SOURCE: "Odets of Hollywood," in Sight and Sound, Vol. 56, No. 1, Winter, 1986/1987, pp. 59-63.

In the following essay, Peary explores Odets's flirtation with and eventual immersion into Hollywood screenwriting.

Consider three contemporary playwrights. Sam Shepard becomes a movie star, a heartthrob, Harold Pinter turns out clever screenplays; David Hare directs films—and they do so without looking over their shoulders. Who today would criticise them for diminishing themselves as playwrights, squandering their talents, or just plain selling out? Selling Out—in capitals—the very notion is an anachronism. But in the 30s, for the theatre, the term still meant something. The stage was where 'real' dramatic artists made their stand. Eugene O'Neill never, ever went to Hollywood, Clifford Odets was reminded over and over again. And if Odets wished to be the next O'Neill—or maybe better than O'Neill—he must stay in New York and pump out plays...