Valerie Curtin (born March 31, 1945) is an American actress and screenwriter whose career has moved on two tracks at once: she’s appeared steadily on screen since the 1970s while also building a significant reputation behind the scenes as a writer—most notably earning an Academy Award nomination for co-writing …And Justice for All (1979).
Early life
Curtin was born in Jackson Heights, New York, the daughter of radio actor Joseph Curtin. She attended Lake Erie College. She’s also the paternal cousin of comedian and actress Jane Curtin—one of those neat industry-family footnotes that sounds like a rumor until you realize the surname isn’t that common in show business.
Finding her footing in comedy and performance
Before Hollywood, Curtin worked in New York with comedy groups and in theatrical productions. In 1971, she relocated to Los Angeles and became a member of The Committee, a well-known improvisational comedy troupe. That improv-and-ensemble background shows up as a through-line in her later work: she’s often connected to projects that mix character comedy with adult realism rather than broad cartoon gags.
Writing career: from TV rooms to the Oscars
Curtin began writing professionally in the 1970s, contributing to episodes of The Mary Tyler Moore Show—about as strong a training ground as a comedy writer could ask for in that era.
Her biggest writing milestone came with her then-husband, Barry Levinson. Together they were nominated for the Academy Award for Best Original Screenplay for …And Justice for All (1979), the Al Pacino courtroom drama famous for its fury and its moral exhaustion. Curtin and Levinson also co-wrote Best Friends (1982), a semi-autobiographical project starring Burt Reynolds and Goldie Hawn.
Through the 1980s and into the early 1990s, Curtin continued to rack up writing credits that leaned more “mainstream studio” than “inside-baseball comedy room,” including Inside Moves (1980), the 1984 remake of Unfaithfully Yours, and Toys (1992).
Acting career: steady work across TV and film
Curtin’s acting career ran alongside her writing rather than “before” it. In the 1970s, she became a reliable guest presence on television, appearing on popular series like Happy Days, Welcome Back, Kotter, Rhoda, The Rockford Files, and Barney Miller—a tour through the decade’s biggest comfort-food TV.
A particularly interesting near-miss: in March 1976, ABC filmed a pilot for Three’s Company with Curtin appearing alongside John Ritter and Susanne Zenor. Curtin played a character named Jenny, a role that ultimately evolved into Janet Wood, later played by Joyce DeWitt in the series that actually launched.
On film, Curtin built a résumé of notable supporting roles, starting with Alice Doesn’t Live Here Anymore (1974). She appeared in major 1976 releases like All the President’s Men, Silver Streak, and Mel Brooks’ Silent Movie. Later film credits include Why Would I Lie? (1980), Maxie (1985), and Big Trouble (1986), which was John Cassavetes’ final film. She also had a small uncredited role in Best Friends, the movie she co-wrote.
9 to 5: a role lost, then reclaimed
In 1982, Curtin was cast as Judy Bernly in the TV sitcom 9 to 5, based on the 1980 film where the character had been played by Jane Fonda. Curtin was dropped after two seasons amid behind-the-scenes changes when James Komack became executive producer, replacing the earlier producing leadership. But the story didn’t end there: she returned for the later syndicated version of 9 to 5 (1986–1988), reprising the role—and that version performed well.
Later television work
Curtin continued to guest-star widely through the 1990s and beyond, with appearances on shows including Frasier, Party of Five, Becker, The District, Just Shoot Me, and ER—the kind of credits that reflect longevity and a reputation for being able to drop into an established cast and make the episode work.
The through-line
Valerie Curtin’s career is a rare kind of double-threat endurance: she wasn’t a screenwriter who “used to act,” or an actress who “dabbled in writing.” She did both seriously, at the same time—moving between writers’ rooms, studio screenplays, and steady on-camera work with the calm professionalism of someone who understands how the whole machine runs.
