Oscar-nominated screenwriter and producer Walter Bernstein, who survived the Blacklist era by writing television pseudonym scripts and later wrote films including “Fail-Safe,” “Front” and “Semi-Tough.” He died on 22 January. 101
Howard Rodman, a longtime friend of Bernstein and former president of WGA West, shared the news of his death on Twitter on Saturday. “I’m really sad to hear that Walter Bernstein, the legendary screenwriter and one of the great people, died last night. He is 111 years old. I feel so lucky that three generations of our family got to know him. ”
I’m really sad to hear that Walter Bernstein, one of the legendary screenwriters and great people, died last night. He was 101. I feel so lucky that three generations of our family got to know him.
Walter was here 10 years ago, when he was a young man of 91 years. pic.twitter.com/yLGvTb3mJY
– At Howard. Rodman (ওয়ারHowardRodman) 23rd January 2021
The House Un-American Activities Committee quickly rejected Bernstein’s promising writing in the early 50s, although he was able to secure the use of writers’ writing as a “front” for television. The process will later become the subject of Woody Allen’s 19 Mart6 film “The Front”, directed by Martin Ritt.
Sydney Lumet, the director who starred in her blacklisting Sophia Loren, hired her in 1958 to write the screenplay for the 1986 film That Kind of Women. After that, Bernstein distinguished himself with strong scripts such as “Pink Tights Heller,” “Fail-Safe,” “Molly Maguires,” “Semi-Hard,” and “Yanks.”
Bernstein wrote frequently about the “Front” (which nominated him for an Oscar) and the “Blacklist-era script,” Carroll Street’s home via Period. Trial “starred in the documentary.
The former journalist continued to write for television in his later years, usually on social relevance scripts such as “Doomsday Song” and “Miss Evers Boys”. One of his stabbings in management was a rather treacherous “Little Miss Marker.”
Bernstein was born in Brooklyn and sold his first short story to the New Yorker while Dartmouth was undergraduate. After graduation, when he was in the Army during World War II, he worked as a huge journalist for the magazine and also contributed details of his wartime experience to Yank Magazine. One of his wartime coups was an exclusive interview with Yugoslav Marshal Tito behind the German line.
Returning from the war, he joined the staff in New York, but moved to Hollywood a year later, where he began the film business as a consultant to Oscar-winning “All King of Men’s” Robert Rosen. He was awarded his first script credit for the 1948 suspense starring Bert Lancaster and Joan Fontaine, “Kiss the Blood from My Hand.”
However, during his first career, he focused on live drama television, for which he wrote regularly when he returned to New York. Among his accomplishments during this period were F. Scott Fitzgerald’s “Rich Boy” filco playhouse production, starring Phyllis Kirk and newcomer Grace Kelly. Then, in 1950, he was blacklisted after he appeared as a friendly witness before the House Un-American Activities Committee.
He survived the next eight years by writing TV scripts and attaching the names of other writers to them. The way it was done was the subject of a partially fictional “front”, where Woody Allen played a writer who was given his name in scripts written by blacklisted writers. In 1976, he appeared in the blacklist-era documentary “Hollywood on Trial”, which was published closest to Rite’s “The Front”. (Allen also cast her in “Annie Hall”)
When director Sidney Lumet moved from TV to movies, he dared to ask Bernstein to write a feat in 1956, his “That Kind of Woman” starring Lauren. He wrote two other scripts for Lauren, “A Breath of Scrand” and George Cucora’s “Heller in Pink Darkness.” She then wrote Martin Ritt’s “Paris Blues” and several scripts, including “The Magnificent Seven” and “Something’s Got to Give” (Marilyn Monroe’s last project, about which she wrote a journalism account several years later).
For Lumet, he wrote the nuclear nightmare film “Fell-Safe” in 1964, before collaborating with another former TV director, John Frankenheimer, in the WWII thriller “The Train” starring Lancaster. He wrote the 196666 crime drama “The Money Trap” and his producer’s achievement was associated with Rit’s 1970 1970 drama “The Molly Maguires”.
“Semi-Tough” was one of Bernstein’s most popular films in professional football, directed by Michael Ritchie. However, the adaptation of Harold Robbins’ Turgid “The Betis” can only be done for a pay-per-view, as was the case with “Anmost Perfect Affair”. Bernstein, however, returned with John Schlenger’s ongoing WWII drama “Yanks.”
Bernstein’s only disguise in directing a pure remake of the old Shirley Temple film “Little Miss Marker” starring Walter Matthews in 1980 was “The Legend of Billy Jean” in 1975. There was enough melodrama, although the comedy “The Couch Trip” (1987) Lives “(1989) was simply fair. Similarly in the Blacklist era his 1988 suspense play was set, “House on Carol Street”.
She later wrote for most television shows, “Women and Men: No Rules of Love,” “The Doomsday Song” and the Emmy-winning drama about the Tuskigi syphilis test, “Miss Evers Boys”, including the Irish-set telepath “Durango” (199). ) Wrote for the Hallmark Hall of Fame and then in 2011 he co-produced the BBC Minors “Hidden”.
In 1994 he received the Ian McLellan Hunter Memorial Award for Lifetime Achievement in Essays from Bernstein Writer Guild East, and in 1996 he received a Gotham Award from the Independent Features Project.
In 2006, the WGEA awarded him the “Evelyn F. Berkeley Award”, “in recognition of his contributions to the honor and dignity of writers everywhere.”
Prior to his death, Bernstein served as a Visiting Instructor and Screening Thesis Advisor at New York University’s Tish School of the Arts.