Budd Schulberg

Imagine if one of America's foremost writers had once been privy to a shadowy plot by Hitler's Germany to take control of the motion picture industry through its labor organizations and force writers to clear scripts with Nazi censors, and then he courageously stepped forward to blow the whistle on the whole operation. Wouldn't it be bizarre if, when this man died, instead of being celebrated for such heroism, he was criticized and even attacked by colleagues for revealing the identities of those who were behind the intrigue?

Re "Budd Schulberg's heroism," Opinion, Aug. 12 Thank heaven Budd Schulberg was just about the last of the big-time turncoats to have informed on friends and colleagues, as every time one of them dies an apologist like John Meroney makes excuses for the anti-communist witch hunts. Meroney tries to justify Schulberg's actions by writing he did not believe that membership in the party should be a secret. Believe it or not, Communist Party membership was legal then, as it is now; to insist, as Schulberg apparently did, that political affiliation and the secret ballot do not extend beyond the rolls of the Republican or Democratic parties is an affront to the principles on which this nation was founded.

Thoughts after reading Jack Mathews' appraisal of Hollywood ethics (April 22): OK, my hometown rates its usual F for failing to live up to ethical business standards and its usual A for amorality. As a veteran if not the Big Daddy of Hollywood's critics, I say it's not exactly front-page news that the industry has long been a happy hunting ground for hustlers, ruthless, greedy and every bit as ethical as man-eating sharks. But when (five decades ago) I wrote "What Makes Sammy Run?"

Re "Sammy's Kids," by Susan King, Aug. 8: Budd Schulberg was my mentor and teacher of more than 44 years. I was just an angry kid living on the street, full of bitterness and rage. I had nothing. And he helped me -- but not just with money and friendship. He encouraged my talent and taught me the art of story and writing prose. The novels and short stories and poetry and essays I have to my credit to this day are because of his teachings and guidance and that writer's workshop in Watts.

Re "Sammy's Kids," by Susan King, Aug. 8: Budd Schulberg was my mentor and teacher of more than 44 years. I was just an angry kid living on the street, full of bitterness and rage. I had nothing. And he helped me -- but not just with money and friendship. He encouraged my talent and taught me the art of story and writing prose. The novels and short stories and poetry and essays I have to my credit to this day are because of his teachings and guidance and that writer's workshop in Watts.

What have you done? Samuel Goldwyn, his face flushed with rage, had just ordered the young screenwriter into his office. What have you done? For a brief, naive moment, Budd Schulberg shrugged it off. Sure, most of the folks in Hollywood couldn't stand the gruff producer: Goldwyn was outrageous, tantrums were de rigueur. But Schulberg liked him just fine. At least Goldwyn seemed happy with his work.

There's a piano in the living room at Budd Schulberg's old home in Hancock Park, just as there was 75 years ago when Schulberg was a boy, living there with his family, right around the corner from the Barrymores and Louis B. Mayer, his father's old business partner. The Schulbergs were Hollywood royalty back then. Budd's father, B.P. Schulberg, was head of Paramount Pictures, which meant that a cavalcade of stars often lighted up their living room, the piano getting quite a workout.

The great and terrible Sammy Glick embodies everything that is wrong with Hollywood. Smart and ruthless, savvy and crude, he'll do anything to claw his way up the ladder of success in Tinseltown. Glick was the iconic creation of novelist and Oscar-winning writer Budd Schulberg ("On the Waterfront"), who died on Wednesday. Schulberg introduced the world to Glick in his 1941 novel "What Makes Sammy Run?" The controversial bestseller put the young Schulberg on the map. Over the decades, the name Sammy Glick became synonymous with coldblooded ambition -- he's a Hollywood type with offspring both fictional and real.

Budd Schulberg, who exposed the dark side of American ambition in his acclaimed Hollywood novel "What Makes Sammy Run?" and won an Academy Award for his screenplay depicting the mob-controlled longshoremen's union in the film classic "On the Waterfront," has died. He was 95.

I want to thank you for giving your readers the opportunity to know Budd Schulberg better. His article on "What Makes Sammy Run" was a gem ("Schulberg's 'Sammy' as a Role Model for Our Time" by Budd Schulberg, Sept. 3). In addition to showing his prowess with words, it also laid bare the "do-it-to-him-before-he-does-it-to-me" mentality prevalent today. Incredibly, Sammy Glick is no longer a despicable character--he has become a role model for the upwardly mobile. Many years ago when we were very young indeed, I knew Budd and his family; we both grew up in Los Angeles.

Imagine if one of America's foremost writers had once been privy to a shadowy plot by Hitler's Germany to take control of the motion picture industry through its labor organizations and force writers to clear scripts with Nazi censors, and then he courageously stepped forward to blow the whistle on the whole operation. Wouldn't it be bizarre if, when this man died, instead of being celebrated for such heroism, he was criticized and even attacked by colleagues for revealing the identities of those who were behind the intrigue?

The great and terrible Sammy Glick embodies everything that is wrong with Hollywood. Smart and ruthless, savvy and crude, he'll do anything to claw his way up the ladder of success in Tinseltown. Glick was the iconic creation of novelist and Oscar-winning writer Budd Schulberg ("On the Waterfront"), who died on Wednesday. Schulberg introduced the world to Glick in his 1941 novel "What Makes Sammy Run?" The controversial bestseller put the young Schulberg on the map. Over the decades, the name Sammy Glick became synonymous with coldblooded ambition -- he's a Hollywood type with offspring both fictional and real.

Budd Schulberg, who exposed the dark side of American ambition in his acclaimed Hollywood novel "What Makes Sammy Run?" and won an Academy Award for his screenplay depicting the mob-controlled longshoremen's union in the film classic "On the Waterfront," has died. He was 95.

Dartmouth College has acquired the papers of 1936 graduate Budd Schulberg, author of "What Makes Sammy Run?" and an Oscar winner for his screenplay for "On the Waterfront." The collection includes drafts of various projects and correspondence, including material related to his controversial testimony before the House Un-American Activities Committee. The papers will be available to the public at Dartmouth's Rauner Special Collections Library, which also houses the works of Theodor Geisel (Dr.

There's a piano in the living room at Budd Schulberg's old home in Hancock Park, just as there was 75 years ago when Schulberg was a boy, living there with his family, right around the corner from the Barrymores and Louis B. Mayer, his father's old business partner. The Schulbergs were Hollywood royalty back then. Budd's father, B.P. Schulberg, was head of Paramount Pictures, which meant that a cavalcade of stars often lighted up their living room, the piano getting quite a workout.

Jay Schulberg, 65, an advertising executive who created the "Got Milk" campaign, as well as memorable campaigns for American Express and Excedrin, died Wednesday of pancreatic cancer in Doylestown, Pa. Schulberg was the chief creative officer at Bozell Worldwide in 1994, when the nation's milk processors hired the firm to create a campaign to attract customers to milk, which had seen declining sales over the previous decade.

Dartmouth College has acquired the papers of 1936 graduate Budd Schulberg, author of "What Makes Sammy Run?" and an Oscar winner for his screenplay for "On the Waterfront." The collection includes drafts of various projects and correspondence, including material related to his controversial testimony before the House Un-American Activities Committee. The papers will be available to the public at Dartmouth's Rauner Special Collections Library, which also houses the works of Theodor Geisel (Dr.

SPARRING WITH HEMINGWAY and Other Legends of the Fight Game by Budd Schulberg (Ivan R. Dee; $25; 256 pp.) Nobody is neutral. Either you love boxing or you hate it. Either it's the most elemental and ennobling of contests or it's the cruelest sport, never mind riding to hounds, the blood and bicuspids of ice hockey or "keeping a girls' weight down to 69 so she can swing from a metal bar," as Mike Downey volunteers.

What have you done? Samuel Goldwyn, his face flushed with rage, had just ordered the young screenwriter into his office. What have you done? For a brief, naive moment, Budd Schulberg shrugged it off. Sure, most of the folks in Hollywood couldn't stand the gruff producer: Goldwyn was outrageous, tantrums were de rigueur. But Schulberg liked him just fine. At least Goldwyn seemed happy with his work.

SPARRING WITH HEMINGWAY and Other Legends of the Fight Game by Budd Schulberg (Ivan R. Dee; $25; 256 pp.) Nobody is neutral. Either you love boxing or you hate it. Either it's the most elemental and ennobling of contests or it's the cruelest sport, never mind riding to hounds, the blood and bicuspids of ice hockey or "keeping a girls' weight down to 69 so she can swing from a metal bar," as Mike Downey volunteers.