Directors II
List activity
32 views
• 0 this weekCreate a new list
List your movie, TV & celebrity picks.
287 people
- Director
- Actor
- Producer
Georges Méliès was a French illusionist and film director famous for leading many technical and narrative developments in the earliest days of cinema.
Méliès was an especially prolific innovator in the use of special effects, popularizing such techniques as substitution splices, multiple exposures, time-lapse photography, dissolves, and hand-painted color.
His films include A Trip to the Moon (1902) and An Impossible Voyage (1904), both involving strange, surreal journeys somewhat in the style of Jules Verne, and are considered among the most important early science fiction films.
Méliès died of cancer on 21 January 1938 at the age of 76.
In 2016, a Méliès film long thought lost, A Wager Between Two Magicians, or, Jealous of Myself (1904), was discovered in a Czechoslovak film archive.- Director
- Writer
- Cinematographer
Although his name nowadays means very little except to animation buffs (and even they have to be pretty well informed), Wladyslaw Starewicz ranks alongside Walt Disney, as one of the great animation pioneers, and his career started nearly a decade before Disney's. He became an animator by accident - fascinated by insects, he bought a camera and attempted to film them, but they kept dying under the hot lights. Stop-motion animation provided an instant (if slow) solution, and Starewicz discovered that he had a natural talent for it. He subsequently made dozens of short films, mostly featuring his trademark stop-motion puppets, but also live action films (some blending live action and animation), moving to France after the Russian Revolution to continue his career. His longest and most ambitious film was the feature-length 'Tale of the Fox', which took ten years to plan and eighteen months to shoot. Starewicz' films were virtually one-man shows (writer/director/cameraman/designer/animator), though other important contributions (in front of and behind the camera) were made by his daughters.- Actor
- Director
- Writer
Paul Wegener was born in Arnoldsdorf, West Prussia, part of the German Empire. His birthplace is currently part of Poland, under the name "Jarantowice". Wegener's family included a number of scientists, the most notable being his cousin Alfred Wegener (1880-1930). Alfred is remembered as the originator of the theory of continental drift.
Paul has no known relation to another Paul Wegener (1908-1993), who served as a Nazi Party official and an officer of the Schutzstaffel (SS).
Paul Wegener initially followed legal studies in college, but dropped out in order to become a theatrical actor. By 1906, he was part of an acting troupe led by Max Reinhardt (1873-1943). Reinhardt went on to become a film director. By 1912, Wegener himself had become interested in the film medium, and sought roles as a film actor.
In 1913, Wegener heard of an old Jewish legend, concerning the Golem. He wanted to adapt the legend into film, and started co-writing a script with Henrik Galeen (1881-1949). Their script was adapted into the film "The Golem" (1915), with Wegener and Galeen serving as the two co-directors. The film was a success and established Wegener as a celebrated figure in German cinema. Wegener returned to adapting the Golem legend into film, by directing a parody film in 1917 and the more serious "The Golem: How He Came into the World" (1920). The 1920 film remains one of the classics of German cinema. Wegener's other films often reflected his personal interests, such as trick photography, the supernatural, and mysticism.
He continued his film career into the 1930s, and made the transition from silent films to sound films. Under the Nazi regime (1933-1945), several actors and directors faced persecution or exile. Wegener instead found himself favored by the regime and appeared regularly in Nazi propaganda films of the 1940s. Wegener personally disliked the regime (which had persecuted a number of his friends and associates) and reputedly financed a number of German resistance groups.
In 1945, with World War II over and Berlin in ruins, Wegener took initiative as president of an organization intended to improve the living standards for surviving citizens of Berlin. He continued to appear in theatrical productions from 1945 to 1948, although he was suffering from an increasingly poor health.
In July 1948, Wegener collapsed on stage during a theatrical performance. The curtain was brought down and the rest of the performance was canceled. It was his last acting role, as he retired in an attempt to recuperate. He died in his sleep in September 1948. He was survived by his last wife Lyda Salmonova (1889-1968).- Director
- Writer
- Producer
A prolific director--over 700 films, most of them short- or medium-length--Louis Feuillade began his career with Gaumont where, as well as directing his own features, he was appointed artistic director in charge of production in 1907. His work was largely comprised of film series; his first series, begun in 1910 and numbering 15 episodes, was 'Le Film Esthétique', a financially unsuccessful attempt at "high-brow" cinema. More popular was La vie telle qu'elle est (1911), which moved from the costume pageantry of his earlier work to a more realistic--if somewhat melodramatic--depiction of contemporary life. Feuillade also directed scores of short films featuring the characters Bébé and René Poyen. His most successful feature-length serials were Fantômas: In the Shadow of the Guillotine (1913), which chronicled the diabolical exploits of the "emperor of crime," and Les vampires (1915), which trailed a criminal gang led by Irma Vep (Musidora) and was noted for its imaginative use of locations and lyrical, almost surreal style.- Director
- Writer
- Production Designer
Yevgeni Bauer was the most important filmmaker of the early Russian cinema, who made about eighty silent films in 5 years before the Russian Revolution of 1917.
He was born Yevgeni Frantsevich Bauer in 1865, in Moscow, Russia, into an artistic family. His father, Franz Bauer, was a renown musician who played zither, his mother was an opera singer, and his sisters eventually became stage and cinema actresses. From 1882 - 1887 he studied at Moscow School of Art, Sculpture and Architecture, graduating in 1887, as an artist. At that time Bauer worked for Moscow theatres as a stage artist as well as a set designer for popular musicals and comedies. He was also known as a newspaper satirist, a caricaturist for magazines, a journalist, and a theatrical impresario. During the 1900s he became involved in still photography and worked as an artistic photographer, having several of his pictures published in the Russian media.
In 1912, Bauer was hired by A. Drankov and Taldykin as a production designer for Tryokhsotletie tsarstvovaniya doma Romanovykh (1913), then he became a film director for their company. After making four films as director for A. Drankov, he moved on to work for Pathe's Star Film Factory in Moscow, and made another four films for them. In 1913, Bauer was invited by the leading Russian producer Aleksandr Khanzhonkov. Their fruitful collaboration would last only four years, yielding about 70 films, of which less than a half survived. Among Bauer's best works with Khanzhyonkov were such films as After Death (1915), Her Sister's Rival (1916), and Revolyutsioner (1917), starring Ivane Perestiani as an Old revolutionary.
Bauer reached his peak in the genre of social drama, such as Daydreams (1915) (aka.. Daydreams), starring Alexander Wyrubow as Sergei, an obsessed widower who falls for an actress because of her resemblance of his late wife, but soon their characters clash, leading to a tragic end. Soon Yevgeni Bauer established himself as the leading film director in Russia. He achieved great financial success earning up to 40,000 rubles annually. In 1914, Bauer started using his wife's name, Ancharov, as his artistic name, due to the political pressure from rising Russian nationalism during the First World War, so he was credited as Ancharov in some of his films. Bauer was the main force behind successful careers of major Russian silent film stars of that time, such as Ivan Mozzhukhin and Vera Kholodnaya. With Vera Kholodnaya, Bauer made thirteen films back-to-back in one year. In After Death (1915) and Umirayushchiy lebed (1917), Bauer cast none other than Vera Karalli, the legendary ballerina of the Boshoi Theatre and Sergei Diaghilev's Ballets Russes.
Bauer's style evolved from his experience as a theatre artist, actor and photographer who incorporated theatrical techniques in his films in a uniquely cinematic way. His mastery of lighting, his use of unusual camera angles and huge close-ups, his inventive and thoughtful montage and such theatrical effects as long shots through windows or his use of gauzes and curtains to alter the screen image, all these innovations were decades ahead of his time. Bauer was one of the first film directors who used the split screen. He introduced a multi-layered staging involving juxtaposed foreground and background with lush decor and thoughtful compositions alluding to classical paintings of the old masters. He developed ingenious camera movements, showing a remarkable depth of field, and achieving powerful dramatic effects. Bauer's vision and inventiveness, his integrated skills as artist, actor, photographer, and director, made him the leading filmmaker of the early Russian cinema.
Russia was a tough place for film and entertainment business, becoming increasingly unstable during the turbulent years of the First World War. Then Russian culture and film industry suffered from a cascade of troubles and destructions caused by several Russian Revolutions. However, by 1917 several major Russian film studios became established in Yalta, Crimea, near the Tsar's palaces and lush villas of other major patrons, where social environment of an upscale resort with a Mediterranean climate provided special conditions conducive for filming all year round. Bauer moved to Yalta and continued his work at the newly established Khanzhyonkov film studio, becoming also its major shareholder. There Bauer directed his last masterpiece, Za schastem (1917) (aka.. For happiness), passing the torch to his apprentice, Lev Kuleshov, who replaced the ailing Bauer in the role as painter Enrico, which Bauer wanted to play himself, but unfortunately he fell and broke his leg.
In spite of his illness, Bauer used a wheelchair, and began directing his last film, Korol Parizha (1917), which was initially designed as his largest project, but was ended as his last song. His broken leg and unexpected complications interrupted his work as he became bedridden in a Yalta hospital. The film was completed by actress Olga Rakhmanova and his colleagues at Khanzhyonkov studio. Yevgeni Bauer died of pneumonia on 22nd of July (9th of July, old style), 1917, in Yalta, Crimea, and was laid to rest in Yalta cemetery, Yalta, Crimea, Russia (now Yalta, Ukraine).
Bauer was married to actress and dancer Emma Bauer (nee Ancharova), whom he met in the 1890s during his stint as a theatre artist. In 1915 Lina Bauer starred as a flirtatious wife who hides her lover in a closet and successfully outwits her husband in Bauer's comedy The 1002nd Ruse (1915) (aka.. The 1002nd Ruse). Bauer's sister, Emma Bauer also starred in several of his films.- Director
- Actor
- Writer
Victor Sjöström was born on September 20, 1879, and is the undisputed father of Swedish film, ranking as one of the masters of world cinema. His influence lives on in the work of Ingmar Bergman and all those directors, both Swedish and international, influenced by his work and the works of directors whom he himself influenced.
As a boy Sjöström was close to his mother, who died during childbirth when he was seven years old. Biographers see this truncated relationship as being essential to the evolution of his dramatic trope of strong-willed, independent women in his films. He was masterful at eliciting sensitive performances from actresses, such as that of Lillian Gish in his American classic The Wind (1928).
The teenaged Sjöström loved the theater, but after his education he turned to business, becoming a donut salesman. Fortunately for the future of Swedish cinema, he was a flop as a salesman, and turned to the theater, becoming an actor and then director. The Swedish film company Svenska Bio hired him and fellow stage director Mauritz Stiller to helm pictures, and from 1912-15 he directed 31 films. Only three of them survive (it is estimated that approximately 150,000 films, or 80% of the total silent-era production, has been lost). He directed Ingeborg Holm (1913), considered the first classic of Swedish cinema.
Despite the exigencies of working in an industrial art form, most Svenska Bio films of this period are embarrassments in an artistic sense--turgid melodramas, absurd romances and shaggy dog-style comedies--and there is no reason to think that the director didn't helm his share of such fare. Even taking that into account, Sjöström managed to develop a personal style. The reason he became internationally famous (and wooed by Hollywood) was the richness of his films, which were full of psychological subtleties and natural symbolism that was integrated into the works as a whole. He dealt with such major themes as guilt, redemption and the rapidly evolving place of women in society.
His 1920 film The Phantom Carriage (1921) (a.k.a. "Thy Soul Shall Bear Witness") was an internationally acclaimed masterpiece, and Goldwyn Pictures hired him to direct Name the Man! (1924) (Goldwayn was folded into Metro-Goldwyn-Mayer in 1924, where he worked until shortly after the advent of sound). Sjöström's name was changed to "Victor Seastrom" (a phonetic pronunciation in a country with limited word fonts), and he became a major American director, a pro-to David Lean, who was renowned for balancing artistic expression with a concern for what would play at the box office. His first MGM film was the Lon Chaney melodrama He Who Gets Slapped (1924). It was not only a critical success but a huge hit, getting the new studio off onto a sound footing.
He was highly respected by MGM chief Louis B. Mayer and by production head Irving Thalberg, who shared Sjöström's concerns with art that did not exclude profit. Sjöström became one of the most highly paid directors in Hollywood, reaching his peak at the end of the silent era (when the silent film reached its maturation as an art form) with two collaborations with Lillian Gish: The Scarlet Letter (1926) and "The Wind" (1926), his last masterpiece.
He departed Hollywood for Sweden after A Lady to Love (1930), returning one last time to helm Under the Red Robe (1937) for 20th Century-Fox, and although he made two movies in Sweden in the intervening years, his career as a director basically ended with the sound era. He returned to his first avocation, acting in Swedish films, in the 1930s, '40s and '50s. In his later years he was a mentor to Ingmar Bergman and gave a remarkable performance in Bergman's masterpiece "Wild Strawberries" (1957), for which he won the National Board of Review's Best Actor Award. In his professional life he was a workaholic, and in his private life was reticent about his films and his fame and remained intensely devoted to his wife Edith Erastoff and his family.
Victor Sjöström died on January 3, 1960, at the age of 80.- Director
- Writer
- Actor
Yakov Protazanov was born on 4 February 1881 in Moscow, Russian Empire [now Russia]. He was a director and writer, known for A Narrow Escape (1920), Without Dowry (1937) and Kak khoroshi, kak svezhi byli rozy (1913). He died on 9 August 1945 in Moscow, Russian SFSR, USSR [now Russia].- Director
- Animation Department
- Actor
Victor Bergdahl was born on 12 December 1878 in Österåker, Stockholms län, Sweden. He was a director and actor, known for Den fatala konserten i Cirkus Fjollinski (1916), Kapten Grogg och Kalle på negerbal (1917) and Kapten Grogg gifter sig (1918). He died on 20 January 1939 in Stockholm, Stockholms län, Sweden.- Cinematographer
- Director
Yevgeni Slavinsky was born on 24 January 1877. He was a cinematographer and director, known for Vladimir Ilich Lenin (1949), The Young Lady and the Hooligan (1918) and Wedding Day (1912). He died on 23 September 1950.- Director
- Actor
- Writer
From Ernst Lubitsch's experiences in Sophien Gymnasium (high school) theater, he decided to leave school at the age of 16 and pursue a career on the stage. He had to compromise with his father and keep the account books for the family tailor business while he acted in cabarets and music halls at night. In 1911 he joined the Deutsches Theater of famous director/producer/impresario Max Reinhardt, and was able to move up to leading acting roles in a short time. He took an extra job as a handyman while learning silent film acting at Berlin's Bioscope film studios. The next year he launched his own film career by appearing in a series of comedies showcasing traditional ethnic Jewish slice-of-life fare. Finding great success in these character roles, Lubitsch turned to broader comedy, then beginning in 1914 started writing and directing his own films.
His breakthrough film came in 1918 with The Eyes of the Mummy (1918) ("The Eyes of the Mummy"), a tragedy starring future Hollywood star Pola Negri. Also that year he made Carmen (1918), again with Negri, a film that was commercially successful on the international level. His work already showed his genius for catching the eye as well as the ear in not only comedy but historical drama. The year 1919 found Lubitsch directing seven films, the two standouts being his lavish Passion (1919) with two of his favorite actors--Negri (yet again) and Emil Jannings. His other standout was the witty parody of the American upper crust, The Oyster Princess (1919) ("The Oyster Princess"). This film was a perfect example of what became known as the Lubitsch style, or the "Lubitsch Touch", as it became known--sophisticated humor combined with inspired staging that economically presented a visual synopsis of storyline, scenes and characters.
His success in Europe brought him to the shores of America to promote The Loves of Pharaoh (1922) ("The Loves of Pharaoh") and he become acquainted with the thriving US film industry. He soon returned to Europe, but came back to the US for good to direct new friend and influential star Mary Pickford in his first American hit, Rosita (1923). The Marriage Circle (1924) began Lubitsch's unprecedented run of sophisticated films that mirrored the American scene (though always relocated to foreign or imaginary lands) and all its skewed panorama of the human condition. There was a smooth transition between his silent films for Warner Bros. and the sound movies--usually at Paramount--now embellished with the flow of speech of Hollywood's greats lending personal nuances to continually heighten the popularity at the box office and the fame of Lubitsch's first-rate versatility in crafting a smart film. There was a mix of pioneering musical films and some drama also through the 1930s. The of those films resulted in Paramount making him its production chief in 1935, so he could produce his own films and supervise production of others. In 1938 he signed a three-year contract with Twentieth Century-Fox.
Certainly two of his most beloved films near the end of his career dealt with the political landscape of the World War II era. He moved to MGM, where he directed Greta Garbo and Melvyn Douglas in Ninotchka (1939), a fast-paced comedy of "decadent" Westerners meeting Soviet "comrades" who were seeking more of life than the mother country could--or would--offer. During the war he directed perhaps his most beloved comedy--controversial to say the least, dark in a tongue-in-cheek sort of way--but certainly a razor-sharp tour de force in smart, precise dialog, staging and story: To Be or Not to Be (1942), produced by his own company, Romaine Film Corp. It was a biting satire of Nazi tyranny that also poked fun at Lubitsch's own theater roots with the problems and bickering--but also the triumph--of a somewhat raggedy acting troupe in Warsaw during the Nazi occupation. Jack Benny's perfect deadpan humor worked well with the zany vivaciousness of Carole Lombard, and a cast of veteran character actors from both Hollywood and Lubitsch's native Germany provided all the chemistry needed to make this a classic comedy, as well as a fierce statement against the perpetrators of war. The most poignant scene was profoundly so, with Felix Bressart--another of Reinhardt's students--as the only Jewish bit player in the company. His supreme hope is a chance to someday play Shylock. He gets his chance as part of a ruse in front of Adolf Hitler's SS bodyguards. The famous soliloquy was a bold declaration to the world of the Axis' brutal inhumanity to man, as in its treatment of and plans for the Jewry of Europe.
Lubitsch had a massive heart attack in 1943 after having signed a producer/director's contract with 20th Century-Fox earlier that year, but completed Heaven Can Wait (1943). His continued efforts in film were severely stymied but he worked as he could. In late 1944 Otto Preminger, another disciple of Reinhardt's Viennese theater work, took over the direction of A Royal Scandal (1945), with Lubitsch credited as nominal producer. March of 1947, the year of his passing, brought a special Academy Award (he was nominated three times) to the fading producer/director for his "25-year contribution to motion pictures." At his funeral, two of his fellow directorial émigrés from Germany put his epitaph succinctly as they left. Billy Wilder noted, "No more Lubitsch." William Wyler answered, "Worse than that - no more Lubitsch films."- Writer
- Director
- Editor
Born an illegitimate son of a wealthy physician, Abel Flamant, and a working class mother, Francoise Perethon. He was raised by his mother and her boyfriend, who later became her husband, Adolphe Gance. Pressured by his parents, he began his working career as a lawyer's clerk in hopes of achieving a prosperous career in law. But his passion for the theatre lured him to the stage and at 19 he made his stage debut in Brussels. Within a year, after returning to Paris, he made his screen debut as an actor in Moliere (1909). He made other film appearances in minor roles as well as taking a crack at screen-writing.
Living in poverty during this period in his life, he suffered from starvation and tuberculosis. But he regained strength enough to form a production company in 1911, and made his debut as a director that same year with La Digue (1911). However, like the rest of his early films, it was unsuccessful and as a consequence, he returned to the stage with a five-hour long play, Victoire de Samothrace, which he wrote himself. It was due to be a success with Sarah Bernhardt in the lead role, but the sudden outbreak of WWI canceled the premiere.
Due to his ill health he was kept out of most of the war. During this time he managed to achieve a profitable status at the Film d'Arte company as a director. He turned out such successful films as Mater Dolorosa (1917) and La Dixieme Symphonie (1918), but he gained a reputation at Film d'Arte as a wild experimentalist - using such outlandish techniques for the time as close-ups and dolly shots. As a consequence, he was frequently at odds with the management. At the point of being one of the most well known film directors in France, he entered the tail end of WWI. He was discharged shortly after due to mustard gas poisoning. But he requested that he be redrafted so that he could shoot on-location battle scenes for his latest idea for a film J'accuse! (1919). The three-hour long, triangular melodrama about the "futility of war" became a box-office smash all over Europe. It was Europe's first fictional film to show authentic footage of the catastrophes of war. Being an experimentalist, he employed a rapid cutting technique that is said to have influenced such Russian filmmakers as Sergei Eisenstein and Pudovkin.
During the making of his next film, The Wheel (1923), he and his second wife, Ida Danis, fell ill with the flu. Although he recovered and worked on the film in stages, his wife did not - she died shortly before the film's release. Grieved by death of his wife and friend, actor Severin Mars, who starred in many of his films, he fled Europe and sailed to America. The trip turned out to be a nationwide promotion of I Accuse. He recalls that he did not like the Hollywood filmmaking system and refused an offer from MGM to direct for a hefty sum. The happiest moment was D.W. Griffith's praise of I Accuse at a screening in New York.
Returning to France, Gance released the final cut of La Roue to much acclaim, especially for its montage sequence. His most important and outstanding film is Napoleon (1927). Considered to be a dictionary of all the techniques of the silent film era and an introduction to some techniques to come. It was shot using a three-camera panoramic process that involves the use of three projectors and a curved windscreen to create a deep, vast panoramic look. A couple thousand extras were used to fill the shots. Being the experimentalist that he was, he shot scenes in color, more than a decade before Hollywood would make The Wizard of Oz (1939) and Gone with the Wind (1939) in color, and in 3-D. But he decided against incorporating them into the film in fear that they would jar the audience's attention. The film received a standing ovation the night of its premiere at the Paris Opera. It was then shown only in 8 European cities due to the expensive and technical apparatus and large size theatre needed to project the film. In the US, MGM purchased the distribution rights and elected not to show the film using the three projector windscreen equipment, claiming that it would interfere with the introduction of sound. Nonetheless, that doesn't explain why MGM decided to drastically cut the film and rearrange it. As a consequence, the general release in the US was a not a success, audiences laughed at the film and critics panned it. It was the last film of Gance's career that was to possess that magnitude of creativeness. His sound films were mainly done for studios, where he lacked the ability to be creative. He would return to Napoleon a couple times in his career. In 1934 he added stereophonic sound effects to the original film using a Pictographe. He had criticized film historians throughout the rest of his life for not giving his film Napoleon (1927) the attention it deserves. Finally, British director Kevin Brownlow spent two decades doing the arduous task of putting the film back together in its original format. It was first screened in London using the three projector format with a score composed and conducted by Carl Davis in 1979. Francis Ford Coppola produced the screenings at the Radio City Hall in the US, in 1981 to much acclaim. His father Carmine Coppola, composed and conducted the score in the US. Finally, Napoleon (1927) and its director received the respect they deserve.- Director
- Writer
- Producer
F.W. Murnau was a German film director. He was greatly influenced by Schopenhauer, Nietzsche, Shakespeare and Ibsen plays he had seen at the age of 12, and became a friend of director Max Reinhardt. During World War I he served as a company commander at the eastern front and was in the German air force, surviving several crashes without any severe injuries.
One of Murnau's acclaimed works is the 1922 film Nosferatu, an adaptation of Bram Stoker's Dracula. Although not a commercial success due to copyright issues with Stoker's novel, the film is considered a masterpiece of Expressionist film.
He later emigrated to Hollywood in 1926, where he joined the Fox Studio and made three films: Sunrise (1927), 4 Devils (1928) and City Girl (1930). The first of these three is widely regarded as one of the greatest films ever made.
In 1931 Murnau travelled to Bora Bora to make the film Tabu (1931) with documentary film pioneer Robert J. Flaherty, who left after artistic disputes with Murnau, who had to finish the movie on his own. A week prior to the opening of the film Tabu, Murnau died in a Santa Barbara hospital from injuries he had received in an automobile accident that occurred along the Pacific Coast Highway near Rincon Beach, southeast of Santa Barbara. Only 11 people attended his funeral. Among them were Robert J. Flaherty, Emil Jannings, Greta Garbo and Fritz Lang, who delivered the eulogy.
Of the 21 films Murnau directed, eight are considered to be completely lost.
In July 2015 Murnau's grave was broken into, the remains disturbed and the skull removed by persons unknown. Wax residue was reportedly found at the site, leading some to speculate that candles had been lit, perhaps with an occult or ceremonial significance. As this disturbance was not an isolated incident, the cemetery managers are considering sealing the grave.- Director
- Writer
- Producer
Fritz Lang was born in Vienna, Austria, in 1890. His father managed a construction company. His mother, Pauline Schlesinger, was Jewish but converted to Catholicism when Lang was ten. After high school, he enrolled briefly at the Technische Hochschule Wien and then started to train as a painter. From 1910 to 1914, he traveled in Europe, and he would later claim, also in Asia and North Africa. He studied painting in Paris from 1913-14. At the start of World War I, he returned to Vienna, enlisting in the army in January 1915. Severely wounded in June 1916, he wrote some scenarios for films while convalescing. In early 1918, he was sent home shell-shocked and acted briefly in Viennese theater before accepting a job as a writer at Erich Pommer's production company in Berlin, Decla. In Berlin, Lang worked briefly as a writer and then as a director, at Ufa and then for Nero-Film, owned by the American Seymour Nebenzal. In 1920, he began a relationship with actress and writer Thea von Harbou (1889-1954), who wrote with him the scripts for his most celebrated films: Dr. Mabuse, the Gambler (1922), Die Nibelungen: Siegfried (1924), Metropolis (1927) and M (1931) (credited to von Harbou alone). They married in 1922 and divorced in 1933. In that year, Nazi propaganda minister Joseph Goebbels offered Lang the job of head of the German Cinema Institute. Lang--who was an anti-Nazi mainly because of his Catholic background--did not accept the position (it was later offered to and accepted by filmmaker Leni Riefenstahl) and, after secretly sending most of his money out of the country, fled Germany to Paris. After about a year in Paris, Lang moved to the United States in mid-1934, initially under contract to MGM. Over the next 20 years, he directed numerous American films. In the 1950s, in part because the film industry was in economic decline and also because of Lang's long-standing reputation for being difficult with, and abusive to, actors, he found it increasingly hard to get work. At the end of the 1950s, he traveled to Germany and made what turned out to be his final three films there, none of which were well received.
In 1964, nearly blind, he was chosen to be president of the jury at the Cannes Film Festival. He was an avid collector of primitive art and habitually wore a monocle, an affectation he picked up during his early days in Vienna. After his divorce from von Harbou, he had relationships with many other women, but from about 1931 to his death in 1976, he was close to Lily Latte, who helped him in many ways.- Writer
- Director
- Editor
The illegitimate son of a Danish farmer and his Swedish housekeeper, Carl Theodor Dreyer was born in Copenhagen on the 3th of February, 1889. He spent his early years in various foster homes before being adopted by the Dreyers at the age of two. Contrary to popular belief (perhaps nourished by the fact that his films often deal with religious themes) Dreyer did not receive a strict Lutheran upbringing, but was raised in a household that embraced modern ideas: in his spare time the adoptive father was an avid photographer, and the Dreyers voted for The Danish Social Democrates. When he was baptized the reasoning was culturally, not religiously motivated. Dreyer's childhood was an unhappy one. He did not feel his adoptive parents' love (especially the mother), and longed for his biological mother, whom he never knew.
After working as a journalist, he entered the film industry, and advanced from reading scripts to directing films himself. In the silent era his output was large, but it quickly diminished with the arrival of the talkie. In his lifetime he was recognized as being a fanatical perfectionist amongst producers, and thus difficult to work with. His career was dogged by problems with the financing of his films, which led to large gaps in his output - and after the critics, too, denounced Vampyr (1932), he returned to journalism in 1932, and became a cinema manager in 1952 - though he still made features up to the mid- 1960s, a few years before his death. His films are typically slow, intense studies of human psychology, usually of people undergoing extreme personal or religious crises. He is now regarded as the greatest director ever to emerge from Denmark.- Director
- Writer
- Actor
Moshe "Mauritz" Stiller, born July 17, 1883, in Helsinki, Finland, was a director, writer and actor. He began his artistic activity in the theatre, as an actor at 16. Mauritz Stiller portrayed 87 roles from 1899-1916 and directed 16 productions 1911-28. Together with Viktor Sjöström ( director, actor, writer) he was recruited in 1912 as director/actor to the Swedish film industry by Charles Magnusson at AB Svenska Biografteatern. Mauritz Stiller's films was instantly successful. During his first year he directed six feature films. "Herr Arnes pengar" (1919), "Erotikon" (1920) and "Gösta Berlings saga" (1923) are three cornerstones of Swedish film production. In "Gösta Berlings saga" Greta Garbo, 18 years old, made her first major role. Greta Garbo and Mauritz Stiller came to be best friends and allies forever. Stiller introduced Garbo to the German audience in 1925, before the two sailed of to the USA to make "The Temptress" for Paramount/Irving Thalberg in 1926. Mauritz Stiller directed 51 feature films and appeared as an actor in seven productions from 1912-1927. At 1:05 am Nov 8, 1928, Mauritz Stiller died in Stockholm, after undergoing numerous surgeries, an abscess of a lung ended a great artist's life.- Director
- Writer
- Producer
Marcel L'Herbier was born on 23 April 1888 in Paris, France. He was a director and writer, known for L'inhumaine (1924), Le bonheur (1934) and Sacrifice d'honneur (1935). He was married to Marcelle Pradot. He died on 26 November 1979 in Paris, France.- Director
- Writer
- Actor
Jacques Feyder was born on 21 July 1885 in Ixelles, Brabant, Belgium. He was a director and writer, known for Carnival in Flanders (1935), Le grand jeu (1934) and Fahrendes Volk (1938). He was married to Françoise Rosay. He died on 24 May 1948 in Rive-de-Prangins, Switzerland.- Director
- Writer
- Actor
Louis Delluc was born on 14 October 1890 in Le Buisson-de-Cadouin, Dordogne, France. He was a director and writer, known for Fumée noire (1920), L'inondation (1924) and The Woman from Nowhere (1922). He was married to Ève Francis. He died on 22 March 1924 in Paris, France.- Art Director
- Director
- Production Designer
Paul Leni was born on 8 July 1885 in Stuttgart, Germany. He was an art director and director, known for The Man Who Laughs (1928), Das Rätsel von Bangalor (1918) and The Last Warning (1928). He died on 2 September 1929 in Los Angeles, California, USA.- Director
- Writer
- Actor
Benjamin Christensen was born on 28 September 1879 in Viborg, Denmark. He was a director and writer, known for Blind Justice (1916), Häxan (1922) and Seven Footprints to Satan (1929). He was married to Karen Winther, Sigrid Stahl and Ellen Arctander. He died on 2 April 1959 in Copenhagen, Denmark.- Director
- Producer
- Writer
Georg Wilhelm Pabst is considered by many to be the greatest director of German cinema, in his era. He was especially appreciated by actors and actresses for the humane way in which he treated them. This was in contrast to some of his contemporaries, such as Arnold Fanck, who have been characterized as martinets.- Actor
- Writer
- Director
Ivan Mozzhukhin was a legendary actor of Russian silent films, who escaped execution by the Soviet Red Army and had a stellar career in Europe.
He was born Ivan Ilyich Mozzhukhin on September 26, 1889, in the village of Kondol, Saratov province, Russia (now Penza province, Russia). His father was general manager of the large estate of Prince Obolensky. Mozzhukhin attended all-boys Gymnasium in Penza, then studied at the Law School of Moscow University for two years. There he was active in amateur stage productions and joined a touring troupe, then returned to Moscow and was a member of the Vvedensky Narodny Dom Theatre. He made his film debut in 1908. From 1911-14 he worked in the films of producer Aleksandr Khanzhonkov. Mozzhukhin shot to fame after his leading role as violinist Trukhachevsky in Kreytserova sonata (1911) by director Pyotr Chardynin, based on the eponymous story by Lev Tolstoy. He starred as Adm. Kornilov in Defense of Sevastopol (1911) and in about 30 more silent films made by Chardynin, Yevgeny Bauer and Khanzhyonkov.
By the mid-'10s Mozzhukhin was the indisputable leading star of the Russian cinema, having such film partners as 'Diaghilev''s ballerina Vera Karalli, and his own wife Nathalie Lissenko. His facial expressions were studied by many actors and directors as exemplary acting masks. From 1915-19 he worked in about 40 films by directors Yakov Protazanov and Viktor Tourjansky under the legendary Russian producer Joseph N. Ermolieff. His best known films of the Russian period were Queen of Spades (1916) and Otets Sergiy (1918), both by Protazanov. Mozzhukhin's incredible popularity brought him significant wealth, but that came with attendant pressure; he also became famous for his numerous love affairs with his admirers.
In 1918 the Russian Communist revolution had already caused irreversible destruction of cultural and economic life, and Mozzhukhin moved under protection of the anti-Communist White Russian forces in Yalta, Crimea. There he worked for Ermolieff during the Russian Civil War. Meanwhile, Soviet government leader Vladimir Lenin ordered the seizure and nationalization of all film studios and their films, properties and other assets to use for making Soviet propaganda' most of Mozzhukhin's 70 films were arrested and / or censored. Lev Kuleshov used fragments of Mozzhukhin's films to demonstrate his editing ideas. Mozzhukhin's face was used in Kuleshov's psychological montage to illustrate the principles of film editing, known today as the Kuleshov Effect.
Mozzhukhin suffered terribly from the loss of his property after the Communist revolution. However, he continued working in Yalta with Ermolieff until the end of 1919. When the Red Army advanced into Crimea and broke through to Yalta, however, he joined the White Russians and fled the now-communist Russia at the end of the Civil War. He managed to save a few rolls of his silent films, which he took aboard the Greek steamer Pantera\ in February of 1920. He left Russia together with his film partners from the Ermolieff film company, his wife Nathalie Lissenko, actors Nicolas Koline and Nicolas Rimsky, actress Nathalie Kovanko, cinematographer Nikolai Toporkoff, director Viktor Tourjansky and producer Joseph N. Ermolieff. They emigrated together to Paris, France, and started a Russian-French film company.
In 1926 Mozzhukhin got a lucrative contract with Universal Pictures in Hollywood, and was cast as the male lead in Surrender (1927). However, his stint in Hollywood was not a success, due to numerous pressures from the studio's producers who insisted on his taking the stage name John Moskin. In addition, Mozzhukhin and his female co-star Mary Philbin did not get along at all, and that was quite apparent from the footage that they had no chemistry whatever. Ats Hollywood at that time was just making the transition from silent films to talkies, Mozzuhkhin--who did not speak English--was not offered any further roles, and he returned to Europe. Soon Aleksandr Vertinskiy began to comment that Mozzhukhin's troubles in Hollywood were the results of a conspiracy by the powers in Hollywood to destroy a strong competitor.
By 1939 Mozzhukhin had made over 100 films in Russia, France, Italy, the US, Germany and Austria. He continued starring in the talkies of the 1930s, although not as successfully as he had during the silent era. He also wrote screenplays for several of his films, and planned to direct a film in France, but the project was abandoned because he contracted a severe form of tuberculosis and was hospitalized. Mozzhukhin died of tuberculosis in a Paris clinic on January 17, 1939, and was laid to rest in the Russian Cemetery at Sainte-Geneviève-des-Bois, in Paris, France.
Mozzhukhin's home in Kondol, Penza province, is now restored as the public Memorial Museum of Ivan Mozzhukhin. There, since the 1990s, the museum has annual showing of Mozzhukhin's films, also known as Mozzhukhin's Festivities.- Director
- Writer
- Production Manager
Jean Epstein was born on 25 March 1897 in Warsaw, Poland, Russian Empire [now Warsaw, Mazowieckie, Poland]. He was a director and writer, known for The Fall of the House of Usher (1928), Mauprat (1926) and Le lion des Mogols (1924). He died on 2 April 1953 in Paris, France.- Writer
- Director
- Producer
Robert Wiene was born on 24 April 1873 in Breslau, Silesia, Germany [now Wroclaw, Dolnoslaskie, Poland]. He was a writer and director, known for The Cabinet of Dr. Caligari (1920), Das wandernde Licht (1916) and The Knight of the Rose (1925). He died on 17 July 1938 in Paris, France.- Director
- Writer
- Actor
A pioneer of cinema in Armenia and the Caucasus, Amo Bek-Nazaryan began his career as a professional athlete. However, he later discovered film, joined the cinema as an actor in 1914, and soon became one of the major stars in the pre-Soviet Russian cinema. In 1918, he graduated from the Moscow Commercial Institute. In 1921, he became the head of the film section of Narkompros in Georgia and later a director of Goskinprom in Georgia. Like his friend and colleague, the Georgian cinema pioneer Ivane Perestiani, Bek-Nazaryan sought to incorporate avant-garde techniques popular in NEP-era Soviet films into conventional narrative frameworks.
In 1924, he returned to his native city of Yerevan where he became one of the founders of Armenkino (the predecessor to Armenfilm). He directed the first full-length Armenian feature film, Honor (1925), in collaboration with Sakhkinmretsvi in Georgia. He also directed the romantic film Natela (1926) with the glamorous Nato Vachnadze that same year and, the following year, he directed the first Kurdish film, Zare (1927). In the 1930s, he directed the first Armenian sound film, Pepo (1935), based on a play by Gabriel Sundukyan and with music by the renown Armenian composer Aram Khachaturyan. For this production, he earned the title People's Artist of the Armenian SSR.
Following World War II, he directed the film Erkrord karavan (1950) about the repatriation of Armenians living in the United States to Soviet Armenia. This production was canceled by Soviet leader Joseph Stalin, a move that personally hurt Bek-Nazaryan. Following this, he did not direct any more films until after the death of Stalin in 1953. After Bek-Nazaryan's death in 1965, Armenfilm adopted his name to their full, official title in his honor. Today, he is widely regarded as the founder of Armenian cinema.- Director
- Writer
- Producer
Karl Grune (22 January 1890 - 2 October 1962) was an Austrian film director and writer who made many silent films in the 1920s.
Grune was born in Vienna, where he later attended drama school. He volunteered in the First World War, where an injury temporarily deprived him of the ability to speak in 1918.
After the war he made his directing debut in 1919 with Menschen in Ketten ("People in Chains"). In 1923 he made Schlagende Wetter with Liane Haid and Eugen Klöpfer in the leading roles. The film is a notable early example of naturalism in film making, at a time when expressionism was the norm. Also that year he made Die Straße ("The Street"), which is considered Grune's most notable film. In 1926 he made Die Brüder Schellenberg ("The Brothers Schellenberg") with Conrad Veidt and Lil Dagover. Many of his early films are now lost.
He emigrated to England in 1933 and there made Abdul the Damned with Fritz Kortner in 1935, and in 1936 he filmed Ruggiero Leoncavallo's opera Pagliacci with Richard Tauber.
In his later career he turned to producing films in the 1940s. He died in Bournemouth, England in 1962.- Director
- Cinematographer
- Writer
American painter and artist in various media who participated in a few films. He helped found the Dada movement and was the prime American participant in the Surrealist movement. An American expatriate to Paris in the 1920s, he was a member of the so-called "Lost Generation" of creative minds associated with that time and place. His art encompassed not only painting but photography and collage. He acted for René Clair in one film and was assistant director to Marcel Duchamp on another. He directed a few films of a surrealist nature in the 1920s.- Director
- Writer
- Actor
Alexandre Volkoff was born on 27 December 1885 in Moscow, Russian Empire [now Russia]. He was a director and writer, known for Amore imperiale (1941), Kean (1924) and La maison du mystère (1923). He died on 22 May 1942 in Rome, Lazio, Italy.- Director
- Art Director
- Actor
Lev Kuleshov was a Russian director who used the editing technique known as the "Kuleshov effect." Although some of the editing innovations, such as crosscutting were used by other directors before him, Kuleshov was the first to use it in the Soviet Russia. he was driving a Ford sports car amidst hard situation in the post-Civil war USSR, and remained a controversial figure who joined the Soviet communist party and destroyed archives of rare silent movies during his experiments, thus clearing way for his own works: documentaries and feature films ranging from political cinema to timeless gems.
He was born Lev Vladimirovich Kuleshov on 1 January, 1899, in Tambov, Russia. His father, Vladimir Kuleshov, belonged to Russian landed gentry, was a patron of arts and owner of a private estate in Central Russia. His mother, Pelagea Shubina, was a teacher before she married his father. His parents understood his weaknesses (poor speaking ability and bouts of depression) and strengths (a sharp eye, persistence and determination). His forte was the ability to see what for others remained unseen. Young Kuleshov received exclusive private education at the home of his father who had a degree from Moscow Art College. After the death of his father, 15-year-old Kuleshov and his mother moved to Moscow. There he studied art and history at the prestigious Stroganov School, then continued his studies at Moscow School of Painting, Architecture and Sculpture focusing on oil painting.
In 1916 he started his film career as a set designer at the Moscow film studio of Aleksandr Khanzhonkov and occasionally acted in some of its productions. He played a young lover opposite Emma Bauer, a stunning beauty, whom he truly fell in love with even before the filming started. That was the silent film Za schastem (1917). Watching himself on the silver screen, young Kuleshov was disappointed with the comic effect of his acting conflicting with naturalism of his true feelings. He decided to focus on directing and developing the style of his own. His new friend, experienced film-maker Akhramovich-Ashmarin, introduced him to American school of film-making, which also influenced his work.
With the help from Khanzhonkov's leading cinematographer, Yevgeny Bauer, Kuleshov made his first experimental works in editing. In 1917, he made his first publication in 'Vestnik Kinematografii': in three consecutive articles Kuleshov trashed the "salon" traditions of his employer by writing about an artist's role in converting film industry into a new form of art. His directorial career began under the patronage of Bauer, with whom Kuleshov worked as art director on such films, as Nabat (1917) and Za schastem (1917), and completed the latter as director after the original director Bauer died. In 1918, Kuleshov made his directorial debut with 'Project of Engineer Prite', and the film brought him attention of film studio executives who gave the 19-year-old beginner a chance to participate in documenting the early history of the Civil War-era Russia.
Following the Russian revolution of 1917, Kuleshov joined the Bolsheviks and sided with the Red Army in the Russian Civil War of 1918-1919, which was a continuation of the First World War. He covered the war on the Eastern front with a documentary crew. After the end of the Civil War, the Communist Party solidified control of the country, thus helping Kuleshov's career. His friend, Vladimir Gardin, appointed him instructor at the Moscow Film School. There he made a career as director and teacher. In 1920, he directed a war film Na krasnom fronte (1920), a government sponsored film about the Red Army. For some time Kuleshov continued wearing the Red Army uniform, to show his loyalty to the new government.
He studied the techniques of Hollywood directors, particularly D.W. Griffith and Mack Sennett and introduced such innovations as crosscutting in editing and montage into Russian cinema. For his experiments Kuleshov was cutting old silent films from the archives of Khanzhonkov, Bauer and other private studios nationalized by the socialist govenment. Kuleshov used the archives of old silent movies for his own cutting experiments and thus most of the film archives was destroyed. Kuleshov remained quiet about this part of his career when he experimented with editing technique. He focused on putting two shots together to achieve a new meaning.
The "Kuleshov effect" is using the Pavlovian physiology to manipulate the impression made by an image and thus to spin the viewer's perception of that image. To demonstrate such manipulation, Kuleshov took a shot of popular Russian actor Ivan Mozzhukhin's expressionless face from an early silent film. He then edited the face together with three different endings: a plate of soup, a seductive woman, a dead child in a coffin. The audiences believed that Ivan Mozzhukhin acted differently looking at the food, the girl, or the coffin, showing an expression of hunger, desire, or grief respectively. Actually the face of Ivan Mozzhukhin in all three cases was one and the same shot repeated over and over again. Viewers own emotional reactions become involved in manipulation. Images spin those who are prone to be spun. Although editing and montage have already been used in art, architecture, fashion, politics, book publishing, theatrical productions and religious events (just look at placement of icons in churches, or photos in books, or pictures at exhibitions), the use of such editing in silent films was innovative and eventually led to more advanced visual effects.
Vsevolod Pudovkin, who claimed to have been the co-creator of Kuleshov's experiment, later described how the audience "raved about the acting... the heavy pensiveness of Ivan Mozzhukhin's mood over the soup, the deep sorrow with which he looked on the dead child, and the lust with which he observed the woman. But we knew that in all three cases the face was exactly the same." Kuleshov demonstrated the effect of editing that was successfully used in montage of such films, as Battleship Potemkin (1925) and Konets Sankt-Peterburga (1927) among other Soviet films. Kuleshov's good education, as well as his connections among Russian intellectual elite also helped his career.
At that time, Kuleshov and a group of his students, among them actress Aleksandra Khokhlova, collaborated on several movies that are now generally regarded as seminal films in Russian cinema. Among them are The Extraordinary Adventures of Mr. West in the Land of the Bolsheviks (1924), a satire on clash of civilizations showing naive American Christian pastor who comes to Russia just to be robbed twice, but then helped by exemplary Soviet policeman. In 1926 he produced his most popular film, By the Law (1926), based on a Jack London story. The movie was successful in Russia and especially in Europe. In 1933, he directed The Great Consoler (1933), based on biography of American writer O. Henry. The film was highly praised by Osip Brik and Lilya Brik. It was an interesting advancement in Kuleshov's experimental style.
In 1936, he received his Ph.D and became professor of directing and Moscow Film School. In 1941, Kuleshov's book 'Osnovy kinorezhissury' (aka... Fundamentals of Film Direction) was published in Moscow. Kuleshov was promoted to high position within the Soviet film industry and was designated Doctor of Science for the book, which was translated in several languages and became regarded among filmmakers worldwide.
During WWII, Kuleshov made two films. One, made in collaboration with writer Arkadiy Gaydar, was Klyatva Timura (1942). To complete the film, Kuleshov with his film crew was moved on Soviet government expense from cold Moscow to warm Stalinabad, the capital of Turkmenistan. There, in 1943, together with his wife, Aleksandra Khokhlova, he directed his last movie, We from the Urals (1944), a film about young Soviet boys making heroic efforts in the Eastern Front of WWII. After that, he returned from Central Asia back to Moscow. The Soviet capital was recovering after attacks of Nazi armies. For his contribution to art, and also for his dedication to communist ideas, a prestigious position as Artistic Director of the Moscow Film Institute (VGIK) where he worked for the next 25 years. Over the course of his career, his students were hundreds of Soviet filmmakers, such as directors Vsevolod Pudovkin, Boris Barnet, Mikhail Kalatozov and many others. His most trusted and devoted friend was Sergei Eisenstein.
Kuleshov visited Paris and presented a retrospective of his films in 1962. There he enjoyed much attention from international media. His friends in the Western world included many celebrities, such as Yves Montand, Louis Aragon, Elsa Triolet among others. Kuleshov was member of the Jury at 1966 Venice Film Festival and attended other film festivals as a special guest. He made several exclusive trips outside of the Soviet Union.Kuleshov was a friend of the State security chief, KGB General V.N. Merkulov.
Kuleshov was awarded Order of Lenin, Order of Red Banner, was designated People's Artist of Russia (1969), and received other decorations and perks from the Soviet government.
Outside of his film career, Lev Kuleshov was fond of hunting, he owned a collection of exclusive hunting guns and often used them to kill game outside of Moscow and in Southern Russia. He also spent much time at Mediterranean resort near Yalta in Crimea and often made hunting trips in that area. Kuleshov was married to his student Aleksandra Khokhlova, and lived with his wife in a prestigious block on Lenin Prospect in central Moscow. There he died in 1970, and was laid to rest in Moscow's most prestigious Novodevichy Cemetery. Kuleshov's funeral took place while the Soviet Union was celebrating the centennial anniversary of the former leader Vladimir Lenin.- Director
- Writer
- Art Director
Nikolay Khodataev was born on 9 May 1892 in Rostov-on-Don, Russian Empire. He was a director and writer, known for Mezhplanetnaya revolyutsiya (1924), Organchik (1933) and Kak Avdotya stala gramotnoy (1925). He died on 27 December 1979 in Moscow, USSR.- Actor
- Director
- Second Unit Director or Assistant Director
Jaque Catelain was born on 9 February 1897 in Saint-Germain-en-Laye, Seine-et-Oise [now Yvelines], France. He was an actor and director, known for La galerie des monstres (1924), L'inhumaine (1924) and The Secret Spring (1923). He was married to Suzanne Catelain. He died on 5 March 1965 in Paris, France.- Director
- Writer
- Producer
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
- Writer
- Producer
Grigori Mikhailovich Kozintsev was born on March 22, 1905, in Kiev, Russian Empire (now Kiev, Ukraine). His father, named Mikhail Kozintsev, was a medical doctor. Young Kozintsev studied at the Kiev Gymnazium. There, in 1919, he organized experimental theatre "Arlekin" together with his fellow students Sergei Yutkevich and Aleksei Kapler. During 1919 and 1920 Kozintsev studied art at the Kiev School of Art under the tutelage of Alexandra Exter.
Experiments. In 1920 Kozintsev moved to Petrograd (Leningrad or St. Petersburg). There he studied art at the "VKHUTEMAS" at the Academy of Fine Arts for two years. In 1921 Kozintsev with Sergei Yutkevich, Leonid Trauberg, and Leonid Kryzhitsky organized and led the Factory of Excentric Actors (FEKS). There Kozintsev directed radically avant-garde staging of plays "Zhenitba" (Marriage 1922) by Nikolay Gogol and "Vneshtorg na Eifelevoi Bashne" (Foreign trade on Eiffel Tower 1923). They were based in the former Eliseev Mansion on Gagarinskaya street No. 1 in St. Petersburg. Kozintsev and FEKS collaborated with writer Yuri Tynyanov, cinematographer Andrey Moskvin, young actor-director Sergey Gerasimov, artist Igor Vuskovich, and young composer Dmitri Shostakovich among others. Initially FEKS was the main platform for experimental actors, directors and artists, and was strongly influenced by Vsevolod Meyerhold and Vladimir Mayakovsky.
Artistic position. In 1924 Kozintsev and Trauberg came to "SevZapKino" Studios (now Lenfilm Studios). There Kozintsev continued his FEKS experiments in his first eccentric comedy 'Pokhozhdenie Oktyabriny' (1924). Kozintsev's early films were strongly criticized by official Soviet critics. His film 'Shinel' (1926) was compared to German Expressionism and accused of distortion of the original classic story by Nikolay Gogol. Kozintsev strongly argued against such comparisons with German expressionism; he was unhappy until the end of his life about such criticism of his early experimental works. Kozintsev insisted that his cheerful experiments were essential in the city of Petrograd (St. Petersburg) after the Russian Revolution of 1917, which brought destruction, depression, crime, and degradation of culture.
Early films. Kozintsev made twelve films together with Leonid Trauberg. Their collaboration began in 1921, in Petrograd (St. Petersburg). Their film-trilogy about Russian revolutionary hero Maxim was made from 1935-1941, when people in the Soviet Russia were terrorized under the most brutal dictatorship of Joseph Stalin. In departure from experimental youthfulness and freedom of their FEKS years, the Maxim trilogy was a trade-off blend of experiment and Soviet propaganda. It was still a powerful work and was even banned by censorship in the United States from the 1930s-1950s. For that work Kozintsev and Trauberg were awarded the Stalin's State Prize in 1941. After the Second World War Kozintsev and Trauberg made their last film together: 'Prostye Lyudi (Plain People 1946), which was censored and remained unreleased until 1958, when "Nikita Khrushchev' lifted the ban imposed by Stalin's censorship.
Highlights. Grigori Kozintsev ascended to his best works after the death of Stalin. Then Nikita Khrushchev initiated the "Thaw" which played a role in some liberation of individual creativity in the Soviet film industry. Kozintsev's adaptations of classical literature combined some experimental elements of his earlier silent films with the approach of a mature master. His Don Quixote (1957), King Lear (1969) and especially Hamlet (1963) were recognized worldwide as his highest achievements. In _Korol Lir (1969)_ Kozintsev made a brilliant decision to cast actors from the Baltic States as the Lear's family. Jüri Järvet, Regimantas Adomaitis, Donatas Banionis, Juozas Budraitis, and Elza Radzina together with Oleg Dal, Galina Volchek, Aleksey Petrenko made a powerful acting ensemble.
Hamlet and King Lear. Kozintsev first staged Shakespeare's "Hamlet" and 'King Lear" in 1941. His collaboration with Boris Pasternak began in 1940, when Pasternak was working on his Russian translation of the Shakespeare's originals. Both plays were prepared for stage under direction of Kozintsev. King Lear was staged in 1941, but further work was interrupted because of the Nazi invasion of the Soviet Union. Hamlet was staged in 1954. At the same time Kozintsev continued developing the idea of filming _Gamlet (1964)_, until everything came together in his legendary film. The adaptation by Boris Pasternak, the music by Dmitri Shostakovich, the direction by Kozintsev, and the acting talent of Innokentiy Smoktunovskiy produced special creative synergy. Innokentiy Smoktunovskiy was praised as the best Hamlet by Sir Laurence Olivier.
Legacy. In the 1920s Kozintsev taught at the Leningrad School of Acting. From 1944-1964 Kozintsev led his master-class for film directors at the Soviet State Film Institute (VGIK). Among his students were many prominent Russian directors and actors such as Sergey Gerasimov and others. Kozintsev was the head of master-class for film directors at Lenfilm Studios from 1964-1971. He wrote essays on William Shakespeare, Sergei Eisenstein, Charles Chaplin, and Vsevolod Meyerhold and published theoretical works on film direction. Grigori Kozintsev lived near Lenfilm Stidios in Leningrad (St. Petersburg) for the most part of his life. His work and presence was essential to the status of Lenfilm Studios as well as to the film community in Leningrad during the political and economic domination of Moscow as the Soviet capital. From his early works of the 1920s to his masterpiece _Gamlet (1964)_, Kozintsev was faithful to creative experimental approach.
Kozintsev was designated the People's Artist of the USSR. He was awarded the State Lenin's Prize of the USSR (1965), and received other awards and nominations. He died in Leningrad (St. Petersburg) on May 11, 1973, and was laid to rest in the Necropolis of the Masters of Art in St. Aleksandr Nevsky Convent in St. Petersburg, Russia.- Writer
- Director
- Additional Crew
Leonid Zakharovich Trauberg is Soviet film director and screenwriter. People's Artist of the RSFSR (1987). Leonid Trauberg was born in Odessa. After moving to Petrograd, the family settled in house number 7, apt. 4, along Kolomenskaya street.
In December 1921, together with Grigoriy Kozintsev and G. Kryzhitskiy, he wrote the "Eccentric Theater Manifesto," which was proclaimed at a debate organized by them. In 1922, Kozintsev and Trauberg organized the Theater Workshop "Factory of an Eccentric Actor", and in the same year they put in it an eccentric reworking of "Marriage" by Nikolay Gogol. For two years, they staged 3 more plays based on their own plays, and in 1924 they transferred their experiments in the field of eccentric comedy to cinema, transforming the theater workshop into the FEKS Film Workshop.
The first full-length film by Kozintsev and Trauberg - the romantic melodrama Chyortovo koleso (1926) according to the script of Adrian Piotrovsky - was already a mature work. Love for a bright eccentric was combined with a convincing display of urban life. This film has a permanent creative team; in addition to the directors, it included cameraman Andrey Moskvin and artist Yevgeni Yenej, who worked with Kozintsev in almost all of his films.
In 1926-1932, Leonid Trauberg taught at the Leningrad Institute of Performing Arts, in 1926-1927 he was the head of the film department of the Leningrad Theater Institute. In 1961-1965 he taught at the VKSR under the Goskino USSR.- Director
- Writer
- Editor
Dziga Vertov was born on 2 January 1896 in Bialystok, Grodno Governorate, Russian Empire [now Podlaskie, Poland]. He was a director and writer, known for Man with a Movie Camera (1929), Three Songs About Lenin (1934) and The Sixth Part of the World (1926). He was married to Elizaveta Svilova. He died on 12 February 1954 in Moscow, RSFSR, USSR [now Russia].- Director
- Writer
- Editor
The son of an affluent architect, Eisenstein attended the Institute of Civil Engineering in Petrograd as a young man. With the fall of the tsar in 1917, he worked as an engineer for the Red Army. In the following years, Eisenstein joined up with the Moscow Proletkult Theater as a set designer and then director. The Proletkult's director, Vsevolod Meyerhold, became a big influence on Eisenstein, introducing him to the concept of biomechanics, or conditioned spontaneity. Eisenstein furthered Meyerhold's theory with his own "montage of attractions"--a sequence of pictures whose total emotion effect is greater than the sum of its parts. He later theorized that this style of editing worked in a similar fashion to Marx's dialectic. Though Eisenstein wanted to make films for the common man, his intense use of symbolism and metaphor in what he called "intellectual montage" sometimes lost his audience. Though he made only seven films in his career, he and his theoretical writings demonstrated how film could move beyond its nineteenth-century predecessor--Victorian theatre-- to create abstract concepts with concrete images.- Writer
- Director
- Producer
German film director E.A. Dupont was an influential critic and newspaper columnist before breaking into the film industry. He wrote several screenplays and worked as a story editor for Richard Oswald before turning to directing in 1917. Over the next eight years Dupont became a respected exponent of the German expressionist movement. He was particularly acclaimed for his film Variety (1925), which stood out for brilliant lighting effects and fluid camera work. Encouraged by his success, Dupont left Decla-Bioskop and joined Universal in Hollywood, but only completed one film. Crossing the Atlantic again, he signed with British National Pictures in 1928. He briefly became their leading director, again demonstrating his visual flair with two prestige productions: Moulin Rouge (1928) and Piccadilly (1929). The latter was BIP's most expensively made picture up to this time.
After the advent of sound Dupont's career began to falter. His first "talkie", the "Titanic" story Atlantic (1929)-- shot in both English and French-- was an expensive flop, due mainly to poor dialogue and stilted performances. His next two ventures, respectively in France and Germany, had an even worse critical reception. Dupont next tried his luck in Hollywood. After 1933 he worked at different times for Universal, Paramount and Warner Brothers. Critical success proved elusive, as almost all of his assignments were low-budget second features. After being fired from the set of Hell's Kitchen (1939) for slapping a junior member of the cast who had mocked his accent, Dupont spent most of the 1940s in Hollywood as a talent agent and publicist. He eventually resumed his directing career with an offbeat minor film noir, The Scarf (1951), and a watchable precursor to The Flight of the Phoenix (1965), The Steel Lady (1953). Among his last films was the notorious sci-fi stinker The Neanderthal Man (1953). He died of cancer in December 1956.- Director
- Actor
- Writer
Vsevolod Pudovkin was born on 28 February 1893 in Penza, Russian Empire [now Russia]. He was a director and actor, known for Admiral Nakhimov (1947), Zhukovsky (1950) and Minin i Pozharskiy (1939). He was married to Anna Zemtsova. He died on 30 June 1953 in Jurmala, Latvian SSR, USSR [now Latvia].- Director
- Animation Department
- Writer
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.- Director
- Actor
- Writer
Former female impersonator who entered films in 1917 as an actor, turned to directing in 1922 and made some of the most formally brilliant Japanese films of the following decades. The few of Kinugasa's early works to have reached the West betray a highly mature, sophisticated talent. His best-known silent films are _Kurutta Ippeji (1926)_, an old print of which was found by Kinugasa in his attic and re-released in the 1970s, and Crossroads (1928), the first Japanese film to be commercially released in Europe. Both have been hailed for their inventive camera work, which has been compared to that of the celebrated German expressionist films being made during the same period. (It was not until 1929 that Kinugasa himself traveled abroad and encountered European directors and their films.) In the 1950s and 60s Kinugasa made a number of period dramas noted for their sumptuous color and imaginative use of the wide screen; Gate of Hell (1953) was named best film at the 1954 Cannes Film Festival and won an Oscar for best foreign film.- Director
- Writer
- Actor
Abram Room was born on 28 June 1894 in Vilna, Russian Empire [now Vilnius, Lithuania]. He was a director and writer, known for Nashestvie (1945), Sud chesti (1949) and Belated Flowers (1970). He died on 26 July 1976 in Moscow, Russian SFSR, USSR [now Russia].- Director
- Producer
- Writer
Born in Brazil in 1897, Alberto Cavalcanti began his film career in France in 1920, working as writer, art director and director. He directed the avant-garde documentary Nothing But Time (1926) ("Nothing but Time"), a portrait of the lives of Parisian workers in a single day. He moved to England in 1933 to join the GPO Film Unit under John Grierson, working as a sound engineer (Night Mail (1936)) then as a producer. He went to work for Ealing Studios during the war, initially as head of Michael Balcon's short film unit until 1946, again working as an art director, producer and director. His notable films as director include Champagne Charlie (1944), The Life and Adventures of Nicholas Nickleby (1947) and I Became a Criminal (1947). After the latter film he moved back to Brazil. There he made Song of the Sea (1953) ("The Song of the Sea") and A Real Woman (1954) ("Woman of Truth") with his own production company. However, his progressive political views caught the attention of the the right-wing Brazilian authorities, and Cavalcanti thought it prudent to return to Europe in 1954. He eventually settled in France, where he continued his work in television. He died in Paris in 1982.- Director
- Actor
- Writer
Boris Barnet was born on 18 June 1902 in Moscow, Russian Empire [now Russia]. He was a director and actor, known for The Adventures of the Three Reporters (1926), Secret Agent (1947) and Okraina (1933). He was married to Yelena Kuzmina, Natalia Glan, Alla Kazanskaya and Valentina Barnet. He died on 8 January 1965 in Riga, Latvian SSR, USSR [now Latvia].- Director
- Writer
- Producer
In France from 1923. Kirsanoff was at the forefront of Parisian avant-garde filmmaking thanks to works such as Ménilmontant (1926), which combined soviet style montage with hand-held camerawork and lyrically composed static shots. Kirsanoff's early silent films, many starring his first wife Nadia Sibirskaia, are considered his best works. With the coming of sound the quality of his output declined, though he continued to direct commercial ventures into the 1950's. His second marriage was to editor Monique Kirsanoff.- Editor
- Director
- Writer
Esfir Shub was born into a family of landowners. She studied literature in Moscow, but after Revolution she began to attend the classes at the Institute for Women's Higher Education and then got a job as a 'theater officer' at the State Commissariat of Education. In the theatre she worked in collaboration with the famous avant-garde director Meyerhold and the poet Mayakovsky, who was one of her friends.
Shub joined the Goskino film company and met Dziga Vertov. Their professional friendship was lifelong, but stormy. Shub shared his belief in film's intrinsic ability to reveal aspects of reality not visible to the naked eye, but she became engaged more in the interpretation of the historical world than in only contemporary matters.
First Shub worked as a re-editor of foreign films for Soviet distribution. In 1927 (the tenth anniversary of Revolution) she made her first documentary film The Fall of the Romanov Dynasty (1927). This film was the first part of the trilogy, which also consists of The Great Road (1927) and Lev Tolstoy and the Russia of Nicolai II (1928). In the process of making the trilogy, Shub had to contend with not only an overwhelming volume of material but also the problem of locating relevant footage. She often found that valuable documents of the pre-war period had been sold abroad or had been badly damaged in ill-equipped newsreel archives. Shub compensated the lack of material by using newly shot footage. Her films derive much of their power from this technique of providing a contemporary context for archival footage. Thus, Shub created the absolutely new genre 'historical compilation film'. She later claimed she just wanted to create 'editorialized newsreels'.
The critics and colleagues admired Shub's work, because she found a middle path between narrative and documentary forms. Sovkino denied her authorial rights for her trilogy claiming that she was just an editor. However, in 1935 Shub was awarded the title Honored Artist of the Republic.
In the beginning of the forties she collaborated with Vsevolod Pudovkin on the successful Twenty Years of Soviet Cinema (1940). Then she left Goskino to become chief editor of the 'News of the Day' at the central studio for documentary film in Moscow. Most of her later years were confined to editing duties. Shub was definitely the most prominent Soviet woman filmmaker of her generation.- Writer
- Director
- Actor
Son of the famous Impressionist painter Pierre Auguste, he had a happy childhood. Pierre Renoir was his brother, and Claude Renoir was his nephew. After the end of World War I, where he won the Croix de Guerre, he moved from scriptwriting to filmmaking. He married Catherine Hessling, for whom he began to make movies; he wanted to make a star of her. They separated in 1930, although he remained married to her until 1943. His next partner was Marguerite Renoir, whom he never married, although she took his name. He left France in 1941 during the German invasion of France during World War II and became a naturalized US citizen.- Director
- Writer
- Editor
Walter Ruttmann was born on 28 December 1887 in Frankfurt-on-Main, Germany. He was a director and writer, known for Metropolis (1927), Mannesmann - Ein Film der Mannesmannröhren-Werke (1937) and Acciaio (1933). He was married to Christine Margarete Helene Prasch, Nina Hamson, Erna Treitel and Maria Christina Agnes Sommer. He died on 15 July 1941 in Berlin, Germany.- Director
- Writer
- Second Unit Director or Assistant Director
Grigori Aleksandrov was a Soviet-Russian filmmaker best known as director of Volga - Volga (1938), The Circus (1936), and October (Ten Days that Shook the World) (1927), as well as co-star in Battleship Potemkin (1925) by director Sergei Eisenstein.
He was born Grigori Vasilyevich Mormonenko on January 23, 1903 in Ekaterinburg, Russia. His father, Vasili Mormonenko, was a worker. Young Aleksandrov was obsessed with acting and movies. At the age of 9 he was hired as a delivery boy at the Ekaterinburg Opera; there he eventually worked as an assistant dresser, electrician, decorator, and assistant director. He studied violin and piano at the Ekaterinburg School of Music, graduating in 1917. During the Russian Civil War of 1917-1920, he was road manager with the Theatre of Eastern Front of the Red Army. After the Civil War he graduated from the Directors Courses for Proletariat Theatre in Ekaterinburg, and was appointed Inspector of Arts at the Ekaterinburg Regional Administration. His job was to supervise theaters and to select films in compliance with the new ideology.
Aleksandrov met Eisenstein in 1921. They worked together on several stage productions in 1921-24. In 1923 Aleksandrov appeared as Glumov in a stage production of A. Ostrovsky's play at the Moscow Proletkult Theatre, directed by Eisenstein. They worked together on the scenario of their first films: 'Stachka' (1924) and 'Bronenosets Potemkin' (1925). They wrote and directed 'Oktyabr' (1927), a historical film made to look like a documentary about the Russian revolution. In 1929-1933 both Aleksandrov and Eisenstein were sent to study and work in Hollywood. Back in the Soviet Union Aleksandrov made a short documentary film titled 'International' (1932).
In 1933 Aleksandrov had a meeting with Joseph Stalin and Maxim Gorky at the Gorky's State Dacha near Moscow. Stalin offered the oportunity to Aleksandrov to make a musical comedy for the Soviet people. 'Veselye Rebyata' (aka.. Jolly fellows) was completed in 1934, starring Leonid Utyosov and Lyubov Orlova. 'Veselye Rebyata' became the #1 box office hit in Russia and was awarded at the Venice Film Festival. Leonid Utyosov and Lyubov Orlova became instant celebrities, and songs by composer Isaak Dunaevskiy became popular hits in the Soviet Union.
Aleksandrov directed and edited the documentary of Stalin's speech about the Soviet constitution, titled 'Doklad tov. Stalina o proekte Konstitutsii SSSR na VIII Chresvychaynom S'ezde Sovetov' (1937). After that Aleksandrov returned to making comedies. Aleksandrov's wife, Lyubov Orlova, starred in almost all of his feature films, such as 'Tsirk' (1936), 'Volga-Volga' (1938), 'Svetly Put' (1940), 'Vesna' (1947) among his other films. His 1930s comedies remained rather popular among several generations of viewers in the Soviet Union, as well as internationally. In 1942 Joseph Stalin sent a copy of Volga - Volga (1938) to American president Franklin D. Roosevelt.
However, Aleksandrov's success came at a painful price, as he suffered from many attacks by some less fortunate and envious filmmakers, as well as from blackmailing by invisible and anonymous enemy. In 1938 Aleksandrov's colleagues, cinematographer Vladimir Nilsen, and producer Boris Shumyatskiy, were executed by the firing squad for anti-government activities. At the same time both Aleksandrov and Orlova were falsely accused of spying for the Nazi Germany, but were cleared of all charges.
During the 1950s he taught directing at State Institute of Cinematography (VGIK). His last films had little success, and some, like 'Skvorets i lira' (1973) were not even released in theaters. Aleksandrov also made a few documentaries, including one about Lenin, and one about his wife, star actress Lyubov Orlova.
Grigori Aleksandrov received the Stalin's Prize twice (1941, 1950), the Order of Lenin twice (1939, 1950), the Order of Red Star (1938), and the Order of the Red Banner twice (1963, 1967). He was designated People's Actor of the USSR. Grigori Aleksandrov died of kidney infection on December 16, 1983, at the Kremlin Hospital in Moscow, and was laid to rest next to his wife, Lyubov Orlova in Novodevichy Cemetery, Moscow, Russia.- Writer
- Director
- Producer
René Clair was born on 11 November 1898 in Paris, France. He was a writer and director, known for Man About Town (1947), Beauties of the Night (1952) and The Grand Maneuver (1955). He was married to Bronia Clair. He died on 15 March 1981 in Neuilly-sur-Seine, Hauts-de-Seine, France.- Writer
- Director
- Editor
Aleksandr Dovzhenko was born on 10 September 1894 in Vyunishche, Sosnitsa Ueyzd, Chernigov Governorate, Russian Empire [now Sosnitsa, Sosnitsa Raion, Chernihiv Oblast, Ukraine]. He was a writer and director, known for Earth (1930), Shors (1939) and Life in Bloom (1949). He was married to Yuliya Solntseva. He died on 25 November 1956 in Moscow, Russian SFSR, USSR [now Russia].- Director
- Writer
- Second Unit Director or Assistant Director
Robert Florey became infatuated with Hollywood while in his teens. By the time he set off for America in the early 1920s he had written articles on film for Cinemagazine, La Cinematographie Francaise and Le Technicien du Film, acted and directed one-reel shorts in Switzerland and worked as an assistant for Louis Feuillade at his studio in Nice. Sent to Hollywood as a correspondent for one of his French publications, he decided to settle down and learn the film business "from the bottom up", first as a gag writer, then as director of foreign publicity for Douglas Fairbanks, Mary Pickford and Rudolph Valentino. In 1924 he was signed by MGM as assistant director on a two-year contract, moving on to Paramount as full director in 1928. During this period of apprenticeship he learned the tricks of his trade under such experienced craftsmen as King Vidor and Josef von Sternberg. His first claim to directing fame were two highly acclaimed avant-garde short films, The Life and Death of 9413, a Hollywood Extra (1928), and Skyscraper Symphony (1929) -- both heavily influenced by German expressionist cinema. Florey was also tasked with co-directing (alongside Joseph Santley) the first wacky comedy with The Marx Brothers, The Cocoanuts (1929), shot at Paramount's Astoria studio, near Broadway (Groucho Marx was not impressed with either director; he once said about them that "one of them didn't understand Harpo [Harpo Marx] and the other one didn't understand English").
After a spell at the German studio UFA in 1929, Florey joined Universal in 1931. His request to write and direct Frankenstein (1931) with Bela Lugosi was initially accepted. However, producer Carl Laemmle Jr. ultimately disliked Lugosi 's make-up for the monster, and Lugosi himself resented not having a speaking part. Much of Florey's script also ended up on the cutting room floor, except for several key ingredients, such as the ending in the windmill. As consolation for missing out on the prestigious assignment (which went to James Whale), Florey was given a lesser project, Murders in the Rue Morgue (1932), with Lugosi as Dr. Mirakle, a demented Darwinian scientist who crossbreeds humans with apes. The stylized, distorted buildings of Florey's Parisian sets were once again reminiscent of German expressionism, notably The Cabinet of Dr. Caligari (1920). Florey, from then on, was set on a career of helming second features for Warner Brothers (1933-35), Paramount (1935-40), Columbia (1941), Warner Brothers again (1942-46) and United Artists (1948-50). As a result of his affinity with horror and science-fiction, he did his best work in these genres. The Beast with Five Fingers (1946) has become something of a cult classic and is notable for some clever montage and animation effects, as well as an effectively eerie atmosphere. Unfortunately, the anti-climactic downbeat ending (a result of studio interference) rather lessened the picture's overall impact.
In 1951, Florey stopped making features and became prodigiously active as a director of television episodes. In 1953 he won the first Directors Guild of America Award bestowed for TV direction, for The Last Voyage (1953). He also wrote eight influential books on the history of cinema.- Director
- Writer
- Cinematographer
Joris Ivens was born on 18 November 1898 in Nijmegen, Gelderland, Netherlands. He was a director and writer, known for La Seine a rencontré Paris (1957), The Mistral (1966) and A Tale of the Wind (1988). He was married to Marceline Loridan Ivens, Helen van Dongen and Germaine Krull. He died on 28 June 1989 in Paris, France.- Director
- Writer
- Actor
Gustav Machatý was born on May 9, 1901 in Prague, Bohemia, Austria-Hungary (now the Czech Republic). His first experience with the motion picture industry was playing piano at movie theaters, accompanying silent pictures. In 1917, he made his debut as an actor.
In the early 1920s, he emigrated to the United States, taking up residence in Hollywood, where he learned filmmaking as an apprentice to two masters, D.W. Griffith and Erich von Stroheim. After serving a four-year apprenticeship in Hollywood, he returned to Prague to make his own films. Two movies, "Erotikon" (1929) and "Ekstase" (1933) made him internationally famous.
"Ekstase" was nominated for the Mussolini Cup at the Venice Film Fesitval. Released as "Ecstasy" in the U.S. with the advertising tag-line "The Most Talked About Picture in the World," "Ekstase" featured young Hedy Kiesler in the nude. Kiesler, who would become internationally famous herself as Hedy Lamar, played a sexually frustrated hausfrau who achieves orgasm (ecstasy) in the arms of a young swain who has espied her in the buff making like one of Busby Berkeley's water nymphs, sans bathing suit.
When exhibitor Samuel Cummins imported the film in 1935, the U.S. Customs Service seized the print, acting under the aegis of the 1930 Customs Act that forbade importing obscene material. Cummins appealed to the federal courts, but the Customs agents had burned the print, and with no physical evidence, his appeal was denied.
The frustrated Cummins edited his next imported copy, cutting out Hedy's naked run through the woods and a scene of horses copulating, and adding a moralistic voice-over that said her character had divorced her impotent husband before her affair. A new ending with a baby was added, suggesting that Hedy and her young swain had married. The U.S. Customs Service allowed this version to be imported into the U.S., but the State of New York Board of Review refused to license the picture for exhibition. Cummins' Eureka Productions filed suit in federal court, but the ban was upheld as the U.S. Court of Appeals held that once a picture was imported into the U.S., it was subject to local censorship.
The film was a modest success on the art house circuit, and once Lamar became famous as an American movie star, all the nudity was cut out of the film and it received a Production Code Administration Seal of Approval in 1940 and was re-released. Even with the cuts, the movie ran afoul of local censors. The Commonwealth of Massachusetts forbade the movie to be shown on Sundays, and the state of Pennsylvania banned it outright. "Ecstasy" was condemned by the Roman Catholic Church's censorship body, the Legion of Decency, making it one of the few foreign films to win that dubious honor.
It was a viewing of "Ekstase" that introduced Hedy Kiesler to Metro-Goldwyn-Mayer production boss Louis B. Mayer, who despised the film but signed the beautiful Kiesler to a contract and rechristened her Hedy Lamarr. Thus, Gustav Machatý is responsible for giving the motion picture medium the actress who was described as the "Most Beautiful Woman in the World" in the 1940s.
Gustav Machatý died on December 13, 1963 in Munich, Germany.- Writer
- Director
- Actor
The father of cinematic Surrealism and one of the most original directors in the history of the film medium, Luis Buñuel was given a strict Jesuit education (which sowed the seeds of his obsession with both religion and subversive behavior), and subsequently moved to Madrid to study at the university there, where his close friends included Salvador Dalí and Federico García Lorca.
After moving to Paris, Buñuel did a variety of film-related odd jobs in Paris, including working as an assistant to director Jean Epstein. With financial assistance from his mother and creative assistance from Dalí, he made his first film, the 17-minute Un chien andalou (1929), in 1929, and immediately catapulted himself into film history thanks to its shocking imagery (much of which - like the sliced eyeball at the beginning - still packs a punch even today). It made a deep impression on the Surrealist Group, who welcomed Buñuel into their ranks.
The following year, sponsored by wealthy art patrons, he made his first feature, the scabrous witty and violent L'Age d'Or (1930), which mercilessly attacked the church and the middle classes, themes that would preoccupy Buñuel for the rest of his career. That career, though, seemed almost over by the mid-1930s, as he found work increasingly hard to come by and after the Spanish Civil War he emigrated to the US where he worked for the Museum of Modern Art and as a film dubber for Warner Bros.
Moving to Mexico in the late 1940s, he teamed up with producer Óscar Dancigers and after a couple of unmemorable efforts shot back to international attention with the lacerating study of Mexican street urchins in The Young and the Damned (1950), winning him the Best Director award at the Cannes Film Festival.
But despite this new-found acclaim, Buñuel spent much of the next decade working on a variety of ultra-low-budget films, few of which made much impact outside Spanish-speaking countries (though many of them are well worth seeking out). But in 1961, General Franco, anxious to be seen to be supporting Spanish culture invited Buñuel back to his native country - and Bunuel promptly bit the hand that fed him by making Viridiana (1961), which was banned in Spain on the grounds of blasphemy, though it won the Palme d'Or at the Cannes Film Festival.
This inaugurated Buñuel's last great period when, in collaboration with producer Serge Silberman and writer Jean-Claude Carrière he made seven extraordinary late masterpieces, starting with Diary of a Chambermaid (1964). Although far glossier and more expensive, and often featuring major stars such as Jeanne Moreau and Catherine Deneuve, the films showed that even in old age Buñuel had lost none of his youthful vigour.
After saying that every one of his films from Belle de Jour (1967) onwards would be his last, he finally kept his promise with That Obscure Object of Desire (1977), after which he wrote a memorable (if factually dubious) autobiography, in which he said he'd be happy to burn all the prints of all his films- a classic Surrealist gesture if ever there was one.
- Director
- Producer
- Writer
Arnold Fanck was born March 6, 1889, in Frankenthal, Germany. A trained geologist, he began making documentary and action films after the end of World War I, and his love of geology inspired him to shoot his films in remote mountain locations. These pictures became immensely popular with the German audiences and led to what is known as the "mountain films", a genre that was pretty much begun by Fanck but carried on by other German and Austrian directors. Fanck worked most notably with Leni Riefenstahl, Georg Wilhelm Pabst and American director Tay Garnett.- Director
- Writer
- Additional Crew
Fridrikh Ermler was born on 13 May 1898 in Rechitsa, Vitebsk Governorate, Russian Empire [now Rezekne, Latvia]. He was a director and writer, known for The Great Force (1951), Great Citizen (1938) and The Turning Point (1945). He died on 12 July 1967 in Leningrad, USSR [now St. Petersburg, Russia].- Director
- Cinematographer
- Editor
Henri Storck was born on 5 September 1907 in Oostende, West Flanders, Belgium. He was a director and cinematographer, known for Rubens (1948), Le banquet des fraudeurs (1952) and Boerensymfonie (1944). He died on 16 September 1999 in Brussels, Belgium.- Director
- Writer
- Second Unit Director or Assistant Director
Josef von Sternberg split his childhood between Vienna and New York City. His father, a former soldier in the Austro-Hungarian army, could not support his family in either city; Sternberg remembered him only as "an enormously strong man who often used his strength on me." Forced by poverty to drop out of high school, von Sternberg worked for a time in a Manhattan store that sold ribbons and lace to hat makers. A chance meeting in Prospect Park, Brooklyn, led to a new career in the cleaning and repair of movie prints. This job provided an entrée to the film production industry, then flourishing in Fort Lee, New Jersey. As an apprentice film-maker, from around 1916 to the early 1920s, von Sternberg developed a lasting contempt for most of the directors and producers he worked for (an exception was Emile Chautard, who acted in some of Sternberg's films of the 1930s), and was sure that he could improve on their products. Staked to a few thousand dollars -- even then an absurdly small budget -- von Sternberg proved himself right with The Salvation Hunters (1925), which became a critical and financial hit. For the next couple of years he seesawed between acclaim and oblivion, sometimes on the same project (for instance, he received the rare honor of directing a film for Charles Chaplin, but it was shelved after only one showing and later disappeared forever). His commercial breakthrough was Underworld (1927), a prototypical Hollywood gangster film; behind the scenes, von Sternberg successfully battled Ben Hecht, the writer, for creative control. With The Last Command (1928), starring the equally strong-willed Emil Jannings, von Sternberg began a period of almost a decade as one of the most celebrated artists of world cinema. Both his film career and his personal life were transformed in the making of The Blue Angel (1930). Chosen by Jannings and producer Erich Pommer to make Germany's first major sound picture, von Sternberg gambled by casting Marlene Dietrich, then obscure, as Lola Lola, the night-club dancer who leads Jannings' character into depravity. The von Sternberg-Dietrich story, both on-screen (he directed her in six more movies) and off (he became one of her legions of lovers, more in love with her than most) is a staple of film histories. His films of the mid-'30s are among the most visionary ever made in Hollywood, but in spite of their visual sumptuousness, contemporary audiences found them dramatically inert. The films' mediocre box office and a falling-out with Ernst Lubitsch, then head of production at Paramount Pictures (Sternberg's employer), meant that after The Devil Is a Woman (1935) he would never again have the control he needed to express himself fully. In his sardonic autobiography, he more or less completely disowned all of his subsequent films. In spite (or perhaps because) of his truncated career and bitter personality, von Sternberg remains a hero to many critics and filmmakers. His best films exemplify the proposition, as he put it, that in any worthwhile film the director is "the determining influence, and the only influence, despotically exercised or not, which accounts for the worth of what is seen on the screen."- Director
- Cinematographer
- Writer
Mikhail Kalatozov was born on 28 December 1903 in Tiflis, Russian Empire [now Tbilisi, Republic of Georgia]. He was a director and cinematographer, known for The Cranes Are Flying (1957), True Friends (1954) and Zagovor obrechyonnykh (1950). He died on 27 March 1973 in Moscow, RSFSR, USSR [now Russia].- Writer
- Director
- Editor
Jean Vigo had bad health since he was a child. Son of anarchist militant Miguel Almareyda, he also never really recovered from his father's mysterious death in jail when he was 12. Abandoned by his mother, he passed from boarding school to boarding school. Aged 23, through meetings with people involved in the movies, he started working in the cinema, then bought a camera and shot his first film, a short documentary, À Propos de Nice (1930) then, two years later, Taris (1931) (aka Taris champion de natation). These two very personal works frighten the producers, and it lasted two years before someone showed some interest in his project of a children movie. This would be his masterpiece, Zero for Conduct (1933) (aka Zero for Conduct), a subversive despiction of an authoritarian boarding school, which directly came from Vigo's memories. The film is straightaway censored for its "anti-French spirit." In despair, he nevertheless shot L'Atalante (1934), a romantic and realistic story of a young couple beginning their life together in a barge. He died just afterward of septicemy. His work would not be recognized before 1945. This accursed filmmaker is now admired for his poetic realism.- Writer
- Actor
- Director
Jean Cocteau was one of the most multi-talented artists of the 20th century. In addition to being a director, he was a poet, novelist, painter, playwright, set designer, and actor. He began writing at 10 and was a published poet by age 16. He collaborated with the "Russian Ballet" company of Sergei Diaghilev, and was active in many art movements, but always remained a poet at heart. His films reflect this fact. Cocteau was also a homosexual, and made no attempt to hide it. His favorite actor was his close friend Jean Marais, who appeared in almost every one of his films. Cocteau made about twelve films in his career, all rich with symbolism and surreal imagery. He is now regarded as one of the most important avant-garde directors in cinema.- Producer
- Director
- Additional Crew
One of a large group of Hungarian refugees who found refuge in England in the 1930s, Sir Alexander Korda was the first British film producer to receive a knighthood. He was a major, if controversial, figure and acted as a guiding force behind the British film industry of the 1930s and continued to influence British films until his death in 1956. He learned his trade by working in studios in Austria, Germany and America and was a crafty and flamboyant businessman. He started his production company, London Films, in 1933 and one of its first films The Private Life of Henry VIII (1933), received an Oscar nomination as best picture and won the Best Actor Oscar for its star, Charles Laughton. Helped by his brothers Zoltan Korda (director) and Vincent Korda (art director) and other expatriate Hungarians, London Films produced some of Britain's finest films (even if they weren't all commercial successes). Korda's willingness to experiment and be daring allowed the flowering of such talents as Michael Powell and Emeric Pressburger and gave early breaks to people such as Laurence Olivier, David Lean and Carol Reed. Korda sold his library to television in the 1950s, thus allowing London Films' famous logo of Big Ben to become familiar to a new generation of film enthusiasts.- Director
- Actress
- Writer
Leontine Sagan was born on 13 February 1889 in Vienna, Austria-Hungary [now Austria]. She was a director and actress, known for Mädchen in Uniform (1931), Men of Tomorrow (1932) and Showtime (1946). She was married to Dr. Victor Fleischer (dramatist). She died on 20 May 1974 in Pretoria, South Africa.- Director
- Writer
- Art Director
Marc Allégret was born on 22 December 1900 in Basel, Switzerland. He was a director and writer, known for The Curtain Rises (1938), Avec André Gide (1951) and Julietta (1953). He was married to Nadine Vogel. He died on 3 November 1973 in Paris, France.- Writer
- Director
- Additional Crew
Tokyo-born Yasujiro Ozu was a movie buff from childhood, often playing hooky from school in order to see Hollywood movies in his local theatre. In 1923 he landed a job as a camera assistant at Shochiku Studios in Tokyo. Three years later, he was made an assistant director and directed his first film the next year, Zange no yaiba (1927). Ozu made thirty-five silent films, and a trilogy of youth comedies with serious overtones he turned out in the late 1920s and early 1930s placed him in the front ranks of Japanese directors. He made his first sound film in 1936, The Only Son (1936), but was drafted into the Japanese Army the next year, being posted to China for two years and then to Singapore when World War II started. Shortly before the war ended he was captured by British forces and spent six months in a P.O.W. facility. At war's end he went back to Shochiku, and his experiences during the war resulted in his making more serious, thoughtful films at a much slower pace than he had previously. His most famous film, Tokyo Story (1953), is generally considered by critics and film buffs alike to be his "masterpiece" and is regarded by many as not only one of Ozu's best films but one of the best films ever made. He also turned out such classics of Japanese film as The Flavor of Green Tea Over Rice (1952), Floating Weeds (1959) and An Autumn Afternoon (1962).
Ozu, who never married and lived with his mother all his life, died of cancer in 1963, two years after she passed.- Director
- Writer
- Producer
Director Max Ophüls was born Max Oppenheimer in Saarbrücken, Germany. He began his career as a stage actor and director in the golden twenties. He worked in cities such as Stuttgart, Dortmund, Wuppertal, Vienna, Frankfurt, Breslau and Berlin. In 1929 his son Marcel Ophüls was born in Frankfurt, Germany. He had begun to work under his pseudonym Max Ophüls by that time. In the early 1930s Ophüls discovered the movie world and began to work as an assistant director for Anatole Litvak. He directed his first movies (Dann schon lieber Lebertran (1931), Die verliebte Firma (1932)) in that time too. Around 1933 he emigrated to France and also worked in the Netherlands and Italy for a period of eight years. In 1941 he emigrated again, this time to the USA where he worked for a period of 10 years before he went back to France in 1950. Beginning in 1954 he also worked in Germany again, mainly for German radio in Baden-Baden. Max Ophüls died in March 1957 in Hamburg, Germany and is buried on the famous cemetery Père-Lachaise in Paris, France.- Director
- Special Effects
- Writer
Aleksandr Ptushko was born on 19 April 1900 in Lugansk, Lugansk uyezd, Yekaterinoslav Governorate, Russian Empire [now Luhansk, Luhansk Oblast, Ukraine]. He was a director and writer, known for The Stone Flower (1946), Sadko (1953) and Ruslan i Lyudmila (1972). He died on 6 March 1973 in Moscow, Russian SFSR, USSR [now Russia].- Director
- Writer
- Second Unit Director or Assistant Director
Aleksandr Medvedkin was born on 24 February 1900 in Penza, Russian Empire [now Russia]. He was a director and writer, known for The New Moscow (1938), Happiness (1935) and Chudesnitsa (1937). He died on 20 February 1989 in Moscow, RSFSR, USSR [now Russia].- Producer
- Director
- Actress
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.- Writer
- Director
- Producer
Revered by such legendary fellow directors as Ingmar Bergman and Jean Renoir, Julien Duvivier is one of the most legendary figures in the history of French cinema. He is perhaps the most neglected of the "Big Five" of classic French cinema (the other four being Jean Renoir, Rene Clair, Jacques Feyder, and Marcel Carne), partly due to the uneven quality of his work. But despite his misfires, the cream of his oeuvre is simply stellar and deserves to be mentioned in the same breath as filmdom's most breathtaking masterpieces. Initially working as a stage actor, Duvivier began his movie career in 1918 as an assistant to such seminal French helmsmen as Louis Feuillade and Marcel L'Herbier. A year later, he directed his first film, "Haceldama ou le prix du sang" (1919), which was not successful and evinced nothing of the lyricism and beauty that would define the director's later work. He continued directing, however, eventually earning a job with Film D'Art, a production company founded by producers Marcel Vandal and Charles Delac. It was here, at Film D'Art, that Duvivier was to really find his way at an artist. In the 1930s, Duvivier's talents came into full bloom, beginning with "David Golder" in 1930. Duvivier's subsequent efforts in this decade, aided by the advent of sound in motion pictures, would establish Duvivier as one of the leading forces in world cinema. It was also in the 1930s that Duvivier began working with Jean Gabin, an actor who would appear in many of Duvivier's most career-defining films, most notably "Pepe le Moko" (1937). "Pepe" was the cracklingly entertaining story of a sly gangster and master thief (Gabin) who lives in the casbah section of Algiers. A prince of the underworld, Pepe's criminal mastery is shaken when his arch nemesis Inspector Slimane, exploits a young Parisian beauty as a ploy to capture this most elusive the casbah's crooks. The latter film made Jean Gabin an international star and also attained enough popularity and critical acclaim to earn Duvivier an invitation from MGM to direct a biopic of great director Johann Strauss, entitled "The Great Waltz" (1938). Duvivier found Hollywood agreeable and would later return there during WWII. His wartime output was of varied quality, one of the most meritorious being "Tales of Manhattan" (1942). Duvivier returned to France after the war, where he found his reputation and standing to be badly damaged by his absence during the war years. He continued to work in France for the remainder of his life, however, eventually regaining success with such films as the Fernandel vehicle "Le Petit monde de Don camilo" (1951) which as awarded a prize at the Venice Film Festival. Duvivier had just completed production on his final project, "Diaboliquement vôtre" (1967), when he was killed in an auto accident at the age of 71. Though his life and career ended with this tragic accident, his legacy lives on through his films and in the minds and hearts of many.- Director
- Writer
- Additional Crew
Iosif Kheifits was born on 4 December 1905 in Minsk, Russian Empire [now Belarus]. He was a director and writer, known for Baltic Deputy (1937), The Lady with the Dog (1960) and The Rumyantsev Case (1956). He was married to Yanina Zheymo. He died on 24 April 1995 in St. Petersburg, Russia.- Director
- Writer
- Additional Crew
Marcel Carné, the son of a cabinet maker, entered the movies as the assistant of Jacques Feyder. At the age of 25 he directed his first movie Jenny (1936). Colaborating with the writer Jacques Prévert, the decorator Alexandre Trauner, the musician and composer Maurice Jaubert and the actor Jean Gabin he became the great director of the pre-war era of the French cinema with the poetic realism style (e.g. Hotel du Nord (1938)). During the occupation of France by Nazi-Germany he worked in the zone of the government of Vichy making Children of Paradise (1945), a clear anti-Nazi parable and all time classic of French cinema. After having been confronted with a purge trial he went on filming but none of his later movies could catch up with his former works.- Director
- Writer
- Producer
Vladimir Legoshin was born on 27 May 1904 in Baku, Russian Empire [now Azerbaijan]. He was a director and writer, known for U nikh est Rodina (1950), The Lonely White Sail (1937) and Military Secret (1945). He died on 21 December 1954 in Moscow, RSFSR, USSR [now Russia].- Director
- Writer
- Producer
Mark Donskoy was born on 6 March 1901 in Odessa, Kherson Governorate, Russian Empire [now Ukraine]. He was a director and writer, known for Gorky 1: The Childhood of Maxim Gorky (1938), Foma Gordeev (1959) and The Taras Family (1945). He died on 21 March 1981 in Moscow, RSFSR, USSR [now Russia].- Writer
- Producer
- Director
Marcel Pagnol was born on 28 February 1895 in Aubagne, Bouches-du-Rhône, France. He was a writer and producer, known for The Well-Digger's Daughter (1940), Jean de Florette (1986) and Le schpountz (1938). He was married to Jacqueline Pagnol and Simone Collin. He died on 18 April 1974 in Paris, France.- Director
- Writer
- Second Unit Director or Assistant Director
Coming from a lower class family Mizoguchi entered the production company Nikkatsu as an actor specialized in female roles. Later he became an assistant director and made his first film in 1922. Although he filmed almost 90 movies in the silent era, only his last 12 productions are really known outside of Japan because they were especially produced for Venice (e.g The Life of Oharu (1952) or Sansho the Bailiff (1954). He only filmed two productions in color: Yôkihi (1955) and Taira Clan Saga (1955).- Director
- Writer
- Second Unit Director or Assistant Director
Tatyana Nikolaevna Lukashevich was a Soviet writer and director. She was very devoted to her profession, at the time where filmmaking wasn't appreciated at all. It should be noted that she was one of the earliest female film directors, not only in the Soviet Union, but in the world. Some of her most notorious works include: The Foundling (1940), Bride with a Dowry (1953) and Problem Child (1954). Lukashevich died at the age of 67 in Moscow.- Director
- Writer
- Second Unit Director or Assistant Director
Aleksandr Rou was born on 24 February 1906 in Moscow, Russian Empire [now Russia]. He was a director and writer, known for Frosty (1965), Kashchei the Immortal (1945) and The Fair Barbara (1970). He was married to Irina Zarubina. He died on 28 December 1973 in Moscow, Russian SFSR, USSR [now Russia].- Actor
- Director
- Writer
António Lopes Ribeiro was born on 16 April 1908 in Lisbon, Portugal. He was an actor and director, known for O Primo Basílio (1959), The Tyrant Father (1941) and Amor de Perdição (1943). He died on 14 April 1995 in Lisbon, Portugal.- Director
- Writer
- Actor
Alf Sjöberg was born on 21 June 1903 in Stockholm, Stockholms län, Sweden. He was a director and writer, known for Miss Julie (1951), Ön (1966) and Torment (1944). He died on 16 April 1980 in Stockholm, Stockholms län, Sweden.- Director
- Writer
- Editor
Manoel de Oliveira was born on 11 December 1908 in Oporto, Portugal. He was a director and writer, known for The Cannibals (1988), I'm Going Home (2001) and Christopher Columbus, the Enigma (2007). He was married to Maria Isabel Brandão de Meneses de Almeida Carvalhais. He died on 2 April 2015 in Oporto, Portugal.- Writer
- Director
- Second Unit Director or Assistant Director
His interest in films was stimulated by a meeting with King Vidor, who offered him employment in the US as actor and assistant director. However, he remained in France and became assistant to Jean Renoir, a friend of the family, during that director's peak period (1932-39). In 1934 he ventured briefly into independent production, co-directing with Pierre Prévert a short film, Pitiless Gendarme (1935). In 1935 he turned out a five-reeler, Tête de turc (1935), which he later refused to acknowledge as his.
In 1939 he began shooting a feature film, Cristobal's Gold (1940), but walked out after three weeks, leaving the film to be finished by Jean Stelli. In 1942, after a year in a German prisoner-of-war camp, he began his career as director. His entire output consisted of only 13 films, but they include some of the most artistically and technically substantial in French cinema. He is one of the few Old Guard directors done honor by the New Wave, which reveres him for his masterpieces, the atmospheric period love story Casque d'Or (1952) and the superb prison escape drama The Hole (1960), and also for his lesser films, such charming love tales as Antoine & Antoinette (1947) and Edward and Caroline (1951), in which he vividly depicts French social milieus through careful attention to background. His Touchez pas au grisbi (1954), a gangster film distinguished for its detailed action and penetration of character, exerted considerable influence on subsequent série noire French films. He was less successful with such commercial ventures as Ali Baba and the Forty Thieves (1954), which was dominated by Fernandel, and Montparnasse 19 (1958), a biographical sketch of the last years in the life of Modigliani. Becker's widow is French stage and screen actress Françoise Fabian (b. Michèle Cortès de Leone y Fabianera, 1932, Algiers). He was the father of director Jean Becker.- Writer
- Director
- Second Unit Director or Assistant Director
Born in his ancestral palazzo, situated in the same Milanese square as both the opera house La Scala and the Milan Cathedral, Luchino Visconti (1906 - 1976) was raised under the auspices of aristocratic privilege, theater and Catholicism. This triangulation of monuments would create an equally titanic filmmaker whose work remained stylistically sui generis through arguably the most impressive decades of 20th century filmmaking. The quietude of La Terra Trema (1948) is managed with an operatic virtuosity, and the baroque period pieces-for which he is best known today-clearly point to a noble upbringing. However, there is also a Gothic character to Visconti-embodied in the spired cathedral that overshadowed his childhood-that has remained largely unsung. The relationship between the Visconti family and Gothic architecture stretches back to the Medieval Era. In 1386, Duke Gian Galeazzo Visconti envisioned a cathedral in the heart of Milan, though it was fated to remain under construction for almost half a millennium until Napoleon ordered its completion in the 19th century. Just as his ancestor brought Northern Gothic architecture to Italy, so, in 1943, did Luchino introduce the groundbreaking cinematic genre of Italian neorealism to the peninsula. Doing away with sets, neorealist cinema was set in the raw environment of postwar Italy. In one sense anti-architectural in its desire to transcend the bonds of interior space, this same ambition is what makes the style a perfect cinematic analog to the Gothic. The Gothic is an architecture of exteriority: Throwing ceilings to the sky and opening walls onto the outside with large windows, the Gothic presents light as the manifestation of divinity within a place of worship. The mysticism of light, dating back to the pseudo-Dionysian theology of Abbot Suger of St. Denis Cathedral, translates well to the medium of light that is the cinema. In any Visconti work, lighting is intimately connected to set design: It is often seen in the gleam of curtains, the radiance of starlight or the glow of Milanese fog, where the director carries the religiosity of Gothic architecture into his realism. Visconti's religion (or should we say religions? For he was also a Marxist) adds an ethical weight, powerful and challenging, to his works. The term decadence, often associated with Visconti, only attains meaning through being in excess of contemporary mores. Neither the Catholic Church nor the Italian communists could accept Visconti's homosexuality, and a resultant displaced angst is plainly worn by his protagonists-monumental individuals who bear the full weight of their social milieus. While neorealism has come to be packaged with its own mythology-a new cinema for a liberated nation, the idea of a new "Italian" style-re-centering our historical gaze on the Gothic Visconti allows one's imagination to spread across a much larger plane of geography and time. From his cinematic apprenticeship with Jean Renoir in France-the very cradle of Gothic architecture-to his German trilogy, Visconti's style has always been one of cosmopolitan effort. This international flavor also matches the deeper etymological referent of the Gothic-the Goths, those barbarian invaders who toppled the Roman Empire. Among Visconti's formal signatures are many borrowings from foreign directors, including the particularly pronounced influence of Jean Renoir, Josef Von Sternberg and Elia Kazan. Global in scope, timeless in influence and architectural in spirit: This is the legacy of Luchino Visconti.- Writer
- Director
- Producer
Beginning his film career as a screenwriter, Henri-Georges Clouzot switched over to directing and in 1943 had the distinction of having his film The Raven (1943) banned by both the German forces occupying France and the Free French forces fighting them, but for different reasons. He shot to international fame with The Wages of Fear (1953) and consolidated that success with Diabolique (1955), but continuous ill health caused large gaps in his output, and several projects had to be abandoned (though one, Hell (1994), was subsequently filmed by Claude Chabrol). His films are typically relentless suspense thrillers, similar to Alfred Hitchcock's but with far less light relief.- Director
- Writer
- Editor
Jean Delannoy began his film career in the 1920s as an actor. By the 1930s he had switched careers and become an editor, then a short-subjects director. By the mid-'30s he was a full-fledged director, and soon garnered a reputation as a sensitive, understated craftsman with a thorough command of the medium. By the 1950s, however, he was doing overheated melodramas and overblown epics, including a particularly undistinguished version of The Hunchback of Notre Dame (The Hunchback of Notre Dame (1956)), and he was soon reduced to churning out such drivel as Action Man (1967) (US title: "Action Man") and The Double Bed (1965) (US title: "The Double Bed").- Actor
- Director
- Writer
Vittorio De Sica grew up in Naples, and started out as an office clerk in order to raise money to support his poor family. He was increasingly drawn towards acting, and made his screen debut while still in his teens, joining a stage company in 1923. By the late 1920s he was a successful matinee idol of the Italian theatre, and repeated that achievement in Italian movies, mostly light comedies. He turned to directing in 1940, making comedies in a similar vein, but with his fifth film The Children Are Watching Us (1943), he revealed hitherto unsuspected depths and an extraordinarily sensitive touch with actors, especially children. It was also the first film he made with the writer Cesare Zavattini with whom he would subsequently make Shoeshine (1946) and Bicycle Thieves (1948), heartbreaking studies of poverty in postwar Italy which won special Oscars before the foreign film category was officially established. After the box-office disaster of Umberto D. (1952), a relentlessly bleak study of the problems of old age, he returned to directing lighter work, appearing in front of the camera more frequently. Although Yesterday, Today and Tomorrow (1963) won him another Oscar, it was generally accepted that his career as one of the great directors was over. However, just before he died he made The Garden of the Finzi-Continis (1970), which won him yet another Oscar, and his final film A Brief Vacation (1973). He died following the removal of a cyst from his lungs.- Writer
- Director
- Second Unit Director or Assistant Director
Robert Bresson trained as a painter before moving into films as a screenwriter, making a short film (atypically a comedy), Public Affairs (1934) in 1934. After spending more than a year as a German POW during World War II, he made his debut with Angels of Sin (1943) in 1943. His next film, The Ladies of the Bois de Boulogne (1945) would be the last time he would work with professional actors. From Journal d'un cure de campagne (1951) (aka "Diary of a Country Priest") onwards, he created a unique minimalist style in which all but the barest essentials are omitted from the film (often, crucial details are only given in the soundtrack), with the actors (he calls them "models") giving deliberately flat, expressionless performances. It's a demanding and difficult, intensely personal style, which means that his films never achieved great popularity (it was rare for him to make more than one film every five years), but he has a fanatical following among critics, who rate him as one of the greatest artists in the history of the cinema. He retired in the 1980s, after failing to raise the money for a long-planned adaptation of the Book of Genesis.- Writer
- Director
- Producer
The master filmmaker Roberto Rossellini, as one of the creators of neo-realism, is one of the most influential directors of all time. His neo-realist films influenced France's nouvelle vague movement in the 1950s and '60s that changed the face of international cinema. He also influenced American directors, including Martin Scorsese.
He was born into the world of film, making his debut in Rome on May 8, 1906, the son of Elettra (Bellan), a housewife, and Angiolo Giuseppe "Beppino" Rossellini, the man who opened Italy's first cinema. He was immersed in cinema from the beginning, growing up watching movies in his father's movie-house from the time that film was first quickening as an art form. Italy was one of the places were movie-making matured, and Italian film had a huge influence on D.W. Griffith and other international directors. Between the two world wars, Hollywood would soon dictate what constituted a "well-made" film, but Rossellini would be one of the Italian directors who once again put Italy at the forefront of international cinema after the Second World War.
His training in cinema was thorough and extensive and he became expert in many facets of film-making. (His brother Renzo Rossellini, also was involved in the industry, scoring films.) He did his apprenticeship as an assistant to Italian filmmakers, then got the chance to make his first film, a documentary, "Prélude à l'après-midi d'un faune", in 1937. Due to his close ties to Benito Mussolini's second son, the critic and film producer Vittorio Mussolini, he flourished in fascist Italy's cinema. Once Il Duce was deposed, Rossellini produced his first classic film, the anti-fascist Rome, Open City (1945) ("Rome, Open City") in 1945, which won the Grand Prize at Cannes. Two other neo-realist classics soon followed, Paisan (1946) ("Paisan") and Germany Year Zero (1948) ("Germany in the Year Zero"). "Rome, Open City" screenwriters Sergio Amidei and Federico Fellini were nominated for a Best Writing, Screenplay Oscar in 1947, while Rossellini himself, along with Amidei, Fellini and two others were nominated for a screen-writing Oscar in 1950 for "Paisan".
"I do not want to make beautiful films, I want to make useful films," he said. Rossellini claimed, "I try to capture reality, nothing else." This led him to often cast non-professional actors, then tailor his scripts to their idiosyncrasies and life-stories to heighten the sense of realism.
With other practitioners of neo-realism, Vittorio De Sica and Luchino Visconti, film was changed forever. American director Elia Kazan credits neo-realism with his own evolution as a filmmaker, away from Hollywood's idea of the well-made film to the gritty realism of On the Waterfront (1954).
Rossellini had a celebrated, adulterous affair with Ingrid Bergman that was an international scandal. They became lovers on the set of Stromboli (1950) while both were married to other people and Bergman became pregnant. After they shed their spouses and married, producing three children, history repeated itself when Rossellini cheated on her with the Indian screenwriter Sonali Senroy DasGupta while he was in India at the request of Prime Minister Jawaharlal Nehru to help revitalize that country's film industry. It touched off another international scandal, and Nehru ousted him from the country. Rossellini later divorced Bergman to marry Das Gupta, legitimizing their child that had been born out-of-wedlock.
Rossellini continued to make films until nearly his death. His last film The Messiah (1975) ("The Messiah"), a story of The Passion of Christ, was released in 1975.
Roberto Rossellini died of a heart attack in Rome on June 3, 1977. He was 71 years old.- Director
- Writer
- Editor
An important British filmmaker, David Lean was born in Croydon on March 25, 1908 and brought up in a strict Quaker family (ironically, as a child he wasn't allowed to go to the movies). During the 1920s, he briefly considered the possibility of becoming an accountant like his father before finding a job at Gaumont British Studios in 1927. He worked as tea boy, clapper boy, messenger, then cutting room assistant. By 1935, he had become chief editor of Gaumont British News until in 1939 when he began to edit feature films, notably for Anthony Asquith, Paul Czinner and Michael Powell. Amongst films he worked on were Pygmalion (1938), Major Barbara (1941) and One of Our Aircraft Is Missing (1942).
By the end of the 1930s, Lean's reputation as an editor was very well established. In 1942, Noël Coward gave Lean the chance to co-direct with him the war film In Which We Serve (1942). Shortly after, with the encouragement of Coward, Lean, cinematographer Ronald Neame and producer 'Anthony Havelock-Allan' launched a production company called Cineguild. For that firm Lean first directed adaptations of three plays by Coward: the chronicle This Happy Breed (1944), the humorous ghost story Blithe Spirit (1945) and, most notably, the sentimental drama Brief Encounter (1945). Originally a box-office failure in England, "Brief Encounter" was presented at the very first Cannes film festival (1946), where it won almost unanimous praises as well as a Grand Prize.
From Coward, Lean switched to Charles Dickens, directing two well-regarded adaptations: Great Expectations (1946) and Oliver Twist (1948). The latter, starring Alec Guinness in his first major movie role, was criticized by some, however, for potential anti-Semitic inflections. The last two films made under the Cineguild banner were The Passionate Friends (1949), a romance from a novel by H.G. Wells, and the true crime story Madeleine (1950). Neither had a significant impact on critics or audiences.
The Cineguild partnership came to an end after a dispute between Lean and Neame. Lean's first post-Cineguild production was the aviation drama The Sound Barrier (1952), a great box-office success in England and his most spectacular movie so far. He followed with two sophisticated comedies based on theatrical plays: Hobson's Choice (1954) and the Anglo-American co-production Summertime (1955). Both were well received and "Hobson's Choice" won the Golden Bear at the 1954 Berlin film festival.
Lean's next movie was pivotal in his career, as it was the first of those grand-scale epics he would become renowned for. The Bridge on the River Kwai (1957) was produced by Sam Spiegel from a novel by 'Pierre Boulle', adapted by blacklisted writers Michael Wilson and Carl Foreman. Shot in Ceylon under extremely difficult conditions, the film was an international success and triumphed at the Oscars, winning seven awards, most notably best film and director.
Lean and Spiegel followed with an even more ambitious film, Lawrence of Arabia (1962), based on "Seven Pillars of Wisdom", the autobiography of T.E. Lawrence. Starring relative newcomer Peter O'Toole, this film was the first collaboration between Lean and writer Robert Bolt, cinematographer Freddie Young and composer Maurice Jarre. The shooting itself took place in Spain, Morocco and Jordan over a period of 20 months. Initial reviews were mixed and the film was trimmed down shortly after its world première and cut even more during a 1971 re-release. Like its predecessor, it won seven Oscars, once again including best film and director.
The same team of Lean, Bolt, Young and Jarre next worked on an adaptation of Boris Pasternak's novel "Dr. Zhivago" for producer Carlo Ponti. Doctor Zhivago (1965) was shot in Spain and Finland, standing in for revolutionary Russia and, despite divided critics, was hugely successful, as was Jarre's musical score. The film won five Oscars out of ten nominations, but the statuettes for film and director went to The Sound of Music (1965).
Lean's next movie, the sentimental drama Ryan's Daughter (1970), did not reach the same heights. The original screenplay by Robert Bolt was produced by old associate Anthony Havelock-Allan, and Lean once again secured the collaboration of Freddie Young and Maurice Jarre. The shooting in Ireland lasted about a year, much longer than expected. The film won two Oscars; but, for the most part, critical reaction was tepid, sometimes downright derisive, and the general public didn't really respond to the movie.
This relative lack of success seems to have inhibited Lean's creativity for a while. But towards the end of the 1970s, he started to work again with Robert Bolt on an ambitious two-part movie about the Bounty mutiny. The project fell apart and was eventually recuperated by Dino De Laurentiis. Lean was then approached by producers John Brabourne and Richard Goodwin to adapt E.M. Forster's novel "A Passage to India", a book Lean had been interested in for more than 20 years. For the first time in his career; Lean wrote the adaptation alone, basing himself partly on Santha Rama Rau's stage version of the book. Lean also acted as his own editor. A Passage to India (1984) opened to mostly favourable reviews and performed quite well at the box-office. It was a strong Oscar contender, scoring 11 nominations. It settled for two wins, losing the trophy battle to Milos Forman's Amadeus (1984).
Lean spent the last few years of his life preparing an adaptation of Joseph Conrad's meditative adventure novel "Nostromo". He also participated briefly in Richard Harris' restoration of "Lawrence of Arabia" in 1988. In 1990, Lean received the American Film Institute's Life Achievement award. He died of cancer on April 16, 1991 at age 83, shortly before the shooting of "Nostromo" was about to begin.
Lean was known on sets for his extreme perfectionism and autocratic behavior, an attitude that sometimes alienated his cast or crew. Though his cinematic approach, classic and refined, clearly belongs to a bygone era, his films have aged rather well and his influence can still be found in movies like The English Patient (1996) and Titanic (1997). In 1999, the British Film Institute compiled a list of the 100 favorite British films of the 20th century. Five by David Lean appeared in the top 30, three of them in the top five.- Writer
- Actor
- Director
Considered to be one of the most pivotal stars of the early days of Hollywood, Charlie Chaplin lived an interesting life both in his films and behind the camera. He is most recognized as an icon of the silent film era, often associated with his popular character, the Little Tramp; the man with the toothbrush mustache, bowler hat, bamboo cane, and a funny walk.
Charles Spencer Chaplin was born in Walworth, London, England on April 16, 1889, to Hannah Harriet Pedlingham (Hill) and Charles Chaplin, both music hall performers, who were married on June 22, 1885. After Charles Sr. separated from Hannah to perform in New York City, Hannah then tried to resurrect her stage career. Unfortunately, her singing voice had a tendency to break at unexpected moments. When this happened, the stage manager spotted young Charlie standing in the wings and led him on stage, where five-year-old Charlie began to sing a popular tune. Charlie and his half-brother, Syd Chaplin spent their lives in and out of charity homes and workhouses between their mother's bouts of insanity. Hannah was committed to Cane Hill Asylum in May 1903 and lived there until 1921, when Chaplin moved her to California.
Chaplin began his official acting career at the age of eight, touring with the Eight Lancashire Lads. At age 18, he began touring with Fred Karno's vaudeville troupe, joining them on the troupe's 1910 United States tour. He traveled west to California in December 1913 and signed on with Keystone Studios' popular comedy director Mack Sennett, who had seen Chaplin perform on stage in New York. Charlie soon wrote his brother Syd, asking him to become his manager. While at Keystone, Chaplin appeared in and directed 35 films, starring as the Little Tramp in nearly all.
In November 1914, he left Keystone and signed on at Essanay, where he made 15 films. In 1916, he signed on at Mutual and made 12 films. In June 1917, Chaplin signed up with First National Studios, after which he built Chaplin Studios. In 1919, he and Douglas Fairbanks, Mary Pickford and D.W. Griffith formed United Artists (UA).
Chaplin's life and career was full of scandal and controversy. His first big scandal was during World War I, at which time his loyalty to England, his home country, was questioned. He had never applied for American citizenship, but claimed that he was a "paying visitor" to the United States. Many British citizens called Chaplin a coward and a slacker. This and other career eccentricities sparked suspicion with FBI chief J. Edgar Hoover and the House Un-American Activities Committee (HUAC), who believed that he was injecting Communist propaganda into his films. Chaplin's later film The Great Dictator (1940), which was his first "talkie", also created a stir. In the film, Chaplin plays a humorous caricature of Adolf Hitler. Some thought the film was poorly done and in bad taste. However, the film grossed over $5 million and earned five Academy Award Nominations.
Another scandal occurred when Chaplin briefly dated 22 year-old Joan Barry. However, Chaplin's relationship with Barry came to an end in 1942, after a series of harassing actions from her. In May 1943, Barry returned to inform Chaplin that she was pregnant and filed a paternity suit, claiming that the unborn child was his. During the 1944 trial, blood tests proved that Chaplin was not the father, but at the time, blood tests were inadmissible evidence, and he was ordered to pay $75 a week until the child turned 21.
Chaplin also was scrutinized for his support in aiding the Russian struggle against the invading Nazis during World War II, and the United States government questioned his moral and political views, suspecting him of having Communist ties. For this reason, HUAC subpoenaed him in 1947. However, HUAC finally decided that it was no longer necessary for him to appear for testimony. Conversely, when Chaplin and his family traveled to London for the premier of Limelight (1952), he was denied re-entry to the United States. In reality, the government had almost no evidence to prove that he was a threat to national security. Instead, he and his wife decided to settle in Switzerland.
Chaplin was married four times and had a total of 11 children. In 1918, he married Mildred Harris and they had a son together, Norman Spencer Chaplin, who lived only three days. Chaplin and Harris divorced in 1920. He married Lita Grey in 1924, who had two sons, Charles Chaplin Jr. and Sydney Chaplin. They were divorced in 1927. In 1936, Chaplin married Paulette Goddard, and his final marriage was to Oona O'Neill (Oona Chaplin), daughter of playwright Eugene O'Neill in 1943. Oona gave birth to eight children: Geraldine Chaplin, Michael Chaplin, Josephine Chaplin, Victoria Chaplin, Eugene Chaplin, Jane Chaplin, Annette-Emilie Chaplin, and Christopher Chaplin.
In contrast to many of his boisterous characters, Chaplin was a quiet man who kept to himself a great deal. He also had an "un-millionaire" way of living. Even after he had accumulated millions, he continued to live in shabby accommodations. In 1921, Chaplin was decorated by the French government for his outstanding work as a filmmaker and was elevated to the rank of Officer of the Legion of Honor in 1952. In 1972, he was honored with an Academy Award for his "incalculable effect in making motion pictures the art form of the century". He was appointed Knight Commander of the Order of the British Empire in the 1975 New Year's Honours List. No formal reason for the honour was listed. The citation simply reads "Charles Spencer Chaplin, Film Actor and Producer".
Chaplin's other works included musical scores that he composed for many of his films. He also authored two autobiographical books, "My Autobiography" (1964) and its companion volume, "My Life in Pictures" (1974).
Chaplin died at age 88 of natural causes on December 25, 1977 at his home in Vevey, Switzerland. His funeral was a small and private Anglican ceremony according to his wishes. In 1978, Chaplin's corpse was stolen from its grave and was not recovered for three months; he was re-buried in a vault surrounded by cement.
Six of Chaplin's films have been selected for preservation in the National Film Registry by the United States Library of Congress: The Immigrant (1917), The Kid (1921), The Gold Rush (1925), City Lights (1931), Modern Times (1936), and The Great Dictator (1940).
Charlie Chaplin is considered one of the greatest filmmakers in the history of American cinema, whose movies were and still are popular throughout the world and have even gained notoriety as time progresses. His films show, through the Little Tramp's positive outlook on life in a world full of chaos, that the human spirit has and always will remain the same.- Director
- Producer
- Writer
Alfred Joseph Hitchcock was born in Leytonstone, Essex, England. He was the son of Emma Jane (Whelan; 1863 - 1942) and East End greengrocer William Hitchcock (1862 - 1914). His parents were both of half English and half Irish ancestry. He had two older siblings, William Hitchcock (born 1890) and Eileen Hitchcock (born 1892). Raised as a strict Catholic and attending Saint Ignatius College, a school run by Jesuits, Hitch had very much of a regular upbringing. His first job outside of the family business was in 1915 as an estimator for the Henley Telegraph and Cable Company. His interest in movies began at around this time, frequently visiting the cinema and reading US trade journals.
Hitchcock entering the film industry in 1919 as a title card designer. It was there that he met Alma Reville, though they never really spoke to each other. It was only after the director for Always Tell Your Wife (1923) fell ill and Hitchcock was named director to complete the film that he and Reville began to collaborate. Hitchcock had his first real crack at directing a film, start to finish, in 1923 when he was hired to direct the film Number 13 (1922), though the production wasn't completed due to the studio's closure (he later remade it as a sound film). Hitchcock didn't give up then. He directed The Pleasure Garden (1925), a British/German production, which was very popular. Hitchcock made his first trademark film in 1927, The Lodger: A Story of the London Fog (1927) . In the same year, on the 2nd of December, Hitchcock married Alma Reville. They had one child, Patricia Hitchcock who was born on July 7th, 1928. His success followed when he made a number of films in Britain such as The Lady Vanishes (1938) and Jamaica Inn (1939), some of which also gained him fame in the USA.
In 1940, the Hitchcock family moved to Hollywood, where the producer David O. Selznick had hired him to direct an adaptation of 'Daphne du Maurier''s Rebecca (1940). After Saboteur (1942), as his fame as a director grew, film companies began to refer to his films as 'Alfred Hitchcock's', for example Alfred Hitcock's Psycho (1960), Alfred Hitchcock's Family Plot (1976), Alfred Hitchcock's Frenzy (1972).
Hitchcock was a master of pure cinema who almost never failed to reconcile aesthetics with the demands of the box-office.
During the making of Frenzy (1972), Hitchcock's wife Alma suffered a paralyzing stroke which made her unable to walk very well. On March 7, 1979, Hitchcock was awarded the AFI Life Achievement Award, where he said: "I beg permission to mention by name only four people who have given me the most affection, appreciation, and encouragement, and constant collaboration. The first of the four is a film editor, the second is a scriptwriter, the third is the mother of my daughter Pat, and the fourth is as fine a cook as ever performed miracles in a domestic kitchen and their names are Alma Reville." By this time, he was ill with angina and his kidneys had already started to fail. He had started to write a screenplay with Ernest Lehman called The Short Night but he fired Lehman and hired young writer David Freeman to rewrite the script. Due to Hitchcock's failing health the film was never made, but Freeman published the script after Hitchcock's death. In late 1979, Hitchcock was knighted, making him Sir Alfred Hitchcock. On the 29th April 1980, 9:17AM, he died peacefully in his sleep due to renal failure. His funeral was held in the Church of Good Shepherd in Beverly Hills. Father Thomas Sullivan led the service with over 600 people attended the service, among them were Mel Brooks (director of High Anxiety (1977), a comedy tribute to Hitchcock and his films), Louis Jourdan, Karl Malden, Tippi Hedren, Janet Leigh and François Truffaut.- Director
- Writer
- Actor
René Clément was one of the leading French directors of the post-World War II era. He directed what are regarded as some of the greatest films of the time, such as The Battle of the Rails (1946), Forbidden Games (1952) and The Day and the Hour (1963). He was later almost forgotten as a director. He was back in public attention briefly when his epic Is Paris Burning? (1966) (with an all-star cast of famous actors) was released in 1966, but it was much criticized.
During the 1960s and 1970s Clement directed a number of unnoticed international productions, always with his usual brio and technical virtuosity. Indeed, what characterizes most of his films is how, even to serve sometimes very unexceptional scripts, the directing is always breathtakingly original, inventive, featuring technical virtuosity and the use of special effects. When a remarkable script is associated with these qualities, a film such as Forbidden Games (1952) is the result: the masterpiece of a lifetime. I think we can say that René Clément was one of the most unlucky talented filmmakers who existed, but unfortunate career choices damaged his legacy.
He died in March 1996.- Director
- Writer
- Editor
Hans Richter was born on 6 April 1888 in Berlin, Germany. He was a director and writer, known for Dreams That Money Can Buy (1947), 8 X 8: A Chess Sonata in 8 Movements (1955) and Chesscetera (1957). He was married to Frida Ruppel, Erna Niemeyer, Maria van Vanselow and Elisabeth Steiner. He died on 1 February 1976 in Locarno, Switzerland.- Writer
- Director
- Producer
Géza von Radványi was born on 17 December 1907 in Kassa, Hungary, Austria-Hungary [now Kosice, Slovak Republic]. He was a writer and director, known for Uncle Tom's Cabin (1965), Európa nem válaszol (1941) and Mädchen in Uniform (1958). He was married to Mária Tasnádi Fekete and Eva Daghofer. He died on 27 November 1986 in Budapest, Hungary.- Director
- Writer
- Additional Crew
Mikhail Romm was born in 1901, into a Russian-Jewish family, in the Siberian city of Irkutsk, Russia. He served in the Red Army in 1918-21 as an Inspector of the Special Forces for Food Supplies. He was in charge of confiscations of bread and food from the wealthier farmers (kulaks) in Central Russia. Romm later was avoiding any discussions regarding this painful memories, though he used his experience in the films about Lenin.
He graduated from the Moscow Institute of Arts and Technology as a sculptor (1925), where he studied under Anna Golubkina. Worked as a sculptor and interpreter. In 1928-30 he worked at Institute for extra-scholastic studies as researcher on the theory of Cinematography. From 1931 he worked at Mosfilm Studios, where he made his first film 'Pyshka' (1934). His next film '13' (1936) was considered the first Soviet "eastern" (a Soviet answer to "western"). During the years of "Great Terror" under Joseph Stalin Romm made two features and a documentary about Lenin.
His criminal drama 'Murder on the Dante Street' (1956) was the first film for the great Innokentiy Smoktunovskiy. After an eight-year brake Romm made his 'Nine Days in One Year' (1962). It was an excellent psychological drama about the life and death of nuclear physicists. After the political shifts during and after the "Thaw", started by Nikita Khrushchev, Romm devoted his talent to documentary material. He worked like a sculptor, cutting through the massive Nazi archives of documentaries in Germany. His work was rewarded with an astounding result - 'Tiumph over violence' (1965) in which he also was a narrator. His last film 'I vse-taki Ya Veryu' (1974) was finished by his disciples Marlen Khutsiev and Elem Klimov.- Writer
- Director
- Producer
Luis César Amadori was born on 28 May 1903 in Pescara, Abruzzo, Italy. He was a writer and director, known for Honeysuckle (1938), La pasión desnuda (1953) and Almafuerte (1949). He was married to Zully Moreno. He died on 5 June 1977 in Buenos Aires, Argentina.- Director
- Additional Crew
- Writer
Wanda Jakubowska was born on 10 October 1907 in Warsaw, Poland, Russian Empire [now Warsaw, Mazowieckie, Poland]. She was a director and writer, known for The Last Stage (1948), Król Macius I (1958) and Pozegnanie z diablem (1957). She died on 24 February 1998 in Warsaw, Mazowieckie, Poland.- Director
- Writer
- Second Unit Director or Assistant Director
Yves Allégret was born on 13 October 1905 in Asnières-sur-Seine, Hauts-de-Seine, France. He was a director and writer, known for The Proud and the Beautiful (1953), La meilleure part (1955) and Dédée d'Anvers (1948). He was married to Michèle Cordoue, Simone Signoret and Renée Naville. He died on 31 January 1987 in Jouars-Pontchartrain, Yvelines, France.- Writer
- Actor
- Director
The comic genius Jacques Tati was born Taticheff, descended from a noble Russian family. His grandfather, Count Dimitri, had been a general in the Imperial Army and had served as military attaché to the Russian Embassy in Paris. His father, Emmanuel Taticheff, was a well-to-do picture framer who conducted his business in the fashionable Rue de Castellane and had taken a Dutch-Italian woman, Marcelle Claire van Hoof, as his wife. To Emmanuel's lasting dismay, Jacques had no intention of following in the family trade of framing and restoration. Instead, he went on to pursue an education (specialising in arts and engineering) at the military academy of Lycée de Saint Germain-en-laye. After graduating, his main preoccupation became sports. He already boxed and played tennis and was introduced to rugby during a sojourn in London. Back in Paris, he joined the Racing Club de France (1925-30), and for some time seriously contemplated a career as a professional rugby player. However, Jacques also had an uncanny talent for pantomime, imitating athletes at his school to the amusement of classmates and teachers. By the time he had reached the age of 24, encouraged by his success as an entertainer in the annual revue of the Racing Club, he suddenly decided to combine his two passions and, without further ado, entered the world of show business.
From 1931, Jacques toured the Parisian music halls, theatres and circuses with his impersonations, acrobatics, drunk waiter and comic tennis routines (the latter would be famously re-enacted by his alter ego, Monsieur Hulot). He had by this time changed his name to 'Tati' in order to accommodate theatre bills.The French magazine "Le Jour" was among the first to acknowledge his growing popularity, describing Jacques as "a clown of great talent". At the same time, he made his screen debut in a series of short featurettes, tailored to show off his practised gags, notably Oscar, champion de tennis (1932) and Watch Your Left (1936) ("Watch your left", a very funny boxing sketch). The Second World War, military service and inherent strictures resulting from the German occupation put a temporary halt to his career. Then, in 1946, through a friend, the writer-director Claude Autant-Lara, Jacques obtained a small role in the whimsical fantasy Sylvie et le fantôme (1946), about a girl (Odette Joyeux) in love with a ghost (Tati).
The small township of Sainte-Sévère, where Tati had taken refuge during the occupation, served as inspiration for his first film, initially conceived as a one-reeler entitled "L'Ecole des facteurs" (School for Postmen). Unable to find widespread distribution, Tati decided to re-shoot the bucolic comedy --with himself in the central role -- as a feature film, using the villagers as extras and filming everything on location. And thus, Jour de Fête (1949) and Francois the village postman came into being. However, the film was soon overshadowed by his next enterprise and a critic of the satirical publication Le Canard Enchainé even proposed to fight a duel with anyone who would prefer "Jour de Fete" to Monsieur Hulot's Holiday (1953)!
With "Holiday", Tati reinvented the visual comedy of the silent era in a style not dissimilar to that of Max Linder. There is hardly any dialogue, except for background chatter, but natural and human noises are enhanced whenever required for the desired comic effect. The film is almost plotless, essentially comprised of a series of vignettes (to the recurring musical motif of Alain Romans's breezy 1952 composition "Quel temps fait-il à Paris?") at a seaside resort frequented by assorted holiday makers. All are stereotypical of their respective social class, as are the villagers themselves. Their inability to escape social conditioning and the stress they endure in the process of 'enjoying themselves' are observed with a keen satirical eye through their interaction with each other. At the centre is the ever-present character of the bumbling Monsieur Hulot, who arrives in a rickety 1924 Amilcar. Tall and reedy, clad in a poplin coat, wearing a crumpled hat, striped socks, trousers which are patently too short, rolled umbrella, a pipe firmly clenched between his teeth and perambulating with an odd stiff-legged gait, Hulot cuts an ungainly, yet hilarious figure. Well-meaning though he is, he invariably leaves disaster in his wake and departs the scene quickly as things go wrong, letting others sort out the mess. "Holiday" is more than just a brilliant collection of sight gags, but also an ironic observation of the foibles of human nature. Tati acknowledged the influence of both Buster Keaton and W.C. Fields in the creation of Hulot. Very much like Keaton or Charles Chaplin, he was also a consummate perfectionist who micro-managed each scene with unerring precision. Comedy for Tati was a serious business.
In Tati's subsequent ventures, Hulot became relegated from being the focus of the story to merely subordinate to its concept. As just one of many characters, Hulot weaves in and out of My Uncle (1958) and Playtime (1967), his simple, old-fashioned world contrasted sharply against the coldness of mechanisation, obsessive consumerism and the growing uniformity of houses and cities. "Playtime", shot in 70mm, took six years to make and required the creation of a massive glass and concrete high-rise set with myriad corridors and cubicles (dubbed 'Tativille' and built at a cost of $800,000) which raised the picture's total budget to $3 million and left Tati bankrupt. His next project, Trafic (1971), a satire of modern man's love of cars, failed to recoup these losses. Creditors impounded Tati's films, which were not re-released until 1977, when a canny Parisian distributor expunged his outstanding debts. Throughout his career, Tati remained obdurately committed to his artistic integrity and to his independence as a film maker. He was one of few directors who consistently employed non-professional actors. He turned down offers from Hollywood for a 15-minute series of television comedies, following the success of "Mon Oncle". He summed it all up by declaring "I could have satisfied the producers of the world by making a whole series of little Hulot films, and I would have made a lot of money. But I would not have been able to do what I like - work freely". (NY Times, November 6, 1982)- Director
- Writer
- Editor
Robert James Hamer was born in 1911 along with his twin sister Barbara, the son of Owen Dyke Hamer, a bank clerk, and his wife, Annie Grace Brickell. He was educated at Cambridge University where he wrote some poetry and was published in a collection 'Contemporaries and Their Maker', along with the spy Donald Maclean.
Hamer's cinematic career began as a clapper boy at London Films in 1934, and by 1938 he was on the editing staff. He worked as an editor on Alfred Hitchcock's Jamaica Inn (1939) and worked briefly for the GPO Film Unit. He joined Ealing in 1941 as an editor, becoming an associate producer in 1943. He first made a name for himself as a director with the "The Haunted Mirror" segment in the 1945 omnibus film Dead of Night (1945).
At Ealing he directed one of the classic British comedies, Kind Hearts and Coronets (1949), in which Alec Guinness played eight roles. Hamer was nominated for the Golden Lion at the 1949 Venice Film Festival for his work on the film, as he was in 1954 for directing Guinness in The Detective (1954), which was based on G.K. Chesterton's short stories (Hamer also also directed Guinness in the 1955 romantic comedy To Paris with Love (1955) at Rank and the thriller The Scapegoat (1959), which was based on the Daphne Du Maurier novel, for Du Maurier-Guinness/MGM).
Hamer's last directorial effort was 1960's School for Scoundrels (1960) with Terry-Thomas and Alastair Sim. He died in London on December 4, 1963, and was buried at Llandegley.