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Ulrich Thomsen graduated from The Danish National School of Theatre and Contemporary Dance in 1993, after which playing on several theaters in Copenhagen, i.e. Dr. Dantes Aveny, Mungo Park and Østre Gasværks Teater. His debut on film was in Ole Bornedal's Nightwatch (1994). Since then a number of roles in, among others, Thomas Vinterberg's The Biggest Heroes (1996), Susanne Bier's Credo (1997) and Anders Thomas Jensen's Flickering Lights (2000). However, the major breakthrough came in the film The Celebration (1998) by Thomas Vinterberg, playing the part as Christian, the son. This performance made him well known outside Denmark, earning him a bad guy role in the James Bond film The World Is Not Enough (1999) and a part in the English film Killing Me Softly (2002).- Actor
- Producer
- Soundtrack
Damian Lewis was born on February 11, 1971, in St. John's Wood, London, England, to Charlotte Mary (Bowater), from an upper-class background, and J. Watcyn Lewis, a city broker whose own parents were Welsh. He was raised on Abbey Road in London until the age of 8 with his siblings Gareth, William, and Amanda. In 1979, he was sent to Ashdown House boarding school, then was educated at Eton College. At age 16, he formed his own theater company, then worked in South London, then traveled around Africa. From 1990 to 1993, he studied at Guildhall School of Music and Drama, alongside Daniel Craig and Joseph Fiennes. Among his teachers was RSC stalwart Colin McCormack. Lewis graduated in 1993, and worked on the stage, particularly with the Royal Shakespeare Company. There he was seen by director Steven Spielberg, who subsequently cast him as Richard Winters in the HBO/BBC miniseries Band of Brothers (2001), for which he was nominated for a Golden Globe, among other awards. Lewis continues his career in films, TV, and theater.- Actress
- Producer
- Director
Sally Margaret Field was born November 6, 1946 in Pasadena, California, to actress Margaret Field (née Morlan) and salesman Richard Dryden Field. Her parents divorced in 1950 and her mother then married stuntman Jock Mahoney, and they had a daughter, Princess O'Mahoney. She also has a brother, Richard Field. Sally attended Birmingham High School in Van Nuys, California.
Her acting career began in 1965, when she landed the role of Frances Elizabeth 'Gidget' Lawrence in Gidget (1965); it was canceled after only one season because of bad ratings. She went on to star in The Flying Nun (1967), which ran for three seasons. She also appeared in her first film in 1967, The Way West (1967) opposite Kirk Douglas. In the next few years she appeared in numerous TV movies and TV shows such as Maybe I'll Come Home in the Spring (1971), Marriage: Year One (1971), The Girl with Something Extra (1973), and Sybil (1976). In 1977 she starred alongside then-boyfriend Burt Reynolds in the box office hit Smokey and the Bandit (1977), which led to a less successful sequel in 1980. In 1979 she starred in the popular film Norma Rae (1979) and she received her first Oscar for that role.
In the years that followed she starred in films such as Absence of Malice (1981), Kiss Me Goodbye (1982), Places in the Heart (1984) (she received her second Oscar for her role), Murphy's Romance (1985), Punchline (1988) and Steel Magnolias (1989). In 1993 she starred alongside Robin Williams and Pierce Brosnan in the popular comedy Mrs. Doubtfire (1993). A year after, she played the role of Tom Hanks character's mother (even though she's only ten years older than he is in real life) in Forrest Gump (1994). The film was a huge commercial success and won six Academy awards.
Since then she has appeared in TV movies and miniseries such as A Woman of Independent Means (1995), Merry Christmas, George Bailey (1997), From the Earth to the Moon (1998) and David Copperfield (2000). In 2000 she appeared in the film Where the Heart Is (2000) with Natalie Portman and Ashley Judd, and in 2003 she starred alongside Reese Witherspoon in Legally Blonde 2: Red, White & Blonde (2003). She also appeared in 12 episodes of ER (1994) from 2000 to 2006. From 2006 to 2011, she played the role of matriarch Nora Walker in the hit television show Brothers & Sisters (2006), which earned her an Emmy Award for Outstanding Lead Actress in a Drama Series. Getting back into film, she earned her third Oscar nomination for Lincoln (2012) and played Aunt May in The Amazing Spider-Man (2012) and its blockbuster sequel.
Sally has been married twice, first to Steven Craig from 1968 to 1973. They had two sons together, Peter Craig and Eli Craig. Her second marriage was to film producer Alan Greisman from 1984 to 1994. They had one son together, Samuel Greisman. Between marriages, from 1976 to 1980, she was in a relationship with Burt Reynolds.- Actress
- Writer
- Soundtrack
After forty years of hard work on stage and both television and film, there are not many other actresses who deserved the success, recognition and stardom which Brenda Blethyn has now achieved.
Born in 1946 in Ramsgate, Kent, England, she started her career at British Rail in the 1960s. Saving money during her time there, she took a risk and enrolled herself at the at The Guildford School of Acting in Guildford, Surrey, England and then left her British Rail years behind. Her risk had paid off, by the mid-1970s she was working on stage, eventually joining the National Theatre Company in 1975.
It was the 1980s, however that saw Brenda move onto the small screen when she appeared in a BBC2 Playhouse presentation called Grown-Ups (1980), playing the character Gloria. Other work in television quickly followed and this kept her working throughout the 1980s.
She still remained relatively unknown with the viewing public during the 1980s, despite her consistent work and superb acting abilities. It was not until the dawn of the 90s that her career took off. In 1990, she played the supporting cast member role of Mrs Jenkins in film based on the Roald Dahl novel The Witches (1990), with Anjelica Huston, Jane Horrocks and Mai Zetterling. Film work now became the order of the day in the early 90s, appearing in both A River Runs Through It (1992) and the television film The Bullion Boys (1993). It was then back to a TV series in 1994, with Outside Edge (1994), working on this production for its two-year run.
It is without a doubt that 1997 will be remembered as her biggest year to date. She was cast by her old friend Mike Leigh in the film Secrets & Lies (1996) as Cynthia Rose Purley, opposite highly talented Marianne Jean-Baptiste. The film received storming reviews and Blethyn won a BAFTA Film Award and subsequently received an Academy Award nomination for her role, along with Jean-Baptiste.
Although Brenda came home from the Oscars empty handed, her profile in Hollywood and Britain soared as a result of the nomination and her appearance on The 69th Annual Academy Awards (1997).
Film roles then came thick and fast following Secrets & Lies (1996). Brenda was nothing short of superb in Little Voice (1998). A second Academy Award nomination followed but once again she was the bridesmaid rather than the bride at the Oscars. Since 1996, she has found a new home in film and she has worked consistently in the medium.- Actor
- Producer
- Director
Shaun Evans was born on 6 March 1980 in Liverpool, Merseyside, England, UK. He is an actor and producer, known for Cashback (2006), Endeavour (2012) and Being Julia (2004).- Actress
- Additional Crew
- Soundtrack
With her father being in the army much of her early life was spent in boarding school from the age of 9. Initially she was turned down for RADA but got in and won a prize for Best Student. She had to turn down a role in Schindler's List (1993) as his wife due to already being committed to a theatre play, Her partner Hugh Brody is an anthropologist.- Actor
- Writer
- Director
Alan Rickman was born on a council estate in Acton, West London, to Margaret Doreen Rose (Bartlett), of English and Welsh descent, and Bernard Rickman, of Irish descent, who worked at a factory. Alan Rickman had an older brother (David), a younger brother (Michael), and a younger sister (Sheila). When Alan was 8 years old, his father died. He attended Latymer Upper School on a scholarship. He studied Graphic Design at Chelsea College of Art and Design, where he met Rima Horton, who would later become his longtime partner.
After three years at Chelsea College, Rickman did graduate studies at the Royal College of Art. He opened a successful graphic design business, Graphiti, with friends and managed it for several years before his love of theatre led him to seek an audition with the Royal Academy of Dramatic Art (RADA). At the relatively late age of 26, Rickman received a scholarship to RADA, which started a professional acting career that has lasted nearly 40 years, a career which has spanned stage, screen and television, and overlapped into directing, as well. In 1987, he first came to the attention of American audiences as the Vicomte de Valmont in "Les Liaisons Dangereuses" on Broadway (he was nominated for a Tony Award for his performance in the role). Denied the role in the film version of the show, Rickman instead made his first film appearance opposite Bruce Willis in Die Hard (1988) as the villainous Hans Gruber. His take on the urbane villain set the standard for screen villains for decades to come.
Although often cited as being a master of playing villains, Rickman actually played a wide variety of characters, such as the romantic cello-playing ghost Jamie in Anthony Minghella's Truly Madly Deeply (1990) and the noble Colonel Brandon of Sense and Sensibility (1995). He treated audiences to his comedic abilities in such films as Dogma (1999), Galaxy Quest (1999) and The Hitchhiker's Guide to the Galaxy (2005), and roles like Dr. Alfred Blalock in Something the Lord Made (2004), and as Alex Hughes in Snow Cake (2006), showcased his ability to play ordinary men in extraordinary situations. Rickman even conquered the daunting task of singing a role in a Stephen Sondheim musical as he took on the role of Judge Turpin in the movie adaptation of Sweeney Todd: The Demon Barber of Fleet Street (2007). In 2001, Rickman introduced himself to a whole new, younger generation of fans by taking on the role of Severus Snape in the film versions of J.K. Rowling's Harry Potter and the Sorcerer's Stone (2001). He continued to play the role through the eighth and last movie Harry Potter and the Deathly Hallows: Part 2 (2011).
Alan Rickman died of pancreatic cancer on 14 January 2016. He was 69 years old.- Actor
- Producer
- Director
With an authoritative voice and calm demeanor, this ever popular American actor has grown into one of the most respected figures in modern US cinema. Morgan was born on June 1, 1937 in Memphis, Tennessee, to Mayme Edna (Revere), a teacher, and Morgan Porterfield Freeman, a barber. The young Freeman attended Los Angeles City College before serving several years in the US Air Force as a mechanic between 1955 and 1959. His first dramatic arts exposure was on the stage including appearing in an all-African American production of the exuberant musical Hello, Dolly!.
Throughout the 1970s, he continued his work on stage, winning Drama Desk and Clarence Derwent Awards and receiving a Tony Award nomination for his performance in The Mighty Gents in 1978. In 1980, he won two Obie Awards, for his portrayal of Shakespearean anti-hero Coriolanus at the New York Shakespeare Festival and for his work in Mother Courage and Her Children. Freeman won another Obie in 1984 for his performance as The Messenger in the acclaimed Brooklyn Academy of Music production of Lee Breuer's The Gospel at Colonus and, in 1985, won the Drama-Logue Award for the same role. In 1987, Freeman created the role of Hoke Coleburn in Alfred Uhry's Pulitzer Prize-winning play Driving Miss Daisy, which brought him his fourth Obie Award. In 1990, Freeman starred as Petruchio in the New York Shakespeare Festival's The Taming of the Shrew, opposite Tracey Ullman. Returning to the Broadway stage in 2008, Freeman starred with Frances McDormand and Peter Gallagher in Clifford Odets' drama The Country Girl, directed by Mike Nichols.
Freeman first appeared on TV screens as several characters including "Easy Reader", "Mel Mounds" and "Count Dracula" on the Children's Television Workshop (now Sesame Workshop) show The Electric Company (1971). He then moved into feature film with another children's adventure, Who Says I Can't Ride a Rainbow! (1971). Next, there was a small role in the thriller Blade (1973); then he played Casca in Julius Caesar (1979) and the title role in Coriolanus (1979). Regular work was coming in for the talented Freeman and he appeared in the prison dramas Attica (1980) and Brubaker (1980), Eyewitness (1981), and portrayed the final 24 hours of slain Malcolm X in Death of a Prophet (1981). For most of the 1980s, Freeman continued to contribute decent enough performances in films that fluctuated in their quality. However, he really stood out, scoring an Oscar nomination as a merciless hoodlum in Street Smart (1987) and, then, he dazzled audiences and pulled a second Oscar nomination in the film version of Driving Miss Daisy (1989) opposite Jessica Tandy. The same year, Freeman teamed up with youthful Matthew Broderick and fiery Denzel Washington in the epic Civil War drama Glory (1989) about freed slaves being recruited to form the first all-African American fighting brigade.
His star continued to rise, and the 1990s kicked off strongly with roles in The Bonfire of the Vanities (1990), Robin Hood: Prince of Thieves (1991), and The Power of One (1992). Freeman's next role was as gunman Ned Logan, wooed out of retirement by friend William Munny to avenge several prostitutes in the wild west town of Big Whiskey in Clint Eastwood's de-mythologized western Unforgiven (1992). The film was a sh and scored an acting Oscar for Gene Hackman, a directing Oscar for Eastwood, and the Oscar for best picture. In 1993, Freeman made his directorial debut on Bopha! (1993) and soon after formed his production company, Revelations Entertainment.
More strong scripts came in, and Freeman was back behind bars depicting a knowledgeable inmate (and obtaining his third Oscar nomination), befriending falsely accused banker Tim Robbins in The Shawshank Redemption (1994). He was then back out hunting a religious serial killer in Se7en (1995), starred alongside Keanu Reeves in Chain Reaction (1996), and was pursuing another serial murderer in Kiss the Girls (1997).
Further praise followed for his role in the slave tale of Amistad (1997), he was a worried US President facing Armageddon from above in Deep Impact (1998), appeared in Neil LaBute's black comedy Nurse Betty (2000), and reprised his role as Alex Cross in Along Came a Spider (2001). Now highly popular, he was much in demand with cinema audiences, and he co-starred in the terrorist drama The Sum of All Fears (2002), was a military officer in the Stephen King-inspired Dreamcatcher (2003), gave divine guidance as God to Jim Carrey in Bruce Almighty (2003), and played a minor role in the comedy The Big Bounce (2004).
2005 was a huge year for Freeman. First, he he teamed up with good friend Clint Eastwood to appear in the drama, Million Dollar Baby (2004). Freeman's on-screen performance is simply world-class as ex-prize fighter Eddie "Scrap Iron" Dupris, who works in a run-down boxing gym alongside grizzled trainer Frankie Dunn, as the two work together to hone the skills of never-say-die female boxer Hilary Swank. Freeman received his fourth Oscar nomination and, finally, impressed the Academy's judges enough to win the Best Supporting Actor Oscar for his performance. He also narrated Steven Spielberg's War of the Worlds (2005) and appeared in Batman Begins (2005) as Lucius Fox, a valuable ally of Christian Bale's Bruce Wayne/Batman for director Christopher Nolan. Freeman would reprise his role in the two sequels of the record-breaking, genre-redefining trilogy.
Roles in tentpoles and indies followed; highlights include his role as a crime boss in Lucky Number Slevin (2006), a second go-round as God in Evan Almighty (2007) with Steve Carell taking over for Jim Carrey, and a supporting role in Ben Affleck's directorial debut, Gone Baby Gone (2007). He co-starred with Jack Nicholson in the breakout hit The Bucket List (2007) in 2007, and followed that up with another box-office success, Wanted (2008), then segued into the second Batman film, The Dark Knight (2008).
In 2009, he reunited with Eastwood to star in the director's true-life drama Invictus (2009), on which Freeman also served as an executive producer. For his portrayal of Nelson Mandela in the film, Freeman garnered Oscar, Golden Globe and Critics' Choice Award nominations, and won the National Board of Review Award for Best Actor.
Recently, Freeman appeared in RED (2010), a surprise box-office hit; he narrated the Conan the Barbarian (2011) remake, starred in Rob Reiner's The Magic of Belle Isle (2012); and capped the Batman trilogy with The Dark Knight Rises (2012). Freeman has several films upcoming, including the thriller Now You See Me (2013), under the direction of Louis Leterrier, and the science fiction actioner Oblivion (2013), in which he stars with Tom Cruise.- Actor
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- Additional Crew
Graham Greene was born on 22 June 1952 in Six Nations Reserve, Ontario, Canada. He is an actor and writer, known for The Green Mile (1999), Wind River (2017) and Dances with Wolves (1990). He has been married to Hilary Blackmore since 20 December 1990. They have two children.- Actor
- Producer
- Soundtrack
Michael Clarke Duncan was born on December 10, 1957 in Chicago, Illinois. Raised on Chicago's South Side by his single mother, Jean, a house cleaner, Duncan grew up resisting drugs and alcohol, instead concentrating on school. He wanted to play football in high school, but his mother wouldn't let him, afraid that he would get hurt. He then turned to acting and dreamed of becoming a famous actor.
After graduating from high school and attending community college, he worked digging ditches at People's Gas Company in Chicago. When he quit his job and headed to Hollywood, he landed small roles while working as a bodyguard. Duncan's role in the movie Armageddon (1998) led to his breakthrough performance in The Green Mile (1999), when his Armageddon co-star Bruce Willis called director Frank Darabont, suggesting Duncan for the part of convict John Coffey. He landed the role and won critical acclaim as well as many other Awards and Nominations, including an Academy Award Nomination for Best Actor in a Supporting Role.
After suffering a heart attack on July 13, 2012, he was taken to a Los Angeles hospital, in which his girlfriend Omarosa Manigault-Stallworth tried to save his life with CPR. Unfortunately, on September 3, 2012, Michael Clarke Duncan died at age 54 from respiratory failure.- Producer
- Actor
- Writer
Thomas Jeffrey Hanks was born in Concord, California, to Janet Marylyn (Frager), a hospital worker, and Amos Mefford Hanks, an itinerant cook. His mother's family, originally surnamed "Fraga", was entirely Portuguese, while his father was of mostly English ancestry. Tom grew up in what he has called a "fractured" family. He moved around a great deal after his parents' divorce, living with a succession of step-families. No problems, no alcoholism - just a confused childhood. He has no acting experience in college and credits the fact that he could not get cast in a college play with actually starting his career. He went downtown, and auditioned for a community theater play, was invited by the director of that play to go to Cleveland, and there his acting career started.
Ron Howard was working on Splash (1983), a fantasy-comedy about a mermaid who falls in love with a business executive. Howard considered Hanks for the role of the main character's wisecracking brother, which eventually went to John Candy. Instead, Hanks landed the lead role and the film went on to become a surprise box office success, grossing more than $69 million. After several flops and a moderate success with the comedy Dragnet (1987), Hanks' stature in the film industry rose. The broad success with the fantasy-comedy Big (1988) established him as a major Hollywood talent, both as a box office draw and within the film industry as an actor. For his performance in the film, Hanks earned his first Academy Award nomination as Best Actor.
Hanks climbed back to the top again with his portrayal of a washed-up baseball legend turned manager in A League of Their Own (1992). Hanks has stated that his acting in earlier roles was not great, but that he subsequently improved. In an interview with Vanity Fair, Hanks noted his "modern era of movie making ... because enough self-discovery has gone on ... My work has become less pretentiously fake and over the top". This "modern era" began for Hanks, first with Sleepless in Seattle (1993) and then with Philadelphia (1993). The former was a blockbuster success about a widower who finds true love over the radio airwaves. Richard Schickel of Time magazine called his performance "charming", and most critics agreed that Hanks' portrayal ensured him a place among the premier romantic-comedy stars of his generation.
In Philadelphia, he played a gay lawyer with AIDS who sues his firm for discrimination. Hanks lost 35 pounds and thinned his hair in order to appear sickly for the role. In a review for People, Leah Rozen stated, "Above all, credit for Philadelphia's success belongs to Hanks, who makes sure that he plays a character, not a saint. He is flat-out terrific, giving a deeply felt, carefully nuanced performance that deserves an Oscar." Hanks won the 1993 Academy Award for Best Actor for his role in Philadelphia. During his acceptance speech, he revealed that his high school drama teacher Rawley Farnsworth and former classmate John Gilkerson, two people with whom he was close, were gay.
Hanks followed Philadelphia with the blockbuster Forrest Gump (1994) which grossed a worldwide total of over $600 million at the box office. Hanks remarked: "When I read the script for Gump, I saw it as one of those kind of grand, hopeful movies that the audience can go to and feel ... some hope for their lot and their position in life ... I got that from the movies a hundred million times when I was a kid. I still do." Hanks won his second Best Actor Academy Award for his role in Forrest Gump, becoming only the second actor to have accomplished the feat of winning consecutive Best Actor Oscars.
Hanks' next role - astronaut and commander Jim Lovell, in the docudrama Apollo 13 (1995) - reunited him with Ron Howard. Critics generally applauded the film and the performances of the entire cast, which included actors Kevin Bacon, Bill Paxton, Gary Sinise, Ed Harris, and Kathleen Quinlan. The movie also earned nine Academy Award nominations, winning two. Later that year, Hanks starred in Disney/Pixar's computer-animated film Toy Story (1995), as the voice of Sheriff Woody. A year later, he made his directing debut with the musical comedy That Thing You Do! (1996) about the rise and fall of a 1960s pop group, also playing the role of a music producer.
As of 2022, Hanks is 66-years-old. He has never retired from acting, and has remained active in the film industry for more than four decades.- Actress
- Producer
- Director
Captivating, gifted, and sensational, Angela Bassett's presence has been felt in theaters and on stages and television screens throughout the world. Angela Evelyn Bassett was born on August 16, 1958 in New York City, to Betty Jane (Gilbert), a social worker, and Daniel Benjamin Bassett, a preacher's son. Bassett and her sister D'nette grew up in St. Petersburg, Florida with their mother. As a single mother, Betty stressed the importance of education for her children. With the assistance of an academic scholarship, Bassett matriculated into Yale University. In 1980, she received her B.A. in African-American studies from Yale University. In 1983, she earned a Master of Fine Arts Degree from the Yale School of Drama. It was at Yale that Bassett met her husband, Courtney B. Vance, a 1986 graduate of the Drama School.
Bassett first appeared in small roles on The Cosby Show (1984) and Spenser: For Hire (1985), but it was not until 1990 that a spate of television roles brought her notice. Her breakthrough role, though, was playing Tina Turner, whom she had never seen perform before taking the role, in What's Love Got to Do with It (1993). Bassett's performance earned her an Academy Award nomination and a Golded Globe Award for Best Actress.- Producer
- Actress
- Costume Designer
Charlize Theron was born in Benoni, a city in the greater Johannesburg area, in South Africa, the only child of Gerda Theron (née Maritz) and Charles Theron. She was raised on a farm outside the city. Theron is of Afrikaner (Dutch, with some French Huguenot and German) descent, and Afrikaner military figure Danie Theron was her great-great-uncle.
Theron received an education as a ballet dancer and has danced both the "Swan Lake" and "The Nutcracker". There was not much work for a young actress or dancer in South Africa, so she soon traveled to Europe and the United States, where she got a job at the Joffrey Ballet in New York. She was also able to work as a photo model. However, an injured knee put a halt to her dancing career.
In 1994, her mother bought her a one-way ticket to Los Angeles, and Charlize started visiting all of the agents on Hollywood Boulevard, but without any luck. She went to a bank to cash a check for $500 she received from her mother, and became furious when she learned that the bank would not cash it because it was an out-of-state check. She made a scene and an agent gave her his card, in exchange for learning American English, which she did by watching soap operas on television.
Her first role was in the B-film Children of the Corn III: Urban Harvest (1995), a non-speaking part with three seconds of screen time. Her next role was as Helga Svelgen in 2 Days in the Valley (1996), which landed her the role of Tina Powers in That Thing You Do! (1996). Since then, she has starred in movies like The Devil's Advocate (1997), Mighty Joe Young (1998), The Cider House Rules (1999), The Legend of Bagger Vance (2000) and The Italian Job (2003). On February 29, 2004, she won her first Academy Award, a Best Actress Oscar for her performance in Monster (2003).- Director
- Producer
- Writer
Barri Chase is an award-winning writer, director, and producer. She is of mixed-indigenous descent and a member of the Southeastern Cherokee Council, which has influenced her craft of telling cross-cultural, relatable stories.
Barri is the director of the upcoming film, David, which is the retelling of the classic biblical tale.
After a career in beauty, fashion, and fine-art photography, she focused on being a cinematographer and then became a director of music videos, shorts, and feature films. Barri immerses herself into the story and utilizes the environment as a character in any film she directs.- Actor
- Producer
- Additional Crew
Adam Beach was born in Ashern, Manitoba, the son of Sally and Dennis Beach, and was raised on the Dog Creek First Nations Reserve, with his two brothers. A troubled childhood saw his mother killed by a drunk driver, and his alcoholic father drowned only weeks afterward. The three brothers went to live with their grandmother and then with their uncle and aunt in Winnipeg, where Adam joined drama classes and began acting in local theatre productions.
Since then he has appeared in over 60 films and television programs. His performance in the Academy Award-nominated Clint Eastwood-directed Flags of Our Fathers (2006) was phenomenal. He played Ira Hayes, a Pima Native American who was one of the six US Marines to raise the American flag on Iwo Jima and who found the resulting fame hard to handle, subsequently giving way to alcoholism. This alone would have been an emotional role for Adam to play; however, during filming, both his grandmother and best friend passed away. His role as Hayes is both realistic and heartbreaking, earning him two Best Supporting Actor Award Nominations. He stands out well above the rest of the cast.
Adam has been further nominated for three Awards for his role in Bury My Heart at Wounded Knee (2007) including a Golden Globe. He has put in terrific performances in the comedy film Joe Dirt (2001) and the John Woo World War II war epic Windtalkers (2002) in which he co-starred with Nicolas Cage.
He headlined the cast in the Walt Disney production Squanto: A Warrior's Tale (1994), featured in John Singleton's Four Brothers (2005) and starred with Harrison Ford and Daniel Craig in the science fiction-western smash hit Cowboys & Aliens (2011). He had a starring recurring role in Law & Order: Special Victims Unit (1999) and Big Love (2006).
In 2016, he played Christopher Weiss / Slipknot in the supervillain film Suicide Squad (2016).
Adam hopes to be appointed leader of his Lake Manitoba First Nation.- Actress
- Producer
- Writer
Marion Davies was one of the great comedic actresses of the silent era and into the 1930s.
Marion Cecelia Douras was born in the borough of Brooklyn, New York on January 3, 1897, the daughter of Rose (Reilly) and Bernard J. Douras, a lawyer and judge. Her parents were both of Irish descent. Marion had been bitten by the show biz bug early as she watched her sisters perform in local stage productions. She wanted to do the same. As Marion got older, she tried out for various school plays and did fairly well. Once her formal education had ended, Marion began her career as a chorus girl in New York City, first in the pony follies, and eventually found herself in the famed Ziegfeld Follies. But she wanted to do more than dance. Acting, to Marion, was the epitome of show business and aimed her sights in that direction. Her stage name came when she and her family passed the Davies Insurance Building. One of her sisters called out "Davies!!! That shall be my stage name", and the whole family took on that name.
Her first film was Runaway Romany (1917), when she was 20. Written by Marion and directed by her brother-in-law, the film wasn't exactly a box-office smash, but for Marion, it was a start and a stepping stone to bigger things. The following year Marion starred in two films, The Burden of Proof (1918) and Cecilia of the Pink Roses (1918). The latter film was backed by newspaper magnate, William Randolph Hearst. When Marion moved to California, she already was involved with Hearst. They lived together at his San Simeon castle, an extremely elaborate mansion which stands as a California landmark to this day. At San Simeon, they threw grand parties, many of them in costume. Frequent guests included Carole Lombard, Mary Pickford, Sonja Henie, and Dolores Del Río - basically all the top names in Hollywood and other celebrities including the mayor of New York City, President Calvin Coolidge, and Charles Lindbergh. Davies and Hearst would continue a long-term romantic relationship for the next 30 years. Because of Hearst's newspaper empire, Marion would be promoted as no actress before her.
She appeared in numerous films over the next few years, with The Cinema Murder (1919) being one of the most suspenseful. In 1922, Marion appeared as Mary Tudor in the historical romantic epic, When Knighthood Was in Flower (1922). It was a film into which Hearst poured in millions of dollars as a showcase for her. Although Marion didn't normally appear in period pieces, she turned in a wonderful performance, and the film turned a profit. Marion remained busy, one of the staples in movie houses around the country. At the end of the twenties, it was obvious that sound films were about to replace silents. Marion was nervous because she had a stutter when she became excited and worried she wouldn't make a successful transition to the new medium, but she was a true professional who had no problem with the change. Time after time, film after film, Marion turned in masterful performances. In 1930, two of her better films were Not So Dumb (1930) and The Florodora Girl (1930). By the early 1930s, Marion had lost her box office appeal and the downward slide began.
Had she been without Hearst's backing, she possibly could have been more successful. He was more of a hindrance than a help. Hearst had tried to push MGM executives to hire Marion for the role of Elizabeth Barrett in The Barretts of Wimpole Street (1934). Louis B. Mayer had other ideas and hired producer Irving Thalberg's wife, Norma Shearer instead. Hearst reacted by pulling his newspaper support for MGM without much impact. By the late 1930s Hearst was suffering financial reversals and it was Marion who bailed him out by selling $1 million of her jewelry. Without her, the Hearst Corporation might not be where it is today. Hearst's financial problems also spelled an end to her career. Although she had made the transition to sound, other stars fared better, and her roles became fewer and further between. In 1937, a 40-year-old Marion filmed her last movie, Ever Since Eve (1937). Out of films and with the intense pressures of her relationship with Hearst, Davies turned more and more to alcohol. Despite those problems, Marion was a very sharp and savvy business woman.
When Hearst died in 1951, Marion did not really know what was going on. The night before, there had been a lot of people in the house. Marion was very upset by the large crowd of family and friends. She said it was too noisy, and they were disturbing Hearst by talking so loud. She was upset and had to be sedated. When she woke, her niece, Patricia Van Cleve Lake, and her husband, Arthur Lake, told her that Hearst was dead. Upon Patricia's death, it was revealed she had been the love child of Davies and Hearst. Marion was banned from Hearst's funeral.
She later started many charities including a children's clinic that is still operating today. She was very generous and was loved by everyone who knew her. She went through a lot, even getting polio in the 1940s. Marion married for the first time at the age of 54, to Horace Brown. The union would last until she died of cancer on September 22, 1961 in Los Angeles, California. She was 64 years old.- Writer
- Actor
- Producer
E.L. Doctorow was born on 6 January 1931 in New York City, New York, USA. He was a writer and actor, known for Daniel (1983), Ragtime (1981) and Wakefield (2016). He was married to Helen Setzer. He died on 21 July 2015 in Manhattan, New York City, New York, USA.- Actor
- Producer
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Geoffrey Roy Rush was born on July 6, 1951, in Toowoomba, Queensland, Australia, to Merle (Bischof), a department store sales assistant, and Roy Baden Rush, an accountant for the Royal Australian Air Force. His mother was of German descent and his father had English, Irish, and Scottish ancestry. He was raised in Brisbane, Queensland, after his parents split up.
Rush attended Everton Park State High School during his formative years. His early interest in the theatre led to his 1971 stage debut at age 20 in "Wrong Side of the Moon" with the Queensland Theatre Company.
Known for his classical repertory work over the years, he scored an unexpected hit with his Queensland role as Snoopy in the musical "You're a Good Man, Charlie Brown". A few years later he moved to France to study but subsequently returned to his homeland within a short time and continued work as both actor and director with the Queensland company ("June and the Paycock," "Aladdin," "Godspell," "Present Laughter," "The Rivals"). In the 1980s Rush became a vital member of the State Theatre Company of South Australia and showed an equally strong range there in such productions as "Revenger's Tragedy," "A Midsummer Night's Dream," "Mother Courage...and Her Children," "Blood Wedding," "Pal Joey," "Twelfth Night" and as The Fool in "King Lear".
Rush made an inauspicious debut in films with the feature Hoodwink (1981), having little more than a bit part, and didn't carry off his first major role until playing Sir Andrew Aguecheek in a movie production of Twelfth Night (1986). Yet, he remained a durable presence on stage with acclaimed productions in "The Diary of a Madman" in 1989 and "The Government Inspector" in 1991.
Rush suffered a temporary nervous breakdown in 1992 due to overwork and anguish over his lack of career advancement. Resting for a time, he eventually returned to the stage. Within a few years film-goers finally began taking notice of Geoffrey after his performance in Children of the Revolution (1996). This led to THE role of a lifetime as the highly dysfunctional piano prodigy David Helfgott in Shine (1996). Rush's astonishing tour-de-force performance won him every conceivable award imaginable, including the Oscar, Golden Globe, British Film Award and Australian Film Institute Award.
"Shine" not only put Rush on the international film map, but atypically on the Hollywood "A" list as well. His rather homely mug was made fascinating by a completely charming, confident and captivating demeanor; better yet, it allowed him to more easily dissolve into a number of transfixing historical portrayals, notably his Walsingham in Elizabeth (1998) and Leon Trotsky in Frida (2002). He's also allowed himself to have a bit of hammy fun in such box office escapism as Mystery Men (1999), House on Haunted Hill (1999), The Banger Sisters (2002), Finding Nemo (2003) and Pirates of the Caribbean: The Curse of the Black Pearl (2003). More than validating his early film success, two more Oscar nominations came his way in the same year for Quills (2000) (best actor) and Shakespeare in Love (1998) (support actor) in 2000. Geoffrey's amazing versatility continued into the millennium with his portrayal of the manic, volatile comedy genius Peter Sellers in the biopic The Life and Death of Peter Sellers (2004). He also merited attention as Lionel Logue in The King's Speech (2010), Basil Hunter in The Eye of the Storm (2011), Hans Hubermann in The Book Thief (2013), artist/sculptor Alberto Giocometti in Final Portrait (2017) and Michael Kingley Storm Boy (2019).
Rush's intermittent returns to the stage have included productions of "Marat-Sade," "Uncle Vanya," "Oleanna," "Hamlet" and "The Small Poppies". In 2009 he made his Broadway debut in "Exit the King" co-starring Susan Sarandon. His marriage (since 1988) to Aussie classical actress Jane Menelaus produced daughter Angelica (1992) and son James (1995). Menelaus, who has also performed with the State Theatre of South Australia, has co-starred on stage with Rush in "The Winter's Tale" (1987), "Troilus and Cressida" (1989) and "The Importance of Being Earnest" (as Gwendolyn to his Jack Worthing). She also had featured roles in a few of his films, including Quills (2000) and The Eye of the Storm (2011).- Director
- Producer
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What do the classic films Scarface (1932), Twentieth Century (1934), Bringing Up Baby (1938), Only Angels Have Wings (1939), His Girl Friday (1940), Sergeant York (1941), To Have and Have Not (1944), The Big Sleep (1946), Red River (1948) Gentlemen Prefer Blondes (1953) and Rio Bravo (1959) have in common? Aside from their displays of great craftsmanship, the answer is director Howard Hawks, one of the most celebrated of American filmmakers, who ironically, was little celebrated by his peers in the Academy of Motion Picture Arts and Sciences during his career.
Although John Ford--his friend, contemporary and the director arguably closest to him in terms of his talent and output--told him that it was he, and not Ford, who should have won the 1941 Best Director Academy Award (for Sergeant York (1941)), the great Hawks never won an Oscar in competition and was nominated for Best Director only that one time, despite making some of the best films in the Hollywood canon. The Academy eventually made up for the oversight in 1974 by voting him an honorary Academy Award, in the midst of a two-decade-long critical revival that has gone on for yet another two decades. To many cineastes, Hawks is one of the faces of American film and would be carved on any film pantheon's Mt. Rushmore honoring America's greatest directors, beside his friend Ford and Orson Welles (the other great director who Ford beat out for the 1941 Oscar). It took the French "Cahiers du Cinema" critics to teach America to appreciate one of its own masters, and it was to the Academy's credit that it recognized the great Hawks in his lifetime.
Hawks' career spanned the freewheeling days of the original independents in the 1910s, through the studio system in Hollywood from the silent era through the talkies, lasting into the early 1970s with the death of the studios and the emergence of the director as auteur, the latter a phenomenon that Hawks himself directly influenced. He was the most versatile of American directors, and before his late career critical revival he earned himself a reputation as a first-rate craftsman and consummate Hollywood professional who just happened, in a medium that is an industrial process, to have made some great movies. Recognition as an influential artist would come later, but it would come to him before his death.
He was born Howard Winchester Hawks in Goshen, Indiana, on Decoration Day, May 30, 1896, the first child of Franklin Winchester Hawks and his wife, the former Helen Brown Howard. The day of his birth the local sheriff killed a brawler at the town saloon; the young Hawks was not born on the wild side of town, though, but with the proverbial silver spoon firmly clenched in his young mouth. His wealthy father was a member of Goshen's most prominent family, owners of the Goshen Milling Co. and many other businesses, and his maternal grandfather was one of Wisconsin's leading industrialists. His father's family had arrived in America in 1630, while his mother's father, C.W. Howard, who was born in Maine in 1845 to parents who emigrated to the U.S. from the Isle of Man, made his fortune in the paper industry with his Howard Paper Co. Ironically, almost a half-year after Howard's birth, the first motion picture was shown in Goshen, just before Christmas on December 10, 1896. Billed as "the scientific wonder of the world," the movie played to a sold-out crowd at the Irwin Theater. However, it disappointed the audience, and attendance fell off at subsequent showings. The interest of the boy raised a Presbyterian would not be piqued again until his family moved to southern California.
Before that move came to pass, though, the Hawks family relocated from Goshen to Neenah, Wisconsin, when Howard's father was appointed secretary/treasurer of the Howard Paper Co. in 1898. Howard grew up a coddled and spoiled child in Goshen, but in Neenah he was treated like a young prince. His maternal grandfather C.W. lavished his grandson with expensive toys. C.W. had been an indulgent father, encouraging the independence and adventurousness of his two daughters, Helen and Bernice, who were the first girls in Neenah to drive automobiles. Bernice even went for an airplane ride (the two sisters, Hawks' mother and aunt, likely were the first models for what became known as "the Hawksian women" when he became a director). Brother Kenneth Hawks was born in 1898, and was looked after by young Howard. However, Howard resented the birth of the family's next son, William B. Hawks, in 1902, and offered to sell him to a family friend for ten cents. A sister, Grace, followed William. Childbirth took a heavy toll on Howard's mother, and she never quite recovered after delivering her fifth child, Helen, in 1906. In order to aid her recovery, the family moved to the more salubrious climate of Pasadena, California, northeast of Los Angeles, for the winter of 1906-07. The family returned to Wisconsin for the summers, but by 1910 they permanently resettled in California, as grandfather C.W. himself took to wintering in Pasadena. He eventually sold his paper company and retired. He continued to indulge his grandson Howard, though, buying him whatever he fancied, including a race car when the lad was barely old enough to drive legally. C.W. also arranged for Howard to take flying lessons so he could qualify for a pilot's license, an example followed by Kenneth.
The young Howard Hawks grew accustomed to getting what he wanted and believed his grandfather when C.W. told him he was the best and that he could do anything. Howard also likely inherited C.W.'s propensity for telling whopping lies with a straight face, a trait that has bedeviled many film historians ever since. C.W. also was involved in amateur theatrics and Howard's mother Helen was interested in music, though no one in the Hawks-Howard family ever was involved in the arts until Howard went to work in the film industry.
Hawks was sent to Philips Exeter Academy in Exeter, New Hampshire, for his education, and upon graduation attended Cornell University, where he majored in mechanical engineering. In both his personal and professional lives Hawks was a risk-taker and enjoyed racing airplanes and automobiles, two sports that he first indulged in his teens with his grandfather's blessing.
The Los Angeles area quickly evolved into the center of the American film industry when studios began relocating their production facilities from the New York City area to southern California in the middle of the 1910s. During one summer vacation while Howard was matriculating at Cornell, a friend got him a job as a prop man at Famous Players-Lasky (later to become Paramount Pictures), and he quickly rose trough the ranks. Hawks recalled, "It all started with Douglas Fairbanks, who was off on location for some picture and phoned in to say they wanted a modern set. There was only one art director . . . and he was away on another location. I said, 'Well, I can build a modern set.' I'd had a few years of architectural training at school. So I did, and Fairbanks was pleased with it. We became friends, and that was really the start."
During other summer vacations from Cornell, Hawks continued to work in the movies. One story Hawks tells is that the director of a Mary Pickford film Hawks was working on, A Little Princess (1917), became too inebriated to continue working, so Hawks volunteered to direct a few scenes himself. However, it's not known whether his offer was taken up, or whether this was just one more of his tall tales. During World War I Hawks served as a lieutenant in the Signal Corps and later joined the Army Air Corps, serving in France. After the Armistice he indulged in his love of risk, working as an aviator and a professional racing car driver. Drawing on his engineering experience, Hawks designed racing cars, and one of his cars won the Indianapolis 500. These early war and work experiences proved invaluable to the future filmmaker.
He eventually decided on a career in Hollywood and was employed in a variety of production jobs, including assistant director, casting director, script supervisor, editor and producer. He and his brother Kenneth shot aerial footage for motion pictures, but Kenneth tragically was killed during a crash while filming. Howard was hired as a screenwriter by Paramount in 1922 and was tasked with writing 40 story lines for new films in 60 days. He bought the rights for works by such established authors as Joseph Conrad and worked, mostly uncredited, on the scripts for approximately 60 films. Hawks wanted to direct, but Paramount refused to indulge his ambition. A Fox executive did, however, and Hawks directed his first film, The Road to Glory (1926) in 1926, also doubling as the screenwriter.
Hawks made a name for himself by directing eight silent films in the 1920s, His facility for language helped him to thrive with the dawn of talking pictures, and he really established himself with his first talkie in 1930, the classic World War I aviation drama The Dawn Patrol (1930). His arrival as a major director, however, was marked by 1932's controversial and highly popular gangster picture Scarface (1932), a thinly disguised bio of Chicago gangster Al Capone, which was made for producer Howard Hughes. His first great movie, it catapulted him into the front rank of directors and remained Hawks' favorite film. Unnder the aegis of the eccentric multi-millionaire Hughes, it was the only movie he ever made in which he did not have to deal with studio meddling. It leavened its ultra-violence with comedy in a potent brew that has often been imitated by other directors.
Though always involved in the development of the scripts of his films, Hawks was lucky to have worked with some of the best writers in the business, including his friend and fellow aviator William Faulkner. Screenwriters he collaborated with on his films included Leigh Brackett, Ben Hecht, John Huston and Billy Wilder. Hawks often recycled story lines from previous films, such as when he jettisoned the shooting script on El Dorado (1966) during production and reworked the film-in-progress into a remake of Rio Bravo (1959).
The success of his films was partly rooted in his using first-rate writers. Hawks viewed a good writer as a sort of insurance policy, saying, "I'm such a coward that unless I get a good writer, I don't want to make a picture." Though he won himself a reputation as one of Hollywood's supreme storytellers, he came to the conclusion that the story was not what made a good film. After making and then remaking the confusing The Big Sleep (1946) (1945 and 1946) from a Raymond Chandler detective novel, Hawks came to believe that a good film consisted of at least three good scenes and no bad ones--at least not a scene that could irritate and alienate the audience. He said, "As long as you make good scenes you have a good picture--it doesn't matter if it isn't much of a story."
It was Hawks' directorial skills, his ability to ensure that the audience was not aware of the twice-told nature of his films, through his engendering of a high-octane, heady energy that made his films move and made them classics at best and extremely enjoyable entertainments at their "worst." Hawks' genius as a director also manifested itself in his direction of his actors, his molding of their line-readings going a long way toward making his films outstanding. The dialog in his films often was delivered at a staccato pace, and characters' lines frequently overlapped, a Hawks trademark. The spontaneous feeling of his films and the naturalness of the interrelationships between characters were enhanced by his habit of encouraging his actors to improvise. Unlike Alfred Hitchcock, Hawks saw his lead actors as collaborators and encouraged them to be part of the creative process. He had an excellent eye for talent, and was responsible for giving the first major breaks to a roster of stars, including Paul Muni, Carole Lombard (his cousin), Lauren Bacall, Montgomery Clift and James Caan. It was Hawks, and not John Ford, who turned John Wayne into a superstar, with Red River (1948) (shot in 1946, but not released until 1948). He proceeded to give Wayne some of his best roles in the cavalry trilogy of Fort Apache (1948), She Wore a Yellow Ribbon (1949) and Rio Grande (1950), in which Payne played a broad range of diverse characters.
During the 1930s Hawks moved from hit to hit, becoming one of the most respected directors in the business. As his fame waxed, Hawks' image replaced the older, jodhpurs-and-megaphone image of the Hollywood director epitomized by Cecil B. DeMille. The new paradigm of the Hollywood director in the public eye was, like Hawks himself, tall and silver-haired, a Hemingwayesque man of action who was a thorough professional and did not fail his muse or falter in his mastery of the medium while on the job. The image of Hawks as the ultimate Hollywood professional persists to this day in Hollywood, and he continues to be a major influence on many of today's filmmakers. Among the directors influenced by Hawks are Robert Altman, who used Hawksian overlapping dialog and improvisation in M*A*S*H (1970) and other films. Peter Bogdanovich, who wrote a book about Hawks, essentially remade Bringing Up Baby (1938) as What's Up, Doc? (1972). Brian De Palma remade "Scarface" (Scarface (1983)). Other directors directly indebted to Hawks are John Carpenter and Walter Hill.
Hawks was unique and uniquely modern in that, despite experiencing his career peak in an era dominated by studios and the producer system in which most directors were simply hired hands brought in to shoot a picture, he also served as a producer and developed the scripts for his films. He was determined to remain independent and refused to attach himself to a studio, or to a particular genre, for an extended period of time. His work ethic allowed him to fit in with the production paradigms of the studio system, and he eventually worked for all eight of the major studios. He proved himself to be, in effect, an independent filmmaker, and thus was a model for other director-writer-producers who would arise with the breakdown of the studio system in the 1950s and 1960s and the rise of the director as auteur in the early 1970s. Hawks did it first, though, in an environment that ruined or compromised many another filmmaker.
Hawks was not interested in creating a didactic cinema but simply wanted to tell, give the public, a good story in a well-crafted, entertaining picture. Like Ernest Hemingway, Hawks did have a philosophy of life, but the characters in his films were never intended to be role models. Hawks' protagonists are not necessarily moral people but tend to play fair, according to a personal or professional code. A Hawks film typically focuses on a tightly bound group of professionals, often isolated from society at large, who must work together as a team if they are to survive, let alone triumph. His movies emphasize such traits as loyalty and self-respect. Air Force (1943), one of the finest propaganda films to emerge from World War II, is such a picture, in which a unit bonds aboard a B-17 bomber and the group is more than the sum of the individuals.
Aside from his interest in elucidating human relationships, Hawks' main theme is Hemingwayesque: the execution of one's job or duty to the best of one's ability in the face of overwhelming odds that would make an average person balk. The main characters in a Hawks film typically are people who take their jobs with the utmost seriousness, as their self-respect is rooted in their work. Though often outsiders or loners, Hawksian characters work within a system, albeit a relatively closed system, in which they can ultimately triumph by being loyal to their personal and professional codes. That thematic paradigm has been seen by some critics and cinema historians as being a metaphor for the film industry itself, and of Hawks' place within it.
In a sense, Hawks' oeuvre can be boiled down to two categories: the action-adventure films and the comedies. In his action-adventure movies, such as Only Angels Have Wings (1939), the male protagonist, played by Cary Grant (a favorite actor of his who frequently starred in his films between 1947 and 1950), is both a hero and the top dog in his social group. In the comedies, such as Bringing Up Baby (1938), the male protagonist (again played by Grant) is no hero but rather a victim of women and society. Women have only a tangential role in Hawks' action films, whereas they are the dominant figures in his comedies. In the action-adventure films society at large often is far away and the male professionals exist in an almost hermetically sealed world, whereas in the comedies are rooted in society and its mores. Men are constantly humiliated in the comedies, or are subject to role reversals (the man as the romantically hunted prey in "Baby," or the even more dramatic role reversal, including Cary Grant in drag, in I Was a Male War Bride (1949)). In the action-adventure films in which women are marginalized, they are forced to undergo elaborate courting rituals to attract their man, who they cannot get until they prove themselves as tough as men. There is an undercurrent of homo-eroticism to the Hawks action films, and Hawks himself termed his A Girl in Every Port (1928) "a love story between two men." This homo-erotic leitmotif is most prominent in The Big Sky (1952).
By the time he made "Rio Bravo," over 30 years since he first directed a film, Hawks not only was consciously moving towards parody but was in the process of revising his "closed circle of professionals" credo toward the belief that, by the time of its loose remake, "El Dorado" in 1966, he was stressing the superiority of family loyalties to any professional ethic. In "Rio Bravo" the motley group inside the jailhouse eventually forms into a family in which the stoical code of conduct of previous Hawksian groups is replaced by something akin to a family bond. The new "family" celebrates its unity with the final shootout, which is a virtual fireworks display due to the use of dynamite to overcome the villains who threaten the family's survival. The affection of the group members for each other is best summed up in the scene where the great character actor Walter Brennan, playing Wayne's deputy Stumpy, facetiously tells Wayne that he'll have tears in his eyes until he gets back to the jailhouse. The ability to razz Wayne is indicative of the bond between the two men.
The sprawl of Hawks' oeuvre over multiple genres, and their existence as high-energy examples of film as its purest, emphasizing action rather than reflection, led serious critics before the 1970s to discount Hawks as a director. They generally ignored the themes that run through his body of work, such the dynamics of the group, male friendship, professionalism, and women as a threat to the independence of men. Granted, the cinematic world limned by Hawks was limited when compared to that of John Ford, the poet of the American screen, which was richer and more complex. However, Hawks' straightforward style that emphasized human relationships undoubtedly yielded one of the greatest crops of outstanding motion pictures that can be attributed to one director. Hawks' movies not only span a wide variety of genres, but frequently rank with the best in those genres, whether the war film ("The Dawn Patrol"), gangster film ("Scarface"), the screwball comedy (His Girl Friday (1940)), the action-adventure movie ("Only Angels Have Wings"), the noir (The Big Sleep (1946)), the Western ("Red River") and "Rio Bravo"), the musical-comedy (Gentlemen Prefer Blondes (1953)) and the historical epic (Land of the Pharaohs (1955)). He even had a hand in creating one of the classic science-fiction films, The Thing from Another World (1951), which was produced by Hawks but directed by Christian Nyby, who had edited multiple Hawks films and who, in his sole directorial effort, essentially created a Hawks film (though rumors have long circulated that Hawks actually directed the film rather than Nyby, that has been discounted by such cast members as Kenneth Tobey and James Arness, who have both stated unequivocally that it was Nyby alone who directed the picture).
Though Howard Hawks created some of the most memorable moments in the history of American film a half-century ago, serious critics generally eschewed his work, as they did not believe there was a controlling intelligence behind them. Seen as the consummate professional director in the industrial process that was the studio film, serious critics believed that the great moments of Hawks' films were simply accidents that accrued from working in Hollywood with other professionals. In his 1948 book "The Film Till Now," Richard Griffin summed this feeling up with "Hawks is a very good all rounder."
Serious critics at the time attributed the mantle of "artist" to a director only when they could discern artistic aspirations, a personal visual style, or serious thematic intent. Hawks seemed to them an unambitious director who, unlike D.W. Griffith or the early Cecil B. DeMille, had not made a major contribution to American film, and was not responsible for any major cinematic innovations. He lacked the personal touch of a Charles Chaplin, a Hitchcock or a Welles, did not have the painterly sensibility of a John Ford and had never matured into the master craftsman who tackled heavy themes like the failure of the American dream or racism, like George Stevens. Hawks was seen as a commercial Hollywood director who was good enough to turn out first-rate entertainments in a wide variety of genre films in a time in which genre films such as the melodrama, the war picture and the gangster picture were treated with a lack of respect.
One of the central ideas behind the modernist novel that dominated the first half of the 20th-century artistic consciousness (when the novel and the novelist were still considered the ultimate arbiters of culture in the Anglo-American world) was that the author should begin something new with each book, rather than repeating him-/herself as the 19th century novelists had done. This paradigm can be seen most spectacularly in the work of James Joyce. Of course, it is easy to see this thrust for "something new" in the works of D.W. Griffith and C.B. DeMille, the fathers of the narrative film, working as they were in a new medium. In the post-studio era, a Stanley Kubrick (through Barry Lyndon (1975), at least) and Lars von Trier can be seen as embarking on revolutionary breaks with their past. Howard Hawks was not like this, and, in fact, the latter Hawks constantly recycled not just themes but plots (so that his last great film, "Rio Bravo," essentially was remade as "El Dorado (1966)" and Rio Lobo (1970)). He did not fit the "modernist" paradigm of an artist.
The critical perception of Hawks began to change when the auteur theory--the idea that one intelligence was responsible for the creation of superior films regardless of their designation as "commercial" or "art house"--began to influence American movie criticism. Commenting on Hawks' facility to make films in a wide variety of genres, critic Andrew Sarris, who introduced the auteur theory to American movie criticism, said of Hawks, "For a major director, there are no minor genres." A Hawks genre picture is rooted in the conventions and audience expectations typical of the Hollywood genre. The Hawks genre picture does not radically challenge, undermine or overthrow either the conventions of the genre or the audience expectations of the genre film, but expands it the genre by revivifying it with new energy. As Robert Altman said about his own McCabe & Mrs. Miller (1971), he fully played on the conventions and audience expectations of the Western genre and, in fact, did nothing to challenge them as he was relying on the audience being lulled into a comfort zone by the genre. What Altman wanted to do was to indulge his own artistry by painting at and filling in the edges of his canvas. Thus, Altman needed the audience's complicity through the genre conventions to accomplish this.
As a genre director, Hawks used his audience's comfort with the genre to expound his philosophy on male bonding and male-female relationships. His movies have a great deal of energy, invested in them by the master craftsman, which made them into great popular entertainments. That Hawks was a commercial filmmaker who was also a first-rate craftsman was not the sum total of his achievement as a director, but was the means by which he communicated with his audience.
While many during his life-time would not have called Hawks an artist, Robin Wood compared Hawks to William Shakespeare and Wolfgang Amadeus Mozart, both of whom created popular entertainments that could also appeal to elites. According to Wood, "The originality of their works lay not in the evolution of a completely new language, but in the artist's use and development of an already existing one; hence, there was common ground from the outset between artist and audience, and 'entertainment' could happen spontaneously without the intervention of a lengthy period of assimilation."
The great French filmmaker Jean-Luc Godard, who began his cinema career as a critic, wrote about Hawks, "The great filmmakers always tie themselves down by complying with the rules of the game . . . Take, for example, the films of Howard Hawks, and in particular 'Rio Bravo'. That is a work of extraordinary psychological insight and aesthetic perception, but Hawks has made his film so that the insight can pass unnoticed without disturbing the audience that has come to see a Western like all the others. Hawks is the greater because he has succeeded in fitting all that he holds most dear into a well-worn subject."
A decade before Godard's insight on Hawks, in the early 1950s, the French-language critics who wrote for the cinema journal "Cahiers du Cinema" (many of whom would go on to become directors themselves) elevated Howard Hawks into the pantheon of great directors (the appreciation of Hawks in France, according to Cinématheque Francaise founder Henri Langlois, began with the French release of "Only Angels Have Wings." The Swiss Éric Rohmer, who would one day become a great director himself, in a 1952 review of Hawks' "The Big Sky" declared, "If one does not love the films of Howard Hawks, one cannot love cinema." Rohmer was joined in his enthusiasm for Hawks by such fellow French cineastes as Claude Chabrol, François Truffaut and Jacques Rivette. The Cahiers critics claimed that a handful of commercial Hollywood directors like Hawks and Alfred Hitchcock had created films as artful and fulfilling as the masterpieces of the art cinema. André Bazin gave these critics the moniker "Hitchcocko-Hawksians".
Rivette wrote in his 1953 essay, "The Genius of Howard Hawks," that "each shot has a functional beauty, like a neck or an ankle. The smooth, orderly succession of shots has a rhythm like the pulsing of blood, and the whole film is like a beautiful body, kept alive by deep, resilient breathing." Hawks, however, considered himself an entertainer, not an "artist." His definition of a good director was simply "someone who doesn't annoy you." He was never considered an artist until the French New Wave critics crowned him one, as serious critics had ignored his oeuvre. He found the adulation amusing, and once told his admirers, "You guys know my films better than I do."
Commenting on this phenomenon, Sarris' wife Molly Haskell said, "Critics will spend hours with divining rods over the obviously hermetic mindscape of [Ingmar Bergman], [Michelangelo Antonioni], etc., giving them the benefit of every passing doubt. But they will scorn similar excursions into the genuinely cryptic, richer, and more organic terrain of home-grown talents."
Hawks' visual aesthetic eschews formalism, trick photography or narrative gimmicks. There are no flashbacks or ellipses in his films, and his pictures are usually framed as eye-level medium shots. The films themselves are precisely structured, so much so that Langlois compared Hawks to the great modernist architect Walter Gropius. Hawks strikes one as an Intuitive, unselfconscious filmmaker.
Hawks' definition of a good director was "someone who doesn't annoy you." When Hawks was awarded his lifetime achievement Academy Award, the citation referred to the director as "a giant of the American cinema whose pictures, taken as a whole, represent one of the most consistent, vivid, and varied bodies of work in world cinema." It is a fitting epitaph for one of the greatest directors in the history of American, and world cinema.- Actor
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Kenneth Charles Branagh was born on December 10, 1960, in Belfast, Northern Ireland, to parents William Branagh, a plumber and carpenter, and Frances (Harper), both born in 1930. He has two siblings, William Branagh, Jr. (born 1955) and Joyce Branagh (born 1970). When he was nine, his family escaped The Troubles by moving to Reading, Berkshire, England. At 23, Branagh joined the Royal Shakespeare Company, where he took on starring roles in "Henry V" and "Romeo and Juliet". He soon found the RSC too large and impersonal and formed his own, the Renaissance Theatre Company, which now counts Prince Charles as one of its royal patrons. At 29, he directed Henry V (1989), where he also co-starred with his then-wife, Emma Thompson. The film brought him Best Actor and Best Director Oscar nominations. In 1993, he brought Shakespeare to mainstream audiences again with his hit adaptation of Much Ado About Nothing (1993), which featured an all-star cast that included, among others, Denzel Washington, Michael Keaton and Keanu Reeves. At 30, he published his autobiography and, at 34, he directed and starred as "Victor Frankenstein" in the big-budget adaptation of Mary Shelley's novel, Frankenstein (1994), with Robert De Niro as the monster himself. In 1996, Branagh wrote, directed and starred in a lavish adaptation of Hamlet (1996). His superb film acting work also includes a wide range of roles such as in Celebrity (1998), Wild Wild West (1999), The Road to El Dorado (2000), Valkyrie (2008) and his stunning portrayal of Laurence Olivier in My Week with Marilyn (2011), where once again he offered a great performance that was also nominated for an Academy Award.- Director
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William Wyler was an American filmmaker who, at the time of his death in 1981, was considered by his peers as second only to John Ford as a master craftsman of cinema. The winner of three Best Director Academy Awards, second again only to Ford's four, Wyler's reputation has unfairly suffered as the lack of an obvious "signature" in his diverse body of work denies him the honorific "auteur" that has become a standard measure of greatness in the post-"Cahiers du Cinéma" critical community.
His directorial career spanned 45 years, from silent pictures to the cultural revolution of the 1970s. Nominated a record 12 times for the Academy Award for Best Director, he won three and in 1966, was honored with the Irving Thalberg Award, the Academy of Motion Picture Arts & Sciences' ultimate accolade for a producer. So high was his reputation in his lifetime that he was the fourth recipient of the American Film Institute's Lifetime Achievement Award, after Ford, James Cagney and Welles. Along with Ford and Welles, Wyler ranks with the best and most influential American directors, including Griffith, DeMille, Frank Capra, Howard Hawks, Alfred Hitchcock, Stanley Kubrick and Steven Spielberg.
Born Willi Wyler on July 1, 1902, in Mulhouse, Alsace (then a possession of Germany), to Jewish parents. His Swiss-born father, Leopold, started as a traveling salesman but later became a thriving haberdasher in Mulhouse. His mother, Melanie (née Auerbach; died February 13, 1955, Los Angeles, aged 77), was German-born, and a cousin of Carl Laemmle, founder of Universal Pictures. Melanie Wyler often took him and his older brother Robert to concerts, opera, and the theatre, as well as the early cinema. Sometimes at home his family and their friends would stage amateur theatricals for personal enjoyment.
He used his family connections to establish himself in the film industry. Upon being offered a job by his mother's first cousin, Universal Studios head Carl Laemmle, Wyler emigrated to the US in 1920 at the age of 18. After starting in Universal's New York offices as an errand boy, he moved his way up through the organization, ending up in the California operation in 1922. Wyler was given the opportunity to direct in July 1925, with the two-reel western The Crook Buster (1925). It was on this film that he was first credited as William Wyler, though he never officially changed his name and would be known as "Willi" all his life. For almost five years he performed his apprenticeship in Universal's "B" unit, turning out a score of low-budget silent westerns. In 1929 he made his first "A" picture, Hell's Heroes (1929), Universal's first all-sound movie shot outside a studio. The western, the first version of the "Three Godfathers" story, was a commercial and critical success.
The initial years of the Great Depression brought hard times for the film industry, and Universal went into receivership in 1932, partially due to financial troubles brought about by rampant nepotism and the runaway production costs rung up by producer Carl Laemmle Jr., the son of the boss. There were 70 Laemmle family members on the Universal payroll at one point, including Wyler. In 1935 "Uncle" Carl was forced to sell the studio he had created in 1912 with the 1912 merger of his Independent Motion Picture Co. with several other production companies. Wyler continued to direct for Universal up until the end of the family regime, helming Counsellor at Law (1933), the film version of Elmer Rice's play featuring one of John Barrymore's more restrained performances, and The Good Fairy (1935), a comedy adapted from a Ferenc Molnár play by Preston Sturges and starring Margaret Sullavan, who was Wyler's wife for a short time. Both films were produced by his cousin, "Junior" Laemmle. Emancipated from the Laemmle family, Wyler subsequently established himself as a major director in the mid-1930s, when he began directing films for independent producer Samuel Goldwyn. During this key period, he alternated between adaptations of famous plays and filming versions of classic novels. Willi would soon find his freedom fettered by the man with the fabled "Goldwyn touch," which entailed bullying his directors to recast, rewrite and re-cut their films, and sometimes even replacing them during shooting.
The first of the Wyler-Goldwyn collaborations was These Three (1936), based on Lillian Hellman's lesbian-themed play "The Children's Hour" (the Sapphic theme was jettisoned and sanitized into a conventional heterosexual love triangle due to censorship concerns, but it resurfaced intact when Wyler remade the film a quarter-century later). His first unqualified success for Goldwyn was Dodsworth (1936), an adaptation of Sinclair Lewis' portrait of a disintegrating American marriage, a marvelous film that still resonates with audiences in the 21st century. He received his first Best Director Oscar nomination for this picture. The film was nominated for Best Picture, the first of seven straight years in which a Wyler-directed movie would earn that accolade, culminating with Oscars for both William Wyler and Mrs. Miniver (1942) in 1942.
Wyler's potential greatness can be seen as early as "Hell's Heroes," an early talkie that is not constrained by the restrictions of the new technology. The climax of the picture, with Charles Bickford's dying badman walking into town, is a long tracking shot that focuses not on the actor himself but the detritus that he shucks off to lighten his load as he brings a baby back to a cradle of civilization. The scene is a harbinger of the free-flowing style that would become a hallmark of his work. However, it was with "Dodsworth" that Wyler began to establish his critical reputation. The film features long takes and a probing camera, a style that Wyler would make his own. Now established as Goldwyn's director of choice, Wyler made several films for him, including Dead End (1937) and Wuthering Heights (1939). Essentially an employee of the producer, Wyler clashed with Goldwyn over aesthetic choices and longed for his freedom. Goldwyn had demanded that the ghetto set of "Dead End" be spruced up and that "clean garbage" be used in the water tank representing the East River, over Wyler's objections. Goldwyn prevailed, as he did later with the ending of "Wuthering Heights." After he had finished principal photography on the film, Goldwyn demanded a new ending featuring the ghosts of Heathcliff and Cathy reunited and walking away towards what the audience would assume is heaven and an eternity of conjoined bliss. Wyler opposed the new ending and refused to shoot it. Goldwyn had his ending shot without Wyler and had it tacked onto the final cut. It was an artistic betrayal that rankled Wyler.
Goldwyn loaned out Wyler to other studios, and he made Jezebel (1938) and The Letter (1940) for Warner Bros. Working with Bette Davis in the two masterpieces, as well as in Goldwyn's The Little Foxes (1941), Wyler elicited three of the great diva's finest performances. In these films and his films of the mid-to-late 1930s, Wyler pioneered the use of deep-focus cinematography, most famously with lighting cameraman Gregg Toland. Toland shot seven of the eight films Wyler directed for Goldwyn: "These Three", Come and Get It (1936), "Dead End," "Wuthering Heights" (for which Toland won his only Academy Award), The Westerner (1940), "The Little Foxes" and The Best Years of Our Lives (1946). Compositions in Wyler pictures frequently featured multiple horizontal planes with various characters arranged in diagonals at varying distances from the camera lens. Creating an illusion of depth, these deep-focus shots enhanced the naturalism of the picture while heightening the drama. As the photography of Wyler's films was used to serve the story and create mood rather than call attention to itself, Toland was later mistakenly given credit for creating deep-focus cinematography along with another great director, Orson Welles, in Citizen Kane (1941). His first use of deep-focus cinematography was in 1935, with "The Good Fairy", on which Norbert Brodine was the lighting cameraman. It was the first of his films featuring deep-focus shots and the diagonal compositions that became a Wyler leitmotif. The film also includes a receding mirror shot a half-decade before Toland and Welles created a similar one for "Citizen Kane."
Wyler won his first Oscar as Best Director with "Mrs. Miniver" for MGM, which also won the Oscar for Best Picture, the first of three Wyler films that would be so honored. Made as a propaganda piece for American audiences to prepare them for the sacrifices necessitated by World War II, the movie is set in wartime England and elucidates the hardships suffered by an ordinary, middle-class English family coping with the war. An enthusiastic President Franklin D. Roosevelt, after seeing the film at a White House screening, said, "This has to be shown right away." The film also won Oscars for star Greer Garson and co-star Theresa Wright, for cinematographer Joseph Ruttenberg and for Best Screenplay.
After "Miniver," Wyler went off to war as an officer in the U.S. Army Air Forces. One of his more memorable propaganda films of the period was a documentary about a B-17 bomber, The Memphis Belle: A Story of a Flying Fortress (1944), He also directed the Navy documentary The Fighting Lady (1944), an examination of life aboard an American aircraft carrier. Though the later film won an Oscar as Best Documentary, "The Memphis Belle" is considered a classic of its form. The making of the documentary was even the subject of a 1990 feature film of the same name. "The Memphis Belle" focuses on the eponymous B-17 bomber and its 25th, and last, air raid flown from a base in England. The documentary features aerial battle footage that Wyler and his crew shot over the skies of Germany. One of his photographic crew, flying in another plane, was killed during the filming of the air battles. Wyler himself lost the hearing in one ear and became partially deaf in the other due to the noise and concussion of the flak bursting around his aircraft.
Wyler's first picture upon returning from World War II would prove to be the last movie he made for Goldwyn. A returning veteran like those portrayed in "The Best Years of Our Lives" (1946), this film won Wyler his second Oscar. The movie, which featured a moving performance by real-life veteran and double amputee Harold Russell, struck a universal chord with Americans and was a major box office hit. It was the second Wyler-directed picture to be named Best Picture at the Academy Awards. The film also won Oscars for star Fredric March and co-star Russell (who was also given an honorary award "for bringing hope and courage to his fellow veterans"), film editor Daniel Mandell, composer Hugo Friedhofer and screenwriter Robert E. Sherwood, and was instrumental in garnering the Irving Thalberg Award for Samuel Goldwyn, who also took home the Best Picture Oscar that year as "Best Years" producer.
Though Wyler elicited some of the finest performances preserved on film, ironically he could not communicate what he wanted to an actor. A perfectionist, he became known as "40-Take Wyler", shooting a scene over and over again until the actors played it the way he wanted. With his use of long takes, actors were forced to act within each take as their performances would not be covered in the cutting room. His long takes and lack of cutting slowed down the pacing of his films, providing a greater feeling of continuity within each scene and intimately involving the audience in the development of the drama. The story in a Wyler film was allowed to unfold organically, with no tricky editing to cover up holes in the script or to compensate for an inadequate performance. Wyler typically rehearsed his actors for two weeks before the beginning of principal photography.
While more actors won Academy Awards in Wyler movies, 14 out of a total of 36 nominations (more than any other two directors combined), few actors worked more than once or twice with him. Bette Davis worked on three films with him and won Academy Award nominations for each performance and an Oscar for "Jezebel." On their last collaboration, "The Little Foxes" (1941), Davis walked off the production for two weeks after clashing with Wyler over how her character should be played.
He proved hard on other experienced actors, such as Laurence Olivier in "Wuthering Heights," who gave credit to Willi for turning him from a stage actor into a movie actor. "This isn't the Opera House in Manchester," Wyler told Olivier, his way of conveying that he should tone down his performance. A year earlier, Wyler had forced Henry Fonda through 40 takes on the set of "Jezebel," Wyler's only direction being "Again" after each repeated take. When Fonda demanded some input on what he was doing wrong, Wyler replied only: "It stinks. Do it again." According to Charlton Heston, Wyler approached him early in the shooting of Ben-Hur (1959) and told him that his performance was inadequate. When a dismayed Heston asked him what he should do, "Be better" is all that Wyler could supply. In his autobiography, Elia Kazan, a famed "actor's director", tells how he offered advice to an actor acquaintance of his who was making a Wyler picture as he knew that the great director was inarticulate about acting and would be unable to give advice.
Wyler believed that after many takes, actors got angry and began to shed their preconceived ideas about acting in general and the part in particular. Stripped of these notions, actors were able to play at a truer level. It is a process that Stanley Kubrick would subsequently use on his post-2001: A Space Odyssey (1968) films, though to different results, creating an otherworldly anti-realism rather than the more naturalistic truth of a Wyler movie performance. His methods often meant that his films went over schedule and over budget, but he got results.
Wyler's reputation has suffered as he is not considered an "auteur," or "author" of his films. However, in his postwar career, he definitely was the auteur, or controlling consciousness, behind his films. Although he never took a screenwriting credit (other than for an early horse opera, Ridin' for Love (1926)), he selected his own stories and controlled the screenwriting, hiring his own writers in a development process that could take years. His postwar period films include The Heiress (1949), a fine version of Henry James' novel "Washington Square," with an Oscar-winning performance by Olivia de Havilland; Detective Story (1951), a police drama that takes place on a minimal, controlled set almost as restricted as that of Hitchcock's Rope (1948); and Roman Holiday (1953), which won Audrey Hepburn an Oscar in her first leading role. The other films of this period are Carrie (1952), The Desperate Hours (1955) and Friendly Persuasion (1956).
Wyler returned to the western genre one last time with The Big Country (1958), a picture far removed in scope from his two-reeler origins, featuring Gregory Peck, Heston, and Wyler's old "Hell's Heroes" star Bickford. Burl Ives won a Best Supporting Actor Oscar for his role as the patriarch of an outlaw clan in conflict with Bickford's family. Wyler was next enlisted by producer Sam Zimbalist to helm MGM's high-stakes "Ben-Hur" (1959), a remake of its 1925 classic. It was a high-budget ($15 million, approximately $90 million when factored for inflation), wide-screen (the aspect ratio of the film is 2.76 to 1 when properly shown in 70mm anamorphic prints, the highest ratio ever used for a film) epic that the studio had spent six years preparing. Principal photography required more than six months of shooting on location in Italy, with hundreds of crew members and thousands of extras. Wyler was the overlord of the largest crew and oversaw more extras than any other film had ever used. Wyler's "Ben-Hur" grossed $74 million (approximately $600 million at today's ticket prices, ranking it #13 film in terms of all-time box office performance, when adjusted for inflation), the film was the fourth highest-grossing film of all-time when it was released, surpassed only by Gone with the Wind (1939), DeMille's The Ten Commandments (1956), and Walt Disney's Snow White and the Seven Dwarfs (1937). "Ben-Hur" went on to win 11 Oscars out of 12 nominations, including a third Best Director Academy Award for Wyler. The 11 Oscars set a record since tied by Titanic (1997) and The Lord of the Rings: The Return of the King (2003).
In the last decade of his career, he remade "These Three" as The Children's Hour (1961), a franker version of Hellman's play than his 1936 version. The Collector (1965) was his last artistic triumph, and he had his last hit with Funny Girl (1968), for which Barbra Streisand repeated Audrey Hepburn's success of 15 years earlier, wining an Oscar in her first lead role. Wyler's last film was The Liberation of L.B. Jones (1970), an estimable failure that tackled the theme of racial prejudice, but which came out in the revolutionary time of Easy Rider (1969) and other such films and held little promise for such traditional warhorses as Wyler.
Although he reportedly dreamed of making more pictures, Wyler's failing health kept him from taking on another film. Instead, he and his wife Margaret Tallichet, the mother of his five children, contented themselves with travel. William Wyler died on July 27, 1981, in Beverly Hills, California.- Director
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Sidney Lumet was a master of cinema, best known for his technical knowledge and his skill at getting first-rate performances from his actors -- and for shooting most of his films in his beloved New York. He made over 40 movies, often complex and emotional, but seldom overly sentimental. Although his politics were somewhat left-leaning and he often treated socially relevant themes in his films, Lumet didn't want to make political movies in the first place. Born on June 25, 1924, in Philadelphia, the son of actor Baruch Lumet and dancer Eugenia Wermus Lumet, he made his stage debut at age four at the Yiddish Art Theater in New York. He played many roles on Broadway in the 1930s and also in the film ...One Third of a Nation... (1939). After starting an off-Broadway acting troupe in the late 1940s, he became the director of many television shows in the 1950s. Lumet made his feature film directing debut with 12 Angry Men (1957), which won the Golden Bear at the Berlin Film Festival and earned three Academy Award nominations. The courtroom drama, which takes place almost entirely in a jury room, is justly regarded as one of the most auspicious directorial debuts in film history. Lumet got the chance to direct Marlon Brando in The Fugitive Kind (1960), an imperfect, but powerful adaptation of Tennessee Williams' "Orpheus Descending". The first half of the 1960s was one of Lumet's most artistically successful periods. Long Day's Journey Into Night (1962), a masterful, brilliantly photographed adaptation of the Eugene O'Neill play, is one of several Lumet films about families. It earned Katharine Hepburn, Ralph Richardson, Dean Stockwell and Jason Robards deserved acting awards in Cannes and Hepburn an Oscar nomination. The alarming Cold War thriller Fail Safe (1964) unfairly suffered from comparison to Stanley Kubrick's equally great satire Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964), which was released shortly before. The Pawnbroker (1964), arguably the most outstanding of the great movies Lumet made in this phase, tells the story of a Holocaust survivor who lives in New York and can't overcome his experiences in the Nazi concentration camps. Rod Steiger's unforgettable performance in the title role earned an Academy Award nomination. Lumet's intense character study The Hill (1965) about inhumanity in a military prison camp was the first of five films he did with Sean Connery. After the overly talky but rewarding drama The Group (1966) about young upper-class women in the 1930s, and the stylish spy thriller The Deadly Affair (1967), the late 1960s turned out to be a lesser phase in Lumet's career. He had a strong comeback with the box-office hit The Anderson Tapes (1971). The Offence (1973) was commercially less successful, but artistically brilliant - with Connery in one of his most impressive performances. The terrific cop thriller Serpico (1973), the first of his films about police corruption in New York City, became one of his biggest critical and financial successes. Al Pacino's fascinating portrayal of the real-life cop Frank Serpico earned a Golden Globe and the movie earned two Academy Award nominations (it is worth noting that Lumet's feature films of the 1970s alone earned 30 Oscar nominations, winning six times). The love triangle Lovin' Molly (1974) was not always convincing in its atmospheric details, but Lumet's fine sense of emotional truth and a good Blythe Danner keep it interesting. The adaptation of Agatha Christie's Murder on the Orient Express (1974), an exquisitely photographed murder mystery with an all-star cast, was a big success again. Lumet's complex crime thriller Dog Day Afternoon (1975), which Pauline Kael called "one of the best "New York" movies ever made", gave Al Pacino the opportunity for a breathtaking, three-dimensional portrayal of a bisexual man who tries to rob a bank to finance his lover's sex-change operation. Lumet's next masterpiece, Network (1976), was a prophetic satire on media and society. The film version of Peter Shaffer's stage play Equus (1977) about a doctor and his mentally confused patient was also powerful, not least because of the energetic acting by Richard Burton and Peter Firth. After the enjoyable musical The Wiz (1978) and the interesting but not easily accessible comedy Just Tell Me What You Want (1980), Sidney Lumet won the New York Film Critics Circle Award for his outstanding direction of Prince of the City (1981), one of his best and most typical films. It's about police corruption, but hardly a remake of Serpico (1973). Starring a powerful Treat Williams, it's an extraordinarily multi-layered film. In his highly informative book "Making Movies" (1995), Lumet describes the film in the following way: "When we try to control everything, everything winds up controlling us. Nothing is what it seems." It's also a movie about values, friendship and drug addiction and, like "Serpico", is based on a true story. In Deathtrap (1982), Lumet successfully blended suspense and black humor. The Verdict (1982) was voted the fourth greatest courtroom drama of all time by the American Film Institute in 2008. A few minor inaccuracies in legal details do not mar this study of an alcoholic lawyer (superbly embodied by Paul Newman) aiming to regain his self-respect through a malpractice case. The expertly directed movie received five Academy Award nominations. Lumet's controversial drama Daniel (1983) with Timothy Hutton, an adaptation of E.L. Doctorow's "The Book of Daniel" about two young people whose parents were executed during the McCarthy Red Scare hysteria in the 1950s for alleged espionage, is one of his underrated achievements. His later masterpiece Running on Empty (1988) has a similar theme, portraying a family which has been on the run from the FBI since the parents (played by Christine Lahti and Judd Hirsch) committed a bomb attack on a napalm laboratory in 1971 to protest the war in Vietnam. The son (played by River Phoenix in an extraordinarily moving, Oscar-nominated performance) falls in love with a girl and wishes to stay with her and study music. Naomi Foner's screenplay won the Golden Globe. Other Lumet movies of the 1980s are the melancholic comedy drama Garbo Talks (1984); the occasionally clichéd Power (1986) about election campaigns; the all too slow thriller The Morning After (1986) and the amusing gangster comedy Family Business (1989). With Q&A (1990) Lumet returned to the genre of the New York cop thriller. Nick Nolte shines in the role of a corrupt and racist detective in this multi-layered, strangely underrated film. Sadly, with the exception of Night Falls on Manhattan (1996), an imperfect but fascinating crime drama in the tradition of his own previous genre works, almost none of Lumet's works of the 1990s did quite get the attention they deserved. The crime drama A Stranger Among Us (1992) blended genres in a way that did not seem to match most viewers' expectations, but its contemplations about life arouse interest. The intelligent hospital satire Critical Care (1997) was unfairly neglected as well. The courtroom thriller Guilty as Sin (1993) was cold but intriguing. Lumet's Gloria (1999) remake seemed unnecessary, but he returned impressively with the underestimated courtroom comedy Find Me Guilty (2006) and the justly acclaimed crime thriller Before the Devil Knows You're Dead (2007). In 2005, Sidney Lumet received a well-deserved honorary Academy Award for his outstanding contribution to filmmaking. Sidney Lumet tragically died of cancer in 2011.- Producer
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Terrence Malick was born in Ottawa, Illinois. His family subsequently lived in Oklahoma and he went to school in Austin, Texas. He did his undergraduate work at Harvard, graduating summa cum laude with a degree in philosophy in 1965.
A member of the Phi Beta Kappa honor society, he attended Magdalen College, Oxford on a Rhodes scholarship, but did not finish his thesis on Martin Heidegger, allegedly because of a disagreement with his advisor. Returning to the States, he taught philosophy at M.I.T. and published a translation of Heidegger's "Vom Wesen des Grundes" as "The Essence of Reasons". Malick did not get his PhD in philosophy: Instead, he attended the American Film Institute Conservatory in its inaugural year (1969), taking a Masters of Fine Arts degree in film-making. His masters thesis was the seventeen-minute comedy short Lanton Mills (1969), which starred Warren Oates and Harry Dean Stanton. Malick himself acted in the short.
At A.F.I., Malick made a lasting association with Jack Fisk, who would establish himself as an Oscar-nominated art director and production designer and serve as art director on all of Malick's films. He also picked up Mike Medavoy as an agent, who got Malick work doctoring scripts and marketed his original ones. He wrote the screenplay for the 1972 Alan Arkin trucker movie Deadhead Miles (1972), which was many miles from Harvard let along Oxford, and for the 1972 Paul Newman-Lee Marvin contemporary oater Pocket Money (1972), another departure from fields of academia. "Deadhead Miles" was dumped by Paramount as unreleasable and "Pocket Money", despite being headlined by two Top Ten Box Office stars, flopped. It was an inauspicious start to a legendary career, but it influenced Malick to begin directing his own scripts.
His first two films were the now critically acclaimed Badlands (1973) and Days of Heaven (1978). He then took a self-imposed retirement of nearly two decades from film-making before lensing his 1998 adaptation of James Jones's The Thin Red Line (1998), which was nominated for 7 Academy Awards, including nods for Malick for directing and adapted screenplay.
Adopting a Kubrickian pace of movie-making, he directed The New World (2005) and the autobiographical The Tree of Life (2011) with gaps of only seven and six years, respectively, between release. However, he reportedly was working on ideas for "The Tree of Life" since the late 70s, including exposing footage that found its way into his finished film.
In an unprecedented burst of productivity, he shot his next four films, To the Wonder (2012), Knight of Cups (2015), an as-yet unnamed drama and the cosmic documentary Voyage of Time: Life's Journey (2016) back-to-back during and immediately after completing the long editing process of "Tree of Life". Like Stanley Kubrick, Malick usually takes well over a year to edit his films. All three are highly anticipated by cineastes the world over.- Screen International Star of Tomorrow 2020, Dónall Ó Héalai (pronounced O HayLee) grew up in Galway Ireland. Best known for his critically acclaimed performance in the award-winning period drama, Arracht. Dónall was the recipient of the Aer Lingus Discovery Award at the 2020 Dublin International film festival. He is a graduate of the Bow Street Screen Acting Academy.