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Art!!" he repeated, and gave an angry growl. "Step on the mother! Kick her! That is art, they say. "Throw the mother's good, homemade chicken soup in the mother's face!" He threw an imaginary plate of soup in Freed's face. "Throw the little old lady down the stairs!" He threw himself in the direction of the American flag. "Knock the mother on the jaw!" He gave himself an uppercut to the chin. Love." Mayer paused and by his expression demonstrated, in turn, maternal kindness, sweetness, sacrifice, and love, and then glared at Freed and me. "Don't show the good, wholesome, American mother in the home. In a famous passage, Ross showed Mayer in high rant against the kind of moviemaking "Badge" represented:
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The movie had gritty death scenes and lacked the sentimentality that Mayer, a fan of Andy Hardy-type movies, most favored. "The Red Badge of Courage" is the story of a young soldier who runs from the battlefield during the Civil War. Ross turned her attention to the men behind the scenes. The 1951 film "The Red Badge of Courage" starred Audie Murphy, left. Ross focused on four main characters: John Huston, the charismatic director bent on making an artistic film Reinhardt, the budget-conscious producer Dore Schary, the hotshot executive who pushed for the movie and Mayer, the colorful studio chief who had serious doubts about its worthiness and commercial appeal. It's almost as though the subject material calls for that kind of form."ĭecades later, John Gregory Dunne, another astute chronicler of the movie business, praised "Picture" as "the first of that kind of book" that took readers inside the myth-making machinery of Hollywood. "I don't know whether this sort of thing has ever been done before," Ross wrote in a letter to Shawn soon after she arrived in Hollywood in August 1950, "but I don't see why I shouldn't try to do a fact piece in a novel form, or maybe a novel in fact form…. What had begun as a profile of the director was evolving into a broader story with such inherent drama that it was "like a novel unraveling right in front of me." She wondered: Why not write it like one? Given unprecedented access to the production and its principal players, Ross realized that she had a unique opportunity. "When Lillian Ross first came to Hollywood," the movie's producer, Gottfried Reinhardt, recalled in a Los Angeles Times interview in 1983, "Charlie Chaplin bowed at her feet. By the time Ross undertook her next major assignment, on the making of the movie "The Red Badge of Courage," she was a celebrity in her own right. "This piece is going to make journalistic history," Shawn predicted, and he was right. Her unvarnished approach did not offend Hemingway, who reviewed the text before it was published and, according to Ross, asked for only one change. ("He liked book" instead of "He liked the book"). Some readers thought Ross was ridiculing Hemingway when she quoted him talking in "jokey Indian language," a strange dialect that left out verbs and articles. The profile elicited an enormous response, not all of it positive. She showed him jovially sipping champagne with an old friend, the German American femme fatale Marlene Dietrich, whom he affectionately called "the Kraut." Later, Ross accompanied him as he moodily shopped for a coat at Abercrombie & Fitch, commented on Van Dycks and Titians at the Metropolitan Museum of Art, and lunched with venerable publisher Charles Scribner. Her 1950 profile of Hemingway was largely built around four scenes Ross witnessed when the great American novelist stopped in Manhattan on his way to Europe.
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He was famously profiled by Lillian Ross.