The Ruth Morley papers span the years 1958-1991 (bulk 1970s and 1980s) and encompass 11.6 linear feet. The collection consists of production, television, stage, and subject files.

The Production files contain both Produced and Unproduced films. Materials include scripts, contracts, correspondence, and notes, as well as costume plots, clippings, financial information, and production material such as call sheets and shooting schedules. Titles include ANNIE HALL (1977), DIARY OF A MAD HOUSEWIFE (1970), GHOST (1990), THE HUSTLER (1961), KRAMER VS. KRAMER (1979), LILITH (1964), LITTLE MISS MARKER (1980), ONE FROM THE HEART (1982), PARENTHOOD (1989), PRINCE OF TIDES (1991), SUPERMAN (1978), TOOTSIE (1982), among others.

The Television files consist of clippings, correspondence, and production materials for made-for-TV movies and miniseries including such titles as DEATH OF A SALESMAN (1985), THE LOST HONOR OF KATHRYN BECK (1984), and MUSSOLINI: THE UNTOLD STORY (1985).

The Stage files contain clippings, programs, and correspondence for a variety of productions including DEATHTRAP (1978-1982) and A SENSE OF HUMOR (1983).

The Subject files feature materials on the Academy Awards (1979-1984), correspondence with talent agencies and law firms, clippings, resumes, and documentation regarding the Costume Designers Guild.

The Oversize files contain fabric swatches, publicity materials, and periodicals for various feature films.

Ruth Morley (1925-1991) was born in Vienna, Austria. She left Vienna as part of the kindertransports that took place just prior to World War II. After being reunited with her parents, she moved to the United States as a teenager. Her career began on the New York stage in 1950 where over the course of the next eight years she worked steadily on such productions as "Take a Giant Step" and "The Miracle Worker." Morley received her first on-screen credit for the 1958 film NEVER LOVE A STRANGER. This small, independent production was, like many of her later motion picture credits, filmed on location in New York City. In 1962, Morley was nominated for an Academy Award for her work on THE MIRACLE WORKER (1962) which was adapted from the play. Morley continued to work on stage productions throughout her life but in the 1970s, her film career took off. In addition to DIARY OF A MAD HOUSEWIFE (1970), TAXI DRIVER (1976), KRAMER VS. KRAMER (1979), TOOTSIE (1982) and GHOST (1990), Morley’s best known effort was for one of film’s most memorable looks, ANNIE HALL (1977).