American screenwriter, producer, and director, whose screen credits included The Grapes of Wrath (1940), directed by John Ford, The Woman in the Window (1944), directed by Fritz Lang, How to Marry a Millionaire (1953), starring Marilyn Monroe, Lauren Bacall, and Betty Grable, and The Three Faces of Eve (1957), starring Joanne Woodward. Several of Nunnally Johnson's screenplays were based on best-selling novels varying from Daphne du Maurier and A. J. Cronin to John Steinbeck and Erskine Caldwell.

"You wouldn't know the place [Hollywood]. I don't know one-third of the people mentioned in Joyce Haber's column. And things move very fast here too. There is some fellow who produced one successful picture, Goodbye, Columbus, and some studio was so staggered by this overwhelming success that they made him the head of the studio. Do you remember when Zanuck used to produce two pictures before eleven a.m.? As for the other head of Paramount, named [Robert] Evans, in two years he has lost almost as much money as Vietnam has cost us. So it's not surprising that they're going to give him a raise." (from Nunnally Johnson's letter to Robert Goldstein, 21 October 1970, in The Penguin Book of Hollywood, edited by Christopher Silvester, London: Penguin Books, 1999, p. 523)

Nunnally Johnson was born in Columbus, Georgia, the son of James Nunnally Johnson, a superintendent for the Central of Georgia Railway, and Johnnie Pearl Patrick, an activist on the local school board. Johnson was an avid reader from early childhood and he had an uninhibited sense of humor, which he had inherited from his father. After graduating from Columbus High School in 1915, Johnson worked as a reporter on the Columbus Enquirer Sun, then wrote for the Savannah Press, the Brooklyn Daily Eagle (where he spent three years), and the New York Herald Tribune.

Johnson's first marriage was to Alice Love Mason; they had one daughter. Mason was editor of the Junior Eagle. They divorced in 1920. Seven years later Johnson married again. His second wife was Marion Byrnes, whom he had met when she was on the staff of the Brooklyn Eagle – later he said that "marrying me was considered an occupational hazard for young girls working on the Eagle." (Screenwriter: The Life and Times of Nunnally Johnson by Tom Stempel, San Diego: A. S. Barnes & Company, 1980, p. 33) They divorced in 1938.

There Ought to Be a Law (1931) collected Johnson's short stories, which had appeared earlier in The Saturnay Evening Post and other magazines. In 1932 Johnson went to Hollywood, and began his career as a scriptwriter. His first solo screenplay credit came in 1934 on The House of Rothschild, based on George Humbert Westley's play about the famous banking family at the time of the Napoleonic Wars. Johnson's first salary was $300 a week.

Cardinal Richelieu (1935) started Johnson's long association with Daryl F. Zanuck; he was probably the most succesfull producer Zanuck ever had. Their major achievement with the director John Ford was The Grapes of Wrath. Johnson's shooting script, based on John Steinbeck's radical novel, opens with a scene on an an Oklahoma paved highway in daylight:

"At some distance, hoofing down the highway, comes Tom Joad. He wears a new stiff suit of clothes, ill-fitting, and a stiff new cap, which he gradually manages to break down into something comfortable. He comes down the left side of the road, the better to watch the cars that pass him. As he approaches, the scene changes to a roadside short-order RESTAURANT on the right side of the road. From it comes the sound of a phonograph playing a 1939 popular song. In front of the eatery is a huge Diesel truck labeled: OKLAHOMA CITY TRANSPORT COMPANY. The driver, a heavy man with army breeches and high-laced boots, comes out of the restaurant, the screen door slamming behind him. He is chewing on a toothpick. A waitress appears at the door, behind the screen."
(https://thescriptsavant.com/movies/The_Grapes_Of_Wrath.pdf. Accessed 1 July 2025)

Nunnally avoided insistent statements of human dignity, but the end gives an uplifting tone to the story. "Whenever there's a fight so hungry people can eat, I'll be there," says Tom Joad (Henry Fonda). Ma's (Jane Darwell) speech in the last scene has been criticized for sentimentality: "We keep a-comin'. We're the people that live. They can't lick us. We'll go on forever, Paw . . . cause . . . we're the people." ('The Grapes of Wrath,' in Simon Rose's Classic Film Guide by Simon Rose, Glascow: HasperCollins, 1995, p. 151)

Shortly after 20th Cenury Fox had acquired film rights to A. J. Cronin's novel The Keys of the Kingdom, about missionary work in China during the early decades of the twentieth century, Johnson made a screenplay for Fox. It was a big-budget picture, in which Gregory Peck had his first important role as a humble priest. When Zanuck turned the script over to producer Joseph L. Mankiewicz, Johnson had already left the studio. He was surprised to hear that his friend asked for sole screenplay credit. The Writers Guild decided that the credit should go to both Johnson and Mankiewicz. The Bureau of Motion Pictures did not accept the script's negative image of US's ally in WWII, and in the finished film, Chiang Kai-Sheks's Nationalist Party, the Kuomintang, is shown in a positive light. "As a religious film, The Keys of the Kingdom is impressive; as a portrait of China, it is inaccurate war propaganda." (Twentieth Century-Fox: The Zanuck-Skouras Years, 1935-1965 by Peter Lev, Austin: University of Texas Press, 2013, p. 80) 

Jesse James (1939), directed by Henry King, was shot in the new "perfected" Technicolor. The film had a strong sense of time and place, anticipating The Gunfighter (1950), starring Gregory Peck, who had his hair cut and had a mustache. Historical material for the screenplay – Johnson worked with the writers without credit – was assembled by Rosalind Shaffer and Jo Frances James. Originally the script had been written for John Wayne by William Bowers and William Sellers, but Wayne turned it down. The director Henry King praised Johnson's uncredited work.

When Johnson saw the mustache he said to King: "I don't know, Henry, do you think we should put a mustache on Peck? You know, he's our leading man..." King replied: "I just had him as  general in Twelve O'Clock High. You can't change his clothes from a uniform to this Western outfit and be the character." (Henry King Director: From Silents to Scope, based on interviews by David Shepard and Ted Perry, edited by Frank Thompson,  Los Angeles: Directors Guild of America, 1995, p. 156) Moreover, Zanuck objected the ending, in which Jimmy Ringo (Peck) is shot in the back by a young punk, who wants to be the fastest gun. Zanuck was right: the public did not want to see Peck as a real thing, but in 1970, Action, the magazine of the Directors Guild of America, selected The Gunfighter among the best dozen Westerns of all time. Walter Kaufman once argued that The Gunfighter is the measure by which all Westerns would be judged.

Johnson's cooperation with John Ford in Tobacco Road (1941), based on Erskine Caldwell's novel, resulted in a bowdlerized version of the book. The Hays Office allowed only to hint at the novel's sexual themes. Before these films Johnson produced and wrote Rose of Washington Square (1939), a dramatic musical. Johnson's lines for Al Johnson, singing again a medley of his songs, supported skillfully the story: "This is your song. It was born just for you. Sing it and they'll never forget it or you."

In The Woman in the Window, the director Fritz Lang fought over the end of the film. Killing off the hero was a far from common practice in the Forties and the nightmare situation of Prof. Wanley (Edward G. Robinson) turns out to be a dream. Everything starts innocently: "I'm not married. I've no designs on you. One drink is all I require", says a beautiful model (Joan Bennett) to Wanley. After accepting the invitation an intangible network starts to surround the professor and threatens to destroy his life. "I was warned against the siren-call of adventure."

The Moon is Down (1943), produced by Twentieth Century Fox Film Corporation, is considered among the best of the Resistance films. It was shot on the set of How Green Was My Valley. Johnson based his script on John Steinbeck's play about a Norwegian village resisting the Nazis.

Like so many other scriptwriters, actors, and directors, Johnson also started to produce films and in 1943 he formed with Gary Cooper, William Goetz and Leo Spitz  International Pictures. Their venture was not a success. The first release of International Pictures was Casanova Brown (1944), directed by Sam Wood, starring Gary Cooper and Teresa Wright, and advertised as "The Greatest Romantic Comedy of All Time!" Johnson's script was adapted from an old stage farce, The Little Accident. "A tremendous amount of talent went into a childish film," said Bosley Crowther in his review. (New York Times, September 15, 1944)

In The Desert Fox (1951), directed by Henry Hathaway, Johnson made a sympathetic portrait of the German Field Marshall Erwin Rommel, who died in 1944 (it was forced suicide at Hitler's command). Considering that the film was realized only some years after the war, it was an unusual project. The screenplay was based on the biography by Desmond Young.

Park Avenue (1946), the musical adaptation of Johnson's short story 'Holy Matrimony,' was Ira Gershwin's last Broadway. Eventually a flop, it run 72 performances. In the 1950s Johnson tried his hand in directing. The schizophrenia drama The Three Faces of Eve (1957) won Joanne Woodward an Academy Award.

Night People (1954) marked Johnson's debut as a director and continued his cooperation with Gregory Peck - it had started in 1944 from The Keys of the Kingdom. Upon meeting the actor, Johnson though that he wasn't very bright simply because he didn't have much to contribute to a sparkling conversation. On the other hand, Johnson was not an actors director like Henry King but Peck got along fine with him. A few people could match Johnson's impromptu wit. Peck admitted: "When I get mixed up with Nunnally Johnson or Herman Mankiewicz or Ben Hecht, I am struck dumb." ('Cinema: Leading Man,' Time, January 12, 1948)

Shot in Germany, Night People captured the atmosphere of a city still scarred by the war. Johnson described the the cloak-and-dagger yarn to Time magazine as 'Dick Tracy in Berlin.'  Bosley Crowther wrote that the picture ". . . is first-rate commercial melodrama—big, noisy, colorful and good . . . the skillful and wily Mr. Johnson manipulates his pieces with such speed and such trickery in some places that you may well be confused . . ." ('Gregory Peck Stars in 'Night People' at Roxy -- Story Was Shot in Berlin' by Bosley Crowther, The New York Times, March 13, 1954)

Johnson was not a virtuoso director but he had professional competence and  the ability to visualize and create new ideas from thin air. The Man in the Gray Flannel Suit (1956) was based on Sloan Wilson's novel about a Madison Avenue executive, Tom Rath, trying to solve his marital problems and cope with his guilt complex about a wartime affair. Wilson, a WWII veteran, taught English at the University of Buffaly. Rath's character, played by Gregopy Peck in the screen adaptation, touched a nerve in the American psyche. Johnson's script was faithful to Wilson book. Jennifer Jones was cast in the role of Betsy Rath, a homemaker, but the Fox department trumpeted the reunion of the stars of Duel in the Sun (1946), a western and a totally different story: they die together at the end. 

Johnson's greatest box office hit in the 1950s was How to Marry a Millionaire, directed by Jean Negulesco, and starring Marilyn Monroe, Betty Grable, and Lauren Bacall. Johnson's script was based on the plays by Zoe Akins, Dale Eunson, and Katherine Albert. The story depicted three women who rent an expensive New York apartment and set out to trap millionaires. A syndicated television show based on the picture, created in 1958 by the 20th Century-Fox, lasted only a season.

After giving up direction, Johnson wrote a few more screenplays, most notably The Dirty Dozen, based on E. M. Nathanson's novel and directed by Robert Aldrich. In the story twelve convicts, serving life sentences, are recruited for a commando suicide mission. This nihilistic war movie had many imitations, such as The Devil's Brigade, A Reason to Live, a Reason to Die, etc. The Dirty Dozed ended Johnson's career which spanned 40 years, from the last years of the silent film to the age of the Aquarius.

Nunnally Johnson died in Hollywood, California, on March 22, 1977. He was married to former leading lady Dorris Bowdon, whom he met in 1940 when she was starring the John Ford film The Grapes of Wrath. The news of their marriage was announced on the radio by Walter Winchell. Groucho Marx often visited the Johnsons'. Their friendship went back when Johnson worked in New York. Nora Johnson, his daughter, has written about her family in Flashback: Nora Johnson on Nunnally Johnson (1979) and Coast to Coast: A Family Romance (2004), in which she tells that in the 1930s her father "turned down a certain Civil War novel because he thought nobody would go and see a picture about two people named Scarlett and Rhett." (Ibid., p. 2)

For further information: 'Nunnally Johnson,' in The New Georgia Encyclopedia Companion to Georgia Literature, edied by Hugh Ruppersburg, John C. Inscoe (2007); Coast to Coast: A Family Romance by Nora Johnson (2004); 'Johnson, Nunnally,' in The Film Encyclopedia by Ephraim Katz (1994); The Letters of Nunnally Johnson, edited by Dorris Johnson and Ellen Leventhal (1981); Screenwriter: The Life and Times of Nunnally Johnson by Tom Stempel (1980); Flashback: Nora Johnson on Nunnally Johnson by Nora Johnson (1979)

Selected bibliography:

• There Ought to Be a Law: And Other Stories, 1931
• In Pictures; A Hollywood Satire, 1937 (pictures by Will Connell, story by Nunnally Johnson, Patterson McNutt, Gene Fowler,  Grover Jones)
• Park Avenue, 1946 (theater program)
• Henry, Sweet Henry, 1967 (theater program)
• The Letters of Nunnally Johnson, 1981 (selected and edited by Dorris Johnson and Ellen Leventhal, foreword by Alistair Cooke)

Selected films (as screenwriter, director or producer):

• Rough House Rosie, 1927 (story, dir. Frank R. Strayer, starring Clara Bow, Reed Howes, Arthur Housman)
• A Bedtime Story, 1933 (uncredited, dir. Norman Taurog, starring Maurice Chevalier, Helen Twelvetrees, Edward Everrett Horton)
• Mama Loves Papa, 1933 (co-story, dir. Norman Z. McLeod, starring Charles Ruggles, Mary Boland, Lilyan Tashman)
• Moulin Rouge, 1934 (story, dir. Sidney Lanfield, starring Constance Bennett, Franchot Tone, Tullio Carminati)
• The House of Rothschild, 1934 (sc., with others, dir, Alfred L. Werker, starring George Arliss, Boris Karloff, Loretta Young)
• Bulldog Drummond Strikes Back, 1934 (sc., with others, dir. Roy Del Ruth, starring Ronald Colman, Loretta Young, C. Aubreyt Smith)
• Kid Millions, 1934 (sc., with others, dir. Roy Del Ruth, starring Eddie Cantor, Ann Sothern, Ethel Merman)
• Cardinal Richelieu, 1935 (assoc. prod., based on a play by Edward George Bulwer-Lytton, dir. Rowland V.Lee, starring George Arliss, Maureen O'Sullivan, Edward Arnold)
• Baby Face Harrington, 1935 (sc., with Edwin H. Knopf and others, dir. Raoul Walsh, starring Charles Butterworth, Una Merkel, Harvey Stephens)
• Thanks a Million, 1935 (sc., dir. Roy Del Ruth, starring Dick Powell, Ann Dvorak, Fred Allen)
• The Man Who Broke the Bank at Monte Carlo, 1935 (sc., with others, also assoc. prod., dir. Stephens Roberts, starring Ronald Colman, Joan Bennett, Colin Clive)
• The Prisoner of Shark Island, 1936 (sc., also assoc. prod., dir. John Ford, starring Warner Baxter, Gloria Stuart, Claude Gillingwater)
• The Country Doctor, 1936 (assoc. prod., dir. Henry King)
• The Road to Glory, 1936 (assoc. prod., dir. Howard Hawks, written Joel Sayre and William Faulkner)
• Dimples, 1936 (assoc. prod., dir, William Seiter, starring Shirley Temple, Frank Morgan, Helen Westley)
• Banjo on My Knee, 1936 (sc., dir. John Cromwell, starring Barbara Stanwyck, Joel McCrea, Walter Brennan)
• Nancy Steele Is Missing!, 1937 (prod., dir. George Marshall, starring Victor McLaglen, Walter Connolly, Peter Lorre, June Lang)
• Cafe Metropole, 1937 (prod., dir. Edward H. Griffith, starring Loretta Young, Tyrone Power, Adolphe Menjou, Gregory Ratoff)
• Slave Ship, 1937 (prod., dir. Tay Garnett, starring Warner Baxter, Wallace Beery, Elizabeth Allan, Mickey Rooney)
• Love Under Fire, 1937 (prod.)
• Jesse James, 1939 (sc., also assoc. prod., dir. Henry King, starring Tyrone Power, Henry Fonda, Nancy Kelly)
• Wife, Husband and Friend, 1939 (sc., based on a story by James M. Cain, dir. Gregory Ratoff, starring Lorettsa Young, Warner Baxter, Binnie Barnes)
• Rose of Washington Square, 1939 (sc., also prod., dir. Gregory Ratoff, starring Tyrone Power, Alice Faye, Al Jolson)
• The Grapes of Wrath, 1940 (sc., also assoc. prod.,  based on John Steinbeck's novel, dir. John Ford, starring Henry Fonda, Jane Darwell, John Carradine)
• Chad Hanna, 1940 (sc., also assoc. prod., dir. Henry King, starring Henry Fonda, Dorothy Lamour, Linda Darnell)
• Tobacco Road, 1941 (sc., based on Erskine Caldwell's novel, dir. John Ford, starring Charley Grapewin, Gene Tierney, Marjorie Rambeau)
• Roxie Hart, 1942 (sc., also prod., dir. William A. Wellman, starring Ginger Rogers. Adolphe Menjou, George Montgomery)
• The Pied Piper, 1942 (sc., also prod., based on  novel by Nevil Shute, dir. Irving Pichel, starring Monty Woolley, Roddy McDowall, Anne Baxter)
• Moontide, 1942 (sc. uncredited, dir. Archie Mayo, starring Jean Gabin, Ida Lupino, Thomas Mitchell, Claude Rains)
• Life Begins at 8:30, 1942 (sc., also prod, dir. Irving Pichel, starring Monty Woolley, Ida Lupino, Cornel Wilde)
• The Moon Is Down, 1943 (sc., also prod., based on a story by John Steinbeck, dir. Irving Pichel, starring Cedric Hardwicke, Henry Travers, Lee J. Cobb)
• Holy Matrimony, 1943 (sc., also prod., based on a play by Arnold Bennett, dir. John M. Stahl, starring Monty Woolley, Gracie Fields, Laird Cregar)
• Casanova Brown, 1944 (sc., also prod., dir. Sam Wood, starring Gary Cooper, Teresa Wright, Frank Morgan)
• The Keys of the Kingdom, 1944 (sc. with  Joseph L. Mankiewicz, based on a novel by A.J. Cronin, dir. John M. Stahl, starring Gregory Peck, Thomas Mitcell, Vincent Price)
• The Woman in the Window, 1944 (sc., also prod., story by J.H. Wallis, dir. Fritz Lang, starring Edward G. Robinson, Joan Bennett, Raymond Massey)
• The Southerner, 1945 (sc. uncredited, dir. Jean Renoir, starring Zachary Scott, Betty Field, J. Carrol Naish)
• Along Came Jones, 1945 (sc., with Alan Le May, dir. Stuart Heisler, starring Gary Cooper, Loretta Young, William Demarest)
• The Dark Mirror, 1946 (also prod., story by Vladimir Pozner,  dir. Robert Siodmak, starring Olivia de Haviland, Lew Ayres, Thomas Mitchell)
• The Senator Was Indiscreet, 1948 (prod., dir. George S. Kaufman, starring William Powell, Ella Raines, Peter Lind Hayes)
• Mr. Peabody and the Mermaid, 1948 (sc., also prod., dir. Irving Pichel, starring William Powell, Ann Blyth, Irene Hervey)
• Everybody Does It, 1949 (sc., also prod., based on a story by James M. Cain, dir. Edmund Goulding, starring Paul Douglas, Linda Darnell, Celeste Holm)
• Three Came Home, 1950 (sc., also prod., story by Agnes Newton Keith, dir. Jean Neguleco, starring Claudette Colbert, Patric Knowles, Florence Desmond)
• The Gunfighter, 1950 (sc. uncredited, prod., dir. Henry King, starring Gregory Peck, Helen Westcott, Millard Mitchell) - "I think John Huston's The Maltese Falcon is the best crime picture ever made in Hollywood for the same reason I think The Gunfighter (the Gregory Peck, not the William S. Hart version) is the best Western: because each shows movie types behaving realistically instead of in the usual terms of romantic cliché."' (On Movies by Dwight Macdonald, introduction by John Simon, New York: Da Capo Press, 1981, p. 453)
• The Mudlark, 1950 (sc., also prod., dir. Jean Negulesco, starring Irene Dunne, Alec Guinness, Andrew Ray)
• The Long Dark Hall, 1951 (sc., with others, dir. Reginald Beck, Anthony Bushell, starring Rex Harrison, Lili Palmer, Tania Heald)
• The Desert Fox: The Story of Rommel, 1951 (sc., also prod., dir. Henry Hathaway, starring James Mason, Cedric Hardwicke, Jessica Tandy)
• We're Not Married!, 1952 (also prod., dir. Edmund Goulding, starring Ginger Rogers, Marilyn Monroe, Victor Moore)
• Phone Call from a Stranger, 1952 (sc., also prod., dir. Jean Negulesco, starring Bette Davis, Shelley Winters, Gary Merrill)
• The Ransom of Red Chief, 1952 (uncredited, episode in the TV series O. Henry's Full House, dir. Howard Hawks; see O. Henry)
• My Cousin Rachel, 1952 (also prod., based on the novel by Daphne du Maurier, dir. Henry Koster, starring Olivia de Haviland, Richard Burton, Audrey Dalton
• How to Marry a Millionaire, 1952 (also prod., dir. Jean Negulesco, starring Marilyn Monroe, Lauren Bacall, Getty Grable, William Powell)
• Night People, 1954 (also prod. and dir., starring Gregory Peck, Broderick Crawford, Anita Björk)
• Black Widow, 1954 (also prod. and dir., based on Hugh Wheeler's – pseud. Patrick Quentin –  novel Fatal Woman, starring Ginger Rogers, Van Heflin, Gene Tierney, George Raft)
• Woman in the Window, 1955 (sc., episode in the TV series Robert Montgomery Presents)
• How to Be Very, Very Popular, 1955 (also prod. and dir., starring Betty Grable, Sheree North, Robert Cummings)
• The Man in the Gray Flannel Suit, 1956 (sc., also dir., based on Sloan Wilson's novel, starring Gregory Peck, Jennifrer Joners. Fredric March)
• Clothes Make the Man, 1957 (story, adaptation by Arthur Sheekman, episode in the TV series Schlitz Playhouse of Stars)
• The True Story of Jesse James, 1957 (dir. Nicholas Ray, written by Walter Newman, based on NJ's screenplay for Jesse James)
• Oh, Men! Oh Women!, 1957 (prod. and dir. only, based on a play by Edward Chodorovstarring Ginger Rogers, David Niven)
• The Three Faces of Eve, 1957 (also prod. and dir., based on Corbett H. Thigpen's and Hervey M. Cleckley's book, starring Joanne Woodward)
• The Man Who Understood Women, 1959 (also prod. and dir., based on a story by Romain Rolland, starring Leslie Caron, Henry Fonda)
• The Angel Wore Red, 1959 (also dir., starring Ava Gardner, Dirk Bogarde, Joseph Cotten)
• Flaming Star, 1960 (co-script with Clare Huffaker, dir. Don Siegel, starring Elvis Presley)
• Cry to Heaven, 1962 (sc., with others, episode in the TV series Bus Stop, dir. Stuart Rosenberg)
• Something's Got to Give, 1962 (sc. with others, unfinished remake of My Favorite Wife, dir. George Cukor, starring Marilyn Monroe, Dean Martin, Cyd Charise) 
• Mr. Hobbs Takes a Vacation, 1962 (sc., dir. Henry Koster, starring James Stewart, Maureen O'Hara)
• Take Her, She's Mine, 1963 (sc,. dir. Henry Koster, starring James Stewart, Sandra Dee)
• The World of Henry Orient, 1964 (co-script, with Nora Johnson, dir. George Roy Hill, starring Peter Sellers)
• Manhunt, 1965 (original screenplay, episode in the TV series The Legend of Jesse James, dir. Don Siegel)
• The Dirty Dozen, 1967 (screenplay by NJ and Lukas Heller, dir. by Robert Aldrich, starring Lee Marvin. Ernest Borgine, Robert Ryan, Charles Bronson, Jim Brown, John Cassavetes, George Kennedy, Ricard Jaeckel, Telly Savalas, Trini Lopez, Ralph Meeker, Clint Walker, Robert Webber, Donald Sutherland, based on E.M. Nathanson's novel) - " . . . everyone connected with it should be ashamed . . .  I do not know enough about Producer Kenneth Hyman to know why he should be willing to be responsible for so irresponsible a film. Director Robert Aldrich's persisting preoccupation with socially deleterious propaganda is not only limiting but ruining his career." (Gordon Drummond, in Films in Review, August/September 1967; quoted in Some Like It Not: Bad Reviews of Great Movies by Ardis Sillick & Michael McCormick, with an introduction by Ed Gorman, London: Aurum Press, 1996, pp. 202-203)
• Dark Mirror, 1984 (TV movie, based on NJ's 1946 screenplay, dir. Don Siegel)