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Albert Hackett

Albert Maurice Hackett (February 16, 1900 – March 16, 1995) was an American screenwriter and playwright best known for his decades-long professional partnership with his wife, , which produced screenplays for enduring films such as the first three Thin Man adaptations, (1946), (1950), and (1954). Beginning his career as a on stage and in silent films, Hackett transitioned to writing after meeting Goodrich in 1928, with the pair marrying in 1931 and collaborating until her death in 1984. Their most acclaimed work, the stage adaptation of The Diary of Anne Frank (1955), earned the in 1956, highlighting themes of resilience amid Nazi persecution. Hackett's contributions emphasized character-driven narratives and moral clarity, influencing mid-20th-century American cinema and theater without notable controversies.

Early Life and Acting Beginnings

Childhood and Family

Albert Hackett was born on February 16, 1900, in to Maurice Charles Hackett and Florence Gertrude Hart, an actress known for stage and early film roles including The Beloved Adventurer (1914). His father worked in the milieu of turn-of-the-century , providing a household steeped in theatrical activity amid the city's burgeoning entertainment scene. The family's circumstances reflected typical challenges of itinerant performers, with Hackett's mother later managing aspects of her sons' early endeavors, though financial details remain sparse in records. Hackett grew up alongside his younger brother, Raymond Hackett (born July 15, 1902), who pursued and appeared in over 30 films. This sibling dynamic, combined with parental involvement in theater, cultivated Hackett's nascent familiarity with through observation and informal participation, distinct from formalized training. The urban environment, rife with houses and aspirations, amplified these influences without evident formal encouragement toward as a primary vocation in an era when such paths were precarious. From approximately 1914 to 1916, Hackett attended the in , an institution designed for young talents to reconcile academic needs with performance schedules, underscoring his early alignment with over conventional schooling. This phase highlighted self-directed exposure to dramatic elements, shaped by familial precedents rather than structured , laying groundwork for instinctive engagement with narrative and character prior to professional entry.

Entry into Theater and Film Acting

Albert Hackett made his professional stage debut at the age of six in 1906, portraying a girl in the production Lottie, the Poor Saleslady. Born into a family of performers—his parents were actors—he began performing amid the vibrant early 20th-century theater scene, which included circuits and stock companies. This early exposure honed foundational skills in timing, presence, and rudimentary scene interpretation, though child roles often limited depth. By his early teens, Hackett transitioned to stock theater work, including time with the Lubin Manufacturing Company's troupe around 1914, where he observed and participated in live performances that bridged stage traditions with emerging film production. He entered silent films shortly thereafter, appearing in Black Fear in 1915, a one-reel drama that showcased the physical expressiveness required in the absence of sound. These roles, typically juvenile or supporting, emphasized exaggerated gestures and pantomime, providing practical insight into visual storytelling and pacing under directorial constraints. In his late teens, Hackett secured more prominent screen parts, including in The Venus Model (1918), a comedy-drama, and Coming Out of the Kitchen (1919), an adaptation highlighting class dynamics through silent-era tropes. Additional credits like Anne of Green Gables (1919) and Molly O' (1921) followed, reinforcing his versatility in period pieces and domestic narratives. However, persistent typecasting as youthful or effeminate characters—stemming from his early cross-dressing debut—coupled with the instability of silent film employment amid economic fluctuations post-World War I, constrained career advancement. The industry's shift toward synchronized sound in the late 1920s exacerbated these challenges, as many actors, including Hackett, found their visual-heavy styles ill-suited to verbal demands, prompting a reevaluation of professional paths.

Screenwriting and Playwriting Career

Formation of Partnership with Frances Goodrich

Albert Hackett met while both were performing as actors in Denver, Colorado, in 1927. Their professional collaboration began in 1928, initially focused on playwriting, with their first success being the 1929 Broadway hit Up Pops the Devil, which they co-authored and which was later adapted into a film. The couple married on November 26, 1931, marking Hackett's transition from individual stage and film acting to a dedicated writing partnership with , her third marriage after prior divorces. Goodrich's Vassar College education, completed in 1912 with a focus on literature, complemented Hackett's practical experience as a performer from a family of New York City artists, enabling them to blend narrative depth with authentic character dialogue in their early adaptations of stage works for cinema. This synergy proved productive immediately, as evidenced by their swift output following the marriage, including securing screenwriting assignments in Hollywood by the early 1930s, where they emphasized realistic, character-centered stories drawn from personal theatrical insights rather than external agendas. The partnership's structure was inherently collaborative, with Goodrich handling much of the dialogue refinement informed by her literary training and Hackett contributing structural and performative realism from his acting career, leading to a prolific early phase that laid the groundwork for long-term contracts starting in the mid-1930s. Their mutual focus on empirical character development over didactic elements facilitated rapid script completion, as demonstrated by the quick turnaround from their play success to film adaptations by 1931.

Major Hollywood Collaborations (1930s–1940s)

Hackett and Goodrich achieved their breakthrough in Hollywood screenwriting with the 1934 adaptation of Dashiell Hammett's novel The Thin Man, directed by W.S. Van Dyke and starring William Powell as Nick Charles and Myrna Loy as Nora Charles. The duo's screenplay shifted the source material's detective narrative toward witty marital banter and sophisticated comedy, emphasizing precise plotting grounded in logical deduction rather than sentimentality. Produced by Metro-Goldwyn-Mayer on a modest budget of $231,000, the film generated over $1.4 million in grosses, delivering returns exceeding 600% and establishing the characters as enduring icons while launching a franchise of sequels. The success prompted immediate follow-ups, including in 1936, which retained the original's formula of mystery intertwined with domestic humor, and in 1939, introducing Nick and Nora's son to expand family-oriented elements without diluting investigative rigor. These entries sustained commercial momentum through efficient storytelling that balanced suspense with character interplay, contributing to the series' role in defining comedy-mystery hybrids during the decade. By prioritizing empirical cause-and-effect in plot resolutions over moral didacticism, Hackett and Goodrich's work appealed to audiences seeking escapist yet intellectually engaging fare amid the . Transitioning into the 1940s, their contributions to (1946), directed by , involved substantial script revisions that underscored protagonist George Bailey's tangible societal impact, framing individual agency as a bulwark against despair. Credited alongside Capra, the adapted Philip Van Doren Stern's to depict causal in human interconnectedness, where Bailey's hypothetical absence reveals widespread negative consequences, countering narratives of isolated futility. This approach highlighted practical virtues like ties and personal resilience over abstract collectivism. Late in the decade, Hackett and Goodrich scripted (1950), drawing from Edward Streeter's 1949 novel to portray a father's pragmatic navigation of wedding chaos, focusing on familial roles and economic realities with understated comedic precision. Directed by and starring , the film captured authentic domestic tensions through observational humor, reflecting post-war emphases on household stability. Their collaborative output during this era exemplified technical innovations in blending genre elements—, , and —while achieving consistent studio profitability through audience-aligned narratives.

Post-War Works and Transition to Broadway (1950s–1960s)

Following World War II, Albert Hackett and Frances Goodrich sustained their screenwriting output into the early 1950s, contributing to MGM productions that blended domestic comedy with musical elements. Their screenplay for Father of the Bride (1950), starring Spencer Tracy and Elizabeth Taylor, earned an Academy Award nomination for Best Screenplay and grossed approximately $4.4 million domestically, reflecting strong audience appeal for family-oriented narratives. This was followed by the sequel Father's Little Dividend (1951) and The Long, Long Trailer (1954), a road comedy with Lucille Ball and Desi Arnaz that capitalized on emerging television stardom. These films demonstrated their versatility in adapting light-hearted scenarios to post-war suburban sensibilities, though production volumes decreased amid Hollywood's studio system decline. A pivotal collaboration came with (1954), where Hackett and Goodrich co-wrote the screenplay with Dorothy Kingsley, adapting Stephen Vincent Benét's story "The Sobbin' Women" into a frontier musical emphasizing and courtship rituals. Directed by , the film featured energetic choreography by and starred and ; it received five Academy Award nominations, including for Best Screenplay, and earned over $7.5 million in rentals, marking a commercial triumph amid the genre's popularity. Contemporaneous reviews in outlets like lauded its vigorous storytelling and integration of song with action, underscoring the partners' skill in balancing humor and physicality without descending into sentimentality. This project represented one of their final major musicals before a decisive shift toward stage drama. The duo's transition to Broadway crystallized with their stage adaptation of The Diary of Anne Frank, commissioned in 1953 and premiered on October 5, 1955, at the Cort Theatre under Garson Kanin's direction. Drawing from Otto Frank's edited version of his daughter's wartime journal, the play dramatized the Frank family's two-year confinement in Amsterdam's Secret Annex, emphasizing themes of youthful optimism and familial tension amid Nazi occupation. It ran for 717 performances, a testament to its resonance, and secured the 1956 alongside for Best Play and featured actress as Anne. Hackett and Goodrich's script prioritized intimate psychological realism over spectacle, transforming personal testimony into a broadly accessible exploration of human fortitude, which elevated their stature in theatrical circles. This success facilitated further stage focus during the late and 1960s, as Hollywood's era disrupted many careers but spared theirs, allowing pivots to live drama unbound by studio constraints; subsequent efforts included revisions and the 1959 film adaptation, though marked a capstone for their dramatic oeuvre.

Later Projects and Retirement

Following the 1962 film adaptation of , which met with mixed reception and concluded their theatrical output, Goodrich and Hackett shifted to occasional television adaptations drawing on prior material. Their most notable later credit was the 1977 ABC telefilm , a gender-reversed remake of featuring as the protagonist and crediting the Hacketts' original screenplay as foundational. This 109-minute production, directed by Donald Wrye, prioritized fidelity to the established narrative structure over innovation, yielding no major commercial resurgence. Such endeavors underscored a pattern of revisions to existing works rather than original scripts, with no evidence of unproduced features or Broadway returns in the 1970s or 1980s. The duo's collaborative productivity, initiated around and yielding more than 30 credited screenplays through the early postwar era, transitioned into selective archival reuse, reflecting pragmatic adaptation to industry demands for familiar properties. By the mid-1980s, Hackett ceased active involvement, entering after decades of consistent output that prioritized character-driven in over episodic sentiment.

Recognition and Critical Reception

Awards and Nominations

Albert Hackett, collaborating with , received five Academy Award nominations for Best Writing, Screenplay or Best Writing, Screenplay Based on Material from Another Medium. These included (1934) at the , (1936) at the , (1950) at the , (1954) at the , and (1959 film adaptation) at the . For their stage adaptation The Diary of Anne Frank (1955), Hackett and Goodrich won the in 1956, selected by the advisory board for its dramatic portrayal of human resilience amid persecution. The play also earned the and the Award for Best American Play in 1956. They received Writers Guild of America awards for screenplays including Easter Parade (1948), Father's Little Dividend (1951), and Seven Brides for Seven Brothers (1954), recognizing contributions to comedic and musical genres.

Influence on American Cinema and Theater

Hackett and Goodrich's screenplay for The Thin Man (1934) established a pioneering hybrid of screwball comedy and thriller, featuring rapid-fire dialogue between sophisticated detective spouses that revitalized the mystery genre with humor and marital banter. The film achieved $1,423,000 in domestic and foreign theater rentals, exceeding its modest budget and spawning five sequels over 13 years, which demonstrated the commercial viability of witty, character-driven whodunits. This formula influenced subsequent productions by injecting levity into hard-boiled narratives, as evidenced by the genre's expansion into radio series and television adaptations that echoed Nick and Nora Charles's dynamic, setting precedents for dialogue-centric films like later husband-wife sleuth stories. In It's a Wonderful Life (1946), their script underscored redemptive individualism by centering George Bailey's autonomous choices and personal sacrifices as the linchpin for communal restoration, portraying human agency as a counterforce to deterministic despair amid post-Depression anxieties. This thematic emphasis on one individual's ripple effects challenged prevailing collectivist undertones in era cinema, with the narrative affirming self-reliant virtue over systemic dependency—a stance that ironically drew FBI scrutiny for purported communist sympathies despite its affirmation of personal moral agency. The film's enduring annual broadcasts since the 1970s have cemented its archetype for redemption tales, empirically boosting viewership metrics and inspiring analogous stories of intrinsic human worth in American media. Their stage adaptation of (1955) advanced cross-medium realism in theater by faithfully dramatizing personal testimony into intimate ensemble drama, earning the 1956 and sustaining a run of over 700 performances. This production's success, translated into multiple languages and staged worldwide, empirically elevated narratives from documentary to performative realism, fostering thousands of subsequent revivals that prioritized authentic voice over abstraction in educational theater. Overall, Hackett's contributions via these works propagated a legacy of nuanced, agency-focused storytelling that bridged cinema's visual flair with theater's verbal depth, influencing mid-20th-century adaptations through verifiable box-office precedents and production longevity.

Controversies

Disputes Over The Diary of Anne Frank Adaptation

In 1956, , who had earlier produced a radio adaptation and drafted an unproduced stage version of The Diary of Anne Frank in 1952, accused and Albert Hackett of plagiarizing elements from his script in their play, which premiered on October 5, 1955. Levin filed lawsuits against , the play's producers and Kermit Bloomgarden, alleging fraud, breach of contract, and theft of his dramaturgical ideas, including scene structures and dialogue phrasing derived from the diary. A initially awarded Levin $50,000 in on January 9, 1958, but the judgment was voided by the court in March 1958, with the case ultimately settling out of court in 1959 without admission of liability. Goodrich and Hackett defended their work as an original adaptation commissioned directly by in late 1953, emphasizing fidelity to the diary's over Levin's draft, which had reviewed and rejected for incorporating extraneous thematic elements not central to Anne's writings. , who controlled the rights, explicitly authorized the couple's version after seeking a that prioritized the diary's intimate, universal human elements rather than ideological framing, instructing Levin in that the story should not become a "Jewish play." Archival comparisons reveal Levin's script inserted interpretive links, such as Anne's reflections on Jewish continuity amid guilt over non-Jewish friends, which were absent or downplayed in the Hacketts' version to maintain the diary's focus on adolescent and resilience amid confinement. A core dispute centered on thematic choices: Levin contended that the Goodrich-Hackett adaptation sanitized Jewish particularity—omitting or softening references to anti-Semitism, Zionism, and Anne's explicit Jewish self-identification—to achieve "universality," thereby diluting the Holocaust's ethnic specificity. Proponents of the adaptation, including Frank, argued this approach causally amplified the diary's global impact by emphasizing transcendent human endurance, as evidenced by the play's 717-performance Broadway run, Pulitzer Prize for Drama in 1956, and subsequent international stagings that introduced Anne's story to broader audiences uninterested in doctrinaire interpretations. Levin's perspective, detailed in his writings and later biographies, reflects a partisan advocacy for foregrounding Jewish victimhood, but empirical reception data—such as the play's commercial success and critical acclaim for emotional authenticity—supports the Hacketts' prioritization of the source text's apolitical introspection over imposed narrative agendas.

Broader Criticisms of Screenwriting Approach

Hackett and Goodrich's screenwriting, characterized by its emphasis on domestic harmony and romantic optimism, drew occasional critiques for excessive sentimentality, particularly in family-centric films like Father of the Bride (1950), where reviewers highlighted the script's sweet, indulgent tone in depicting paternal anxieties and wedding chaos as overly idealized. This approach, while evoking relatable emotional , was seen by some as softening life's inherent conflicts into palatable resolutions, prioritizing warmth over unflinching in human relations. Such stylistic reservations, however, must be weighed against empirical indicators of audience resonance; achieved domestic earnings exceeding $10 million, ranking among 1950's top performers and underscoring a public affinity for narratives affirming familial amid everyday trials, rather than deterministic pessimism. This commercial durability reflects a broader pattern in their oeuvre, where optimistic character developments—grounded in verifiable relational dynamics—sustained viewer engagement without reliance on ideological overlays. Critiques also surfaced regarding their deliberate sidestepping of overt political themes amid Hollywood's mid-century turbulence, a choice interpreted by contemporaries as evasion of prevailing leftist influences that ensnared other writers in ideological conformity. Unlike peers subpoenaed or blacklisted, Hackett and Goodrich maintained verifiable non-involvement with HUAC proceedings, producing apolitical works like the series that endured without the taint of partisan agendas. This restraint, while rare, arguably preserved narrative integrity by favoring causal arcs driven by personal agency over enforced sociopolitical messaging, as evidenced by the scripts' lasting revivals and adaptations unmarred by dated .

Personal Life

Marriage and Collaboration Dynamics

Albert Hackett and married on February 7, 1931, forming a that endured for 53 years until Goodrich's death on January 29, 1984. The couple had no children, focusing their energies on professional collaboration rather than family expansion. Their writing process exemplified mutual reliance, involving extended discussions of scenes—often enacted between them—followed by independent drafts that were then synthesized into a cohesive script. This "controlled chaos" approach, as described in biographical accounts, benefited from their , which allowed seamless integration of ideas despite the rigorous demands of 1930s studio production schedules requiring frequent revisions and proximity to sets. Following Goodrich's death, Hackett remarried Gisele Svetlik in 1985 and lived until March 16, 1995, marking a transition to personal solitude briefly interrupted by his second union, though without new collaborative works that might have tested the durability of their prior joint productivity. The absence of further output underscored how their interpersonal mechanics had been integral to the era of their most intensive creative synergy, with grief exerting no retroactive alteration on established achievements.

Family, Health, and Death

Hackett and his first wife, Frances Goodrich, had no children during their 53-year marriage, which ended with her death on January 29, 1984. He remarried Gisele Svetlik Hackett the following year, maintaining a low-profile personal life in his later decades after the dissolution of his longtime professional partnership with Goodrich. Extended family connections, such as ties to his brother Raymond Hackett and mother Florence Hackett, were not prominently featured in records of his final years. In the 1990s, Hackett experienced health challenges consistent with advanced age, culminating in his death from on March 16, 1995, at age 95 in . His passing was announced by his second wife, with no public details emerging on estate disposition or burial arrangements, reflecting the private nature of his post-collaboration existence.

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