodrow Wilson.

It's interesting that while Humphrey Bogart and James Cagney had only a professional relationship with one another, never socializing in their private lives, they both had a good mutual friend in Spencer Tracy. It was Tracy was had gotten Cagney interested in accepting the role of the Captain in Mister Roberts at a time when there was talk of Tracy playing "Doc" in the film, and Tracy was one of Bogie's final visitors, seeing him the day before his death. There were presumably other people that the two celebrated screen tough guys had in common as friends, but, off hand, Tracy is the only one that comes to mind.

>Tom, I remember reading that Tracey wanted Cagney to take his place in BADMAN because he wasn't well. CB, I don't know your source for that statement but that is not my understanding of the situation, at all. Tracy was fired from Tribute to a Bad Man for his unprofessional behaviour (it's possible there were a few problems with his breathing at high altitudes but the illness story was put out by the studio at the time, it appears, to lessen the embarassment for the actor), and MGM turned to a other few actors (Gable and Gregory Peck, among them, I believe) before Cagney agreed to sign on to the project. Nor have I ever heard that Tyrone Power was ever offered the lead in the film version of Mister Roberts. I really have to question your memory on that one, unless you can provide a source. I wish I could remember my own source, though, in reference to my statement about Tracy being a bit disllusioned with Cagney's conservative politics.

The original casting of the lead for Tribute to A Bad Man had been Spencer Tracy. Accounts vary as to what happened. TCM has a writeup stating that Tracy had been primarily interested in working on the project because Grace Kelly was going to be on it. When Kelly backed out after reading the script, replaced by newcomer Irene Papas, Tracy apparently lost much of his interest in appearing in the film. He was late to the film set, which was on location in the Colorado Rockies, complained of the altitude, even asking for the set to be re-built at a lower altitude for his weak lungs. The official MGM press release in 1955 stated that Tracy left the project due to health reasons. In 1962 a Look magazine interview with former MGM employee Frank Merrick, however, stated that Tracy had been fired from the project. There are reports that the actor, in shock at the firing, was reduced to tears at the time, fearing that his career was over (which, of course, was far from the case). When James Cagney made reference in his autobiography to appearing in the film he held to the old MGM line that Tracy had been ill. Possibly he was being kind to an old friend by making that statement. Assuming that Tracy had, in fact, been fired from the film, I have to wonder if it impacted his friendship with Cagney to any degree when the latter stepped in as replacement (particularly if the reports of Tracy being so emotional that he cried over the firing are true). Somewhere (and I can't recall the source, unfortunately) I read that as the years passed the politically left leaning Tracy had also become a little disenchanted with Cagney's politics, which turned increasingly more conservative. Cagney, by the way, came onto the project too late to work with a recent co-star of Bogart's from The Caine Mutiny. Robert Francis was killed in a plane crash during production before Cagney came aboard. His scenes had to be scrapped, replaced by newcomer Don Dubbins.

Thanks very much, Thelma, for the depth of your analysis. The fact that two different contractors had identical experiences with their peripheral sightings and then saw a fast moving blur in the air when they briefly managed to catch a full sight of something (an entity?) has always made me wonder about it. It was only by chance that one of the contractors mentioned what he saw to the other one and they then realized they had both had repeated experiences with the same phenomena. I didn't realize, however, that a room full of cables and electrical wiring would also have a greater opportunity for a possible sighting. I have to add, though, that I was in that same telephone control room hundreds of times over the years without detecting anything unusual. My times there, though, would have been during regular daylight hours, rather than the "witching hours" to which you referred. You mentioned the fear that some dogs have of a basement. Certainly my dog refuses to go into my basement (where the suicide occurred years ago and where my friend claimed that she detected two entities). My pooch plops himself down at the top of the stairs and refuses to come down, no matter how much I try to coax him. Mind you, my dog is such a chicken by nature about everything he should be sporting a beak and feathers, anyway. I'm amazed by the various forms that ghosts can take, everything from blurs in the air, such as this recent illustration from my workplace, to poltergeists to a transparent being visible only to some to what appears to be a full bodied person that will actually speak to someone, who, in turn, might not realize that he is addressing a spirit.