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Samson Raphaelson

Samson Raphaelson

Writing

Biography

​From Wikipedia, the free encyclopedia Samson Raphaelson (March 30, 1894 in New York City – July 16, 1983 in New York City) was an American screenwriter and playwright. Born in New York City, Raphaelson worked on nine films with Ernst Lubitsch, including Trouble in Paradise (1932), The Shop Around the Corner (1939), Heaven Can Wait (1943), and That Lady in Ermine (1948). He also collaborated with Alfred Hitchcock on Hitchcock's Suspicion (1941). He is the author of the play Day of Atonement, which was made into The Jazz Singer (1927), the first talking picture, produced by Warner Brothers in the Vitaphone sound-on-disc process. Samson Raphaelson was also Ernst Lubitsch's favorite screenwriter. Samson Raphaelson considered Suspicion to be "in many ways my best screenplay." Raphaelson also co-wrote Lubitsch's only sound-era drama Broken Lullaby (The Man I Killed, 1932). Though praised by playwright Robert E. Sherwood as "the best talking picture that has yet been seen and heard," the film was a box office flop. Aside from his more popular work, Raphaelson also wrote the college fight song for the University of Illinois in 1921. Titled, "Fight, Illini!: The Stadium Song" the music was composed by Rose J. Oltusky. In 1977 the Writers Guild of America Awards granted him the "Laurel" for lifetime achievement. He taught playwriting at Columbia University until the last years of his life. His wife Dorshka (Dorothy Wegman) (1904-2005) was the author of 'Morning Song' and, until her death in 2005, was the second oldest surviving Ziegfeld Follies dancer. His nephew is filmmaker Bob Rafelson, and his grandson is photographer Paul Raphaelson. Description above from the Wikipedia article Samson Raphaelson, licensed under CC-BY-SA, full list of contributors on Wikipedia.

Known For

Matinee Theater
5.3

Matinee Theater is an American anthology series that aired on NBC during the Golden Age of Television, from 1955 to 1958. The series, which ran daily in the afternoon, was frequently live. It was produced by Albert McCleery, Darrell Ross, George Cahan and Frank Price with executive producer George Lowther. McCleery had previously produced the live series Cameo Theatre which introduced to television the concept of theater-in-the-round, TV plays staged with minimal sets. Jim Buckley of the Pewter Plough Playhouse recalled: When Al McCleery got back to the States, he originated a most ambitious theatrical TV series for NBC called Matinee Theater: to televise five different stage plays per week live, airing around noon in order to promote color TV to the American housewife as she labored over her ironing. Al was the producer. He hired five directors and five art directors. Richard Bennett, one of our first early presidents of the Pewter Plough Corporation, was one of the directors and I was one of the art directors and, as soon as we were through televising one play, we had lunch and then met to plan next week’s show. That was over 50 years ago, and I’m trying to think; I believe the TV art director is his own set decorator —yes, of course! It had to be, since one of McCleery’s chief claims to favor with the producers was his elimination of the setting per se and simply decorating the scene with a minimum of props. It took a bit of ingenuity.

Matinee Theater

1955Series