Val Lewton
In 1909, he immigrated with his sister and mother to the United States, where his name was changed to Val Lewton. He was raised in suburban Port Chester, New York.
He studied journalism at Columbia University and authored eighteen works of nonfiction, fiction, and poetry.
Lewton once lost his job as a reporter for the Darien-Stamford Review after it was discovered that a story he wrote about a truckload of kosher chickens dying in a New York heat wave was a total fabrication.
In 1932 he wrote a best-selling pulp novel No Bed of Her Own, which was later used in the making of the film No Man of Her Own, with Clark Gable and Carole Lombard.
Film career
Lewton worked as a writer for the New York City MGM publicity office, providing novelizations of popular movies for serialization in magazines, which were sometimes later collected into book form. He quit this position after the success of his 1932 novel No Bed of Her Own, but when three later novels that same year failed to succeed as well, he journeyed to Hollywood for a job writing a screen treatment of Gogol's Taras Bulba for David O.
The connection for this job came through Lewton's mother, Nina Lewton.
Though a film of Taras Bulba did not follow, Lewton was hired by MGM to work as a publicist and assistant to Selznick. His first screen credit was "revolutionary sequences arranged by" in David O.
Lewton also worked as an uncredited writer for Selznick’s Gone with the Wind, including writing the scene where the camera pulls back to reveal hundreds of wounded soldiers at the Atlanta Depot. Lewton also functioned for Selznick as a story editor, a scout for discovering literary properties for Selznick's studio, and acted as a go-between with the Hollywood censorship system.
In 1942, Lewton was named head of the horror unit at RKO studios, at a salary of $250 a week.
As head of the B-horror unit he would have to follow three rules: each film had to come in under a $150,000 budget, each film was to run under 75 minutes, and Lewton's supervisors would supply the title for each film.
Lewton's first production was Cat People, released in 1942. Made for $134,000, the film went on to earn nearly $4 million, and was the top moneymaker for RKO that year.
This success enabled Lewton to make his next films with relatively little studio interference, allowing him to avoid the sensationalist material suggested by the film titles he was given, instead focusing on ominous suggestion and themes of existential ambivalence.
Lewton always wrote the final draft of the screenplays for his films, but avoided an on-screen co-writing credit except in two cases, The Body Snatcher and Bedlam, for which he used the pseudonym "Carlos Keith", which he had previously used on the novel, Where the Cobra Sings.
After Jacques Tourneur left RKO's horror film unit, Lewton gave first directing opportunities to Robert Wise and Mark Robson. When RKO head Charles Koerner died in 1946, the studio went through personnel and management upheavals, ultimately leaving Lewton unemployed and in ill health after suffering a minor heart attack.
The actress Paulette Goddard at Paramount Studios particularly liked Lewton's treatment, and in exchange for the script Lewton was given employment through July 1948. (The Goddard film Bride of Vengeance, heavily rewritten, was released in 1949.) While at Paramount, Lewton also produced the film My Own True Love, released in 1949.
Following his association with Paramount, Lewton worked again for MGM where he produced the Deborah Kerr film Please Believe Me, released in 1950.
During this time Lewton attempted to start an independent production company with his former protégés Wise and Robson, but when a disagreement over which property to produce first arose, Lewton was kicked out. This film is usually considered the film most like Lewton's earlier RKO horror films.
Hollywood producer Stanley Kramer tendered an offer to Lewton to work as an assistant producing a series of films at Columbia Studios.