By Lex Nelson
An avid history junkie from a young age, Gail Chumbley never meant to be a writer. She spent the first half of her life clocking in 33 years as an American History teacher before retiring from Eagle High School in 2013. Along the way, she married Chad Chumbley, who, she said, told stories about his father the pilot and his mother the showgirl, which were almost too fantastical to be true. Favorite accounts included how Montgomery “Chum” Chumbley and Helen Thompson met in Rio de Janeiro, Brazil, where Chum sent a note backstage; the time Helen acted alongside Bela Lugosi before turning her sights to ice skating; and the day when Chum, not yet a World War II pilot, shared his cockpit with Katharine Hepburn. Eventually, Helen’s dancing career and Chum’s military service disrupted their marriage.
The stories were true, confirmed by endless boxes of photographs and papers Chad had saved and an oral history Gail conducted with her father-in-law before he passed away. While Gail found the tale of star-crossed lovers compelling, it wasn’t until Chad was diagnosed with throat cancer in 2010 that she decided share it.
Sitting at the kitchen table in her Garden Valley home, Gail opened up about the eight years of writing and research that resulted in two self-published books—River of January (2014) and River of January: Figure Eight (2016)—and a movie script. Chad, largely recovered from his cancer, sat in, and her script writing partner Ray Richmond joined the conversation by phone from Los Angeles.
- Gail Chumbley
- Helen Thompson sent this signed photo to Chum from Rio on one of the many occasions they were separated.
Ray, let’s start with your role. What got you on board with turning Gail’s books into a script?
Ray: I could see [the story] on a screen when I was starting to read it. We have a pioneer aviator, we have a dancer from the golden age of entertainment and vaudeville and, you know, my only questions when I was reading were how [Helen] had managed to avoid murdering her mother, because I thought, this woman is just a natural, wonderful villain … and why this movie wasn’t made 20 years ago. It’s got the war as a backdrop, it’s got Hollywood, it’s got all of these great names in aviation, it’s got a little bit of Amelia Earhart, a little bit of Howard Hughes. It’s like history just jumps off the page.
Was it difficult to combine two books into one script?
Ray: Not really. It’s mostly about the second book … It’s really about their relationship and the whole backdrop [of WWII]. There’s a lot of female empowerment and disempowerment here. And there are so many different tentacles to that, because you’ve got the meddling mother-in-law who knows best, and the problem is, she really does know best, but she’s a harridan and horrible in the way she comes across while she’s conveying it. She did know that her daughter shouldn’t be with this guy who wanted a traditional life, and that [Helen] was destined to be a great dancer.
Gail, how did you make the decision to start writing your in-laws’ love story?
Gail: I’d look at [the photos and papers] and put them back and say, “I’ve got to write this book.” I meant it, and I didn’t mean it. I knew I should, but I didn’t know how. Then Chad got so sick and nearly died—he was in the ICU for eight days. I won’t let him show you his belly, but it just ran out of real estate for all the stuff they had hooked to him … it was horrible. I didn’t know what to do with any of that. Teaching worked to a point, because that’s sort of my living room, and I could really get comfortable, but when it came right down to it, I had all this unvented anxiety and fear and just PTSD. And I knew it. I knew I was crazy, and I knew I was feeling really nuts. When I got home at night, I was just a wreck. So the summer he started chemo and radiation … I was sitting up here every day going through all these letters, trying to make sense of it. [The draft] was horrible, and [my editor] fired me, but I wouldn’t give up because I couldn’t. I had no choice. I read Ron Chernow’s biography of [George] Washington, and there’s a line there he used that really resonated with me. It’s “the clarity of desperation.” I had the clarity of desperation.
You ended up writing the books.
Gail: I wanted someone else to [write Chum and Helen’s story] so badly. I tried to talk a bunch of people into doing it for me that were really good writers, but it’s like, you’re going into labor and no one else is having that baby. You’re going to do it. No one else was going to do this. It fell to me, and in a way that was wonderful, and in a way, it was a sentence.
What was it like transitioning from teaching to being a writer?
Gail: You hear about people who are in the military or the public service, and they retire and decide to teach. And I always thought, ‘Are they crazy? It’s hard work!’ Now, that’s rich. I go from one hard job, thinking writing would be a nice way to pass my job retired—and that’s hard work! I mean, there is no easy cheesy way to go into your retirement.
- Gail Chumbley
- Over the course of his flying career, Chum flew everything from military planes to aerobatic aircraft for competitions.
What was the research process like, going through Helen and Chum’s old papers?
Gail: The history part wasn’t hard for me. What was hard was to give voice to Helen, to give voice to Chum. Now Chum was easier, because I interviewed him. I had like 15 hours of oral history with him, and I knew him. I didn’t know Helen [who died in 1993].
But considering what happens at the end of the books, there must have been some difficulty in talking about Helen and Chum as parents.
Gail: [Chad] didn’t have a very happy childhood in that house … I think there’s something to that, sometimes really famous people are really lousy parents. Chum and Chad ended up very close though, because he died here, he died in Boise in 2006, and Chad was there every day.
Will you ever write another book?
Gail: I’ve thought about writing a book about generals who were very jealous of each other in wartime, and how those personal quirks and jealousies impeded the war effort. Like between Henry Halleck and Ulysses S. Grant … I feel like writing is the most basic form of communication that you can share without speaking, it’s as unique as a person’s fingerprint, and I think it’s really cool to do.
And Ray, what’s next for the script?
Ray: Well, what’s next is that I have some contacts at the Hallmark Channel, and I’m trying to convince them that they don’t need to make every movie about Christmas … But I really feel good about this. If it’s a great story and it’s meant to be, and it’s got so many vivid elements to it and such great characters, it’s going to be done.