The Bert Granet papers span the years 1903-2010 (bulk 1934-1995) and encompass 7 linear feet. The papers consist of production files, television files, subject files, and scrapbooks.

The production files contain scripts, articles, correspondence, preview comments, and research material. The files include an annotated script for MY FAVORITE WIFE (1940), a bound copy of SPECTER OF THE ROSE (1946) signed by Ben Hecht, the preview comments for BERLIN EXPRESS (1948), and a “sample script” for an unproduced Marx Brothers short.

The television files contain scripts, correspondence, notes, production material, and story ideas. There is extensive material on WESTINGHOUSE DESILU PLAYHOUSE (1958-1960) which includes story conference notes, a script for the second part of THE UNTOUCHABLES, and a list of “solo possibilities” for Lucille Ball. There are also a few letters from Rod Serling to Granet regarding THE TWILIGHT ZONE (1959-1964). There are notes on a discussion between Granet and Walter Winchell for THE WALTER WINCHELL FILE (1957-1958). There is extensive material on WHITE COLLAR GIRL which starred Laraine Day and was produced, but never aired on television.

The subject files contain correspondence, diaries, newsletters, notebooks, logs, and ephemera. Correspondence includes letters from Laraine Day, Betsy Brake, Daniel Fuchs, Garson Kanin, Groucho Marx, Rod Serling, Sidney Sheldon, and childhood friend H. S. Goodman. There are diaries include one discussing his trip to Europe on his honeymoon during the outbreak of World War II. The files also contain a yearbook from a childhood summer camp, a notebook containing Granet’s original class notes from lectures delivered by George Pierce Baker at Yale, his original contract with the Paramount Publix Corporation, a guestbook containing signatures of celebrities who visited his boat, and his Desilu studio pass. Loose material from scrapbooks include RKO writing assignments in 1940 and a letter from Jean Hersholt.

The scrapbooks contain clippings, photographs, studio passes, and ephemera. This includes a photographic print of a scene from NIGHT CLUB (1929), photographs of Granet with Laraine Day and Walter Winchell, and a handmade felt heart welcoming back Lucille Ball to television.

Bert Granet (1910-2002) was born in New York City. In 1927, Granet attended the Yale School of Drama where took a course in playwriting known as “47 Workshop” taught by George Pierce Baker. Through Baker, he landed an interview with Walter Wanger who hired him to work at Astoria Studios owned by Famous Players-Lasky (later known as Paramount Pictures). As sound became fundamental to the film business, he attended Western Electric school while working in various departments at the studio and eventually worked for the Paramount short subjects department on films and on feature films such as NIGHT CLUB (1929). In 1930, Granet, through George Kaufman, met Groucho Marx to whom he presented story ideas which were later developed into the films MONKEY BUSINESS (1931) and HORSE FEATHERS (1932). Granet sued Paramount for not receiving credit and as compensation he received a contract with the studio in 1932 and moved to the West Coast soon thereafter. In 1933, he wrote the screenplay for SO THIS IS HARRIS (1933) which won an Academy Award for Best Short. He began working as a screenwriter for various studios including Republic Pictures and Columbia Pictures before he was hired by RKO and wrote such films as THE AFFAIRS OF ANNABEL (1938), MY FAVORITE WIFE (1940), and A GIRL, A GUY AND A GOB (1941). He went on to produce THOSE ENDERAING YOUNG CHARMS (1945), THE LOCKET (1946), and BERLIN EXPRESS (1948). In 1956, he began working as a television producer for Desilu where he produced WESTINGHOUSE DESILU PLAYHOUSE (1958-1960), THE TWILIGHT ZONE (1959-1964), and THE UNTOUCHABLES (1959-1963) with the later two series beginning as episodes on WESTINGHOUSE DESILU PLAYHOUSE. In 1959, he received a Screen Producers Award. By the 1970s, he had retired from film and television, but continued to make public appearances.