The Martin Ritt papers span the years 1938-1990 (bulk 1957-1990) and encompass 24.5 linear feet. The collection consists of production material, television files, stage material, correspondence files, subject files, scrapbooks, and a small amount of oversize material. The production files generally consist of scripts and production material for films directed by Ritt and a small amount of clippings and miscellaneous material for the two films in which Ritt acted. Less material is available for the films prior to HEMINGWAY'S ADVENTURES OF A YOUNG MAN (1962) than for his later films, with FIVE BRANDED WOMEN (1960) and PARIS BLUES (1961) being particularly sparse. There is a small amount of material on unproduced projects, consisting mainly of correspondence and legal material, though a Dalton Trumbo script for MONTEZUMA is present. The limited television material consists of contracts and clippings covering both produced and unproduced series and programs. The produced material includes a script for THE PAPER BOX KID (1952), and the unproduced material includes scripts for Ritt's documentary on Bill Shoemaker. The stage material, mainly clippings and contracts, covers many of the plays Ritt directed and in which he appeared. There are scripts for "The Flowering Peach," "Set My People Free," and "A Memory of Two Mondays." The correspondence files are extensive and contain both personal and professional correspondence. The subject files cover mainly the 1980s and have information on institutions and subjects. Of particular interest is a file on the Actors Studio with information regarding the operation of the studio following the death of artistic director Lee Strasberg. One scrapbook covers Ritt's theater career, while a second contains foreign publicity for THE FRONT (1976).

Martin Ritt (1914-1990) was born in New York City and attended Elon College. After graduating in 1934, he moved back to New York and attended St. John's Law School, where he appeared in several school plays. Hired by the Group Theatre as Luther Adler's boxing coach for "Golden Boy," he soon joined the group as an actor and appeared in "Golden Boy" and "The Gentle People." On Broadway he performed in such shows as "Two on an Island" and "The Eve of St. Mark." During World War II, Ritt served in the U.S. Army Air Force Special Forces and appeared in "Winged Victory" (1943). He began to direct, helming a production of "Yellow Jack" in 1944. After the war, he directed such plays as "Peebles and Hooker" and "Set My People Free."

In the late 1940s Ritt started to work in television, both as a director and an actor, on such series as DANGER and STARLIGHT THEATRE. Around 1952 Ritt found himself blacklisted from television and was forced to find other employment. He taught acting and began directing summer stock, mainly in Philadelphia. In 1955 he returned to Broadway to direct "A View from the Bridge." The play was a success, and Ritt found himself in demand again. This resulted in his first film, EDGE OF THE CITY (1957). Its critical success led to a contract with 20th Century-Fox, where he directed NO DOWN PAYMENT (1957), THE LONG, HOT SUMMER (1958), and others. Throughout his career Ritt worked with many of the same artists, such as writers Irving Ravitch and Harriet Frank Jr., actors Paul Newman and Sally Field, and cinematographer James Wong Howe. Among his more notable films are HUD (1963), THE MOLLY MAGUIRES (1970), SOUNDER (1972), and NORMA RAE (1979). His final film was STANLEY & IRIS (1990). Ritt served on the Academy Board of Governors from July 1980 to June 1983. He was nominated by the Academy for directing HUD.