Women Film Directors who last directed before 2003
OK... I've been making a list of women film directors active 2003 or later and it's over 5,000 strong. Finally realizing it makes sense for me to build a list of all the rest of them. If I have anyone on the wrong list, please give a shout out and I'll update. This one's just getting started and I know there are a LOT of filmmakers who belong on this list, so give me a shout out about that too. Yes, it would have been sensible to do this before, but I'm doing it now. The 2003 onward list is here: http://www.imdb.com/list/RLC1gMTqtnY
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Ida was born in London to a show business family. In 1932, her mother took Ida with her to an audition and Ida got the part her mother wanted. The picture was Her First Affaire (1932). Ida, a bleached blonde, went to Hollywood in 1934 playing small, insignificant parts. Peter Ibbetson (1935) was one of her few noteworthy movies and it was not until The Light That Failed (1939) that she got a chance to get better parts. In most of her movies, she was cast as the hard, but sympathetic woman from the wrong side of the tracks. In The Sea Wolf (1941) and High Sierra (1940), she played the part magnificently. It has been said that no one could do hard-luck dames the way Lupino could do them. She played tough, knowing characters who held their own against some of the biggest leading men of the day - Humphrey Bogart, Ronald Colman, John Garfield and Edward G. Robinson. She made a handful of films during the forties playing different characters ranging from Pillow to Post (1945), where she played a traveling saleswoman to the tough nightclub singer in The Man I Love (1946). But good roles for women were hard to get and there were many young actresses and established stars competing for those roles. She left Warner Brothers in 1947 and became a freelance actress. When better roles did not materialize, Ida stepped behind the camera as a director, writer and producer. Her first directing job came when director Elmer Clifton fell ill on a script that she co-wrote Not Wanted (1949). Ida had joked that as an actress, she was the poor man's Bette Davis. Now, she said that as a director, she became the poor man's Don Siegel. The films that she wrote, or directed, or appeared in during the fifties were mostly inexpensive melodramas. She later turned to television where she directed episodes in shows such as The Untouchables (1959) and The Fugitive (1963). In the seventies, she made guest appearances on various television show and appeared in small parts in a few movies.- Producer
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Shonda Lynn Rhimes is an African-American producer, author and screenwriter. She is known for working on the Britney Spears and Zoe Saldana film Crossroads, Grey's Anatomy, Scandal, Private Practice, the Anne Hathaway and Julie Andrews film The Princess Diaries 2: Royal Engagement and the Halle Berry film Introducing Dorothy Dandridge. She has three children.- Actress
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Elaine May (born under the name Elaine Iva Berlin) is an American actress, comedian, film director, playwright, and screenwriter from Philadelphia. Her professional career started in the 1950s and is still ongoing. She has twice been nominated for the Academy Award for Best Adapted Screenplay. She is best remembered for directing the Cold War-themed action comedy "Ishtar" (1987). She won the Golden Raspberry Award for Worst Director, but the film has had a vocal minority of critics who defend its quality.
In 1932, May was born to a Jewish-American family. Both her parents were theatrical actors. Her father Jack Berlin was also a theater director and led his own traveling Yiddish theater company. Her mother was actress Ida Aaron. May made her stage debut c. 1935, at the age of 3. Her father had decided to include her in his performances. As a a child actress, she was reportedly cast in the roles of boys.
The theater company toured extensively, and May was part of their tours. She kept changing schools, enrolling for a few weeks and then moving to another city. May reputedly hated school, but loved reading books on her own. Her favorite topics were fairy tales and mythology.
Jack Berlin died c. 1942, and May's career as a child actress consequently ended. She was left in the custody of her mother. The duo settled in Los Angeles, and May eventually enrolled in Hollywood High School. In 1946, May dropped out of school. In 1948, she married her her first husband, the toy inventor Marvin May. She was only 16-years-old at the time of her marriage. She would later keep her husband's surname as her professional name.
In 1949, May had her only child, Jeannie Brette May. Jeannie would later become a professional actress in her own right, under the name Jeannie Berlin. May and her husband separated c. 1950, and she received a divorce in 1960. She started supporting herself through a series of odd jobs.
In 1950, May was interested in attending college, but most colleges in California required applicants to have high school diplomas. As a high school dropout, she did not have the necessary diploma. Learning that the University of Chicago did not use this requirement, she hitch-hiked her way to Chicago, At the time her personal fortune consisted of 7 dollars.
Once she arrived in Chicago, May started informally taking classes at the university by auditing, sitting in without enrolling. She habitually engaged in discussions with her instructors. She once had a fight with a philosophy instructor because of their different interpretations of the motives behind Socrates' apology. May was introduced to aspiring actor Mike Nichols (1931-2014),who was also attending the University. They bonded over their shared passion for the theater.
In 1955, May became one of the charter members of the Compass Players, a Chicago-based improvisational theater group. Nichols joined the group shortly after. The two of them formed a working partnership, jointly developing improvised comedy sketches. May helped the Compass Players to become a highly popular comedy troupe, due to her talent for satire. She helped in the training of novice members of the group.
In 1957, Nichols was asked to leave the Compass Players. His popularity had outshone most members of the group, and had caused internal conflicts. May left the group with him. They then decided to form their own stand-up comedy team, "Nichols and May". Their improvisational skills, and ability to come up with fresh material allowed them to impress their audience.
In 1960, the comedy duo made their Broadway debut, with the show "An Evening with Mike Nichols and Elaine May". A recording of the show won the 1962 "Grammy Award for Best Comedy Album". "Nichols and May" became very popular in New York City, performing in sold-out shows. They also started making appearances in radio and television, and even recorded commercials.
May was reportedly surprised with her own success. She had spend much of her adult life in near-poverty, but she was now earning a regular income from show business. She joked in an interview that she was practically barefoot when she arrived in New York, and now had to get used to wearing high heels.
In 1961, the duo was at the height of their fame. But they decided to dissolve their partnership in order to pursue solo careers. Nichols started working as a Broadway stage director, while May started her new career as a playwright. Her most successful play was "Adaptation" (1969), which she also directed. For her work as a theatrical director, she won the 1969 "Outer Critics Circle Award, Best Director".
May made her debut as a film director with the black comedy "A New Leaf" (1971). It was an adaptation of a short story by Jack Ritchie (1922-1983), depicting the story of an impoverished patrician who marries a wealthy heiress for her money. The main character initially considers murdering his wife to inherit her wealth, but first he has to protect her from other predators who were after her money.
Her first film found little success at the box office, but was praised by critics and was nominated for the "Golden Globe Award for Best Motion Picture - Musical or Comedy". It later earned a reputation as a cult classic, and in 2019 it was selected for preservation by the National Film Registry.
Her second film was the romantic comedy "The Heartbreak Kid" (1972). It concerns a newlywed man who falls madly in love with a younger woman while on his honeymoon. He pursues his romantic interest obsessively despite all signs that his love is unrequited, and despite the disapproval of the woman's protective father. The film was critically acclaimed, and has at times been listed in retrospectives concerning the funniest American films.
In an unusual career move, her third film was not a comedy. It was the rather bleak gangster film "Mikey and Nicky" (1976). It depicts a small-time mobster whose life is in danger, resorting to asking for help from his childhood friend. While creating this film, May got involved in a legal dispute with the film studio Paramount Pictures. The studio eventually decided to only allow a limited release for the film. The film found a niche audience in the home video market, but May's career as a director suffered from this dispute. She was effectively blacklisted.
May decided to focus on her screenwriting career. She found success with the script to the fantasy-comedy "Heaven Can Wait" (1978), about the afterlife of a man who died prematurely. The film was based on a 1938 play by Harry Segall (1892-1975), and also served as a remake to the classic film "Here Comes Mr. Jordan" (1941) which was based on the same play. The film earned about 99 million dollars at the worldwide box office, and was a critical hit. May was nominated for the Academy Award for Best Adapted Screenplay, but the award was instead won by rival screenwriter Oliver Stone (1946-).
During the early 1980s, May mainly worked as an uncredited script doctor. She "polished" scripts by other screenwriters. Her greatest success in this role was the romantic comedy "Tootsie" (1982), for which she wrote several additional scenes. She attempted her comeback as a director with the action comedy "Ishtar" (1987), which became a box office flop for the film studio Columbia Pictures. The film's failure reportedly convinced Columbia's parent company Coca-Cola to sell the under-performing studio to Sony.
"Ishtar" was derided at the time as the worst film of its era by many critics, but was also defended by a vocal minority of critics. It has since attracted a cult audience, who consider this to be a great film. However the film's failure ended May's career as a film director and damaged her reputation. She also ceased working as a screenwriter for several years, reduced to working as an actress again.
May made her comeback as a screenwriter with the comedy film "The Birdcage" (1996), a remake of the European comedy "La Cage aux Folles" (The Cage of Madwomen, 1978). In the film, the openly gay parents to a young man have to pretend to be straight in an attempt to impress their son's prospective in-laws. The film earned about 185 million dollars at the worldwide box office, the greatest hit in May's career up to that point. She was nominated for the "Writers Guild of America Award for Best Adapted Screenplay", but the award was instead won by rival screenwriter Billy Bob Thornton (1955-).
May found more critical success with her next screenplay, for the political film "Primary Colors" (1998). It was an adaptation of the roman à clef novel "Primary Colors: A Novel of Politics" (1996) by Joe Klein (1946-). The novel itself was a fictionalized version of Bill Clinton's 1992 presidential campaign, and depicts an idealistic campaign worker's disillusionment with the politician. The film's cast were nominated for several awards. May herself received her second nomination for the Academy Award for Best Adapted Screenplay, but the award was instead won by rival screenwriter Bill Condon (1955-).
May largely retired from screenwriting since the end of the 1990s. As an actress, she had a supporting role in the crime-comedy "Small Time Crooks" (2000). The film concerned nouveau riche criminals, who attempt to socialize with the American upper class. For this role, she won the "Best Supporting Actress Award" at the National Society of Film Critics Awards.
May lived in retirement until joining the cast of the television mini-series "Crisis in Six Scenes" (2016), her first television role in several decades. The series was created by Woody Allen (1935-), who happened to be an old friend of May.
In 2018, May made a theatrical comeback in Broadway. She played the elderly gallery owner Gladys Green in a revival of the play "The Waverly Gallery" (2000) by Kenneth Lonergan (1962-). In the play, Gladys shows early signs of Alzheimer's disease, and her family has to deal with her mental decline. May received critical acclaim for this role. For this role, she won the 2019 Tony Award for Best Actress in a Play. At age 87, she was the second-oldest winner of a Tony Award for acting.
As of 2021, May is 89-years-old. She is no longer very active, but she reportedly has plans to direct another film. She remains a popular actress.- Actress
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Delphine was born in Beirut on the 10th April 1932 into an intellectual Protestant family. Her Alsatian father, Henri Seyrig, was the director of the Archaeological Institute and later France's cultural attaché in New York during World War Two. Her Swiss mother, Hermine De Saussure, was an adept of Rousseau's theories, a female sailing pioneer and the niece of the universally acclaimed linguist and semiologist, Ferdinand De Saussure. Delphine also had a brother, Francis Seyrig, who would go on to become a successful composer. At the end of the war, the family relocated to Paris, although Delphine's adolescence was to be spent between her country, Greece and New York. Never a good student, she decided to quit school at age 17 to pursue a stage career. Her father gave her his approval on the condition that she would have done this with seriousness and dedication. Delphine took courses of Dramatic Arts with some illustrious teachers such as Roger Blin, Pierre Bertin and Tania Balachova. Some of her fellow students included Jean-Louis Trintignant, Michael Lonsdale, Laurent Terzieff, Bernard Fresson, Stéphane Audran, Daniel Emilfork and Antoine Vitez. Her stage debut came in 1952 in a production of Louis Ducreux's musical "L'Amour en Papier", followed by roles in "Le Jardin du Roi" (Pierre Devaux) and in Jean Giraudoux's "Tessa, la nymphe au Coeur fidèle". Stage legend Jean Dasté was the first director to offer her a couple of parts that would truly showcase her talents: Ariel in Shakespeare's "The Tempest" and Chérubin in Beaumarchais' "The Marriage of Figaro". He also had her take the title role in a production of Giraudoux's "Ondine" from Odile Versois, who had gone to England to shoot an Ealing movie. Delphine's performance was greeted with enormous critical approval. The young actress stayed in Europe for a couple years more, starring in a production of Oscar Wilde's "An Ideal Husband" in Paris, making two guest appearances in Sherlock Holmes (1954) (which was entirely shot in France) and trying to enter the TNP (People's National Theatre). She actually wasn't admitted because the poetic, melodious voice that would become her signature mark was deemed too strange. In 1956, Delphine decided to sail for America along with her husband Jack Youngerman (a painter she had married in Paris) and son Duncan.
Delphine tried to enter the Actor's studio, but, just like in the case of many of Hollywood's finest actors, she failed the admittance test. She would still spend three years as an observer (also attending Lee Strasberg's classes) and this minor mishap didn't prevent her from going on with her stage career anyway, as she did theatre work in Connecticut and appeared in an off-Broadway production of Pirandello's "Henry IV" opposite Burgess Meredith and Alida Valli. Legend wants that the show was such a flop that the producer burned down the set designs. One year later, a single meeting would change the young actress' life forever. Delphine was starring in a production of Henrik Ibsen's "An Enemy of the People" when one very day she was approached by a very enthusiast spectator. It was the great director Alain Resnais, fresh of the huge personal triumph he had scored with his masterwork, Hiroshima Mon Amour (1959). Resnais was now trying to do a movie about the pulp magazine character Harry Dickson (an American version of Sherlock Holmes) and thought that Delphine could have played the role of the detective's nemesis, Georgette Cuvelier/The Spider. The project would never see the light of the day, but this meeting would soon lead to the genesis of an immortal cinematic partnership. Delphine's first feature film was also done the same year: it was the manifesto of the Beat Generation, the innovative Pull My Daisy (1959). The 30 minutes film was written and narrated by Jack Kerouac and featured an almost entirely non-professional cast including poets Allen Ginsberg, Gregory Corso and Peter Orlovsky along with painter Larry Rivers. Delphine played Rivers' wife in this well-done and interesting curio, an appropriate starting point to a very intriguing and alternative career. In 1960 she landed the role of Cara Williams and Harry Morgan's French neighbour in a new sitcom, Pete and Gladys (1960). Although she left the show after only three episodes, it is interesting to see her interact with the likes of Williams, Morgan and Cesar Romero, since they seem to belong to such different worlds. This was going to be the end of Delphine's journey in the States, although she would keep very fond memories of this period, stating in 1969 that she didn't consider herself "particularly French, but American in equal measure". In 1961 she would take her native France by storm.
Resnais had now been approached by writer Alain Robbe-Grillet- one of the main creators of the "Nouveau Roman" genre- to direct a movie based upon his script "L'anneé dernière". Having been awed by the recent Vertigo (1958), Robbe-Grillet was nourishing the hope that Kim Novak could have possibly played the mysterious female protagonist of the upcoming adaptation of his novel. Luckily, Resnais had different plans. Delphine was back in France for a holiday when the director offered her the role of the enigmatic lady nicknamed A. in his latest movie, Last Year at Marienbad (1961). Delphine accepted and finally took her rightful place in film history. The plot of the movie is apparently simple: in a baroque-looking castle, X. (Giorgio Albertazzi) tries to convince the reclusive A. that they had an affair the previous year. The movie has been interpreted in many different ways: a ghost story, a sci-fi story, an example of meta-theatre, a retelling of the myth of Orpheus and Eurydice, a retelling of Pygmalion and the Statue and plenty more. Resnais proved to be very partial to Delphine and didn't want her to just stand there like a motionless mannequin like the entire supporting cast did. As X. begins to instill or awake some feelings and memories into A., Delphine subtly hints at a change happening inside the character, managing to alternatively project an image of innocence and desire in a brilliant way. With her stunning, sphinx-like beauty being particularly highlighted by raven-black hair (Resnais wanted her to look like Louise Brooks in Pandora's Box (1929)) and her warm, seductive voice completing the magical charm of the character, Delphine made A. her most iconic-looking creation and got immediately welcomed to the club of the greatest actresses of France. The movie itself received the Golden Lion at Venice Film Festival and remains Resnais' masterpiece, not to mention possibly the greatest son of the French New Wave. The gothic organ music provided by Delphine's brother Francis also played an important role in the success of "Marienbad".
Like he had done a couple years before with Emmanuelle Riva, Resnais had made another invaluable gift to French cinema and one would have expected to see Delphine immediately racking a dozen film projects after "Marienbad", but for the time being she preferred to return to her first love, the theatre. She always wished to avoid the perils of celebrity and started a very turbulent relationship with reporters. She made this statement on the subject: "There is nothing to say about an actor or an actress. You just need to go and see them, that's all". She also hated the fact that, after "Marienbad", many journalists had paraphrased many of her statements in order to get meatier articles or entirely made up stories about her. Her next film project came in 1963 when she was reunited with Resnais for the superb Muriel (1963). Wearing some makeup that made her look plainer and older, Delphine gave a first sample of her chameleon-like abilities and one of her most spectacular performances ever as Hélène Aughain, an apparently absent-minded, but actually very tragic antique shop dealer who tries to reshape her squalid present in order to get even with a past made of shame and humiliation. Providing her character with a clumsy walk and an odd behavior that looks amusing on the surface, she delegated her subtlest facial expressions to hint at Hélène's grief and sense of dissatisfaction, creating a very pathetic and moving figure in the process. This incredible achievement was awarded with a Volpi cup at Venice Film Festival. Delphine felt very proud for herself and for Resnais. "Muriel" turned out to be one of the director's most divisive works, with some people considering it his finest film and others dismissing it as a product below his standard. The movie's American reception was unfortunately disastrous: having been released in New York disguised as an "even more mysterious sequel" to Marienbad, it stayed in theaters for five days only. The same year, Delphine did a TV movie called Le troisième concerto (1963) which marked her first collaboration with Marcel Cravenne. Her performance as a pianist who's seemingly losing her mind scored big with both critics and audience and made her much more popular with the French public than two rather inaccessible movies such as "Marienbad" and "Muriel" could ever do. Delphine never considered herself a star though, stating that "a star is like a racing horse a producer can place money on" and that she wasn't anything like that. In the following years she kept doing remarkable stage work. 1964 saw her first collaboration with Samuel Beckett: she invited the great author at her place in Place Des Vosges where she rehearsed for the role of the Lover in the first French production of "Play" along with Michael Lonsdale as the Husband and Eléonore Hirt as the Wife. The three of them would then bring the show to the stage and star in a film version in 1966. Delphine would team up with Beckett on other occasions in the future and even more frequently with Lonsdale, her co-star in several films and stage productions. For two consecutive times she won the "Prix Du Syndicat de la Critique" (the most ancient and illustrious award given by French theatre critics) for Best Actress: in 1967 (1966/1967 season) for her performances in "Next Time I'll Sing to You" and "To Find Oneself" and in 1969 (1968/1969 season) for her work in L'Aide-mémoire. In 1966 she did a cameo in the surreal, Monty Pythonesque Who Are You, Polly Maggoo? (1966), which was written and directed by William Klein (her friend of about 20 years) and starred Sami Frey, who would be her partner for her entire life after her separation from Youngerman. In 1967, she had a few exquisitely acted scenes (all shot in one day and a half) with Dirk Bogarde in Joseph Losey's excellent Accident (1967). Her appearance as Bogarde's old flame seemed to echo and pay homage to "Marienbad", from the almost illusory touch of the whole sequence to the suggestive use of music by the great John Dankworth. Delphine totally enjoyed to work with Losey, although their relationship would drastically change by the time of their next adventure together. The same year would also see the release of the spellbinding The Music (1967), her first filmed collaboration with Marguerite Duras. The author had always worshiped Delphine for her exceptional screen presence and for possessing the aura of a classic goddess of the Golden Age of Hollywood. She said about her: "When Delphine Seyrig moves into the camera's field, there's a flicker of Garbo and Clara Bow and we look to see if Cary Grant is at her side". She also loved her sexy voice, stating that she always sounded like "she had just sucked a sweet fruit and her mouth was still moist" and would go on to call her "the greatest actress in France and possibly in the entire world". "La Musica" isn't the most remembered Seyrig-Duras collaboration, but nevertheless occupies a special place in history as the beginning of a beautiful friendship between two artists that would become strictly associated with each other for eternity. Delphine's performance won her the "Étoile de Cristal" (the top film award given in France by the "Académie Française" between 1955 and 1975 and later replaced by the César). The actress later made a glorious Hedda Gabler for French television, although she never much enjoyed to do work for this kind of medium. She often complained about the poverty of means and little professionalism of French TV and declined on several occasions the possibility to play the role of Mme De Mortsauf in an adaptation of Balzac's "Le lys dans la vallée". In 1968 she found one of her most famous and celebrated roles in François Truffaut's latest installment of the Antoine Doinel saga, Stolen Kisses (1968), which overall qualifies as one of her most "traditional" career choices. Delphine's new divine creature was Fabienne Tabard, the breathtakingly beautiful wife of an obnoxious shoe store owner (Michael Lonsdale) and the latest object of Antoine's attention. It is very interesting that, in the movie, Antoine reads a copy of "Le lys dans la vallée" and compares Fabienne to the novel's heroine. At one point, Delphine had almost agreed to appear in the TV production on the condition that Jean-Pierre Léaud would have played the leading male role. She later inquired with Truffaut if he knew about this by the time he had written the script, but he swore that it was just a coincidence. In 1969 she declined the leading female role in The Swimming Pool (1969) because she didn't see anything interesting about it; this despite strong soliciting from her close friend Jean Rochefort (whom she nicknamed "Mon petit Jeannot"). At the time, it was considered almost inconceivable to decline the chance of appearing in an Alain Delon movie, but Delphine really valued the power of saying "no" and the part went to Romy Schneider instead. It consequently came of great surprise when, the same year, she accepted the role of Marie-Madeleine in William Klein's rather dated, but somewhat charming Mr. Freedom (1968), where she played most of her scenes semi-naked. But Delphine, as usual, had her valid reasons to appear in this strong satire of American Imperialism. Klein's comic strip adaptation isn't without its enjoyable moments (like a scene where the Americans use a map to indicate the Latin dictatorships as the civilized, democratic world), but goes on for too long and suffers every time Delphine disappears from the screen. Still, it remains a must for Seyrig fans, as you'd never expect to see the most intellectual of actresses having a martial arts fight with the gigantic John Abbey and giving a performance of pure comic genius in the tradition of Kay Kendall. The same year she also had a cameo as the Prostitute in Luis Buñuel's masterful The Milky Way (1969). Delphine read the entire script, but eventually regretted that she hadn't watched Alain Cuny playing his scene, because, in that case, she would have played her own very differently and brought the movie to full circle, something she thought she hadn't done. She promised Buñuel to do better on the next occasion they would have worked together.
In 1970, Delphine eventually agreed to appear in Le lys dans la vallée (1970) under the direction of Marcel Cravenne, although the male protagonist wasn't played by Léaud, but by Richard Leduc. It turned out to be one of the best ever adaptations of a French classic and her performance was titanic. She then played the Lilac Fairy in Jacques Demy's lovely musical Donkey Skin (1970), which starred a young Catherine Deneuve in the title role, but boosted a superlative supporting cast including Jacques Perrin, Micheline Presle, Sacha Pitoëff and Jean Marais (who sort of provided a link with Jean Cocteau's Beauty and the Beast (1946)). Despite all this profusion of talent, Delphine effortlessly stole the movie with her sassy smile, impeccable comedic timing and multi-colored wardrobe. Although she would go on to sing on future occasions, Demy preferred to have her musical number dubbed by Christiane Legrand. The following year, she won a new multitude of male admirers when she arguably played the sexiest and most memorable female vampire in film history in the underrated psychological horror Daughters of Darkness (1971). The choice of a niche actress like Delphine to play the lesbian, Dietrichesque Countess Bathory is considered one of the main factors that sets Harry Kümel's movie apart from the coeval products made by the likes of Jesús Franco or Jean Rollin. To see another horror movie highlighted by the presence of an unforgettable female vampire in Seyrig style, one will have to wait for the similar casting of the splendid Nina Hoss in the auteur effort We Are the Night (2010). Cravenne's Tartuffe (1971) was a delicious "Jeu à Deux" between Delphine and the immense Michel Bouquet. In 1972, Delphine would add another immortal title to her filmography, as she was cast in Luis Buñuel's surrealist masterpiece, The Discreet Charm of the Bourgeoisie (1972). As the adulterous Simone Thévenot, always wearing a sanctimoniously polite smile, she managed to give the star turn in a flawless cast: Fernando Rey made his Rafael Acosta deliciously nasty behind his cover of unflappability, Paul Frankeur was hilariously obtuse as M.Thévenot, Jean-Pierre Cassel suitably ambiguous as M.Sénéchal, Julien Bertheau looked charmingly sinister as Mons.Dufour, Bulle Ogier got to show her formidable gifts for physical comedy as Florence and the role of Alice Sénéchal, a woman who gets annoyed at not getting coffee while a man has just confessed to have murdered his father, proved for once the perfect fit for the coldest and least emotional of actresses, Stéphane Audran. The movie won the Oscar for Best Foreign Language Film. The next year, Delphine appeared in a couple of star-studded productions: she gave a brief, but memorably moving performance in Fred Zinnemann's The Day of the Jackal (1973) as a French woman who makes the fatal mistake of falling for Edward Fox's ruthless killer. People's memories of the movie are often associated with her scenes. She also appeared in Losey's disappointing A Doll's House (1973) opposite a badly miscast Jane Fonda as Nora. The two actresses didn't get along with the director as they both thought his vision of the story to be deeply misogynist. Many key dialogues were unskillfully butchered for the adaptation, diminishing the depth of the characters and the end result was consequently cold, although the movie has its redeeming features. The brilliant David Warner arguably remains the definitive screen Torvald and Delphine is typically impeccable in the fine role of Kristine, although one can't help but think that an accomplished Ibsenian actress like her should have played Nora in the first place. Although Losey wasn't in speaking terms with her any longer by the time the shooting ended, Delphine befriended Jane as they shared a lot of ideals and causes. Delphine Seyrig was of course a vocal feminist, although she didn't consider herself a militant: she actually believed that women should have already known their rights by then and that she didn't have to cause any consciousness raising in them. She would go on to work with more and more female directors shortly after, considering also that she had now begun to love cinema as much as theatre. In 1974 she appeared in a stage production of "La Cheuvachée sur le lac de Constance" because she dearly desired to act opposite the wonderful Jeanne Moreau, but from that moment on, most of her energies were saved for film work. She also grew more and more radical in picking up her projects: Le journal d'un suicidé (1972), Dites-le avec des fleurs (1974) and Der letzte Schrei (1975) certainly qualify as some of her oddest features, not to mention the most difficult to watch. Le cri du coeur (1974), although flawed by an inept performance by Stéphane Audran, was slightly more interesting: the director capitalized on Delphine's Marienbad image once again, casting her as a mysterious woman the crippled young protagonist gets sexually obsessed with. She made another relatively "ordinary" pick by playing villainous in Don Siegel's remarkable spy thriller The Black Windmill (1974) alongside stellar performers like Michael Caine, Donald Pleasence, John Vernon and Janet Suzman.
The following year, Delphine had two first rate roles in Le jardin qui bascule (1975) and in Liliane de Kermadec's Aloïse (1975) (where her younger self was played, quite fittingly, by an already prodigious Isabelle Huppert). But 1975 wasn't over for Delphine as the thespian would round off the year with two of her most amazing achievements. The Seyrig/Duras team did finally spring into action again with the memorable India Song (1975), another movie which lived and died entirely on Delphine's intense face. Laure Adler wrote these pertinent words in her biography of Duras: "In India Song we see nothing of Calcutta, all we see is a woman dancing in the drawing room of the French embassy and that is enough, for Delphine fills the screen". Coming next was what many people consider the actress' most monumental personal achievement: Jeanne Dielman, 23, quai du commerce, 1080 Bruxelles (1975). It has become a common saying that, when you have a great interest in an actor, you could watch him/her reading the phone book. Seyrig fans can experiment it almost literally in Chantal Akerman's three hour minimalist masterpiece, which meticulously follows the daily routine of widowed housewife Jeanne. Akerman chose Delphine "because she brought with her all the roles of mythical woman that she played until now. The woman in Marienbad, The woman in India Song". The movie can be considered a filmed example of "Nouveau Roman": every moment of Jeanne's day is presented almost real-time -from the act of peeling potatoes or washing dishes- and every gesture has a precise meaning, like Jeanne's incapacity of putting her life together being expressed by her inability of making a decent coffee or put buttons back on a shirt. The movie is also of course a feminist declaration: Jeanne regularly resorts to prostitution to make a living, which (according to Akerman) symbolizes that, even after the death of her husband, she's still dependant of him and always needs to have a male figure enter her life in his place. Her declaration of independence is expressed at the end of the movie through the murder of one of her clients. Delphine's approach to the role was as natural as possible and she completely disappeared into it, giving a hypnotic performance that keeps the viewer glued to his chair and prevents him to feel the sense of boredom every actress short of extraordinary would have induced. It's considered one of the greatest examples of acting ever recorded by a camera and possibly the definitive testament to Delphine's abilities. By now she was being referred as France's greatest actress with the same frequency Michel Piccoli was called the greatest actor. 1976 saw the the Césars replacing the "Étoiles de Cristal" and Delphine was nominated for "India Song", but she lost to Romy Schneider for her work in That Most Important Thing: Love (1975) by Andrzej Zulawski. The same year also saw her getting behind the camera as she directed Scum Manifesto (1976), a short where she read the Valerie Solanas text by the same name. She also starred in Duras' new version of "India Song", Her Venetian Name in Deserted Calcutta (1976) (where the setting was changed to the desert) and headlined the cast of Mario Monicelli's Caro Michele (1976). In 1977 she traveled to the UK to shoot an episode of BBC Play of the Month (1965). She stated her great admiration for British TV as opposed to French TV, congratulating BBC for its higher production values and for its major respect for the material it used to produce. Thinking retrospectively about the whole thing, these sentiments seem rather misplaced, since BBC erased tons of programs from existence in order to make room in the storage and for other reasons, but fortunately "The Ambassadors" wasn't part of the slaughter. Like Henry James's story, the cast featured some veritable cultural ambassadors as three different nations offered one of their most talented thespians ever: Paul Scofield represented England, Lee Remick represented United States and Delphine represented France as Madame De Vionnet. Baxter, Vera Baxter (1977) marked her final and most forgettable film collaboration with Duras. In Faces of Love (1977), she played the drug-addicted ex-wife of a director (a typically outstanding Jean-Louis Trintignant) who summons her along with two other actresses to shoot a film version of "The Three Sisters". She was again nominated for a César, but the sentimentality factor played in favor of Simone Signoret's performance in Moshé Mizrahi's award-friendly Madame Rosa (1977), which won the Oscar for Best Foreign Language Film two months later. Mizrahi later cast both actresses in his subsequent feature, I Sent a Letter to My Love (1980), also starring Jean Rochefort. This bittersweet feature proved much better than the director's previous work: Signoret and Rochefort gave great performances, but, once again, Delphine was best in show as a naive, hare-brained woman so much different from her usual characters and gave another confirmation of her phenomenal range. She was nominated for another César in the supporting actress category, but lost to Nathalie Baye for Every Man for Himself (1980). It's ironic that, despite being considered the nation's top actress by so many people, Delphine never won a César. One theory is that she had alienated many voters (particularly the older ones) by often dismissing 50's French cinema and regularly comparing French actors unfavorably to American ones, just like many New Wave authors (Jean-Luc Godard, Claude Chabrol, Éric Rohmer, Jacques Rivette) had done back in the days when they worked as critics for the "Cahiérs Du Cinema" and none of them ever won a César either (or at least not a competitive one). This along with having made many enemies because of her vocally feminist attitude of course. She once stated herself that many people in France probably disliked her because she was always saying what she thought.
In the 80's, Delphine appeared in three stage plays that were later filmed: La Bête dans la Jungle (a Duras adaptation of the Henry James novel), "Letters Home" (about the poet Sylvia Plath) and "Sarah et le cri de la langouste" (where she played the legendary Sarah Bernhardt). She scored a particular success with the latter and won the "Prix Du Syndicat de la Critique" for a record third time, more than any other actress (Michel Bouquet is her male counterpart with three Best Actor wins). In 1981, she directed a feminist documentary, Sois belle et tais-toi! (1981), where she interviewed many actresses, including her friend Jane Fonda, about their role (sometimes purely decorative) in the male-dominated film industry. In 1982 she co-founded the Simone De Beauvoir audiovisual centre along with Carole Roussopoulos and Ioana Wieder. A final collaboration with Chantal Akerman, the innovative musical Golden Eighties (1986), allowed her to do what she couldn't do in "Peau d'âne" and give a very moving rendition of a beautiful song. Avant-garde German director Ulrike Ottinger provided Delphine with some unforgettable and appropriately weird roles in three of her features: multiple characters in Freak Orlando (1981), the only female incarnation of Dr.Mabuse in Dorian Gray in the Mirror of the Yellow Press (1984) (opposite Veruschka von Lehndorff, playing the title role 'en travesti') and Lady Windermere in Joan of Arc of Mongolia (1989). She gave a final, stunning TV performance in Une saison de feuilles (1989) as an actress suffering from Alzheimer's disease and won a 7 d'or (a French Emmy) for it. Her mature turn as a woman who's reaching the end of the line looks particularly poignant now, as it has the bitter taste of a tear-eyed farewell. A woman of extraordinary courage, Delphine had been secretly battling lung cancer (she had always been a chain smoker) for a few years, but, because of her supreme professionalism, she had never neglected a work commitment because of that. Only her closest friends knew. It became evident that there was no hope left when, in September 1990, she had do withdraw her participation from a production of Peter Shaffer's "Lettice and Lovage" with Jean-Louis Barrault and Madeleine Renaud's theatre company. One month later she tragically lost her battle with cancer and died in hospital, leaving an unbridgeable void in the acting world and in the lives of many. Tributes flew in torrents, with Jean-Claude Brialy hosting a particularly touching memorial where Jeanne Moreau read some very heartfelt phrases come from the pen of Marguerite Duras to honour the memory of her muse. In the decade following Delphine's death, many of her features unfortunately didn't prove to have much staying power -being so unique and destined to a very selected and elitist audience- and plenty of people began to forget about the actress. Delphine's good friend, director Jacqueline Veuve, thought this unacceptable and she saw to do something about it, shooting a documentary called Delphine Seyrig, portrait d'une comète (2000), which premiered at Locarno film festival. This partially helped to renew the actress' cult and to expand it to several other followers. Similar retrospectives at the Modern Art Museum in New York and at the La Rochelle Film Festival hopefully served the same purpose as well. One can also hope that the French Academy (Académie des arts et techniques du cinéma) would start to make amends for past sins by awarding Delphine a posthumous César: since the immortal Jean Gabin received one in 1987, who could possibly make a likelier pair with him?- Director
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The world's first female filmmaker, French-born Alice Guy entered the film business in 1896 as a secretary at Gaumont, a manufacturer of movie cameras and projectors who had purchased a "cinématographer" from its inventors, the Lumiere brothers. The next year Gaumont became the world's first motion picture production company when they switched to creating movies, and Guy became its first film director. She impressed the company so much with the output (she averaged two two-reelers a week) and quality of her productions that by 1905 she was made the company's production director, supervising its other directors. In 1907 she married Herbert Blaché, an Englishman who ran Gaumont's British and German offices. The pair went to the U.S. to set up the company's operations there. In 1910 Mme. Guy set up her own production company, Solax, in New York and with her husband built a studio in Fort Lee, New Jersey. After a period of critical and financial success, the couple's fortunes declined when Thomas Alva Edison's trust hindered film production in the East coast, and they eventually shut down the studio in 1919. Although her husband secured work directing films for several major Hollywood studios, Guy was never able to secure any directorial jobs there, never made a film again, most of her films were lost, some were credited to other film directors, and she did no receive recognition for her pioneering work in France and the United States. She returned to France in 1922 after her divorce from Blaché, and in 1964 returned to the U.S. and lived in Mahwah, New Jersey - not far from where her original studios were - with her daughter, where she died in 1968.- Director
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Sandy Wilson was born in 1947 in Penticton, British Columbia, Canada. She is a director and writer, known for My American Cousin (1985), Harmony Cats (1992) and American Boyfriends (1989).- Producer
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Leni Riefenstahl's show-biz experience began with an experiment: she wanted to know what it felt like to dance on the stage. Success as a dancer gave way to film acting when she attracted the attention of film director Arnold Fanck, subsequently starring in some of his mountaineering pictures. With Fanck as her mentor, Riefenstahl began directing films.
Her penchant for artistic work earned her acclaim and awards for her films across Europe. It was her work on Triumph of the Will (1935), a documentary commissioned by the Nazi government about Adolf Hitler and the Third Reich, that would come back to haunt her after the atrocities of World War II. Despite her protests to the contrary, Riefenstahl was considered an intricate part of the Third Reich's propaganda machine. Condemned by the international community, she did not make another movie for over 50 years.- Inessa Kovalevskaya was born on 1 March 1933. She is a director and writer, known for The Tale of the Priest and of His Workman Balda (1973), Pictures from the Exhibition (1984) and Stories from My Childhood (1998).
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Writer/director Stephanie Rothman was one of the few female filmmakers who specialized in low-budget drive-in exploitation fare in the '60s and '70s. Her movies are distinguished by gutsy, strong-willed and sympathetic women main characters and a radical libertarian feminist point of view. Stephanie was born on November 9, 1936 in Paterson, New Jersey (made famous by Lou Costello, who mentioned it in every one of his movies). She was the first lady to be awarded the Directors Guild of America fellowship. Rothman served as an associate producer on Queen of Blood (1966), Beach Ball (1965) and Voyage to the Prehistoric Planet (1965). She co-wrote and co-directed the fright flick Blood Bath (1966) and made her solo directorial debut with the frothy "Beach Party"-type romp It's a Bikini World (1967). Stephanie made two features for Roger Corman's New World Pictures: the excellent The Student Nurses (1970) -- which was the first and best of the popular nurse comedy cycle -- and the offbeat and inspired horror bloodsucker outing The Velvet Vampire (1971). Rothman then went to work for Dimension Pictures, in which she and her writer/producer husband Charles S. Swartz had a minority share, where she made the charming Group Marriage (1972), the delightful The Working Girls (1974) and the gritty Terminal Island (1973) (an early vehicle for Tom Selleck. Moreover, she wrote the story for the enjoyable fantasy adventure Beyond Atlantis (1973) and penned the screenplay for the amusingly inane Starhops (1978). In 2007 Stephanie was honored with a retrospective on her work at the Vienna International Film Festival.- Animation Department
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Evelyn Lambart was born on 23 July 1914 in Ottawa, Ontario, Canada. She was a director, known for Begone Dull Care (1950), Family Tree (1950) and Short and Suite (1959). She died on 3 April 1999.- Director
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Tatyana Lioznova was born on 20 July 1924 in Moscow, RSFSR, USSR [now Russia]. She was a director and assistant director, known for Three Poplars on Plyuschikha Street (1968), Karnaval (1982) and Konets sveta s posleduyushchim simpoziumom (1987). She died on 29 September 2011 in Moscow, Russia.- Actress
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Danish leading woman of German films who became one of the greatest stars of the silent era. A native of the Copenhagen suburb of Vesterbro, Nielsen was the daughter of a coppersmith and a washerwoman, both of whom died before Nielsen was fifteen. Her stage debut came as a child in the chorus of the Kongelige Teater's production of Boito's opera "Mephistopheles." She studied at the Royal Theatre School of Copenhagen and embarked upon a stage career in her late teens. She toured Scandinavia and became one of the highest-paid and most popular stage actresses of her time and place. In 1909, director Urban Gad suggested that the silent screen would allow her to transcend her Danish language barrier, and she agreed appear in his film 'Afgrunden (1910)'. The film was successful and Nielsen was encouraged to continue in this new art form. A German distributor, Paul Davidson, invited Nielsen to Germany, where he was building a film studio which would eventually become Europe's largest--the Universum Film Union A.-G. (or Ufa). Nielsen and her director, Gad, whom she had married, went to Germany and spent the next quarter century there. She became one of the true superstars of the silent screen, a tragic heroine whose photograph during the First World War accompanied German and also British and French troops into battle. Among her notable films after the war was a version of "Hamlet, " which was not so much a Shakespearean film as it was an exploration of a then-current theory that the real Hamlet had been, in fact, a woman. Nielsen played the title role. She continued to play a wide variety of roles in Germany and occasionally in Denmark and Norway, never losing the respect and popularity she had maintained almost from the beginning of her career. She abandoned her film work just as sound was taking over the industry. Aside from one or two brief forays in talkies, her acting was thereafter confined to the stage. She died in 1972 at the age of 89, shortly after her fifth marriage.- Director
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Dorothy Arzner, the only woman director during the "Golden Age" of Hollywood's studio system--from the 1920s to the early 1940s and the woman director with the largest oeuvre in Hollywood to this day--was born January 3, 1897 (some sources put the year as 1900), in San Francisco, California, to a German-American father and a Scottish mother. Raised in Los Angeles, her parents ran a café which featured German cuisine and which was frequented by silent film stars including: Charles Chaplin and William S. Hart, and director Erich von Stroheim. She worked as a waitress at the restaurant, and no one could have foreseen at the time that Arzner would be one of the few women to break the glass ceiling of directing and would be the only woman to work during the early sound era.
In her 15-year career as a director (1928-43), Arzner made three silent movies and 14 "talkies". Her path to the director's chair was different than that of women directors in the future (indeed, different than most male directors too). Directors nowadays are typically graduates of film schools or were working actors prior to directing. Like most of the directors of her generation, Arzner gained wide training in most aspects of filmmaking by working her way up from the bottom. It was the best way to become a filmmaker, she later said.
After graduating from high school in 1915, she entered the University of Southern California, where she was in the pre-med program for two years. When the US entered World War I in 1917, Arzner was unable to realize her ambition of serving her country in a military capacity, as there were no women's units in the armed forces at the time, so she served as an ambulance driver during the war.
After the cessation of hostilities, Azner got a job on a newspaper. The director of her ambulance unit introduced her to film director William C. de Mille (the brother of Cecil B. DeMille, one of the co-founders of Famous Players-Lasky, which eventually became known by the title of its distribution unit--Paramount Pictures). She decided to pursue a film career after visiting a movie set and being intrigued by the editing facilities. Arzner decided that she would like to become a director (there was no strict delineation between directors and editors in the immediate postwar period as the movie studios matured into a "factory" industrial production paradigm).
Though she was the sole member of her gender to direct Hollywood pictures during the first generation of sound film, in the silent era a woman behind the camera was not unknown. The first movie in history was directed by a Frenchwoman, and many women were employed in Hollywood during the silent era, most frequently as scenario writers (some research indicates that as many as three-quarters of the scenario writers during the silent era--when there was no requirement for a screenplay as such as there was no dialogue--were women). Indeed, there were women directors in the silent era, such as Frances Marion (though she was more famous as a screenwriter) and Lois Weber, but Arzner was fated to be the only female director to have made a successful transition to "talkies". It wasn't until the 1930s and the verticalization of the industry, as it matured and consolidated, that women were squeezed out of production jobs in Hollywood.
The introduction to William deMille paid off when he hired her for the sum of $20 a week to be a stenographer. Her first job for DeMille was typing up scripts at Famous Players-Lasky. She was reportedly a poor typist. Ambitious and possessed of a strong will, Arzner offered to write synopses of various literary properties, and eventually was hired as a writer. Impressing DeMille and other Paramount powers-that-be, Arzner was assigned to Paramount's subsidiary Realart Films, as a film cutter. She was promoted to script girl after one year, which required her presence on the set to ensure the continuity of the script as shot by the director. She then was given a job editing films. She excelled at cutting: as an editor (she was the first Hollywood editor professionally credited as such on-screen), she labored on 52 films, working her way up from cutting Bebe Daniels comedies to assignments on "A" pictures within a couple of years. She came into her own as a filmmaker editing the Rudolph Valentino headliner Blood and Sand (1922), about a toreador. Her editing of the bullfighting scenes was highly praised, and she later said that she actually helmed the second-unit crew shooting some of the bullfight sequences. Director James Cruze was so impressed by her work on the Valentino picture that he brought her on to his team to edit The Covered Wagon (1923). Arzner eventually edited three other Cruze films: Ruggles of Red Gap (1923), Merton of the Movies (1924) and Old Ironsides (1926). Her work was of such quality that she received official screen credit as an editor, a first for a cutter of either gender.
While collaborating with Cruze she also wrote scenarios, scripting her ideas both solo and in collaboration. She was credited as a screenwriter (as well as an editor) on "Old Ironsides", one of the more spectacular films of the late silent era, being partially shot in Magnascope, one of the earliest widescreen processes. She would always credit Cruze as her mentor and role model. "Old Ironsides" proved to be the last film on which she was credited as an editor, as her ambitions to become a director would finally come to fruition. To indulge her, Paramount gave her a job as an assistant director, for which she was happy--until she realized it was not a stepping stone to the director's chair, and she was determined to sit in that chair.
Arzner pressured Paramount to let her direct, threatening to leave the studio to work for Columbia Pictures on Poverty Row, which had offered her a job as a director. Unwilling to lose such a talented filmmaker, the Paramount brass relented, and she made her debut with Fashions for Women (1927). It was a hit. In the process of directing Paramount's first talkie, Manhattan Cocktail (1928), she made history by becoming the first woman to direct a sound picture. The success of her next sound picture, The Wild Party (1929), starring Paramount's top star, Clara Bow, helped establish Fredric March as a movie star.
Arzner proved adept at handling actresses. As Budd Schulberg related in his autobiography "Moving Pictures", Clara Bow--a favorite of his father, studio boss B.P. Schulberg--had a thick Brooklyn accent that the silence of the pre-talkie era hid nicely from the audience. She was terrified of the transition to sound, and developed a fear of the microphone. Working with her sound crew, Arzner devised and used the first boom mike, attaching the microphone to a fish pole to follow Bow as she moved around the set. Arzner even used Bow's less-than-dulcet speaking tones to underscore the vivaciousness of her character.
Though Arzner made several successful films for Paramount, the studio teetered on the edge of bankruptcy due to the Depression, eventually going into receivership (before being saved by the advent of another iconic woman, Mae West). When the studio mandated a pay cut for all employees, Arzner decided to go freelance. RKO Radio Pictures hired her to direct its new star, headstrong young Katharine Hepburn, in her second starring film, Christopher Strong (1933). It was not a happy collaboration, as both women were strong and unyielding, but Arzner eventually prevailed. She was, after all, the boss on the set: The director. The fiercely independent Hepburn complained to RKO, but the studio backed its director against its star. Eventually the two settled into a working relationship, respecting each other but remaining cold and distant from one another. Ironically, Arzner would display her directorial flair in elucidating the kind of competitive rivalries between women she experienced with Hepburn.
The Directors Guild of America was established in 1933, and Arzner became the first woman member. Indeed, she was the only female member of the DGA for many years.
Arzner's films featured well-developed female characters, and she was known at the time of her work, quite naturally, as a director of "women's pictures". Not only did her movies portray the lives of strong, interesting women, but her pictures are noted for showcasing the ambiguities of life. Since the rise of feminist scholarship in the 1960s, Arzner's movies have been seen as challenging the dominant, phallocentric mores of the times.
Arzner was a lesbian, who cultivated a masculine look in her clothes and appearance (some feel as camouflage to hide the boy's club that was Hollywood). Many gay critics discern a hidden gay subtext in her films, such as "Christopher Strong". Whereas feminist critics see a critique of gender inequality in "Christopher Strong", lesbian critics see a critique of heterosexuality itself as the source of a woman's troubles. The very private Azner, the woman who broke the glass ceiling and had to survive, and indeed thrived, in the all-male world of studio filmmaking, refused to be categorized as a woman or gay director, insisting she was simply a "director." She was right.
Arzner did have less troubled and more productive collaborations with other actresses after her experience with Hepburn. She developed a close friendship with one of her female stars, Joan Crawford, whom she directed in two 1937 MGM vehicles, The Last of Mrs. Cheyney (1937) and The Bride Wore Red (1937). Arzner later directed Pepsi commercials as a favor to Crawford's husband, Pepsi-Cola Company's Chairman of the Board Alfred Steele.
In 1943 Arzner joined other top Hollywood directors such as John Ford and George Stevens in going to work for the war effort during World War Two. She made training films for the US Army's Women's Army Corps (WACs). That same year her health was compromised after she contracted pneumonia. After the war she did not return to feature film directing, but made documentaries and commercials for the new television industry. She also became a filmmaking teacher, first at the Pasadena Playhouse during the 1950s and 1960s and then at the University of California-Los Angeles campus during the 1960s and 1970s. At UCLA she taught directing and screenwriting, and one of her students was Francis Ford Coppola, the first film school grad to achieve major success as a director. She taught at UCLA until her death in 1979.
She was honored in her own lifetime, becoming a symbol and role model for women filmmakers who desired entry into mainstream cinema. The feminist movement in the 1960s championed her. In 1972 the First International Festival of Women's Films honored her by screening "The Wild Party", and her oeuvre was given a full retrospective at the Second Festival in 1976. In 1975 the DGA honored her with "A Tribute to Dorothy Arzner." During the tribute, a telegram from Katharine Hepburn was read: "Isn't it wonderful that you've had such a great career, when you had no right to have a career at all?"- Director
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The daughter of a cavalry captain, she was raised by a grandmother in Paris, where she studied various forms of art with an emphasis on music and the opera. In 1905 she married engineer-novelist Marie-Louis Albert-Dulac and under his influence veered toward journalism. As one of the leading radical feminists of her day, she was editor of La Française, the organ of the French suffragette movement. She also doubled as theater and cinema critic of the publication and became increasingly enamored with film as an art form. In 1915 she formed, with her husband, a small production company, Delia Film, and began directing highly inventive, small-budget pictures. Chronologically, she was the second woman director in French films, after Alice Guy, a contemporary of Georges Méliès. With La fête espagnole (1920) and her masterpiece, _Souriante Madame Beudet, La (1922)_, Dulac emerged as a leading figure in the impressionist movement in French films. In the late 20s, she was an important part of the "second avant-garde" of the French cinema with the surrealistic _Coquille et le Clergyman, La (1927)_ and a number of other experimental films. In these as well as in her theoretical writing, her goal was "pure" cinema, free from any influence from literature, the stage, or even the other visual arts. She talked of "musically constructed" films, or "films made according to the rules of visual music." Dulac was also instrumental in the development of cinema clubs throughout France in the mid-20s. Sound put an end to her experimentations and her career as a director. From 1930 until her death she was in charge of newsreel production at Pathé, then at Gaumont.- Director
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Maya Deren came to the USA in 1922 as Eleanora Derenkowsky. Together with her father Solomon Derenkowsky, a psychiatrist, and her mother Maria Fidler, an artist, she fled the pogroms organized by the Bolsheviks against the Jews. She studied journalism and political science at the Syracuse University in New York, finishing her BA at the New York University (NYU) in June 1936, and then received her MA in English literature from the Smith College in 1939.
In 1943, she made her first film Meshes of the Afternoon (1943), co-starring with Alexander Hammid. Through this association, at Hammid's suggestion, she changed her name to Maya, meaning "illusion." Overall, she made six short films and several incomplete films, including Witch's Cradle (1944) starring Marcel Duchamp.
Deren is the author of two books, "An Anagram of Ideas on Art, Form, and Film" 1946 (reprinted in "The Legend of Maya Deren," vol 1, part 2) and "Divine Horsemen: The Living Gods of Haiti" (1953)--a book that was made after her first trip to Haiti in 1947 and which is still considered one of the most useful on Haitian Voudoun. Deren wrote numerous articles on film and on Haiti. Maya Deren shot over 18,000 feet of film in Haiti from 1947 to 1954 on Haitian Voudoun, parts of which can be viewed in Divine Horsemen: The Living Gods of Haiti (1993) made after her death by her then-husband Teiji Ito and his new wife Cherel Ito.
In 1947, Maya Deren became the first filmmaker to receive a Guggenheim grant for creative work in motion pictures. She wrote film theory, distributed her own films, traveled across the USA, and went to Cuba and Canada to promote her films using the lecture-demonstration format to teach film theory, and Voudoun and the interrelationship of magic, science, and religion. Deren established the Creative Film Foundation in the late 1950s to reward the achievements of independent filmmakers.- Director
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Lois Weber, who had been a street-corner evangelist before entering motion pictures in 1905, became the first American woman movie director of note, and a major one at that. Herbert Blaché, the husband of Frenchwoman Alice Guy, the first woman to direct a motion picture (and arguably, the first director of either gender to helm a fictional narrative film), cast her in the lead of "Hypocrites" (1908). Weber first got behind the camera on A Heroine of '76 (1911), a silent that was co-directed by pioneering American director Edwin S. Porter and actor Phillips Smalley, who played George Washington. She also starred in the picture.
In 1914, a year in which she helmed 27 movies, Weber co-directed William Shakespeare's The Merchant of Venice (1914) with Smalley, who also played Shylock, making her the first woman to direct a feature-length film in the US. (Jeanie Macpherson, who would play a major role in cinema as Cecil B. DeMille's favorite screenwriter, also acted in the film).
In the spirit of her evangelism, she began directing, writing and then producing films of social import, dealing with such themes as abortion, alcoholism, birth control, drug addiction and prostitution. By 1916 she had established herself as the top director at Universal Film Manufacturing (now Universal Studios), the top studio in America at the time, making her the highest-paid director in the world. The following year she formed Lois Weber Productions.
She directed over 100 films, but her production company went bankrupt in the 1920s as her career faltered. She did not make the transition to sound, although she did make one talkie, White Heat (1934), in 1934.- Director
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Shirley Clarke is an important figure in the history of mid-20th century independent cinema. Born Shirley Marion Brimberg to Samuel Nathan and Florence (Rosenberg) Brimberg, she was the eldest of their three daughters. She grew up in a wealthy family. Her father, who was born in present-day Belarus, made his fortune in manufacturing. Her mother was the daughter of a wealthy manufacturer. Her sisters were Elaine Rita (better known as actress and writer Elaine Dundy) and Betty Rose Brimberg.
As a young child, Shirley developed a passion for dance. Shirley's father was a violent bully, who didn't support her artistic ambitions. She married Bertram Clarke in 1942, partially to escape her father's control and to study dance with the masters of modern dance.
In the early 1950s, she became a filmmaker. Her love of dance informed her early work. Her first film, Dance in the Sun (1953), a six-minute short featuring dancer Daniel Nagrin was well-received. She would go on to direct several short films throughout the decade, some by herself and others in collaboration with others.
By the 1960s, when women directors were still somewhat of a novelty, she embarked on her first feature film. Rather than play it safe and do a romance or a comedy, she decided to do a film adaptation of "The Connection," a play by Jack Gelber. The Connection (1961) tells the story of a group of junkies who await the arrival of Cowboy (Carl Lee), their drug connection. Lee's portrayal, much like Bernie Hamilton as Traver in The Young One (1960) marked the arrival of a new type of Black character that hadn't been seen on the screen before -- brash, defiant, and bold. It would foreshadow the protagonists that dominated the blaxploitation films a decade later. However, in 1962, the film was initially banned in New York City because of it's use of the "S-word." However, after several legal challenges, "The Connection" was eventually able to screen in cinemas. Despite, it's limited commercial success, "The Connection," was the most widely seen of Clarke's three feature length films at the time of its release. The others were the narrative feature The Cool World (1963) and the landmark LGBTQ documentary, Portrait of Jason (1967).
Clarke received an Oscar nomination for the short Skyscraper (1959), which she also co-directed. She also directed Robert Frost: A Lover's Quarrel with the World (1963), an Oscar-winning short.
She would continue to make a series of short films and video works into the 1980s. One of her last completed works was Ornette: Made in America (1985), a documentary on jazz musician and composer Ornette Coleman.
From 1975 until 1983, she was an instructor at UCLA, where she taught a highly popular design class.
After her marriage to Bertram Clarke ended, she was in a relationship with Lee until his death in 1986.
Shirley Clarke died of a stroke in Boston in 1997 after suffering from Alzheimer's disease.
In 2014, Milestone Films, began releasing restored versions of her projects both theatrically and on home video.- Director
- Cinematographer
- Editor
Marvin Breckinridge was born on 5 October 1905. She was a director and cinematographer, known for The Forgotten Frontier (1931). She was married to Jefferson Patterson. She died on 11 December 2002 in Washington, District of Columbia, USA.- Camera and Electrical Department
- Director
- Producer
Liane Brandon is an award winning independent filmmaker, photographer and University of Massachusetts/Amherst Professor Emeritus. She was one of the first independent women filmmakers to emerge from the Women's Movement.
During that time she was a member of Newsreel film collective and Bread and Roses, one of the earliest women's liberation groups in Boston. She was also a founding member of FilmWomen of Boston and Boston Film/Video Foundation. She is a co-founder of New Day Films, the nationally known filmmaker distribution cooperative.
Brandon's groundbreaking films "Anything You Want To Be" (1971) and "Betty Tells Her Story" (1972) were among the earliest and most frequently used consciousness raising tools of the Women's Movement. Her films, which also include "Once Upon A Choice", "How To Prevent A Nuclear War" and "Fine Print", have won numerous national and international awards, and have been featured on HBO, USA Cable, TLC and Cinemax. They have twice received Blue Ribbons at the American Film Festival, and have been presented at the Museum of Modern Art, the Boston Museum of Fine Arts, the Whitney Museum of American Art, the Chicago Art Institute and the Tribeca Film Festival and at the legendary Orson Welles Cinema in Cambridge, MA.
"Anything You Want To Be" and "Betty Tells Her Story" have been preserved with grants from the Women's Film Preservation Fund.
Currently working as a still photographer, her photography credits include "Murder at Harvard" (PBS American Experience), "Typhoid Mary: The Most Dangerous Woman In America" (PBS Nova), "Unsolved Mysteries", "The Powder & the Glory", and "Louisa May Alcott: The Woman Behind Little Women" (PBS American Masters), "Edgar Allan Poe: Buried Alive" (PBS American Masters). Her photos have been published in The New York Times, the Los Angeles Times, the Boston Globe, New York Daily News and many other publications, as well as featured in gallery exhibits.
Brandon is the recipient of the Boston Society of Film Critics Award and the Distinguished Alumni Award from Boston University. She has served as a juror for the student Academy Awards and as an education consultant for WGBH -TV. She was named "Pioneer Woman Filmmaker" by CineWomen of New York.
Brandon's work has been profiled in The Boston Globe, International Documentary Magazine, Variety, The Chicago Tribune, Film Library Quarterly, Documentary Storytelling for Film, Videomakers and many other publications.
In addition to her role as Professor of Education at the University of Massachusetts, she was also the Director of UMass Educational Television which produced award winning, original educational programming for cable/home audiences throughout New England.
Actively involved with the rights of media artists, her lawsuit (Brandon v. The Regents of the University of California) won a landmark victory for filmmakers' protection of their titles.
Before becoming a filmmaker, Brandon experimented with several short careers, working as a ski instructor, file clerk, high school teacher and professional stunt woman.- Actress
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The Davenport family was well known in theatrical circles. Her aunt, Fanny Davenport was considered one of the greatest stage actresses of her time and her father, Harry Davenport, was a Broadway star before later venturing into movies. Her mother, Alice Davenport, was a respected Broadway and film actress. With a background on the stage, Dorothy was in her early teens when she started playing bit parts in films. By the time she was 17, she was a star at Universal, where she would meet a young actor-assistant director-gopher-scenario writer named Wallace Reid. Called on to act with him in a film, she was frustrated by his apparent lack of acting ability on the first day, but was smitten with him on the third day of their work together. Dorothy was a horsewoman of distinction who had no regard for a man who couldn't stay in the saddle. When Wallace proved to be an excellent horseman, she was hooked.
After six months working on a job with another film company, Wallace returned to Universal and they married on October 13, 1913. The newlyweds continued to work. He directed and starred with Dorothy in two films a week for the next year. When Wallace left Universal Dorothy also left films, returning in 1916 to appear in a handful of them. In 1917 she gave birth to Wallace Reid Jr. and became a full-time mother and wife.
When Wallace Reid died from morphine addiction in 1923, Dorothy and Bessie Love made Human Wreckage (1923), a film that dealt with the dangers of narcotics. Dorothy would not return to the screen again until she directed and acted in The Red Kimono (1926). Dorothy later in life dabbled as a producer and a writer.- Director
- Editor
- Cinematographer
Joyce Wieland was born on 30 June 1931 in Toronto, Ontario, Canada. She was a director and editor, known for The Far Shore (1976), Sailboat (1967) and 1933 (1967). She was married to Michael Snow. She died on 27 June 1998 in Toronto, Ontario, Canada.- Actress
- Director
- Producer
A one-time pin-up beauty and magazine story model, Barbara Loden studied acting in New York in the early 50s and was on the Broadway boards within the decade. She was discovered for films by legendary producer/director Elia Kazan who was impressed with what she did in a small role as Montgomery Clift's secretary in Wild River (1960). He moved her up to feature status with her next role as Warren Beatty's wanton sister in his classic Splendor in the Grass (1961). As Kazan's protégé, she appeared as part of Kazan's stage company in the Lincoln Center Repertory Theater's production of After the Fall, winning the Tony and Outer Critic's Circle awards for that dazzling performance. An oddly entrancing, delicate blonde beauty possessed with a Marilyn Monroe-like vulnerability, she impressed in two of his other stage productions as well - But For Whom Charlie and The Changeling . After appearing in the failed movie Fade In (1973) with Burt Reynolds, she married Kazan and went into semi-retirement. Barbara wrote, directed and starred, however, in a bold independent film entitled Wanda (1970) and became an unexpected art house darling, distinguishing herself as one of the few woman directors whose work was theatrically-released during the period. She won praise in all three departments, nabbing the Venice Film Festival's International Critics Prize. Supposedly discouraged by a doubting, perhaps even resentful Kazan, Barbara never followed up on this success. She expressed interest and was in the midst of putting together another film, based on the novella The Awakening by Kate Chopin, when she learned in 1978 she had breast cancer. Barbara died two and a half years later, at age 48, after the cancer spread to her liver - before the project ever came to fruition. The Hollywood industry lost a burgeoning talent who just might have opened doors for other women directors had she been given the time.- Director
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- Editor
Birgit Hein was born on 6 August 1942 in Berlin, Germany. She was a director and writer, known for Die unheimlichen Frauen (1992), La moderna poesia (2000) and Baby, I Will Make You Sweat (1995). She was married to Wilhelm Hein. She died on 23 February 2023 in Berlin, Germany.- Writer
- Director
- Actress
Nelly Kaplan was born on 11 April 1931 in Buenos Aires, Argentina. She was a writer and director, known for Charles and Lucie (1979), Papa, the Lil' Boats (1971) and A Very Curious Girl (1969). She died on 12 November 2020 in Geneva, Canton de Genève, Switzerland.- Director
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Lizzie Borden was born on 3 February 1958 in Detroit, Michigan, USA. She is a director and writer, known for Working Girls (1986), Born in Flames (1983) and To Die Quietly (1997).- Director
- Writer
- Actress
Safi Faye was born on 22 November 1943 in Dakar, Senegal. She was a director and writer, known for Mossane (1996), Fad'jal (1979) and Letter from My Village (1976). She died on 22 February 2023 in Paris, France.- Director
- Actress
- Actress
- Director
- Soundtrack
Tanaka Kinuyo was a highly regarded and prolific actress best known for her films with director Mizoguchi Kenji. She was immersed in the world of film having received her start in the world of entertainment at age fourteen, being a filmmaker herself, being the cousin of director Kobayashi Masaki and, very much like Hara Setsuko and Ozu Yasujiro, being anecdotally romantically linked with the aforementioned Mizoguchi. The director would later recommend against her being hired as a director, which caused a rift between the two. She received her first known credit in Shochiku's Genroku Onna in 1924. She stayed to become the studio's biggest actress, and a paradigm of beauty, until approximately 1949 when she travelled to the United States Of America as an ambassador of Japanese culture. Upon her return from the US the Japanese detected a change of attitude in her, as well as noting a new short hairdo, which momentarily lead to some criticism. She had married director Shimizu Hiroshi, with whom she had worked, in 1929. Sources claim this was a mere cohabitation however. The marriage lasted a matter of months, but the two worked together beyond their romantic union. She married another one of her directors Gosho Heinosuke, but not before also starring in several Ozu films. It looked like films like Aizen Katsu and Naniwa Onna would be the height of her fame with all their popularity, but post-war films like Life Of Oharu, Sansho The Bailiff and Ugetsu were even bigger classics and immortalized the actress. Another of her many other noteworthy performances was in The Ballad Of Narayama based on a tradition and folklore of Japan. As if to complete her tour de force of Japanese cinema she directed several films and even worked with Kurosawa Akira in Red Beard. She died of a brain tumor in 1977.- Director
- Animation Department
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Lotte Reiniger was born on 2 June 1899 in Berlin, Germany. She was a director and writer, known for Silhouetten (1936), Der Graf von Carabas (1935) and Lotte Reiniger - The Fairy Tale Films (1961). She was married to Carl Koch. She died on 19 June 1981 in Dettenhausen, Baden-Württemberg, Germany.- Actress
- Director
- Writer
Mai Zetterling was born in Sweden in 1925, and lived briefly in Australia while still a child. She's known as a director and actor and trained on the Stockholm repertory stage, she began appearing in war-era films starting in her teens. Following her debut in Lasse Maja (1941), she made quite an impact in the terminally dark Ingmar Bergman-written film Torment (1944) [known as Torment in the US and Frenzy in the UK], who went on to direct her in his Music in Darkness (1948) [Music in Darkness].
The international attention she received from her Bergman association led her to England where she debuted in the title role of Frieda (1947), a war drama co-starring David Farrar, Glynis Johns and Flora Robson. Developing modest sex symbol success, she went on to co-star opposite a number of handsome leading men throughout the post-war years in primarily dramatic works, including Dennis Price in The Bad Lord Byron (1949), Dirk Bogarde in Blackmailed (1951), Herbert Lom in The Ringer (1952), Richard Widmark in A Prize of Gold (1955), Tyrone Power in Seven Days from Now (1957) (which was a variation on Hitchcock's Lifeboat (1944)), John Gregson in Faces in the Dark (1960), William Sylvester in The Devil Inside (1961), and Stanley Baker in The Man Who Finally Died (1963). Along the way she proved just as adaptable and sexy in smart comedy when she came between husband and wife Peter Sellers and Virginia Maskell in Only Two Can Play (1962).
Mai abandoned acting in the mid-1960s and courted some controversy when she successfully began sitting in the director's chair. Divorced from Norwegian actor Tutte Lemkow in the early 1950s, she later wed writer David Hughes in 1958, who collaborated with her on a number of her directing ventures, which seemed ahead of their time. Obviously influenced by Bergman, the dark, sexy drama Loving Couples (1964) [Loving Couples] dealt with homosexual themes and featured nudity; Night Games (1966) [Night Games] revolved around sexual decadency and repression; and The Girls (1968) [The Girls], which had an all-star Swedish cast including Bibi Andersson and Harriet Andersson, expounded on women's liberation. She divorced her second husband in 1979. She had two children, Louis and Etienne, from her first marriage.
Toward the end of her life, Mai made a return to film acting and is best remembered at this late stage for her nurturing and resilient grandmother in the film The Witches (1990) wherein she is forced to tangle with a particularly virulent ringleader Anjelica Huston to save her grandson from her coven of hags. Mai died of cancer in 1994.- Actress
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Shamim Ara is a renowned film actress, film producer and film director of Pakistan. She was born in British India at Aligarh in 1938. Her father's name was Syed Ali Ahmad and her maternal grandmother's name was Iqbal Begum who played a very active role in developing Shamim Ara's film career in Pakistan after Shamim Ara's mother's death at an early age. The family encouraged her to become a professional dancer in her childhood. Then her family visited Karachi, Pakistan in 1956 and Shamim Ara ran into a famous Pakistani film director Najam Naqvi there who was looking for new talent for his upcoming new movie Kunwari Bewa (1956) in Karachi. She was cast for the movie and her film acting career was launched. She acted in over 80 Pakistani films including super-hits like Saheli (1960),Qaidi (1962), Naila (1965) and Anarkali (1958). In 1976,she decided to become a film director herself and turned out many super-hit films like Playboy (1978), Miss Istanbul (1996) and Munda Bigra Jaye (1995) among many others. After Shamim Ara's husband Sardar Rind died in a fatal car accident on Karachi-Hyderabad Highway, she married film director Fareed Ahmed but this marriage only lasted for a very short time and the couple separated for unknown reasons and got divorced.Then Shamim Ara married A.Majeed from Agfa Color Film Company and had a son with him named Salman Iqbal. As of 2016, she is still married to Dabeer-ul-Hasan who is a film story writer and an associate film producer. Shamim Ara had a brain hemorrhage in Lahore, Pakistan in October 2010. She was then taken to London for treatment by her family. In London, after a brain surgery, she went into a coma and stayed in that coma until her death on 5 August 2016. Her son Salman Iqbal looked after her while she was being treated in the hospital. Looking at her entire film career, she did more than 80 films. There is no denying that she was an extremely active, talented and a successful film personality of Pakistan.- Editor
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- Actress
Farugh Farrokhzad was primarily a poet. Indeed, she is regarded as one of the most important poets of the twentieth century in Iran, which has a millennium of poetic tradition behind it. Although she only made one film, the 22 minute so-called documentary "The House is Black", this work is generally seen as the crucial precursor of the Iranian New Wave.- Director
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- Second Unit Director or Assistant Director
At the time when women directors make more and more their presence felt on the French scene, the importance of Jacqueline Audry cannot be overstated. All today's daring Metteuses En Scene are certainly her psychic daughters as they are Agnès Varda's. Audry, born in 1908, began to direct long before Varda, as contemporary of Ida Lupino in America. Audry's movies mostly dealt with female psychology from every angle. Her first effort was a subversive adaptation of La Comtesse De Ségur's "Les Malheurs De Sophie" (1946), the young heroine refused the aristocratic happiness and eventually took a rebel stand. "Gigi" (1948) (remade by Vincente Minnelli as a musical) and "Minne" (1950), both from Colette's novels, featured Danielle Delorme. But it was the overlooked "Olivia" (1951) which revealed Audry's remarkable talent: in a boarding-school for girls, two female teachers vied with each other for their students love; using literary works to enhance her story, helped by Edwige Feuillère's masterful performance, this Audry's tour De force about lesbianism was far ahead of its time. "Huis clos" (1954) from Sartre was her second great achievement: the beginning (the elevator) might have inspired Alan Parker for "Angel Heart", using flashbacks to avoid filmed stage production style, Audry's directing is dazzling, with an excellent cast featuring glorious Arletty as lesbian Inès. 'La Garçonne", a remake of a thirties movie which surpassed its model, introduced a woman who would want to live like a man, it contained scenes which, at the time, were more scandalous than what Roger Vadim was doing with Brigitte Bardot. Sadly, another remake, "L'Ecole Des Cocottes" (1958) ,could not hold a candle to the thirties version featuring Raimu. Her last worthwhile effort was "Le Secret Du Chevalier D'Eon" (1960), the fictionalized story of Louis The Fifteenth's spy who used to dress up as a woman: this film and "La Garçonne" featured Andrée Debar, whose androgynous looks worked wonders. A road movie ("Les Petits Matins",1961) and other indifferent movies in the sixties and Audry's career closed in 1971. She died in 1977, and she had unfairly sunk into oblivion. She was married to screenwriter Pierre Laroche who would work with her.- Writer
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- Actress
Ms. Duras was born in southern Vietnam and lost her father at age 4. The family savings of 20 years bought the family a small plot in Cambodia, but everything was lost in a single season's flooding. The disaster killed her mother as a result. After high school in Saigon, Ms. Duras left Indochina to study law in Paris. As a young woman, she worked as a secretary in France's Ministry of Colonies from 1935 to 1941, before becoming a writer. She wrote 34 novels from 1943 to 1993, and became an enduring part of Paris's intellectual elite. In addition to her writing, she also directed about 16 films. For the film India Song (1975), she won France's Cinema Academy Grand Prix. She claimed to have rescued French president François Mitterand during World War II, when he was a resistance fighter and remained a friend and unconditional campaigner. Her most noted novel is "L'Amant", the story of a girl, from a poor French family in Indochina, who becomes the mistress of a wealthy Indochinese notable's son.- Director
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Elvira Notari, born Maria Elvira Giuseppa Coda, in Salerno was Italy's earliest and most prolific female filmmaker, made over sixty feature films and about a hundred shorts and documentaries. Her parents was of modest social origins. She was allowed to attend school and pursue an education at the School of Science in literature while dancing as a hobby. In 1902 the family moved to Naples where Elvira met and married the cinematographer Nicola Notari. Together they founded Dora Films in 1903, named after their daughter. Eduardo, born 1903, became an actor, while their second daughter, Maria, stayed out of the film business. Elvira Notari started out making shorts and documentaries about people in Naples, she was a forerunner to the neorealism, was critically acclaimed in Italy and the United States until the arrival of the Fascist regime and Benito Mussolini in 1922. Censorship in Italy came down on Dora films and the company was forced to give up in 1930. It became a must for Italian filmmakers to establish themselves in Rome, which the Notari's was not interested in. Instead they moved to Cava de 'Tirreni, near Salerno, where she retired and eventually passed on December 17, 1946.- Actress
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Edith Carlmar was born on 15 November 1911 in Oslo, Norway. She was an actress and director, known for A Young Woman Missing (1953), The Wayward Girl (1959) and Death Is a Caress (1949). She was married to Otto Carlmar. She died on 17 May 2003 in Oslo, Norway.- Editor
- Writer
- Director
Manuela Viegas was born on 13 October 1957 in Porto, Portugal. She is an editor and writer, known for Glória (1999), O Lugar do Morto (1984) and Haircut (1995).- Actress
- Director
- Writer
Ana Mariscal was born on 31 July 1923 in Madrid, Spain. She was an actress and director, known for Segundo López, aventurero urbano (1953), Una sombra en la ventana (1945) and Un hombre va por el camino (1949). She was married to Valentín Javier. She died on 28 March 1995 in Madrid, Spain.- Director
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- Second Unit Director or Assistant Director
Josefina Molina was born on 14 November 1936 in Córdoba, Córdoba, Andalucía, Spain. She is a director and writer, known for Esquilache (1989), The Most Natural Thing (1991) and Entre naranjos (1998).- Director
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Born to a military family. Attends law studies before starting a newspaper career. In 1960 starts on TV. Joins the Socialist Party in 1976 and conducts the electoral campaign in 1982 and in the same year she is designated General Director of Cinema. Resigning in 1985, the next year she joins the State Television (RTE). The last work was the coverage of the Royal Wedding of Infanta Cristina in Barcelona (October 1997 ).- Actress
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- Director
Jane Arden was born in Wales in 1927 and left for London in her teens.
She trained at RADA and quickly began working as an actress and playwright. It was there that she met her future husband, Philip Saville, who is now perhaps most known for his work Boys from the Blackstuff (1982) and The Life and Loves of a She-Devil (1986). They had 2 children, Sebastian Saville and Dominic Saville and one step- child, Elizabeth Saville.
Jane Arden's plays include The Thug (1959) which starred Alan Bates, The Party (1958) which was directed by Charles Laughton and gave Albert Finney his first role in the theatre, Post Mortem (1999), _The New Communion For Freaks, Prophets and Witches (1999)_, The Illusionist (1983) and Vagina Rex and the Gas Oven (1969).
Jane Arden began tracing female oppression in 1966 when she wrote a script for the film The Logic Game (1965). It was described as a "surrealist puzzle" attempting to locate the isolation of women in the context of bourgeois marriage.
Arden's film career includes her original script and her performance in Separation (1968), which featured the song "Salad Days" by Procol Harum and was directed by Jane Arden's collaborator Jack Bond. In this film, women's' exploitation was exposed as their personal dilemma began to take on a political context.
Arden formed the feminist theatre group "Holocaust" and then wrote a play with the same name. In 1972, she adapted and directed this for the cinema as The Other Side of Underneath (1972).
Before her involvement with the Women's Liberation Movement, she appeared on TV talk programmes like Not So Much a Programme, More a Way of Life (1964) as a speaker on women and politics. As an actress, she was best known for her performance as "Inez" in a BBC-TV production of Jean-Paul Sartre Huis clos (1965), opposite Harold Pinter as "Garcia".
Two more films, both co-directed with Jack Bond, followed in the later 1970s, the experimental Vibration (1974), made in the USA in 1974, and Anti-Clock (1979) which opened the 1979 London Film Festival. It was the fist film to use video techniques in an experimental way. Her poetry books include "You Don't Know What You Want, Do You?". Jane Arden committed suicide on Dec. 20, 1982 in North Yorkshire and is buried in Darlington West Cemetary. She was 55 years old.- Actress
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Margery Wilson was born on 31 October 1896 in Gracey, Kentucky, USA. She was an actress and director, known for Insinuation (1922), The Offenders (1924) and The Clodhopper (1917). She was married to Otto Meek, William Williamson and Vance Link Bushnell. She died on 21 January 1986 in Arcadia, California, USA.- Editor
- Editorial Department
Beate Mainka-Jellinghaus was born on 27 July 1936. She is an editor, known for Aguirre, the Wrath of God (1972), The Enigma of Kaspar Hauser (1974) and Fitzcarraldo (1982).- Writer
- Producer
- Director
Caroline Thompson was born on 23 April 1956 in Washington, District of Columbia, USA. She is a writer and producer, known for Edward Scissorhands (1990), The Addams Family (1991) and The Nightmare Before Christmas (1993). She is married to Steve Nicolaides. She was previously married to Henry Bromell.- Director
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Donatella Baglivo was born on 18 May 1946 in Tricase, Lecce, Italy. She is a director and editor, known for Un poeta nel Cinema: Andreij Tarkovskij (1984), Hollywood Dearest (1988) and Andrey Tarkovsky in Nostalghia (1984).- Actress
- Writer
- Director
Oja Kodar was born in 1941 in Dubrava kraj Zagreba, Croatia, Yugoslavia [now Croatia]. She is an actress and writer, known for Jaded (1989), The Other Side of the Wind (2018) and The Deep (1970).- Director
- Producer
Valerie A. Robins was born on 14 December 1947 in Ealing, London, England, UK. Valerie A. is a director and producer, known for Preminger: Anatomy of a Filmmaker (1991).- Director
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- Second Unit Director or Assistant Director
Binka Zhelyazkova was born on July 15, 1923 in the town of Svilengrad, Bulgaria. She studied theater at the National Theater Institute in Sofia. Her career as a film director began in 1957 when she co-directed her first feature film Life Goes Quietly By... with her husband Hristo Ganev.
At the end of the 1950s Binka Zhelyazkova was one of the few women in the world making feature films. Her style was influenced by Italian Neo-Realism and the French New Wave, as well as Russian Cinema.
During her career she directed seven feature and two documentary films. Four of her nine films were banned from distribution and reached audiences only after the end of communism. She was the director of the Bulgarian section of Women in Film, an organization created in 1989 after the international women in film conference, KIWI, in Tbilisi, Georgia. She stopped making films after 1989, which coincided with the fall of the communist regime in Bulgaria. For some time after that she remained active in the women in film organization but soon completely withdrew from public life.- Director
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Gwendolyn Audrey Foster is known for Dada Ship (2018) and Women Who Made the Movies (1992). She is married to Wheeler Winston Dixon.- Additional Crew
- Producer
- Editor
Dale Ann Stieber is known for Hollywood Mavericks (1990), In Search of Kundun with Martin Scorsese (1998) and Unfinished Business (1987).- Producer
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Helen Grace trained as a producer and director, and has worked on the production and post production of many UK independent feature films of various genres and also in an advisory capacity on several productions with other companies. She has also worked for independent distribution companies on releases in the UK.- Director
- Actress
Jamika Ajalon is known for Go Fish (1994), Who wants to be my horse? (2019) and Introduction to Cultural Skit-zo-frenia (1993).- Cinematographer
- Camera and Electrical Department
- Director
Anne Cottringer was born on 28 May 1952 in Niagara Falls, Ontario, Canada. She is a cinematographer and director, known for Doll's Eye (1983), People to People (1983) and The Song of the Shirt (1979).- Visual Effects
- Animation Department
- Director
- Dianne Oliva-Day is known for As Time Goes By (2002).
- Actress
- Additional Crew
- Director
Elda Tattoli was born in 1929 in Bologna, Emilia-Romagna, Italy. She was an actress and director, known for China Is Near (1967), Pianeta Venere (1972) and Canto d'amore (1982). She died in 2005 in Rome, Lazio, Italy.- Director
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Jean Bach was born on 27 September 1918 in Chicago, Illinois, USA. She was a director and writer, known for The Spitball Story (1997), A Great Day in Harlem (1994) and Charlie Rose (1991). She was married to Bob Bach and Shorty Sherock. She died on 27 May 2013 in New York City, New York, USA.- Writer
- Producer
- Actress
Janice Karman was born on 21 May 1954 in Los Angeles, California, USA. She is a writer and producer, known for Alvin & the Chipmunks (1983), The Chipmunk Adventure (1987) and Alvin and the Chipmunks (2007). She has been married to Ross Bagdasarian Jr. since 27 September 1980. They have two children.- Actress
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When people gave Louis Malle credit for making a star of Jeanne Moreau in Elevator to the Gallows (1958) immediately followed by The Lovers (1958), he would point out that Moreau by that time had already been "recognized as the prime stage actress of her generation." She had made it to the Comédie Française in her 20s. She had appeared in B-movie thrillers with Jean Gabin and Ascenseur was in that genre. The technicians at the film lab went to the producer after seeing the first week of dailies for Ascenseur and said: "You must not let Malle destroy Jeanne Moreau". Malle explained: "She was lit only by the windows of the Champs Elysées. That had never been done. Cameramen would have forced her to wear a lot of make-up and they would put a lot of light on her, because, supposedly, her face was not photogenic". This lack of artifice revealed Moreau's "essential qualities: she could be almost ugly and then ten seconds later she would turn her face and would be incredibly attractive. But she would be herself".
Moreau has told interviewers that the characters she played were not her. But even the most famous film critic of his generation, Roger Ebert, thinks that she is a lot like her most enduring role, Catherine in François Truffaut's Jules and Jim (1962). Behind those eyes and that enigmatic smile is a woman with a mind. In a review of The Clothes in the Wardrobe (1993) Ebert wrote: "Jeanne Moreau has been a treasure of the movies for 35 years... Here, playing a flamboyant woman who nevertheless keeps her real thoughts closely guarded, she brings about a final scene of poetic justice as perfect as it is unexpected".
Moreau made her debut as a director in Lumiere (1976) -- also writing the script and playing Sarah, an actress the same age as Moreau whose romances are often with directors for the duration of making a film. She made several films with Malle.
Still active in international cinema, Moreau presided over the jury of the 1995 Cannes Film Festival.- Producer
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Joy Batchelor was born on 22 May 1914 in Watford, Hertfordshire, England, UK. She was a producer and director, known for Animal Farm (1954), New Schools (1947) and Ruddigore (1966). She was married to John Halas. She died on 14 May 1991 in London, England, UK.- Actress
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Katja Rupé was born on 18 September 1949 in Munich, Bavaria, Germany. She is an actress and director, known for Sternsteinhof (1976), La seconda notte (1986) and Germany in Autumn (1978).- Director
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Larisa Shepitko was born on 6 January 1938 in Bakhmut, Ukrainian SSR, USSR [now Bakhmut, Donetsk Oblast, Ukraine]. She was a director and writer, known for The Ascent (1977), Heat (1963) and You and Me (1971). She was married to Elem Klimov. She died on 2 July 1979 in near Redkino, Kalinin Oblast, Russian SFSR, USSR.- Second Unit Director or Assistant Director
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- Additional Crew
Kristine Peterson is known for Bill & Ted's Excellent Adventure (1989), Slaves to the Underground (1997) and Tremors (1990).- Director
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- Editor
Lorenza Mazzetti was born on 26 July 1927 in Rome, Lazio, Italy. She was a director and writer, known for Together (1956), Latin Lovers (1961) and I cattivi vanno in paradiso (1959). She died on 4 January 2020 in Rome, Lazio, Italy.- Director
- Animation Department
- Additional Crew
Martine Franck was born on 2 April 1938 in Antwerp, Belgium. She was a director, known for Lest We Forget (1991), Mille enfants vers l'an 2000 (1999) and Mémoires vives (2013). She was married to Henri Cartier-Bresson. She died on 16 August 2012 in Paris, France.- Writer
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- Actress
María Luisa Bemberg was born on 14 April 1922 in Buenos Aires, Argentina. She was a writer and director, known for I Don't Want to Talk About It (1993), I, the Worst of All (1990) and Miss Mary (1986). She was married to Carlos Maria Miguens y Zumarán. She died on 7 May 1995 in Buenos Aires, Argentina.- Editor
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Maximiliane Mainka was born on 29 May 1943. She is an editor and director, known for Wer will krank sein auf der Welt? (1977), Germany in Autumn (1978) and Was d' Leut so saget (1980).- Producer
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Jane Kennedy was born on 9 June 1964 in Camberwell, Melbourne, Victoria, Australia. She is a producer and writer, known for Breaking News (1994), The Dish (2000) and The Castle (1997). She is married to Rob Sitch.- Writer
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Zulfah Otto-Sallies was born on 8 May 1961 in South Africa. She was a writer and director, known for Mama Africa (2002), Action Comandante (2016) and Amaza (2014). She was married to Shahied Sallies. She died on 8 July 2016 in Cape Town, South Africa.- Director
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Born outside Philadelphia in 1943, majored in Russian literature at the University of Wisconsin. An independent filmmaker, primarily of non-fiction works, since 1967. Only one dramatic feature film, WAITING FOR THE MOON, which won 1st prize at the Sundance Film Festival in 1987. Since 1992, a professor at the Univeristy of Notre Dame in the Film, Television and Theatre Department, teaching film production courses and other things. Recipient of a Guggenheim Fellowship, 2 Rockefeller Foundation Fellowships, and others.- Director
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Sara Driver was born on 15 December 1955 in Westfield, New Jersey, USA. She is a director and actress, known for Sleepwalk (1986), The Dead Don't Die (2019) and Stranger Than Paradise (1984).- Actress
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The early film career of Stella Stevens could be said to mirror that of Marilyn Monroe. She began by playing a succession of sensuous, blond glamour girls, from naïve virgins and funny coquettes to precocious or briny-tongued floozies. Her early maturity on screen may have reflected her own turbulent private life: she was married at 15, had a child (Andrew Stevens) at 16 and was divorced a year later. At 21, having a child to support and no money, she posed for a celebrated Playboy centerfold. She was Playmate of the Month for January 1960 which did her subsequent movie career no harm whatever. She was voted by Playboy as one of the 100 Sexiest Women of the 20th century and became one of the most photographed stars of the 1960s.
The voluptuous, blue-eyed Stella was born Estelle Caro Eggleston to one of the oldest families in Yazoo City, Mississippi. A myth which had her hailing from the quaintly named area of Hot Coffee was purely an invention by Hollywood publicists. Her father, Thomas Ellet Eggleston, was an insurance salesman, her mother, Estelle (nee Caro), a nurse. The family moved to Memphis when she was four.
During her early childhood, Stella was nicknamed "Bootsie". Precocious and impatient to grow up, she took to watching movies at every opportunity. It became her main passion. Graduating from high school in 1955, she spent two years attending Memphis State University where she was 'discovered' during a production of Bus Stop in the role of aspiring nightclub singer Chérie (famously played by Marilyn in the film version). Borrowing some money, Stella made her way to the bright lights of Los Angeles and was signed by 20th Century Fox in 1959. She made only three films for the studio during a six months spell before her contract was dropped, her debut being a bit part in Frank Tashlin's saccharine comedy-drama Say One for Me (1959).
Her role won her a Golden Globe Award as Most Promising Newcomer. That same year, she was picked up by Paramount and made her first breakthrough on the screen as the vampish Apassionata von Climax in the film version of the hit Broadway musical Li'l Abner (1959), based on Al Capp's comic strip.
She alternated motion pictures with television appearances, displaying a perhaps unexpectedly wide range as an actress in both dramatic and comedic roles. She stood out in films like Too Late Blues (1961) and The Courtship of Eddie's Father (1963), both under greatly contrasting directorial styles.
Above all, she saw herself not as a sex icon but as a comedienne. She once said "I want to be remembered for whatever made people laugh the most." Unafraid to do physical comedy in the manner of Lucille Ball she was also often lauded for her comic timing in films like The Silencers (1966) (a James Bond-style spoof, co-starring a sleepy-eyed Dean Martin) and Where Angels Go Trouble Follows! (1968). In the 1970s, her best role was as a warmhearted prostitute in Sam Peckinpah's seminal western The Ballad of Cable Hogue (1970). Writer and critic Roger Ebert wrote of her performance "There are few enough actresses who can be funny and feminine at the same time, but she is certainly one of them." Conversely, in the classic disaster epic The Poseidon Adventure (1972), she played a former hooker with a heart closer to tin.
Like many film careers, hers too experienced a fair share of hiccups along the way, often due to typecasting: duds like Slaughter (1972), Stand Up and Be Counted (1972), Las Vegas Lady (1975), The Manitou (1978), and others. However, Stella proved resourceful enough to diversify and go behind the camera, both as producer and director of a feature-length documentary, The American Heroine (1979). She co-authored a novel entitled 'Razzle, Dazzle' (published in 1999), about the rise and fall of a glamorous rock star. She unveiled her own range of women's and men's fragrances, called 'Sexy'.
During the 1980s and 1990s, she concentrated primarily on television and enjoyed lengthy tenures on the glossy soaps Flamingo Road (1980) and Santa Barbara (1984), in addition to many guest appearances in shows as diverse as Police Story (1973), Hotel (1983), Alfred Hitchcock Presents (1985) and In the Heat of the Night (1988). In 1976, she briefly forsook the glamour of Beverly Hills and set up home on a 27-acre ranch on the edge of the Cascade Mountains in Washington State and then proceeded to operate an art gallery and bakery in a nearby town.
By 1983, she had returned to her Beverly Hills home where she lived with her partner (rock guitarist Bob Kulick), until the home was sold in 2016. Afflicted by Alzheimer's disease, Stella Stevens spent her remaining years in an assisted living home in California and passed away in Los Angeles on February 17 2023 at the age of 84.- Director
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Tia Brelis is known for Trading Mom (1994).- Director
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Marisa Silver is known for Old Enough (1984), He Said, She Said (1991) and Vital Signs (1990). She is married to Ken Kwapis. They have two children.- Cinematographer
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Sally Bongers is known for Circa (2001), Christine Anu & Paul Kelly: Last Train (1993) and Sweetie (1989).- Producer
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Lydia Dean Pilcher is known for Queen of Katwe (2016), Radium Girls (2018) and The Darjeeling Limited (2007).Active producer. One earlier documentary directing credit.- Director
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Anna Maria Tatò was born on 19 April 1940 in Barletta, Italy. She was a director and writer, known for Marcello Mastroianni: I Remember (1997), Le serpentine d'oro (1978) and Doppio sogno dei Sigg. X (1980). She died on 3 June 2022 in Rome, Lazio, Italy.- Writer
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She took a screenwriting course in 1991 out of curiosity and soon found herself immersed in filmmaking. She graduated from Spelman College in Atlanta, Georgia in 1982. She is an Associate Professor of English at City University of New York's Baruch College where she teaches TV and Film Writing, Journalism and Fiction Writing.- Anne-Laure Folly is known for Sarah Maldoror ou la nostalgie de l'utopie (1999), Women with Open Eyes (1994) and Partition pour voix de femmes (2001).
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Anne de Marcken is a time-based artist working in literary fiction, film and video, digital photography, and interactive code. Her credits include short stories, poetry, screenplays, short and feature-length films and videos, and interactive web environments.
Her writing has been featured on NPR's Selected Shorts and in such publications as Best New American Voices, Glimmer Train, Southing Indiana Review, Hunger Mountain, The Writer's Chronicle, Writers Ask, and in the anthology The Way We Knew It. She has been awarded the Mary C. Mohr Short Fiction Award, the Stella Kupferberg Memorial Short Story Prize, the Howard Frank Mosher Prize for Short Fiction, and was one of ten writers selected by guest judge Yiyun Li in the 2009 Zoetrope: All Story Short Fiction Contest. She has received grant and fellowship support for her writing from the Jentel Foundation, Centrum, the Hafer Family Foundation, and Artist Trust. Her award-winning film and video work has been widely distributed in commercial theaters, around the world in festivals, on the web, and on home video.
De Marcken is actively engaged in critical discussion about the interplay of new media and literature, and has served as moderator and panelist at international conferences such as AWP and the University of Iowa's NonfictionNow, and as Fiction Editor for Hunger Mountain.
Co-founder and Creative Director of the digital media studio Wovie, Inc. for ten years, de Marcken now serves in an advisory capacity on large projects. She is co-producing Wovie's latest feature-length narrative, In the Way of Intimacy, as well as the company's first feature-length documentary, FAIR.
De Marcken earned a Master of Fine Arts in Creative Writing from Vermont College of Fine Arts and a BA in Experimental Media from The Evergreen State College.- Writer
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Michal Rovner was born in 1957 in Tel Aviv, Israel. Michal is a writer and director, known for Border (1997), Last Supper (1992) and It's Real (1990).- Dara Birnbaum was born in 1946 in New York City, New York, USA. She is a director, known for Kojak/Wang (1980), Technology/Transformation: Wonder Woman (1979) and I Will Not Make Any More Boring Art (1987).
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Robin Anderson was born on 11 September 1948 in Perth, Western Australia, Australia. Robin was a producer and director, known for Joe Leahy's Neighbours (1989), Facing the Music (2001) and Black Harvest (1992). Robin was married to Bob Connolly. Robin died on 8 March 2002 in Sydney, New South Wales, Australia.- Camera and Electrical Department
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Nan Goldin was born on 12 September 1953 in Washington, District of Columbia, USA. She is an actress and director, known for All the Beauty and the Bloodshed (2022), I'll Be Your Mirror (1996) and High Art (1998).- Director
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Little is known about Theresa "Tressie" Souders, who in 1922, became the first known African-American female director, when the Afro-American Film Exhibitors Company of Baltimore and Dallas, Texas, contracted with her to distribute her film "A Woman's Error." Billboard Magazine for January 28, 1922 (34:107) published the company's announcement that "'A Woman's Error' was the first of its kind to be produced by a young woman of our race, and has been passed on by the critics as a picture true to Negro life." It appears that Ms. Souders left Kansas City, Missouri for Los Angeles; the 1930 census finds her (as "Tressa" Souders) living at the Sojourner Truth Industrial Home at 1119 East Adams Avenue; her occupation was "Servant, Private Home." She may have gone to Los Angeles as an attempt to get into the motion picture business; however, as far as it is known, she spent most of the rest of her life as a domestic worker. Voting records have her at the East Adams address until 1935, when she married Oscar Carnelus West, a native of Richmond, Va., who ran a pool hall in the Watts section of the city of Los Angeles. There were no children of the marriage, which was short-lived. By 1940, Tressa West was in San Francisco, where she would stay the rest of her life, other than periodic visits south to Los Angeles. She died in San Francisco in her ninety-fifth year, and is buried in Frankfort Cemetery in Marshall County, Kansas.- Writer
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Zora Neale Hurston was born on 7 January 1891 in Notasulga, Alabama, USA. She was a writer and director, known for American Playhouse (1980), She's Gotta Have It (1986) and Hands Upon the Heart (1991). She was married to James Howell Pitts, Albert Price III and Herbert Sheen. She died on 28 January 1960 in Saint Lucie County, Florida, USA.- Director
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Eloyce Gist was born on 21 October 1892 in Hitchcock, Texas, USA. She was a director and actress, known for Hellbound Train (1930), Verdict Not Guilty (1933) and Heaven-Bound Traveler (1935). She was married to John William Slaughter, Arthur C. Wood, James Gist and Roscoe C. Patrick. She died in 1974.- Madeline Anderson was born in Lancaster, Pennsylvania, USA. She is known for Simple Creature (2016), Koinonia (2014) and Survival Skills (2020).
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Jessie Maple was born on 14 February 1937 in McComb, Mississippi, USA. She was a producer and director, known for Will (1981), Twice as Nice (1989) and Pure Payton (1997). She was married to LeRoy Patton. She died on 30 May 2023 in Atlanta, Georgia, USA.- Director
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Cauleen Smith was born in Riverside, California and grew up in the Sacramento area. She completed her B.A. at San Francisco State University in 1991 and her M.F.A. in Film at UCLA in 1998. Her feature length film Drylongso received a lot of attention after its showing at the Sundance Film Festival. It earned Smith the Movado Someone to Watch Award as well as Best Feature Film at the Urbanworld Film Festival and the Los Angeles Pan African Film Festival in 2000. Since then she has been very busy, completing many films including The Fullness of Time which was filmed in New Orleans only two years after Hurricane Katrina hit. Her most recent project is an experimental documentary about the late Chicago-based jazz artist Sun-Ra, whose eclectic style changed the Chicago jazz scene forever. Smith teaches in the Visual Arts department at the University of California, San Diego and continues to write, direct, and produce.- Director
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Ruby L. Oliver is known for Love Your Mama (1990) and Sisters in Cinema (2003).- Director
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Alison Swan was born in Bermuda. She is known for Mixing Nia (1998), Nothing Like the Holidays (2008) and Mrittupuri: Kill Zone.- Director
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Katja Raganelli is known for I Am Wanda (1980), Longing for Women: Dorothy Arzner (1983) and Márta Mészáros - Portrait einer ungarischen Filmregisseurin (1979).- Actress
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Karin Swanström was born on 13 June 1873 in Norrköping, Östergötlands län, Sweden. She was an actress and production manager, known for June Night (1940), Kalle Utter (1925) and Flickan i frack (1926). She was married to Stellan Claësson. She died on 5 July 1942 in Stockholm, Stockholms län, Sweden.- Writer
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Sarah Kernochan was born in New York City. Educated at Rosemary Hall and Sarah Lawrence, she achieved early success by winning the Academy Award for Best Feature Documentary, at age 27, for her film "Marjoe." Her next move was to record two RCA albums as a singer-songwriter. Two years later her novel "Dry Hustle" was published. An original musical titled "Sleeparound Town" followed, with workshop productions at the New York Public Theater, and then Playwrights Horizons, where she met her future husband James Lapine. Their daughter Phoebe Lapine was born 1985, by which time Kernochan had settled into a career as a screenwriter and filmmaker. In 2002 she won a second Academy Award, this time for the 40-minute short "Thoth". She continues to compose songs for her website. She has taught advanced screenwriting as a Terry and Jane Semel Fellow at Emerson College in Boston. Her most recent accomplishments have been the publication of "Jane Was Here"(2011), a well-reviewed reincarnation mystery, and the release of her third album "Decades of Demos" for digital download in online stores. Her biog "At Home With a Ghost" is an ongoing chronicle of her lifelong encounters with ghosts and spirits.- Actress
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Canadian-born actress, writer, producer and animal trainer Nell Shipman was best known for writing and acting in several James Oliver Curwood stories and for her portrayals of strong, adventurous women, with many of her productions being filmed in Canada. Her son, Barry Shipman, became a prolific screenwriter, mostly of westerns.- Writer
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The most renowned female screenwriter of the 20th century, and one of the most respected scripters of any gender, Frances Marion was born in San Francisco. She modeled and acted and had some success as a commercial artist. She entered into journalism and served in Europe as a combat correspondent during World War I. She moved to Los Angeles and was employed by director Lois Weber as an assistant, in which position she received a thorough apprenticeship in the film industry. She began writing scripts and attracted the attention of Mary Pickford. The pair began a long relationship as both friends and artists, with Marion serving as Pickford's official screenwriter. She wrote many of Pickford's most famous and memorable silent films as well as many other of the great successful pictures of the 1920s and 1930s. She won Oscars for her writing on The Big House (1930) and The Champ (1931). Her influence resurrected the career of Marie Dressler and resulted in her greatest glory, and her scripts for Marion Davies are among the most memorable of that actress' oeuvre. At MGM, where she was long under contract, she enjoyed enormous creative freedom for a writer. With the death of Irving Thalberg, MGM's creative head, in 1936, Marion's power and influence waned. In 1946 she left Hollywood and thereafter concentrated on plays and novels. She was at one time married to 1920s cowboy star Fred Thomson and subsequently to director George W. Hill. She died in 1973, one of the most respected names in Hollywood history.- Actress
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Mabel Normand was one of the comedy greats of early film. In an era when women are deemed 'not funny enough' it seems film history has forgotten her contributions. Her films debuted the Keystone Cops, Charlie Chaplin's tramp and the pie in the face gag. She co-starred with both Chaplin and Roscoe "Fatty" Arbuckle in a series of shorts. She was a star in the first Keystone Comedy as well as the first feature film comedy. She was the only comedian to work with Charles Chaplin , Roscoe "Fatty" Arbuckle, Mack Sennett, D.W. Griffith, Harold Lloyd, Mary Pickford, Hal Roach, Stan Laurel, Oliver Hardy, Fred Mace, Fred Sterling and John Bunny (she and Buster Keaton never had a chance to work together but they were friends.)
Born in Staten Island, New York to Claude and Mary Normand. Normand started out as an artist model for Charles Dana Gibson (creator of the Gibson girl). Friends suggested she try out for the new medium of film and she did, working as an extra in Kalem and Biograph shorts. With Biograph's move to California she went to work for Vitagraph where she made a series of comedic shorts as 'Betty', one co-starring the first comedy film star John Bunny.
Eventually Normand returned to Biograph where she began working with Mack Sennett on comedic shorts that would eventually turn into Keystone Comedies. Normand and Sennett were lovers, close friends and close co-workers. All of Sennett's early ideas seemed to revolve around Normand. His creation of Keystone was contingent on Normand joining him; and though he would underpay her as he underpaid everyone he worked with, he insisted Normand have credit and say in the company. When Normand eventually left Keystone for Goldwyn, Sennett left soon after.
By 1912 Normand was writing her own films and by 1914 she was directing her films. By this point she was a major star, continually topping fan polls by new movie magazines. While the discovery of Charlie Chaplin varies from telling to telling, everyone involved agreed Sennett would not have hired (or kept him on) had it not been for Normand. Chaplin's second short for the company was Normand's "Mabel's Strange Predicament" which she starred and directed in. This was the first film Chaplin created his iconic tramp character for.
Chaplin and Normand had a comedic chemistry and would go on to team in a series of shorts until Chaplin left Keystone in 1915. As Chaplin's star rose many fan magazines began to call Normand a 'female Chaplin'. Normand and Chaplin had similar subtle mannerisms and the influence Normand had on Chaplin can not be understated. Before Chaplin left Keystone, they starred, alongside Marie Dressler, in "Tillie's Punctured Romance" the first full length comedy film.
With the loss of Chaplin, Normand and Roscoe "Fatty" Arbuckle began to team together in a series of shorts (though they had acted together before). This series was also popular and the pair continued acting together until they both left Keystone for better pay.
Sennett and Normand became engaged around this time, though the engagement ended when Sennett was caught cheating on Normand. Friends report she suffered a severe head injury when Sennett's fling threw a vase at Normand's head. Those who knew Normand all believed Sennett was the love of her life; and she his. However they would never reconcile romantically. Sennett did convince Normand to create her own production company "Mabel Normand Film Company" to make her own features. The first project was "Mickey" and Sennett's handling of her business affairs resulted in the film not being released until 1918 (or having a definite version).
Normand dissolved the company and signed with Goldwyn where she went on to make comedy features. These movies would be more akin to sitcoms: they were shorter than a lot of features, but still features. Many are lost though several have turned up in the past 10 years.
Normand once again signed with Sennett to make features and this would result in her final feature films. However this would be a rocky venture. Normand's health was hit or miss (she had been diagnosed with tuberculosis when she was 10) and seemed to be worse than better. She also was drinking heavily. In 1922 her friend William Desmond Taylor was murdered. This case would become 'the case of the century' and became a media circus, it is still unsolved. Though Normand was cleared (she had been seen leaving his house with him waving goodbye to her; she was likely the last person to see him alive), the association left an unwelcome tarnish on her soon after the scandalous death of her friend Olive Thomas, and the unfair trial of Roscoe Arbuckle.
Normand continued working, making The Extra Girl. Soon after its release in 1923 she was again near another crime (a butler was shot at a party she attended; though he survived.) Soon after Normand took a break from film.
By 1926 Normand was ready for a comeback. She signed with Hal Roach to make comedy shorts. These were well received and by 1928 she had signed with the William Morris Agency to make talkies. However she did not realize how sick she was and her health soon interrupted these plans.
Over the years Normand's tuberculosis has turned into rumors of a drug addiction. This started during the Taylor scandal when it was claimed that maybe he had been killed for interrupting a drug ring, and maybe Normand was part of it. While not prominent during her life it has become more commonly believed as time has passed despite no evidence. Normand's family, estate and personal nurse were all adamant she had never used any drugs. Sadly this rumor has become common place in Hollywood lore.
Normand's drinking increased as did her partying. During one party she decided to marry longtime friend Lew Cody at 2am. She instantly regretted the marriage and they continued living separately. As Normand's health decreased and she was committed to a sanitarium (akin to a hospital/hospice in modern terms) by 1929. She died in 1930 from tuberculosis.- Actress
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Lillian Diana Gish was born on October 14, 1893, in Springfield, Ohio. Her father, James Lee Gish, was an alcoholic who caroused, was rarely at home, and left the family to, more or less, fend for themselves. To help make ends meet, Lillian, her sister Dorothy Gish, and their mother, Mary Gish, a.k.a. Mary Robinson McConnell, tried their hand at acting in local productions. Lillian was six years old when she first appeared in front of an audience. For the next 13 years, she and Dorothy appeared before stage audiences with great success. Had she not made her way into films, Lillian quite possibly could have been one of the great stage actresses of all time; however, she found her way onto the big screen when, in 1912, she met famed director D.W. Griffith. Impressed with what he saw, he immediately cast her in her first film, An Unseen Enemy (1912), followed by The One She Loved (1912) and My Baby (1912). She would make 12 films for Griffith in 1912. With 25 films in the next two years, Lillian's exposure to the public was so great that she fast became one of the top stars in the industry, right alongside Mary Pickford, "America's Sweetheart".
In 1915, Lillian starred as Elsie Stoneman in Griffith's most ambitious project to date, The Birth of a Nation (1915). She was not making the large number of films that she had been in the beginning because she was successful and popular enough to be able to pick and choose the right films to appear in. The following year, she appeared in another Griffith classic, Intolerance (1916). By the early 1920s, her career was on its way down. As with anything else, be it sports or politics, new faces appeared on the scene to replace the "old", and Lillian was no different. In fact, she did not appear at all on the screen in 1922, 1925 or 1929. However, 1926 was her busiest year of the decade with roles in La Bohème (1926) and The Scarlet Letter (1926). As the decade wound to a close, "talkies" were replacing silent films. However, Lillian was not idle during her time away from the screen. She appeared in stage productions, to the acclaim of the public and critics alike. In 1933, she filmed His Double Life (1933), but did not make another film for nine years.
When she returned in 1943, she appeared in two big-budget pictures, Commandos Strike at Dawn (1942) and Top Man (1943). Although these roles did not bring her the attention she had had in her early career, Lillian still proved she could hold her own with the best of them. She earned an Oscar nomination as Best Supporting Actress for her role of Laura Belle McCanles in Duel in the Sun (1946), but lost to Anne Baxter in The Razor's Edge (1946).
One of the most critically acclaimed roles of her career came in the thriller The Night of the Hunter (1955), also notable as the only film directed by actor Charles Laughton. In 1969, she published her autobiography, "The Movies, Mr. Griffith, and Me". In 1987, she made what was to be her last motion picture, The Whales of August (1987), a box-office success that exposed her to a new generation of fans. Her 75-year career is almost unbeatable in any field, let alone the film industry. On February 27, 1993, at age 99, Lillian Gish died peacefully in her sleep at her Manhattan apartment in New York City. She never married.- Writer
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A successful playwright, Marguerite Bertsch was hired by Vitagraph in 1913 as a screenwriter. After writing several successful pictures for the studio, she was given the chance to direct, at first with a co-director (William P.S. Earle) on The Law Decides (1916), then on her own with The Devil's Prize (1916). She directed four films altogether, and later published a book about how to make movies. She left the business in 1918, and died in 1967 at age 77.