Sidney Howard

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Sidney Coe Howard, (1891 – 1939) was an American playwright, dramatist, and screenwriter.

In 1925, he received the Pulitzer Prize for Drama, as well as a prestigious Academy Award in 1940 for the filmplay for Gone with the Wind.

Early life

Sidney Howard was born in Oakland, California, and the son of Helen Louise (née Coe) and John Lawrence Howard. In 1915, he graduated from the University of California, Berkeley, and later moved to Harvard University to study playwriting under George Pierce Baker in his legendary "47 workshops." Eugene O'Neill, Thomas Wolfe, Philip Barry, and S.N. are among Baker's classmates. Behrman. Howard and Behrman were a good friend.

Howard, along with other Harvard professor A. Piatt Andrew's classmates, joined Andrew's American Field Service, spending in France and the Balkans during World War I. Howard made use of his foreign language skills and translated a number of literary works from French, Spanish, Hungarian, and German. He wrote articles about labor issues for The New Republic and served as a literary editor for the original Life Magazine, among other liberal intellectuals whose politics became increasingly left-wing over the years.

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Career

Howard's first Broadway performance was produced in 1921. A neo-romantic verse drama set in the times of Dante, Swords, did not do well with audiences or critics. They Knew What They Wanted, Howard Howard established his fame as a serious writer three years ago. The tale of a middle-aged Italian vineyard owner who seduces a young woman by mail with a false snapshot of himself, marries her, and then forgives her when she becomes pregnant by one of his farm hands was praised for its unashamed portrayal of adultery and its compassionate approach to its characters. "A tender, original, merciful drama," theater critic Brooks Atkinson called it. They Knew What They Wanted At the 1925 Pulitzer Prize for Dramatic Adaptation was adapted three times (1928, 1930, and 1940) and later became the Broadway musical The Most Happy Fella.

Howard's career was anything but consistent. He saw several others close without making any money out of their hands for every successful play he wrote. His saving grace was that he was a prolific writer. Lucky Sam McCarver's next play was an unsentimental account of a New York speakeasy owner's union with a self-destructive socialite on her way down. Although it did not captivate audiences, several reviewers' respect was earned.

Howard was hit with the Silver Cord, and he had a big success. Laura Hope Crews starred in this drama about a mother who is pathologically close to her sons and attempts to destroy their romances, making it one of the most talked-about plays of the 1926-27 Broadway season. It was a decade-long journey that was entangled by Freud, Oedipal complexes, and family dysfunction. Howard's Silver Cord is also Howard's first original play to transcend its time. (His 1929 adaptation S.S. Tenacity is regularly revived.) The performance was occasionally performed by regional theater companies into the late twentieth century, and its first Off-Broadway production was staged in 2013. Irene Dunne and Joel McCrea appeared in the 1933 film, with Laura Hope Crews repeating her stage role.

Howard, "one of Broadway's most popular figures," he said by 1930. He was a prolific writer and a founding member of the Playwrights' Company (with Maxwell Anderson, S. N. Behrman, and Robert Sherwood) and has written or adapted more than seventy scripts; a consummate theater professional, he directed and produced a number of plays.

Howard married Clare Eames (1896-1930), who had played the female lead in Swords, in 1922. She appeared in Howard's Lucky Sam McCarver (1925) and Ned McCobb's Daughter (1926) on Broadway and The Silver Cord in London (1927). (Clare Eames was the niece of opera singer Emma Eames, as well as the daughter of former Maryland governor William Thomas Hamilton.) Howard and Eames had one child, Jennifer Howard (1925-1993), who became an actor. Howard and Jean were married in 1927, and his indignation of his marriage in his bitter satire of modern matrimony, Half Gods (1929).

Clare Eames died in 1930, unexpectedly. Howard married Leopoldine "Polly" Damrosch, the niece of conductor Walter Johannes Damrosch, the following year. The couple had three children.

Howard adapted two of his plays into English under the titles S. Tenacity (1929) and Michael Auclair (1932), a particular admirer of the understated realism of French playwright Charles Vildrac, Howard. René Fauchois' The Late Christopher Bean's adaptation of a French comedy was one of his greatest Broadway debuts. When it first opened in 1934, Yellow Jack, a historical drama about the war against yellow fever, was lauded for its high-minded mission and innovative staging.

"In his opinion, Howard was very much a man of his time," Brooks Atkinson wrote. He was a Wilsonian; he weighed in on the League of Nations' unrest. [using the techniques] that made Yellow Jack such a dramatic drama, he planned to write an ironic tragedy related to the demise of such a league that would be devoted to the service rather than to the conquest of humanity."

Howard, who was recruited by Samuel Goldwyn, spent time at MGM in Hollywood and wrote several hit screenplays. Despite his well-known left-wing political sympathies (he endorsed William Foster, the Communist Party nominee for president in 1932), he became a shrewd Hollywood insider. Howard was nominated for an Academy Award in 1932 for his adaptation of the Sinclair Lewis novel Arrowsmith and later for Dodsworth, which he had adapted for the stage in 1934. For Lewis' most political book, the anti-Fascist book It Can't Happen Here, he wrote a screenplay. The film was never made. (Studio officials argued that manufacturing-cost issues were behind them, but Howard maintained that the script's politics were the point.) Sinclair Lewis was a big fan of Howard's stage work and was thrilled with his three film adaptations, and the two men (whose political views aligned) became good friends.

Howard produced the Broadway stage adaptation of Humphrey Cobb's book Paths of Glory in 1935. The play at the box office failed due to its superficial portrayals of battlefield brutality. Howard, a World War II veteran, believes it is vital to convey the horrors of war. "It seems to me that our motion picture industry has a sacred obligation to make the film," Howard said, "It appears to me that our motion picture industry has a strong incentive to make the film." Stanley Kubrick's film adaptation of the novel did not appear until 1957. Howard's filmplay for Gone with the Wind mirrored Paths of Glory in terms of an unflinching glimpse at war's cost.

Sidney Howard was at the height of his fame in the late 1930s and appeared on the front page of Time magazine on June 7, 1937, receiving two Academy Award nominations and the Broadway success of Dodsworth. He was dead two years ago.

Howard was the coveted recipient of the 1939 Academy Award for a adapted screenplay for Gone with the Wind. Despite the fact that his script was revised by several other writers, he was the only writer to be praised for the script of that screenplay.) This was the first time a posthumous nominee for an Academy Award.

Howard was also a writer's right in the theater industry. He served as the sixth president of the Dramatist Guild of America in 1935.

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