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Edna Ferber wrote in a 1936 article for Stage that beyond Moss Hart's "elan there is a fine playwright with still finer potentialities; a dignified and dimensional human being with insight, sympathy, and understanding considerably beyond his years." In t...

After a number of years of drudgery as a camp social director and small-time little theatre producer, Moss Hart emerged in the 1930s as one of America's leading Broadway playwrights. His talents were numerous, extending to acting, directing, and producin...

The problem with writing a book about a screenwriter is made obvious by the title of this book: If you have to give top billing to a director, you’re in trouble. Ian Scott’s In Capra’s Shadow examines one of the most interesting screenwriting talents of...

The problem with writing a book about a screenwriter is made obvious by the title of this book: If you have to give top billing to a director, you’re in trouble. Ian Scott’s In Capra’s Shadow examines one of the most interesting screenwriting talents...

The Queen of Mean's last property is fit for a king.Leona Helmsley, for years the imperious head of a multibillion-dollar real estate and hotel empire, will spend eternity in a $1.4 million suburban mausoleum with a magnificent view, alongside her beloved husband, Harry. She previously...

Kitty Carlisle Hart, whose long career spanned Broadway, opera, television and film, including the classic Marx Brothers movie "A Night at the Opera," died after a battle with pneumonia, her son said Wednesday. She was 96."She passed away peacefully" Tuesday night in her Manhattan apartment,...

In the following essay, Kaplan explores the similarities between You Can't Take It with You and Clifford Odets's Awake and Sing.

[You Can't Take It With You] is the Christmas Carol over again—with its sentimentality and its gusto and its touches of genius: no technical mistakes this time as there were in Lost Horizon. The director emerges as a rather muddled and sentimental idealist who feels—vaguely—that something is wrong with the social system. Mr. Deeds started distributing his money, and the hero of Lost Horizon settled down in a Thibetan monastery—equipped with all the luxury devices of the be...

To a remarkable extent, Capra's films caught the mood of America in the Thirties and Forties. When sufficiently little was happening in the world for the masses to be bemused for weeks by the deserved misfortunes of the rich, Capra rebuilt the Depression-bruised male ego with reassurance that, despite unemployment, he was still virile and the master of any situation…. Deeds and You Can't Take It With You combined the folk experience of the Depression (bankruptcy, eviction) born equally ...