Samuel A. Taylor (June 13, 1912 – May 26, 2000) was an American playwright and screenwriter. Description above from the Wikipedia article Samuel A. Taylor, licensed under CC-BY-SA, full list of contributors on Wikipedia.
Biography from TMDB.
- June 13, 1912
- May 26, 2000 (aged 87)
- Chicago, Illinois, USA
- Writer, also director
- 10 on MovieCove · 14 credits in all
What are Samuel A. Taylor's films like?
Across their 10 MovieCove titles with a thematic analysis, their films lean Bonds and Morality.
Genres
Their MovieCove films by primary genre. The badge is the typical Midcredits score of the genre's films, the median percentile; an up arrow marks a genre at or above their average across these genres.
Themes
What they feel like to watch
Ironic 0 · Wry 0 · Earnest 10
A split, not a type: Light 6 · Serious 1 · Dark 3
Grounded 4 · Stylized 4 · Heightened 2
A split, not a type: Gentle 6 · Charged 3 · Intense 1
Steady 7 · Shifting 3 · Whiplash 0
A split, not a type: Straight-faced 4 · Some laughs 3 · Funny 3
Slow burn 7 · Even-paced 3 · Relentless 0
Casual 7 · Engaged 1 · Full focus 2
Easy watch 6 · Affecting 2 · Heavy 2
Resolved 8 · Open-ended 0 · Ambiguous 2
Moods and endings
- Happy5
- Bittersweet3
- Tragic1
- Ambiguous1
AI-generated from each title's plot synopsis and cast list, with extra plot summaries, reviews and Parents Guide notes for titles the model may not know, and the model's own knowledge of the ones it recognizes. Only analyzed titles count, so this covers part of the filmography; the feel axes count films only for now.
Where can I watch Samuel A. Taylor's films?
As of October 24, 2026, 3 of their 10 MovieCove titles stream on a subscription or free service.
Subscription and free streaming for Samuel A. Taylor's titles on MovieCove; rent and buy are not counted. Titles are listed by Midcredits score, highest first, at most 12 per service; a dashed chip is a producer credit or a minor one, such as a thanks. A service opens the browse page, which counts movies only, so its number can differ.
Filmography
14 credits, 10 with a MovieCove page; 1 appearance as themselves is hidden until asked for.
Sabrina(1995)
Midcredits score: 59th percentile of all films
Avanti!(1972)
Midcredits score: 86th percentile of all films
The Love Machine (not in the MovieCove catalog yet)(1971)
Promise at Dawn (not in the MovieCove catalog yet)(1970)
Topaz(1969)
Midcredits score: 46th percentile of all films
Rosie! (not in the MovieCove catalog yet)(1967)
Three on a Couch(1966)
Midcredits score: 40th percentile of all films
Midcredits score: 68th percentile of all films
Goodbye Again(1961)
Midcredits score: 83rd percentile of all films
Vertigo(1958)
Midcredits score: 99th percentile of all films
The Montecarlo Story(1956)
Midcredits score: 25th percentile of all films
The Eddy Duchin Story(1956)
Midcredits score: 72nd percentile of all films
Sabrina(1954)
Midcredits score: 95th percentile of all films
The Happy Time (not in the MovieCove catalog yet)(1952)
Career shape
A full career of 14 titles from 1952 to 1995.
Counts from TMDB across their full career, self appearances out; a title counts in every role they held on it. The ring is the typical Midcredits score (the median percentile) of the role's titles that are on MovieCove, shown from 5 scored.
How do Samuel A. Taylor's films land?
Their typical MovieCove film has a Midcredits score in the 70th percentile, the median of all 10; across their 10 films with reception data, the typical film sits in the 65th percentile for acclaim.
- 75th and up4
- 50th to 74th3
- 25th to 49th3
Shape of the crowd
None of their 10 titles divides audiences: 5 are Crowd Pleasers.
- Universally Loved2
- Crowd Pleaser5
- Broadly Agreed2
- Mixed1
Reviewers score the dialogue 56/100 and the plot and story 43/100 in their films, across 10 reviewed titles. The element that speaks to their work as a writer.
Percentiles are each film's standing among all films on MovieCove; the typical film is the median, so one outlier cannot drag it. Percentiles and reviewer scores count the films IMDb credits them on, for now; the Midcredits score bands, the shape of the crowd and the two cards count their MovieCove titles, shows included (a show ranked among shows), appearances as themselves left out. A descriptor is the shape of a title's IMDb rating distribution against the catalog; "most divisive" needs a spread wider than half of all titles, and a card names only a principal credit: a craft role, and on a show a crew role or a run of episodes, never a courtesy credit or a one-off guest spot.
Is Samuel A. Taylor's work okay for kids?
Across up to 5 MovieCove titles with content scores, violence & gore, sex & nudity and profanity run lighter than most films.
Severity 0–100 from the Content Guide. Categories with under 10 votes on a title are not counted. The band's colour is the severity of their median, named beside it.
Who does Samuel A. Taylor work with?
People who share at least 2 of Samuel A. Taylor's MovieCove titles, grouped by what they did on them; Billy Wilder shares the most, 3.
Directors
- Billy WilderShared titles: Sabrina (1995), Avanti! (1972), Sabrina (1954)See all 3 shared titles with Billy Wilder
- Alfred HitchcockShared titles: Topaz (1969), Vertigo (1958)See all 2 shared titles with Alfred Hitchcock
Writers
- Ernest LehmanShared titles: Sabrina (1995), Sabrina (1954)See all 2 shared titles with Ernest Lehman
Actors
- Kim NovakShared titles: Vertigo (1958), The Eddy Duchin Story (1956)See all 2 shared titles with Kim Novak
Cinematographers
- Giuseppe RotunnoShared titles: Sabrina (1995), The Montecarlo Story (1956)See all 2 shared titles with Giuseppe Rotunno
- Robert BurksShared titles: The Pleasure of His Company (1961), Vertigo (1958)See all 2 shared titles with Robert Burks
Producers
- Herbert ColemanShared titles: Topaz (1969), Vertigo (1958)See all 2 shared titles with Herbert Coleman
- Arthur KrimShared titles: Goodbye Again (1961), The Montecarlo Story (1956)See all 2 shared titles with Arthur Krim
- Robert BenjaminShared titles: Goodbye Again (1961), The Montecarlo Story (1956)See all 2 shared titles with Robert Benjamin