Lillian Hellman

Lillian Hellman (born June 20, 1905, New Orleans, Louisiana, U.S.—died June 30, 1984, Tisbury, Massachusetts) was an American playwright and screenwriter whose dramas forcefully attacked injustice, exploitation, and selfishness.

Hellman attended New York public schools and New York University and Columbia University. Her marriage (1925–32) to the American playwright Arthur Kober ended in divorce. She had already begun an intimate relationship with the American novelist Dashiell Hammett that would continue until his death in 1961. In the 1930s, after working as a book reviewer, press agent, play reader, and Hollywood scenarist, Hellman began writing plays.

Her dramas exposed some of the various forms in which evil appears—a malicious child’s lies about two schoolteachers (The Children’s Hour, 1934); a ruthless family’s exploitation of fellow townspeople and one another (The Little Foxes, 1939, and Another Part of the Forest, 1946); and the irresponsible selfishness of the Versailles-treaty generation (Watch on the Rhine, 1941, and The Searching Wind, 1944). Criticized at times for her doctrinaire views and characters, Hellman nevertheless kept her characters from becoming merely social points of view by writing credible dialogue and creating a realistic intensity matched by few of her playwriting contemporaries. These plays exhibit the tight structure and occasional overcontrivance of what is known as the well-made play.

In the 1950s she showed her skill in handling the more subtle structure of Chekhovian drama (The Autumn Garden, 1951) and in translating and adapting (Jean Anouilh’s The Lark, 1955, and Voltaire’s Candide, 1957, in a musical version). Hellman returned to the well-made play with Toys in the Attic (1960), which was followed by another adaptation, My Mother, My Father, and Me (1963; from Burt Blechman’s novel How Much?). She also edited Anton Chekhov’s Selected Letters (1955) and a collection of stories and short novels, The Big Knockover (1966), by Hammett.

Her reminiscences, begun in An Unfinished Woman (1969), were continued in Pentimento (1973) and Maybe (1980). After their publication, certain fabrications were brought to light, notably her reporting in Pentimento of a personal relationship with a courageous woman she called Julia. The woman on whose actions Hellman’s story was based denied knowing the author. Writer and critic Mary McCarthy accused Hellman of making false statements in her work during an interview on The Dick Cavett Show. After the episode’s airing in 1980, a legal feud ensued that lasted the rest of the playwright’s life.

Hellman, a longtime supporter of leftist causes, detailed in Scoundrel Time (1976) her troubles and those of her friends with the House Un-American Activities Committee hearings during the McCarthy era of the 1950s. Hellman refused to give the committee the names of people who had associations with the Communist Party; she was subsequently blacklisted though not held in contempt of Congress.

Her collected plays, many of which continued to be performed into the late 20th and early 21st centuries, were published in 1971.