In the early days of the synchronized sound motion picture, Hollywood had to seek out people to write dialogue. It was no longer a matter of the occasional title card, so the writing had to be stronger than it had been before. Lacking a substantial pool of established writers in the forms that the new motion picture would require, the industry turned to established writers in other media. As a result, Hollywood was flooded with east coast newspapermen like James Agee and Herman Mankiewicz.
So it should come as no surprise that newspapers became a big part of Hollywood. The mystery-thrillers that would eventually become detective stories were more often originally stories of heroic journalists fighting for the public’s right to know. The embrionic paranoid thrillers that became bleak pictures of the corrupt corporate-political structure of modern America in the ’70s were often tales of idealistic young journalists fightinga against editors who had been corrupted by the political and commercial leaders of the time. Even after screenwriters were well-established, similar types of journalism thrillers remained commonplace enough that we saw it peak in All the President’s Men (Alan J. Pakula, USA 1976). Continue reading