Edna Ferbers Hollywood

Edna Ferber's Hollywood reveals one of the most influential artistic relationships of the twentieth century--the four-decade partnership between historical novelist Edna Ferber and the Hollywood studios. Ferber was one of America's most controversial popular historians, a writer whose uniquely feminist, multiracial view of the national past deliberately clashed with traditional narratives of white masculine power. Hollywood paid premium sums to adapt her novels, creating some of the most memorable films of the studio era--among them Show Boat, Cimarron, and Giant. Her historical fiction resonated with Hollywood's interest in prestigious historical filmmaking aimed principally, but not exclusively, at female audiences. In Edna Ferber's Hollywood, J. E. Smyth explores the research, writing, marketing, reception, and production histories of Hollywood's Ferber franchise. Smyth tracks Ferber's working relationships with Samuel Goldwyn, Leland Hayward, George Stevens, and James Dean; her landmark contract negotiations with Warner Bros.; and the controversies surrounding Giant's critique of Jim-Crow Texas. But Edna Ferber's Hollywood is also the study of the historical vision of an American outsider--a woman, a Jew, a novelist with few literary pretensions, an unashamed middlebrow who challenged the prescribed boundaries among gender, race, history, and fiction. In a masterful film and literary history, Smyth explores how Ferber's work helped shape Hollywood's attitude toward the American past.

Edna Ferber’s Hollywood reveals one of the most influential artistic relationships of the twentieth century—the four-decade partnership between historical novelist Edna Ferber and the Hollywood studios. Ferber was one of America’s most controversial popular historians, a writer whose uniquely feminist, multiracial view of the national past deliberately clashed with traditional narratives of white masculine power. Hollywood paid premium sums to adapt her novels, creating some of the most memorable films of the studio era—among them Show Boat, Cimarron, and Giant. Her historical fiction resonated with Hollywood’s interest in prestigious historical filmmaking aimed principally, but not exclusively, at female audiences. In Edna Ferber’s Hollywood, J. E. Smyth explores the research, writing, marketing, reception, and production histories of Hollywood’s Ferber franchise. Smyth tracks Ferber’s working relationships with Samuel Goldwyn, Leland Hayward, George Stevens, and James Dean; her landmark contract negotiations with Warner Bros.; and the controversies surrounding Giant’s critique of Jim-Crow Texas. But Edna Ferber’s Hollywood is also the study of the historical vision of an American outsider—a woman, a Jew, a novelist with few literary pretensions, an unashamed middlebrow who challenged the prescribed boundaries among gender, race, history, and fiction. In a masterful film and literary history, Smyth explores how Ferber’s work helped shape Hollywood’s attitude toward the American past.

A larger-than-life narrative of the making of the classic film, marking the rise of America as a superpower, the ascent of Hollywood celebrity, and the flowering of Texas culture as mythology. Featuring James Dean, Rock Hudson, and Elizabeth Taylor, Giant is an epic film of fame and materialism, based around the discovery of oil at Spindletop and the establishment of the King Ranch of south Texas. Isolating his star cast in the wilds of West Texas, director George Stevens brought together a volatile mix of egos, insecurities, sexual proclivities, and talent. Stevens knew he was overwhelmed with Hudson’s promiscuity, Taylor’s high diva-dom, and Dean’s egotistical eccentricity. Yet he coaxed performances out of them that made cinematic history, winning Stevens the Academy Award for Best Director and garnering nine other nominations, including a nomination for Best Actor for James Dean, who died before the film was finished. In this compelling and impeccably researched narrative history of the making of the film, Don Graham chronicles the stories of Stevens, whose trauma in World War II intensified his ambition to make films that would tell the story of America; Edna Ferber, a considerable literary celebrity, who meets her match in the imposing Robert Kleberg, proprietor of the vast King Ranch; and Glenn McCarthy, an American oil tycoon; and Errol Flynn lookalike with a taste for Hollywood. Drawing on archival sources Graham’s Giant is a comprehensive depiction of the film’s production showing readers how reality became fiction and fiction became cinema.

Depicts the fears, setbacks and daily struggles of aspiring young actors and actresses, and, for the very few, stardom and success.

Edna Ferber (August 15, 1885 - April 16, 1968) was an American novelist, short story writer and playwright. Her novels were especially popular and included the Pulitzer Prize-winning So Big (1924), Show Boat (1926; made into the celebrated 1927 musical), Cimarron (1929; made into the 1931 film which won the Academy Award for Best Picture), and Giant (1952; made into the 1956 Hollywood movie). Ferber's novels generally featured strong female protagonists, along with a rich and diverse collection of supporting characters. She usually highlighted at least one strong secondary character who faced discrimination ethnically or for other reasons; through this technique, Ferber demonstrated her belief that people are people and that the not-so-pretty people have the best character. In this book: Cheerful--By Request, 1918 Fanny Herself, 1917 Buttered Side Down, 1912 Gigolo, 1922 One Basket, 1947 Half Portions, 1919 Dawn O'Hara, The Girl Who Laughed, 1911

So Big is a 1924 novel written by Edna Ferber. The book was inspired by the life of Antje Paarlberg in the Dutch community of South Holland, Illinois, a Chicago suburb. It won the Pulitzer Prize for the Novel in 1925. The story follows the life of a young woman, Selina Peake De Jong, who decides to be a school teacher in farming country. During her stay on the Pool family farm, she encourages the young Roelf Pool to follow his interests, which include art. Upon his mother's death, Roelf runs away to France. Meanwhile, Selina marries a Dutch farmer named Pervus. They have a child together, Dirk, whom she nicknames "So Big," from the common question and answer "How big is baby? " "So-o-o-o big!". Pervus becomes ill and dies, and Selina is forced to take over working on the farm to give Dirk a future. As Dirk gets older, he works as an architect but is more interested in making money than creating buildings and becomes a stock broker, much to his mother's disappointment. His love interest, Dallas O'Mara, an acclaimed artist, echoes this sentiment by trying to convince Dirk that there is more to life than money. Much later in life, Selina is visited by Roelf Pool, who has since become a famous sculptor. Dirk grows very distressed when, after visiting his mother's farm, he realizes that Dallas and Roelf love each other and he cannot compete with the artistically minded sculptor. In the end, Dirk comes to appreciate the wisdom of his mother, who always valued aesthetics and beauty even as she scraped out a living in a stern Dutch community. Ultimately, Dirk is left alone in his sumptuous apartment, saddened by his abandonment of artistic values.

Before she tried to be a good woman she had been a very bad woman ' so bad that she could trail her wonderful apparel up and down Main Street, from the Elm Tree Bakery to the railroad tracks, without once having a man doff his hat to her or a woman bow. You passed her on the street with a surreptitious glance, though she was well worth looking at ' in her furs and laces and plumes. She had the only full-length mink coat in our town, and Ganz's shoe store sent to Chicago for her shoes. Hers were the miraculously small feet you frequently see in stout women. Also includes "The Gay Old Dog," "That's Marriage," "Farmer in the Dell," "Un Morso doo Pang," "Long Distance," "The Maternal Feminine."

This volume includes "The Frog and the Puddle," "The Man Who Came Back," "What She Wore," "A Bush League Hero," "The Kitchen Side of the Door," "One of the Old Girls," "Maymeys from Cuba," "The Leading Lady," "That Home-Town Feeling," "The Homely Heroine," "Sun Dried," and "Where the Car Turns at 18th."