Nathaniel Benchley (November 13, 1915 – December 14, 1981) was an American author.
Born in Newton, Massachusetts to a literary family, he was the son of Gertrude Darling and Robert Benchley (1889-1945), the noted American writer, humorist, critic, actor, and one of the founders of the Algonquin Round Table in New York City.
Nathaniel Benchley was the highly-respected author of many children's/juvenile books that provided learning for the youthful readers with stories of various animals or through the book's historical settings. Benchley dealt with diverse locales and topics such as "Bright Candles", which recounts the experiences of a 16-year-old Danish boy during the German occupation of his country in World War II; and "Small Wolf", a story about a Native American boy who meets white men on the island of Manhattan and learns that their ideas about land are different from those of his own peoples'.
Film director/producer, Norman Jewison made Benchley's 1961 novel The Off-Islanders into a motion picture titled The Russians Are Coming, the Russians Are Coming for which he received the nomination for an Academy Award for Writing Adapted Screenplay. He was a close friend of actor Humphrey Bogart and wrote his biography in 1975.
Benchley's novel Welcome to Xanadu was made into the 1975 motion picture Sweet Hostage.
His elder son, Peter Benchley (1940-2006), was a writer best known for writing the novel Jaws and the screenplay of the 1975 Steven Spielberg film made from it. His younger son, Nat Benchley, is a writer and actor who has portrayed his grandfather, Robert Benchley, in a one-man, semi-biographical stage show, "Benchley Despite Himself". The show was a compilation of Robert Benchley's best monologues, short films, radio rantings and pithy pieces as recalled, edited, and acted by his grandson Nat, and combined with family reminiscences and friends' perspectives."
Nathaniel Benchley died in 1981 in Boston, Massachusetts and was interred in the family plot at Prospect Hill Cemetery in Nantucket.
少让西方受益的“自然秩序”。好莱坞理想主义把这秩序和自己对秩序的批评搓成便宜美观、别问手感的混纺线,再用挑炫钩酷的“好莱坞针”将其织成了解放奴隶、克隆人觉醒、仰望星空等故事。这些纯情加矫情的故事让人没法不联想到初中女生的作文或《南方周末》历年的元旦献词,尽管意思不是很大,毕竟没有教人胡来催人作恶,应属最近风行的“正能量”,各级党校若能组织师生集体学习,我想起码没坏处——嗲点就先让他们嗲点吧。再转向国内的社会生活和艺术创作,接着说内容与形式的关系。两年前中国一位没什么人知道的编导张猛,拍了一部没什么人观看的电影《钢的琴》。该电影如今被搬上了舞台,即本文一上来就说到的那部同名音乐剧。1990年代中后到2000年初,数千万国企工人下岗失业,连带数亿家庭成员陷入艰难惨淡之境。如此广大
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