Summary Information
Claude Binyon Papers
1932-1963
U.S. Mss 168AN
5.6 c.f. (14 archives boxes)
Wisconsin Historical Society Archives / Wisconsin Center for Film and Theater Research Contact Information
Wisconsin Historical Society (Map)
Papers of a journalist and motion picture writer-director, chiefly relating to films he wrote for Paramount during the 1930s and later for other studios. Scripts and drafts, notes, production information, music and lyrics, and clippings present in varying completeness relate to films such as The Bride Comes Home (Paramount, 1935), Holiday Inn (Paramount, 1942), I Met Him in Paris (Paramount, 1937), Incendiary Blond (Paramount, 1945), North to Alaska (20th Century-Fox, 1958), Pepe (Col., 1961), and Rally Round the Flag, Boys (20th Century-Fox, 1958). Smaller files contain material on unproduced motion pictures, scripts and agreements for five teleplays, and scripts and related material for four stage plays. Subject files contain correspondence, studio contracts, clippings, two early scrapbooks, and materials on Army-Navy Screen Magazine and the Screen Writers Guild.
English
http://digital.library.wisc.edu/1711.dl/wiarchives.uw-whs-us0168an ↑ Bookmark this ↑
Biography/History
Claude Howard Binyon, writer and director, was born in Chicago on October 17, 1905. He attended the University of Missouri where he was editor of the school paper, The Outlaw. In 1924 Binyon returned to Chicago where he became a newspaper reporter. The following year he began working for Variety and eventually became their Hollywood city editor. Among his writings for Variety were his “Inaccurate Biographies” which spoofed such Hollywood notables as Clara Bow, Greta Garbo, Will Rogers, Raoul Walsh, Adolph Zukor, and others.
Once in Hollywood Binyon sold his first script (Blonde Pressure) to a studio and in 1931 joined Paramount Pictures Corporation as a screenwriter. Several of his early scripts were written with Frank Butler and Joseph Mankiewicz. Later he teamed with director Wesley Ruggles and wrote many of the Carole Lombard and early Claudette Colbert-Fred MacMurray comedies. With the exception of a brief period (1940) when Columbia Pictures Corporation engaged him for some of their films, Binyon remained under contract to Paramount until he entered the service in 1942.
While in the Army, Binyon worked on several projects in Frank Capra's unit and as an officer in the Signal Corps. He produced, wrote, and directed several of the service short subjects for the Army-Navy Screen Magazine and later headed the western division of that organization. He also supervised a photographic crew, participated in the writing of the orientation film series Why We Fight, and co-authored the screenplay for the musical This Is the Army.
In 1945 he returned to Paramount as a writer-producer; two years later he signed a contract with Universal-International as a writer-director. During the 1950s, Binyon worked for several major studios including Columbia Pictures, Paramount, and Twentieth Century Fox. He also occasionally wrote for private producers and for television.
Binyon actively participated in several professional organizations. As a member of the Screen Writers Guild, he was elected to the executive board, was chairman of the public relations and bulletin committees, and was a member of the grievance and finance committees. In addition he was a secretary and board member of the Screen Directors Guild. Later he became the first national secretary of the Directors Guild of America and served on its board of directors. Binyon also held membership in the Dramatists Guild and in the Motion Picture Academy of Arts and Sciences.
Binyon is married; he and his wife Florence have a son, Claude (“Tardy”), and a daughter, Barbara.
Scope and Content Note
The Claude Binyon Papers, 1932-1963, are arranged in five series: a subject file, motion pictures-produced, motion pictures-unproduced, theater, and television.
The SUBJECT FILE includes clippings, correspondence, contracts, miscellany, a club roster, scrapbooks, and writings plus files on the Army-Navy Screen Magazine and the Screen Writers Guild. It is arranged alphabetically by folder title and chronologically thereunder. Among the materials are advertisements for the Army-Navy Screen Magazine; miscellaneous correspondence documenting his Army career and the films Sing You Sinners, The Gauntlet, and The Dream Boat, plus a letter detailing general guidelines and specific words that censor boards would be likely to cut from films; general contracts between Binyon and the studios for which he worked; clippings on the productions with which he was involved and on activities in Hollywood and with the Screen Writers Guild; and two scrapbooks, the bulk of which are composed of clippings and reviews, plus miscellaneous photos and correspondence. The scrapbooks concern Accent On Youth, The Bride Comes Home, College Humor, The Daring Young Man, Gambling Ship, Gilded Lily, Girl Without a Room, If I Had a Million, Ladies Should Listen, Many Happy Returns, Mississippi, Search for Beauty, Shoot the Works, The Stooge (a play), and The Way to Love. There are also clippings on Binyon's race horse, “Virginia Mac,” which has the distinction of being denied the winning purse in a race because it was officially listed as “dead.”
The remaining four series are production files relating to the particular genre in which Binyon worked--motion pictures, theater, and television. These files include outlines, notes, treatments, dialogue continuities, scripts, revisions, shooting schedules, sheet music and lyrics, cast and character lists, certificates of authorship, agreements, contracts, clippings, reviews, and advertisements. They are arranged alphabetically by production title with supporting documentation filed chronologically thereunder. The documentation varies from production to production, sometimes covering the movie from conception to release, other times being fragmentary.
The MOTION PICTURE files, the largest series in the collection (Boxes 2-13), have been subdivided into PRODUCED and UNPRODUCED works. Among the produced films are Arizona, College Humor, Dream Boat, Holiday Inn, Incendiary Blonde, Shoot The Works, Take a Letter, Darling, True Confessions, and You Belong to Me. A complete alphabetical listing can be found in the box list below. The arrangement of the unproduced motion pictures is also alphabetical by production title, but the researcher is cautioned that many films undergo title changes during production; it is possible that some of the motion pictures filed as unproduced were in reality produced under different names.
Because the THEATER and TELEVISION series are small, the produced and unproduced works under each file have been combined and listed alphabetically. The THEATER file includes A Soft Touch, The Stooge, and Sweet Surrender. The Television file contains materials on such programs as Alcoa Premiere, Screen Directors' Playhouse, U.S. Steel Hour; Young MacDonald, and Zorro.
Administrative/Restriction Information
Presented by Claude Binyon, North Hollywood, California, August 14, 1973. Accession Number: MCHC73-93
Processed by L. Kurth, L. Pfotenhauer and Christine Rongone, January 27, 1977.
Contents List
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Series: Subject File
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Box
1
Folder
1
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Army-Navy Screen Magazine, 1943-1945
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Box
1
Folder
2
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Clippings, circa 1937-1953
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Box
1
Folder
3
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Correspondence, 1932-1966
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Contracts
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General, between Binyon and Studios
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Box
1
Folder
4
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1934-1949
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Box
1
Folder
5
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1950-1958
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Box
1
Folder
6
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Agreement with Random House re John Swope book on Hollywood, 1938
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Box
1
Folder
7
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Miscellaneous, undated
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Box
1
Folder
8
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Roster and committee list for the “West Side Asthma and Riding Club”
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Scrapbook of clippings, reviews, photos, and correspondence
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Box
1
Volume
9
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1932-1935, October
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Box
1
Volume
10
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1934, June-1935, December
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Box
1
Folder
11
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Screen Writers' Guild, 1941-1943, 1957
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Box
1
Folder
12
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Writings, circa 1939-1954, undated
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Series: Motion Pictures-Produced
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Aaron Slick from Punkin Crick (1951, PAR)
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Box
2
Folder
1
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Shooting schedule, 1951, April 16-June 7
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Box
2
Folder
2
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Dialogue continuity, 1951, June 26
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Box
2
Folder
3
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Sheet music for “Marshmallow Moon” and “You Gotta Show Me,” undated
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Box
2
Folder
4
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Clippings, 1951, June
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Box
2
Folder
5
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Accent on Youth (1935, PAR)
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Script, 1935, April 16
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Box
2
Folder
6
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Certificate of authorship, 1935, April 30
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And the Angels Sing (1944, PAR)
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Box
2
Folder
7
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Clippings, reviews, 1944
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Arizona (1940, COL)
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Box
2
Folder
8
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Dialogued treatment, 1939, April 6
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Box
2
Folder
9
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Suggested revisions, 1939, March, August
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Box
2
Folder
10
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Estimating script, first draft, 1939, June 20
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Box
2
Folder
11
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Research breakdown for estimating script, first draft, 1939, June 28
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Box
2
Folder
12
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Script, final draft, 1939, August 22
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Box
2
Folder
13
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Production notes and cast list, circa 1939
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Box
2
Folder
14
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Script, second revised final, 1940, March 2
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Box
3
Folder
1
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Shooting schedule, 1940, July 17
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Box
3
Folder
2
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Clippings, reviews, 1940-1941
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The Bride Comes Home (1935, PAR)
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Box
3
Folder
3
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Treatment, circa 1935, February 13
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Box
3
Folder
4
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Script, 1935, August 12
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Box
3
Folder
4
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Partial revisions, 1935, September, October
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Can-Can (1960, F)
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Box
3
Folder
5
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Agreement, 1956
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College Humor (1933, PAR)
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Box
3
Folder
6
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Treatment, co-authored by Joseph L. Mankiewicz, circa 1932, October 18
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Box
3
Folder
7
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First script, co-authored by Fred Niblo,Jr., 1932, December 13
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Box
3
Folder
8
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Certificate of authorship, 1932, December 15 and 1933,April 12
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Box
3
Folder
9
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Revised final script, co-authored by Frank Butler, 1933, March 10
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Box
3
Folder
10
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Third final script, co-authored by Frank Butler, 1933, March 20
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Cross My Heart (1946, PAR)
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Box
3
Folder
11
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Reviews, 1946, November
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The Daring Young Man (1935, F)
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Box
3
Folder
12
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Treatment, “Man Proposes,” co-authored by Sidney Skolsky, undated
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Box
3
Folder
13
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Treatment, “Safe in Jail,” co-authored by Sidney Skolsky, undated
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Box
3
Folder
14
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Agreement, “Safe in Jail,” 1934, October 30
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Dixie (1943, PAR)
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Box
3
Folder
15
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Treatment, undated
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Box
3
Folder
16
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Reviews, clippings, 1943, June-August
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Down Among the Sheltering Palms (1953, F)
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Box
3
Folder
17
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Working script, “Friendly Island,” 1950, August 22
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Dream Boat (1952, F)
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Box
4
Folder
1
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Continuity and dialogue revisions from a conference on the first draft, 1951, November 2
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Box
4
Folder
2
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Cross-plot sheets, 1951, December 7
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Box
4
Folder
3
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Comments, 1951, December 7
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Box
4
Folder
4
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Censor's revisions, 1951, December 11
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Box
4
Folder
5
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Estimated footage, first draft, 1951, December 12
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Box
4
Folder
6
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Music requirements, 1951, December 13
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Box
4
Folder
7
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Index to breakdown from final script dated 1951, November 29; 1951, December 14
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Box
4
Folder
8
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Index to breakdown of silent film sequence, 1951, December 14
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Box
4
Folder
9
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Wardrobe plot, 1951, December 20
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Box
4
Folder
10
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Orientation diagram for television sequence, undated
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Box
4
Folder
11
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Agreement, 1952, February 12
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Box
4
Folder
11
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Retakes for final script, 1952, February 21
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Family Honeymoon (1948, U)
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Box
4
Folder
12
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Revised final screenplay, by Dane Lussier, 1948, May 24
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Box
4
Folder
13
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Clippings, 1948, circa June-December
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Gambling Ship (1948, U)
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Box
4
Folder
14
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Final script, 1933; April 4
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Box
4
Folder
15
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Revised final script, 1933, April 20
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Box
4
Folder
16
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Certificate of authorship, 1933, June 16
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Gilded Lily (1935, PAR)
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Box
4
Folder
17
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Treatment, 1934, June 7
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Box
4
Folder
18
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Incomplete script, undated
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Box
4
Folder
19
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Certificate of authorship, 1934, November 20
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Girl Without a Room (1933, PAR)
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Box
4
Folder
20
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Final script, “She Made Her Bed,” co-authored by Frank Butler, 1933, September 16
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Here Come the Girls (1953, PAR)
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Box
5
Folder
1
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Agreement, “Girls Are Here to Stay,” 1952, February 12
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Box
5
Folder
2
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Dialogue continuity, undated
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Box
5
Folder
3
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Advertisement, undated
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Holiday Inn (1942, PAR)
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Box
5
Folder
4
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Outline, 1941, August 29
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Box
5
Folder
5
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Revisions in latter portion, 1941, September 27
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Box
5
Folder
6
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Script, 1941, October 13
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Box
5
Folder
7
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Notice of tentative credits, 1941, November 21
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Box
5
Folder
7
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Revised script, 1941, November 24
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Box
5
Folder
8
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Clippings, reviews, 1942
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I Met Him in Paris (1937, PAR)
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Box
5
Folder
9
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Treatment, 1936, October 28
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Box
5
Folder
10
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Revised script, 1937, January 15
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If I Had a Million (1932, PAR)
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Box
5
Folder
11
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Final script for the episode of the Three Marines, co-adapted by Joseph L. Mankiewicz, 1932, October 10
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Box
5
Folder
12
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Revised final script for the episode of the Three Marines, co-adapted by Joseph L. Mankiewicz, undated
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Incendiary Blonde (1945, PAR)
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Box
5
Folder
13
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Notes, “Texas Guinan,” 1941, July 2
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Box
5
Folder
14
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Treatment, “Texas Guinan,” 1941, July 28
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Box
5
Folder
15
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Script, “Texas Guinan,” 1942, March 11
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Box
5
Folder
16
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Obituaries re Texas Guinan, 1933
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Box
5
Folder
16
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Clippings, “The Smoothest Gal in Town,” undated
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Box
6
Folder
1
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Clippings, reviews, 1945
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Invitation to Happiness (1939, PAR)
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Box
6
Folder
2
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Treatment, “King Cole's Woman,” 1938, June 18
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Box
6
Folder
3
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Script, 1938, December 1
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Box
6
Folder
4
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Script dated 1938, December 1, with revisions, undated
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Box
6
Folder
5
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Notice of final credits, clippings, reviews, 1938-1939
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Kisses For My President (1964, WA)
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Box
6
Folder
6
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Treatment, 1963, March 1
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Box
6
Folder
7
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Script, 1963, April 18-May 15
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Box
6
Folder
8
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Estimating script, 1963, May 27
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Box
6
Folder
9
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Script, 1963, June-July
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Ladies Should Listen (1934, PAR)
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Box
7
Folder
1
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Certificate of authorship, 1933, December 22
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Box
7
Folder
2
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First script, co-authored by Frank Butler, 1934, February 5
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Many Happy Returns (1934, PAR)
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Box
7
Folder
3
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Script, “Burns and Allen and Guy Lombardo Story,” 1934, March 9
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Box
7
Folder
4
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Certificate of authorship, 1934, March 27
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Box
7
Folder
4
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Censor's revisions, 1934, July 12
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Mississippi (1935, PAR)
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Box
7
Folder
5
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Script, 1934, November 6
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Box
7
Folder
6
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Certificate of authorship, 1934, December 18
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Mother Didn't Tell Me (1950, F)
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Box
7
Folder
7
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Agreements, “The Doctor Has Three Faces,” 1948-1949
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Box
7
Folder
8
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Final script, “Oh, Doctor!,” 1949, March 23
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Box
7
Folder
9
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Revised final script, “The Doctor Wears Three Faces,” 1949, April 12
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Box
7
Folder
10
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Revised final script dated 1949, April 12 with some additional revisions, , undated
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No Time for Love (1943, PAR)
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Box
8
Folder
1
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Script, 1942, June 3
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Box
8
Folder
2
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Script revisions, 1942, June 11
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Box
8
Folder
3
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Reviews, clippings, undated
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North to Alaska (1960, F)
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Box
8
Folder
4
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Agreement, “The Alaskans,” 1959, December 2
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Box
8
Folder
4
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Clippings, reviews, 1960, November
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Pepe (1961, COL)
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Box
8
Folder
5
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Reviews, 1960, December
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Rally `Round the Flag Boys (1958, F)
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Box
8
Folder
6
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Agreements, 1958
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Satan Never Sleeps (1962, F)
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Box
8
Folder
7
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Agreements, “China Story,” 1960-1961
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Box
8
Folder
8
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Second revised screenplay, “China Story,” co-authored by Leo McCarey, 1961, February 17
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Saxon Charm (1948, U)
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Box
8
Folder
9
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Contracts and supplemental correspondence re “Midnight Lace,” 1947-1948
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Box
8
Folder
10
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Clippings, press preview invitation, reviews, 1948
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Search for Beauty (1934, PAR)
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Box
8
Folder
11
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Final script, co-authored by Frank Butler, 1933, October 28
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Box
8
Folder
12
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Certificate of authorship, 1933, November 17
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She Made Her Bed (1934, PAR)
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Box
8
Folder
13
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Certificate of authorship, 1933
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Shoot the Works (1934, PAR)
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Box
8
Folder
14
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Script, “Thank Your Stars,” 1934, March 31
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Box
8
Folder
15
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Script, “Thank Your Stars,” annotated with revisions, undated
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Box
8
Folder
16
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Sound scene report, 1934, May 3
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Box
8
Folder
17
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Censor's revisions, 1934, August 23
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Box
8
Folder
17
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Lyrics, “Thank Your Stars,” undated
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Sing, Boy, Sing (1958, F)
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Box
8
Folder
18
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Agreement, “The Singin' Idol,” 1957
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Sing You Sinners (1938, F)
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Box
8
Folder
19
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Treatment and accompanying notes, 1937, December 29
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Box
9
Folder
1
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Script, 1938, March 18
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Box
9
Folder
2
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Clippings, reviews, 1938
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Stella (1950, F)
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Box
9
Folder
3
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Final script, 1950, February 27
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Stolen Harmony (1935, PAR)
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Box
9
Folder
4
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Script, 1934, December 21
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Suddenly It's Spring (1947, PAR)
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Box
9
Folder
6
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Script, 1946, February 5
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Box
9
Folder
7
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Clippings, reviews, 1947
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Take a Letter, Darling (1942, PAR)
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Box
9
Folder
8
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Agreements, 1941, April-May
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Box
9
Folder
9
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Treatment, 1941, May 28
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Box
9
Folder
10
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Script, 1941, November 14
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Box
9
Folder
11
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Notice of tentative credits, 1941, December 1
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Box
9
Folder
11
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Clippings, reviews, promotional material, 1941-1942
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Terror Aboard (1933, PAR)
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Box
12
Folder
6
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Cast list and script, “Dead Reckoning,” February, 1933
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This Is the Army (1943, WA)
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Box
9
Folder
12
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Outline and notes, undated
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Box
9
Folder
13
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Revised outline, undated
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Box
10
Folder
1
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Revised final script, part I, 1943, February 11
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Box
10
Folder
2
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Reviews, clippings, 1943, July-August
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Too Many Husbands (1940, COL)
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Box
10
Folder
3
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Rewritten scenes, annotated, undated
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Box
10
Folder
4
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Final script, 1939, December 2
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Box
10
Folder
5
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Clippings, preview quotations, undated
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True Confessions (1937, PAR)
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Box
10
Folder
6
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Playscript, “Mon Crime!,” by Georges Berr and Louise Verneuil, undated
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Box
10
Folder
7
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Treatment, 1937, May 17
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Box
10
Folder
8
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Script, 1937, July 25
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Box
10
Folder
9
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Script, 1937, August 28
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Box
10
Folder
10
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Censor's revisions, 1937, September 3
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Box
10
Folder
11
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Revisions, 1937, September 24
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Box
10
Folder
12
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Synopsis from Movie Story Magazine, 1938, January
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Valiant Is the Word for Carrie (1936, PAR)
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Box
10
Folder
13
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Synopsis, 1936, April 8
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Box
10
Folder
14
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Script, 1936, May 18
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Box
11
Folder
1
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Script, 1936, June 12
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Box
11
Folder
2
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Script with revisions, post 1936, June 12
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The Way to Love (1933, PAR)
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Box
11
Folder
3
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Script, undated
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Box
11
Folder
4
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Certificate of authorship, 1933, July 12
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Well-Groomed Bride (1946, PAR)
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Box
11
Folder
5
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Agreements, 1944-1945
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Box
11
Folder
6
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Reviews, advertising, 1946
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A Woman's World (1954, AF)
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Box
11
Folder
7
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Agreement, 1953, April, October
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Box
11
Folder
8
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Treatment, 1953, May 26
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Box
11
Folder
9
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General comment from a conference on the treatment by Zanuck, 1953, July 25
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You Belong to Me (1941, COL)
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Box
11
Folder
10
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First draft screenplay, “The Doctor Is A Lady,” 1940, November 26
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Box
11
Folder
11
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Script, first draft with revisions, undated
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Box
11
Folder
12
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Final script, “The Doctor's Husband,” 1941, February 14
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Box
12
Folder
1
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Revised final script, “The Doctor's Husband,” 1941, March 14
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Box
12
Folder
2
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Pages replaced by censorship, circa 1941
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Box
12
Folder
3
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Credits and synopsis, 1941, August 28
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Box
12
Folder
4
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Reviews, promotional advertising, 1941-1942
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You Can't Run Away from It (1956, COL)
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Box
12
Folder
5
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Agreement, “It Happened One Night,” 1955, April 20
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Series: Motion Pictures-Unproduced
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All-Star
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Box
12
Folder
7
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Assignment of rights, 1934, June 2
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Angel Face
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Box
12
Folder
8
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News release, clipping, 1946, December
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The Bachelor's Baby
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Box
12
Folder
9
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Agreement, 1960, August, October
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Box
12
Folder
10
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Screenplay, 1960, October 3
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The Big Brass Band
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Box
12
Folder
11
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Agreement, 1954, December 28
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Box
12
Folder
12
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Treatment, 1955, February 15
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Box
12
Folder
13
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Treatment, annotated, post 1955, February 15
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Box
12
Folder
14
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Character list
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Box
12
Folder
15
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Brochure announcing the first “All-American High School Band” and application form
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Charm School
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Box
12
Folder
16
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Story outline, circa 1934, June 27
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Fair Game
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Box
12
Folder
17
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Agreements, 1959, October, December
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Glory Pass
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Box
12
Folder
18
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Agreement, 1957
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The Gauntlet
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Box
12
Folder
19
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Clippings, 1945-1946
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Hollywood Gold Rush
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Box
12
Folder
20
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Treatment, 1962, April 17
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It Gives Me Great Pleasure
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Box
13
Folder
1
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Agreement, 1948
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Janine Is French
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Box
13
Folder
2
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Agreement, 1960, February
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Lie Down, Louisa
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Box
13
Folder
3
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Treatment, undated
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A Machine for Chuparosa
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Box
13
Folder
4
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Agreement, 1958
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A Tree Grows in Brooklyn
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Box
13
Folder
5
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Agreement, 1956, September 21
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The Wonder of It All
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Box
13
Folder
6
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Script, 1946, October 3
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Series: Theater
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Madame Du Barry
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Box
13
Folder
7
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Story outline, “Beaux Arts Ball,” co-authored by Frank Butler, used as basis for musical by Buddy De Sylva, 1933, October 26
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A Soft Touch (Coconut Grove, Florida, Coconut Grove Theatre)
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Box
13
Folder
8
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Playscript, “Feather Fingers,” by Max Edwards, 1953
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Box
13
Folder
9
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Outline, “Too Many Doctors,” post 1953
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Box
13
Folder
10
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Correspondence, 1956-1957
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Box
13
Folder
11
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Playscript, “Too Many Doctors,” co-authored by Max Edwards
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Box
13
Folder
12
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Playscript, “Too Many Doctors,” undated
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Box
13
Folder
13
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Playscript, “Too Many Doctors,” co-authored by Max Edwards
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Agreements and contracts
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Box
14
Folder
1
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1957
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Box
14
Folder
2
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1958, 1960, 1966
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The Stooge (Beverly Hills, Threshold Theatre, 1934)
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Box
14
Folder
3
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Playscript, co-authored by Joseph L. Mankiewicz, circa 1934
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Box
14
Folder
4
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Agreement, “The Diary of A Stooge,” 1948, July
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Sweet Surrender (unproduced)
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Box
14
Folder
5
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Book outline, “Romantic Weather,” undated
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Box
14
Folder
6
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Script, “Romantic Weather,” undated
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Box
14
Folder
7
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Lyrics, “Romantic Weather”
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Box
14
Folder
8
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Treatment and lyrics with some revisions, “Romantic Weather.”
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Box
14
Folder
9
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Lyrics for “Our Commandante”
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Box
14
Folder
10
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Script, annotated, “Romantic Weather”
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Box
14
Folder
11
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Script, co-authored by William Crozier Walsh, “Romantic Weather”
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Box
14
Folder
12
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Contract, “Romantic Weather,” 1944, October 24
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Box
14
Folder
13
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Clippings, 1944, October 24
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Series: Television
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Alcoa Premiere (1961-1963, ABC Network)
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“Mr. Easy,”
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Box
14
Folder
14
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Agreement, “Mr. Mumpis,” 1961, October 24
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Box
14
Folder
15
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Teleplay, 1961, November 22
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Screen Director's Playhouse (1955-1956, NBC Network)
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Box
14
Folder
16
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Agreement, “It's a Most Unusual Day,” 1955-1956
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Box
14
Folder
17
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Script, “It's a Most Unusual Day,” 1956, January 19
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U.S. Steel Hour (1955-1963, CBS Network)
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Box
14
Folder
18
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Agreement, “Man With High Heels,” April 19
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Box
14
Folder
19
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Script, “Man With High Heels,” undated
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Young MacDonald (1958, CBS Network)
|
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Box
14
Folder
20
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Agreement, 1958, September-October
|
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Zorro (1957-1959, ABC Network)
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Box
14
Folder
21
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Photostat of unidentified scene sketches, possibly from Zorro, undated
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