What Makes Sammy Run?
Everyone of us knows someone who runs. He is one of the symp-toms of our times—from the little man who shoves you out of the way on the street to the go-getter who shoves you out of a job in the office to the Fuehrer who shoves you out of the world. And all of us have stopped to wonder, at some time or another, what it is that makes these people tick. What makes them run?
This is the question Schulberg has asked himself, and the answer is the first novel written with the indignation that only a young writer with talent and ideals could concentrate into a manuscript. It is the story of Sammy Glick, the man with a positive genius for being a heel, who runs through New York’s East Side, through newspaper ranks and finally through Hollywood, leaving in his wake the wrecked careers of his associates; for this is his tragedy and his chief characteristic—his congenital incapacity for friendship.
An older and more experienced novelist might have tempered his story and, in so doing, destroyed one of its outstanding qualities. Compromise would mar the portrait of Sammy Glick. Schulberg has etched it in pure vitriol, and dissected his victim with a precision that is almost frightening.
When a fragment of this book appeared as a short story in a national magazine, Schulberg was surprised at the number of letters he received from people convinced they knew Sammy Glick’s real name. But speculation as to his real identity would be utterly fruitless, for Sammy is a composite picture of a loud and spectacular minority bitterly resented by the many decent and sincere artists who are trying honestly to realize the measureless potentialities of motion pictures. To this group belongs Schulberg himself, who has not only worked as a screen writer since his graduation from Dartmouth College in 1936, but has spent his life, literally, in the heart of the motion-picture colony. In the course of finding out what makes Sammy run (an operation in which the reader is spared none of the grue-some details) Schulberg has poured out everything he has felt about that place. The result is a book which the publishers not only believe to be the most honest ever written about Hollywood, but a penetrating study of one kind of twentieth-century success that is peculiar to no single race of people or walk of life.
It’s a novel by Budd Schulberg about a copyboy who’s worked his way up from absolutely nothing to become an incredibly grasping self-motivated amoral movie producer. I think it was really based on Jerry Wald who was a Warners executive and then an independent who made lots of fantastic movies. Louis Meyer of MGM was appalled, and told Schulberg’s parents – Schulberg was the son of a movie exec – you’ve got to deport this son of yours because he’s going to fuel anti-Semitism. Hollywood became probably more establishment than they needed to have been in many ways, because they were terrified of anti-Semitism. Meyer was almost more anti-Communist than McCarthy, and Schulberg ended up being blacklisted as a Communist, partly because Hollywood was always terrified of (I think actually terribly wet about) being seen as harbouring this stuff. It was really horrible. Schulberg was a fascinating guy, a great writer: he wrote On the Waterfront and worked on John Ford’s wartime documentary unit. He went with the deputation to arrest Leni Riefenstahl, primarily to get her to identify people from footage. He died only about a month ago. [source]
Author
Budd Schulberg’s (who wrote the screenplay for On the Waterfront) whole trilogy is amazing and each captures a different historical era. His first, What Makes Sammy Run? is Ari Gold before Ari Gold existed–purportedly based on Samuel Goldwyn (of MGM) and Darryl Zanuck. His next book, The Harder They Fall is about boxing and loosely based on the Primo Carnera scandal. All you need to know about Schulberg’s writing is captured in this quote from his obituary: “It’s the writer’s responsibility to stand up against that power. The writers are really almost the only ones, except for very honest politicians, who can make any dent on that system. I tried to do that. And that’s affected me my whole life.” Fiction can do that, and sometimes it does it even better than non-fiction. [source]
A legendary book about how somebody makes their way in Hollywood. [source]
