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Byline: Kate Bolick
Had Fitzgerald lived to finish The Last Tycoon, the book's narrator, Cecilia Brady, might have emerged an icon for that fictionally underrepresented minority: Hollywood children. "Though I haven't been on the screen, I was brought up in pictures," explains the movie producer's daughter in the first line of the novel. Instead, Fitzgerald's much-anticipated gold-coast Gatsby was cobbled into a posthumous publication, and the field was left open for Nora Johnson to tell her story.
Who better? Nora Johnson isn't just another Hollywood daughter-she's one of the first. Born a few years after the talkies came in-"you might even say because the talkies came in," she amends in the first line of Coast to Coast (Simon & Schuster)-Johnson grew up in a Hollywood as near to us as the closest video store and as distant as "Moon River" lyricist Johnny Mercer ruining your parents' cocktail party (a mean drunk, it turns out).
Nunnally Johnson was one of the most influential and successful screenwriters to hit Hollywood, ever. Among the army of literary fortune seekers to invade California in the thirties, Nunnally wrote 51 screenplays, including The Grapes of Wrath, The Man in the Gray Flannel Suit, and The Three Faces of Eve. Guest lists to his parties included Humphrey Bogart, Lauren Bacall, and Ginger Rogers. Married three times, he was the sort of man who, in spite of his slightly Alfred E. Neuman-like ears, women never forgot-his daughter included. "He was a force, a searchlight, a backdrop, a set of conflicting principles, an obstacle course, an unattainable life goal . . . a push-me pull-you, images ...