Word: monash
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Dates: during 1970-1979
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...production is often strikingly effective, and Paul Monash has written a script that conveys pity without mawkishness. What either he or Director Delbert Mann, who has chosen a flat, documentary style, has not managed to evoke, however, is the passion of Remarque's book or the intensity of that creaky but wonderful 1930 movie. This All Quiet is so dutifully, ploddingly good, indeed, that it might almost be shown...
Some of the investors did nicely indeed; New York Book Publisher Norman Monash, who plans to bring out Adela's heavily edited autobiography, says she helped him turn $50,000 into $190,000 in 13 months, though there is now a little problem about retrieving funds (from a recent real estate deal) that are blocked in Spain. But others have done much less well, and quite a few are afraid that they will never see their money again...
Executives at all three commercial TV networks immediately began looking for ways to cash in on the new interest in black history. Paul Monash, a CBS vice president, began dickering with Author William Styron for the TV rights to his 1967-68 bestseller, The Confessions of Nat Turner. Said Monash: "Part of Roots' brilliance was in the programming. ABC caused an explosion by compressing the presentation so that the drama had built-in impact. I never liked the format of one hour a week, as in Rich Man, Poor Man. Waiting a week dispels interest; waiting a day heightens interest...
...Rich Man, Poor Man was really the start," concedes Paul Monash, who produced Carrie for the movies before joining CBS last October. After a late start, his network bought up the TV rights to John Dean's Blind Ambition, John Hersey's The Wall and Jacqueline Susann's Valley of the Dolls. NBC has kept pace with series plans for Seventh Avenue, by Norman Bogner, and Wheels, by Arthur Hailey. Not resting on its ratings, ABC has hired Roots Producer Stan Margulies for a ten-hour version of Hawaii, by James Michener. Washington, a series based...
Coyle could easily have been played as a simple victim, a soft spot at the heart of this picture. But supplied with hard blue language by Writer Monash, and played by Mitchum as a man trying to walk-not run-to the nearest exit, he is an infinitely more appealing figure. Coyle is still hard enough to intimidate a reckless apprentice punk, canny enough to fight a good delaying action against the cop who keeps pressing for more and more information and strangely trusting of an old friend who is a much more clever ex-stoolie (and who finally undoes...