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Hollywood Legends
Hollywood Enigma: Dana Andrews
Dana Andrews (1909–1992) worked with distinguished directors such as John Ford, Lewis Milestone, Otto Preminger, Fritz Lang, William Wyler, William A. Wellman, Mervyn Le Roy, Jean Renoir, and Elia Kazan. He played romantic leads alongside the great beauties of the modern screen, including Joan Crawford, Elizabeth Taylor, Greer Garson, Merle Oberon, Linda Darnell, Susan Hayward, Maureen O'Hara, and most important of all, Gene Tierney, with whom he did five films. Retrospectives of his work often elicit high praise for an underrated actor, a master of the minimalist style. His image personified the “male mask” of the 1940s in classic films such as Laura, Fallen Angel , and Where the Sidewalk Ends , in which he played the “masculine ideal of steely impassivity.” No comprehensive discussion of film noir can neglect his performances. He was an “actor's actor.”
Here at last is the complete story of a great actor, his difficult struggle to overcome alcoholism while enjoying the accolades of his contemporaries, a successful term as president of the Screen Actors Guild, and the love of family and friends that never deserted him. Based on diaries, letters, home movies, and other documents, this biography explores the mystery of a poor boy from Texas who made his Hollywood dream come true even as he sought a life apart from the limelight and the backbiting of contemporaries jockeying for prizes and prestige. Called “one of nature's noblemen” by his fellow actor Norman Lloyd, Dana Andrews emerges from Hollywood Enigma as an admirable American success story, fighting his inner demons and ultimately winning.
Here at last is the complete story of a great actor, his difficult struggle to overcome alcoholism while enjoying the accolades of his contemporaries, a successful term as president of the Screen Actors Guild, and the love of family and friends that never deserted him. Based on diaries, letters, home movies, and other documents, this biography explores the mystery of a poor boy from Texas who made his Hollywood dream come true even as he sought a life apart from the limelight and the backbiting of contemporaries jockeying for prizes and prestige. Called “one of nature's noblemen” by his fellow actor Norman Lloyd, Dana Andrews emerges from Hollywood Enigma as an admirable American success story, fighting his inner demons and ultimately winning.
350 pages, Hardcover
First published June 22, 2012
13 people are currently reading
153 people want to read
About the author
Carl Rollyson
131 books141 followersCarl Rollyson, Professor of Journalism at Baruch College, The City University of New York, has published more than forty books ranging in subject matter from biographies of Marilyn Monroe, Lillian Hellman, Martha Gellhorn, Norman Mailer, Rebecca West, Susan Sontag, and Jill Craigie to studies of American culture, genealogy, children’s biography, film, and literary criticism. He has authored more than 500 articles on American and European literature and history. His work has been reviewed in newspapers such as The New York Times and the London Sunday Telegraph and in journals such as American Literature and the Dictionary of Literary Biography. For four years (2003-2007) he wrote a weekly column, "On Biography," for The New York Sun and was President of the Rebecca West Society (2003-2007). His play, THAT WOMAN: REBECCA WEST REMEMBERS, has been produced at Theatresource in New York City. Rollyson is currently researching a biography of Amy Lowell (awarded a "We the People" NEH grant). "Hollywood Enigma: Dana Andrews, a biography of Dana Andrews is forthcoming in September from University Press of Mississippi. His biography, "American Isis: The Life and Death of Sylvia Plath" will be published in February 2013, the fiftieth anniversary of her death. His reviews of biography appear regularly in The Wall Street Journal, The Minneapolis Star Tribune, The Raleigh News & Observer, The Kansas City Star, and The New Criterion. He is currently advisory editor for the Hollywood Legends series published by the University Press of Mississippi. He welcomes queries from those interested in contributing to the series. Read his column, "Biographology," that appears every two weeks at bibliobuffet.com
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Displaying 1 - 23 of 23 reviews
February 10, 2025
I’m way over a hundred pages into this biography and I’ve had enough; I’m calling it quits. That does not reflect the subject matter, but rather the biographer’s lifeless and tedious approach. I love Dana Andrews on screen. Films like Laura, State Fair, The Best Years of Our Lives, and Fallen Angel, cement him for me as a terrific actor with a quiet screen presence hard to ignore.
I already knew some of what’s in this bio, but some I didn’t. He was from Texas, though he was born in a small Mississippi town called Don't, which no longer exists. He was one of many sons born to a preacher who could be overzealous and hypocritical, a man who would wear out his welcome over time and inevitably start over somewhere else. But despite his father's deep flaws, he could be right in regard to his son’s pursuit of fame as an actor taking him away from God.
The huge family — and I do mean huge — was nearly all boys, and there was tragedy within the family because two sisters died young. Carver (Dana Andrews), even from a young age, exhibited charisma and a longing for something outside of a simple country life. Yet it was in that simple life where Carver would meet the girl who most probably was the true love of his life.
Carver remained in touch with Norma Felder by letter while far away, struggling to make it. They planned to marry; his family made it clear that they wanted nothing more than for Carver to abandon his ambitions — which, with some supporting evidence, seemed very selfish — and return to marry Norma. But Norma stood by him; their bond ran so deep that even after he confronted his inner conflicts and admitted to her — though later regretting it — there was no future for her with him, due to his acting dreams, the two of them remained in touch by letters for a very long time.
He would eventually marry and suffer tragedy when the woman who adored him to the point of worshiping him, but whom he only cared for but did not feel the same adoration — possibly due to leaving Norma behind in Texas — died young, leaving him with a son.
That relationship is at the heart of this tunnel-vision bio. While it helps explain to some degree Carver’s issues with drink, even after he married later on and found some real success, it is so tediously told and compiled that it feels like we are the researcher rather than the ones benefitting from the author’s research into the man movie fans knew as Dana Andrews.
Rarely has anyone more conflicted or complex, a real star and fine actor deserving of a good bio, been given one that fell as short as this one does in capturing its subject. Instead we get only veiled glimpses through a curtain so that we can’t quite make out the silhouette; not enough light is shed on a man who appears to be very decent at heart, but might very well have traded true happiness for a dream, and found it difficult to live with his choice.
This biography just lays there, is tedious to read for all the constant insertions of bits of letters and such that only give us narrow close-ups of a much wider screen shot. It’s a slog you keep hoping will get better at some point, yet it never does. The best part of this bio is the stunning cover shot of Carver when he was known to the world as Dana Andrews. Just as with Grace Kelly, who has yet to have a decent bio about her written, in my opinion, the same is true of Dana Andrews. This bio is, like the cover photo, stunning at a glance, but once we’re up close, we sadly realize it is only a cardboard cutout of a favorite actor.
I already knew some of what’s in this bio, but some I didn’t. He was from Texas, though he was born in a small Mississippi town called Don't, which no longer exists. He was one of many sons born to a preacher who could be overzealous and hypocritical, a man who would wear out his welcome over time and inevitably start over somewhere else. But despite his father's deep flaws, he could be right in regard to his son’s pursuit of fame as an actor taking him away from God.
The huge family — and I do mean huge — was nearly all boys, and there was tragedy within the family because two sisters died young. Carver (Dana Andrews), even from a young age, exhibited charisma and a longing for something outside of a simple country life. Yet it was in that simple life where Carver would meet the girl who most probably was the true love of his life.
Carver remained in touch with Norma Felder by letter while far away, struggling to make it. They planned to marry; his family made it clear that they wanted nothing more than for Carver to abandon his ambitions — which, with some supporting evidence, seemed very selfish — and return to marry Norma. But Norma stood by him; their bond ran so deep that even after he confronted his inner conflicts and admitted to her — though later regretting it — there was no future for her with him, due to his acting dreams, the two of them remained in touch by letters for a very long time.
He would eventually marry and suffer tragedy when the woman who adored him to the point of worshiping him, but whom he only cared for but did not feel the same adoration — possibly due to leaving Norma behind in Texas — died young, leaving him with a son.
That relationship is at the heart of this tunnel-vision bio. While it helps explain to some degree Carver’s issues with drink, even after he married later on and found some real success, it is so tediously told and compiled that it feels like we are the researcher rather than the ones benefitting from the author’s research into the man movie fans knew as Dana Andrews.
Rarely has anyone more conflicted or complex, a real star and fine actor deserving of a good bio, been given one that fell as short as this one does in capturing its subject. Instead we get only veiled glimpses through a curtain so that we can’t quite make out the silhouette; not enough light is shed on a man who appears to be very decent at heart, but might very well have traded true happiness for a dream, and found it difficult to live with his choice.
This biography just lays there, is tedious to read for all the constant insertions of bits of letters and such that only give us narrow close-ups of a much wider screen shot. It’s a slog you keep hoping will get better at some point, yet it never does. The best part of this bio is the stunning cover shot of Carver when he was known to the world as Dana Andrews. Just as with Grace Kelly, who has yet to have a decent bio about her written, in my opinion, the same is true of Dana Andrews. This bio is, like the cover photo, stunning at a glance, but once we’re up close, we sadly realize it is only a cardboard cutout of a favorite actor.
July 29, 2018
Dana Andrews was one of those Hollywood film actors who never seemed to fit a particular "scene". Westerns, war flicks, film noir, dramadies, he was able to stand out in all of them. Yet, he never became a screen legend the way his contemporaries did and that is why I picked up this book, to better understand his background and that intense aloofness.
Born to poverty in a large Texas family, Andrews steadily worked his way up the acting ladder, approaching each role with a pull-oneself-up-by-one's-bootstrings philosophy. As he learned his craft, he gradually scored better roles until his breakout in The Ox-Bow Incident . As one of the three accused men who are threatened with a mob-style lynching, Dana Andrews seized the screen with his quietude, that basic golden tenet of movie acting.
His greatest role was probably that of the returning WWII airman in The Best Years Of Our Lives . Suffering PTSD and swept aside by the civilians who have grasped the new world order quicker than he can, Andrews exudes a lost soul, but an inherently decent one. I first saw this movie on the big screen in a revival theatre and it was my introduction to the Hollywood Enigma.
So why was Dana Andrews such a question mark in the film industry? Despite his professionalism, Andrews was an alcoholic and never seemed to get past his youthful demons. This book focuses on his biography and his movies but it also tries to explain why he did what he did, the consequences of which led him to slip down that Hollywood ladder until he was doing guest TV spots. He should have been a bigger star, but I must admit that I felt a bit of respect for him as he refused to play along with the "system" and maintained his own set of beliefs which he adhered to throughout life.
It makes me a little sad to think most of our way of life is fast going - never to return.
The book itself is well-laid out with excellent contributions from family members and colleagues. It's clear the author has admiration for his subject but doesn't go overboard, which I appreciated. Rollyson knows the movies of Andrews and saves his best analysis for a select few, including Laura, which he clearly loves. There were, however, a bit too many proofreading errors, which meant a deducted star for my review. It's a good enough book to make me go search for some of the movies listed and now my streaming list is full of Dana Andrews flicks. Which, in the scheme of things, is not such a bad idea.
Book Season = Summer (rugged nobility)
Born to poverty in a large Texas family, Andrews steadily worked his way up the acting ladder, approaching each role with a pull-oneself-up-by-one's-bootstrings philosophy. As he learned his craft, he gradually scored better roles until his breakout in The Ox-Bow Incident . As one of the three accused men who are threatened with a mob-style lynching, Dana Andrews seized the screen with his quietude, that basic golden tenet of movie acting.
His greatest role was probably that of the returning WWII airman in The Best Years Of Our Lives . Suffering PTSD and swept aside by the civilians who have grasped the new world order quicker than he can, Andrews exudes a lost soul, but an inherently decent one. I first saw this movie on the big screen in a revival theatre and it was my introduction to the Hollywood Enigma.
So why was Dana Andrews such a question mark in the film industry? Despite his professionalism, Andrews was an alcoholic and never seemed to get past his youthful demons. This book focuses on his biography and his movies but it also tries to explain why he did what he did, the consequences of which led him to slip down that Hollywood ladder until he was doing guest TV spots. He should have been a bigger star, but I must admit that I felt a bit of respect for him as he refused to play along with the "system" and maintained his own set of beliefs which he adhered to throughout life.
It makes me a little sad to think most of our way of life is fast going - never to return.
The book itself is well-laid out with excellent contributions from family members and colleagues. It's clear the author has admiration for his subject but doesn't go overboard, which I appreciated. Rollyson knows the movies of Andrews and saves his best analysis for a select few, including Laura, which he clearly loves. There were, however, a bit too many proofreading errors, which meant a deducted star for my review. It's a good enough book to make me go search for some of the movies listed and now my streaming list is full of Dana Andrews flicks. Which, in the scheme of things, is not such a bad idea.
Book Season = Summer (rugged nobility)
January 7, 2019
It is difficult to be kind, and yet fair and honest when you are writing a biography. If you're a fan, it's tempting to gloss over some dubious behavior (and let's face it, no matter how much we love someone, there's always something there that isn't great). If you're not a fan, the book could turn into a hatchet job. Carl Rollyson does manage to be both up-front regarding some of Dana Andrews' less likable moments, yet kind and admiring of his finer qualities.
Carver Dana Andrews was born to do something interesting, for sure. For a long while, it wasn't entirely clear what that something was going to be, but once he figured it out, it seemed worth all the hard work. In the meantime, there was an early sweetheart who was left behind, and the start of what would become a life-altering alcohol addiction.
With the enthusiastic participation of Dana's surviving children and siblings, and the use of letters, diaries and other ephemera, Rollyson manages to get a fulsome picture of what Dana's thought processes were, and what he was like when the cameras weren't rolling. He seems as if he was much-loved, but sometimes difficult to like (especially when he was drinking). An exacting man, but one who absolutely craved affection and whose happiest moments were spent cuddled up with his wife and kids. He wasn't a perfect person by any stretch, but he's a gentleman who obviously did his level best to be decent and kind, and that's hard enough to manage. I'm glad that he got Carl Rollyson as a biographer, because Mr. Rollyson seems to have provided an excellent primer on what Dana was like.
A word of warning. If there are films you haven't yet seen that are discussed in this biography, I highly recommend skimming the pages referring to those films very, *very* lightly. The Ox-Bow Incident and Laura, for instance, are practically described shot for shot, and will be entirely ruined for anyone who has yet to enjoy them. Thankfully, I had caught on to this by the time I got to films that I hadn't seen for myself, so Daisy Kenyon didn't get spoiled for me.
Also, the typos in this edition are pretty plentiful, which is disappointing. Sometimes I had to read a section a few times before I could figure out which prepositions were missing, or what punctuation.
Carver Dana Andrews was born to do something interesting, for sure. For a long while, it wasn't entirely clear what that something was going to be, but once he figured it out, it seemed worth all the hard work. In the meantime, there was an early sweetheart who was left behind, and the start of what would become a life-altering alcohol addiction.
With the enthusiastic participation of Dana's surviving children and siblings, and the use of letters, diaries and other ephemera, Rollyson manages to get a fulsome picture of what Dana's thought processes were, and what he was like when the cameras weren't rolling. He seems as if he was much-loved, but sometimes difficult to like (especially when he was drinking). An exacting man, but one who absolutely craved affection and whose happiest moments were spent cuddled up with his wife and kids. He wasn't a perfect person by any stretch, but he's a gentleman who obviously did his level best to be decent and kind, and that's hard enough to manage. I'm glad that he got Carl Rollyson as a biographer, because Mr. Rollyson seems to have provided an excellent primer on what Dana was like.
A word of warning. If there are films you haven't yet seen that are discussed in this biography, I highly recommend skimming the pages referring to those films very, *very* lightly. The Ox-Bow Incident and Laura, for instance, are practically described shot for shot, and will be entirely ruined for anyone who has yet to enjoy them. Thankfully, I had caught on to this by the time I got to films that I hadn't seen for myself, so Daisy Kenyon didn't get spoiled for me.
Also, the typos in this edition are pretty plentiful, which is disappointing. Sometimes I had to read a section a few times before I could figure out which prepositions were missing, or what punctuation.
January 21, 2014
After reading Rollyson’s biography on Dana Andrews, I do not know much more about Dana than I did before reading the book. Perhaps it is a reflection of Dana’s relationships and the way he lived his life, but it also seems the author missed the mark.
My copy of the book is from the first printing and contains multiple typographical errors. The book, which is fairly easy to read, can be loosely segmented into four major areas of Dana’s life: growing up, early career years, fame, and aging.
In the chapters about Dana’s youth, the author jumped around when chronicling Dana’s father’s career, which made it difficult to follow. In multiple instances when discussing Dana’s father’s faith, the author seemed intent on voicing his personal, negative feelings about organized religion. The section on Dana’s early career years was the most interesting and provided the greatest detail and insight. Dana’s personal diary appeared to be a valuable resource for this section. In the section chronicling the pinnacle of Dana’s career success, the author provided detailed synopses of Dana’s movies, which became boring. If Rollyson felt the need to include these summaries, an appendix would be a better place. Attempts to compare a role the actor played to the man seem pointless. More detail about Dana’s relationships and accolades would have been appreciated. This should have been the most interesting part of the book, but became tedious to wade through. The section on Dana’s declining career, aging, and poor health was the second strongest section due to input from Dana’s daughters.
Although the author had full access to Dana’s family and personal records, it did not seem they were accessed to their fullest extent, nor were news accounts and interviews from the time period, or interviews with surviving costars. After being portrayed as a faithful husband and devoted family man, there was brief mention of an affair without much detail or discussion. Since this was such a departure from Dana’s usual behavior, it deserved more discussion. Several times innuendos were made concerning problems with Dana’s eldest child, David, and I anticipated additional details, which were never provided. Detail about the lives and careers of Dana’s children and grandchildren would have provided insight into Dana’s personal legacy.
It appears Rollyson is not a fan of Dana Andrews as there is no affection expressed. I appreciate the author did not resort to undocumented gossip and innuendo, but otherwise the book provides a basically sterile account of the life of one of Hollywood’s greatest actors. Upon completion of reading the book, I felt sad about Dana Andrews’ life. Surely Mr. Andrews had more redeeming qualities than the author portrayed.
My copy of the book is from the first printing and contains multiple typographical errors. The book, which is fairly easy to read, can be loosely segmented into four major areas of Dana’s life: growing up, early career years, fame, and aging.
In the chapters about Dana’s youth, the author jumped around when chronicling Dana’s father’s career, which made it difficult to follow. In multiple instances when discussing Dana’s father’s faith, the author seemed intent on voicing his personal, negative feelings about organized religion. The section on Dana’s early career years was the most interesting and provided the greatest detail and insight. Dana’s personal diary appeared to be a valuable resource for this section. In the section chronicling the pinnacle of Dana’s career success, the author provided detailed synopses of Dana’s movies, which became boring. If Rollyson felt the need to include these summaries, an appendix would be a better place. Attempts to compare a role the actor played to the man seem pointless. More detail about Dana’s relationships and accolades would have been appreciated. This should have been the most interesting part of the book, but became tedious to wade through. The section on Dana’s declining career, aging, and poor health was the second strongest section due to input from Dana’s daughters.
Although the author had full access to Dana’s family and personal records, it did not seem they were accessed to their fullest extent, nor were news accounts and interviews from the time period, or interviews with surviving costars. After being portrayed as a faithful husband and devoted family man, there was brief mention of an affair without much detail or discussion. Since this was such a departure from Dana’s usual behavior, it deserved more discussion. Several times innuendos were made concerning problems with Dana’s eldest child, David, and I anticipated additional details, which were never provided. Detail about the lives and careers of Dana’s children and grandchildren would have provided insight into Dana’s personal legacy.
It appears Rollyson is not a fan of Dana Andrews as there is no affection expressed. I appreciate the author did not resort to undocumented gossip and innuendo, but otherwise the book provides a basically sterile account of the life of one of Hollywood’s greatest actors. Upon completion of reading the book, I felt sad about Dana Andrews’ life. Surely Mr. Andrews had more redeeming qualities than the author portrayed.
January 20, 2014
I enjoyed Dana Andrews work in "Laura" and "The Best Years of Our Lives," but didn't know much about him. This is an interesting account of his life and films that caused me to seek out a couple that I had missed: "Swamp Water" which is much better than its title, and "Canyon Passage," an under-appreciated western. Andrews comes across as a good and decent family man who worked hard, but suffered from severe alcoholism. He kicked the disease a couple of times - finally for good late in his life - and to his great credit, did a television commercial coming out against drunk driving.
September 6, 2015
A fine study of the life and career of one of Hollywood's most underrated actors, He was an enigma in many ways among which He disdained the Hollywood he worked for;was a strong family man,loving his wife and kids and yet due to the stress of his job was driven to over drinking,which probably shortened his career as an A list actor. He was admirable in several prominent movies-THE BEST YEARS OF OUR LIVES,LAURA and THE OX BOW INCIDENT. I thought he was best in an exceptional western that is not given due recognition-CANYON PASSAGE (filmed in the most glorious outdoor color).Andrews is also known for his fine film noir portrayals in WHERE THE SIDE WALK ENDS ,FALLEN ANGEL,and BEYOND A REASONABLE DOUBT.He was a rather unique and interesting actor.
June 7, 2022
If I had to read one more time about Norma Felder ...
Also didn't need a frame-by-frame analysis of films like "Laura." I prefer biographies to have history, not film criticism.
Well researched and incredibly detailed, but areas were also exasperating. I love Dana Andrews so I was disappointed.
Also didn't need a frame-by-frame analysis of films like "Laura." I prefer biographies to have history, not film criticism.
Well researched and incredibly detailed, but areas were also exasperating. I love Dana Andrews so I was disappointed.
February 21, 2022
This biography was really aggravating. As a fan of Dana Andrews, I was so excited to discover a book had been written about him, only to be disappointed in the reading of it, as it really pays short shrift to an already underrated actor. Andrews deserves way better.
The text is loaded with misspellings and grammatical errors, leading one to wonder if Rollyson even bothered with an editor. The first 1/3 of the book read solely as a biography of Andrews' Baptist minister father. Dana is not mentioned all that much, except in the context of his large family. Rollyson at times goes into complete synopses of the plots of Andrews' films (if you've yet to watch one of his best, "Laura", don't read the chapter dedicated to this film until after you've viewed it; Rollyson dedicates a bulk of the chapter to a blow-by-blow, scene-by-scene telling of it, including disclosing the identity of the killer). He then proceeds to gloss over - indeed, barely even mentioning - other films that he obviously, personally doesn't deem worthy of talking about. "Boomerang", which I feel is another of Andrews' best, is mentioned only two times, almost as an afterthought. Rollyson also seems a little biased in favor of Andrews' war films, going into in-depth discussion on those and less so on melodramas such as "My Foolish Heart', which - granted, though it was soap opera-ish - was elevated simply by the integrity Andrews brought to his character nonetheless. For the ardent fan of Andrews, there isn't much to be gleaned from this very uneven look at his film career.
What I did appreciate: Rollyson uses several letters written between Andrews and his wife Mary, and also reminiscences from his grown kids to detail how much of a dedicated husband and family man he was. He struggled with drinking for most of his life, but he never let that compromise how he was when he was home and with his family - those times he truly cherished. I liked how that was relayed in this book.
Otherwise, sadly, this seems to be the sole bio out on Andrews, and I really hope someday another biographer and researcher who can do one better on Rollyson will come along. This was a 2.5 for me: 2 stars for attempting a Dana Andrews bio, and an extra .5 for some of the personal touches via the family stories and letters. I can't go higher, though.
The text is loaded with misspellings and grammatical errors, leading one to wonder if Rollyson even bothered with an editor. The first 1/3 of the book read solely as a biography of Andrews' Baptist minister father. Dana is not mentioned all that much, except in the context of his large family. Rollyson at times goes into complete synopses of the plots of Andrews' films (if you've yet to watch one of his best, "Laura", don't read the chapter dedicated to this film until after you've viewed it; Rollyson dedicates a bulk of the chapter to a blow-by-blow, scene-by-scene telling of it, including disclosing the identity of the killer). He then proceeds to gloss over - indeed, barely even mentioning - other films that he obviously, personally doesn't deem worthy of talking about. "Boomerang", which I feel is another of Andrews' best, is mentioned only two times, almost as an afterthought. Rollyson also seems a little biased in favor of Andrews' war films, going into in-depth discussion on those and less so on melodramas such as "My Foolish Heart', which - granted, though it was soap opera-ish - was elevated simply by the integrity Andrews brought to his character nonetheless. For the ardent fan of Andrews, there isn't much to be gleaned from this very uneven look at his film career.
What I did appreciate: Rollyson uses several letters written between Andrews and his wife Mary, and also reminiscences from his grown kids to detail how much of a dedicated husband and family man he was. He struggled with drinking for most of his life, but he never let that compromise how he was when he was home and with his family - those times he truly cherished. I liked how that was relayed in this book.
Otherwise, sadly, this seems to be the sole bio out on Andrews, and I really hope someday another biographer and researcher who can do one better on Rollyson will come along. This was a 2.5 for me: 2 stars for attempting a Dana Andrews bio, and an extra .5 for some of the personal touches via the family stories and letters. I can't go higher, though.
June 6, 2013
Dana Andrews has always been one of my favorite actors, mostly because he came across, in his movies, as a relatable, "regular" kind of guy, someone who you could imagine sitting down to have dinner with and carry on a good conversation. I very much wanted to read about his movies and his life before and after his movie career. I was therefore disappointed with author's overanalyzing style of writing about Mr. Andrews' movies. I felt as though I was reading a psychology book from a graduate degree program. Lost in all the verbiage was the man himself. In addition, I disagreed with the author's assessments of some of the actors and actresses that Mr. Andrews worked with.
January 19, 2013
Very interesting book on the life of this fellow Mississippian who took Hollywood by storm, and ended up a "guest" star in movies and TV.
At times tenuous and then tedious, the author seems more intent on telling you about all the research he did for the story rather than telling the story.
It leaves you wanting more detail than the author seems willing or able to give. Still, it is worth a read, if for nothing more than to give insight into the manipulation a of the studio system of the 40's and 50's.
At times tenuous and then tedious, the author seems more intent on telling you about all the research he did for the story rather than telling the story.
It leaves you wanting more detail than the author seems willing or able to give. Still, it is worth a read, if for nothing more than to give insight into the manipulation a of the studio system of the 40's and 50's.
August 22, 2024
Actor Dana Andrews made over 80 films from 1940 to 1985. He’s best remembered as one of the three returning World War II war veterans in “The Best Years of Our Lives.” In the forties and early fifties when Hollywood was making film noir, Andrews was the leading male in some of the best— “Laura,” “Where the Sidewalk Ends,” and “Fallen Angel.” Andrews was reliable for giving strong understated performances even in the often-forgettable films that contract players had to make. Carl Rollyson’s 2012 biography, “Hollywood Enigma: Dana Andrews” illuminates the life of this great actor—his humble beginnings and rise to stardom during the heyday of Hollywood studios. Rollyson interviews the few living colleagues of Andrews as well as his children. He covers Andrews’ many films providing plots, production background and reviews. The biggest coup is his access to Andrews’ daily journals, which started in the 1920’s when the small-town Texas preacher’s son Andrews determined that he could become a movie actor through daily self-improvement (e.g. reading widely, increasing his vocabulary). He would leave Texas for southern California where he was a struggling actor, working several jobs while studying voice and auditioning.
Andrews’ internal struggles are documented in his journal: “’With all these assets my liabilities consist chiefly of: a lack of energy (not a great lack at that), possibly not the most artistic temperament in the world, a gross lack of confidence in my ability to do anything well—this last being fatal to a frame of mind that might aid in the improvement of others. But be it resolved that from here on out, I shall rid myself of this and develop even an overbearing confidence in myself or die in the attempt.’”
Roles at the Pasadena Playhouse would finally get him noticed and lead to a Goldwyn contract in 1938 and the beginning of his long movie career. Rollyson notes that director Lewis Milestone “understood Dana’s evolving screen personality: a decent sensitive man with a quiet kind of heroism, deeply aware of his fellow man’s strengths and weaknesses, his vulnerabilities and worries.”
If the forties were major years for Andrews’s film success, the early fifties would see his decline. Though he continued to work, his drinking began to affect his reliability and his performances. Andrews did achieve a period of sobriety from 1958 to 1964, in which he was elected president of the Screen Actors Guild. The death of his first son during brain surgery led to a relapse. A 1968 near divorce from his wife finally motivated him to be sober for the rest of his life. Andrews would die of complications from Alzheimer’s in 1992.
Ironically, this reader’s first memory of Andrews was from his Public Service Announcement (PSA) on the dangers of drunk driving: “I’m Dana Andrews, and I’m an alcoholic. I don’t drink anymore, but I used to—all the time. And when I was drunk I was about as good a driver as my two-year-old grandson. I had accidents. I never killed anybody. If it had gone on I probably would have. Because the people who were responsible for 19,000 traffic deaths each year were people just like I was—drunk. Get the problem drinker off the road—for his sake and yours.” I was a seventeen-year-old dealing with the nightly drama of a drunken father, so the PSA had a riveting effect.
“Hollywood Enigma” reminds readers that most actors find success from their drive to hone their craft through study and experience, rather than being discovered just for their looks. Carl Rollyson’s biography of Dana Andrews is an exceptional look at a remarkable actor’s life. Recommended.
Andrews’ internal struggles are documented in his journal: “’With all these assets my liabilities consist chiefly of: a lack of energy (not a great lack at that), possibly not the most artistic temperament in the world, a gross lack of confidence in my ability to do anything well—this last being fatal to a frame of mind that might aid in the improvement of others. But be it resolved that from here on out, I shall rid myself of this and develop even an overbearing confidence in myself or die in the attempt.’”
Roles at the Pasadena Playhouse would finally get him noticed and lead to a Goldwyn contract in 1938 and the beginning of his long movie career. Rollyson notes that director Lewis Milestone “understood Dana’s evolving screen personality: a decent sensitive man with a quiet kind of heroism, deeply aware of his fellow man’s strengths and weaknesses, his vulnerabilities and worries.”
If the forties were major years for Andrews’s film success, the early fifties would see his decline. Though he continued to work, his drinking began to affect his reliability and his performances. Andrews did achieve a period of sobriety from 1958 to 1964, in which he was elected president of the Screen Actors Guild. The death of his first son during brain surgery led to a relapse. A 1968 near divorce from his wife finally motivated him to be sober for the rest of his life. Andrews would die of complications from Alzheimer’s in 1992.
Ironically, this reader’s first memory of Andrews was from his Public Service Announcement (PSA) on the dangers of drunk driving: “I’m Dana Andrews, and I’m an alcoholic. I don’t drink anymore, but I used to—all the time. And when I was drunk I was about as good a driver as my two-year-old grandson. I had accidents. I never killed anybody. If it had gone on I probably would have. Because the people who were responsible for 19,000 traffic deaths each year were people just like I was—drunk. Get the problem drinker off the road—for his sake and yours.” I was a seventeen-year-old dealing with the nightly drama of a drunken father, so the PSA had a riveting effect.
“Hollywood Enigma” reminds readers that most actors find success from their drive to hone their craft through study and experience, rather than being discovered just for their looks. Carl Rollyson’s biography of Dana Andrews is an exceptional look at a remarkable actor’s life. Recommended.
April 26, 2023
In his review of Hollywood Enigma: Dana Andrews, writer David Stenn succinctly nails the actor’s rank on the show biz food chain: “Always understated and all too underrated.” I suspect that’s why Dana is rarely mentioned in the same breath as legends like Gable, Tracy, Stewart and Cooper, but it’s why I’m glad there’s finally a biography that thoroughly covers Dana’s life and films.
The book benefits greatly from Rollyson’s access to Dana’s personal diary and correspondence, which offer keen insights into Dana the man and the movie star. Being able to read Dana’s own words about how he felt and what he experienced sets Rollyson’s chronicle apart from typical celebrity bios that lean too heavily on gossip, newspaper clips, or studio press kits.
I was most intrigued by the remembrances of Dana’s relatives, especially his three children. Their quotes shed fascinating light on Dana the husband and father he really was, versus the airbrushed hunk promoted in fan magazines. Neither Rollyson nor Dana’s kids sugarcoat Dana’s alcoholism; instead, they present his substance abuse struggles with honesty and compassion.
Dana’s take on the gritty reality behind the “glamorous” facade of moviemaking is telling. In one 1943 letter, Dana bemoans being “so sick of this nasty place,” and frets that his adaptability to Tinseltown’s wicked ways could cost him his soul. Dana’s diary captures the ups and downs of an aspiring actor (“Fear-fear-fear, I’m all tied up – so completely afraid...”), so that when he gets his big break after years of low-paying jobs and personal tragedies, we rejoice with him.
Having admired Dana’s work in The Purple Heart, Laura, The Best Years of Our Lives, and Fallen Angel, I relished Rollyson’s analysis of each picture, though if you haven’t seen them, beware: the recaps contain spoilers. I also enjoyed getting the inside scoop on the directors behind some of Dana’s finest performances: Lewis Milestone, Otto Preminger, and William Wyler.
That said, there’s far too much time spent on Dana’s father, a Baptist pastor in the “Elmer Gantry” mode. Yes, CF Andrews’ impact on his son was great, but I didn’t need so many details on CF’s ministry career. I grew tired of the recurring focus on Dana’s high school sweetheart; I found their relationship tedious and ultimately irrelevant. While the account of Dana’s 53-year marriage is moving, I was surprised when Rollyson abruptly dropped a truth bomb about Dana’s affair with a co-star. The dalliance seems entirely out of character, and I was left wanting to know more.
At the risk of sounding like a grammar cop, I was repeatedly distracted by several editing errors in the book (Rollyson twice writes that a person will “retail” an anecdote when I assume he means “retell”; it’s “Hedy” not “Hedi” Lamarr; it’s “savoir faire,” not “savior faire”). I often felt like I was reading a first draft, and found myself mentally making corrections, instead of losing myself in polished storytelling.
Overall, I enjoyed this bio, which deepened my appreciation for Dana’s talent and candor. Rollyson provides an overdue look at Dana’s place in screen history: An enigmatic leading man who bridged the decade between the stagy, Mid-Atlantic-accented stars of the 1930s and the intense Method-acting idols of the ‘50s. Perhaps that’s why Dana’s understated performances have aged so well, and feel so timeless.
The book benefits greatly from Rollyson’s access to Dana’s personal diary and correspondence, which offer keen insights into Dana the man and the movie star. Being able to read Dana’s own words about how he felt and what he experienced sets Rollyson’s chronicle apart from typical celebrity bios that lean too heavily on gossip, newspaper clips, or studio press kits.
I was most intrigued by the remembrances of Dana’s relatives, especially his three children. Their quotes shed fascinating light on Dana the husband and father he really was, versus the airbrushed hunk promoted in fan magazines. Neither Rollyson nor Dana’s kids sugarcoat Dana’s alcoholism; instead, they present his substance abuse struggles with honesty and compassion.
Dana’s take on the gritty reality behind the “glamorous” facade of moviemaking is telling. In one 1943 letter, Dana bemoans being “so sick of this nasty place,” and frets that his adaptability to Tinseltown’s wicked ways could cost him his soul. Dana’s diary captures the ups and downs of an aspiring actor (“Fear-fear-fear, I’m all tied up – so completely afraid...”), so that when he gets his big break after years of low-paying jobs and personal tragedies, we rejoice with him.
Having admired Dana’s work in The Purple Heart, Laura, The Best Years of Our Lives, and Fallen Angel, I relished Rollyson’s analysis of each picture, though if you haven’t seen them, beware: the recaps contain spoilers. I also enjoyed getting the inside scoop on the directors behind some of Dana’s finest performances: Lewis Milestone, Otto Preminger, and William Wyler.
That said, there’s far too much time spent on Dana’s father, a Baptist pastor in the “Elmer Gantry” mode. Yes, CF Andrews’ impact on his son was great, but I didn’t need so many details on CF’s ministry career. I grew tired of the recurring focus on Dana’s high school sweetheart; I found their relationship tedious and ultimately irrelevant. While the account of Dana’s 53-year marriage is moving, I was surprised when Rollyson abruptly dropped a truth bomb about Dana’s affair with a co-star. The dalliance seems entirely out of character, and I was left wanting to know more.
At the risk of sounding like a grammar cop, I was repeatedly distracted by several editing errors in the book (Rollyson twice writes that a person will “retail” an anecdote when I assume he means “retell”; it’s “Hedy” not “Hedi” Lamarr; it’s “savoir faire,” not “savior faire”). I often felt like I was reading a first draft, and found myself mentally making corrections, instead of losing myself in polished storytelling.
Overall, I enjoyed this bio, which deepened my appreciation for Dana’s talent and candor. Rollyson provides an overdue look at Dana’s place in screen history: An enigmatic leading man who bridged the decade between the stagy, Mid-Atlantic-accented stars of the 1930s and the intense Method-acting idols of the ‘50s. Perhaps that’s why Dana’s understated performances have aged so well, and feel so timeless.
December 13, 2019
I heard about this book through my membership in a Facebook page relating to the life and career of actor Dana Andrews. My mom was a big fan of Mr. Andrews, and I remember his appearance on the TV show "This is Your Life" during my college years and his willingness to say that he was an alcoholic. I admired that. After reading the book I would not be able to say why he became an alcoholic but he worked in a very stressful profession. Additionally, his success was far from overnight and his beginnings were modest.
I did not know much about Mr. Andrews until I read this book. Mr. Rollyson gathers information about him from many sources including family members, oral histories and a previous start at a Dana Andrews-related biography by another author. He did a very nice job blending all sources. Note: I did not detect a large amount of typos and where they are they appear to be misspellings of people's names which may be why they escaped the spell-check process (this seems to have troubled some of our previous Goodreads reviewers).
I found the account of Mr. Andrews' contributions to the Screen Actors' Guild interesting. Mr. Rollyson also points out some of his motion pictures which I have not seen that I should see and will follow up on. I was a bit confused that not much information was provided on the film "My Foolish Heart"; I will direct my question to the author himself.
If you are interested in learning more about Dana Andrews and the era in which he acted, the book is definitely recommended.
I did not know much about Mr. Andrews until I read this book. Mr. Rollyson gathers information about him from many sources including family members, oral histories and a previous start at a Dana Andrews-related biography by another author. He did a very nice job blending all sources. Note: I did not detect a large amount of typos and where they are they appear to be misspellings of people's names which may be why they escaped the spell-check process (this seems to have troubled some of our previous Goodreads reviewers).
I found the account of Mr. Andrews' contributions to the Screen Actors' Guild interesting. Mr. Rollyson also points out some of his motion pictures which I have not seen that I should see and will follow up on. I was a bit confused that not much information was provided on the film "My Foolish Heart"; I will direct my question to the author himself.
If you are interested in learning more about Dana Andrews and the era in which he acted, the book is definitely recommended.
November 13, 2022
Very interesting biography of the brilliant actor Dana Andrews. It narrates his fight to create a career in Hollywood and also sketches a varied background of his childhood in Mississippi, Texas and other states.
What I could have wished for, is more details of his later life - more insight into his letters, perhaps and so on - since the author had access to such vast resources of material.
But all in all, it is a good narration: it is not too long and gives you a good look at who Dana really was and his character. What I most admired was his steadfastness, his never giving up and continuing to work for what he wanted. And of course, his devotion to, above all, his wife.
Give this a go if you're interested in Dana Andrews's life and person, I don't think you'll be disappointed!
What I could have wished for, is more details of his later life - more insight into his letters, perhaps and so on - since the author had access to such vast resources of material.
But all in all, it is a good narration: it is not too long and gives you a good look at who Dana really was and his character. What I most admired was his steadfastness, his never giving up and continuing to work for what he wanted. And of course, his devotion to, above all, his wife.
Give this a go if you're interested in Dana Andrews's life and person, I don't think you'll be disappointed!
July 13, 2022
As Dana Andrews is currently (July 2022) a star of the month and his films are being shown, Mr. Rollyson's biography is well worth reading. It is very adeptly researched and written. Some of the actor's films are described in detail, and some not. Perhaps this occurred within the editing process.
Mr. Andrews was a friend of Bill W. His struggles with alcoholism are featured in this book. I remember his addressing this problem in the early 1970s on television appearances and greatly respected that - and still do too.
If film fans would like to learn more about Dana Andrews, read this book.
Mr. Andrews was a friend of Bill W. His struggles with alcoholism are featured in this book. I remember his addressing this problem in the early 1970s on television appearances and greatly respected that - and still do too.
If film fans would like to learn more about Dana Andrews, read this book.
July 7, 2022
I was so excited to discover a biography of an amazing, under-appreciated actor that I have adored for most of my life. I never knew much about Dana’s personal history, beyond his struggles with alcohol and the fact that he was the son of a minister who came from a large Southern family. It was fascinating to learn more about his upbringing and to read some of Dana’s own thoughts via letters and an early journal that he kept.
The book did suffer from editing issues including typos, and I feel like some sections could have been trimmed down while others were expanded upon. It was of great significance that the author had access to not only Dana’s papers and prior biographical interviews, but also the wonderful remembrances of three of his children who loved their father dearly. That added great heart to a text which, while respectful, came across uneven, dry and somewhat biased at times.
The cover photo, though? SWOON. It deserves a rating of five stars all by itself!
The book did suffer from editing issues including typos, and I feel like some sections could have been trimmed down while others were expanded upon. It was of great significance that the author had access to not only Dana’s papers and prior biographical interviews, but also the wonderful remembrances of three of his children who loved their father dearly. That added great heart to a text which, while respectful, came across uneven, dry and somewhat biased at times.
The cover photo, though? SWOON. It deserves a rating of five stars all by itself!
September 22, 2012
Dana Andrews worked with the biggest directors and most beautiful leading ladies of the 1940s and 50s, yet his career on the big screen during Hollywood’s Golden Age is largely forgotten. Despite his credits and reputation as a professional actor and master of the minimalist style, Andrews was largely underrated and overlooked in favor of the Rock Hudsons, Robert Mitchums, John Waynes and Jimmy Stewarts.
His life was filled with struggles: poverty as a child, recognition from his evangelist father, a career as a leading man for whom the pantheon of great actors was always just a role away. His toughest struggle was with alcoholism; it was one that nearly ruined him.
Read my full review at TheCelebrityCafe.com
His life was filled with struggles: poverty as a child, recognition from his evangelist father, a career as a leading man for whom the pantheon of great actors was always just a role away. His toughest struggle was with alcoholism; it was one that nearly ruined him.
Read my full review at TheCelebrityCafe.com
October 30, 2014
I have always admired and enjoyed Dana Andrews as an actor. I knew nothing about him personally. I am encouraged to see some of his movies I missed and to re-watch others. This book seemed uneven to me. There was a wealth of detailed material about his first serious relationship and his first marriage. I felt that was missing in the description of his practically life long second marriage. Perhaps the information is just not available. The fairly detailed analysis of each movie he made was a good mix of his professional and emotional involvement and a film critic's opinion of the finished product.
April 6, 2020
Not really knowing much about this enigmatic actor, it was an enjoyable read. I had seen some of the films he featured in, which is what drew me to this biography. As it was the first I had come across, I cannot compare it with others that may have been written. I enjoy reading about old Hollywood and those that achieved fame during this time.
November 21, 2014
This biography was pretty well written, but told me more than I really needed to know about the end of Andrews's life. He appeared in a number of film noir classics as well as The Best Years of Our Lives, and I would have liked to have read more about the filming of the movies and his thoughts about them, rather than his drinking and dissatisfaction with the studio system.
December 28, 2019
If it wasn't for authors like this,the least well known actors would not have any lasting legacy in print.we have their films but to know their background.dana Andrew's is one of them.mainly known for 40s and 50s film noir, I knew nothing of his backstory until now.well researched,I would have given it more but it took some getting into at the beginning.
November 6, 2012
Excellent bio.
January 10, 2016
A Christmas present to myself, since I've always been a little in love with Fred Derry. Engrossing.
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