Moss Hart (1904–1961)
Autor von Act One: An Autobiography
Über den Autor
Bildnachweis: Library of Congress
Werke von Moss Hart
Three Plays by Kaufman and Hart: Once in a Lifetime, You Can't Take It with You and The Man Who Came to Dinner (1980) 93 Exemplare
Six Plays By Kaufman & Hart 3 Exemplare
Prince of Players [1955 film] — Writer — 1 Exemplar
You can't take it with you; play 1 Exemplar
Merrily We Roll Along 1 Exemplar
God schept de dag 1 Exemplar
Better Luck Next Time 1 Exemplar
Zugehörige Werke
Merrily We Roll Along: Original 1981 Broadway Cast Recording — Original play — 8 Exemplare
Reader's Digest Best Sellers: Advise and Consent | Act One: An Autobiography | Mrs. 'arris Goes to Paris | Dear and… (1960) 7 Exemplare
As Thousands Cheer: The Hit Musical Comedy Revue! (1998 New York Revival Cast) — Sketches — 3 Exemplare
This Is the Army / Call Me Mister / Winged Victory [soundtrack] — Performer — 2 Exemplare
Getagged
Wissenswertes
- Gebräuchlichste Namensform
- Hart, Moss
- Geburtstag
- 1904-10-24
- Todestag
- 1961-12-20
- Begräbnisort
- Ferncliff Cemetery, Hartsdale, New York, USA
- Geschlecht
- male
- Nationalität
- USA
- Geburtsort
- New York, New York, USA
- Sterbeort
- Palm Springs, California, USA
- Todesursache
- heart attack
- Wohnorte
- New York, New York, USA
Palm Springs, California, USA - Berufe
- playwright
film director
autobiographer
theatre director
librettist - Beziehungen
- Hart, Kitty Carlisle (wife)
- Organisationen
- Dramatists Guild of America
- Preise und Auszeichnungen
- American Theater Hall of Fame (1972)
Pulitzer Prize for Drama (1937)
Mitglieder
Rezensionen
Listen
Auszeichnungen
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Statistikseite
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- Beliebtheit
- #14,766
- Bewertung
- 3.9
- Rezensionen
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- ISBNs
- 38
- Favoriten
- 3
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I got this collection of 1930s plays five years ago, in the early stages of my Oscar-watching project, because the middle one of the three was the basis of a very successful film starring Lionel Barrymore. In fact all three of these plays were successfully adapted for the screen.
The scripts are prefaced by a short piece from each of the two authors, gently poking fun at each other and giving a sense of the relationship between two Broadway creators. They certainly seem to have got on with each other better than Gilbert and Sullivan.
The first play, Once in a Lifetime, is about a vaudeville trio, down on their luck because of the invention of talking movies which sucks the audience out of theatre, who go to Hollywood and try to make it big there. The dumb guy of the three ascends to huge cinematic power, and the punchline of the play is that the bad decisions he makes turn out to be very successful.
I thought it was really funny. I don’t always find it easy to read scripts, but here I had no difficulty differentiating the characters with their different voices. I noted that George Kaufman, one of the authors, also played the frustrated playwright Laurence Vail in the first Broadway cast.
The key character is Mary Daniels, the woman in the vaudeville trio, who gets the best lines and serves as the audience viewpoint character on what is happening in Hollywood. In the original Broadway production she was played by Jean Dixon.
The drunk actress Gay Wellington (and another comic turn, the Grand Duchess Olga) were among the cuts made by Riskin as he adapted You Can't Take It With You for the screen. Kirby’s background is much less developed in the play – the whole subplot involving property transactions, and the character of Mr Poppins, are inserted by Riskin into the film. The Vanderhofs have pet snakes rather than a raven. (Though I’m glad to say that the kitten is original.)
The guts of it are all the same, and one can see why the play won a Pulitzer as an uplifting tonic in depressing times. It’s a bit more misogynistic (as I said, two extra female characters who are only there as figures of fun, and Mrs Kirby gets a harder time) and more racist (Donald gets treated worse). There is a hilarious sequence during the Kirbys’ disastrous visit to the Vanderhof household, where Penny gets the Kirbys to play a word association game.
The third play, The Man Who Came to Dinner, is even more overtly a character study than the other two. A famous New York theatre critic slips on an icy patch while visiting Ohio and is immobilised in the home of his reluctant hosts for several weeks. There’s a bit of a comedy of middle-class manners here, but mainly it’s about the monstrous protagonist who is unaware of his own monstrosity.
I Imagine that this is simple to stage, in that the entire play takes place in the Ohio front room. It’s more of a one-joke story than the other two. The play was written for actor and critic Alexander Woolcott, who had behaved with abominable rudeness while visiting Hart’s family home; for some strange reason he bowed out of actually performing as the character based on himself, and it fell to Monty Woolley to do it on both stage and screen, giving his career an immense boost. The film stars him and Bette Davis.… (mehr)