Victor John Mature (January 29, 1913 – August 4, 1999) was an American stage, film, and television actor who was a leading man in Hollywood during the 1940s and 1950s. His best known film roles include One Million B.C. (1940), My Darling Clementine (1946), Kiss of Death (1947), Samson and Delilah (1949), and The Robe (1953). He also appeared in many musicals opposite such stars as Rita Hayworth and Betty Grable.
Mature studied and acted at the Pasadena Community Playhouse. For three years, he lived in a tent in the back yard of Mrs Willigan, the mother of a fellow student, Catherine Lewis. He was spotted by Charles R. Rogers, an agent for Hal Roach, while acting in a production of To Quito and Back. Rogers called him "a rival to Clark Gable, Robert Taylor and Errol Flynn."[7] Mature signed a seven-year contract with Roach in September 1939.[8]
As Hal Roach only made a handful of movies every year, he loaned out Mature's services to RKO, who used him as a leading man in the Anna Neagle–Herbert Wilcox musical, No, No, Nanette. The studio people were so pleased with his performance that they bought an option to take over half of Mature's contract with Hal Roach, enabling them to draw on his services for two films a year over three years.[13] Wilcox wanted to reunite Mature with Neagle in Sunny.[14][7] Roach announced Mature would support Victor McLaglen in Broadway Limited,[15] but Mature was not cast in the final film.
Lady in the Dark
Mature was worried about the direction of his career at this stage, claiming "nobody was going to believe I could do anything except grunt and groan,"[16] so he went to New York City to try the theatre. He signed to appear in a play with the Group Theatre, Retreat to Pleasure by Irwin Shaw. Shortly afterward it was announced he would appear instead in the musical Lady in the Dark with a book by Moss Hart and songs from Ira Gershwin and Kurt Weill; Mature played Randy Curtis, a film star boyfriend of the show's protagonist, magazine editor Liza Elliott (Gertrude Lawrence).[17] Mature later described his role:
First, this secretary came out saying 'What a beautiful hunk of man!' Then Danny Kaye topped that with a long, long introductory number. Finally, I made my entrance. John Barrymore told me I was the only person who could have followed up on all that.[18]
The musical debuted on Broadway in January 1941 and was a smash hit, making a star of Danny Kaye and Macdonald Carey and causing fresh appreciation for Mature's talents. His performance was well received, Brooks Atkinson of The New York Times calling him "unobjectionably handsome and affable".[19] The description of Randy Curtis in the musical – "Beautiful Hunk of Man" – would be frequently used to describe Mature throughout his career. Mature missed some of the run due to an emergency appendectomy,[20] but played the role until June.
Bowery Nightingale was not made, so Fox instead assigned Mature to appear in a thriller with Faye, I Wake Up Screaming (which had a working title of Hot Spot); Faye ended up being replaced with Betty Grable. Filming of The Shanghai Gesture was postponed to enable Mature to finish Screaming, which was a popular success.[22]The Shanghai Gesture also proved popular.
Mature was announced for a Fox musical, Highway to Hell, which ended up being postponed; instead, he replaced John Payne in a Betty Grable musical, Song of the Islands (Mature was replaced in turn on Highway by Cesar Romero).[23][24]
Mature was paid $450 a week under his contract with Roach for Shanghai Gesture, but Roach received $3750 a week for Mature's services. Roach received $22,000 for Mature in Song of the Islands, but Mature was paid $4,000. He asked for a pay increase of $1,250 a week.[25]
RKO wanted Mature for Passage to Bordeaux and Josef Von Sternberg wanted him for Lady Paname.[26] Instead, Mature made another musical for Fox, supporting Rita Hayworth in My Gal Sal (a role originally meant for Don Ameche).
In November 1941, Fox bought out the four years remaining on Mature's contract with Hal Roach for $80,000. (This included loan out provisions to RKO.) Roach had not wanted to sell, but he was in financial difficulties and his backers insisted. Mature would be paid $1,500 a week. He had also had six commitments with RKO. "The studio [Fox] will have to make a success of me," said Mature.[27]
"I wasn't pampered the way a Tyrone Power was," Mature recalled later of his time at Fox. "Zanuck would say, 'If you're not careful, I'll give you Mature for your next picture'."[28]
Fox talked of reuniting Hayworth and Mature in a Russian set war film Ski Patrol.[29] Instead, Mature was lent to RKO for a musical with Lucille Ball, Seven Days' Leave. This was followed by Footlight Serenade with Grable and Payne. All these films were very popular at the box office.
In July 1942, Mature attempted to enlist in the U.S. Navy but was rejected for color blindness. He enlisted in the U.S. Coast Guard after taking a different eye test the same day. He was assigned to USCGC Storis, which was part of the Greenland Patrol. This meant that when Paramount filmed Lady in the Dark, Mature was unable to reprise his stage role.[30] After 14 months aboard Storis, Mature was promoted to the rating of chief boatswain's mate.
In 1944, he did a series of war bond tours and acted in morale shows. He assisted Coast Guard recruiting efforts by being a featured player in the musical revue Tars and Spars, which opened in Miami, Florida, in April 1944 and toured the United States for the next year. In May 1945, Mature was reassigned to the Coast Guard manned troop transport USS Admiral H. T. Mayo, which was involved in transferring troops to the Pacific Theater. Mature was honorably discharged from the Coast Guard in November 1945 and he resumed his acting career.[6]
In December 1945, Mature signed a new two-year contract with Fox.[31] Fox assigned him to Three Little Girls in Blue, but he was removed in order to play Philip Marlowe in an adaptation of The High Window. However, Mature withdrew from the project and was cast by John Ford in 20th Century-Fox's My Darling Clementine, playing Doc Holliday opposite Henry Fonda's Wyatt Earp. Fox production head Darryl Zanuck considered it to be one of Mature's finest performances. Speaking of Mature to Ford, Zanuck said:
Personally, I think the guy has been one of the most under-rated performers in Hollywood. The public is crazy about him and strangely enough every picture that he has been in has been a big box-office hit. Yet, the Romanoff round table has refused to take him seriously as an actor. A part like Doc Holiday will be sensational for him and I agree with you that the peculiar traits of his personality are ideal for a characterisation such as this.[32]
Zanuck promised Mature that he would not assign him to musicals. Mature was cast in the period thriller Moss Rose and received a $50,000 bonus after shooting completed.[33] His next film was the film noirKiss of Death, which had been developed specifically as a vehicle for him.[34]
While still at Fox, Mature replaced John Payne in the Western film Fury at Furnace Creek,[35] costarring with Coleen Gray, who had also starred in Kiss of Death with Mature. Fox announced plans to team them for a third time in a remake of Seventh Heaven,[36] but the film did not materialize. Instead, he costarred with Richard Conte in Cry of the City, a thriller directed by Robert Siodmak. Mature's performance as a world-weary cop was widely praised; one reviewer noted that he "turns in an excellent performance, arguably the best of his career."[37]
Mature still had an obligation to make a film at RKO that dated from before the war. He was announced for Battleground before being cast in Interference, a serious drama about football that would become Easy Living in 1949, starring Lucille Ball.[38]
Mature's career received a massive lift when he was borrowed by Cecil B. DeMille at Paramount to play the lead in the $3.5 million biblical spectacular Samson and Delilah. De Mille described the role of Samson as “a combination Tarzan, Robin Hood, and Superman.”[39] Mature was reluctant to take the role at first out of fear of risking his new postwar reputation as a serious actor, but he changed his mind.[40]
During filming, Mature was frightened by a number of the animals and mechanical props used in the production, including the lions, the wind machine, the swords and even the water. This infuriated the director, DeMille, who bellowed through his megaphone at the assembled cast and crew:
“I have met a few men in my time. Some have been afraid of heights, some have been afraid of water, some have been afraid of fire, some have been afraid of closed spaces. Some have even been afraid of open spaces – or themselves. But in all my 35 years of picture-making experience, Mr. Mature, I have not until now met a man who was 100 percent yellow.”[41]
While Samson was in postproduction, Paramount used Mature in another film, co-starring with Betty Hutton in Red, Hot and Blue, his first musical in a number of years.[42] It was not particularly popular, and Easy Living was a flop, but Samson and Delilah earned over $12 million during its original run, making it the most popular movie of the 1940s, and responsible for ushering in a cycle of spectacles set in the ancient world.
Mature returned to Fox and was put in a popular musical with Betty Grable, Wabash Avenue. It was directed by Henry Koster who recalled Mature was "nice to work with, amusing. He very much looked out for his money always."[43]
In late 1949, Mature was meant to fulfill another commitment at RKO, Alias Mike Fury (the new title for Mr Whiskers). Mature refused to make the movie and was put on suspension by Fox.[44] The script was rewritten and Mature ended up making the film, which was retitled Gambling House.[45]
In September 1950, he was making a film in Montana about fire fighters, Wild Winds, for Fox with John Lund. Mature injured himself in a motorcycle accident .[47][48] After Lund was stung by a wasp and the location was snowed in, it was decided to abandon the film.[49] (It was later filmed with new stars as Red Skies of Montana.)
Mature took a number of months off, before returning to filmmaking with The Las Vegas Story, with Jane Russell at RKO.[50] RKO released – but did not produce – Mature's next film, Androcles and the Lion, an adaptation of the play by George Bernard Shaw with Mature as a Roman centurion.[51] Like Las Vegas Story, it was a box-office failure.
Far more popular was a musical he made at MGM, Million Dollar Mermaid with Esther Williams, a biopic of Annette Kellermann, playing Kellermann's promoter husband.[52] According to Williams's autobiography, she and Mature had a romantic relationship.[53]
Back at Fox, Mature was meant to be reteamed with Betty Grable in a musical, The Farmer Takes a Wife, but the studio instead reassigned him to a comedy with Patricia Neal, Something for the Birds.[54]
The Robe had been in development in Hollywood for over a decade. In December 1952, Mature signed to play Demetrius in two movies, The Robe and a sequel, Demetrius and the Gladiators.[56] The films were shot consecutively.[57]
The Robe, the first CinemaScope movie to be released (ahead of How to Marry a Millionaire, which was actually the first film shot in the new process), was an enormous success, one of the most popular movies of all time.[58]Veils of Bagdad was not as popular, but Demetrius and the Gladiators was another hit.
Back at RKO, Mature made Dangerous Mission for producer Irwin Allen. He travelled to Holland in September 1953 to support Clark Gable and Lana Turner in a World War Two film made at MGM, Betrayed, another popular success.[59]
Fox put Mature into another ancient history spectacle, The Egyptian. He was originally meant to co-star with Marlon Brando and Kirk Douglas.[60] Mature renewed his contract with Fox for another year, his 12th at that studio.[61][62]The Egyptian ended up starring Mature with Edmund Purdom and Michael Wilding, plus Bella Darvi; it was a box-office disappointment.
Mature went over to Universal to play the title role in Chief Crazy Horse, in exchange for a fee and a percentage of the profits.[63]
End of contract with Fox
Fox wanted Mature to support Tyrone Power and Susan Hayward in Untamed (1955), but Mature refused, claiming he had worked for two years and wanted a vacation. The studio replaced him with Richard Egan and put him under what they called a "friendly" suspension.[64]
In 1954, Mature signed a two-picture deal with Columbia Pictures, giving him script and co-star approval, at $200,000 a film.[65] The first movie he made under this contract was The Last Frontier (1955).
Before he started making that, however, he was called back to Fox to appear in the heist thriller, Violent Saturday.[66] This was the last movie he made at Fox.
United Artists and Warwick Productions
In March 1955, while making Last Frontier, Mature announced he had also signed a contract with United Artists for them to finance and distribute six films over five years for Mature's own company.[67]
In May 1955, Mature signed a two-picture contract with Warwick Productions. Warwick was an English company that had success making films aimed at the international market with American stars; they released their films in the USA through Columbia Pictures. The first of Mature's films for Warwick was to be Zarak.[68] He ended up making Safari beforehand, a tale of the Mau Mau, filming on location in Kenya. Both Safari and Zarak were successful.[69]
Sam Goldwyn Jr, hired him to make The Sharkfighters, released through United Artists and shot on location in Cuba.[70] He was back with Warwick for Interpol, reteaming him with his Zarak co-star, Anita Ekberg, filmed in locations throughout Europe. In London, he made The Long Haul, a truck-driving drama with Diana Dors, the second film under his deal with Columbia.
Mature finally made a movie for his own production company, Romina Productions, in conjunction with United Artists and Batjac Productions: China Doll, directed by Frank Borzage, with Mature as co-producer. Mature and Borzage announced they would also make The Incorrigibles and Vaults of Heaven.[71]
Mature signed to make two more films with Warwick Productions, No Time to Die (Tank Force) and The Man Inside.[72] He ended up only making the first, a World War II film with Libyan locations; Jack Palance took his role in The Man Inside.
Mature was reunited with producer Irwin Allen for The Big Circus, shot in early 1959.[73] He then made his second film for Warwick under his two-picture contract with them, The Bandit of Zhobe, following this with an Italian peplum, aka "sword-and-sandal" movie, Hannibal, with Mature in the title role. It was shot in Italy, as was The Tartars with Orson Welles. Mature then retired from acting.[28]
In a 1978 interview, Mature said of his decision to retire from acting at age 46: "It wasn't fun anymore. "I was OK financially so I thought what the hell – I'll become a professional loafer."[74]
Retirement
After five years of retirement, he was lured back into acting by the opportunity to parody himself in After the Fox (1966), co-written by Neil Simon. Mature played "Tony Powell," an aging American actor who is living off his reputation from his earlier body of work. In a similar vein in 1968, he played a giant, The Big Victor, in Head, a movie starring The Monkees.
Mature was famously self-deprecatory about his acting skills. Once, after being rejected for membership in a country club because he was an actor, he cracked, "I'm not an actor — and I've got 64 films to prove it!"[75][76] He was quoted in 1968 on his acting career: "Actually, I am a golfer. That is my real occupation. I never was an actor. Ask anybody, particularly the critics."[77]
He came out of retirement again in 1971 to star in Every Little Crook and Nanny and again in 1976 along with many other former Hollywood stars in Won Ton Ton, the Dog Who Saved Hollywood. His last feature film appearance was a cameo as a millionaire in Firepower in 1979, while his final acting role was that of Samson's father Manoah in the TV movie Samson and Delilah in 1984. In a 1971 interview, Mature quipped about his decision to retire:
I was never that crazy about acting. I had a compulsion to earn money, not to act. So, I worked as an actor until I could afford to retire. I wanted to quit while I could still enjoy life ... I like to loaf. Everyone told me I would go crazy or die if I quit working. Yeah? Well, what a lovely way to die.[78]
In 1980, he said he was "pretty proud of about 50% of my motion pictures. Demetrius and the Gladiators wasn't bad. The Robe and Samson and Delilah weren't bad. I made 72 of them and I made close to $18 million. So what the hell."[79] He said in the same interview his favorite actors were Al Pacino, Dustin Hoffman, and especially Burt Reynolds.[79]
Loretta Gaye Sebena, an opera singer (1974 until his death) – with whom he had his only child, daughter Victoria (born 1975).[83] Victoria became an opera singer like her mother.[84]
For his contribution to the motion-picture industry, Mature has a star on the Hollywood Walk of Fame located at 6780 Hollywood Boulevard.[86]
Critical appraisal
David Thomson wrote a critical appraisal of Mature in his book The New Biographical Dictionary of Film:
Mature is an uninhibited creature of the naive. Simple, crude, and heady – like ketchup or treacle – he is a diet scorned by the knowing, but obsessive if succumbed to in error. It is too easy to dismiss Mature, for he surpasses badness. He is a strong man in a land of hundred pound weaklings, an incredible concoction of beef steak, husky voice, and brilliantine – a barely concealed sexual advertisement for soiled goods. Remarkably, he is as much himself in the cheerfully meretricious and the pretentiously serious. Such a career has no more pattern than a large ham; it slices consistently forever. The more lurid or distasteful the art the better Mature comes across.[87]
In 1985, at the Uptown Lounge in Athens, Georgia, R.E.M. performed under the pseudonym Hornets Attack Victor Mature. "We sent a press release that said it was a combination of Jerry Lee Lewis and Joy Division," explained Peter Buck. "God knows how we got a date, but we did." The name was used after Buck spotted it in a 'Name Your Band' article in Trouser Press. It told of a Los Angeles band who had taken their name from a newspaper headline describing an incident where furious wasps had ganged up on the actor during a round of golf. The band had since opted for something a little more West Coast, so Buck considered Hornets Attack Victor Mature to be fair game. "I figured anyone who'd pay money to see a band with a name that silly is our kind of person."[95]
^Kentucky Birth, Marriage and Death Records (1852–1910). Microfilm rolls #994027-994058. Kentucky Department for Libraries and Archives, Frankfort, Kentucky
^Applegate, Kris (2014). Legendary Locals of Louisville, Kentucky. United States: Arcadia Publishing. p. 73. ISBN978-1-4671-0138-7.
^ abWise, James E., Jr. and Anne Collier Rehill. Stars in Blue. Naval Institute Press, 1997, p. 201. ISBN1-55750-937-9.
^"Tentin' Tonight, As Usual, Vic Will Be a Star: Rebellious Young Man Quits Business to Starve, but Wins". The Washington Post. September 4, 1939. p. 12.
^"'Housekeeper's Daughter' Anomaly Among Comedies". Los Angeles Times. September 11, 1939. p. 8.
^Hopper, Hedda (November 13, 1939). "Hedda Hopper's Hollywood". Los Angeles Times. p. 16.
^Scheuer, Philip K. (June 14, 1942). "Town Called Hollywood". Los Angeles Times. p. C3.
^Hough, Donald (February 2, 1941). "Third Choice First: Victor Mature was broke. He stood at the fork of three paths—all dark. The reason you are reading about him is that he chose the third". Los Angeles Times. p. I7.
^Scheuer, Philip K. (September 20, 1940). "Stardom for Mitchell as College Professor: Gwenn Also to 'Teach': Sylvia Sidney Signed: Mature May Do 'Sunny Withers' Subject Named Butler Plans Race Yarn". Los Angeles Times. p. A12.
^"CRITIC AT LARGE: MATURE STILL HAS A HUNK OF A TIME" Champlin, Charles. Los Angeles Times: m1
^"MATURE WILL ACT IN HART MUSICAL: His Contract to Act Opposite Gertrude Lawrence Leads to Dispute With Group 'SUZANNA' TO PLAY SUNDAY Ten Shows Will Begin New Policy Weak Later—Additional Theatre News Engaged for Dennis King Show Maeterlinck Play Opens Dec. 15" New York Times November 13, 1940: 28.
^"Victor Mature Hits Stride" Thomas, Kevin. Los Angeles Times 7 December 1966: D15.
^"THE PLAY IN REVIEW: Gertrude Lawrence Appears in Moss Hart's Musical Drama, 'Lady in the Dark,' With a Score by Kurt Weill and Lyrics by Ira Gershwin" by BROOKS ATKINSON. New York Times January 24, 1941: 14.
^"ALDRICH AND MYERS BUY PLAY BY ACTOR: Allen Nourse's 'John Burgess, Berlin' Is Purchased for Production in Fall BARBARA KENT GETS ROLE Joins Cast of 'The Happiest Days' – 'Theatre' Undergoing Changes in Personnel" New York Times April 28, 1941: 11.
^Churchill, Douglas W. (June 18, 1941). "Victor Mature Cast in Leading Roles for Two Films — 'Tight Shoes' Opening Tonight at Rialto". New York Times. p. 25.
^Churchill, Douglas W. (July 16, 1941). "Screen News Here and in Hollywood: Gene Tierney to Play Role of Poppy in 'Shanghai Gesture' for United Artists; 'The Get-away' Arrives — Melodrama Opens Today at Rialto — Fred MacMurray to Have Lead in New Comedy". New York Times. p. 14.
^Schallert, Edwin (October 16, 1941). "Subjects Once Banned May Become Pictures: 'Gesture' Generates Idea; Stewart to Adapt Shaw; Mature Going Tropical; Berlin Pens Film Tunes; Dorsey Singers to Sign". Los Angeles Times. p. 16.
^Churchill, Douglas W. (October 26, 1941). "Discord in Hollywood: Being a Resume of Why Three Stars Are Unhappy — Shaking Out the Moth Balls". New York Times. p. X5.
^Churchill, Douglas W. (October 14, 1941). "Screen News Here and in Hollywood: Victor Mature to Star in New Film After Adjustment of Salary by Hal Roach: R.A.F. Picture to Arrive: 'Target for Tonight,' Opening at Globe Friday, Shows Air Raids Over Germany". New York Times. p. 29.
^Brady, Thomas (November 23, 1941). "'Yankee Doodle Dandy' Nears the Cameras: Film About George M. Cohan Will Boost The Democratic Way — A Star Is Sold". New York Times. p. X5.
^ abcHarmetz, Aljean (December 12, 1971). "Victor Mature—Fresh Out of Rancho Santa Fe". Los Angeles Times. p. Z1.
^Schallert, Edwin (May 18, 1942). "Drama: Rita Hayworth, Mature Reunion Much Sought; Kaye's Sylvia Scripter; Tone's Bride Makes Test; Cotten in 'Casablanca'; John Beal Faces Camera; Carlson in 'White Cargo'". Los Angeles Times. p. 14.
^"SCREEN NEWS HERE AND IN HOLLYWOOD: Rosemary Lane to Return to Films in Feminine Lead in Republic's 'Chatterbox' THREE PICTURES TO OPEN ' Casablanca' Due at Hollywood – 'White Cargo' at Capitol, 'Ravaged Earth' at Gaiety" By Telephone to THE NEW YORK TIMES.. New York Times November 26, 1942: 41
^"M'Callister Gets Lead in 'Red House': Out of Army, Actor Resumes Career With Sol Lesser—New Picture at Globe". New York Times. December 27, 1945. p. 16.
^Memo from Darryl F. Zanuck to John Ford dated 8 January 1946, Rudy Behlmer, ed. Memo from Darryl F. Zanuck, Grove Press, 1993 p102
^"Mature Will Star in 'Kiss of Death': Fox Buys Story of Convict by Lawrence Blaine for Actor --Hathaway to Direct". New York Times. November 12, 1946. p. 53.
^Brady, Thomas F. (August 30, 1947). "The News of the Screen". New York Times. p. 9.
^Schallert, Edwin (November 6, 1947). "Drama and Film: March 'Saxon' Lured; 'Seventh Heaven' Astir". Los Angeles Times. p. A3.
^Brady, Thomas F. (June 12, 1948). "Two Movie Leads to Victor Mature: He Will Co-Star With Lamarr in 'Samson and Delilah,' Be Seen in 'Interference'". New York Times. p. 9.
^Koury, Phil (June 20, 1948). "HAIRCUT BY DE MILLE: Biblical Strong Man Meets Tough Foe in Director". New York Times. p. X3.
^Brady, Thomas (October 31, 1948). "HOLLYWOOD DOSSIER: Biblical Drama With DeMille Flourishes – Musical Documentary – Other Items". New York Times. p. X5.
^Pryor, Thomas (December 14, 1949). "Studio Suspension for Victor Mature: Fox Star Refuses to Play Role in RKO Film, 'Mike Fury,' on Loan-out Commitment". New York Times. p. 44.
^Brady, Thomas F. (January 4, 1950). "Mature Returned to Payroll at Fox: Actor Had Been Suspended for Refusing Role in RKO Deal—Now Agrees to Part of Local Origin". New York Times. p. 31.
^Brady, Thomas F. (March 13, 1950). "Hawks, Lasker Buy Rights to 'Big Sky': Producing Firm Acquires A. B. Guthrie Novel for Filming in the Late Summer—Ross Acquires "Rendezvous". New York Times. p. 15.
^"Mature Injured in 'Cycle Crash'". New York Times. September 6, 1950. p. 47.
^Scheuer, Philip K. (September 8, 1950). "Marbles New Gimmick on Film; Pine-Thomas to Put Out 'Big Fire'". Los Angeles Times. p. B11.
^"Wasp, Snow Help Cancel Picture Work". Los Angeles Times. September 11, 1950. p. 26<.
^Schallert, Edwin. "Cowan Seeking Unique Musical Cast; New Norse Find Due in Hollywood". Los Angeles Times !date=15 December 1950. p. 31.
^Brady, Thomas F. (June 12, 1951). "Metro Purchases Two News Stories: 'Death at Attention,' Recently Published Serial, and 'Oh Promise Me' Acquired". New York Times. p. 35.
^Scheuer, Philip K. (March 23, 1952). "Annette Kellerman's All for Esther Now: Original One-Piece Bathing Suit Girl Recalls 'Indecent Exposure' Furor". Los Angeles Times. p. D3.
^Williams, Esther (1999). The Million Dollar Mermaid: An Autobiography. Simon & Schuster. pp. 212–213. ISBN0-15-601135-2.
^Pryor, Thomas M. (April 26, 1952). "Film Men to Fight 2 G. O. P. Candidates: Decrying 'Unfair' Attacks, Anti-Communists Will Oppose Their Congressional Bids". New York Times. p. 18.
^Schallert, Edwin (July 10, 1952). "Victor Mature Stars Opposite Simmons; Wald Seeks New Hayward Deal". Los Angeles Times. p. A11.
^"Victor Mature to Do 'Story of Demetrius'" Hopper, Hedda. Los Angeles Times January 10, 1953: 14.
^"RANDOM OBSERVATIONS ON PICTURES AND PEOPLE" By HOWARD THOMPSON. New York Times September 20, 1953: X5.
^"CinemaScope Supporters Confident: Hollywood Letter" by Richard Dyer MacCann. The Christian Science Monitor November 24, 1953: 11.
^"Drama: Victor Mature Likely for Europe; Westerns Claiming Philip Carey" Schallert, Edwin. Los Angeles Times September 18, 1953: 20.
^"MOVIE PRODUCERS 'LURED' OVERSEAS: Foreign 'Pressures,' Including Subsidies, Basis for Trend, Actors' Spokesman Says" by THOMAS M. PRYOR . New York Times November 27, 1953: 22.
^"Drama: Gann Book About Hong Kong Likely for Wayne; Gomez to Play Skipper" Schallert, Edwin. Los Angeles Times January 1, 1954: B7.
^"Mature Renews Pact 12th Time" Los Angeles Times January 17, 1954: E4.
^"SUBSIDIES TO ITALY ON FILMS DECRIED: Talks on New Agreement Are Seeking End to the Practice, Held 'Dangerous' Precedent" by THOMAS M. PRYOR . New York Times May 22, 1954: 8.
^"M-G-M TO MAKE 27 FILMS IN YEAR: 8 Movies Will Start Within 60 Days – Three Broadway Plays on Studio Schedule" . New York Times August 4, 1954: 17.
^Hedda Hopper, 'Victor Mature Signs Deal for 2 Films at $200,000 Each' Chicago Daily Tribune November 6, 1954: 16.
^"SPIEGEL ACQUIRES BOOK FILM RIGHTS: Producer Hopes to Get John Ford to Direct 'The Bridge Over the River Kwai'" by THOMAS M. PRYOR . New York Times November 20, 1954: 10
^"FILM LADIES' DAY: THREE STARS CAST: Elizabeth Taylor, Rosalind Russell and Eleanor Holm Signed for New Movies" by THOMAS M. PRYOR . New York Times March 18, 1955: 33.
^"TV PACT IS SIGNED BY SCREEN GUILD: Agreement by Du Mont and Union Includes Use of New Video Filming Method" by THOMAS M. PRYOR . New York Times May 9, 1955: 28.
^"I Wasn't Meant To Be A Hero" MATURE, VICTOR. Los Angeles Times December 16, 1956: N10.
^"'SHARKFIGHTERS' IN THE CARIBBEAN: Sam Goldwyn Jr. Films Drama on Location In and Off Cuba The Stars Seafarers The Story" by GRADY JOHNSON. New York Times April 1, 1956: 99.
^"Mature Arranges Pact With Borzage; Curtis Plans Matador Cinema" Schallert, Edwin. Los Angeles Times September 25, 1957: C13.
^"STUDIO SUSPENDS KIM NOVAK PACT: Columbia Acts After She Refuses Paramount Role-- Debbie Reynolds to Star Nature Has Its Way" . New York Times August 31, 1957: 18.
^"HOLLYWOOD ARENA: 'Big Circus' Troupe Works to Equal Big Top's Authenticity and Color" by THOMAS M. PRYOR HOLLYWOOD.. New York Times January 11, 1959: X7.
^"Whatever Happened to Lady Joan?" Los Angeles Times June 27, 1978: f6.
^'Victor Mature's Wife Wins Divorce, $500,000: Judge Grants Decree After Hearing Her Testify He Often Flew Into Rages in Public', Los Angeles Times November 9, 1955: A1.
^David Thomson, The New Biographical Dictionary of Film, Little Brown 2002 p 576
^"SHAW BECOMES PRANKISH IN SATIRE AT PLAYHOUSE" Los Angeles Times August 9, 1938: 9.
^"COMINGS AND GOINGS LATEST STUDIO AND THEATER GOSSIP THE DRAMA WORLD: NEW PLAY TAKES LOOK BEHIND HOTEL SCENE" von Blon, Katherine T. Los Angeles Times October 2, 1938: C2.
^"'PARADISE PLANTATION' POIGNANT FOOTLIGHT PIECE"
KATHERINET VON BLON. Los Angeles Times November 26, 1938: A7.
^"LITTLE THEATERS" Katherine Von Blon. Los Angeles Times April 16, 1939: C4.
