Philip Ives Dunne (February 11, 1908 – June 2, 1992) was an American screenwriter, film director and producer, who worked prolifically from 1932 until 1965.

Dunne was a leading Screen Writers Guild organizer and was politically active during the "Hollywood Blacklist" episode of the 1940s–1950s.

Many notable directors worked with Dunne's screenplays, including Carol Reed, John Ford, Jacques Tourneur, Elia Kazan, Otto Preminger, Joseph L. Mankiewicz, and Michael Curtiz, among others.

Dunne was born in New York City, the son of Chicago syndicated columnist and humorist Finley Peter Dunne and Margaret Ives Abbott, the first American woman to win an Olympic medal and the daughter of the Chicago Tribune's book reviewer and novelist, Mary Ives Abbott.

[citation needed] The first important screenplay of Dunne's career was The Count of Monte Cristo (1934), produced by Edward Small.

He then did three films in collaboration with Julien Josephson which established him as one of the leading writers at the studio: Suez (1938), Stanley and Livingstone (1939), and The Rains Came (1939).

From 1942 to 1945, Dunne was the Chief of Production for the Motion Picture Bureau, U.S. Office of War Information, Overseas Branch.

[2] Notably, he produced the non-fiction short The Town (1944), directed by Josef von Sternberg, which has received some critical acclaim.

[8] Dunne returned to Fox after the war and quickly re-established himself as one of the studio's leading writers with credits including The Late George Apley (1947), and The Ghost and Mrs. Muir (1947).

Dunne had enjoyed writing David and Bathsheba but said working on The Robe was "a chore" which he only did "as a favor to Zanuck".

[17] Dunne wrote and directed two films for producer Charles Brackett: Ten North Frederick (1958) with Gary Cooper, and Blue Denim (1959).

In 1961, he directed Wild in the Country, starring Elvis Presley, from a screenplay by Clifford Odets and produced by Wald.

[citation needed] In 1962, he directed Lisa, based on the novel The Inspector by Jan de Hartog and featuring Stephen Boyd and Dolores Hart, which was nominated for a Golden Globe for Best Picture – Drama.

[21] The 1992 film The Last of the Mohicans, directed by Michael Mann and starring Daniel Day-Lewis, was based on Dunne's 1936 screenplay of the Fenimore Cooper novel.

[citation needed] In addition to screenwriting, Dunne wrote syndicated newspaper articles and was a contributor to The New Yorker and The Atlantic Monthly magazines.

[23] As a writer and director, Dunne frequently worked with others who either were, had been, or would become blacklisted, including Ring Lardner Jr., Clifford Odets, Albert Maltz, and Marsha Hunt.

In 1997, the WGA restored full writing credits to blacklisted writers whose names were left out of films they worked on.

In addition, Philip Dunne did not believe he deserved sole screenplay credit but it was not until many years later that he learned that a blacklisted writer had worked on the project.

His involvement in the Committee for the First Amendment can arguably be read as just that—support for Constitutional free speech against a government entity (HUAC) that, to Dunne, seemed determined to usurp those rights.

At various times dating to before the Second World War, he clashed with fellow members of the Screen Writers Guild who he felt were "pro-Stalin" Communists.

Dunne's anti-Communist leanings would seem to be verified by his uninterrupted employment as a screenwriter on major Hollywood productions throughout the blacklist period, despite his quite vocal denunciation of HUAC.