Richard Brooks Net Worth Income Profile and Salary. Screenwriter and American film director. Bachelor of Journalism at Temple University, the crisis of 1929 made his journalistic career difficult, starting in small local newspapers. In his native Philadelphia got a job to write about sports in the Philadelphia Record. In 1937 he accepted an offer from the World Telegram and moved to New York. In 1940, in Los Angeles, he writes a story a day, for a whole year, for NBC. He travels to New York and consolidates himself in the radio, where he will write numerous scripts, some even for Orson Welles, besides also to put some theater work.
At the beginning of 1942 he received an offer from Hollywood as a screenwriter. His first works were not at all to his liking. He made his debut with Ray Enright’s The Men and Women of Carsin (1942), followed a year later by Arthur Lubin’s The White Wild (1943). He enlisted in the Marine Corps of the United States and fought in World War II.
After the conflict, producer Mark Hellinger offers the possibility of working – without credit – in the scripts of Outlaws (1946) and The City Naked (1948), and asks him to adapt a story of Robert Patterson that would lead to the Screen Jules Dassin, Brute Force (1947). The work impresses John Huston, who is preparing Cayo Largo, based on the work of Maxwell Anderson, and asks him to review, add, do or undo the script that has just been written by the director himself; Finally, the film would become a classic of American black cinema.
In 1950 comes his first film as director, Crisis, based on the magnificent novel by George Tabori The Doubters, a film that already points to the virtuosity of Brooks. Later he recognized that, describing the characters of Jose Ferrer and Signe Hasso, the dictator’s uncompromising wife, he was obviously thinking of the characters of Peron and his wife Eva. Very skilfully, Brooks avoids the mistakes of a first film with an absolutely unexpected adventure. His mastery is evident in the impressive scene of the replay of the operation, as well as in the duel between Cary Grant and Ferrer, both great genres, which reinforces the credibility of the play.
But, unfortunately, MGM coerced the work of Richard Brooks. He always complained that in Battle Circus (1953), a film never released commercially in Spain, the lion company made the story of love reign in the script to the detriment of other possibly more interesting elements. In this beautiful history of doctors in the Korean War, Brooks does not tend to exalt ideals, but to the characters who carry and defend those ideals, which are none other than Brooks himself.
Of these ideals are his films: the defense of press freedom in Deadline USA (1952), the critique of military vices in Take the High Ground (1953), the survival of love in the last time I saw Paris (1954) , Adaptation of the work of F. Scott Fitzgerald, and, of course, education and tolerance in the wonderful Seed of Evil (1955), a classic of juvenile delinquency.
The subtlety and daring of the director becomes apparent when he addresses the racial problems and prejudices that even a progressive professor could still have in the 1950s, which was less insinuated in Evan Hunter’s novel. The great effectiveness in the staging and in the direction of actors (Glenn Ford and Sidney Poitier) of Brooks only served for that his film was forbidden for example in the state of Georgia, where the mixture of races in the School, and get suspicious of anti-Americanism.
If John Ford described the agony of the Cheyenne people in El Gran Combate (1964), a few years earlier, in 1956, Brooks provoked deep feelings about the physical annihilation of a nation in a good western, The Last Hunt (1956). The filmmaker rejects the conventions of the genre, voluntarily limiting the action scenes, to show and denounce the character of Robert Taylor, a fascinating archetype of violence (his Winchester seems to be part of his body).
Neither follows the general rules of the western in the other two that consist in his filmography, totally crepuscular. On the one hand, The Professionals (1966), on the other, Bites the Bullet (1975). While the first is lyrical and bitter at the same time, the second is nostalgic, located at the beginning of the twentieth century, when the frontier is officially abolished, the conquest of the west is over, and this becomes a spectacle and the myth is only commercially interesting.