SCREENWRITERS A TO Z by Roger Fristoe * Titles in bold are airing in our February schedule Allen, Woody (1935-): Born Allen Stewart Konigsberg in Brooklyn, N.Y. Began career as comedian and playwright, then emerged as one of AmericaÕs most distinctive filmmakers, blending droll comedy and astute observations of urban life. Entered films as screenwriter/star of WhatÕs New Pussycat (1965) and established himself as an auteur by directing as well as writing and acting in Take the Money and Run (1969). Won Oscars for both writing and direction of Annie Hall (1977). Won again for Best Screenplay, Hannah and Her Sisters (1986). Among 11 other nominations for Best Screenplay: Interiors (1978), Manhattan (1979), Radio Days (1987), Crimes and Misdemeanors (1989), Alice (1990), Bullets Over Broadway (1994), Deconstructing Harry (1997). Winner, Writers Guild of America Laurel Award, 1987. Remains active in triple-threat capacity as actor/writer/director, most recently with The Curse of the Jade Scorpion, due for release in May. Anderson, Maxwell (1888-1959): Born in Atlantic, Pa. Teacher and journalist turned playwright; wrote many distinguished stage dramas. Among films adapted from his plays by other writers: What Price Glory (1926, 1952), The Private Lives of Elizabeth and Essex (1939, from Elizabeth the Queen), Mary of Scotland (1936) and Key Largo (1948). As screenwriter, adapted the works of other literary notables including Erich Maria Remarque (All Quiet on the Western Front, 1930) and Somerset Maugham (Rain, 1932). Final screenplay: The Wrong Man (1957), directed by Alfred Hitchcock. Bright, John (1908-1989): Born in Baltimore, began career at age 13 as newspaper copy-boy, later becoming crime reporter and biographer. First teamed with writing partner Kubec Glasmon as co-author of gangster stories; the pair entered films with landmark crime melodrama The Public Enemy (1931). Among other Warner Bros. movies of the period on which Bright and Glasmon collaborated: Blonde Crazy (1931), Taxi (1932), The Crowd Roars (1932) and Three on a Match (1932). With Glasmon, helped form the Screen Writers Guild, now Writers Guild of America. Final screenwriting credit before being blacklisted in the 1950s: The Brave Bulls (1951). After years of self-exile in Mexico, returned to U.S. and worked as literary advisor for Bill CosbyÕs production company. Brooks, Richard (1912-1992): Born in Philadelphia, began writing for newspapers and radio before collaborating on first screenplays in 1942. Established himself as a top screenwriter-director with Crisis (1950) and Blackboard Jungle (1955), winning Oscar nomination for latter screenplay. Also produced many of his films, specializing in adaptations of plays and novels. Won further nominations for both writing and directing Cat on a Hot Tin Roof (1958), The Professionals (1966) and In Cold Blood (1967). Won Oscar for Best Screenplay for his adaptation of Sinclair LewisÕ Elmer Gantry (1960). WGA Laurel Award, 1967. Chandler, Raymond (1888-1959): Born in Chicago, spent youth in England and returned to U.S. following service in WWII. After careers in journalism and business, gained fame in the early 1930s as author of mystery novels. Created one of fictionÕs most celebrated private eyes, Philip Marlowe Š played onscreen by Humphrey Bogart, Dick Powell, Robert Montgomery, Robert Mitchum, Elliott Gould. Among many Chandler novels adapted by others as films: Murder My Sweet (1945, from Farewell My Lovely), The Big Sleep (1946, 1978), Farewell My Lovely (1975). Won Oscar nominations for his screenplays for Double Indemnity (1944, co-written with director Billy Wilder from James M. Cain novel) and The Blue Dahlia (1946). Final screenwriting credit: adaptation of Patricia Highsmith thriller Strangers on a Train (1951) for director Alfred Hitchcock. Chayefsky, Paddy (1923-1981): Born Sidney Chayefsky in Bronx, N.Y. Began writing plays, short stories and radio dramas after WWII service. Established as leading writer of stage and TV drama in the 1950s and won the first of three Oscars for the screenplay of Marty (1955), adapted from his teleplay. Also Oscar-nominated for The Goddess (1958) and won again for The Hospital (1971) and Network (1976). Adapted his Broadway success Middle of the Night as a film (1959). WGA Laurel Award winner, 1974. Declined credit as screenwriter of Altered States (1978), adapted from his novel. Comden, Betty (1917-): Born in Brooklyn, N.Y., began lifelong collaboration with Adolph Green by performing in nightclubs in 1944. Paired with Green to write many successful Broadway musicals, including Tony-winning Wonderful Town, and several of MGMÕs brightest musicals. Comden and Green won Oscar nominations for their screenplays for The Band Wagon (1953) and ItÕs Always Fair Weather (1955), and Writers Guild of America awards for On the Town (1949), SinginÕ in the Rain (1952) and Bells Are Ringing (1960). Outstanding among their non-musical credits is the screenplay for Auntie Mame (1958). Comden also has performed in concerts, movies and TV specials. Faulkner, William (1897-1962): Nobel and Pulitzer Prize winner, born William Cuthbert Falkner in New Albany, Miss. Began as a writer of poems and prose sketches before establishing himself as one of the great American writers with his 1929 novel The Sound and the Fury (filmed in 1959). Refused to write his own novelsÕ film adaptations, which also have included Intruder in the Dust (1949), Sanctuary (1961) and The Reivers (1969). Contributed to Hollywood scripts, often without credit, from 1932 to 1955. Among credits as co-screenwriter were adaptations of Ernest HemingwayÕs To Have and Have Not (1944) and Raymond ChandlerÕs The Big Sleep (1946), both directed by frequent Faulkner collaborator Howard Hawks. Fitzgerald, F. Scott (1896-1940): Celebrated chronicler of "The Jazz Age"; born Francis Scott Key Fitzgerald in St. Paul, Minn. Became famous overnight with the publication of his novel This Side of Paradise in 1920. Among Fitzgerald novels to be adapted by others for the screen: The Great Gatsby (1926, 1949 and 1974), Tender Is the Night (1962) and The Last Tycoon (1976). Worked in 1937-38 as screenwriter at MGM, collaborating on Three Comrades (1938) and Marie Antoinette (1938). Among screenplays to which he contributed without receiving credit: A Yank at Oxford (1938) and The Women (1939). Frank, Harriet Jr.: Started writing screenplays in the late 1940s for such films as Whiplash (1948) and Silver River (1948). Began collaborating with husband Irving Ravetch with screenplay for Run for Cover (1955). With Ravetch, specialized in earthy, humane stories, often adapted from novels Š among them William FaulknerÕs The Long, Hot Summer (1958), The Sound and the Fury (1959) and The Reivers (1969); William HumphreyÕs Home From the Hill (1960); and Conrack (1974) from Pat ConroyÕs The Water Is Wide. The pair Oscar-nominated for Hud (1963) and Norma Rae (1979); other credits include The Cowboys (1972) and Stanley and Iris (1990). WGA Laurel Award (with Ravetch), 1988. Glasmon, Kubec (1889-1938): Born in Rocioz, Poland. First teamed with writing partner John Bright as co-author of gangster stories; the pair entered films with The Public Enemy (1931), the landmark crime melodrama that made a superstar of James Cagney. Among other Warner Bros. movies of the period on which Bright and Glasmon collaborated: Blonde Crazy (1931), Taxi (1932), The Crowd Roars (1932) and Three on a Match (1932). With Bright, helped form the Screen Writers Guild, now Writers Guild of America. Remained active until his death, creating original stories for such films as Saleslady (1938) and Calling Dr. Gillespie (1942). Goldman, William (1931-): Born in Chicago, Ill. Began his career in 1957 as a novelist; also is the author of plays, non-fiction books and childrenÕs stories as well as being one of AmericaÕs best-known screenwriters. First screenwriting credit, Masquerade (1965). Began long associations with Paul Newman and Robert Redford with screenplays for, respectively, Harper (1966) and Butch Cassidy and the Sundance Kid (1969). Won Oscar for latter screenplay. Won second Oscar for screenplay of All the PresidentÕs Men (1976). Adapted several of his novels as films, including Marathon Man (1976), Magic (1978) and The Princess Bride (1987). Most recently wrote screenplays for Hearts in Atlantis and Jurassic Park III, both due for release this year. Goodrich, Frances (1891-1984): Pulitzer Prize winner for play The Diary of Anne Frank, co-written with third husband and longtime collaborator Albert Hackett. Born in Belleville, N.J. After early experience as actress and playwright, co-wrote first screenplay with Hackett, Penthouse (1933). With Hackett, shared Oscar nominations for Best Screenplay, The Thin Man (1934), After the Thin Man (1936), Father of the Bride (1950) and Seven Brides for Seven Brothers (1954, co-written with Dorothy Kingsley). Pair won Writers Guild of America awards for screenplays Easter Parade (1949), FatherÕs Little Dividend (1951), Seven Brides and The Diary of Anne Frank (1959, from their play). Together won WGAÕs Laurel Award, 1956. Gordon, Ruth (1896-1985): Born Ruth Gordon Jones in Wollaston, Mass. Onstage from youth, emerged as outstanding American actress of stage (Ethan Frome, 1936, The Matchmaker, 1954) and screen (Best Supporting Actress Oscar nominee, Inside Daisy Clover, 1965; winner, RosemaryÕs Baby, 1968). Films adapted from her plays: Over 21 (1945), The Actress (1950, from autobiographical Years Ago). With second husband Garson Kanin, shared Best Screenplay Oscar nominations for A Double Life (1948), AdamÕs Rib (1949) and Pat and Mike (1952). Memoirs: Myself Among Others (1971), My Side (1976), An Open Book (1980). Green, Adolph (1915-): Born in the Bronx, N.Y. began lifelong collaboration with Betty Comden by performing in nightclubs in 1944. Paired with Comden to co-write successful Broadway musicals, including Tony-winning Wonderful Town, and several of MGMÕs brightest musicals. Comden and Green won Oscar nominations for their screenplays for The Band Wagon (1953) and ItÕs Always Fair Weather (1955), and Writers Guild of America awards for On the Town (1949), SinginÕ in the Rain (1952) and Bells Are Ringing (1960). Outstanding among their non-musical credits is the screenplay for Auntie Mame (1958). Green also has appeared as film actor in such films as Greenwich Village (1944) and My Favorite Year (1982). Hackett, Albert (1900-1995): Pulitzer Prize winner for play The Diary of Anne Frank, co-written with wife and longtime collaborator Frances Goodrich. Born in New York City, worked as child actor onstage and in films. Co-wrote first screenplay with Goodrich, Penthouse (1933). With Goodrich, shared Oscar nominations for Best Screenplay, The Thin Man (1934), After the Thin Man (1936), Father of the Bride (1950) and Seven Brides for Seven Brothers (1954, co-written with Dorothy Kingsley). Pair won Writers Guild of America awards for screenplays Easter Parade (1949), FatherÕs Little Dividend (1951), Seven Brides and The Diary of Anne Frank (1959, from their play). Together won WGAÕs Laurel Award, 1956. Hecht, Ben (1893-1964): Born in New York City, raised in Wisconsin. "Boy Wonder" of the Chicago literary scene in early 1920s as reporter, columnist, fiction writer. Authored 35 books, several plays and novels as well as numerous memorable screenplays. Won Best Original Story Oscars for Underworld (1927, at first-ever Oscar ceremonies) and The Scoundrel (1935, co-written and -directed with frequent collaborator Charles MacArthur). First screenplays: The Unholy Garden (1931) and Scarface (1932). Oscar nominations for Best Screenplay: Viva Villa! (1934), Wuthering Heights (1940, with MacArthur), Angels Over Broadway (1940), Notorious (1946). Died while working on screenplay for Casino Royale (1967), for which he received no credit. Posthumous Laurel Award from WGA, 1981. Huston, John (1906-1987): Born in Nevada, Mo., the son of actor Walter Huston. Began as actor, made his professional stage debut at 19, film debut at 23. Began writing dialogue for movies, 1931; first screenplay credit, It Happened in Paris 1935. Spectacular debut as writer-director with classic detective story The Maltese Falcon (1941); Oscar-nominated for Best Screenplay. Won, Best Director and Screenplay, The Treasure of the Sierra Madre (1946). Other nominations include: co-writer of Best Screenplay, Dr. ErlichÕs Magic Bullet (1940), Sergeant York (1941), Heaven Knows, Mr. Allison (1957) The Man Who Would Be King (1975); Director and co-writer of Screenplay, The Asphalt Jungle (1950), The African Queen (1951). WGA Laurel Award, 1964. Final film: The Dead (1987). Father of actress Anjelica Huston. Inge, William (1913-1973): Pulitzer Prize-winning playwright/screenwriter, noted for chronicles of small-town life in American Midwest. Born in Independence, Kan. Successive Broadway triumphs adapted by other writers for the screen: Come Back Little Sheba (1952), Picnic (1956), Bus Stop (1956), The Dark at the Top of the Stairs (1960). Won Academy Award for Best Original Screenplay, Splendor in the Grass (1961). Only other original screenplay: All Fall Down (1962). Died a suicide. Kanin, Garson (1912-1999): Born in Rochester, N.Y. Made Broadway debut as actor, 1933; began in films as director, 1938. Among films as director: Bachelor Mother (1939), Tom, Dick and Harry (1941). First screenplay: From This Day Forward (1946). With wife Ruth Gordon, shared Best Screenplay Oscar nominations for A Double Life (1948), AdamÕs Rib (1949) and Pat and Mike (1952). Films adapted from his plays: Born Yesterday (1951), The Rat Race (1960), High Time (1960). Shared, with screenwriter brother Michael Kanin, the Valentine Davies Award of the Writers Guild, 1989. Krasna, Norman (1909-1984): Born in Queens, N.Y., began as film and drama writer for various New York newspapers before entering films as publicity director for Warner Bros. Began writing plays and screenplays in the early 1930s. Oscar-nominated for Best Original Story for The Richest Girl in the World (1934) and Fury (1936). Nominated for Best Screenplay for The Devil and Miss Jones (1941); won for Princess OÕRourke (1943). Among other notable screenplays: White Christmas (co-wrote, 1954), Indiscreet (1958, from his play Kind Sir), Sunday in New York (1964). WGA Laurel Award, 1960. Lang, Fritz (1890-1976): Creative genius of German silent cinema, later distinguished Hollywood director. Born in Vienna, began as screenwriter in 1917, as director in 1919. Frequently contributed as non-credited screenwriter to films he directed. Among outstanding early works: Destiny (1921), Dr. Mabuse der Spieler (1922), Metropolis (1926), and the film many consider his masterpiece, M (1931). Settled in Hollywood, 1934. Among American productions for which he wrote (or co-wrote) scripts as well as directed: Fury (1936), Hangmen Also Die (1943). Final film as writer-director: The 1,000 Eyes of Dr. Mabuse (German/French/Italian, 1960). Lawson, John Howard (1894-1977): Born in New York City, had early success on Broadway with a series of plays with Marxist themes. Began co-writing screenplays, 1930; first solo script, Party Wire (1935). Co-founder and first president of Screen Writers Guild, 1933. Oscar-nominated for Best Original Story, Blockade (1938). Among other screenwriting credits: Action in the North Atlantic (1943), Counter-Attack (1945), Smash-Up: The Story of a Woman (1947). As one of the "Hollywood Ten," sentenced to a yearÕs imprisonment for refusing to cooperate with the House Un-American Activities Committee. After blacklisting, co-wrote without credit screenplays for Cry the Beloved Country (1952), Terror in a Texas Town (1958). Lehman, Ernest (1920-): Born in New York City, began writing for films in 1948. Oscar-nominated for Best Adapted Screenplay, Sabrina (co-writer, 1954), West Side Story (1961), WhoÕs Afraid of Virginia Woolf? (1966); Story and Screenplay, North By Northwest (1959). Other notable adapted screenplays: Executive Suite (1954), The King and I (1956), Sweet Smell of Success (co-written from own story, 1957), The Sound of Music (1965), Hello, Dolly! (1969). Also successful producer, winning Best Picture nominations for Virginia Woolf and Hello, Dolly! WGA Laurel Award, 1972. Levien, Sonya (1895-1960): Born in Russia, in U.S. from childhood. Began writing for films in 1919, wrote (or co-wrote) scores of screenplays for Fox, MGM and other studios. Oscar-nominated as co-writer of Best Adapted Screenplay, State Fair (1933); won as co-writer of Best Story and Screenplay, Interrupted Melody (1955). Other outstanding credits: Drums Along the Mohawk (1939), The Hunchback of Notre Dame (1939), Ziegfeld Girl (1941), Quo Vadis? (1951), Oklahoma! (1955). Winner of first WGA Laurel Award, 1953. Loos, Anita (1893-1981): Born in Sisson, Calif., acted briefly on the stage before turning professional writer in her teens. Began writing screenplays in 1912 for D.W. Griffith; helped launch the career of Douglas Fairbanks with her satirical scripts and titles. Co-produced several films. Had smashing success with her 1925 novel Gentlemen Prefer Blondes, which she later adapted for the stage and film versions of 1928 and 1953. Among outstanding screenwriting credits: San Francisco (1936), Saratoga (1937), The Women (1939), Blossoms in the Dust (1941), When Ladies Meet (1941). Marion, Frances (1887-1973): Considered the most renowned female screenwriter of the 20th century. Born in San Francisco, had early careers as illustrator, model, actress and WWI correspondent. Began enormously prolific screenwriting career, 1915. Won Oscars for Best Writing Achievement, The Big House (1930); Original Story, The Champ (1931). Nominated for Original Story, The Prizefighter and the Lady (1933). Among numerous other outstanding credits: Love (1927), The Wind (1928), Anna Christie (1930), Dinner at Eight (1933), Camille (1937). Odets, Clifford (1906-1963): Leading American dramatist of the 1930s, with many influential plays produced by the prestigious Group Theatre; later screenwriter and film director. Born in Philadelphia. Plays adapted by other writers for the screen: Golden Boy (1939), Clash By Night (1952), The Country Girl (1954), The Big Knife (1955). Wrote and directed None But the Lonely Heart (1944), The Story on Page One (1959). Other outstanding screenwriting credits: Deadline at Dawn (1946), Humoresque (1947), Sweet Smell of Success (1957). Raphael, Frederic (1931-): Born in Chicago, frequently works in England. Author of many novels, biographies, essays, teleplays. Began writing screenplays in 1958. Won Oscar for Best Original Screenplay, Darling (1965), nominated for Two For the Road (1967). Other screenwriting credits include Far From the Madding Crowd (1967), Daisy Miller (1974), RichardÕs Things (1980), from his novel), The KingÕs Whore (1990). Remains active; most recently produced screenplay, Stanley KubrickÕs Eyes Wide Shut (co-writer, 1999). Ravetch, Irving (1920-): Born in Newark, N.J.; screenwriting debut, Living in a Big Way (1947). Began collaborating with wife Harriet Frank Jr. with screenplay for Run for Cover (1955). With Frank, specialized in literary adaptations including William FaulknerÕs The Long, Hot Summer (1958), The Sound and the Fury (1959) and The Reivers (1969); William HumphreyÕs Home From the Hill (1960); and Conrack (1974) from Pat ConroyÕs The Water Is Wide. The pair Oscar-nominated for Hud (1963) and Norma Rae (1979); other credits include The Cowboys (1972) and Stanley and Iris (1990). WGA Laurel Award (with Frank), 1988. Ryskind, Morrie (1895-1985): Born Brooklyn, N.Y., collaborated with George S. Kaufman on several successful Broadway musicals, sharing a Pulitzer Prize for the 1931 production Of Thee I Sing. Wrote or co-wrote zany screenplays for the Marx Brothers including The Cocoanuts (1929), Animal Crackers (1930), A Night at the Opera (1935), Room Service (1938). Shared Oscar nominations for Best Screenplay, My Man Godfrey (1936) and Adapted Screenplay, Stage Door (1937). Other notable credits: Penny Serenade (1941), Claudia (1943). Blacklisted in 1947 for leftist associations but later turned conservative and became an originating editor of The National Review. Stewart, Donald Ogden (1894-1980): Born Columbus, Ohio. Author of popular satirical novels of the 1920s; began writing for films, 1929. Basis of character "Nick Potter" in friend Philip BarryÕs Holiday Š a role played by Stewart himself on Broadway and by Cary Grant in film version (1930) co-scripted by Stewart. Oscar-nominated for Best Original Story, Laughter (1930), won for Best Adapted Screenplay, BarryÕs The Philadelphia Story (1940). Among other notable screenwriting credits: The Barretts of Wimpole Street (1934), The Prisoner of Zenda (1937), Marie Antoinette (1938), Love Affair (1939), Life With Father (1947). Blacklisted for involvement with Hollywood Anti-Nazi League, organization suspected of being a Communist front; left Hollywood and settled in London, 1951. Final screenplay: Moment of Danger (1960). Posthumous winner, WGA Laurel Award, 1990. Trumbo, Dalton (1905-1976): Born in Montrose, Col. Began career as newspaper reporter and editor; began writing films in 1935. Oscar-nominated for Best Adapted Screenplay, Kitty Foyle (co-writer, 1940). Among other notable screenwriting credits: A Guy Named Joe (1943), Thirty Seconds Over Tokyo (1944), Tender Comrade (1944), Our Vines Have Tender Grapes (1945). Became one of "Hollywood Ten," 1947; blacklisted and sentenced to jail term for refusing to testify before HUAC. Relocated to Mexico, began secretly writing screenplays; won Oscars for Best Original Story, Roman Holiday (1953, "fronted" by Ian McLellan Hunter), The Brave Bulls (1956, under pseudonym "Robert Rich"). Career revived when Kirk Douglas and Otto Preminger credited his screenplays for, respectively, Spartacus and Exodus (both 1960). Later credits: Lonely Are the Brave (1962), Hawaii (1966), Johnny Got His Gun (also directed, from his novel, 1971), Papillon (1973). WGA Laurel Award, 1970. Vidal, Gore (1925-): Celebrated American novelist, playwright, screenwriter, essayist, occasional actor. Born in West Point, N.Y. , a cousin of former U.S. Vice President Al Gore. Among plays, teleplays and novels adapted by other writers: The Left-Handed Gun (1958), Visit to a Small Planet (1960), Myra Breckenridge (1970). Adapted screenplays for Paddy ChayefskyÕs The Catered Affair (1956), Tennessee WilliamsÕ Suddenly, Last Summer (1959), his own play The Best Man (1964). Appeared as himself in FelliniÕs Roma (1972), played Sen. Brickley Paiste in Bob Roberts (1992). Wrote original screenplay for the notorious Caligula (1980). Remains active; most recent screenplay credit, Billy the Kid (TV, 1989). Wilder, Billy (1906-) Acclaimed director, screenwriter, producer; renowned for his bitter comedy and glittering wit. Born Samuel Wilder in Vienna; began writing screenplays in Berlin in 1929. Because of Jewish heritage, fled to Paris, then U.S., in early 1930s, leaving behind family members who later died in concentration camps. Began writing in Hollywood, 1933. Began 12-year collaboration with writer-producer Charles Brackett, BluebeardÕs Eighth Wife (1938); later shared similar partnership with I.A.L. Diamond. Won Oscars for co-writing and directing The Lost Weekend (1945), co-writing Sunset Boulevard (1950, also nominated as Best Director), co-producing, co-writing and directing The Apartment (1960). Oscar-nominated for co-writing Ninotchka (1939), Hold Back the Dawn (1941), Ball of Fire (1941), Double Indemnity (1944, also nominated as Best Director), A Foreign Affair (1948), The Big Carnival (1952), Sabrina (1954), Some Like It Hot (1959, also nominated as Best Director), The Fortune Cookie (1967). Among other outstanding credits: Stalag 17 (1953), The Seven-Year Itch (1955), Love in the Afternoon (1957). WGA Laurel Award (with Brackett), 1957. Wilson, Michael (1914-1978): Born in McAlester, Okla.; teacher and fiction writer before becoming screenwriter, The Men in Her Life (1941). Wrote mostly minor Westerns until returning from service in WWII; emerged as important screenwriter with A Place in the Sun (1951), sharing an Oscar for Best Adapted Screenplay (from Theodore DreiserÕs An American Tragedy). After co-writing Five Fingers (1952), blacklisted for refusing to cooperate with HUAC. Co-wrote Herbert BibermanÕs independently produced docu-drama Salt of the Earth (1954). "Underground" assignments included uncredited work on Friendly Persuasion (1956), The Bridge on the River Kwai (1957), Lawrence of Arabia (1962). Resumed co-writing credited screenplays with The Sandpiper (1965), Planet of the Apes (1968).