“You’re a ‘heavy’,” shrieked all the independent companies. “You are too dark”-from Metro, Paramount, Warners and Columbia. “You have too much personality!”-from Universal. “Your head is too small for your body,” they told him at RKO. When Cornel was trying to break into Hollywood no one would have him at any price. It changed him from a gay, trusting person into someone suspicious, self-centered and difficult. To this day Cornel refers to that movie as “a tragedy for me.” It was-but how much of a tragedy he doesn’t realize. She was a great star then-Cornel was a beginner. And above ali, when he was making “Wintertime,” Cornel was kidded by his leading lady, Sonja Henie. He was very easy to kid and how they kidded him! First Director Archie Mayo, then Cameraman Leon Shamroy. He metaphorically took off his hat with a sweeping bow when he talked to you. He still walked and talked as though Shakespeare was prodding him at the shoulder. He was fresh from Broadway where he had played Tybalt in “Romeo and Juliet” with Lawrence Olivier and Vivien Leigh. Cornel had made only one previous movie-a quickie comedy, “The Perfect Snob” with Lynn Bari. And to understand and sympathize with the change in him, I go back to the first time I met Cornel, when he was getting his first big chance at a big movie-with Sonja Henie in “Wintertime.” “Look,” said Cornel in turn-he did not like that “even”-“The only difference between Gregory Peck and me is that he started a little before I did.”Ĭornel was not always as sure of himself or as cocky as he is today. “Look,” said David-he was now getting a little bit irritated-“even if you were Gregory Peck, I’d still have to get a top woman co-star.” “Oh, no, I could carry the picture myself,” Cornel is reported to have said. “But I’d have to get you a top woman star and-” “It isn’t so much the cost of the story,” interrupted the producer. “Can’t you see,” Cornel concluded enthusiastically, “it would be terrific!” Selznick shook his head and said, “Maybe-but I can’t afford it.” And Cornel was trying to sell Selznick the idea of buying his “Lord Byron” story with Cornel of course to star as the romantic poet. His black eyes were shining, his black hair was tossing His voice was irresistible. Cornel was at the top of his persuasive form. Take for example an incident at a recent party. He’s still fighting that old world that didn’t understand or appreciate him. Consequently, instead of being happy with his good fortune he’s still defensive about Hollywood and producers. His life went into high speed so fast following “A Song to Remember” that he had no time to shift gears. But they are not, I dare say, nearly as unhappy and confused as Cornel himself. Those who remain Cornel’s friends-personal or professional-are unhappy and confused about him. This makes for headlines and confusion and an inaccurate picture of a man suffering from a severe case of chip on the shoulder. It all adds up to this: Items that make spectacular reading are given prominence, while news more favorable to Cornel, but less dramatic, is not played up in the same way. You read, too, that Cornel refused to appear in “Walls of Jericho.” And a few editions later it’s announced-but much less conspicuously-that he has curtailed his New York holiday to report at the studio for this very role. However, before you have time to digest this news, coming as it does on top of their public declarations of devotion, they have left for Hawaii and a reconciliation honeymoon. You read that he and Pat Knight Wilde have separated. Items, some blind, others using his name, paint his difficult temperament. What has happened to Cornel Wilde? That there is something wrong is all too evident.
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