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  1. Jules Furthman (March 5, 1888 – September 22, 1966) was an American magazine and newspaper writer before working as a screenwriter. Pauline Kael once wrote that Furthman "has written about half of the most entertaining movies to come out of Hollywood ( Ben Hecht wrote most of the other half.)"

  2. Writer: To Have and Have Not. Jules Furthman was a magazine and newspaper writer when he began writing for films in 1915. When the U.S. entered WWI Furthman used the name "Stephen Fox" for his screenplays because he thought his name sounded too German, but he reverted to his real name after the war.

  3. www.filmreference.com › Writers-and-Production-Artists-Ei-Gi › Furthman-JulesJules Furthman - Writer - Film Reference

    Jules Furthman. writing film stories for American, Fox, and Paramount studios (used the pseudonym Stephen Fox, 1918–20); 1920–23—under contract to Fox, and later to Paramount, 1926–32, and MGM, 1932–39; then freelance writer; 1960—retired. Died: Of a stroke in Oxford, England, 22 September 1966.

  4. Furthman became one of the most prolific, and well-known, screenwriters of his time, and was responsible for the screenplays of some of Hollywood's most highly regarded films, such as Mutiny on the Bounty (1935), To Have and Have Not (1944) and Nightmare Alley (1947). Read More.

  5. Writer: To Have and Have Not. Jules Furthman was a magazine and newspaper writer when he began writing for films in 1915. When the U.S. entered WWI Furthman used the name "Stephen Fox" for his screenplays because he thought his name sounded too German, but he reverted to his real name after the war.

  6. Sep 4, 2013 · Sheila writes: The glamorous days of air travel were already on their way out by the time I first stepped foot on an airplane (Aer Lingus, 1980) so I have always been fascinated by glimpses of what traveling by plane used to be like: the linens, the cocktail glasses, the curtains, the elegance!

  7. The Jules Furthman papers span the years circa 1920 to 1958 and encompass 11 linear feet. The collection consists of production files (produced and unproduced), story files, and subject files. The bulk of the material documents Furthman’s work as a screenwriter from the silent era to the late 1950s.