What Makes Sammy Run

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What Makes Sammy Run

a dynamic but vicious opportunist attains success. [Am. Lit.: What Makes Sammy Run]
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I want to read Still Alice, What Makes Sammy Run?, Atonement, and I bought Bel Canto and The Goldfinch.
Three new cast albums, in particular--also made available, with original cover art and liner notes, as disc-on-demand through www.arkivmusic.com--are making long overdue CD appearances: the 1964 Budd Schulberg-novel-based What Makes Sammy Run?, with Steve Lawrence; Oscar Straus's The Chocolate Soldier; and Rome's intriguing South Africa-set musical The Zulu and the Zayda, which features Louis Gossett Jr., Ossie Davis and Yiddish star Menasha Skulnik.
Similarly with Sammy Glick, the fictional young Hollywood up-and-comer in Budd Schulberg's satirical novel about the 1930s movie business What Makes Sammy Run?, who figures out that stealing scripts and snitching on members of the nascent screenwriter's union is the way to get ahead in the studio system.
Broadway: Say, Darling (choreographer and dancer, 1958); Jennie (choreographer, 1963); Carnival in Flanders, The Vamp, Brigadoon, What Makes Sammy Run? (dancer) Off Broadway: Once Upon a Mattress (dancer)
Like so many novels of the 1930s and early 1940s, Budd Schulberg's What Makes Sammy Run? (1941) has a transparent political agenda.
In the usual narration of the history of the Hollywood novel, What Makes Sammy Run? is taken for an indictment of Hollywood in the name of the liberalism endorsed by so many politicized screenwriters in the thirties.
This opposition clearly inspired What Makes Sammy Run? more immediately than anything else.
The first-person narrator of Budd Schulberg's What Makes Sammy Run? (1941) is an artist, whose narrations make clear that Hollywood defiles art and the integrity of those who devote their lives to it.
With a plot that revolves around a pet cemetery, Evelyn Waugh's The Loved One (1948) hardly shares the earnestness that characterizes What Makes Sammy Run? But its satire of Hollywood's commercialization of death still relies heavily upon a critique premised on a notion of art that is separate from commerce and historically-situated ideologies.
She performed for and assisted Matt Mattox (What Makes Sammy Run?), Michael Bennett U(Promises, Promises and Coco), Bob Fosse (Chicago), Alan Johnson (several television specials, including those for Shirley MacLaine and Anne Bancroft), and Agnes de Mille (Oklahoma!).
A month after her arrival she landed a role in What Makes Sammy Run? (1964), choreographed by Mattox.
Another compares him to Sammy Glick of What Makes Sammy Run? Rattner's friends say that analogy is simplistic.