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Waldo Salt
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Waldo Miller Salt[1] (October 18, 1914 – March 7, 1987) was an American screenwriter. He wrote the Academy Award-winning screenplays for Midnight Cowboy (1969) and Coming Home (1978).
Key Information
Early life and career
[edit]Salt was born in Chicago, Illinois, the son of Winifred (née Porter) and William Haslem Salt, an artist and business executive.[2] He graduated from Stanford University in 1934.[3] The first of the nineteen films he wrote or co-wrote was released in 1937 with the title The Bride Wore Red.
Salt's career in Hollywood was interrupted when he was blacklisted after refusing to testify before the House Committee on Un-American Activities in 1951. Like many other blacklisted writers, while he was unable to work in Hollywood, Salt wrote under a pseudonym for the British television series The Adventures of Robin Hood.[4]
After the collapse of the blacklist, Salt won Academy Awards for Best Writing, Screenplay Based on Material from Another Medium and Best Writing, Screenplay Written Directly for the Screen for his work on Midnight Cowboy and Coming Home respectively, as well as earning a nomination for the former for Serpico.
Salt is featured in the extras for the Criterion Collection's Midnight Cowboy blu-ray release, specifically in an audio interview with Michael Childers; many photos of Waldo Salt can be seen here as he was a collaborator for the screenplay. The documentary listed below, Waldo Salt: A Screenwriter's Journey, is also featured on the disc.[citation needed]
Personal life and death
[edit]Salt was married four times. The first was to Amber Dana (1938-1941), then to actress Mary Davenport (married in 1942) with whom he had two children, actress/writer/producer Jennifer, and Deborah; both marriages ended in divorce.[5] After his divorce from Davenport, he married Gladys Schwartz in 1969, and remained together until her death in 1981. He was married to playwright Eve Merriam from 1983 until his death in Los Angeles on March 7, 1987; he was 72.[5][6]
Documentary
[edit]Waldo Salt was the subject of a 1990 documentary Waldo Salt: A Screenwriter's Journey, which featured interviews with Dustin Hoffman, Robert Redford, Jon Voight, John Schlesinger and other collaborators and friends.
The Waldo Salt Screenwriting Award
[edit]The Waldo Salt Screenwriting Award, first presented in 1992, is awarded at the Sundance Film Festival annually. It is determined by the dramatic jury, and recognizes outstanding screenwriting in a film screened at the festival that year.[7]
Filmography
[edit]| Films | ||
|---|---|---|
| Year | Title | Notes |
| 1937 | The Bride Wore Red | Adaptation, uncredited |
| 1938 | The Shopworn Angel | Screenplay |
| 1939 | The Adventures of Huckleberry Finn | Dialogue, uncredited |
| 1940 | The Philadelphia Story | Uncredited |
| 1941 | The Wild Man of Borneo | Screenplay |
| 1943 | Tonight We Raid Calais | Screenplay |
| 1944 | Mr. Winkle Goes to War | Alternative title: Arms and the Woman |
| 1948 | Rachel and the Stranger | Screenplay |
| 1950 | The Flame and the Arrow | Screenplay |
| 1951 | M | Additional dialogue |
| 1961 | Blast of Silence | Narration written by, credited as Mel Davenport |
| 1962 | Taras Bulba | Screenplay together with Karl Tunberg |
| 1964 | Flight from Ashiya | Alternative title: Ashiya kara no hiko |
| Wild and Wonderful | ||
| 1969 | Midnight Cowboy | Screenplay; Oscar winner for Best Adapted Screenplay |
| 1971 | The Gang That Couldn't Shoot Straight | Alternative title: The Gang That Couldn't Shoot |
| 1973 | Serpico | Screenplay |
| 1975 | The Day of the Locust | Screenplay |
| 1978 | Coming Home | Oscar Winner for Best Original Screenplay |
| Television | ||
| Year | Title | Notes |
| 1955 | Star Stage | 1 episode |
| 1956 | Colonel March of Scotland Yard | 2 episodes |
| 1958 | Swiss Family Robinson | Television movie, credited as Mel Davenport |
| Ivanhoe | 4 episodes | |
| 1961 | Tallahassee 7000 | 1 episode |
| 1964 | Espionage | 1 episode |
| 1965 | The Nurses | 1 episode |
| 1967 | Coronet Blue | 1 episode |
Awards and nominations
[edit]| Year | Award | Result | Category | Film or series |
|---|---|---|---|---|
| 1949 | Writers Guild of America Award | Nominated | Best Written American Western | Rachel and the Stranger |
| 1970 | Won | Best Drama Adapted from Another Medium | Midnight Cowboy | |
| 1974 | Best Drama Adapted from Another Medium | Serpico (Shared with Norman Wexler) | ||
| 1979 | Best Drama Written Directly for the Screen | Coming Home (Shared with Robert C. Jones) | ||
| 1986 | Laurel Award for Screenwriting Achievement | -
| ||
| 1970 | Academy Award | Won | Best Writing, Screenplay Based on Material from Another Medium | Midnight Cowboy |
| 1974 | Nominated | Best Writing, Screenplay Based on Material from Another Medium | Serpico (Shared with Norman Wexler) | |
| 1979 | Won | Best Writing, Screenplay Written Directly for the Screen | Coming Home (Shared with Nancy Dowd and Robert C. Jones) | |
| 1970 | BAFTA Award | Won | Best Screenplay | Midnight Cowboy |
| 1974 | Edgar Allan Poe Awards | Nominated | Serpico (Shared with Norman Wexler) | |
| 1970 | Golden Globe Award | Nominated | Best Screenplay | Midnight Cowboy |
| 1979 | Best Screenplay - Motion Picture | Coming Home (Shared with Robert C. Jones) |
References
[edit]- ^ "Waldo Salt". New York. 4. New York Magazine Co. 1971.
- ^ "Waldo Salt Biography (1914-1987)". filmreference.com.
- ^ Hal Erickson (2015). "Waldo Salt - Biography - Movies & TV - NYTimes.com". Movies & TV Dept. The New York Times. Archived from the original on 2015-09-27. Retrieved 2015-09-26.
- ^ Matthews, Tom Dewe (2006-10-07). "The outlaws" (free registration required). The Guardian. Retrieved 2006-10-11.
- ^ a b "Waldo Salt, 72, Dies; Oscar-Winning Writer". The New York Times. 8 March 1987. Archived from the original on 24 May 2015. Retrieved 23 July 2024.
- ^ Zimmer, Vanessa (30 June 2022). "Who Was… Waldo Salt? - sundance.org". Sundance Institute. Retrieved 23 July 2024.
- ^ "2021 Sundance Film Festival". festival.sundance.org.
External links
[edit]
Media related to Waldo Salt at Wikimedia Commons
- Waldo Salt at IMDb
- Waldo Salt from the American Masters website
- Waldo Salt Papers, an inventory of papers kept in the UCLA Library
- Works by Waldo Salt at Open Library
Waldo Salt
View on Grokipediafrom Grokipedia
Early Life
Family Background and Childhood
Waldo Salt was born on October 18, 1914, in Chicago, Illinois, to William Haslem Salt, a business executive and artist, and Winifred (née Porter) Salt.[3][4] William Salt's professional pursuits included artistic endeavors alongside corporate roles, though specific details of his business activities remain sparsely documented in available biographical accounts.[1] Salt's early years were marked by familial instability, with his mother Winifred grappling with severe mental health issues, including suicidal tendencies, and his father exhibiting alcoholism alongside staunch right-wing political extremism.[5][6] These parental struggles contributed to a turbulent home environment, fostering a sense of isolation that biographers and documentary accounts link to Salt's later personal and creative reflections.[1] No records indicate siblings or extended family influences playing a prominent role in his upbringing, with the focus in historical narratives centering on the parents' dysfunction as a formative backdrop.[5]Education and Early Influences
Salt enrolled at Stanford University at the age of 14 and graduated in 1934.[7] Following graduation, he taught drama and music at Menlo Junior College in Palo Alto, California, in 1935.[8] This early academic precocity and subsequent instructional role exposed him to theatrical production and performance, laying groundwork for his transition to professional writing in Hollywood by 1936.[1] His Stanford years coincided with a period of intellectual ferment on campus, where exposure to progressive ideas and literary circles began shaping his worldview, though specific mentors or coursework details remain undocumented in primary accounts.[5]Pre-Blacklist Career
Entry into Screenwriting
After graduating from Stanford University in 1934, Salt briefly taught drama at Menlo Junior College before relocating to Hollywood in 1936, where he secured a contract as a screenwriter with Metro-Goldwyn-Mayer (MGM).[4][1] During his initial years at the studio, Salt primarily contributed uncredited dialogue to films, marking his entry into the competitive screenwriting environment of the era, which emphasized adaptation of literary properties and formulaic storytelling under studio oversight.[9] His first credited screenwriting work came with The Bride Wore Red (1937), a romantic drama directed by Dorothy Arzner, for which Salt provided additional dialogue based on Ferenc Molnár's play The Good Fairy.[10] This was followed by his debut full screenplay credit on The Shopworn Angel (1938), an adaptation of a Dana Burnett story produced by Joseph L. Mankiewicz and starring Margaret Sullavan and James Stewart, which explored themes of fleeting romance amid social contrasts and received praise for its emotional depth despite modest box-office success.[1][9] These early assignments established Salt within MGM's assembly-line production system, where writers like him honed skills in concise dialogue and character-driven narratives, often collaborating with producers and directors to refine scripts for censorship compliance under the Hays Code.[5] By 1942, Salt had contributed to approximately a dozen MGM projects, transitioning from novice dialogue polisher to recognized adapter, though his pre-war output reflected the studio's preference for lightweight entertainments over original material.[10] This foundational period positioned him for wartime service as a civilian consultant to the Office of War Information, temporarily halting but not derailing his burgeoning Hollywood trajectory.[10]Key Early Works and Collaborations
Salt's first produced screenplay was The Shopworn Angel (1938), a romantic drama directed by H. C. Potter and produced by Joseph L. Mankiewicz at Metro-Goldwyn-Mayer (MGM), adapting Dana Burnet's short story "Private Pettigrew's Girl."[11][6] The film starred James Stewart as a naive soldier who falls for a Ziegfeld Follies showgirl played by Margaret Sullavan, with Walter Pidgeon in support, and marked Salt's entry into Hollywood screenwriting at age 24 following his graduation from Stanford University.[1] This collaboration with Mankiewicz and Potter highlighted Salt's ability to infuse sentimental narratives with emotional depth, earning praise for its portrayal of fleeting romance amid World War I-era tensions.[]https://variety.com/1937/film/reviews/the-shopworn-angel-2-1200411535/) In the early 1940s, Salt continued at MGM, contributing to adaptations and original scenarios, including assignment to the screenplay for Humoresque (1946), based on Fannie Hurst's story about a violinist's obsessive relationship with a wealthy patron.[]https://www.nytimes.com/1942/03/17/archives/chaplin-plans-to-make-score-and-commentary-for-his-1927-picture-the.html)[]https://www.pbs.org/wnet/americanmasters/waldo-salt-about-waldo-salt/696/) Though final credits went to Clifford Odets and Zachary Gold, Salt's early involvement reflected his growing reputation for literary adaptations.[]https://www.pbs.org/wnet/americanmasters/waldo-salt-about-waldo-salt/696/) He also adapted Edith Wharton's Ethan Frome for the screen during this period, drawing on his literary influences.[]https://www.pbs.org/wnet/americanmasters/waldo-salt-about-waldo-salt/696/) Salt's early development was shaped by collaborations and friendships with literary figures, including Nathaniel West and F. Scott Fitzgerald, whose works on disillusionment and American excess informed his screenplays' thematic focus on personal and social conflicts.[]https://www.pbs.org/wnet/americanmasters/waldo-salt-about-waldo-salt/696/) These relationships, alongside his MGM contract work, positioned him as a promising talent in an industry dominated by studio assembly-line production, where writers often refined dialogue or scenarios under producer oversight.[]https://www.ebsco.com/research-starters/biography/waldo-salt) By the mid-1940s, Salt had transitioned to more independent projects, but his foundational collaborations at MGM laid the groundwork for his pre-blacklist output.Political Affiliations and Activities
Involvement in Left-Wing Causes
Salt immersed himself in Hollywood's leftist intellectual circles during the late 1930s and 1940s, associating with figures like Nathanael West and Lester Cole at gatherings such as those at Musso & Frank's restaurant, Stanley Rose's bookstore, and Cole's parties, where discussions often critiqued the film industry's role in promoting capitalist ideals.[2] He viewed Hollywood explicitly as a "center of propaganda for the great American dream," reflecting a political lens that saw cultural production as intertwined with ideological propagation rather than mere entertainment.[2] These engagements aligned with broader leftist sympathies in the industry, including sympathy for socialist realism and criticism of mainstream narratives, though Salt later reflected that such activities yielded limited tangible impact, remarking, "I wish we had done something to deserve being blacklisted."[1] His associations and outspoken views contributed to his identification as a political risk, culminating in a subpoena from the House Un-American Activities Committee in the late 1940s, which scrutinized Hollywood's progressive networks for potential subversive influences.[2]Communist Party Membership and Sympathies
Waldo Salt joined the Communist Party USA (CPUSA) in 1938, the same year his screenplay for Shopworn Angel was released, marking the beginning of a formal affiliation that lasted until 1955.[1][2] In a 1973 interview, Salt personally confirmed his membership from 1939 to 1955, attributing his involvement to the economic hardships of the Great Depression and a desire to address social inequalities through organized leftist activism.[2] This period overlapped with the CPUSA's peak influence in Hollywood, where the party recruited writers and artists amid widespread labor unrest and anti-fascist sentiments, though membership rolls fluctuated and exact figures for Hollywood cells remain estimates based on testimonies rather than comprehensive records.[12] Salt's sympathies predated formal membership, rooted in his exposure to progressive causes during the 1930s, including support for union organizing and opposition to fascism, which aligned with CPUSA platforms advocating class struggle and international solidarity.[6] He participated in party-affiliated activities, such as Hollywood cultural fronts that blended artistic expression with political advocacy, though specific contributions like writing pamphlets or attending cells are documented primarily through later witness accounts rather than Salt's own pre-blacklist admissions.[13] During his 1951 House Un-American Activities Committee (HUAC) appearance, Salt invoked the Fifth Amendment and refused to confirm or deny allegations of belonging to a Hollywood Communist cell, as testified by informant Richard J. Collins, which underscored his steadfast sympathies amid intensifying scrutiny.[13] By the mid-1950s, Salt distanced himself from the party following revelations of Soviet atrocities under Stalin, including the 1956 Khrushchev speech denouncing cult of personality, which prompted defections among American members disillusioned by the gap between ideological ideals and totalitarian practice.[2] His exit reflected broader trends in CPUSA decline, with membership dropping from over 75,000 in 1947 to under 10,000 by 1957, driven by internal purges, FBI infiltration, and public backlash against Soviet espionage cases like those exposed by Venona decrypts.[1] Despite later professional resurgence, Salt's reflections in interviews emphasized the personal toll of his sympathies, including exile from credited work, without recanting the underlying motivations for joining.[12]The Hollywood Blacklist
HUAC Hearings and Refusal to Testify
In April 1951, Waldo Salt was subpoenaed to appear before the House Un-American Activities Committee (HUAC) as part of its probe into suspected communist influence within the Hollywood film industry, amid broader concerns over Soviet espionage and subversive activities during the early Cold War.[14] On April 14, he testified in Washington, D.C., where committee counsel questioned him regarding his alleged ties to the Communist Party, including past membership and participation in front organizations like the League of American Writers, Hollywood Writers' Mobilization, and the National Council of American-Soviet Friendship.[14] [15] Salt acknowledged swearing under oath in 1945, upon joining the Office of War Information, that he was not then a Communist Party member, but he consistently refused to discuss prior political affiliations or confirm or deny membership, invoking the First Amendment's protections for freedom of speech and association rather than self-incrimination under the Fifth.[14] [16] This stance marked a shift from the Hollywood Ten's earlier defenses, which had proven ineffective in avoiding contempt charges, though Salt avoided direct incrimination of others.[16] Prior "friendly" witnesses had already implicated Salt during the hearings. Screenwriter Martin Berkeley testified that Salt belonged to the Communist Party's fraction within the Screen Writers Guild, a cell coordinating party influence in the union.[17] Similarly, Leo Townsend described hosting a Communist recruiting meeting at Salt's Hollywood home on Wetherly Drive, led by party leader John Howard Lawson, with Salt in attendance.[17] Townsend also recounted Salt's evasive response in an earlier session to a hypothetical question on defending the U.S. against a Soviet attack, highlighting committee concerns over divided loyalties.[17] Salt's non-cooperation resulted in his designation as an "unfriendly witness," prompting Hollywood studios to blacklist him under industry self-policing agreements to preempt further congressional scrutiny.[18] Unlike cooperative witnesses who named names to salvage careers, Salt's refusal aligned with a pattern among several dozen Hollywood figures, exacerbating the blacklist's scope but rooted in HUAC's evidence of organized communist cells leveraging screenwriting guilds for propaganda dissemination.[17]Immediate Consequences and Blacklisting
Following his April 1951 appearance before the House Un-American Activities Committee (HUAC), where he invoked the Fifth Amendment to refuse answering questions about his Communist Party affiliations, Waldo Salt was not charged with contempt of Congress, unlike members of the earlier Hollywood Ten who had defied the committee without citing constitutional protections.[1][2] However, the invocation effectively marked him as uncooperative, triggering an informal but industry-wide blacklist enforced by major studios and producers who pledged not to hire individuals failing to clear their names through testimony.[19][2] The blacklist immediately halted Salt's credited work in Hollywood screenwriting; prior to 1951, he had contributed to films like The Shop Around the Corner (1940) and Rachel and the Stranger (1948), but studios such as MGM and RKO terminated any ongoing associations, leaving him without employment in the major production sector.[12][19] This professional isolation extended to guilds and unions, amplifying financial strain as Salt, then 37, could no longer draw salaries or advances typical for established writers, reportedly leading to reliance on fronts—intermediaries who submitted his pseudonymous scripts for pay.[1][12] Personal repercussions followed swiftly, including the dissolution of his first marriage to actress Mary Martinson in 1952 amid the ensuing instability, and early signs of health decline exacerbated by stress and reduced circumstances.[12] Salt later reflected that the period imposed a "total exile" from mainstream opportunities, forcing initial subsistence through uncredited television and advertising work, though these avenues offered limited income compared to feature films.[1][2] The blacklist's enforcement, driven by studio executives' fear of congressional scrutiny over alleged subversive influences in entertainment, persisted without formal legal challenge for Salt until the early 1960s.[19]Broader Context: Soviet Threats and Espionage
In the years following World War II, the Soviet Union posed a multifaceted threat to the United States, encompassing territorial expansion in Eastern Europe, support for communist insurgencies worldwide, and extensive espionage operations aimed at acquiring military and technological secrets. Declassified documents from the Venona project, a U.S. signals intelligence effort begun in 1943, decrypted thousands of Soviet communications revealing over 300 covert agents operating within American government agencies, including the State Department, Treasury, and Manhattan Project.[20] These intercepts confirmed the penetration of high-level positions by Soviet intelligence, with agents passing classified information that accelerated the USSR's development of atomic weapons by up to two years.[21] Notable cases included Alger Hiss, a senior State Department official and UN charter participant, identified in Venona as a Soviet asset codenamed "Ales" who facilitated espionage and influenced U.S. policy; Hiss was convicted of perjury in 1950 after denying his affiliations.[22] Similarly, Julius Rosenberg, an engineer with ties to the Communist Party USA (CPUSA), recruited spies within the atomic bomb program, leading to his and his wife Ethel's execution in 1953 for transmitting nuclear secrets to Moscow.[23] The CPUSA, directed by the Communist International (Comintern) and later the Soviet Politburo, functioned as an auxiliary of Soviet intelligence, with its approximately 75,000 members in the late 1940s sworn to defend the USSR's interests above American law.[24] This allegiance extended to cultural and industrial sectors, where party cells sought to shape public opinion through propaganda, labor disruptions, and infiltration of unions. Venona cables documented CPUSA leaders coordinating with Soviet handlers to embed agents in sensitive roles, blurring lines between ideological sympathy and active subversion.[20] While outright military espionage in non-government fields was less documented, the party's strategy emphasized "united fronts" to normalize communist narratives, as evidenced by directives to Hollywood writers and producers to insert pro-Soviet themes in films during the 1930s and wartime.[25] In Hollywood, the House Un-American Activities Committee (HUAC) investigations from 1947 onward targeted this nexus of influence, prompted by testimony from former communists like Jack Warner and Ronald Reagan about CPUSA efforts to control screenwriters' guilds and script content.[26] The industry's output, including films whitewashing Stalin's purges or glorifying collective farming, aligned with Soviet directives, raising legitimate concerns about wartime propaganda deceiving audiences—such as the 1943 film Mission to Moscow, which portrayed the USSR as a democratic ally despite the ongoing Ukrainian famine's toll of millions.[25] Blacklisting emerged as a private-sector response to these risks, with studios wary of employing individuals tied to a foreign-directed apparatus amid escalating Cold War tensions, including the 1949 Soviet atomic test and Berlin blockade.[27] Empirical evidence from Venona and defector accounts underscores that dismissals of these probes as mere "witch hunts" often stem from institutional reluctance to acknowledge the scale of Soviet penetration, a pattern persisting in post-Cold War historiography despite declassifications validating core HUAC suspicions.[28]Period of Exile and Pseudonymous Work
Relocation to Europe
Following his refusal to testify before the House Un-American Activities Committee in April 1951, Waldo Salt was blacklisted by Hollywood studios, effectively ending his credited work in the industry for over a decade. Rather than relocating to Europe—as some fellow blacklisted writers did to seek opportunities abroad—Salt moved to New York City in the early 1950s, where he resided in a inexpensive hotel room while grappling with divorce, pneumonia, and financial hardship.[1][12] There, he sustained himself by writing scripts for television and commercials under pseudonyms, avoiding direct association with his real name to evade blacklist enforcement.[6][5] Salt's pseudonymous output included contributions to U.S. television, but he also provided uncredited scripts for British-produced series such as The Adventures of Robin Hood (1955–1960), filmed in England and employing several blacklisted American writers through fronts or aliases coordinated by producer Hannah Weinstein.[29] This remote collaboration allowed indirect involvement in European media without physical relocation, as scripts were submitted from the U.S. amid ongoing FBI surveillance of blacklisted figures.[30] His New York base facilitated such work while minimizing exposure, though it yielded no on-screen credits until the blacklist's easing around 1962.[31] The absence of a full exile abroad distinguished Salt's experience from peers like Carl Foreman or Michael Wilson, who temporarily settled in London for film projects such as The Bridge on the River Kwai (1957). Salt's domestic "internal exile" in New York reflected a pragmatic adaptation to blacklist realities, prioritizing survival through low-profile television gigs over risky overseas ventures, which often required fronts and carried espionage suspicions amid Cold War tensions.[32] This period honed his introspective style, evident in later acclaimed works, but imposed severe personal tolls, including health decline and professional obscurity.[6]Underground Writing Projects
During the period of his blacklisting, Waldo Salt sustained his career through pseudonymous writing, primarily under the name Mel Davenport, to circumvent Hollywood's restrictions and maintain income. Relocating initially to support British productions, he contributed scripts to the television series The Adventures of Robin Hood, which ran from 1955 to 1960 and featured episodes emphasizing adventure and moral themes aligned with his earlier interests in socially conscious narratives.[33] These contributions allowed him to refine his storytelling techniques amid financial hardship, though credits were withheld to protect collaborators from blacklist repercussions.[34] In New York, Salt expanded his underground efforts by authoring television scripts under the Davenport pseudonym for approximately a decade, focusing on episodic content that demanded quick adaptation to commercial formats. This work, often for anthology series and dramas, provided modest remuneration but preserved his professional edge, as he later reflected on the necessity of continuous practice despite the anonymity. A specific instance includes the hard-boiled narration for the 1961 independent film Blast of Silence, a noir thriller directed by Allen Baron, where his voiceover script—credited to Davenport—captured the protagonist's internal alienation and fatalism, drawing from his pre-blacklist experience in taut, character-driven prose.[2][35][36] Salt's pseudonymous output also extended to uncredited revisions on features like The Crimson Pirate (1952), a swashbuckling adventure starring Burt Lancaster, where he polished dialogue and action sequences to enhance pacing without formal acknowledgment. These projects, executed in secrecy, underscored the blacklist's chilling effect on creative labor, forcing talents like Salt into peripheral markets while risking exposure for any associates. Overall, this phase yielded no major breakthroughs but ensured his survival as a writer, culminating in stockpiled material that informed his post-1960s resurgence.[4]Post-Blacklist Resurgence
Return to Hollywood
After more than a decade of effective exile from credited Hollywood work following his 1951 blacklisting, screenwriter Waldo Salt returned via producer Harold Hecht, who had collaborated with him on earlier projects like The Flame and the Arrow (1950). Hecht hired Salt in 1962 to co-adapt Nikolai Gogol's novel Taras Bulba with Karl Tunberg, resulting in a historical epic directed by J. Lee Thompson and starring Yul Brynner and Tony Curtis.[4] The film, released in December 1962 by United Artists, depicted Cossack warfare against Polish forces in the 16th century but received mixed reviews for its spectacle over substance, grossing modestly despite its high budget.[37] Hecht's decision effectively bypassed lingering blacklist restrictions for Salt, who had previously contributed pseudonymously to British television series such as The Adventures of Robin Hood during the 1950s. This marked the first of three Hecht-produced features for Salt, allowing him to rebuild his career under his own name amid the industry's gradual shift away from HUAC-era purges by the early 1960s.[5][10] Salt's subsequent Hecht assignments included Wild and Wonderful (1964), a romantic comedy starring Tony Curtis and Doris Day as a race car driver and his pet chimpanzee, and Flight from Ashiya (1964), an action-disaster film directed by Michael Anderson featuring Yul Brynner and featuring rescue operations amid a typhoon. Both films underperformed commercially and critically, with Wild and Wonderful criticized for contrived humor and Flight from Ashiya for implausible plotting, yet they provided Salt essential credits to transition toward more acclaimed projects.[5] These efforts, though unsuccessful, demonstrated Salt's persistence and positioned him for the era's evolving cinematic landscape.Midnight Cowboy and Academy Award Success
Salt's adaptation of James Leo Herlihy's 1965 novel Midnight Cowboy for director John Schlesinger in 1968 marked a pivotal breakthrough in his post-blacklist career.[5] The screenplay centered on the improbable friendship between a naive Texas hustler, Joe Buck (played by Jon Voight), and a frail con artist, Ratso Rizzo (Dustin Hoffman), navigating poverty and exploitation in urban America.[1] Released on May 25, 1969, by United Artists, the film initially received an X rating for its frank depiction of sex, drugs, and violence, yet it resonated widely, grossing over $44 million domestically on a $3.5 million budget.[8] At the 42nd Academy Awards on April 7, 1970, Salt received the Oscar for Best Writing, Screenplay Based on Material from Another Medium, beating nominees including James Poe and Robert E. Thompson for They Shoot Horses, Don't They?.[38] Midnight Cowboy also won Best Picture (producer Jerome Hellman) and Best Director (Schlesinger), making it the only X-rated film to claim the top honor—a testament to the screenplay's raw authenticity and structural depth in elevating the novel's themes of disillusionment and human connection.[1] This dual recognition for the script underscored Salt's mastery in condensing Herlihy's episodic narrative into a cohesive, character-driven arc that critics praised for its unflinching realism.[6] The awards capped nearly two decades of exile and pseudonymous labor, validating Salt's resilience and repositioning him as a key figure in the New Hollywood movement's emphasis on socially conscious storytelling.[6] In his acceptance speech, Salt dedicated the win to collaborators and implicitly to perseverance amid past professional ostracism, though he avoided explicit blacklist references.[38] The success propelled subsequent opportunities, including nominations for Serpico (1973), while cementing Midnight Cowboy's enduring status as a landmark in American cinema for its causal portrayal of marginalization without sentimentality.[1]Later Films: Coming Home and Beyond
Coming Home (1978), directed by Hal Ashby, featured a screenplay co-written by Salt with Robert C. Jones, based on an original story by Salt and Nancy Dowd. The narrative follows Sally Hyde (Jane Fonda), whose Marine husband Bob (Bruce Dern) deploys to Vietnam; volunteering at a veterans' hospital, Sally forms a romantic bond with paraplegic veteran Luke Martin (Jon Voight), highlighting the war's profound psychological and relational disruptions. Production faced challenges, including Salt's serious illness in late 1976, prompting Jones to assist in finalizing the script.[39] The film earned critical praise for its unflinching examination of Vietnam's domestic aftermath, avoiding glorification and emphasizing personal alienation and anti-war sentiment. It secured three Academy Awards, including Best Original Screenplay for Salt, Jones, and Dowd (credited for story), Best Actress for Fonda, and Best Actor for Voight.[7][6] After Coming Home, Salt received no further feature film screenwriting credits amid declining health. In the 1980s, he shifted to mentorship, serving as a creative advisor at Sundance Institute Labs to guide nascent directors and writers. Salt died of lung cancer on March 7, 1987, at Cedars-Sinai Medical Center in Los Angeles, aged 72.[6][7][8]Personal Life
Marriages and Relationships
Salt was married four times. His first marriage, to Ambur Dana, took place on January 8, 1938, and ended in divorce in 1941.[3] His second marriage was to actress Mary Davenport on May 23, 1942; the couple had two daughters, Jennifer Salt (an actress and producer) and Deborah Salt, before divorcing at an unspecified later date.[7][3] Salt's third marriage was to Gladys Schwartz on February 2, 1969; Schwartz died on January 5, 1981, during the marriage.[3] His fourth and final marriage was to poet and playwright Eve Merriam on October 22, 1983, which continued until Salt's death from cancer on March 7, 1987.[7][3] No additional significant relationships beyond these marriages are documented in biographical accounts.Family and Children
Waldo Salt and his first wife, actress Mary Davenport, had two daughters: Jennifer and Deborah. Jennifer Salt, born September 4, 1944, in Los Angeles, California, pursued acting in the late 1960s and 1970s before transitioning to screenwriting and producing; she co-wrote the adaptation of Eat Pray Love (2010) and served as executive producer for the FX horror anthology series American Horror Story from 2011 onward.[9][40][41] Deborah Salt, Jennifer's younger sister, is a visual artist based in Los Angeles, where she has developed a practice centered on minimal geometric abstraction, drawing comparisons to Light and Space movement figures like Helen Pashgian.[42][12] At the time of his death in 1987, Salt was also survived by a grandson.[7]Health Issues and Death
Salt was diagnosed with lung cancer in the months preceding his death, undergoing treatment at Cedars-Sinai Medical Center in Los Angeles.[8] He succumbed to the disease on March 7, 1987, at the age of 72.[19][3] Prior to his terminal illness, no major chronic health conditions were publicly documented in reliable accounts of his life, though the physical toll of his earlier career struggles, including the stress of the Hollywood blacklist, may have contributed to overall decline without specific medical attribution. His death marked the end of a resurgence period in screenwriting that had yielded two Academy Awards, leaving behind a legacy in adapted narratives focused on social outsiders.[8]Legacy
Documentary Portrait
Waldo Salt: A Screenwriter's Journey is a 1990 American documentary film that chronicles the life, career challenges, and professional triumphs of screenwriter Waldo Salt. Directed by Eugene Corr and Robert Hillmann, the 90-minute production details Salt's early Hollywood successes in the 1930s and 1940s, his blacklisting by the House Un-American Activities Committee in the 1950s due to alleged Communist affiliations, his underground writing period, and his post-1960s resurgence with critically acclaimed scripts.[43][44] The film incorporates archival footage, highlight clips from Salt's screenplays including Midnight Cowboy (1969) and Coming Home (1978), and interviews with key collaborators and contemporaries such as Dustin Hoffman, Robert Redford, and Jon Voight, who reflect on Salt's craftsmanship, resilience, and influence on character-driven storytelling.[45][46] Narrated in part by Peter Coyote, it emphasizes how the blacklist experience deepened Salt's introspective approach to writing, fostering empathy for marginalized figures in his later works.[43][6] Premiered at the Sundance Film Festival in 1990 and broadcast as part of PBS's American Masters series, the documentary received critical recognition for its balanced portrayal of Salt's ideological entanglements and artistic recovery, culminating in a nomination for the Academy Award for Best Documentary Feature at the 64th Academy Awards in 1992.[6][46][45] While praised for highlighting Salt's two Oscar wins for Best Adapted Screenplay, some reviewers noted its focus on redemption narratives amid the era's political controversies.[47]Waldo Salt Screenwriting Award
The Waldo Salt Screenwriting Award is presented annually at the Sundance Film Festival to honor the most outstanding screenplay in the U.S. Dramatic competition, recognizing original writing that demonstrates depth, authenticity, and narrative innovation.[48] Named in tribute to Waldo Salt, the acclaimed screenwriter known for his humanist portrayals in films like Midnight Cowboy and Coming Home, the award underscores the festival's commitment to bold, character-driven storytelling amid independent cinema's challenges.[6] First awarded in 1991, shortly after Salt's death in 1987, the prize has spotlighted emerging and established talents whose scripts push boundaries in dramatic fiction.[6] Early recipients include Hal Hartley for Trust (1990), praised for its incisive dialogue and existential themes, and Neal Jiminez and Michael Steinberg for The Waterdance (1992), noted for its raw exploration of disability and resilience.[49] Subsequent winners, such as Jesse Eisenberg for A Real Pain (2024), highlight the award's role in elevating scripts that blend personal introspection with broader social commentary.[50] In recent years, the award has gone to Eva Victor for Sorry, Baby (2025), commended by the jury for its "stunning honesty" in depicting relational dynamics, and K.D. Dávila for Emergency (2022), lauded for tackling racial tensions with urgency and wit.[48][51] These selections reflect a consistent emphasis on scripts that prioritize emotional truth and structural craft over commercial formulas, aligning with Salt's own career arc of resilient, principled writing post-blacklist.[6] The award carries no monetary prize but offers significant visibility, often propelling films toward wider distribution and critical acclaim within the indie sector.[52]Critical Assessment and Influence on Screenwriting
Salt's screenplays, particularly Midnight Cowboy (1969) and Coming Home (1978), received widespread critical acclaim for their unflinching portrayal of social alienation, personal trauma, and moral ambiguity, earning him Academy Awards for Best Adapted Screenplay for both films.[1] Critics and collaborators, such as director John Schlesinger, highlighted how Salt transformed raw anger from his blacklist experiences into nuanced wisdom, enabling scripts that captured the era's undercurrents of urban decay and countercultural disillusionment without resorting to sentimentality.[6] Producer Jerome Hellman attributed Salt's elevated artistry to his integration of profound personal losses, which infused works like Serpico (1973) with authentic grit and ethical complexity, though some contemporaries debated whether such depth stemmed purely from adversity or inherent talent.[5] His approach emphasized "writing in images" akin to poetry, prioritizing visual storytelling and exhaustive research to immerse audiences in characters' inner worlds, as seen in adaptations that preserved source material fidelity while amplifying thematic resonance on loneliness and fractured families.[6] [5] This method balanced artistic ambition with commercial viability, expanding Hollywood's narrative envelope during the 1970s Renaissance, yet Salt's eccentric persona—marked by marijuana use and unconventional habits—occasionally drew portrayals as a "hippie superannuated leprechaun" in profiles, underscoring a tension between his bohemian ethos and industry professionalism.[5] Salt exerted influence on screenwriting through his post-blacklist resurgence, demonstrating resilience by producing 20 films after a 15-year hiatus, inspiring writers to prioritize integrity over expediency.[1] In the 1980s, he mentored emerging talents at Sundance Institute Labs, advocating for independent cinema's role in innovation and social commentary, which indirectly shaped the lab's ethos of character-driven, auteur-focused development.[6] Among professionals, he became legendary for zeitgeist-reflecting scripts that proved late-career reinvention possible, influencing a generation to blend personal insight with broader cultural critique, as evidenced by the enduring respect in screenwriting circles despite his relative obscurity to general audiences.[33]Filmography
Feature Film Screenplays
Salt's screenplays for feature films began in the late 1930s under contract with Metro-Goldwyn-Mayer, where he adapted literary works and original stories into romantic and adventure genres.[4] Following U.S. Army service in World War II, he continued writing until the Hollywood blacklist halted his credited output in 1951 after he refused to testify before the House Un-American Activities Committee.[10] During the blacklist era, Salt contributed uncredited or pseudonymously to projects, including work on The Crimson Pirate (1952).[4] He resumed credited screenwriting in 1962, shifting toward gritty, character-driven dramas that earned critical acclaim and Academy Awards for Midnight Cowboy (1969) and Coming Home (1978).[6]| Year | Title | Credit |
|---|---|---|
| 1937 | The Bride Wore Red | Screenplay |
| 1938 | The Shopworn Angel | Screenplay |
| 1943 | Tonight We Raid Calais | Screenplay |
| 1944 | Mr. Winkle Goes to War | Screenplay |
| 1948 | Rachel and the Stranger | Screenplay |
| 1950 | The Flame and the Arrow | Screenplay |
| 1962 | Taras Bulba | Screenplay (co-written with Karel Tabaka) |
| 1964 | Flight from Ashiya | Screenplay (co-written with Paul Osborn and C. Y. Lee) |
| 1964 | Wild and Wonderful | Screenplay |
| 1969 | Midnight Cowboy | Screenplay (adaptation from James Leo Herlihy's novel) |
| 1971 | The Gang That Couldn't Shoot Straight | Screenplay (adaptation from Jimmy Breslin's novel) |
| 1973 | Serpico | Screenplay (adaptation from Peter Maas's biography) |
| 1975 | The Day of the Locust | Screenplay (adaptation from Nathanael West's novel) |
| 1978 | Coming Home | Screenplay (co-written with Robert C. Jones and Nancy Dowd from story by Don McPherson) |