Editing Robert Shaw (actor) (section)

===''The Man in the Glass Booth''===
His play ''[[The Man in the Glass Booth]]'' was a success in London in 1967. It transferred to Broadway the following year and was a hit, running for 264 performances.<ref>{{cite news |title=Robert Shaw Play Staged in London: Actor's First Effort, 'Glass Booth,' Grips Audience |work=[[The New York Times]] |date=29 July 1967 |page=12}}</ref> His adaptation for the stage of ''The Man in the Glass Booth'' gained him the most attention for his writing. The book and play present a complex and morally ambiguous tale of a man who, at various times in the story, is either a Jewish businessman pretending to be a Nazi war criminal, or a Nazi war criminal pretending to be a Jewish businessman. The play was quite controversial when performed in the UK and the US, some critics praising Shaw's "sly, deft and complex examination of the moral issues of nationality and identity", others sharply critical of Shaw's treatment of such a sensitive subject.<ref name="auto">{{cite book|url=http://www.withnailbooks.com/2014/01/the-forgotten-novels-of-robert-shaw.html|title=The Forgotten Novels of Robert Shaw|publisher=Withnail Books|accessdate=14 July 2023}}</ref>  The play, but not the movie, presents the question: "Given the chance, would Jews behave like Nazis?"<ref>{{cite web|url=http://www.jsonline.com/entertainment/arts/off-the-wall-cant-shatter-clunky-finale-of-man-in-the-glass-booth-tn93p8i-198497681.html|title=Off the Wall can't shatter clunky finale of 'Man in the Glass Booth'|website=www.jsonline.com|accessdate=14 July 2023}}</ref>

Shaw was one of many stars in ''[[Battle of Britain (film)|Battle of Britain]]'' (1969), with the role of [[Sailor Malan]] written specifically for him.<ref>{{cite book |first=S.&nbsp;P. |last=Mackenzie |title=The Battle of Britain on Screen: 'The Few' in British Film and Television Drama |date=2016 |publisher=Bloomsbury |isbn=9781474228466 |page=139 |url=https://books.google.com/books?id=0sU7CwAAQBAJ&pg=PT71}}</ref> He had the lead in ''[[The Royal Hunt of the Sun (film)|The Royal Hunt of the Sun]]'' (1969) where he played Spanish conquistador Francisco Pizarro, alongside Christopher Plummer who played Incan Emperor Atahualpa, and ''[[Figures in a Landscape (film)|Figures in a Landscape]]'' (1970); his fee for the latter was reportedly $500,000.<ref>{{cite news |title=Shaw: Cash crunch adds up to misery |last=Dangaard |first=Colin |work=Chicago Tribune |date=29 January 1978 |page=e20}}</ref> In 1970, Shaw returned to Broadway playing the title role in ''[[Gantry (musical)|Gantry]]'', a musical adaptation of ''[[Elmer Gantry]],'' which ran for just one performance, despite co-starring [[Rita Moreno]].<ref name="gantry"/> His play ''[[Cato Street]]'', about the 1820 [[Cato Street Conspiracy]], was produced for the first time in 1971 in London. He appeared in ''[[Old Times]]'' on Broadway in 1971.<ref>{{cite news |title=Robert Shaw, 51, Hunter of 'Jaws,' Dies |work=Los Angeles Times |date=29 August 1978 |page=5}}</ref>

As an actor he appeared in ''[[A Town Called Bastard]]'' (1971), a spaghetti Western; ''[[Young Winston]]'' (1972), as [[Lord Randolph Churchill]]; ''[[A Reflection of Fear]]'' (1972); ''[[The Hireling]]'' (1973); he had a cameo in ''[[The Golden Voyage of Sinbad]]'' (1973); played mobster Doyle Lonnegan in ''[[The Sting]]'' (1973), a huge hit; was the subway-hijacker and hostage-taker "Mr. Blue" in ''[[The Taking of Pelham One Two Three (1974 film)|The Taking of Pelham One Two Three]]'' (1974). 

He made his final appearance on Broadway, in a production of ''[[The Dance of Death (Strindberg play)|Dance of Death]]'', in 1974.

''The Man in the Glass Booth'' was further developed for the screen, but Shaw disapproved of the resulting screenplay and had his name removed from the credits. However, he viewed the completed film before its release and asked to have his name reinstated. In 2002, director [[Arthur Hiller]] related Shaw's initial objection to the screenplay and his subsequent change of heart:<blockquote>When we decided that we needed more emotions in the film and leaned it towards that, we tried, obviously, to be honest to Robert Shaw, to keep that intellectual game-playing, but to create more of an emotional environment. And Robert Shaw became very disturbed. He did not like the idea and indeed, if you will watch the film, you will see that his name does not appear in the credits, nor does it even say, "based on the play, ''The Man in the Glass Booth''<nowiki/>" because he wouldn't let us do it. He just didn't like the idea until he saw the film. Then he phoned Eddie Anhalt, the screenwriter, and congratulated him because he thought it was—just kept the tone he wanted and did it so well. And he phoned Mort Abrahams the Executive Producer to see if he could get his name put on the final credits. But it was too late to restore his name, all the prints were all made.<ref>''The Man In The Glass Booth''; Interview with Arthur Hiller; 2003 DVD release; KINO VIDEO.</ref></blockquote>  Arthur Hiller's account is uncorroborated.<ref name="auto"/>