Louis Kraft Sand Creek Massacre, Errol & Olivia, and Navajo Blood updates

Website & blogs © Louis Kraft 2013-2020

Contact Kraft at writerkraft@gmail.com or comment at the end of the blogs


LK is burned out, a skeleton that
functions on reflex. This came about from weeks,
months, and now pushing three years of working almost
seven days a week on the Sand Creek project. It
is now 11jun2019 and I have much that must
still happen for Sand Creek and the Tragic
End of a Lifeway to see the light of day
in 2020. Everything is business, but
key is that LK must provide
OU Press everything it
requires for the book
to be published.
Everything.

This is on me, and I wouldn’t have it any other way.
But before I share my progress I want to give you a hint of what follows it.

I was going to use the above image without the words later in this blog but then changed my mind. It dates to 1982 after I returned to SoCal after playing Miles Hendon during a 1981-1982 135-performance tour in Northern California of The Prince and the Pauper (based upon Mark Twain’s novel and Errol Flynn’s 1937 film). I choreographed the duel in the play and had a living blast during the tour. This image was taken while I worked out with actors that knew how to handle the sword for five one-act plays that were grouped together. We performed them in late spring or early summer. I performed in three of them and wrote one. … A battle of the sexes wherein the hero—yours truly—was done in by a lady who knew how to handle a blade, but was no competition for hero Kraft, who toyed with her before disarming her and forcing her to the ground. She was on her back, unarmed, and at the hero’s mercy as the play ended. But all wasn’t as it seemed to be. While Kraft bowed and enjoyed the audience’s applause and cheering one well-placed punch turned victory into defeat—to the delight of everyone who saw The Fencing Lesson. Well-choreographed slashing blades enacted with sexual innuendo while lightly played for laughs was perhaps one of my better writing/acting efforts … until the lady regained her feet and proceeded to bash the hell out of me with relentless fists that ended the play with a standing ovation—for her. (photo © Louis Kraft 1982)

This blog is much more than a Sand Creek book update

Much-much more. … For it marks the beginning of my writing future. The time has arrived and some of it may shock you, but what follows—like my Indian wars books—has been in place for many years. By that I mean that the research has been ongoing for decades. Decades. This does not mean that I’m turning my back on the American Indian wars, for I’m not … I’m simply changing my focus while continuing to do what I’ve done for a very long time. It feels like it has been a lifetime coming but with Sand Creek and the Tragic End of a Lifeway racing toward publication the time has arrived.

You know that I’m cryptic at times and certainly secretive. Alas, that still is in place. … This blog will deal with three books, and some important surprises.

There is no reason be silent in regards to the three books

  • Sand Creek and the Tragic End of a Lifeway (but you knew it was on this list).
  • Errol & Olivia, which is a dual biography of Errol Flynn and Olivia de Havilland during the making of the eight films they did together.
    • Research continues on two additional nonfiction books on Flynn.

This change is not a move away from my Indian wars/race passion to the world of film (my other passion), but a continuation while I branch out into areas that have been on my plate for what feels like an eternity.

  • Navajo Blood, a novel that deals with dark-dark times in the Southwest during the years 1863 and 1864 and will have a mix of real Diné (as the Navajos call themselves) such as Chiefs Manuelito and Barboncito; as well as frontiersman turned soldier Kit Carson, among others; and fictional players, two of whom are key to the entire story.
    • This novel isn’t a one-and-done effort with Mr. Carson.

What follows is my future.

Sand Creek and the Tragic End of a Lifeway status

Ohhh baby is time flying past at lightning speed.

My last manuscript status on these blogs was on the last day of December 2018. Time simply disappears when you’re having fun. I often feel as if I’m swimming off the SoCal coast in the Pacific Ocean, and this is good as I’ve been a fish ever since the first or second grade. But not really for although I’m making deliveries that are mandatory for the Sand Creek manuscript to see print I think that OU Press views my progress as I race toward the finish line closer to “a snail’s pace.”

We have Great White sharks off the coast of Los Angeles, and as temperatures warm more and more are seen. This year schools of four and five have been photographed cruising above the surface and just beyond the breakers from helicopters. One can only wonder how many of their brethren are forever searching for their next meal hidden from sight. I refuse to become shark bait screaming as I sink into the murky depths of the Pacific only to have chunks and pieces of a once-cocky writer who is no more float to the surface and gently flow to shore. … This image is an LK vision of Costa Rica’s west coast. It looks like a wonderful place to walk naked along the beach. Oops! Ignore that. … I wonder if Great Whites swim that far south. (art © Louis Kraft 2019)

I will deliver.

Manuscript delivery
I made the final manuscript delivery in mid-January. OU Press Editor-in-Chief Adam Kane and Production Manager Steven Baker (who I worked with on Ned Wynkoop and the Lonely Road from Sand Creek) have told me that the story flows, is readable, and will do well when published. Adam also told me that the book would sell even if there were no photos or art.

I took this image of Cheyenne Chiefs Lawrence Hart (standing center right) and Gordon Yellowman (praying at right) while they blessed the Cheyenne-Dog Man-Lakota village that Maj. Gen. Winfield Hancock destroyed, and in my opinion without cause, in April 1867. Just one of many heinous crimes performed by the U.S. government and their cronies during the entire 1860s when the United States swept westward with the lone goal of securing every acre of land that held value and to hell with any American Indian that dared to say, “Stop! This is my land.” I don’t know if you’ll ever read Sand Creek and the Tragic End of a Lifeway. If you don’t read the book but see it somewhere look at the last paragraph as it shows you exactly why I signed on for this project without end. The lady with the blanket around her shoulders at center-left is Gordon’s wife Connie. I met her at this two-three day event and spent a lot of time with her. Good times for LK as I enjoyed her company while appreciating what she shared with me. The only other person in this image that I know is George Elmore (left in the sergeant’s uniform). We met in 1990 while I was researching The Final Showdown (1992) and he gave me and my daughter a private tour of the Fort Larned NHS, a lot of which made it into the novel. Both he and Gordon have influenced my life, not to mention having played key roles in the completion of Sand Creek and the Tragic End of a Lifeway. (photo ©  Louis Kraft 1999)

To get to this point in time has never been a one-man show. There have been a lot of people who have unselfishly shared their knowledge, their time, and their patience with me. They have ranged from writer-historians to National Historic Site personnel to archivists to American Indians to friends whose interest is the same as mine to the staff at the University of Oklahoma Press, for without all of them there would be no book. I’m not listing them here but perhaps when I write the blog that announces the publication of the book I’ll focus on them (more below).

Images
The manuscript has 34 contracted images and all have been delivered to OU Press (the last two in late May). I’ve always known what I thought I wanted, but time and due to simply not finding specific photos or art more often than not made unexpected searches mandatory. As with my research on the manuscript many people and organizations played key roles in me actually completing this list. It goes without saying that at times this search was agonizing.

This is a colorization of a detail of a woodcut in the LK personal collection that I had used a grayscale of in Ned Wynkoop and the Lonely Road from Sand Creek. It is of Bull Bear (left) and Black Kettle on 28sept1864. I had considered using the entire woodcut in Sand Creek and the Tragic End of a Lifeway but early on decided against this. (Detail colorization © Louis Kraft 2013)

As always for me it is the process, and in the case of photographs, art, and woodcuts it included hot trails that eventually turned ice cold. When this happened I was always disappointed, but that never lasted long. As I’ve always had backup selections identified, and if they weren’t in-house I began new searches.

Working on photos that needed restoration has been an ongoing task of major proportions. Ditto obtaining photos and art from archives as well as individuals. Regrettably some of the archives’ responses have been at a turtle’s pace. Some have come through and some fell by the wayside as I ran out of time and scrambled to obtain other images. Still many people and organizations stepped up to the plate (a baseball term) in my quest to locate, obtain, and when necessary purchase the images and, if required, the use fees. To each and every one of you thank you from the bottom of my heart.

As announced, and I think at the end of last year, I will not share any image that will appear in Sand Creek and the Tragic End of a Lifeway until it is published. This is firm.

Maps
My cartographer needs to be mentioned; his name is Bill Nelson. I hired him to create two maps for Ned Wynkoop and the Lonely Road from Sand Creek (2011) from my rough drafts. If you’ve seen the book you know that his work sparkles. One of the Wynkoop maps is displayed below. I again hired Bill for this book, but this time I reworked the two Wynkoop maps to create drafts for him, and he has finished them and they will shine. I hope to deliver my draft of the third and final map to him later this week. Like my original drafts for Wynkoop this map will be rough. Although it now has a firm-no move deadline of August 5 that I think will be fine.

Ned Wynkoop and the Lonely Road from Sand Creek map © Louis Kraft 2010.

OU Press Managing Editor Steven Baker was, and still is, nervous over the last map ever seeing the light of day, much less making this final deadline. Based upon the ongoing problems I have encountered to create a rough draft of it I am hopeful that it will be of benefit to those who read Sand Creek and the Tragic End of a Lifeway. Steven has every right to be a little on edge. I know the reasons, I know them intimately, but I have no intension of sharing them for it would unleash a tirade that none of us want. Now is the perfect time for me to keep my bleepin’ mouth shut. … I needed to calm Steven somewhat, and I had already presented the option of dropping the map from the book, which he shied away from without addressing. I didn’t question his silence. … Bill and I will make our deadline.

Is Kraft cocky? At this point in time, yes. I’ve been in this position so many times over the years (and I’m not talking about just the freelance world) that it’s just another day in the LK world of chaos. My knees aren’t shaking, I’m not walking around in a cold sweat, and I don’t stare with wide-open eyes at the ceiling when I should be sleeping. I have reached the point of deliver or shut up. I’ve been here many times and it is simply taking it one step at a time. I am confident while at the same time know that if I fail now and the book isn’t published that the sun will still rise tomorrow. This is my world, and I’m in my element.

Steven, trust me.

Copyedit
Kerin Tate is my copyeditor for the Sand Creek manuscript. Adam and Steven both highly recommended her. On May 30 she emailed me to inform me that she liked the manuscript, word usage, notes, and was making good progress with minimal changes. Since then we’ve had more contact and all is good. I’m thrilled to be working with her. We’ve agreed that she’d deliver her copyedit to me June 24. Previous to this, Steven had agreed to an extension of my review/edit of the copyedit to August 5, due to events, happenings, and Pailin’s and my now annual Fourth of July open house/party that includes her birthday. Kerin’s delivery is perfect for me and will become my total focus on July 6 (although I will begin working on it after she delivers it).

Years back when I asked a George Armstrong Custer historian (alas, long dancing with angels) if he could have improved his work he replied without batting an eye, “No. My work’s perfect.” Let’s just say no LK comment about his “perfect” work. … I believe that it was in spring 2013 when I spoke at an annual Order of the Indian Wars spring event in Centennial, a suburb (?) of Denver, Colorado. While in the lunch line with friend/historian/writer/radio show host/performer Deb Goodrich—yeah, this lady is multi-talented and I didn’t list all that she does—asked me what I thought about my work. “If I could work on my published writing again,” I said, “I could improve all of it.” This was how I felt then and what I believe today. … History and writing about it is an ongoing process that is in constant change and never ends.

LK w/Deb Goodrich during the evening party after the Order of the Indian Wars Annual Symposium in Centennial, Colo., ended on 20apr2013. I had given a talk about “Ned Wynkoop’s Last Stand” during the event. It is based upon a photo by Frank Bodden. (art © Louis Kraft 2019)

My goal—always—is to bring the leading players to life, make the events jump off the page, and have my readers curse me for they can’t put down the book and the hour is creeping up on midnight. My copyeditors for Lt. Charles Gatewood & His Apache Wars Memoir (2005) and the Wynkoop book played key roles in making this happen. My hope is that Kerin’s copyedit will improve the Sand Creek manuscript while not damaging facts or corrupting Cheyenne words that are correct.

The blog that announces the Sand Creek book publication will also … Gulp … “say it ain’t so,” LK

… but it is so as I hope to feature as many of you that have helped me as possible in that blog. And here, please don’t be like former editor-in-chief of OU Press Chuck Rankin, for if not for him there would be no Sand Creek manuscript or book. My friend prefers to move in the shadows. He couldn’t get away with that with me as I have too many images of him. At the moment many of you are under the radar, and that simply means I would like one or two or three images. Do you have photos of “you” that you could share? If yes, I want them. Here I’m talking about you, and many of you are new to the LK world. Honestly, I really want to publicize your efforts and kindness in the creation of the Sand Creek manuscript and book. As they say … “a photo is worth a thousand words,” so please be generous.

As Sand Creek charges into history LK’s writing future comes into focus

Over the years I have certainly publicized upcoming book projects, and I’m certain that for most of you this has been little more than a lot of hot air. From your point of view, maybe; from mine, reality. What follows is a list, and it is in my current working order. As always, research and more research is behind everything that I write.

Errol & Olivia
Although I didn’t know it Errol Flynn would influence my life more than any other historical person, and it began while I was in elementary school. Flynn introduced me to the American Indian wars, piracy, swords, acting, and most important an openness to people of all races. While still an actor I began to research his life in earnest, and in 1996 decided to write a book about him.

This photo of LK and Olivia was taken on 3jul2009 at her home in Paris. It was an absolutely wonderful day and evening. (photo © Louis Kraft 2009)

My contact with Ms. Olivia de Havilland led to my decision to make it a joint biography beginning with their arrival in Hollywood, being cast in Captain Blood (Warner Bros.-First National Pictures, 1935), their life and times during the eight films they made together between 1935 and 1941 (three of which were westerns). It will include an extended epilogue (similar to Sand Creek and the Tragic End of a Lifeway). Easily 90 percent of the research is complete, but with this said the research is ongoing. As soon as I complete everything that is required of me during the production of the Sand Creek story this will become my number one project. … No more detours

  • Errol Flynn book number 2 (could be book 3)
    By the way, the second book on Flynn will be the best nonfiction book I write. Certainly this research is underway, but a lot more needs to be completed. This will begin in earnest as soon as the Sand Creek copyediting, my reviews of the designed  book pages, I’m good with the dust jacket design and copy, and I’ve created the index.
  • Errol Flynn book number 3 (could be book 2)
    That’s right, I have three books planned on Flynn and there’s still a chance that I could partner on this book (but in a completely different way); if true, Mr. Flynn will dominate a good portion of the rest of my nonfiction-writing life.

Navajo Blood
This novel deals with an old Diné warrior and his granddaughter during the 1863-1864 timeframe of the Kit Carson Navajo campaign. I have a polished draft, but recently decided that additional information needs to be added to the manuscript. The goal is to stay true to history while making the characters (real and fictional) come to life. My pitches will begin this year.

  • Untitled Kit Carson nonfiction book
    Primary source research is certainly underway for creating a book about Kit Carson; some of it is already in-house but I need more. If I’m able to locate what I need—and this is mandatory—I’m certain that I’ll be able to complete this manuscript without any of the problems I encountered while piecing all the parts of the Sand Creek story into a readable book. A focused continuation of the research will begin in fall 2020.
    * I haven’t begun to draft a proposal or verbally discuss it with editors yet but this will begin as soon as I have all the required research in-house, and I know exactly what I intend to use. … If I can’t find what I believe exists I will extend the scope of the story. For the record I have all the published books on Kit that are worth a damn and way-too-many that aren’t. … As soon as I’m satisfied with my primary source material I will draft an in-depth proposal. As with my previous nonfiction work this book will not be like any others in print.

LK Memoir
I’ve hinted at this for a long time, and both the research and the writing in various forms has been ongoing. Just look at the blogs for they represent some of my digging into the past, but, alas, I have shied away from the incidents/events that if published or made public at this time would cause me to ward off an invasion on Tujunga House by hooded assassins bent upon shutting my mouth for all time. It will be juicy, funny, fast-paced, and truthful (with documentation to back up what I state, something that you usually don’t see in memoirs).

The pirate Francis Drake … fiction and nonfiction
I have an incomplete fictional draft of Drake’s early piratical days that has a lot of promise.

As you can see, LK has been wielding a blade for sometime. (photo © Louis Kraft 1958)

I also have all primary and secondary sources on Drake published since the beginning of the 19th century (and much of the primary source material dates to the 16th century). Looking at the above writing projects this might sound like wishful thinking on my part. For the record Mr. Drake was light years ahead of his time, which was dominated by racial and religious prejudice and hatred. … What can I say other than I’m an optimist. For some of my views on El Draque, see The pirate Francis Drake and LK.

Various fiction projects
This ranges from Chinese fishermen in Monterey, California, during the 19th century … to modern-day Anasazi cannibalism in New Mexico … to bootlegging on the Navajo reservation … to a continuation of the two leading fictional characters introduced in The Final Showdown (1992) and their relationship with the Cheyenne Indians during the latter part of the 1860s.

Decades ago while doing research in the Monterey Peninsula, California, I discovered a photo shop/lab in Pacific Grove and spent the afternoon talking to the gentleman, who if my memory is good was a photographer/owner of it. He specialized in the Asian (mostly Chinese) presence on the California coast in the 19th and 20th centuries. Many of the photos he showed me that day I have since seen printed in books. Hopefully he is still with us, and if not hopefully his quest to preserve and share history from that time continues to live on. That day and afternoon has never left me and I have gathered as much reference material as possible (mostly academic) over the passing years knowing that some day I hope to write about the Chinese experience on the California coast. The California Historical Society call number for this public domain image is FN-22407.

All are outlined, in draft form, scripted, or partially written. I have played down fiction, but this doesn’t mean that it isn’t a medium that I would have any problem returning to full-time.

A slight change of subject, but it is related to LK writing fiction. And it is one that hovers in the shadows of my life on a daily basis. Mainly, will Pailin and I continue to be able to survive in Los Angeles? The cost of living is high, and I hate to say it but it increases almost monthly. California has become the land of the rich.

David Horsey is my favorite political cartoonist, and in this simple image he nailed the Pacific Coast (California, Oregon, and Washington) real estate market. … Simply put middle- and lower-class Angelenos are being taxed out of existence. We’re paying millions and billions for 1) Statewide gasoline taxes (by far the highest in the USA) to improve the roads (I invite you to LA to experience our roads, for it will make you feel as if your driving off-road in a third-world country). I don’t want to discuss this joke other than to say that in LA city hall is removing lanes from pot-holed (and in some cases repaved) streets with the magnificent logic that if they increase drive-time to work—let’s  say from 30 minutes to 45 or more minutes in bumper-to-bumper traffic to drive two or three miles to reach a freeway, which isn’t moving, they’ll force everyone to use public transportation. The farce doesn’t stop here for we are about two years away from being charged $4.00/day to drive into certain areas in Los Angeles County, including the Westside of Los Angeles (Westwood, Santa Monica, Venice, Brentwood, and West LA). Pailin drives there six times per week. Do you realize how many buses she would have to ride, how many subways (southeast to Hollywood and farther east to transfer to one going south to then connect with a westbound subway that will travel much farther west than from where she started her day, which won’t get her close to any of her destinations) twice daily (she has to return home)? Not to mention that she gets off at night. 2) For the homeless, which in LA increases by the year and on the week of June 3rd the LA Times announced that it is now just a few hundred short of 60,000 with somewhere around 20,000 housed. $1.2 B in the last three years. Where is all this money going? 3) Over the years the Los Angeles County School Board (the second largest in the country) has been dysfunctional, and the district is one of the worst in education achievement in the USA. Management at the top of the school board earn more than the governor of the Golden State, which I suppose gives you a good idea where some of this money ends up. There have been two tax increases in the last two or three years, but in 2019 greed took center stage yet again. On Tuesday, June 4, we voted down a new tax for the school board. This one would have levied a $0.16 tax on every square foot of building space in Los Angeles County. Yep, on every house, apartment building, condo, gas station, grocery story, movie theater, office building, factory, car dealership, hospital, ad nauseam. Put simply, that is an additional $160 tax dollars per 1,000 square feet of building space. I think it would be safe to say that the cost of everything in Los Angeles would go up. Horsey’s cartoon is right on target for a problem that is worse today than when he created it. A neighbor’s 800 square foot house sold for $650,000 earlier this year. About 20 people live in a 1200 square foot house including a converted one-car garage nearby (the adults all work and the young children all go to school except for one little girl). For the record the two bedrooms and living room have been divided into cubicles similar to what you would see in software office buildings. The Times article also pointed out that a lot of those living in their vehicles—that is homeless people—are working but can no longer afford housing. (art © Horsey and the Seattle Times 2018)

To repeat myself California has become the land of the rich, the poor, and the vanishing race once called the middle-class. Supposedly if California seceded from the United States it would become I believe the sixth largest economy in the world. This is not a joke and it is something we have to deal with every two or three years when rich clowns (read billionaires) spend a lot of money to make this reality. In two previous attempts to create the new country of California, it had been divided into three states and then six states.

I know the answer and without knowing it so do you (but you won’t admit it).

Due to the turmoil that seems to be a daily occurrence in the Golden State I have logged many hours trying to remain in the USA while also exploring becoming an expatriate.

In 2018 a person I considered a friend called me a renegade to our country, damning me as he didn’t agree with my views on our country’s current policies (which for the most part I avoid sharing, and wasn’t discussing when he slammed me).

For the record LK fits in wherever he goes. Here I’m dancing with Not (left, Pailin’s sister) and Pailin as we approach Wat Phra That Lampang Luang, a Temple in Lampang, Thailand. (photo by Daranee Kosin and © Daranee Kosin, Not Subanna, Pailin Subanna-Kraft, & Louis Kraft 2014)

Being short of cash didn’t count—just looking into living offshore turned me into a traitor or worse. Regardless of which is true, I guarantee that one thing won’t happen. I’ll never become a homeless person. I know a lot of them personally, and my heart sheds tears every time I talk with them as I can’t help their situation. See Horsey’s cartoon, above, for housing is one of the major culprits (along with LA Mayor Eric Garcetti, who talks a good story while sitting on his ass and dreaming of becoming president of the USA).

LK’s office in Uttaradit, Thailand. (photo © Louis Kraft 2014)

The point I’m trying to make is that if Pailin and I are forced to relocate to Thailand or New Mexico or Costa Rica or Arizona or Spain or elsewhere these and other story ideas will find a life of their own as my fingers dance over the keyboard and my fictional world explodes with life.

I know, the above is a shocking mouthful. … So is ‘Stayin’ Alive.’

High Noon (1952) Elmo Williams’ Oscar, UNM, Tomas Jaehn, and Errol & Olivia 

Let’s start with Tomas Jaehn, formerly of the Chávez History Library, Santa Fe, who in the early part of this century created the Louis Kraft Collection AC 402 & AC 010 for photographs.

LK with Tomas Jaehn after a talk on “Edward Wynkoop’s 1867 Fight to Prevent War” at the Chavez History Library, Santa Fe, N.Mex., on 15sept2004. (photo © Louis Kraft & Tomas Jaehn 2004)

The last two deliveries to the LK Collection have not been catalogued and the archive has not been updated. I’ve begun to prepare next delivery that will happen after Sand Creek and the Tragic End of a Lifeway is published. It will consist of two books, including The Discovery (2016), magazine articles, and talks, along with personal correspondence and additional photos and art. Access to the archive is by appointment only. Contact Heather McClure at 505.476.5090, heather.mcclure@state.nm.us. This delivery will happen at an undetermined time when I travel to New Mexico. … And it will be huge, including a lot that I have not announced.

LK and Olivia de Havilland talking about her life, Mr. Flynn, and important subjects that both of us brought up at her home in Paris on 3jul2009. During both of my visits to France our conversations were lively and full of information that also included world events and USA politics. Without hearing her view of Mr. Trump I know exactly what it is. She is a lady, does not use foul words, so if she ever shares it with me it will be printable. (photo © Louis Kraft 2009)

For the record once Errol & Olivia is published the Kraft Collection will also contain research, drafts, correspondence, and other material related to the creation of the book including the Kraft-Olivia de Havilland correspondence over approximately twenty years. Some of OdeH’s letters were hand-written while others were typed, and I assume by her then secretary but signed by her (meaning that I perhaps have more of her autographs than everyone else put together if we don’t count sports stars). During my two visits to Olivia’s home in Paris, France, she had two different secretaries. Both were young American ladies. To learn a little more about Livvie, as Errol Flynn called her, see Olivia de Havilland, a world treasure.

In 2006 the Academy of Motion Picture Arts and Sciences (Beverly Hills, Calif.) announced that it would honor Olivia that June.

Some people I thought were friends came out of the woodwork and demanded that I obtain tickets to the event for them. I told them that I was not going to ask for tickets for myself and I wouldn’t for them. Whoa baby, did I ever unleash a swarm of hatred directed at me via phone and email. The words were scathing; actually they were much worse. I ignored them, but those relationships didn’t survive. … Oh, there was still some connection with a few of the people but it never revived the past. One Flynn expert, and we had shared a lot of information over the years, became the most venomous toward me when I refused to help him obtain a ticket.

For the record OdeH invited LK to attend her gala, and it was some event.

The Flynn expert succeeded in obtaining a ticket and also attended. Surprisingly we spent a good part of the evening together. We even sat together while Olivia was honored on stage by the late Robert Osborne (former host of Turner Classic Movies). We enjoyed each other’s company that night, but we never spoke again. He died a few years later and his incomplete manuscript was never published (and I have insider information on why; this is something that I’ll never share without permission). No comments here; none whatsoever. He is gone, and so is why he failed so see his Flynn manuscript(s) through to publication.

Back to Tomas Jaehn

Tomas is now Director, Special Collections/CSWR, University of New Mexico Libraries. We see each other whenever he is in LA or I’m in Santa Fe. Always good times. During his last visit to Tujunga House in summer 2018 we talked about a lot of subjects including an upcoming event at UNM.

Standing in front of a cutout of Gary Cooper as former marshal Will Kane in the classic 1952 film, High Noon, Tomas Jaehn holds Editor Elmo Williams’ Oscar for the film. With him is Topiz, a UNM student employee who Tomas “asked to watch the Oscar during the event.” (photo © Tomas Jahen 2018)

Tomas is good at having fun with words. When he sent me the above image he called it an attachment of an ‘Albuwood’ or ‘Hollyquerque’ ‘pic.'” Love it!

The second showing happened on 1nov18, and Tomas had this to say: “Second showing of the Oscar was a blast. Folks loved it and commented on ‘how heavy that thing is.’ (A phrase that I hear every time I watch the Oscar events).”

Tomas also mentioned that UNM has Michael Blake’s papers. Novelist/screenwriter Blake became a good long-distance friend of mine for many years. He won an Oscar for his script Dances with Wolves (1990). This film has been on my film list and it has been off. There is a chance that it might be on again (but at the moment is still off). I need to watch it a few more times, if for nothing else than to enjoy Wes Studi* and Graham Greene’s performances. If yes, I’ll talk about Michael. See the section “Michael Blake, a special person and writer” (the second section) in The Louis Kraft writing world differs from other writers’ worlds for some of my views of him and of our relationship. Damn do I miss him.

* Wes Studi news flash!

On June 4 the Los Angeles Times (Calendar section, pE3) announced that Wes Studi would be awarded a special Oscar for his contribution to film over his career. Wow! The Times mentioned Last of the Mohicans (1992), Geronimo: An American Legend (1993) (see 1st fifth of a Louis Kraft 50-film list), Hostiles (2017), and Dances with Wolves (1990), among some of his other films.

A scene during Hostiles wherein Jonathan Majors is a member of the military detail that is escorting Sioux war chief Wes Studi from the south to the north so that he can see his homeland one final time. For those of you who haven’t seen the film, like the LK/Goodman novel this film’s title is misleading in that you must see the story through to its conclusion to know what the story is really about. LK personal collection.

These awards used to be presented during the live telecast at the beginning of each year but no longer. To save myself time I’m quoting the article: “The Board of Governors of the Academy of Motion Picture Arts and Sciences announced Monday that it will present its annual honorary Governors Awards to director David Lynch, actor Wes Studi and director Lina Wertmüller, while actress Geena Davis will receive the Jean Hersholt Humanitarian Award.” The Oscars will be presented at the Governors Awards ceremony on October 27, and although not mentioned I assume at the Academy of Motion Pictures and Sciences on Wilshire Boulevard in Beverly Hills, California.

Finally Mr. Flynn & Ms. de Havilland or more precisely …

I love the art for this magazine cover from January/February 1979 (unfortunately the journal no longer exists). I know who the staff artist is/was but have no contact information. This art would work nicely for the dust jacket of Errol & Olivia. … Research continues. If you know who or what institution/company owns the copyright of this art please contact me.

Errol & Olivia.

For all of you who have been patient, for all of you who have liked my talks and articles that dealt with them, your time of waiting is nearing an end. Although research on Errol & Olivia has been ongoing writing has been almost nonexistent the last half dozen years. I’m sorry but that is just a fact of life as I had to deal with completing Sand Creek and the Tragic End of a Lifeway to my satisfaction. It will turn a portion of the current literature upside down. … You know what? So will Errol & Olivia. No joke.

You probably think that this is just another LK piece of prose to keep you hanging on. No. Trust me, and I would never say this unless I meant it.

This photo was taken on the same day as the image at the top of this blog. I don’t remember the actress’s name (and unfortunately I didn’t write it on the back of the 8x10s (someday I’ll pull my book of days from the 1982 taxes; I’m certain wrote about her there). We were beginning to rehearse the routines that would be in the swashbuckling one-acts. She was good with the blade and I liked working with her. Alas, she had a conflict with the evenings when we’d rehearse and perform and dropped out soon after this photo was taken (my loss). LK knows the sword, beginning while in junior high school when I studied with U.S. fencing Olympian and film dueling choreographer and stunt double legend Ralph Faulkner at his Hollywood Blvd. studio. I later was asked to join the CSUN fencing team during my first year at the university (I fought competition sabre), and later studied swashbuckling (stage combat), which is always done little protective gear (mainly knee and elbow pads). It is perfectly safe—yeah, right Kraft, as long as you don’t loose an eye. Trust me, it’s safe, for it is just like dance and every offensive movement with the blade has a unique number, while the duelist on defense has a corresponding number to parry (block) the attack. (photo © Louis Kraft 1982)

For those of you who don’t know, the American Classic Film: The Journal of America’s Film Heritage cover art is of EF and OdeH’s first film together, Captain Blood. It became a major hit and turned Flynn into a superstar over night (the term didn’t exist in 1935) and de Havilland into a star.

Captain Blood was the first of nine Flynn swashbucklers; four of which would become classic films and the best four examples of the swashbuckling film genre to this day.

To repeat what I said in the American Classic Screen cover image above:

“If you know who or what institution/company owns
the copyright of this art please contact me.”

If the owner/copyright holder allows me to use the EF & OdeH Captain Blood art by then journal staff artist John Tibbetts (1978), you will receive my eternal gratitude along with a first edition of Errol & Olivia when it is published.

If you supply me with the owner/copyright holder of Mr. Tibbetts’
art and I fail to obtain the required permission I need you
will still receive a first edition of Errol & Olivia.

(For the record I already own the cover art for the second Flynn book.)

The goal is to be back to writing Errol & Olivia full time sometime in early 2020. Heck, that’s just around the corner. As I have a little over 60,000 words and am shooting for 125,000 words, I’m roughly halfway to a first rough draft. I’m not joking about Errol & Olivia being different for it won’t be like any joint biography that you’ve ever read and you can take that to the bank. ‘Course if you bet on this and win a goldmine don’t forget that your ol’ pal Kraft, who gave you insider information, would appreciate some of your winnings.

Three LK “long walks” in 2013 and 2015

These three years represent a sad time for me as I walked away from
what has been a major part of my life for decades.

The end of a big part of my life that wasn’t a loss

LK answering questions after speaking about “Errol Flynn, George Armstrong Custer, and a Lady called Livvie,” before the Custer Battlefield Historical and Museum Association, in a Hardin, Montana, movie theater on 25jun2011. (photo © Louis Kraft 2011)

In 2012 I stopped writing for the software world. It was forced but I was good with what happened (other than the lying manner of the presentation). Don’t get me wrong for I have had a lot of great memories, and have certainly known a lot of wonderful people from all over the world, in a fast-paced industry that took no prisoners. Put simply, you delivered on deadline or you might walk the plank. Heck, that’s not completely true, for sometimes even if you did deliver you might still end up walking the plank.*

* Walking the plank is a piratical term. When a corsair captain and his crew decided to eliminate a member of their brethren or a prisoner, at times the unfortunate person was forced to walk on a plank that extended from the side of the ship until they stepped off it and dropped into the sea or ocean, only to sink into the depths until they met Davy Jones and his locker and became his slave throughout eternity.

This impacted my life in a major way, as I knew it would, for I had made the decision to not rejoin a world wherein I made six figures per year. … It wouldn’t take long before I felt the crunch on my wallet. Still, I refused to do an about-face and rejoin the self-imposed world of slave labor (again, Yahoo! and Oracle were not and never were a part of this equation when I wrote for them).

No longer a cold-hearted gun for hire, I was free. Free at last to spend all my time writing about what was important to me.

2013: Adios cowboy; no more talks
But things would happen. Suddenly, and without warning, I needed to pay half of an operation that I didn’t know about until after the fact. By this time I knew that there would be no more talks. Some talks paid a lot of money and all expenses (and I certainly enjoyed my connection with these organizations) while many groups that I wanted to speak for paid peanuts (meaning that when I spoke for them my loss could be $1,000; no big deal in the past). There were talks I wanted to deliver in 2013 and I gave them regardless of how much it cost. Good times, times that I dearly miss to this day.

2013: Adios cowboy; no more research at a great archive
This year also marked the end of my research at the USC Warner Bros. Archives in Los Angeles, California. By this time I was in a position wherein I didn’t need to return to the archives as I had enough primary source material to complete Errol & Olivia. Still, if you know me the research is always ongoing right up until publication (and usually lasts much longer as articles and talks follow). However, this ending was never permanent as I intend to do a lot more writing about Mr. Flynn. … More, I’m always big at going back and checking what I have for accuracy along with seeing if I might have missed anything.

2015: Adios cowboy; no more magazine articles
Another part of my life came to an end two years later. I never lost money here, and often I made additional fees based upon the photos/art/woodcuts I supplied and once in a while earned cash from my rough drafts of maps. This also included reselling photos, woodcuts, and my art to other publications. But the days of pushing these sales also came to a halt with me walking away from writing for magazines.

The reason was simple

Time. I needed time to complete two books.

Cover art and book design for The Discovery © Louis Kraft 2016.

A medical-legal thriller that I partnered with Bob Goodman, one of my physicians, who had a great premise that dipped into the depths of hell. I began the project as a consultant making good money, which quickly paid for the operation. I marked the hell out of his incomplete manuscript, provided edits and instructions on how to fix the text in detailed review copy, and in person during many meetings. My job completed I walked away from the intrusion and returned to the Sand Creek manuscript. My manuscript included finding primary source material while taking multiple types of people, their goals and biases, and merging a miasma of people and attitudes into a story that flowed easily between race and desire and selected actions by key players.

There was one problem, my Sand Creek manuscript suffered from the same malaise as the Goodman manuscript—it was all over the place with no focus, no sense of scope, and worse there was an endless listing of information that was useless in its current state. Honestly, both manuscripts were pieces of crap. … Then Bob Goodman presented a proposal to me that I was going to refuse—become his partner and write the book—until I realized that both manuscripts had the same defect that would destroy them. Simply put: If I could fix the thriller I would have a blueprint on how to fix the Sand Creek manuscript, which, unlike The Discovery that extended over two decades, was well over a century.

Talks, articles, & the USC Warner Bros. Archives are no longer on forced hiatus

Oh yeah, a time of joy is about to return to Tujunga House. I’ve begun to pitch two things that I love but had exiled to “Neverland” and will later this year or early next year I’ll return to a magnificent archive. It will take time to resurrect my past from its long slumber but the process has begun.

Potential Talks
Washita Battlefield NHS (Cheyenne, Oklahoma)
Beginning a little over a year ago I introduced myself to Kevin Mohr, chief of interpretation and operations at the Washita Battlefield NHS. It would be the first of many talks and emails as we discussed the Sand Creek manuscript and Custer’s attack on Black Kettle’s Cheyenne village on the Washita River on 27nov1868 and its impact on the Cheyenne and Arapaho lifeways. I can’t begin to tell you how open and friendly Kevin has been with his input to my needs (if you read the book you’ll know what I’m talking about), but again “mums” the word on what you will see on these blogs before the book is published. I love teasing—just ask Pailin—but I’m not playing Mr. Tease here.

Former Sand Creek Massacre NHS ranger Craig Moore leading a tour of the upper portion of the Washita Battlefield on 6dec2008. I joined it, and to his displeasure spoke up during the tour when he passed certain areas without discussing them. Of major importance was the mound that Lt. Col. George Armstrong Custer used as his observation post during the fight, which still partially exists. I refused to accept this silence, halted the moving program and informed everyone of Custer and his actions to protect non-combatants that he viewed as disobedience of his orders. This was not the beginning of a sparkling relationship, still years later Craig kindly attempted to help me locate information that had since been buried by Oklahoma law and blocked from viewing by historians. … This Washita Battlefield NHS extended symposium was a big event for me as I both played Wynkoop on stage and spoke about him during it. (photo by Leroy Livesay and given to Louis Kraft with full permission to use it)

Some of you know a little and some of you know a lot of about the lead-up to that tragic November 27 day, what happened, and the aftermath. Some of you don’t know anything about this time. Whichever camp you’re in I’ve decided that I now want you to read the book with no more giveaways by me. I want you to experience it for the first time and not mumble as you turn pages that Kraft already told me all this.

Without giving too much away this portion of the book is of major importance to the Cheyennes and the Arapahos.

LK and Cheyenne Chief Gordon Yellowman after a day of talks/presentations ended at the Washita Battlefield National Historic Site two-day symposium on 7dec2011. We met in 1999, and since have crossed paths numerous times, the last being this year. With the publication of Sand Creek and the Tragic End of a Lifeway in 2020 we will be linked throughout time. I can’t begin to tell you how thrilled I am. (photo by Joel Shockley for the National Park Service).

A Ned Wynkoop one-man show has had two performances at the Washita and I’ve given two talks there. Obviously I want to return to this special land. In my opinion it, along with the Sand Creek Massacre NHS (Eads, Colorado) and the Cheyenne-Dog Man-Lakota village site (35 miles west of the Fort Larned NHS, Larned, Kansas), are three key sites in Cheyenne history. There are certainly many others including the Little Bighorn Battlefield National Monument in Montana; the Battle of Summit Springs (near present-day Sterling, Colorado) where Cheyenne Dog Man Chief Tall Bull died on 11july1869; and the Battle of Beecher Island where the great Cheyenne war leader Roman Nose died on 17sept1868 (the last two sites I’ve not seen). … In May of this year Kevin opened the door to me returning to the Washita to present a talk combined with a book signing. I’ve already mentioned two ideas to him, and for the record I won’t be talking about the battle. Hopefully we can make this happen in 2020.

Tomas Jaehn, University of New Mexico
Those of you who know about my writing/talking history may be familiar with Tomas.

From left: Pailin, LK, and Tomas Jaehn in the Tujunga House dining room on 2aug2018. Good-good times, and I wish that Tomas could have had a longer stay. Regardless of what happens with an LK talk at UNM one thing is certain, I’ll see Tomas and his family in 2020. (photo by Pailin and © Pailin Subanna-Kraft, Tomas Jaehn, & Louis Kraft 2018)

What follows is repetitious, and that’s okay for he’s become a great friend over the years, and one I always enjoy discussing any subject in our worlds. He is responsible for creating the Louis Kraft Collection in 2002. I’ve spoken there twice. Believe it or not we both put a lot of effort into an attempt to bring the Ned Wynkoop one-man play to Santa Fe. I should talk about this sometime, but not here. … Tomas has since moved on to a cool position at the University of New Mexico in Albuquerque (see above). Well, I guess you know where this is going. We have been tentatively going back and forth about an LK talk at UNM. Although below it may appear that I’m being too picky on where I want to place a Sand Creek Massacre article, this isn’t the case. The reason is simple: For me to show what happened on those two tragic days I need more words than most publications will allow and I don’t what to shortchange this important subject. … If Tomas and I can agree on what I intend to say (and it will be explicit) along with a date that is good for both of us after the book is published this is a talk that I want to give in Albuquerque.

Articles
Stuart Rosebrook, True West Magazine editor
Stuart and I connected on LinkedIn in 2018 but I don’t know if we’ve ever met. In May we shared a number of emails, which alerted him to the upcoming Sand Creek book publication and of my desire to again write for magazines, which caught his interest. Since then we’ve had a long talk on the phone to discuss this, writing for True West, and we weren’t talking about a one-time article but continuing into the future. Stuart was immediately interested in an article on the Sand Creek Massacre but I told him no, that I needed a lot more words than the 1500 maximum word count for the magazine.

In the coming days we’ll spend more time talking about LK story ideas that might be usable. Trust me, I have plenty of ideas bouncing around in my head. Most are related to the Sand Creek story, but there are others from the other side of my writing world that may grab his interest. Time will tell.


For the record I think that the best place for a Sand Creek Massacre feature might be in American History or MHQ (The Quarterly Journal of Military History). I’ve written for both and have had good experiences in the past. These pitches are in the works.

At right is the cover for the February 2008 issue of American History. The cover story was a comparison of Errol Flynn’s George Armstrong Custer in the Warner Bros. 1941 film, They Died with Their Boots On, and the real George Armstrong Custer. To date I consider it the best article that I’ve ever written. In 2008 it became the best-selling issue of the magazine (I don’t know if this is still true). For the record I campaigned to have Flynn also on the cover. This was one battle I lost, but ended up pleased with the art director’s choice. Here’s a few words to those of you interested in Mr. Flynn, Mr. Custer, or both of them, obtain the magazine (if possible) for the article may be of great interest to you.

Archives
Jonathon Auxier, USC Warner Bros. Archives
Beginning around 1995 the USC Warner Bros. Archives (Los Angeles, California) has been a mandatory destination of mine. I can’t write another word without saying the following: I have researched in a lot of first class archives over the years but none of them have come close to comparing to the USC Warner Bros. Archives. Over this time many have helped me at this magnificent archive, including Randi Hockett (director), Haden Guest (Curator), Noelle Carter (Director), Sandra Joy Lee (Director; I can’t remember her married name), and Jonathon Auxier (Curator). There were others but I can’t remember their names.

Jonathon was day in, day out light years above all of the archivists and directors at the USC Warner Bros. Archives. He always had a positive attitude, was extremely knowledgable and this is an understatement (in an archive that was so large that it had to be overwhelming to everyone that worked there, not to mention the by-appointment only researchers), and even better for I can’t tell you how many times he went the extra mile for me.

This is Jonathon Auxier near the end of our lunch at Le Pain Quotidien on Riverside Drive in Burbank, California, on 26apr2019. Good times as we talked about the past and our futures. A number of years back he left the archives for a terrific position at Warner Bros. (photo © Jonathon Auxier and Louis Kraft 2019)

One example will show just how knowledgeable Jonathon was and how willing he was to go that extra mile. There was a key event in the Errol Flynn-Olivia de Havilland relationship during their time with Warner Bros. I knew it happened but couldn’t find anything related to it at the archive. I explained exactly what I needed to Jonathon. He dug in and within days found the information I coveted. It became the spine for a talk I did about them perhaps 14 years ago or perhaps less as I’m not certain when Jonathan began working at the archives. No matter for the talk was a hit; so much so that I decided never to share this subject again. I immediately added the information to the Errol & Olivia manuscript. While polishing it I carelessly had a draft lying around when a Flynn friend who thought he knew a lot more than he actually did visited. He was a person who bought into whatever he read, proven or not (unless it was negative or debunked) and propagated clichés. While I was preparing dinner he saw it and began to thumb through the printed draft, but luckily asked what he was looking at. This brought me running to the rescue. I brushed it off as me playing with thoughts and words and nothing more. He bought what I said and the subject was closed. Over the years Jonathon has found other pieces of information that I needed but couldn’t find.

Back in those days it used to take me on average of between 20 and 25 research days to get through one box that dealt with a particular film. The Adventures of Robin Hood (1938) had two boxes and it felt like forever to get through both boxes.

Jonathon has became a friend, mostly long distance although not many miles separate us, and this year we have made an effort to bring our friendship into the here and now. Good for me, and hopefully for him.

I will continue to use other archives for Flynn/de Havilland and Carson/Indians,
but I see no need to share them at this time.

Just so you know I’m singing an Alan Jackson song as I dance into my future.
Or will it be John Lennon, or Michael Parks, or Patsy Cline, or Rhiannon
Giddens, or Waylon Jennings, or Tex Ritter, or Laura Brannigan,
or John Anderson, or Willie Nelson, or Rihanna, or Elvis
Presley, or Rita Coolidge, or Kris Kristofferson,
or Norah Jones, or Bob Dylan,
or Yoko Ono?

A wow day for Louis Kraft

Website & blogs © Louis Kraft 2013-2020

Contact Kraft at writerkraft@gmail.com or comment at the end of the blogs


The next blog was tentatively scheduled to be in October of this year but will go live in December.

Guess what? … Not quite true as the work load previously shared became more than expected. Much more than expected. It will actually happen in late December and most likely on the thirty-first.

(photo © Louis Kraft 2014)

I haven’t finished writing the Epilogue for Sand Creek and the Tragic End of a Lifeway (a huge understatement for I can’t begin to tell you how large it will be) but have shared the first 30 pages of it to great friend Glen Williams to review on 27may2018.

And better, …

Did I say better? Yes better!! It is 7:38 pm on May 27 and I was about to shut down for the day. … But then I realized something out of the ordinary. I have tinnitus and it is ongoing. The only time it goes on vacation is when my focus is so intense that it delivers a Muhammad Ali knockout punch, a Duke Snider home run, a Johnny Unitas touchdown pass, a Kobe Bryant slam dunk.

This is an early image of my muse on the morn before one of our great explorations. This is one of my favorite photos of Pailin. (photo © Louis Kraft and Pailin Subanna-Kraft 2013)

Guess that tonight I was Muhammad, the Duke, Johnny U., and Kobe all at the same time.

What I’m saying is that at this time, beginning about 7:00 pm LA time (when I realized my condition and continuing through at least 10:25 pm I able to hear like all of you that don’t struggle with this heinous malady. I know that it will only be for a short time, but realize at this moment in time I’m walking on clouds.

The only time this happens for me is when my concentration on what I need to accomplish is so focused that nothing else enters my brain.

Everything in my life is zeroed in on one target—I’m Errol Flynn’s Robin Hood splitting the arrow, I’m Johnny Unitas throwing one last TD bomb to Jimmy Orr in Baltimore, I’m Kobe scoring 60 points in his last NBA game; I’m LK catching a punt and zigzagging my way through eleven defenders. I’m alive and totally focused.

This great image at left was taken by my bro for all time, Glen Williams, at Mission San Fernando Rey de España (San Fernando, California). (photo © Louis Kraft and Glen Williams 2012)

Dear Lord, let me find and grab this zone on a daily basis and your lone cowboy will quietly ride into the sunset without a fight when the time comes.

Regardless of what I said at the end of the my last blog, I’m back, or better … “Here’s Louis!”

On May 31 I will deliver the preface, 15 chapters, and the incomplete epilogue of the Sand Creek manuscript (actually, nothing is close to being complete—there is still a lot of work in front of me before I have a first draft). These words will go out for review.

The last seven years have been pure hell. They have also been the most focused of my life. I have gone from six figures in salary to a pauper, have signed the most important contract of my life (Sand Creek), have written damned good book that wasn’t planned as I needed hard-cold cash to pay bills (The Discovery), have met my muse and the most amazing person I’ll ever know (Pailin), have bashed the hell out of my head way too many times, and have realized that I should be dead (more than once) but due to a lot of events at the midnight hour I’m still walking. … I’m the luckiest guy you know, and let me tell you that my brain still functions (and works in overdrive when necessary).

LK loading a revolver in a image I discovered last year on a roll of negatives from September 1973. (photo © Louis Kraft 1973)

I walk, work out with light weights, stretch, deal with my balance, and swing the sword. I still challenge everything that enters my life that I don’t like (I talked about the most recent incident on other social media, and there is a party next door as I write these words and the music is quiet). More important, I am meeting my Sand Creek writing deadlines, and best I am one with the three people in my life.

These words have taken a little less than an hour to write, but I needed to share them in case the unexpected happens.

Geronimo preempts the Sand Creek manuscript

Website & blogs © Louis Kraft 2013-2020

Contact Kraft at writerkraft@gmail.com or comment at the end of the blog


I thought that I had completed my work on my “Geronimo’s Gunfighter Attitude” article for the October 2015 issue of Wild West magazine until I would proof the design layout. No! The article now requires more work. As must be expected the World History Group, which now owns the former Weider History Group’s stable of history magazines, is making major changes to the look and feel of the magazines. … This affects the entire publishing staff in Leesburg, Virginia, as well as the freelance writers that contribute to the magazines. This blog not only preempts my work on Sand Creek and the Tragic End of a Lifeway, it has also preempted my ongoing work on upcoming blogs.

Just for fun, a quick change of pace …

psk_BDgift_toLK_15apr15_hueSat_border

Sudeshna Ghosh, my friend and former manager at SeeBeyond Technology Corporation and Sun Microsystems liked this image of LK (at left). Russ Williams, a writer, screenwriter, novelist, and friend dating back to the early SeeBeyond days and beyond also liked this image, which was taken earlier this year. I actually don’t like what I look like, and this simply means that my appearance constantly changes. That said I do like this image, which has appeared on other social media. Both Sudeshna and Russ liked the long hair (and long hair is decades in my past). Still pirates and frontiersmen wore their hair long, as did the Cheyennes and Apaches. Perhaps it is time for LK to belly up to the people he writes about. Ned Wynkoop, Kit Carson, George Armstrong Custer, Black Kettle, Geronimo, Bull Bear, Roman Nose, if I want to walk with you perhaps it is time that my hair is as long as you wore your hair. (photo © Pailin Subanna-Kraft & Louis Kraft 2015)

I’m okay with birthdays except for mine, which I absolutely hate. Since mine is long past I feel safe mentioning it here. Most of you probably think that I’m a motor mouth. Not true. Actually there are many things that I keep very secretive. One happens to be my birthday. This is my least favorite day of the year. Mainly because it loudly proclaims: “Kraft, the clock is ticking and now you have XXX days left.” Not my favorite thought. … All this negativity finished, and since my BD is now far in my rearview mirror, I feel safe to post an image that was taken on that dreaded day at Tujunga House. I’m wearing the cool shades that Pailin had given me (the first non-prescription sunglasses that I’ve owned in 35 years). The new LK? Maybe. For how long? That is a great question for I don’t have a clue. Maybe tomorrow, maybe next week, or maybe next month. Flip a coin for any date beyond the end of May.

Life moves forward & as Ernest Hemingway proclaimed the sun also rises

All of my proposed blogs haven’t gone live. Why? There’s a reason, but I hate excuses for they are BS. Sorry, but ’tis the truth. Read to the end of this blog and you’ll have at least a hint of the upcoming blogs’ status.

Music plays a large part in my writing world (although I never used it while writing software documentation). … Alan Jackson, Michael Parks, Waylon Jennings, John Lennon, Rhiannon Giddens, Rihanna, Patsy Cline, Elvis Presley, Tex Ritter, John Anderson, world music (especially Andean, Chinese, and Native American), but perhaps my all-time favorites are film soundtracks (classic music too, but to a much lesser extent).

dj_ef_finalDuel_2tone_lkART3_border_ws

An LK rendering of the final duel in Flynn’s Adventures of Don Juan (right). Something needs to be explained here, and it is very important. To succeed film duels must have three pieces in place: Choreography, performance by the actors and stunt men, and a great editor. If not, the film audience yawns and mumbles “ho-hum” before they fall asleep. I hate to say it but this most often happens, and especially in modern times. Trust me on this view. I learned how to fence while as a teenager I studied under Olympic competitor and film stuntman and choreographer Ralph Faulkner, fought saber competition in college, and as a professional actor learned stage combat and choreographed and fought duels. (art ©  Louis Kraft 2015)

This week Hugo Friedhofer’s musical adaptation for the film version of Ernest Hemingway’s The Sun Also Rises (20th Century Fox, 1957, which has a great cast including Tyrone Power, Ava Gardner, Mel Ferrer, who I luckily interviewed before his death, Errol Flynn, Eddie Albert, and Juliet Greco) shares time with Blue, the obscure Manos Hadjidoakis score for the Terence Stamp Paramount Pictures western film (1968); Ernest Gold’s magnificent score for the 1960 Paul Newman film Exodus; Klaus Doldinger’s score for Das Boot (Columbia Pictures, 1981, which I saw on the day that it opened in San Francisco while playing Miles Hendon during a 135-performance tour of The Prince and the Pauper. … I accepted the role as it included me choreographing and fighting the duel, and better yet getting to say much of the dialogue that had been stolen from Flynn’s 1937 Warner’s film of the same name); and Max Steiner’s magnificently composed and conducted score of Errol Flynn’s Adventures of Don Juan (Warner Bros., 1948).

Progress on the Sand Creek manuscript

wyn67LKsig1990_webpage

In 1990 I moved to Thousand Oaks, California, and was soon after under contract to write The Final Showdown (Walker and Company, 1992). I had always excelled at art in school (no collage classes) and had even contracted artwork and attempted (“attempted” is the key word here) during the 1970s and 1980s to experiment. Nineteen-ninety was a key year for me as I decided to play around with pen and ink. This image of Ned Wynkoop (based upon an 1867 woodcut) was the result. It saw publication in Custer and the Cheyenne (Upton and Sons, 1995). (art © Louis Kraft 1990)

Ouch!!! I thought that perhaps I’d talk about progress writing about Colorado territorial governor John Evans, Rocky Mountain News publisher and editor William Byers and his wife Elizabeth, Episcopal Father John Kehler (the correct spelling of his last name) and Ned Wynkoop.

Nope. Not today.

Oh heck, … I don’t want to be a killjoy. At this point in time, Evans is standalone in the manuscript, but I know that he’ll have connections with Wynkoop and I’m certain with Byers. In one way or another, Byers, Elizabeth, Kehler, and Wynkoop are already connected or will be connected with each other. The question here is, what scenes of them together; especially between Byers and Wynkoop will make it into the draft and not be edited out of it by the time of the final delivery? Arrival timing in Denver for Byers, Elizabeth (different dates), and Kehler have proved problematical but I’m now good to go with them. Progress is good … and maybe even great (from my point of view).

For what it is worth, Byers, Wynkoop, Black Kettle, Little Raven, Colonel John Chivington, Evans, mixed-blood George Bent, and his father trader William Bent will most likely be the leading players in the manuscript. Hopefully others will also play leading or major supporting roles (my research is key here). At the moment Elizabeth Byers is by far my leading lady (unfortunately I just don’t have enough about her, the Cheyenne woman Mo-nahs-e-tah, or even Wynkoop’s wife Louise).

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LK & OU Press Editor-in-Chief Chuck Rankin at the Western History Association (WWA) convention in Newport Beach, Ca., on 17oct2014. (photo by Pailin Subanna-Kraft; © Louis Kraft, Pailin Subanna-Kraft & Chuck Rankin 2014)

OU Press editor-in-chief Chuck Rankin and I both want to highlight the women as much as possible. To do this, I need to find the information (if it exists). A fellow writer-historian Linda Wommack has offered to help with Elizabeth. I told her that I wanted to get what I knew about Elizabeth in place first, so that I don’t waste any of her time. Am looking forward to our upcoming (alas, long distance) time together. I have located a great image of Elizabeth that I want to use in Sand Creek and the Tragic End of a Lifeway, but have seen it dated to both the mid-1860s and mid-1870s. Fingers are crossed that it dates to the 1860s, for if it is from the the 1870s it is out of the scope of the book and I won’t use it. Although I had purchased a low-resolution copy of the image I do not have the permission to post it. Too bad, for it is a great image.

What you see here is an invitation to speak up if you can share information about other key players in the Sand Creek story, including, but not limited to, trader and Cheyenne interpreter John Smith; Major Scott Anthony; Captain Silas Soule; Chivington’s subordinate officers in the Third Colorado (especially George Shoup); as well as other Cheyennes and Arapahos, such has Tall Bull, Bull Bear, Stone Forehead, Lean Bear, Little Raven, and Left Hand (BTW, a bio on Left Hand at times uses notes that are either inaccurate or don’t support the text, which makes the research questionable); Wynkoop’s subordinate Lieutenant Joseph Cramer; and Cheyenne mixed bloods Edmund Guerrier, Charley Bent, and Jack Smith. Over the years I’ve mined Anthony and Soule heavily at History Colorado and at the Western History Department at the Denver Public Library, but I’m certain that there is more on them that I haven’t seen.

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This image of Black Kettle was also an early LK attempt at illustrative art. It also was published in Custer and the Cheyenne. I placed it here just to grab your attention, as I want to bring the chief into the Sand Creek book as soon as possible and I don’t have much on his early life.

The goal is to bring the people in the manuscript to life. It is easier to do with participants that were verbal and left a lot of documentation in letters and other writing or had their actions constantly reported in the press. Guerrier was literate but didn’t leave much behind while George Bent left a goldmine of letters (all of which I have in house, either in his hand or in typescript form).

I know that I have said the following before, but it is worth repeating. I don’t write about good guys and bad guys. My opinion will not be in the book, but if I do my job properly the actions of the people I write about will allow you to form your own view of them. The following is also worth repeating: It is what a person does and not what he or she says about themselves that defines who they are or were.

Kit Carson is in LK’s future

I don’t think that Kit Carson is a supporting player in the Sand Creek story (he is minor at best), but he will be a major player in my writing future (anything you can share about Kit is of great interest to me, and at all times). As far as Kit goes, be warned for I believe that I have all of the books published about him in the 20th and 21st centuries. I also have the bio (in hardbound) based upon what he told DeWitt C. Peters in 1859, as well as a few other 19th century volumes that were accounts of a piece of time spent with Kit and not bios or dime novels. I’m especially interested in his relationship with Indians (yes, the plan is to follow how I wrote about Custer, Gatewood, and Wynkoop).

The World History Group flexes its muscles and takes a bite out of my ass

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LK art of Geronimo based upon the cover art that I created for Gatewood & Geronimo (University of New Mexico Press, 2000). This is just LK playing around with color and line. It isn’t very good and it will never be published. I view art as a learning process, and that is experimenting and trying to create an image that is decent. This is an ongoing process.

No, no, … no … NO!!! I received the World History Group contract for “Geronimo’s Gunfighter Attitude” (October 2015 issue of Wild West, and soon to go into production) on 27apr2015.

Editor Greg Lalire and I had already gone through our copyediting (which usually gets tweaked while in production) and we were good to go with the 3800-word feature. Just like in the IT software world, the times they change and to survive a writer must dodge and duck and go with the punches while standing upright. It’s called survival. Greg and I began our working relationship 20+ years ago. Over this time we have become good friends, and we help each other out when needed. Greg is doing what he can to survive the change happening with the 11 or 12 great history magazines that the World History Group now owns (I’ve been there and have done that way-too-many times in the software industry). Greg is a great editor, and he’s also a damned good writer. He will survive.

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I created this map for the “Geronimo’s Gunfighter Attitude” October 2015 Wild West article. If it is used, the contractor for Wild West, Joan Pennington, will create the final artwork (and she does good work). Back in 1999 I submitted one of the final pieces of art that was published in Gatewood & Geronimo to Wild West, it was recreated and published in the magazine with no credit (or payment to LK). I complained this time around, and if the map is published I will receive a “based upon” credit. Good, for this is the first time I have ever seen the Valenzuela ambush location and the Gatewood/Geronimo confrontation with Smith & Wood added to a map, and both are major pieces to the Geronimo story. (map © Louis Kraft 2015)

I study my contracts, and anything that is questionable, is not in line with what I want, or what has suddenly become a concern I confront immediately. The contract stated 3800 words. The “3800” was marked out in ink and replaced with “3200.” What? Did I lose 600 words and didn’t see the edit? I called Greg. My timing was perfect. He was typing an email to me that explained what had happened—and it got worse. The “3200” words is now “3000” words, and this word count would now be the maximum for a feature.

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Gregory J. Lalire’s dust jacket image for his novel: Captured: From the Frontier Diary of Infant Danny Duly (Five Star, 2014)

World History Group wants to mimic the Cowboys & Indians magazine, that is they want to obtain better advertisers. I consider the feature content in Cowboys & Indians as little more than fluff (which I can’t stand; oops, I shouldn’t have said that—disregard what you just read). Cowboys & Indians is big on color and images, and even bigger on good advertising. … That, ladies & gents is the future of Wild WestAmerican History and MHQ (three key magazines in my life) while keeping the same historical content these magazines have always had in the past.

My opinion doesn’t count here, for the publisher has every right to do what they think they need to do to stay in business. I agree with this, and as it was with the IT software companies, they need to survive to employ me.

While work is in progress Greg and I always keep good phone or email contact with each other. “Believe me,” he wrote me yesterday, “I know all about the pain of cutting, but as I found out in August, a story can still be strong at a shorter length.” (He is talking about the August 2015 issue of Wild West.)

I have 800 words to cut from a 3800-word article (that is a little over 20 percent of the word count). I will do what is required, and we’ll find out if the article still retains its impact. Hope so.

A few words on long overdue blogs …

For those of you who are wondering about upcoming blogs here’s an update. A blog dealing with what could be a major change in my writing world is ready to post (I just need reality and the future to merge in the present). …. Don’t ask, for I ain’t talkin’. The Thai walkabout blog continues to be written (and it will be an eye-opener, for you and for me, if I ever post it), and I have finally begun to draft the unscrupulous writer-historians blog (and it will not be vague, but to be honest this being posted is iffy at best—and you know the reason why). Trust me, for if I ever post the unscrupulous blog—and again, “if ever” are the key words—I will forever sit with my back to a wall with two Colts crossed over my chest like Wild Bill Hickok. People will be gunning for me and ifGod forbidmy life ends in violence it will be because someone is angry over what I have posted. This is not how I view my end so I hope and pray that my dark vision of my future never comes to pass.

A few people that know me believe one, and only one thing, about methat I’m good at dramatics. I don’t agree, but my fear of the future is out there, for knowing my past I am aware that unsavory events can and do happen.

Olivia de Havilland, a world treasure

Website & blogs © Louis Kraft 2013-2020

Contact Kraft at writerkraft@gmail.com or comment at the end of the blog


I recently heard from a good source that Olivia de Havilland had become frail and spent time in and out of the hospital. But what is frail? … Although I admit that “frail” can be of major importance to all of us, everything is a matter of degrees and all of us are different. As far as hospital visits go, I’ve had 12 operations and I’m still enjoying walking on our earth. Just so everyone knows I’m slow with everything that I write, and this blog is no exception. Sometimes this agitates and angers some of the people that I work with (I’m not talking about my key editors, Chuck Rankin at the University of Oklahoma Press or Greg Lalire at Wild West magazine). Hey, this is just how I am—a slow writer so accept it. Two days ago a friend sent me a link to an interview/article on Ms. de Havilland that went live on January 29 (Entertainment Weekly interviews Olivia de Havilland). This article/interview with Ms. de Havilland left me with the following: She is still active, very positive, and is looking forward to her 100th birthday in 2016.

As Olivia turns 99 years young on July 1, 2015, I want to say some words about this special lady, … this special lady who has kindly shared a small part of her life with me over the years.

Olivia’s Elizabeth Bacon Custer & Errol Flynn’s George Armstrong Custer

As a boy I saw They Died with Their Boots On (Warner Bros., 1941), wherein she played Elizabeth Bacon Custer (“Libbie,” and this is the correct spelling of her nickname) and Errol Flynn played George Armstrong Custer. This film, which has been ripped for historical accuracy, grabbed my interest and never let go. Not to this day. It started me reading about Custer and his Libbie: First young reader books, then biographies, and eventually primary source material in print form or on microfilm. This film all by itself eventually led me to writing and speaking about the American Indian wars.

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A Spanish mini poster for They Died with Their Boots On. (Louis Kraft personal collection)

Olivia, or “Livvie,” became my favorite actress and Flynn became my favorite actor. I will deal with their acting and life and times during their working years together in Errol & Olivia. If you follow me on other social media you know that this book is moving toward becoming my primary writing project. There is a reason for the extended length of time I take to write nonfiction books. Mainly that I must know what I’m going to write about before I write it, and most of the information that I use comes from primary source material. These searches are exhausting, but mandatory for me to complete any nonfiction books.

Livvie and Flynn are still my favorite actors, although there are modern actors that have given performances that have grabbed me and won’t let go no matter how often I study these films. Yes, that’s right, “study.” But also enjoy, and if the “enjoy” fades away it raises the question of why? Why does a film no longer hold up against the test of time? Only a few modern actors—less than twelve—have more than two films that I bother to view more than once or twice.

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This kissing scene between Olivia de Havilland’s Elizabeth Bacon (before she married GAC) and Errol Flynn’s George Armstrong Custer will be featured in Errol & Olivia (Louis Kraft personal collection)

Back to They Died with Their Boots On, and the lack of historical accuracy. I’m going to say two things about this: 1) Warner Bros. feared lawsuits in 1941, and because of this real participants in the Custers’ lives were dropped from the film and historical events were fictionalized to protect the studio. 2) Go back to the primary source information on Custer (and there is a massive amount available to those who really do research) and also read the three books that Libbie Custer wrote about her time on the frontier during her marriage to George Custer. Match what you find (and trust me, this will take time to find and digest it) and then watch the film again. You will be amazed. I’ve discussed this in print on several occasions and I have spoken about it numerous times.

Enough said, other than to say that They Died with Their Boots On has given us Olivia’s and Flynn’s best performances together. It was also their last, but that only came to be because of future events (which will also be dealt with in Errol & Olivia).

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I can’t speak for Bob Utley or Paul Hutton or anyone else who had been influenced by this film (and I know a lot of people that have been), but for me the film grabbed me when Olivia’s Libbie and Flynn’s Custer relocated to the frontier. Actually, it started when Flynn’s Custer stood up to the fictional Senator Sharp and his son Ned Sharp, and when Olivia’s Libbie accepts that they won’t become rich. This image of Olivia and Flynn is on the porch outside their quarters at Fort Lincoln, Dakota Territory, and it easily symbolizes both the real and the fictional General and Mrs. Custer. (Louis Kraft personal collection)

Before moving from Olivia’s Libbie and Flynn’s Custer let me say this. The film not only influenced my future but it has also influenced friends and Indian wars historians Robert M. Utley and Paul Andrew Hutton (among others) big time. Paul Hutton has said in print and to me personally that he fell in love with Olivia the first time he saw her play Libbie Custer, and that this has never changed for him. In his memoir (Custer and Me: A Historian’s Memoir. Norman: University of Oklahoma Press, 2004, page 8), Bob Utley wrote: “Flynn and de Havilland seared themselves into my mind’s eye, planted themselves deeply in my psyche, and treated me repeatedly to the thrilling denouement of the Last Stand.1 … For in 1942, especially in the climate of military celebration created by World War II, I found my obsession.” Livvie and Flynn’s performances led to his long career in the U.S. National Park Service (where I believe Bob retired as chief historian). No matter, for his long list of first-class books dealing with the Indian wars has been inspirational for many historians and would-be historians over the decades.

1 For those of you that don’t know, George Armstrong Custer died during the Battle of the Little Bighorn in Montana Territory on June 25, 1876, when he and his regiment attacked a Lakota, Cheyenne, and Arapaho village. This was the greatest victory of the Plains Indians against the white invasion of their lands, but it also marked the end of their days of freedom for like the defeat of the Alamo in 1836, the attack on Peal Harbor in 1941, and the heinous murder of over 3000 U.S. citizens on September 11, 2001, it would resonate as a rallying cry.

An introduction into Ms. de Havilland’s world

In 1995 my book, Custer and the Cheyenne: George Armstrong Custer’s Winter Campaign on the Southern Plains was published (Upton and Sons, El Segundo, Ca.). That June I spoke about Custer riding into Cheyenne chief and mystic Stone Forehead’s village in the Texas Panhandle to discuss ending war in March 1869 in Amarillo, Texas, which is the subject of the Custer book.

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Errol Flynn as George Armstrong Custer and what I consider the quintessential portrait of the real Custer by Matthew Brady and Company in 1864. Flynn’s Custer is about to set out from Fort Abraham Lincoln in Dakota Territory on May 17, 1876, for what would become his final Indian campaign. The real Custer died at the Battle of the Little Bighorn a little over a month later, on June 25. (photos in Louis Kraft personal collection)

During the convention several busses transported us to the Washita River, where Custer’s 7th Cavalry attacked a Cheyenne village, and although many people died, Custer did what he could to prevent the wanton murder of women and children. This site, now the Washita Battlefield National Historic Site, was then on private property. During a stop for lunch, my daughter Marissa and I ate with an historian/professor named Eric Niderost. Just an introduction, but Eric followed up and our brief time together would lead to a long-time friendship that thrives to this day.

In 1995 I decided to write a book about Errol Flynn. Eric knew this. He also had Olivia de Havilland’s address in Paris, France, which has been her home since the 1950s, and in 1996 asked if I’d like to have it. Would I! That year I began writing Ms. de Havilland letters of introduction with absolutely no response. After three or four letters, and many months (a year?) passed I realized that I wasn’t proceeding in a good way.

OdeH&libbieCusterCollage_wsI decided to turn on my charm (I know, I know, since when has Kraft had charm?), and I began sending the lady birthday cards and Christmas cards and gifts. Time passed, but eventually my “charm” and long-distance wooing wore the lady down and she responded. Without going back to check I believe she may have answered a question or two. The correspondence continued into the new century, but I must say that Olivia cherry-picked the questions she would answer. The others she flat-out ignored. I am a gentleman and I never brought up the subject of sex and or love. She would do this for me and in so doing shot holes through bullshit books that create fiction and sell it as fact (sorry, but this is for Errol & Olivia).

Sometime in the late 1990s I agreed to write an article for Persimmon Hill that dealt with They Died with Their Boots On, and questions became specific to this film. From this time forward I would read, and eventually listen to and see, Ms. de Havilland’s view on events surrounding this film change, for suddenly what I had brought up took hold within her and created a life of its own.

Errol & Olivia becomes reality

During these early years of our communication I realized that like the biography of Lt. Charles Gatewood and his participation in the Apache wars that I had been writing since 1995 needed something else. In Gatewood’s case the book needed the Bedonkohe Apache mystic and war leader Geronimo. The Flynn book needed Olivia de Havilland, and sometime around 2002 Errol & Olivia became reality.

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I like the art used on this 1979  American Classic Screen magazine cover. At first I didn’t, but it has grown on me. … I already know what image I want on the cover of Errol & Olivia. Will I or the publisher be able to obtain usage rights? I don’t know. If not, we’ll move to plan B, which isn’t in place at the moment. There is a good possibility that if the original art for this cover can be tracked down that it might be included in plan B, but only if I think that the book title and the author credit won’t hurt the artwork. … I’m sorry, for if you don’t know of Ms. de Havilland and Mr. Flynn’s acting careers, this film, Captain Blood (Warner Bros.-First National Pictures, 1935), made them stars overnight. My favorite scene is the slave auction wherein Olivia’s Arabella Bishop purchases an innocent man, Flynn’s Dr. Peter Blood, who has been convicted of treason in England and shipped to Jamaica where he’ll spend the rest of his life in bondage. Flynn’s Blood would escape and become the most infamous pirate in the Caribbean Sea. Warner Bros. quickly realized that the film-going public fell in love with these young actors and smartly teamed them again and again. Their film relationship has since grown to legendary proportions.

I need to say something here, I take my time with research and a book isn’t completed until I think I have enough information for the book to be published. Olivia de Havilland and Errol Flynn fans have been pounding me for years on when will the book be published. Add to that, Olivia hasn’t been too pleased with my slowness. Let me say this, I began researching and writing a book on Ned Wynkoop in 1985; the book, Ned Wynkoop and the Lonely Road from Sand Creek was published in 2011 (University of Oklahoma Press). I don’t have all the answers on Olivia de Havilland or Errol Flynn for what I need to make Errol & Olivia shine. Until I answer what I consider mandatory questions the book is in the works. That said, Errol & Olivia will be my prime book after Sand Creek and the Tragic End of a Lifeway is published (and for the record I have been researching Sand Creek since 1985). I don’t create history like some unscrupulous writer/historians, who do everything to dupe their readers and create hateful, and sometimes racist nonfiction, that is not accurate or truthful. Some of their words are little more than piss-poor fiction. BTW, this will be an upcoming blog (whenever I have the guts to post it).

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Louis Kraft talking about the Santa Fe Trail (Warner Bros., 1940) film premier in Santa Fe, N. Mex., in the Western Writers of America tent at the Festival of the West in Scottsdale, Ariz., on 19mar2005. When I gave the talk I realized that I had gold—pure gold. Luckily the talk wasn’t taped (actually I hate saying that, for that means it is lost to time). Regarding this talk, which I consider my favorite, I retired it before I drove home. Usually if I like a talk it continues to live. Not this time, for the talk had to be reworked to fit into Errol & Olivia (I realized that it would become a featured piece in the manuscript). (photo by my good friend and great writer Johnny D. Boggs)

Errol & Olivia means a lot to me, and I absolutely refuse to write about something that I can’t confirm. End of story. Everyone who reads my writing knows that patience is key. … For the record I have stopped writing for the software world (since 2012), which means two things: 1) I have turned my back on paydays that would make you sick (read I now count pennies), and 2) I have stopped delivering talks across the U.S. unless I receive my full salary and all expenses (talks cost me a lot of time; their absence has freed up a lot of time for books). I will probably sell a few articles in the coming years, but they (and the photos/artwork) are for pay (which is now needed). My focus are my books. Trust me, and actually bet on the books becoming reality for they will. I work seven days a week, and I don’t have to put in fifty or sixty hours per week plus two+ hours of driving time per day before I go to work on my projects. I now write for me and my reading pubic.

Ladies and gentlemen, sometime in the future that isn’t as distant as you might believe, you will have the opportunity to read Errol & Olivia. Trust me, for the future is closing in on joining hands with reality.

Years passed and my communication with Olivia continued. I realized that to keep our long-distance relationship alive I needed to throw something new into the mix. What? And then it hit me: My daughter Marissa. Believe it or not, this proved to be brilliant on my part.

An invitation by Olivia

In 2002 Olivia invited my daughter Marissa and I to visit her in 2003. I immediately wrote back that we’d love to meet her. No reply, absolutely no reply. In 2003 I realized that I needed an operation If I wanted to continue walking the earth (actually there would be a follow-up operation four and a half months later that played a major role in me actually  “walking”). By April 2003 flying to France ceased to be an objective and I forgot about the visit.

But then in fall 2003 Olivia sent me a letter scolding me for not visiting during the previous summer. I quickly replied and we set the date for 2004. As the date neared and with all preparation in place we shared phone numbers. Ms. de Havilland told me that she preferred that I speak with her secretary as her hearing on the phone wasn’t the best, and we set the visit during a 16-day trip to France. At that time Marissa was studying art and her favorites were Claude Monet and Vincent van Gogh. Paris has a wealth of great art museums. We would see them and track van Gogh and Monet.

mk&MonetGarden_collage_wsIn Olivia’s last communication to me before our flight to France, she wrote: “You are bringing Marissa, aren’t you?” I quickly responded with a short missive. “Yes, ma’am.”

I didn’t know what to expect in France. Heck, I had heard that a lot of the French hate the Americans and that we’d be treated badly. Really? Only once in two prolonged trips to France did I encounter anything like this, and those words were spat at me by an ancient women bent over her cane as we walked past her (can’t remember the name of the town). We’re not going to talk about Paris or France here, but I will say this: I would gladly move to France (even with the hateful crimes that are currently taking the lives of innocent people) as I love Paris and all of the outlying cities and towns that I have visited. Alas, I believe that it is too expensive and my car of choice would hate the French, for they, and certainly in Paris, have a habit of bouncing off the car in front and then the car in the rear when Parisians attempt to parallel park (they perform this process in reverse when exiting the parking spot).

We stayed in a five-star hotel across the street from the French congress named the Meridian, and it was walking distance to Olivia’s home (which is similar to a brownstone in the eastern United States). A day before our visit I walked from the hotel to Olivia’s home as I wanted to take a few photos of it, and more important I wanted to know exactly where it was located. I always enjoy walking in Paris.

A 2004 visit with Olivia de Havilland

(My 35 mm Canon camera went belly up.)

On June 29 the Meridian Hotel called a taxi for Marissa and I. I was loaded down with gifts including flowers, and paper and pens as Olivia didn’t want me to record the interview(s). On this day, Olivia’s then assistant, Laura, joined us in the garden and this made for a nice foursome. Marissa and I sat on each side of Olivia and Laura sat across from her. Fidel, her manservant, served champagne, which Olivia likes.

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Marissa took this image of me at Musée Louvre in Paris on July 1, 2004, two days after we visited with Olivia de Havilland. (photo © Louis & Marissa Kraft 2004)

After the introductions we moved to small talk as Olivia looked at and enjoyed her gifts. She does have a lot of my writing from books to plays to articles. I know she’s read some of the material for her comments are such that she had to be familiar with the subject matter. My reason went beyond egotism or anything like this; what I wanted was for her to know that I knew how to create biographies, knew how to research, and could write (it’s shocking that many so-called writers can’t write).

I always go into an interview prepared with questions, and almost always move away from them and go with the flow of where the conversation leads. I prefer this approach as I’m interested learning what I can of the person I’m interviewing and this allows the conversation to move in directions that are of interest to them.

I should say this up front, Olivia is a marvelous hostess. She is open, kind, and attentive. Marissa was fighting perhaps the beginning of a cold and Olivia provided her with medications that could stop what might happen before it did. The pills worked. Olivia also made a point of pulling Marissa into the conversation.

Certainly I did have more questions about her portrayal of Libbie Custer and of the film being the last that she did with Errol Flynn. We spent a long time on this and later that night Olivia returned to it. And clearly her view had begun to change (and even more so than questions she had answered regarding the film years back). What I observed and what has been printed and placed on film is in conflict with the facts. That said, this film was as alive for Olivia de Havilland on that June day in 2004 as it had been for her in 1941. Actually this day appeared to do wonders for the attraction and perhaps love that she and Flynn felt for each other off and on during their working relationship. Alas, events, constantly blocked anything from happening between them. As she later and rightly stated a relationship between them would have ruined her (this is a paraphrase) and I believe this. … All of this said, the love for Errol Flynn that I saw in Olivia de Havilland’s eyes that June 29 was unmistakable.

Fidel positioned himself just inside the house and peeked through the curtains of the French door. When one of us sipped champagne he magically appeared and filled the glass. At one point Olivia asked Marissa why she hadn’t tried the champagne. Shy but not wanting to offend, Marissa lifted the glass to her lips and wet her tongue (and Castro refilled her glass). Although Marissa never said it, Olivia realized that she didn’t drink.

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The Private Lives of Elizabeth and Essex is based upon Maxwell Anderson’s 1930 verse play Elizabeth the Queen. The character of Penelope Gray, a fictional character, was also in Anderson’s play. Susan Goulet’s original art of Olivia as Penelope Gray is currently in the Louis Kraft personal collection, but I am considering placing it in the Louis Kraft Collection once Errol & Olivia is published.

One of the gifts I gave Olivia that June 29 was a painting of her as Lady Penelope Gray in The Private Lives of Elizabeth and Essex (Warner Bros., 1939). She knew immediately who she portrayed in the image and was delighted with it. I’m not going to go into details about the film or the difficulties Olivia struggled through during filming other than to say it has a great backstory. I will say this, she was vibrant and alive in her scenes and I think delivered the best performance in the film. Errol & Olivia will deal with the making of this film and Olivia’s and Flynn’s lives at this time. … And with The Adventures of Robin Hood (Warner Bros., 1938), the late thirties set in motion changes to their careers and lives, changes that had actually begun when Captain Blood (Warner Bros.-First National Pictures, 1935) became an instant hit at the box office, changes that would be firmly in place before the end of 1944. These changes would affect the rest of Olivia’s and Flynn’s lives.

Since the late author Charles Higham played high and loose with facts in two books of importance to Olivia, Sisters: The Story of Olivia de Havilland and Joan Fontaine (Coward-McCann, Inc., New York, 1984) and Errol Flynn: The Untold Story (Doubleday & Company, Inc., Garden City, New York,1980) I attempted to get her to comment on stated events (these were included on my list of questions). I had requested information about Higham’s accuracy in the past through the mail and she wrote one comment: “Charles Higham is an unscrupulous man.” Olivia remained firm; she would not talk about Higham or his inflammatory accusations that had no basis in fact. “Charles Higham never contacted me, not once,” Olivia said (this is a paraphrase as the interview is safely stored). My interviews with Olivia will be made available in the Louis Kraft Collection after Errol & Olivia is published.

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Olivia de Havilland with Mary Jane Ward, author of the semi-autobiographical best selling novel The Snake Pit (New York: Random House, 1946) before principle filming began. It appears that they are looking at a draft of the script for the film. A hardbound copy of The Snake Pit with a battered dust jacket is under the script. (Louis Kraft personal collection)

On more of a positive note, Olivia asked me which of her performances did I like the best. I told her that I thought her best performance was as Virginia Cunningham in The Snake Pit (20th Century Fox, 1948). Her performance is extraordinary as she struggles with fears and doubts that have torn apart her married life and led to her confinement in a mental institution wherein psychiatric care is at times less than humane. Olivia smiled and informed me that it was her favorite role.

Before the evening ended we moved away from Flynn and Olivia’s film world, replacing it with world politics and a little digging into her life. Olivia shied away from her personal life before Hollywood and of her sister, actress Joan Fontaine’s autobiography, No Bed of Roses (William Morrow and Company, Inc., New York, 1978).

At this time of the year it remains light in Paris until about 10:00 PM, and it was close to or just after midnight when Marissa and I hugged Olivia goodbye (and I kissed her on the cheek).

An invitation to Olivia’s big night in 2006

In 2006 I wrote for the now dead company Sun Microsystems. That January my sister, Linda Kraft-Morgon, informed me that she had six weeks left to live. My then manager, Sudeshna Ghosh, did one of the kindest things anyone has ever done for me—she allowed me to come into the office early two to three times per week, drive to Lake Arrowhead to spend two or three hours with my sister, and drive back to the office to work into the night. That gave me four to five days of seeing my sister each week until the end. During the drives up the mountain headaches began to pound. They became so bad that often I had to pull to the side of the road and wait for them to pass and still they affected me once I arrived. I thought that this was just stress.

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January 15, 2006, was a day that I’ll never forget. Linda and her husband Greg were supposed to come to Tujunga House for Christmas and her birthday (December 24) but I was under the weather and Linda’s immune system could not be put at risk. On this day we celebrated the birth of Christ and her last BD. it was a special day for me. It was also the first day of the few I still had to capture my last memories of her in a handful of stolen hours. (photo © Louis Kraft 2006)

But after my sister’s death on March 1 the headaches didn’t go away; in fact they increased and this included at lower altitudes. … In April I had sinus surgery that included some nasty things and required two weeks recovery with follow-ups with the surgeon.

Just before the surgery I learned that the Academy of Motion Pictures Arts and Sciences in Beverly Hills, California, planned to honor Olivia de Havilland in June. Wonderful news, and long overdue for the two-time Academy Award winner.

One of her nominations was for The Snake Pit (20th Century Fox, 1948),
a film in which she should have won the Oscar as her portrayal
as Virginia Cunningham is extraordinary. I have strong views about
how award winners are selected and for the most part my
views are a little less than laudatory
(I hope that the hint of sarcasm
shines through here). I was thrilled for her, and that was that
for I had no intention of asking for an invitation.

My then girlfriend and her son took care of me at their home during the two weeks of recovery. When I finally returned home I had a massive amount of emails and phone messages requesting  and then demanding invitations to Olivia’s June event. In one particular case a professor and Errol Flynn historian who had become a decent long-distant confidant in all subjects related to Flynn and to a lesser degree Olivia. The messages turned angry and then bitter and sarcastic. I emailed him, saying that I was away and recovering from an operation and that I had no plans to ask for myself or anyone else. “Give me de Havilland’s address and/or phone number!” he demanded. “No!” “Why the bleep not?” “I promised Olivia that I wouldn’t share her private information and I’m not going to share it.” “What about doing this for Deidre Flynn [Flynn’s oldest daughter]; hell, you worked with her?” “I already told you what I’m not going to do.” “You’re no f—ing friend!” “It seems to me that you aren’t either.”

I thought about it and recontacted the professor, who was a good writer and he had certainly done a lot of great research on Flynn. He had one problem; he couldn’t stop polishing his Flynn manuscript that he had told me he had finished writing four or five years before; that is roughly at the time we came in contact with each other. In the email I told him that I would forward Deidre’s information to Olivia if he supplied me with it. He did and I did.

But the relationship had ended. People wonder why I shy away from close relationships with writer/historians who write about the same subjects as I. Well, you’ve just seen one example of why. … Don’t get me wrong, for I’ve got some great writer/historian friends in this small world of Olivia de Havilland and Errol Flynn (David DeWitt and Thomas McNulty to name two) and I certainly have more good friends in my Indian wars world.

Weeks later a surprise arrived in the mail. Olivia had secured an invitation for me to attend her event at the Academy of Motion Picture Arts and Sciences.

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On the left is the invitation to the tribute honoring Olivia de Havilland. On the right is the cover of the invitation (actually the black and gray border opens to reveal a larger image of Livvie). … Ms. de Havilland, thank you again for inviting me to your special night. I enjoyed every minute of the event.

 A lady is honored

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lk soon after entering the main lobby of the Motion Pictures Arts and Sciences building in Beverly Hills on 15jun2006. (photo © Louis Kraft 2006)

On the early evening of June 15, 2006, the sidewalk in front of the Academy of Motion Arts and Sciences on Wilshire Boulevard was crowded with people dressed in gowns and suits, and in one case a tuxedo. While my then girlfriend and I waited I saw the professor/historian in the crowd. Deidre Flynn accompanied him. He looked as he did in pictures that I had seen of him, but I didn’t look as I did on the dust jacket of Lt. Charles Gatewood & His Apache Wars Memoir (University of Nebraska Press, 2005), which he had. The doors opened at a quarter to seven in the evening. Immediately the large lobby bubbled with excitement as the guests mingled and chatted. Caterers brought out platters of absolutely magnificent food. There was an open bar. The Academy had gone all out for Olivia de Havilland’s night of honor.

Diane Moon, my girlfriend, ate with me, but then wandered as she snapped photographs with a cell phone. I drifted about as I enjoyed a glass of wine only to halt. Before me stood Patrice Wymore Flynn. She sipped wine and nibbled. I watched her for a moment, but then stepped forward and began talking with her. After about 10 minutes she looked at me quizzically. “You don’t know who I am,” she said. “Yes I do, Mrs. Flynn.” She liked that and the conversation continued. During the course of the night we spoke several more times. I liked her. Diane caught some candids of our initial meeting.

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The top of this collage is of Patrice Wymore Flynn and Louis Kraft shortly after we met for the first time. As you can see in the image Pat is moving, and so is LK (but not as quickly). It is actually a color photo, but I thought it would work better here as a grayscale image. Later the professor/historian Lincoln Hurst and I got together. Pat joined us and we had a great roundabout conversation. (photo © Louis Kraft 2006)

For additional thoughts about Patrice Wymore Flynn, see Classy lady Patrice Wymore Flynn dies + a Sand Creek “thank you”.

Later I saw the professor/historian chatting with Robert Osborne, the primary host of Turner Classic Movies. I joined them and introduced myself. Osborne was polite while Lincoln Hurst was taken by surprise. Soon Osborne excused himself and Hurst and I spent a good part of the rest of the evening together. Neither of us mentioned the past April, and it was almost as if we were long-time friends who hadn’t seen each other in a while. I enjoyed hanging out with him. Diane captured some pictures, and then more when Pat Wymore Flynn joined us.

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About an hour after the doors opened at the Academy of Motion Picture Arts and Sciences Olivia de Havilland made her entry and greeted the crowd. (image © Louis Kraft 2006)

Olivia arrived with a bunch of gentlemen in suits, none of whom I recognized. Soon after the Academy set her up in a room to greet those she had placed on a list. Diane and I got into the line. When we reached the front of it one of the two wanna-be football players asked for my name. I gave it to him. “You’re not on the list.” “Take another look.” He did. “You’re not of the list.” I spelled my name and he looked again. “You’re not on the list.” Could the SOB read? Trying to control my anger I said: “Look, I don’t know anyone here and the only reason I’m here is because Olivia de Havilland invited me.” “You’re not on the list. Step out of the line!” I peered beyond him and could see Olivia greeting people. “Why don’t you trot over to Ms. de Havilland and ask her if I’m on the list.” Surprisingly he did. “Please accept my apologies, Mr. Kraft,” he said when he returned to me. “You are on the list.”

When it was our turn to be with Olivia, I went down on one knee and kissed her hand as Diane hovered nearby. “She’s gorgeous,” Olivia whispered into my ear, and she was. These minutes passed quickly, so quickly that I can’t remember what we talked about (I wrote notes of the event, so hopefully I jotted information about our brief time together—I need to check).

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After kissing Olivia de Havilland’s hand I introduced her to my then girlfriend. (photo courtesy of the Academy of Motion Picture Arts and Sciences)

Pat Wymore Flynn and Deidre Flynn had been in front of us in the line and they remained in the room after spending time with Olivia. I joined them. By this time Pat and I had hit it off and enjoyed each other’s company. I had worked with Deidre on a miniseries called Robert Kennedy and His Times back in 1983 or 1984. We had been polite to each other, but at that time she was dealing with a god-awful miniseries about her father (she refused to work for the company) and I gave her room. She had no idea I even knew who her father was. I had heard that her sister, Rory, attended the event but I didn’t see her.

Later Lincoln Hurst, Diane, and I hung out together. An announcement proclaimed that it was time for the event to begin. He excused himself but then soon rejoined us. He couldn’t find Deidre and assumed that she was with Pat. The three of us sat together during the rest of the evening. I had an absolutely terrific time with him. Alas, that was it. I never saw him again, I never had contact with him again, and unfortunately he died a little over two years later. His book on Flynn was never published. This is a shame for I think it would have been a first-class book.

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A portrait of Olivia de Havilland, Diane Moon, and Louis Kraft on the evening of 15jun2006. (photo courtesy of the Academy of Motion Picture Arts and Sciences)

Robert Osborne served as host for the event (he may have been Olivia’s choice for she had told me that he was a good friend). Without checking notes (which are in a secure location) I can’t remember if the question and answer portion of the evening was first or the film clips. Regardless of my memory, Olivia walked down the long walkway from the rear of the theater to the stage and sat with Osborne. BTW, the theater was filled. Olivia and Osborne chatted, and I’m certain that the questions came first. Although she obviously got along well with Osborne, the questions had been pre-selected for Olivia did not have to dig into her memory to answer them.

I believe the event was filmed. I hope so, but if yes, I’ve never seen it. I should check.

On this night, or soon after, Olivia gave me an open invitation. “If ever you are again in Paris, let me know so that I can invite you to visit.” These words lived with me for the next two and a half years.

A 2009 visit with Olivia de Havilland

In spring 2009 I contacted Olivia and informed her that I planned a trip to France and England. As she had offered in 2006 she invited me to visit, that we’d agree upon a date once I knew the dates of my time in Paris. Diane Moon accompanied me on this trip to visit Olivia.

Before leaving for Europe a writer contacted me via email and asked if I could put in a good word for him. He had written a coffee table book that dealt with Flynn and others. He explained that he had sent his book to Olivia and hoped to visit her since he was also writing a book about her and Flynn. I had already heard this and agreed to do what I could to help him in a return email.

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Olivia de Havilland and Louis Kraft chatted while she opened her birthday card and looked at her gifts. That is the champagne bottle on the table but unfortunately we can’t see the label. The book is an anthology called Custer and His Times, Book Five (Cordova, TN: Little Big Horn Associates, Inc., 2008). It contains an article of mine, “Ned Wynkoop’s Lonely Walk Between the Races.” John P. Hart is the editor, and it is an excellent publication. (photo © Louis Kraft 2009)

On July 3 Diane and I arrived at Olivia’s home after a taxi drive across the city of Paris. Her current assistant, Emily, greeted us at the door (Fidel wasn’t present). She would spend some time with us, but also took care of other business including a meal which was similar to my first visit (finger food that was tasty and easy to eat without interrupting Olivia’s and my time together). As it was just two days past her birthday her gifts (other than the usual) included flowers and champagne. The three of us chatted while she delighted in the gifts. Knowing she liked champagne, we brought what we had been told was one of the best American brands. Olivia was thrilled, but I told her not to open it. She agreed and said she’d open it on Errol’s 2010 birthday. I liked her words.

All this time, which probably took half an hour, Olivia had the writer’s book on her lap.2 She wanted to know what I thought of the book. I told her that I thought it was okay for what it was, a coffee table book, while adding that I didn’t see any noticeable errors in it. Olivia then turned to a page that had a not-frequently seen photo of Nora Eddington on it. Nora was Flynn’s second wife (whom Olivia told me that she had never met), and the photo was indeed of Nora. Olivia didn’t think so and we went on about this for five minutes or more. The photo was of Nora and I assured her that the writer wasn’t in error. Finally she accepted this.

OdeH_lk1_close_3jul09_website

Olivia de Havilland and Louis Kraft discuss the coffee table book that deals with Errol Flynn and others. (photo © Louis Kraft 2009)

“I’m helping you,” she stated. “How can I also help him?” “Simple,” I replied, “help him.” “What about you?” “Help me too.” This seemed beyond her comprehension, although I did encounter this in my dark past.

Twice.

In the early 1970s Patric Knowles, who had acted with Olivia and Flynn in three films, was a patient of my father-in-law. … Patric readily agreed to spend time with me so that I could interview him. Mr. Knowles was as he appeared on screen, a gentleman. We got along fabulously, and kept in contact for years after meeting. However, during the interview he refused to discuss anything associated with Errol Flynn, especially The Adventures of Robin Hood. Frustrated I finally asked why. He had been paid a fee to supply information for a book that was in process.

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Olivia de Havilland as Maid Marian in The Adventures of Robin Hood. The setting is an archery contest, but it is little more than a trap to capture Robin Hood. These are tense moments for Olivia’s Marian for she has realized that it is a trap. She also knows that Errol Flynn’s Robin Hood is present. If you’ve never seen this film, do yourself a favor and see it. (Louis Kraft personal collection)

I believe that the book was Tony Thomas’s Cads and Cavaliers: The Film Adventurers (A. S. Barnes and Company, South Brunswick and New York, 1973), but I didn’t bother to note the author that Knowles helped. Even though Knowles isn’t recognized in the Acknowledgments of this book I believe that it is the book in question as it deals with him taking Flynn up in his plane during the filming of Robin Hood and this is exactly where I directed my questions. The second time was when I approached my boyhood baseball hero, Duke Snider, to write a book about his life and career. I had already written two or more articles about him which he had seen, but he declined as another writer had beaten me to the punch (Duke Snider and Bill Gilbert, The Duke of Flatbush, Citadel Press Books, New York, 1988).

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One of the portraits of Olivia de Havilland and Louis Kraft in her garden on 3jul2009. (photo © Louis Kraft 2009)

Back to Olivia, who pressed that she could only help one person. I didn’t agree with this and I still don’t. “Two books are better than one, three books are better than two, and four books are better than three,” I stated. “Why?” “Because it gives readers a choice. They’ll figure out which are good books and which aren’t.”

She accepted this and we moved on.

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Hattie McDaniel (who won the best supporting actress Academy Award for her portrayal as Mammy), Olivia de Havilland (who was nominated, and rightfully so for her portrayal as Melanie), and Vivien Leigh (who won the Academy Award for best actress as Scarlett O’Hara) in Gone with the Wind. (Louis Kraft personal collection)

On this visit I had an extensive list of questions and there was no way we could deal with all of them. On this trip I wanted to gather information about key people in her life other than Flynn during her time at Warner Bros. She talked some, good stuff, but I don’t have dates on some of it. The search goes on, for I must confirm stories and place them where they belong in time and not a year before or two years after. Ladies and gentlemen, this is time consuming. Trust me, I track all leads. Without going back and checking, it was on this visit that I asked about Olivia being cast as Melanie in Gone with the Wind (Metro-Goldwyn-Mayer, 1939). I’ve read numerous stories about how Olivia landed the role, most likely the most important role she ever played in her career. She told me her story. When I said that it didn’t agree with the other stories she told me that the other stories were wrong.

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Olivia de Havilland and Errol Flynn as Lady Penelope Gray and Robert Devereaux, the 2nd Earl of Essex in The Private Lives of Elizabeth and Essex (Warner Bros., 1939). The film had a great director who knew how to move plot, Michael Curtiz, and good acting, especially by Olivia, Flynn, and the supporting cast (I will deal with Bette Davis’s performance as Queen Elizabeth I of England in Errol & Olivia). But—always that damned but—but the screenwriters couldn’t free themselves from playwright Maxwell Anderson’s stilted verse/prose in Elizabeth the Queen, producer Hal Wallis also flailed about when usually he had a deadeye for good scripts, and finally Mike Curtiz remained silent. Numerous Academy Award nominations aside, the slow-moving film could have been a glorious adventure/love story turned tragical. What could have been would never be. (Louis Kraft personal collection)

More important, her being cast as Melanie placed her front and center with Jack Warner and Hal Wallis, who, like it or not, were the most powerful people in her aspiring film career. Even though Warners would receive great compensation for her loan-out these men did not like rebels. They handed down punishment to whomever they considered a contractual slave at Warner Bros. Olivia had as much as committed treason. She would be punished, and big time. They also did what they could to humiliate her and here they also succeeded. But she fought back with anger, some good performances, and when her seven-year contract ended she told them goodbye. They said no, that she owed them for the time she spent on suspension (that was time with no salary and no work at the studio). When Olivia refused to buckle and crawl back to them and beg forgiveness they blacklisted her. They sent out a letter that demanded that no film or theater company in the United States hire her. Warner Bros. wielded power, the threat clear, and Olivia de Havilland ceased to earn her living as an actress in the USA (do I dare to say, in “the land of the free”?).

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On February 29, 1940, the Academy of Motion Pictures Arts and Sciences held their awards ceremony for the year 1939. Olivia did not win a supporting actress award for her portrayal of Melanie in Gone with the Wind, losing to Hattie McDaniel for her wonderful portrayal as Mammy in the same film. You can’t tell by this photo but the loss hurt—big time. Later, Olivia would say that she was thrilled that Hattie won the award. At the left of the image is Douglas Fairbanks, Jr., who accepted a special award for his father, Douglas Fairbanks, who had died the previous December. In the center is Vivien Leigh, who won an Oscar for her portrayal as Scarlett O’Hara. I’m not certain about the seating during the night’s festivities, but some swapping of seats did happen that night for I have seen several images of Lawrence Oliver sitting to Leigh’s right on this night (Leigh and Oliver married on 31aug1940). I’ve always enjoyed Doug Jr.’s performances (much more so than his father’s), and it is too bad that he never acted with Olivia or Flynn. (Louis Kraft personal collection)

Olivia did not fall to the ground and creep away never to be heard of again. Instead she sued Warner Bros., and in 1944 she won a major decision, since known at the “de Havilland Decision.” Free! She was free to seek acting employment elsewhere. This decision would play a role in the beginning of the end of the studio system as it was in the early 1940s, … and ultimately it contributed to the major freelance film contracts that now earn stars millions of dollars for a film performance. Actors of the last 40+ years (perhaps longer) need to send Olivia de Havilland a letter thanking her for her courage.

Oh, we did spend some time with Mr. Flynn, and for me this was key time, especially with two events in both their lives. One I can date, and the other I can’t although I know the three other key players involved in this star-studded event. Also, she surprised me with her comments about the management heads at Warner Bros., and this was an eye opener.

Diane grew tired and bored. She excused herself and joined Emily in the house while Olivia and I continued to chat and enjoy each other’s company. I didn’t want to leave but realized that the hour now hovered close to midnight. I excused myself, found Emily, and asked her to call a cab. I then returned to Olivia to enjoy my remaining time with her.

2 I have comments regarding what happened with the writer who asked me to pitch him to Olivia. These will appear in another blog (maybe, or maybe not).

Olivia de Havilland, a special lady

I pray God that Olivia’s health remains good. I have just sent her a card stating this, and it is from my heart.

Ms. de Havilland, although early I want to wish you a wonderful 2015 birthday
and hope that you enjoy your special day with your loved ones and friends.

Olivia de Havilland is a multifaceted person. She is intelligent, beautiful, charming, funny, sexy as hell, political, caring, and courageous. Oh, and I don’t want to forget this: She is a great actress. Ms. Olivia de Havilland, God bless you for all you have done to make the world a brighter place. … I do hope that I can again cross the Atlantic Ocean and spend more time with you.

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A good way to conclude this blog is with an Olivia de Havilland film that I have not yet seen. It costars Gilbert Roland (pictured with Olivia), and Paul Scofield as King Phillip II of Spain. The film is That Lady (20th Century Fox, 1955) and it has an interesting plot summary that sounds as if it includes swordplay, unconsummated love, jealousy, and might end in tragedy. (Louis Kraft personal collection)

Louis Kraft’s luck & Mr. Wynkoop

Website & blogs © Louis Kraft 2013-2020
Contact Kraft at writerkraft@gmail.com or comment at the end of the blog


Dear friends, you are not going to believe my sojourn to Colorado (which began yesterday).

(Yes, Ned Wynkoop finally gets some space in a post, but you’ll have to read to the end of the post.)

Yesterday, I had lost my cell phone before going through security at the Burbank Airport, the flight was delayed because the crew needed extra sleep as they had flown into Burbank too late the night before (the last flight into Burbank is supposedly 10:00 PM), circling above Denver, and after finally getting onto terra firma I missed a turn and took the long and not-so-scenic route to Fort Collins where Apache wars historian/friend Layton Hooper and his pretty wife Vicki are putting me up until I move into the hotel for the Order of the Indian Wars symposium later this week.

The view from Layton and Vicki Hooper’s front porch early on an April morn 2013. Yep, I was grounded. (photo © Louis Kraft 2013)

Today I’m supposed to be researching at the Western History Collection, Denver Public Library (a great place for writers interested in western and Indian wars history). The internet had led me to believe I would see a few days of “snow flurries.” I was up early this morning, but didn’t climb the stairs until 6:30. The first thing I did was peek out the front door. Layton walked up behind me and said, “I guess you won’t be doing any research today.” Everything was white, and the snow hasn’t stopped falling (supposedly it is going to continue through tomorrow, which may kill a key meeting w/Indian wars writer supreme John Monnett …. Grrrr!), and I’ve heard that perhaps 25 inches of snow has covered the ground north of Fort Collins (?). It looks like about a foot outside right now, and Layton thinks about 3 feet by tomorrow. My rental car looks like it’s dead and buried.

LK ink drawing of Ned Wynkoop at the time of the Pawnee Fork disaster in Kansas (April 1867) when Maj. Gen. Winfield Scott Hancock destroyed a Cheyenne–Dog Man–Lakota village that wasn’t riding the war trail and created what has since been known as “Hancock’s War.” (art © Louis Kraft 1990)

Now for the bright side, … I get to hang out with Layton and Vicki, work on the “Wynkoop’s Last Stand” talk (hope I get out of Denver without being tarred and feathered). Yep, I think the talk will be lively. On the plus side, this snow storm might be similar to what Indian agent Ned Wynkoop faced when he traveled to Fort Cobb in Indian Territory (Oklahoma) to gather the Southern Cheyennes and Arapahos in November 1868. Wynkoop never reached his destination, for thoughts of Sand Creek (1864) and the Pawnee Fork (1867) fiascos haunted him. He halted his journey and in protest to the 1868 Indian war resigned his commission, stating in part “… I most certainly refuse to again be the instrument of the murder of innocent women and children.” Oh yes, it will be lively.–

Western novelist/writer supreme Johnny D. Boggs, upon reading Ned Wynkoop and the Lonely Road from Sand Creek and realizing that Wynkoop had suggested that American Indians should be given U.S. citizenship, wrote in a review something like “No wonder Wynkoop carried a gun.”