Jack L. Warner
Jack L. Warner | |
---|---|
Born | Jacob Warner August 2, 1892 |
Died | September 9, 1978 Los Angeles, California, U.S. | (aged 86)
Resting place | Home of Peace Cemetery, East Los Angeles, California, U.S. |
Other names | Jack Leonard Warner |
Occupation | Film executive |
Years active | 1918–1973 |
Political party | Republican |
Spouses | Irma Claire Salomon
(m. 1914; div. 1935)Ann Page (m. 1936) |
Children | 3, including Jack M. Warner and stepdaughter Joy Page |
Relatives | brothers Harry, Albert, and Sam Warner |
Jack Leonard Warner (born Jacob Warner;[1] August 2, 1892 – September 9, 1978) was a Canadian-American film executive, who was the president and driving force behind the Warner Bros. Studios in Burbank, California. Warner's career spanned over 55 years, surpassing that of any other of the seminal Hollywood studio moguls.[2]
As co-head of production at Warner Bros. Studios, Warner worked with his brother, Sam Warner, to procure the technology for the film industry's first talking picture, The Jazz Singer (1927).[3] After Sam's death, Jack clashed with his surviving older brothers, Harry and Albert Warner. He assumed exclusive control of the company in the 1950s when he secretly purchased his brothers's shares in the business after convincing them to participate in a joint sale of stocks.[4]
Although Warner was feared by many of his employees and inspired ridicule with his uneven attempts at humor, he earned respect for his shrewd instincts and tough-mindedness.[2] He recruited many of Warner Bros.' top stars[5] and promoted the hard-edged social dramas for which the studio became known.[6] Given to decisiveness, Warner once commented, "If I'm right fifty-one percent of the time, I'm ahead of the game."[2]
Throughout his career, Warner was viewed as a contradictory and enigmatic figure.
Early years
Jacob Warner (as he was named at birth) was born in
In 1888 Benjamin made his way to
In the early 1890s, Benjamin Warner decided to move to Canada, following a friend's advice that he could make an excellent living bartering tin wares with trappers in exchange for furs.[22] Sons Jack and David were born in Ontario.[17][22] After two arduous years in Canada, the Warners returned to Baltimore,[23] where two more children were born, Sadie and Milton.[17] In 1896, they relocated to Youngstown, Ohio, following the lead of the eldest son Harry, who had established a shoe repair shop in the burgeoning steel town.[24] Father and son worked in the repair shop until Benjamin secured a loan to open a downtown meat and grocery store.[25]
Jack spent much of his youth in Youngstown, and wrote of his formative experiences there in his autobiography: "J. Edgar Hoover told me that Youngstown in those days was one of the toughest cities in America, and a gathering place for Sicilian thugs active in the Mafia. There was a murder or two almost every Saturday night in our neighborhood, and knives and brass knuckles were standard equipment for the young hotheads on the prowl."[26] Warner claimed that he briefly belonged to a street gang in Westlake's Crossing, a notorious neighborhood west of downtown.[27] Meanwhile, he received his first taste of show business, singing at local theaters and partnering with another aspiring song-and-dance man.[28] During his brief career in vaudeville, he officially changed his name to Jack Leonard Warner.[29] Jack's older brother Sam disapproved of these youthful pursuits. "Get out front where they pay the actors," he advised Jack. "That's where the money is."[30]
Professional career
Early business ventures
In Youngstown, the Warner brothers took their first tentative steps into the entertainment industry. In the early 20th century, Sam formed a business partnership with another local resident and took over the city's Old Grand Opera House as a venue for "cheap vaudeville and
The enterprising brothers screened a well-used copy of
In 1906, the brothers purchased a small theater in New Castle, which they called the Cascade Movie Palace.
Formation of Warner Bros.
The Warner brothers pooled their resources and moved into film production in 1910.
In 1917, Jack was sent to Los Angeles to open another film exchange company.[46] Their first opportunity to produce a major film came in 1918, when they purchased the film rights for My Four Years in Germany, a bestselling novel depicting German wartime atrocities, and the film adaptation became a commercial and critical success.[47] The four brothers established a studio,[48] with Jack and Sam as co-heads of production.[49] As producers, the two solicited new scripts and story lines, secured film sets and equipment, and found ways to reduce production costs.[47]
In 1919, the fledgling
In 1923, the studio discovered a trained
In 1925, the studio expanded its operations and acquired the
Sam died of pneumonia in 1927, just before the premiere of the first feature-length talking picture, The Jazz Singer,[61] and Jack became sole head of production.[62] Sam's death left Jack inconsolable: "Throughout his life, Jack had been warmed by Sam's sunshiny optimism, his thirst for excitement, his inventive mind, his gambling nature. Sam had also served as a buffer between Jack and his stern eldest brother, Harry."[63] Without his brother and co-producer, Jack ran the Warner Bros. Burbank studio with an iron hand, and became increasingly demanding and harsh with his employees.[64]
As the family grieved over Sam's sudden passing, the success of The Jazz Singer helped establish Warner Bros. as a major studio. From an investment of only $500,000 in the film, the studio reaped $3 million in profits.[65] Hollywood's other five major studios, which controlled most of the nation's movie theaters, initially attempted to block the growth of "talking pictures".[66] In the teeth of this opposition, Warner Bros. produced twelve "talkies" in 1928 alone.[66] The following year, the newly formed Academy of Motion Picture Arts and Sciences recognized Warner Bros. for "revolutionizing the industry with sound".[67]
Despite Warner Bros.' new prosperity, Jack kept a tight rein on costs. He placed the studio's directors on a quota system and decreed a flat, low-key lighting style to smooth out the defects of cheap film sets.
Depression era
The studio emerged relatively unscathed from the
During this period, Jack took an active role in recruiting talent. To furnish Warner Bros. with much needed "star power", he raided contract players from rival studios, in some cases offering to double their salaries. This strategy yielded three leading stars from Paramount – William Powell, Kay Francis, and Ruth Chatterton.[71] In 1929, Jack persuaded British stage and screen actor George Arliss to play the title role in a remake of the 1921 United Artists film Disraeli, which turned out to be a box-office hit.[72] Then, in 1930, he spotted future stars James Cagney, Joan Blondell, and Frank McHugh in the cast of a New York play called Penny Arcade.[73] Although Cagney turned out to be Jack's greatest prize, he was also the studio executive's biggest professional headache.[74] During their frequent arguments, Cagney would scream the Yiddish obscenities he learned as a boy in Yorkville, New York City.[75][76] According to a 1937 Fortune magazine article, Jack's most intense contract disputes involved Cagney, "who got sick of being typed as a girl-hitting mick and of making five pictures a year instead of four."[76]
Zanuck resigned during a contract dispute with Harry Warner in 1933.
Meanwhile, Jack's role in production became somewhat limited. After acquiring a creative property, he often had little to do with a film's production until it was ready for preview.[82] Nevertheless, he could be heavy-handed with employees and "merciless in his firings."[2] Film director Gottfried Reinhardt claimed that Jack "derived pleasure" from humiliating subordinates.[83] "Harry Cohn was a sonofabitch," Reinhardt said, "but he did it for business; he was not a sadist. Mayer could be a monster, but he was not mean for the sake of meanness. Jack was."[83]
Jack's management style frustrated many studio employees. Comedian Jack Benny, who once worked at Warner Bros., quipped, "Jack Warner would rather tell a bad joke than make a good movie".[84] Jack frequently clashed with actors and supposedly banned them from the studio's executive dining room, with the explanation, "I don't need to look at actors when I eat."[85]
The studio executive did, however, win the affection of a few film personalities. Among these was Bette Davis, one of the studio's leading stars, who once fled to England to secure release from her contract.[86] In later years, Davis defended Jack against rumors of sexual impropriety when she wrote: "No lecherous boss was he! His sins lay elsewhere. He was the father. The power. The glory. And he was in business to make money."[34] Davis revealed that, after the birth of her child, Jack's attitude toward her became warm and protective. "We became father and child, no question about it." she said. "He told me I didn't have to come back to work until I really felt like it. He was a thoughtful man. Not many nice things were said about him."[2] Warner also earned the gratitude and affection of Errol Flynn. In 1935, the studio head personally selected Flynn for the title role of Captain Blood, even though he was an unknown actor at the time.[87] In 1936, following the success of another costume epic, The Charge of the Light Brigade, Jack tore up Flynn's contract and signed him to a long-term deal that doubled his weekly salary.[88]
The prewar and war years
As the 1930s came to an end, both Jack and Harry Warner became increasingly alarmed over the rise of Nazism.[89] As Bernard F. Dick observed, the Warners, "as sons of Polish Jews who fled their homeland because of antisemitic pogroms ... had a personal interest in exposing Nazism." Moreover, the attraction to films critical of German militarism had a long history with the Warners that predated their production of My Four Years in Germany in 1918. In 1917, while it was still in distribution, the Warners had secured the rights for War Brides, a movie that featured Alla Nazimova as "a woman who kills herself rather than breed children for an unidentified country whose army looks suspiciously Teutonic."[90] Beyond this, Jack was shaken by the 1936 murder of studio salesman Joe Kaufman, who was beaten to death by Nazi stormtroopers in Berlin.[91][92] He later described the incident in the following terms: "Like many an outnumbered Jew he was trapped in an alley. They [Nazi hoodlums] hit him with fists and clubs and then kicked the life out of him with their boots and left him dying there."[93] Hence, while other Hollywood studios sidestepped the issue, fearing domestic criticism and the loss of European markets, Warner Bros. produced films that were openly critical of Nazi Germany.
In 1939, the studio released
Initially, the studio bowed to pressure from the
Contemporary reports that Jack had banned the use of the German language throughout the company's studios were denied by studio representatives who indicated that this move would have prevented scores of studio employees from communicating with each other.[100]
After the American declaration of war against the
In 1943 the studio's film Casablanca won the Academy Award for Best Picture. When the award was announced, Wallis got up to accept, only to find Jack had rushed onstage "with a broad, flashing smile and a look of great self-satisfaction" to take the trophy, Wallis later recalled. "I couldn't believe it was happening. Casablanca had been my creation; Jack had absolutely nothing to do with it. As the audience gasped, I tried to get out of the row of seats and into the aisle, but the entire Warner family sat blocking me. I had no alternative but to sit down again, humiliated and furious. ... Almost forty years later, I still haven't recovered from the shock."[103]
Also in 1943, Jack, at the advice of President Roosevelt, produced a film adaptation of the controversial book Mission to Moscow,[104] a film intended to inspire public support of the uneasy military alliance between the U.S. and the Soviet Union.[105] Later, while testifying before the House Un-American Activities Committee (HUAC) on October 27, 1947,[106] Jack dismissed allegations during the Cold War that this film was subversive, and he argued that Mission to Moscow was produced "only to help a desperate war effort, and not for posterity."[107] After the film's lackluster response under distribution, the Republican National Committee accused him of producing "New Deal propaganda."[108]
In line with the Warner brothers' early opposition to Nazism, Warner Bros. produced more pictures about the war than any other studio, covering every branch of the armed services.[109] In addition, the studio produced patriotic musicals such as This Is the Army and Yankee Doodle Dandy.[109]
Postwar era
Warner responded grudgingly to the rising popularity of television in the late 1940s.
During this period, Warner showed little foresight in his treatment of the studio's
Jack's tumultuous relationship with his brother Harry worsened in February 1956, when Harry learned of Jack's decision to sell Warner Bros.' pre-1950 films to
The two brothers had often argued, and earlier in the decade, studio employees claimed they saw Harry chase Jack through the studio with a lead pipe, shouting, "I'll get you for this, you son of a bitch" and threatening to kill him.[125] This subterfuge, however, proved too much for Harry. He never spoke to Jack again.[4] When Harry died on July 27, 1958, Jack did not attend the funeral, and he departed for his annual vacation at Cap d'Antibes.[126] Asked to respond to his brother's death, he said, "I didn't give a shit about Harry."[127] At the same time, Jack took pride in the fact that President Dwight D. Eisenhower sent him a letter of condolence.[127]
The Sixties
In the 1960s, Warner kept pace with rapid changes in the industry and played a key role in developing films that were commercial and critical successes. In February 1962, he purchased the film rights for the Broadway musical My Fair Lady, paying an unprecedented $6.5 million. The previous owner, CBS director William S. Paley set terms that included fifty percent of the distributor's gross profits "plus ownership of the negative at the end of the contract."[128] Despite the "outrageous" purchase price, and the ungenerous terms of the contract, the deal proved lucrative for Warner Bros., securing the studio $12 million in profits. Warner was criticized for choosing a non-singing star, Audrey Hepburn, to play the leading role of Eliza Doolittle; indeed, the 1964 Academy Award for Best Actress went to Julie Andrews, who had played Eliza in both the Broadway and London productions of the musical, for Mary Poppins, while Hepburn wasn't even nominated. However, the film won the Best Picture Oscar for 1964.[129]
In 1965, Warner surprised many industry observers when he purchased the rights to
Despite these achievements, Warner grew weary of making films, and he sold a substantial amount of his studio stock to
Warner's decision to sell came at a time when he was losing the formidable power that he once took for granted. He had already survived the dislocations of the 1950s, when other studio heads – including Mayer,
After Warner Bros.
Warner remained active as an independent producer until the early 1970s to run some of the company's distributions and exhibition division.[145] Among his last productions was a film adaptation of a Broadway musical, 1776, which was released through Columbia Pictures.[146] Before the film's release, Warner showed a preview cut to President Richard Nixon, who recommended substantial changes, including the removal of the song 'Cool, Cool, Considerate Men' that struck him as veiled criticisms of the ongoing Vietnam War.[147] Without consulting the film's director, Peter H. Hunt, Warner ordered the film re-edited.[147] The cuts have since been restored in most television showings and in the film's DVD release.
In November 1972, the film opened to enthusiastic audiences at Radio City Music Hall, but it fared poorly in theaters.[147] Faced with a polarized political climate, few Americans were drawn to "a cheery exercise in prerepublic civics".[148] Warner's efforts to promote the film were sometimes counterproductive; during an interview with talk show host Merv Griffin, the elderly producer engaged in a lengthy tirade against "pinko communists". This would become his only television interview.[149]
Personal life
On October 14, 1914, Warner married Irma Claire Salomon, the daughter of Sam Salomon and Bertha Franklin Salomon from one of San Francisco's pioneer Jewish families.[150] Irma gave birth to the couple's only child, Jack M. Warner, on March 27, 1916. Jack Sr. named the child after himself, disregarding an Eastern European Jewish custom that children should not be named after living relatives. Although his son bore a different middle initial, he "has been called Junior all his life".[151]
Warner's first marriage ended in 1935, when he left his wife for another woman, Ann Page, with whom he had a daughter named Barbara.[152][153] Irma sued her husband for divorce on the grounds of desertion. Harry Warner reflected the family's feelings about the marriage when he exclaimed, "Thank God our mother didn't live to see this". Jack married Ann after the divorce. The Warners, who took Irma's side in the affair, refused to accept Ann as a family member.[154] In the wake of this falling out, Warner's relationship with his son, Jack Jr., also became strained.[155]
In the late 1950s, Warner was almost killed in a car accident that left him in a
Warner made no pretense of faithfulness to his second wife, Ann, and kept a series of mistresses throughout the 1950s and 1960s.[162][163] The most enduring of these "girlfriends" was an aspiring actress named Jacquelyn (Jacqueline[164]) "Jackie" Park (née Mary Scarborough[165]),[166][167][168] who bore a "startling" resemblance to his second wife.[169] The relationship was in its fourth year when Ann pressed her husband to terminate the affair.[162] Park later tried to publish her memoirs describing the affair, but nothing materialized.[170]
Although Ann did once have an affair with studio actor Eddie Albert in 1941, she was much more devoted to the marriage by contrast.[171] In the 1960s, she insisted that, despite his reputation for ruthlessness, Warner had a softer side. In a note to author Dean Jennings, who assisted Jack on his 1964 autobiography, My First Hundred Years in Hollywood, Ann wrote: "He is extremely sensitive, but there are few who know that because he covers it with a cloak."[172]
In 1937, Warner bought a mansion in
Political views
An "ardent Republican", Warner nevertheless supported President Franklin D. Roosevelt and the New Deal in the early 1930s.
Warner publicly supported Richard Nixon during the
Death and legacy
By the end of 1973, those closest to Warner became aware of signs that he was becoming disoriented.[149] Shortly after losing his way in the building that housed his office, Warner retired.[180] In 1974, Warner suffered a stroke that left him blind and enfeebled. During the next several years, he gradually lost the ability to speak and became unresponsive to friends and relatives.[181] Finally, on August 13, 1978, Warner was admitted to Cedars-Sinai Hospital, where he died of a heart inflammation (edema) on September 9.[34] He was 86 years old.[182][183] A funeral service was held at the Wilshire Boulevard Temple, the synagogue to which many members of the Warner family belonged.[184][185] He was interred at Home of Peace Cemetery in East Los Angeles, California.[185]
Warner left behind an estate estimated at $15 million.
Several months after Warner's death, a more personal tribute was organized by the Friends of the Libraries at the University of Southern California.[187] The event, called "The Colonel: An Affectionate Remembrance of Jack L. Warner", drew Hollywood notables such as entertainers Olivia de Havilland and Debbie Reynolds, and cartoon voice actor Mel Blanc.[188] Blanc closed the event with a rendition of Porky Pig's famous farewell, "A-bee-a-bee-a-bee–that's all, folks."[188] In recognition of his contributions to the motion picture industry, Warner was accorded a star on the Hollywood Walk of Fame, located at 6541 Hollywood Boulevard.[189] He is also represented on Canada's Walk of Fame (where he was inducted in 2004) in Toronto, which honours outstanding Canadians from all fields.[190]
Warner is portrayed by Richard Dysart in Bogie (1980), Michael Lerner in This Year's Blonde (1980), Jason Wingreen in Malice in Wonderland (1985), Mike Connors in James Dean: Race with Destiny (1997), Tim Woodward in RKO 281 (1999), Len Kaserman in The Three Stooges (2000), Richard M. Davidson in Life with Judy Garland: Me and My Shadows (2001), Mark Rydell in James Dean (2001), Danny Wells in Gleason (2002), Barry Langrishe in The Mystery of Natalie Wood (2004), Ben Kingsley in Life (2015) and Stanley Tucci in Feud (2017).
See also
Source citations and notes
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- ^ Jacobson, Lara (2018). "The Warner Brothers Prove Their Patriotism". Voces Novae. 10 (1). Archived from the original on October 30, 2019. Retrieved October 28, 2019.
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- ^ a b Sperling, Millner, and Warner (1998), p. 20.
- ^ According to Bette-Ann Warner, a second cousin to the Warner brothers, in The Brothers Warner, 2008 documentary written and directed by Cass Warner, viewed on Turner Classic Movies March 8, 2010. Bette-Anne Warner's grandfather was a brother of the Warner brothers' father.
- ^ a b c Sinclair, Doug. "The Family of Benjamin and Pearl Leah (Eichelbaum) Warner: Early Primary Records". Doug Sinclair's Archives. Archived from the original on September 8, 2019. Retrieved January 23, 2009.
- ^ In the United States Census of 1930, Jack L. Warner identified the birthplace of both of his parents as Russia. "Fifteenth Census of the United States: 1930",[permanent dead link] enumeration date April 23, 1930, "Beverly Hills City", Los Angeles County, California. Digital copy of original enumeration page at FamilySearch, a free online genealogical database provided as a public service by The Church of Jesus Christ of Latter-day Saints, Salt Lake City, Utah. Retrieved August 8, 2017.
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- ^ "Jews in Hollywood". Jewishmag.com. Archived from the original on January 7, 2008. Retrieved August 24, 2008.
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- ^ Sperling, Millner, and Warner (1998), p. 313.
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- ^ Harris, Mark (2008). Pictures at a Revolution: Five Films and the Birth of The New Hollywood. The Penguin Press. pp. 183–84.
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- ^ a b Thomas (1990), p. 280.
- ^ Thomas (1990), p. 279.
- ^ a b Thomas (1990), p. 3.
- ^ a b Friedman (1982), p. 139.
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- ^ Slight variations in the spelling of Irma Warner's maiden name can be found in different sources; however, her son's (Jack M. Warner's) birth record in "The California Birth Index, 1905–1995"[permanent dead link] lists the spelling of her name as "Salomon". Content of original record from the Vital Statistics Department of the California Department of Health Services in Sacramento, California, is available at FamilySearch. Retrieved August 8, 2017.
- ^ Thomas (1990), pp. 29–30.
- ^ "Jack M. Warner, Film Producer, 79". The New York Times. April 6, 1995. Archived from the original on February 15, 2019. Retrieved February 16, 2017.
- ^ Thomas (1990), p. 338.
- ^ Thomas (1990), pp. 102–103.
- ^ Thomas (1990), pp. 229–230.
- ^ "Jack Warner Injured Badly in Auto Crash". The Youngstown Vindicator. Associated Press. August 5, 1958.
- ^ Sperling, Millner, and Warner (1998), p. 215.
- ^ Thomas (1990), pp. 228–229.
- ^ Sperling, Millner, and Warner (1998), p. 321.
- ^ Thomas (1990), p. 230.
- ^ Thomas (1990), p. 249.
- ^ a b Thomas (1990), p. 248.
- Moose: Chapters From My Life, pp. 322–323.
- ^ "Jacqueline Park".
- ISBN 978-0-8129-8793-5.
- ^ Carroll, Jerry (May 16, 1998). "FRANK SINATRA 1915-1998 / Swooning and Swinging / With four wives, countless lovers, Sinatra's passion for women was legendary". sf gate. Retrieved September 13, 2023.
- ^ Kosner, Edward (February 5, 2016). "The Golden Age of Hollywood Gossip". Wall Street Journal. Retrieved September 13, 2023.
- ^ Solzman, Danielle (April 2, 2023). "Jack L. Warner: The Last Mogul Premieres On TCM". Solzy at the Movies. Retrieved September 13, 2023.
- ^ Thomas (1990), p. 246.
- ^ Samuel Claesson (March 31, 2023). "Jacquelyn Park: Hollywood's Controversial Actress". Glamour Girls of the Silver Screen. Archived from the original on March 8, 2024. Retrieved March 8, 2024.
- ^ Sperling, Millner, and Warner (1998), p. 242.
- ^ Thomas (1990), pp. 210–211.
- ^ Sperling, Millner, and Warner (1998), p. 273.
- ^ a b Thomas (1990), p. 165.
- ^ Ceplair and Englund (1980), pp. 279–280.
- ^ Friedman (1982), p. 141.
- ^ a b Thomas (1990), p. 237.
- ^ Thomas (1990), p. 238.
- ^ Warner and Jennings (1964), p. 326.
- ^ Thomas (1990), p. 304.
- ^ Thomas (1990), pp. 304–305.
- ^ Thomas (1990), p. 305.
- ISSN 0190-8286. Archived from the originalon November 2, 2020. Retrieved May 21, 2021.
- ^ Sperling, Millner, and Warner (1998), ps. 206, 313.
- ^ a b Sperling, Millner, and Warner (1998), p. 334.
- ^ a b Thomas (1990), p. 306.
- ^ a b Thomas (1990), p. 307.
- ^ a b Thomas (1990), p. 308.
- ^ "Hollywood Walk of Fame". Hollywoodusa. Archived from the original on June 7, 2012. Retrieved February 22, 2008.
- ^ "Jack Warner". Canada's Walk of Fame. Archived from the original on October 7, 2007. Retrieved August 24, 2008.
References
- Behlmer, Rudy (1985). Inside Warner Bros. (1935–1951). New York: Viking Press. ISBN 0-670-80478-9
- Buhle, Paul; Wagner, Dave (2002). Radical Hollywood: The Untold Story Behind America's Favorite Movies. New York: The New Press. ISBN 1-56584-718-0
- Ceplair, Larry; Englund, Steven (1980). The Inquisition in Hollywood: Politics in the Film Community, 1930–1960. Garden City, NY: Anchor Press/ Doubleday. ISBN 0-385-12900-9
- Corey, Melinda; Ochoa, George (2002). The American Film Institute Desk Reference. New York: Dorling Kindersley Publishing. ISBN 0-7894-8934-1
- David, Saul (1981). The Industry: Life in the Hollywood Fast Lane. New York: Times Books. ISBN 0-8129-0971-2
- Dick, Bernard F. (1985). The Star-Spangled Screen: The American World War II Film. Lexington, KY: The University Press of Kentucky. ISBN 0-8131-1531-0
- Friedman, Lester D. (1982). Hollywood's Image of the Jew. New York: Frederick Ungar Publishing Co. ISBN 0-8044-2219-2
- ISBN 0-385-26557-3.
- Schatz, Thomas (1988). The Genius of the System: Hollywood Filmmaking in the Studio Era. New York: Pantheon Books. ISBN 0-394-53979-6
- ISBN 0-7624-3418-X
- Sperling, Cass Warner; Millner, Cork; Warner, Jack Jr. (1998). Hollywood Be Thy Name: The Warner Brothers Story. Lexington, KY: University Press of Kentucky. ISBN 0-8131-0958-2
- Thomas, Bob (1990). Clown Prince of Hollywood: The Antic Life and Times of Jack L. Warner. New York: McGraw-Hill Publishing Company. ISBN 0-07-064259-1
- Warner, Jack; Jennings, Dean (1964). My First Hundred Years in Hollywood: An Autobiography . New York: Random Books
External links
- Jack L. Warner at IMDb