Search results
Charles Brackett, born in Saratoga Springs, New York, of Scottish ancestry, followed in his attorney-father's footsteps and graduated with a law degree from Harvard University in 1920. He practised law for several years, before commencing work as drama critic for The New Yorker (1925-29), in addition to submitting short stories to The Saturday Evening Post. In 1932, Brackett left for Hollywood as a screenwriter. He was signed by Paramount primarily on the strength of his novel "Week-End ...
A drama critic for THE NEW YORKER with several published novels to his name, Brackett signed on as staff writer with Paramount Pictures in 1935. His screenplays were generally unexceptional until, in 1938, he teamed up with Billy Wilder. The effective combination of Brackett producing, Wilder...
Dec 16, 2014 · Golden Age Hollywood screenwriter Charles Brackett was an extremely observant and perceptive chronicler of the entertainment industry during its most exciting years. He is best remembered as the writing partner of director Billy Wilder, who once referred to the pair as “the happiest couple in Hollywood,” collaborating on such classics as The Lost Weekend (1945) and Sunset Blvd. (1950). In this annotated collection of writings taken from dozens of Brackett's unpublished diaries, this book ...
Abstract. This book is a collection of Charles Brackett's unpublished diaries, written between 1932 and 1949, and aims to reestablish his reputation as a Hollyw
Charles BRACKETT | Cited by 198 | of Geisel School of Medicine at Dartmouth, Hanover (DMS) | Read 20 publications | Contact Charles BRACKETT
The novel's author and narrator, Charles Brackett (Cook), had been a regular at the Algonquin for several years before leaving for Hollywood at the peak of the group's notoriety.
In these diary entries written between January and December 1944, Hollywood screenwriter Charles Brackett lists his activities: calling on Buddy De Silva, suggesting the possibility of doing The Count of Luxembourg with Bob Hope; finishing Thieves Like Us and beginning Amok; going to see the first sneak preview of Double Indemnity; going to De Sylva's office with Billy Wilder to discuss future plans; discussing Olympia with art director Hans Dreier and producer George Berthelon; seeing the ...
