{"id":81033,"date":"2014-12-19T12:17:45","date_gmt":"2014-12-19T17:17:45","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=81033"},"modified":"2014-12-19T12:24:21","modified_gmt":"2014-12-19T17:24:21","slug":"made-in-hollywood","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2014\/12\/19\/made-in-hollywood\/","title":{"rendered":"Made in Hollywood"},"content":{"rendered":"

Budd Schulberg\u2019s centennial.<\/em><\/p>\n

\"Budd<\/a>

Budd Schulberg (center) at the Watts Writers\u2019 Workshop, ca. 1965.<\/p><\/div>\n

\u201cMy problem,\u201d novelist and screenwriter Budd Schulberg told Kurt Vonnegut at the close of a 2001 interview published in these pages<\/a>, \u201cis that I\u2019m not going to live long enough to do all the different things I want to do. My time is beginning to run out a bit.\u201d Then eighty-seven years old, Schulberg\u2014whose credits include the Oscar-winning script for On the Waterfront <\/em>(1954), a handful of widely acclaimed novels, a Hollywood memoir, a collection of short stories, a biography of Muhammad Ali, and volumes of essays and magazine articles on boxing\u2014was working with Spike Lee on a screenplay about the epic 1930s battles between heavyweight world champions Joe Louis and Max Schmeling and collaborating with Ben Stiller on a film adaptation of his best-known novel What Makes Sammy Run?<\/em> (1941). Eight years later, he bid his final farewell before either of these projects could be realized. He would have turned one hundred this year.<\/p>\n

Early last month, I attended a two-day celebration of his centennial in Hanover, New Hampshire, at Dartmouth College, from which Schulberg graduated in 1936 and whose Rauner Special Collections Library holds his papers. The event began with the unveiling of a library exhibition\u2014\u201cBudd Schulberg and the Scripting of Social Change<\/a>,\u201d which runs through the end of next month\u2014charting the writer\u2019s numerous engagements with political events that spanned much of the twentieth century. As editor of The Dartmouth<\/em>, the college\u2019s daily paper, in 1935, he covered a quarry workers\u2019 strike in Proctor, Vermont, anticipating the preproduction research he would undertake on the mafia infiltration of the dockworkers\u2019 union for On the Waterfront<\/em>. In 1965, greatly distressed by the Watts riots in Los Angeles, he founded the Watts Writers\u2019 Workshop the day after the city\u2019s curfews were lifted; he went on to edit, in 1967, From the Ashes: Voices of Watts<\/em>. A few years later, with his former Workshop collaborator Fred Hudson, Schulberg established the Frederick Douglass Creative Arts Center in New York City.<\/p>\n

Although a native son of New York, where he was born Seymour Wilson Schulberg on March 27, 1914, Budd was raised in Hollywood. His father, B.P. Schulberg, worked as a studio executive\u2014he was, at one time, the head of production at Paramount\u2014and his mother, Adeline, ran a literary agency. He grew up playing cops and robbers on the studio lot, knew the sets like they were part of his own living room, and worked as a publicist at Paramount while still in his teens. He considered himself to be, as he put it in a piece for the New York Times <\/em>in 1939, of \u201cthe Motion Picture Generation.\u201d Starting out at Los Angeles High School, he spent his senior year at Deerfield Academy and then headed for Dartmouth, where he studied sociology and English. Together with his childhood friend Maurice Rapf, who also grew up in Hollywood and went to Dartmouth, he visited the Soviet Union in 1934, where he was inspired by Maxim Gorky\u2019s speech on socialist realism delivered at the first Soviet Writers\u2019 Congress. After graduation, he moved back to Hollywood to work as a script doctor and joined the Communist Party of the United States.<\/p>\n

Over the course of his life, Schulberg never shied away from controversy or professional reprisals. An ill-fated 1939 collaboration with F. Scott Fitzgerald on the script for Winter Carnival<\/em>\u2014which was filmed at Dartmouth and strands of which he would later fictionalize in his novel The Disenchanted <\/em>(1950)\u2014brought him back to Norwich, Vermont, directly across the Connecticut River from campus. There, he wrote quite possibly the most wicked satire of Hollywood ever produced: What Makes Sammy Run?<\/em> The story chronicles the ruthless ascent of a newspaper copyboy to power-hungry movie mogul, waging a kind of \u201cblitzkrieg against his fellow men\u201d along the way. Rereading the novel today, it\u2019s difficult, if not impossible, to imagine how there could ever have been Sidney Falco of Sweet Smell of Success<\/em> or even Jordan Belfort, the so-called wolf of Wall Street, without there first having been a Sammy Glick\u2014that turbocharged Horatio Alger from New York\u2019s Lower East Side. After the scandal Sammy<\/em> unleashed in the movie colony, Louis B. Mayer suggested to Schulberg p\u00e8re that his son should be deported. \u201cWhere the hell are you going to deport him,\u201d B.P. is said to have replied, \u201cCatalina Island?\u201d<\/p>\n

\"On_the_waterfront_7\"<\/a><\/p>\n

Schulberg left Hollywood for Bucks County, Pennsylvania, and, later, Long Island, but his life retained the high drama of a Hollywood screenplay. In the aftermath of World War II, working for the Office of Strategic Services, he prepared photo testimony for the Nuremberg Trials and rounded up Leni Riefenstahl to serve as a witness. He named names at a House Un-American Activities Committee hearing in 1951 (he\u2019d abandoned the Communist Party while writing Sammy<\/em>), but he also wrote one of the sharpest indictments of political demagoguery and media manipulation in his screenplay for Elia Kazan\u2019s A Face in the Crowd<\/em> (1958). He traveled to Cuba after the revolution to interview Fidel Castro and Che Guevara, to whom he showed considerable sympathy, and sometime in the seventies, while vacationing with his then-wife, Geraldine Brooks, in Puerto Vallarta, he agreed to a tequila-fueled midnight brawl with John Wayne over the putatively treasonous nature of Sammy<\/em> (his wife broke up the fight before Schulberg was able to prove whether or not he could have been a contender). He covered the \u201cRumble in the Jungle\u201d in Zaire for Newsday<\/em>, and, owing to the quality of his sports writing, he was inducted to the International Boxing Hall of Fame in 2003.<\/p>\n

One of the high points of the two-day Schulberg celebration was the public screening of the documentary Hollywood Renegade: The Many Lives of Budd Schulberg<\/em><\/a> (shown in rough cut), which was produced and directed by his son Benn and shot by veteran documentarian Albert Maysles. The film features lengthy interviews with blacklisted writers Walter Bernstein and Arthur Laurents\u2014both of whom obstinately refuse to forgive Schulberg for serving as a friendly witness before HUAC\u2014alongside more affectionate reminiscences by Tony Curtis, Patricia Neal, Bert Sugar, Spike Lee, and Ben Stiller, who also serves as executive producer of the film. At a time when the motion picture business is mired in blockbuster franchises and endless sequels and remakes, the consistent freshness of Schulberg\u2019s work feels all the more urgent and compelling, not to mention his commitment to innovation. \u201cDon\u2019t tell that story over again,\u201d he admonished Hollywood in 1939. \u201cI know it by heart.\u201d<\/p>\n

Noah Isenberg directs the Screen Studies program at the New School and is the author, most recently, of <\/em>Edgar G. Ulmer: A Filmmaker at the Margins. His writing has appeared in <\/em>Bookforum, <\/em>The Nation, the <\/em>Wall Street Journal, the <\/em>Los Angeles Review of Books, and elsewhere. He\u2019s currently at work on a new book, <\/em>Everybody Comes to Rick\u2019s: How \u2018Casablanca\u2019 Taught Us to Love Movies.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Budd Schulberg\u2019s centennial. \u201cMy problem,\u201d novelist and screenwriter Budd Schulberg told Kurt Vonnegut at the close of a 2001 interview published in these pages, \u201cis that I\u2019m not going to live long enough to do all the different things I want to do. My time is beginning to run out a bit.\u201d Then eighty-seven years […]<\/p>\n","protected":false},"author":780,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[1186],"tags":[16446,2446,16445,16443,660,79,10249,16450,16447,16449,16444,16448],"class_list":["post-81033","post","type-post","status-publish","format-standard","hentry","category-on-film","tag-albert-maysles","tag-ben-stiller","tag-boxing","tag-budd-schulberg","tag-f-scott-fitzgerald","tag-film","tag-john-wayne","tag-maurice-rapf","tag-maxim-gorky","tag-on-the-waterfront","tag-rumble-in-the-jungle","tag-what-makes-sammy-run"],"acf":[],"yoast_head":"\nA Centennial Tribute to Novelist and Screenwriter Budd Schulberg<\/title>\n<meta name=\"description\" content=\"Noah Isenberg considers the legacy of novelist and On the Waterfront screenwriter Budd Schulberg on his centennial\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.theparisreview.org\/blog\/2014\/12\/19\/made-in-hollywood\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Made in Hollywood by Noah Isenberg\" \/>\n<meta property=\"og:description\" content=\"December 19, 2014 \u2013 Budd Schulberg\u2019s centennial. \u201cMy problem,\u201d novelist and screenwriter Budd Schulberg told Kurt Vonnegut at the close of a 2001 interview published in these\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.theparisreview.org\/blog\/2014\/12\/19\/made-in-hollywood\/\" \/>\n<meta property=\"og:site_name\" content=\"The Paris Review\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/parisreview\/\" \/>\n<meta property=\"article:published_time\" content=\"2014-12-19T17:17:45+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2014-12-19T17:24:21+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2014\/12\/3-schulberg-watts-e1419004448149.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1600\" \/>\n\t<meta property=\"og:image:height\" content=\"1072\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Noah Isenberg\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@parisreview\" \/>\n<meta name=\"twitter:site\" content=\"@parisreview\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Noah Isenberg\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"6 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2014\/12\/19\/made-in-hollywood\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2014\/12\/19\/made-in-hollywood\/\"},\"author\":{\"name\":\"Noah Isenberg\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/f279663953f1f0b2664afca74a338e7f\"},\"headline\":\"Made in Hollywood\",\"datePublished\":\"2014-12-19T17:17:45+00:00\",\"dateModified\":\"2014-12-19T17:24:21+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2014\/12\/19\/made-in-hollywood\/\"},\"wordCount\":1172,\"commentCount\":1,\"publisher\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2014\/12\/19\/made-in-hollywood\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2014\/12\/3-schulberg-watts-e1419004448149-1024x686.jpg\",\"keywords\":[\"Albert Maysles\",\"Ben Stiller\",\"boxing\",\"Budd Schulberg\",\"F. 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