By Peter Ford
Glenn Ford: A Life chronicles the risky existence, relationships, and profession of the well known actor, starting together with his circulation from Canada to California and his preliminary discovery of theater. It follows Ford’s profession in diversified media—from movie to tv to radio—and exhibits how Ford shifted without difficulty among genres, enjoying significant roles in dramas, noir, westerns, and romances.
This biography by way of Glenn Ford’s son, Peter Ford, bargains an intimate view of a star’s inner most and public existence. incorporated are specific interviews with relatives, acquaintances, affiliates, and snippets from the Ford family members choice of diaries, letters, audiotapes, unpublished interviews, and infrequent candid images. This biography tells a cautionary story of Glenn Ford’s relentless infidelities and lengthy, sluggish fade-out, however it additionally embraces his talent-driven profession. the result's an genuine Hollywood tale that isn’t afraid to bare the truth.
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Extra info for Glenn Ford: A Life
Ryllyn would have to grab a microphone backstage and speak the lines live. "It was a major flop, " he remembered. "We opened and closed in two days. Frankly, I don't know how we managed to go that long. ryllyn chose to stay in New York and look for another job. Nothing worked out, however. In New York he was no longer the bright star of the Santa Monica theater or the young hopeful with a show opening. He was just another out-of-work actor among thousands of experienced pros looking for a break.
At last, flanked by flunkies, strutting and glowering like a summer stock copy of Erich von Stroheim, Ricardo Cortez arrived. " "Mr. " my father said, clearing his throat. "Uh ... " "Yes, that's right," said Cortez. T he director backed up and raised his voice to address the entire cast and crew. "I want you all to know," he began, "they have stuck me with this guy in the lead. I didn't want him. I 25 wanted a real actor for this thing and not some unknown amateur. " My father stood there, almost sick with anger and humiliation.
In those seven years he had produced no fewer than eighty movies, including various musicals, mysteries, comedies, dramas, and assorted entries in the Mr. Ivfoto and Charlie Chan series. With the possible exception of a pair of Will Rogers vehicles directed by John Ford, not one of those eighty films Wurzel made would ever be hailed as a classic. Solly was not expected to make classics, only to oversee an assembly line of briskly entertaining product made on a tight budget and intended for the lower half of a double bill.