Budd Schulberg Movies

As originally screened at the Tribeca Film Festival, at the Cannes Film Festival, and on Turner Classic Movies, the mammoth, epic-length documentary Brando chronicles in encyclopedic detail (and with a consistently reverent overtone) the life and career of the man widely regarded as the most formidable American actor of the 20th century - famous for not only reshaping, but reinventing the craft of film acting and teaching audiences how to view a motion picture performance. Divided into chronological, thematically-unified segments, the film first treats Marlon Brando's dysfunctional upbringing - his alcoholic mother, his abusive father, his stint at a military academy - before charting his acting tutelage at the behest of Stella Adler and his early cinematic and theatrical roles, including work for Elia Kazan, who famously made many aggressive (and unsuccessful) attempts to discipline the headstrong actor onscreen. Throughout this segment, many Hollywood A-list actors appear - among them, Al Pacino, Johnny Depp and Robert Duvall - expostulating at length on Brando's influence over their approaches to performance, and attempting with great effort to define the elusive style known as "method acting" that Brando helped to create. The second half of the documentary moves into Brando's career during the '70s, '80s and '90s, covering the production of The Godfather, the actor's noteworthy political activism, and his tumultuous personal life. Francis Ford Coppola, who of course teamed with Brando for the first Godfather installment and for Apocalypse Now, is noticeably absent from the proceedings. ~ Nathan Southern, All Movie Guide

The made-for-TV A Question of Honor was based on Point Blank, a novel by former cop Sonny Grosso and Philip Rosenberg. Ben Gazzara plays Joe DeFalco, a 15-year veteran of the NYPD who'd like to end his career in a blaze of glory. This leads him to act upon a tip intended for another officer, which will enable him to arrest a notorious dope dealer named Danzie (Paul Sorvino). Unbeknownst to DeFalco, Danzie is working hand-in-glove with the Feds in an effort to weed out crooked cops. Before he can absorb what's happening, DeFalco is being blackmailed to do Danzie's "dirty work." This is a tale of misguided ambition: DeFalco's lust for fame and fortune, and the Feds' overzealous desire to uncover police corruption-which, at least according to the events depicted herein, has the effect of forcing honest cops into dishonesty. Both the novel and the film were based on an actual incident, which culminated in the 1972 suicide of DeFalco's real-life counterpart. A Question of Honor debuted on April 28, 1982. ~ Hal Erickson, All Movie Guide

Academy Award-winning director Delbert Mann adapts author Budd Shulberg's scathing critique of the Hollywood studio system to the small screen in this drama originally aired as part of the NBC anthology series Sunday Showcase. Sammy Glick (Larry Blyden) may be an amoral hustler, but sometimes that's what it takes to make it in Hollywood. Seizing an opportunity to work his way up through the ranks, a lowly copy boy quickly gains a reputation as one of the most powerful players in town. Completely restored and remastered, the entire two-part broadcast of What Makes Sammy Run? provides a new generation the opportunity to finally experience a long lost Hollywood classic. John Forsythe, Barbara Rush, and Dina Merrill co-star. ~ Jason Buchanan, All Movie Guide

The meteoric popularity of Arthur Godfrey was allegedly the basis of the 1957 drama Face in the Crowd. Andy Griffith makes a spectacular film debut as Lonesome Rhodes, a philosophical country-western singer discovered in a tanktown jail by television talent coordinator Patricia Neal and her assistant Walter Matthau. They decide that Rhodes is worthy of a TV guest spot, the result being that the gangly, aw-shucks entertainer becomes an overnight sensation. As he ascends to stardom, Rhodes attracts fans, sponsors and endorsements by the carload, and soon he is the most powerful and influential entertainer on the airwaves. Beloved by his audience, Rhodes reveals himself to his intimates as a scheming, power-hungry manipulator, with Machiavellian political aspirations. He uses everyone around him, coldly discarding anyone who might impede his climb to the top (one such victim is sexy baton-twirler Lee Remick, likewise making her film debut). Just when it seems that there's no stopping Rhodes' megalomania, his mentor and ex-lover Neal exposes this Idol of Millions as the rat that he is. She arranges to switch on the audio during the closing credits of Rhodes' TV program, allowing the whole nation to hear the grinning, waving Rhodes characterize them as "suckers" and "stupid idiots." Instantly, Rhodes' popularity rating plummets to zero. As he drunkenly wanders around his penthouse apartment, still not fully comprehending what has happened to him, Rhodes is deserted by the very associates who, hours earlier, were willing to ask "how high?" when he yelled "jump". Written by Budd Schulberg, Face in the Crowd was not a success, possibly because it hit so close to home with idol-worshipping TV fans. Its reputation has grown in the intervening years, not only because of its value as a film but because of the novelty of seeing the traditionally easygoing Andy Griffith as so vicious and manipulative a character as Lonesome Rhodes. ~ Hal Erickson, All Movie Guide

This classic story of Mob informers was based on a number of true stories and filmed on location in and around the docks of New York and New Jersey. Mob-connected union boss Johnny Friendly (Lee J. Cobb) rules the waterfront with an iron fist. The police know that he's been responsible for a number of murders, but witnesses play deaf and dumb ("plead D & D"). Washed-up boxer Terry Malloy (Marlon Brando) has had an errand-boy job because of the influence of his brother Charley, a crooked union lawyer (Rod Steiger). Witnessing one of Friendly's rub-outs, Terry is willing to keep his mouth shut until he meets the dead dockworker's sister, Edie (Eva Marie Saint). "Waterfront priest" Father Barry (Karl Malden) tells Terry that Edie's brother was killed because he was going to testify against boss Friendly before the crime commission. Because he could have intervened, but didn't, Terry feels somewhat responsible for the death. When Father Barry receives a beating from Friendly's goons, Terry is persuaded to cooperate with the commission. Featuring Brando's famous "I coulda been a contendah" speech, On the Waterfront has often been seen as an allegory of "naming names" against suspected Communists during the anti-Communist investigations of the 1950s. Director Elia Kazan famously informed on suspected Communists before a government committee -- unlike many of his colleagues, some of whom went to prison for refusing to "name names" and many more of whom were blacklisted from working in the film industry for many years to come -- and Budd Schulberg's screenplay has often been read as an elaborate defense of the informer's position. On the Waterfront won Oscars for Best Picture, Best Director, Best Adapted Screenplay, Best Actor for Brando, and Best Supporting Actress for Saint. ~ Hal Erickson, All Movie Guide

Olivia De Havilland hadn't wanted to star in RKO's Government Girl, but was forced to do so by her home studio Warner Bros. Perhaps in retaliation, De Havilland delivers a strident, overbaked performance, which serves only to make this so-so wartime comedy something of an endurance test for modern viewers. The actress plays "Smokey", the Washington DC-based secretary of Detroit automobile expert Browne (Sonny Tufts, who's actually pretty good in this one!) Aware that Browne is a babe in the woods so far as Washington lobbying, politicking and backstabbing are concerned, Smokey takes the poor boy by the hand and shows him the ropes. Despite the derivative nature of Adela Rogers St. John's screenplay-the film seems like a hybrid of Mr. Smith Goes to Washington and The More the Merrier--Government Girl was an enormous hit, posting a profit of $700,000. The film represents the film directorial debut of producer-screenwriter Dudley Nichols. ~ Hal Erickson, All Movie Guide

This romance is set during the Dartmouth College Winter Carnival and follows the exploits of a woman recently divorced from a count who has returned to her alma mater for the annual carnival. A former carnival queen, she watches as her lovely little sister vies for the title. She also flirts with her stodgy old boy friend, a professor. Romance blooms amid the din and colorful activities. ~ Sandra Brennan, All Movie Guide

"This is New York, Skyscraper Champion of the World...Where the Slickers and Know-It-Alls peddle gold bricks to each other...And where Truth, crushed to earth, rises again more phony than a glass eye..." With this jaundiced opening title, scripter Ben Hecht introduces his classic comedy Nothing Sacred. Fredric March plays Wally Cook, a hotshot reporter condemned to writing obituaries because of his unwitting complicity in a fraud. Anxious to get back in the good graces of his editor Oliver Stone (Walter Connolly), Cook pounces on the story of New England girl Hazel Flagg (Carole Lombard), who is reportedly dying from radiation poisoning. Actually, Hazel isn't dying at all; she's been misdiagnosed by Moscow's eternally drunk doctor (Charles Winninger). But when Cook offers to take her on an all-expenses-paid trip to New York in exchange for her exclusive story, it's too good an offer to pass up. Once in the Big Apple, Hazel is feted as a heroine by the novelty-seeking populac; she enjoys the adulation at first, but soon (and with the help of gallons of alcoholic beverages) suffers the pangs of conscience. She confesses her deception to Cook, who by now has fallen in love with her. Cook and Stone conspire to keep the public from discovering the truth, eventually dreaming up a phony suicide. Travelling incognito to avoid arrest, Wally and Hazel marry and go on a honeymoon, secure in the knowledge that New York City has forgotten all about her and moved on to their next fad. Brimming with witty, acerbic dialogue and hilarious bits of physical business, Nothing Sacred is among the best "screwball" comedies of the 1930s. The musical score by Oscar Levant both mocks and celebrates the George Gershwinesque musical style then in vogue. As an added bonus, the film is lensed in Technicolor (avoid those two-color reissue prints), allowing modern viewers to see what New York City looked liked back in 1937. Nothing Sacred was later adapted into a Broadway musical, Hazel Flagg, which in turn was filmed by Dean Martin and Jerry Lewis as Living It Up (1954), with Lewis in the Carole Lombard role. ~ Hal Erickson, All Movie Guide