Word: scripted
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Dates: during 1950-1959
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...fascination with which some writers regard Hollywood, as if it were a basketful of hypnotizing snakes. In The Velvet Alley, produced on CBS' Playhouse 90, TV Playwright Rod Serling told the story of a struggling 42-year-old TV playwright from Manhattan named Ernie Pandish, who sells a script and overnight becomes rich, famous and an s.o.b. Where once he listened to music while he worked (he apparently owned only one phonograph record, Swan Lake), now the only music heard is the snarling of his ego. He berates his wife (rather justly, it seemed to some viewers) for disliking...
Like Ernie Pandish, Rod Serling, 34, became famous overnight with a TV play (Patterns), four years later went to Hollywood from his home in Westport, Conn., bought a house with a swimming pool, and made big money (more than $10,000 a script). Like Ernie, he fired his old agent, although the separation was more or less amicable. Unlike Ernie, he is still happily married. Perhaps like Ernie, he feels harried by having to live up in every script to his first big success. Says he: "One of the basic problems in this industry is that it never trains people...
...snickering newspaper called "doves of sin." It happened through CBS radio's lively tabloid report on "The Business of Sex" (TIME, Jan. 26), which alleged wholesale pimping by U.S. business to soften up clients. Murrow himself had got into the act only three weeks before showtime, read a script somebody else had written for him with his usual sonorous solemnity. But his voice had scarcely stopped vibrating when the ruckus started...
Auntie Mame. Rosalind Russell is terrific as the world's most celebrated auntique, but as far as the script is concerned, it's a bit of a shame about Mame...
...them, and, at least at the dress rehearsal Lattended, the murders were sadly disappointing. More work may have been done on the show since then, but The Doctor and the Devils would be out of place on the stage even in the best of circumstances. It is a movie script. Its dozens of locales need dozens of settings; its fades and cuts and dissolves must be quicker and cleaner than the be-tiptoed blackouts that are necessary in the theatre. Much of the work's quality is lost in this production--but enough remains, including an intrinsic vitality that eludes...