Robert E. Hopkins arrived in Hollywood in the mid-1920s as a leather goods salesman. Quickly deducing that the motion picture industry was a more lucrative racket, Hopkins or "Hoppy," as he was known to one and all wangled a job as a title-writer at MGM in 1928. Surviving the talkie revolution with the greatest of ease, he scripted several of MGM's medium-budget features, including a handful of the studio's Buster Keaton and Marie Dressler/Polly Moran vehicles. His true genius, however, lay not in writing stories but in thinking them up. As MGM's top "idea man," Hopkins seldom wrote a line of dialogue; instead, in the words of his old colleague Joseph L. Mankiewicz, "he sparked other people." His inspiration won Hopkins an Academy Award nomination when San Francisco made it to the scene in 1936.
| Title | Year | Editors' Rating | User Rating | |
|---|---|---|---|---|
|
Saratoga
Screenwriter |
1937 | |||
|
San Francisco
Screenwriter |
1936 | |||
|
The Chief
Screenwriter |
1933 | |||
|
What! No Beer?
Screen Story |
1933 | |||
|
Flying High
Screenwriter |
1931 | |||
|
Parlor, Bedroom and Bath
Screenwriter |
1931 | |||
|
Politics
Screen Story |
1931 | |||
|
Reducing
Screenwriter |
1931 | |||
|
The Cuban Love Song
Screenwriter |
1931 | |||
|
The Sidewalks of New York
Dialogue Writer |
1931 | |||
|
Caught Short
Screenwriter |
1930 | |||
|
Love in the Rough
Screenwriter |
1930 | |||
|
Remote Control
Screenwriter |
1930 | |||
|
The Florodora Girl
Screenwriter |
1930 | |||
|
Hollywood Revue of 1929
Dialogue Writer |
1929 | |||
|
Honeymoon
Intertitle Writer |
1929 | |||
|
Spite Marriage
Intertitle Writer |
1929 | |||
|
Shadows of the Night
Intertitle Writer |
1928 | |||
|
The Baby Cyclone
Intertitle Writer |
1928 | |||
|
The Law of the Range
Intertitle Writer |
1928 | |||
|
The Smart Set
Intertitle Writer |
1928 | |||
|
Private Izzy Murphy
Screenwriter |
1926 | |||
|
The Better 'Ole
Intertitle Writer |
1926 | |||
|
Old Clothes
Intertitle Writer |
1925 |


