The production was beset with numerous difficulties, including a heavily publicized extramarital affair between the film's stars Elizabeth Taylor and Richard Burton.

[17] Mankiewicz's next project was Fury (1936), that was inspired by a real-life mob lynching in which two suspects, held in a San Jose prison, were hanged for the murder of a department store heir.

"[22] Released in June 1936, Fury was acclaimed by several film publications and was a box office success, catapulting Mankiewicz with his first major hit as a producer.

[23] Mankewicz reteamed with Crawford on the 1936 film The Gorgeous Hussy—her first costume drama film—as an innkeeper's daughter, with Robert Taylor, Franchot Tone, Melvyn Douglas and James Stewart as potential tutors.

[26] Beginning with Mannequin (1937), Mankiewicz collaborated with director Frank Borzage in a story about a Delancey Street working-class girl torn between her chiseler husband (Alan Curtis) and a shipping magnate (Spencer Tracy).

[30] A review in Variety wrote the film wielded "superb acting, inspired direction and top production values into an intensively interesting exposition of the Dickens story.

Several Hollywood studios declined to produce the film on the basis of Hepburn's box office record and male actors who demurred being potentially outshined by her.

Deriving inspiration from his father and newspaper columnist Dorothy Parker, Ring Lardner Jr. had written a story outline before collaborating with Garson and Michael Kanin.

[38] Retitled Woman of the Year, the premise involves Tess Harding, a high-browed foreign affairs reporter, pitted against Sam Craig, a sports columnist.

[49] Rewriting a script by Nunnally Johnson, the tale centered on Father Francis Chisholm, a humble Scottish Catholic priest, in his thirty-five years as a missionary in a small Chinese village.

[60] A film noir, John Hodiak plays an amnesiac war veteran who searches for a detective named Larry Cravat, whom he discovers was involved in a murder over $2 million in Nazi funds funneled into Los Angeles.

"[6] Set in an affluent, postwar American suburb, three wives—Jeanne Crain, Linda Darnell, and Ann Sothern—reflect on their marriages as each considers which of their husband has eloped with Addie Ross, voiced by Celeste Holm.

[74] Featuring Edward G. Robinson, Richard Conte and Susan Hayward, the story centers on Gino Monetti, an Italian-American ex-convict son of a banking family who seeks revenge against his brothers for turning him into the police.

[75] Following a trend of socially conscious films, including Gentleman's Agreement (1947) and The Snake Pit (1948), Zanuck purchased a story by Lesser Samuels about a racially charged encounter between a Black doctor and a white racist criminal.

Zanuck had enlisted Henry Hathaway to direct and Michael Wilson to write a script from Ludwig Carl Moyzisch's non-fiction book Operation Cicero.

[91] By 1952, Mankiewicz had three projects he was contemplating—an adaptation of Carl Jonas's novel Jefferson Selleck about a midwestern businessman experiencing a midlife crisis with Spencer Tracy; The Barefoot Contessa, and a new stage production of La bohème at the Metropolitan Opera.

"[93] Casting for the central roles involved several American and British actors, including James Mason as Brutus, John Gielgud as Cassius, and Louis Calhern as Caesar.

[110] For his second directorial effort with Figaro, Mankiewicz considered a biographical film of Francisco Goya and an adaptation of Shakespeare's Twelfth Night with Audrey Hepburn and Danny Kaye.

Set against the backdrop of Indochina (now known as Vietnam), Alden Pyle, an idealistic American CIA agent, vies for the affection of Phuong, a local Vietnamese woman, against Thomas Fowler, a British journalist.

Bribing the hospital with a one-million donation for renovation, Violet pushes John Cukrowicz, a neurosurgeon, to have Catherine lobotomized in order to preserve Sebastian's memory.

[123] On January 18, 1961, he flew north to New York for dinner with his agent Charles Feldman and Spyros Skouras, who requested him to complete Walter Wanger's concurrent troubled production Cleopatra (1963), a film project Mankiewicz's Figaro Inc. had earlier declined to finance.

Being familiar with Roman antiquities having directed Julius Caesar (1953), Mankiewicz decided to rewrite the entire script, with a "modern, psychiatrically rooted" approach as described by Wanger in his production dairy.

Therefore, Mankiewicz directed at daytime and wrote the script longhand at night, to the point he contracted a dermatological disorder on his hands forcing him to wear thin protective gloves.

Retitled The Honey Pot (1967), the story centers on Cecil Fox, an eccentric English millionaire, who hires William McFly, a struggling actor, in a scheme modeled after Volpone's play.

[150] In 1968, Mankiewicz signed a multi-picture deal with Warner Bros.-Seven Arts, with his first project titled The Bawdy Bard and Bill, a biopic about William Shakespeare by Anthony Burgess.

[155] Vincent Canby of The New York Times wrote the film was "a movie of the sort of taste, intelligence and somewhat bitter humor I associate with Mr. Mankiewicz who, in real life, is one of America's most sophisticated, least folksy raconteurs, especially of stories about the old Hollywood.

"[156] Pauline Kael of The New Yorker however lambasted the film as a "commercialized black comedy nihilism seems to have been written by an evil 2-year-old, and it has been directed in the Grand Rapids style of filmmaking.

"[157] During post-production on Crooked Man, in October 1969, Mankiewicz and Sidney Lumet shot 18 minutes of interstitial segments of celebrities reading select passages for the 1970 documentary King: A Filmed Record... Montgomery to Memphis.

Produced by Ely Landau, the documentary featured Harry Belafonte, Ruby Dee, Ben Gazzara, Charlton Heston, James Earl Jones, Burt Lancaster, Paul Newman, Anthony Quinn, Clarence Williams III, and Joanne Woodward.

[169] By 1992, still search of a new project, The New York Times reported Mankiewicz was "writing in notebooks, transcribing facts, opinions and "tribal customs and taboos" for a probable autobiography.