EDITOR’S NOTE

As this issue of Scenario was going to press, the Writers Guild of America, West, announced the correction of screen credits for a number of films written or co-written by screenwriters who were blacklisted during the McCarthy era. Scrapping the comments originally prepared for this issue’s Editor’s Note, we felt it was consistent with Scenario’s editorial mission to instead devote this space to reproducing the entire list, which comprises the 24 films whose corrected credits were just announced as well as 10 additional films whose credits were revised by the Guild over the last decade. Most of these changes involve replacing a pseudonym with the writer’s actual name (since there was no official end to the blacklist, some writers continued to use pseudonyms into the ’60s and ’70s); in several instances, the names of writers who agreed to act as “fronts” for blacklisted writers were replaced with those of the actual writers. `   
   While these changes cannot reverse the damage done to careers—and lives—during this dark period, our publishing them here does afford the opportunity to give these writers the full and proper credit due them—long, long overdue them, in fact.—TL 

Adventures of Robinson Crusoe (1952; Ultramar Films, Producciones Tepeyac, Olmeca). Screenplay by Hugo Butler and Luis Buñuel. Original credit reads “Screenplay by Philip Ansell Roll and Luis Buñuel.” “Philip Ansell Roll” was a pseudonym for Hugo Butler. 

Autumn Leaves (1955; Columbia). Written by Jean Rouveral & Hugo Butler and Lewis Meltzer and Robert Blees. Original credit reads “Written by Jack Jevne and Lewis Meltzer and Robert Blees.” Jack Jevne acted as a front for Jean Rouveral and Hugo Butler, who were married to one another. 

Born Free (1966; Columbia). Screenplay by Lester Cole. Original credit reads “Screenplay by Gerald L. C. Copley.” “Gerald L.C. Copley” was a pseudonym for Lester Cole. 

The Brave One (1956; King Brothers). Screenplay by Harry Franklin and Merrill G. White. Story by Dalton Trumbo. Original credit reads “Screenplay by Harry Franklin and Merrill G. White. Story by Robert Rich.” “Robert Rich” was a pseudonym for Dalton Trumbo. 

The Bridge On the River Kwai (1957; Columbia). Screen­play by Carl Foreman and Michael Wilson. Based on the novel by Pierre Boulle. Original credit reads “Screenplay by Pierre Boulle. Based on the novel by Pierre Boulle.”

Broken Arrow (1950; TCF). Screenplay by Albert Maltz. Based on the novel Blood Brother by Elliott Arnold. Original credit reads “Screenplay by Michael Blankfort. Based on the novel Blood Brother by Elliott Arnold.” Michael Blankfort acted as a front for Albert Maltz. 

The Case Against Brooklyn (1958; Morningside Films/ Columbia). Screenplay by Bernard Gordon. Screen Story by Daniel B. Ullman. Based on “I Broke the Brooklyn Graft Scandal” by Ed Reid. Original credit reads “Screenplay by Raymond T. Marcus. Screen Story by Daniel B. Ullman. Based on ‘I Broke the Brooklyn Graft Scandal’ by Ed Reid.” “Ray­mond T. Marcus” was a pseudonym for Bernard Gordon. 

Chicago Confidential (1957; United Artists). Screenplay and Screen Story by Bernard Gordon. Based on the book by Jack Lait and Lee Mortimer. Original credit reads “Screenplay and Screen Story by Raymond T. Marcus. Based on the book by Jack Lait and Lee Mortimer.”

Circus World (1964; Paramount). Screenplay by Ben Hecht and Julian Zimet and James Edward Grant. Story by Philip Yordan and Nicholas Ray. Original credit reads “Screenplay by Ben Hecht and Julian Halevy and James Edward Grant. Story by Philip Yordan and Nicholas Ray.” “Julian Halevy” was a pseudonym for Julian Zimet. 

Conspiracy of Hearts (1960; Paramount). Screenplay by Robert Presnell, Jr. Story by Adrian Scott. Original credit reads “Screenplay by Robert Presnell, Jr. Story by Dale Pitt.” Dale Pitt acted as a front for Adrian Scott; although there was ini­tially some indication that Presnell fronted for Dalton Trumbo on the screenplay, this turned out not to be true. 

Crack in the World (1965; Paramount). Screenplay by Jon Manchip White and Julian Zimet. Story by Jon Manchip White. Original credit reads “Screenplay by Jon Manchip White and Julian Halevy. Story by Jon Manchip White.” 

Custer of the West (1968; Security Pictures/Cinerama). Written by Bernard Gordon and Julian Zimet. Original credit reads “Written by Bernard Gordon and Julian Halevy.”

The Day of the Triffids (1962; Security Pictures). Screen­play by Bernard Gordon. Based on the novel by John Wynd­ham. Original credit reads “Screenplay by Philip Yordan. Based on the novel by John Wyndham.” Philip Yordan acted as a front for Bernard Gordon. 

Deadly Is the Female (a.k.a. Gun Crazy) (1950; King Brothers/Universal-International). Screenplay by MacKinlay Kantor and Dalton Trumbo. From the Saturday Evening Post story “Gun Crazy” by MacKinlay Kantor. Original credit reads "Screenplay by MacKinlay Kantor and Millard Kauf­man. From the Saturday Evening Post story ‘Gun Crazy’ by MacKinlay Kantor.” Millard Kaufman acted as a front for Dalton Trumbo. 

The Defiant Ones (1958; Stanley Kramer Productions/United Artists). Written by Nedrick Young and Harold Jacob Smith. Original credit reads “Written by Nathan E. Douglas and Harold Jacob Smith.” “Nathan E. Douglas” was a pseu­donym for Nedrick Young. 

Earth vs. the Flying Saucers (1956; Columbia). Screenplay by George Worthing Yates and Bernard Gordon. Screen Story by Curt Siodmak. Based on Flying Saucers from Outer Space by Major Donald E. Keyhoe. Original credit reads “Screenplay by George Worthing Yates and Raymond T. Marcus. Screen Story by Curt Siodmak. Based on Flying Saucers from Outer Space by Major Donald E. Keyhoe.”

Escape from San Quentin (1957; Columbia). Written by Bernard Gordon. Original credit reads “Written by Raymond T. Marcus.”

Friendly Persuasion ( 1956; Allied Artists). Screenplay by Michael Wilson. Based on the novel by Jessamyn West. Origi­nal credit: No onscreen writing credits. 

Hellcats of the Navy (1957; Columbia). Screenplay by David Lang and Bernard Gordon. Screen Story by David Lang. Based on Hellcats of the Sea, a book by Charles A. Lockwood and Hans Christian Adamson. Original credit reads “Screen­play by David Lang and Raymond T. Marcus. Screen Story by David Lang. Based on Hellcats of the Sea, a book by Charles A. Lockwood and Hans Christian Adamson.”

Inherit the Wind (1960; Stanley Kramer Productions/ United Artists). Screenplay by Nedrick Young and Harold Jacob Smith. Based on the play by Jerome Lawrence and Robert E. Lee. Original credit reads “Screenplay by Nathan E. Douglas and Harold Jacob Smith. Based on the play by Jerome Lawrence and Robert E. Lee.”

Lawrence of Arabia (1962; Columbia/Horizon). Screen­play by Robert Bolt and Michael Wilson. Based on the life and writings of Colonel T. E. Lawrence. Original credit reads “Screenplay by Robert Bolt. Based on the life and writings of Colonel T. E. Lawrence.”

Little Giants (1958; Producciones Olmeca). Written for the Screen by Hugo Butler and Edward Huebsch. Original credit reads “Written for the Screen by Hugo Mozo and Eduardo Bueno.” “Hugo Mozo” was another pseudonym used by Hugo Butler; “Eduardo Bueno” (literally, “Good Edward”) was a pseudonym for Edward Huebsch. 

The Man Who Turned to Stone (1957; Columbia). Written by Bernard Gordon. Original credit reads “Written by Ray­mond T. Marcus.”

The Misadventures of Merlin Jones (1964; Buena Vista). Screenplay by Alfred Lewis Levitt & Helen Levitt. Screen Story by Bill Walsh. Original credit reads “Screenplay by Tom and Helen August. Screen Story by Bill Walsh.” “Tom and Helen August” were pseudonyms for Alfred Lewis Levitt & Helen Levitt. 

The Monkey’s Uncle (1965; Buena Vista). Written by Alfred Lewis Levitt & Helen Levitt. Original credit reads “Written by Tom and Helen August.” 

Odds Against Tomorrow (1958; Harbel/United Artists). Screenplay by Abraham Polansky and Nelson Gidding. Based on the novel by William P. McGivern. Original credit reads “Screenplay by John O. Killens and Nelson Gidding. Based on the novel by William P. McGivern.” John O. Killens acted as a front for Abraham Polonsky. 

Pancho Villa (1971; Scotia International). Screenplay by Julian Zimet. Story by Gene Martin. Original credit reads “Screenplay by Julian Halevy. Story by Gene Martin.” 

A Place for Lovers (1969; Carlo Ponti-Arthur Cohn/MGM). Screenplay by Julian Zimet & Peter Baldwin and Ennio de Concini and Tonino Guerra & Cesare Zavattini. Story by Brunello Randi. Original credit reads “Screenplay by Julian Halevy & Peter Baldwin and Ennio de Concini and Tonino Guerra & Cesare Zavattini. Story by Brunello Randi.” 

Psyche 59 (1969; Columbia). Screenplay by Julian Zimet. Based on the novel by Franvoise des Ligneris. Original credit reads “Screenplay by Julian Halevy. Based on the novel by Françoise des Ligneris.”

The Robe (1953; Twentieth Century Fox). Screenplay by Albert Maltz and Philip Dunne—Adaptation by Gina Kaus. Based on the novel by Lloyd C. Douglas. Original credit reads “Screenplay by Philip Dunne—Adaptation by Gina Kaus. Based on the novel by Lloyd C. Douglas.” 

Roman Holiday (1952; Paramount). Screenplay by Ian McLellan Hunter and John Dighton. Story by Dalton Trumbo. Original credit reads “Screenplay by Ian McLellan Hunter and John Dighton. Story by Ian McLellan Hunter.”

Torero (1956; Producciones Olmeca). Adapted for film by Hugo Butler and Carlos Velo. Original credit reads “Adapted for film by Hugo Mozo and Carlos Velo.” 

The Young One (a.k.a. Island of Shame) (1960; Produc­ciones Olmeca). Written for the Screen by Hugo Butler and Luis Buñuel. Inspired by Peter Matthiessen’s story Travelin’ Man. Original credit reads “Written for the screen by H.B. Addis and Luis Buñuel. Inspired by Peter Matthiessen’s story Travelin’ Man.” “H.B. Addis” was yet another pseudonym for Hugo Butler (Addis was Butler’s mother’s maiden name). 

Zombies of Mara Tau (1957; Columbia). Screenplay by Bernard Gordon. Story by George Plympton. Original credit reads: “Screenplay by Raymond T. Marcus. Story by George Plympton.”