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Mai Zetterling was born in Sweden in 1925, and lived briefly in Australia while still a child. She's known as a director and actor and trained on the Stockholm repertory stage, she began appearing in war-era films starting in her teens. Following her debut in Lasse Maja (1941), she made quite an impact in the terminally dark Ingmar Bergman-written film Torment (1944) [known as Torment in the US and Frenzy in the UK], who went on to direct her in his Music in Darkness (1948) [Music in Darkness].
The international attention she received from her Bergman association led her to England where she debuted in the title role of Frieda (1947), a war drama co-starring David Farrar, Glynis Johns and Flora Robson. Developing modest sex symbol success, she went on to co-star opposite a number of handsome leading men throughout the post-war years in primarily dramatic works, including Dennis Price in The Bad Lord Byron (1949), Dirk Bogarde in Blackmailed (1951), Herbert Lom in The Ringer (1952), Richard Widmark in A Prize of Gold (1955), Tyrone Power in Seven Days from Now (1957) (which was a variation on Hitchcock's Lifeboat (1944)), John Gregson in Faces in the Dark (1960), William Sylvester in The Devil Inside (1961), and Stanley Baker in The Man Who Finally Died (1963). Along the way she proved just as adaptable and sexy in smart comedy when she came between husband and wife Peter Sellers and Virginia Maskell in Only Two Can Play (1962).
Mai abandoned acting in the mid-1960s and courted some controversy when she successfully began sitting in the director's chair. Divorced from Norwegian actor Tutte Lemkow in the early 1950s, she later wed writer David Hughes in 1958, who collaborated with her on a number of her directing ventures, which seemed ahead of their time. Obviously influenced by Bergman, the dark, sexy drama Loving Couples (1964) [Loving Couples] dealt with homosexual themes and featured nudity; Night Games (1966) [Night Games] revolved around sexual decadency and repression; and The Girls (1968) [The Girls], which had an all-star Swedish cast including Bibi Andersson and Harriet Andersson, expounded on women's liberation. She divorced her second husband in 1979. She had two children, Louis and Etienne, from her first marriage.
Toward the end of her life, Mai made a return to film acting and is best remembered at this late stage for her nurturing and resilient grandmother in the film The Witches (1990) wherein she is forced to tangle with a particularly virulent ringleader Anjelica Huston to save her grandson from her coven of hags. Mai died of cancer in 1994.- Writer
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During the 1970s, Lina Wertmüller emblazoned her name into the pantheon of Italian cinema with a series of intensely polemical, deeply controversial and wonderfully entertaining films. Among the most politically outspoken and iconoclastic members of the second generation of postwar directors - the direct heirs to the neo-realists - Wertmüller was also one of the first woman directors to be internationally recognized and acclaimed. Armed with a keenly satiric and Rabelaisian humor, Wertmüller reinvented the narrative forms and character types of Italian comedy to create one of the rare examples of a radical, politically galvanized cinema that managed to achieve widespread popularity. Indeed, the fierce invectives against social, cultural and historical inequities at the heart of Wertmüller's mid-1970s masterworks Love and Anarchy, Seven Beauties and Swept Away seemed only to help the films find an appreciative audience, especially in the United States, where they broke box office records for foreign films and even secured Wertmüller an Oscar nomination for Best Director - the very first woman named for this category. Although Wertmüller remains a well-known name, her remarkable films are strangely overlooked and only selectively revisited. And yet, the incredible energy and daring of her most popular works is equally present in lesser-known masterpieces such as All Screwed Up and The Seduction of Mimi, films that are both extremely topical and yet still totally relevant today.- Director
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Liliana Cavani was born on 12 January 1933 in Carpi, Emilia-Romagna, Italy. She is a director and writer, known for L'ospite (1971), Dove siete? Io sono qui (1993) and The Night Porter (1974).- Director
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Márta Mészáros was born on 19 September 1931 in Budapest, Hungary. She is a director and writer, known for Adoption (1975), Diary for My Children (1984) and Diary for My Lovers (1987). She was previously married to Miklós Jancsó, Laszlo Karda and Jan Nowicki.- Director
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- Second Unit Director or Assistant Director
Binka Zhelyazkova was born on July 15, 1923 in the town of Svilengrad, Bulgaria. She studied theater at the National Theater Institute in Sofia. Her career as a film director began in 1957 when she co-directed her first feature film Life Goes Quietly By... with her husband Hristo Ganev.
At the end of the 1950s Binka Zhelyazkova was one of the few women in the world making feature films. Her style was influenced by Italian Neo-Realism and the French New Wave, as well as Russian Cinema.
During her career she directed seven feature and two documentary films. Four of her nine films were banned from distribution and reached audiences only after the end of communism. She was the director of the Bulgarian section of Women in Film, an organization created in 1989 after the international women in film conference, KIWI, in Tbilisi, Georgia. She stopped making films after 1989, which coincided with the fall of the communist regime in Bulgaria. For some time after that she remained active in the women in film organization but soon completely withdrew from public life.- Actress
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Ida was born in London to a show business family. In 1932, her mother took Ida with her to an audition and Ida got the part her mother wanted. The picture was Her First Affaire (1932). Ida, a bleached blonde, went to Hollywood in 1934 playing small, insignificant parts. Peter Ibbetson (1935) was one of her few noteworthy movies and it was not until The Light That Failed (1939) that she got a chance to get better parts. In most of her movies, she was cast as the hard, but sympathetic woman from the wrong side of the tracks. In The Sea Wolf (1941) and High Sierra (1940), she played the part magnificently. It has been said that no one could do hard-luck dames the way Lupino could do them. She played tough, knowing characters who held their own against some of the biggest leading men of the day - Humphrey Bogart, Ronald Colman, John Garfield and Edward G. Robinson. She made a handful of films during the forties playing different characters ranging from Pillow to Post (1945), where she played a traveling saleswoman to the tough nightclub singer in The Man I Love (1946). But good roles for women were hard to get and there were many young actresses and established stars competing for those roles. She left Warner Brothers in 1947 and became a freelance actress. When better roles did not materialize, Ida stepped behind the camera as a director, writer and producer. Her first directing job came when director Elmer Clifton fell ill on a script that she co-wrote Not Wanted (1949). Ida had joked that as an actress, she was the poor man's Bette Davis. Now, she said that as a director, she became the poor man's Don Siegel. The films that she wrote, or directed, or appeared in during the fifties were mostly inexpensive melodramas. She later turned to television where she directed episodes in shows such as The Untouchables (1959) and The Fugitive (1963). In the seventies, she made guest appearances on various television show and appeared in small parts in a few movies.- Director
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- Actress
Lois Weber, who had been a street-corner evangelist before entering motion pictures in 1905, became the first American woman movie director of note, and a major one at that. Herbert Blaché, the husband of Frenchwoman Alice Guy, the first woman to direct a motion picture (and arguably, the first director of either gender to helm a fictional narrative film), cast her in the lead of "Hypocrites" (1908). Weber first got behind the camera on A Heroine of '76 (1911), a silent that was co-directed by pioneering American director Edwin S. Porter and actor Phillips Smalley, who played George Washington. She also starred in the picture.
In 1914, a year in which she helmed 27 movies, Weber co-directed William Shakespeare's The Merchant of Venice (1914) with Smalley, who also played Shylock, making her the first woman to direct a feature-length film in the US. (Jeanie Macpherson, who would play a major role in cinema as Cecil B. DeMille's favorite screenwriter, also acted in the film).
In the spirit of her evangelism, she began directing, writing and then producing films of social import, dealing with such themes as abortion, alcoholism, birth control, drug addiction and prostitution. By 1916 she had established herself as the top director at Universal Film Manufacturing (now Universal Studios), the top studio in America at the time, making her the highest-paid director in the world. The following year she formed Lois Weber Productions.
She directed over 100 films, but her production company went bankrupt in the 1920s as her career faltered. She did not make the transition to sound, although she did make one talkie, White Heat (1934), in 1934.- Director
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Dorothy Arzner, the only woman director during the "Golden Age" of Hollywood's studio system--from the 1920s to the early 1940s and the woman director with the largest oeuvre in Hollywood to this day--was born January 3, 1897 (some sources put the year as 1900), in San Francisco, California, to a German-American father and a Scottish mother. Raised in Los Angeles, her parents ran a café which featured German cuisine and which was frequented by silent film stars including: Charles Chaplin and William S. Hart, and director Erich von Stroheim. She worked as a waitress at the restaurant, and no one could have foreseen at the time that Arzner would be one of the few women to break the glass ceiling of directing and would be the only woman to work during the early sound era.
In her 15-year career as a director (1928-43), Arzner made three silent movies and 14 "talkies". Her path to the director's chair was different than that of women directors in the future (indeed, different than most male directors too). Directors nowadays are typically graduates of film schools or were working actors prior to directing. Like most of the directors of her generation, Arzner gained wide training in most aspects of filmmaking by working her way up from the bottom. It was the best way to become a filmmaker, she later said.
After graduating from high school in 1915, she entered the University of Southern California, where she was in the pre-med program for two years. When the US entered World War I in 1917, Arzner was unable to realize her ambition of serving her country in a military capacity, as there were no women's units in the armed forces at the time, so she served as an ambulance driver during the war.
After the cessation of hostilities, Azner got a job on a newspaper. The director of her ambulance unit introduced her to film director William C. de Mille (the brother of Cecil B. DeMille, one of the co-founders of Famous Players-Lasky, which eventually became known by the title of its distribution unit--Paramount Pictures). She decided to pursue a film career after visiting a movie set and being intrigued by the editing facilities. Arzner decided that she would like to become a director (there was no strict delineation between directors and editors in the immediate postwar period as the movie studios matured into a "factory" industrial production paradigm).
Though she was the sole member of her gender to direct Hollywood pictures during the first generation of sound film, in the silent era a woman behind the camera was not unknown. The first movie in history was directed by a Frenchwoman, and many women were employed in Hollywood during the silent era, most frequently as scenario writers (some research indicates that as many as three-quarters of the scenario writers during the silent era--when there was no requirement for a screenplay as such as there was no dialogue--were women). Indeed, there were women directors in the silent era, such as Frances Marion (though she was more famous as a screenwriter) and Lois Weber, but Arzner was fated to be the only female director to have made a successful transition to "talkies". It wasn't until the 1930s and the verticalization of the industry, as it matured and consolidated, that women were squeezed out of production jobs in Hollywood.
The introduction to William deMille paid off when he hired her for the sum of $20 a week to be a stenographer. Her first job for DeMille was typing up scripts at Famous Players-Lasky. She was reportedly a poor typist. Ambitious and possessed of a strong will, Arzner offered to write synopses of various literary properties, and eventually was hired as a writer. Impressing DeMille and other Paramount powers-that-be, Arzner was assigned to Paramount's subsidiary Realart Films, as a film cutter. She was promoted to script girl after one year, which required her presence on the set to ensure the continuity of the script as shot by the director. She then was given a job editing films. She excelled at cutting: as an editor (she was the first Hollywood editor professionally credited as such on-screen), she labored on 52 films, working her way up from cutting Bebe Daniels comedies to assignments on "A" pictures within a couple of years. She came into her own as a filmmaker editing the Rudolph Valentino headliner Blood and Sand (1922), about a toreador. Her editing of the bullfighting scenes was highly praised, and she later said that she actually helmed the second-unit crew shooting some of the bullfight sequences. Director James Cruze was so impressed by her work on the Valentino picture that he brought her on to his team to edit The Covered Wagon (1923). Arzner eventually edited three other Cruze films: Ruggles of Red Gap (1923), Merton of the Movies (1924) and Old Ironsides (1926). Her work was of such quality that she received official screen credit as an editor, a first for a cutter of either gender.
While collaborating with Cruze she also wrote scenarios, scripting her ideas both solo and in collaboration. She was credited as a screenwriter (as well as an editor) on "Old Ironsides", one of the more spectacular films of the late silent era, being partially shot in Magnascope, one of the earliest widescreen processes. She would always credit Cruze as her mentor and role model. "Old Ironsides" proved to be the last film on which she was credited as an editor, as her ambitions to become a director would finally come to fruition. To indulge her, Paramount gave her a job as an assistant director, for which she was happy--until she realized it was not a stepping stone to the director's chair, and she was determined to sit in that chair.
Arzner pressured Paramount to let her direct, threatening to leave the studio to work for Columbia Pictures on Poverty Row, which had offered her a job as a director. Unwilling to lose such a talented filmmaker, the Paramount brass relented, and she made her debut with Fashions for Women (1927). It was a hit. In the process of directing Paramount's first talkie, Manhattan Cocktail (1928), she made history by becoming the first woman to direct a sound picture. The success of her next sound picture, The Wild Party (1929), starring Paramount's top star, Clara Bow, helped establish Fredric March as a movie star.
Arzner proved adept at handling actresses. As Budd Schulberg related in his autobiography "Moving Pictures", Clara Bow--a favorite of his father, studio boss B.P. Schulberg--had a thick Brooklyn accent that the silence of the pre-talkie era hid nicely from the audience. She was terrified of the transition to sound, and developed a fear of the microphone. Working with her sound crew, Arzner devised and used the first boom mike, attaching the microphone to a fish pole to follow Bow as she moved around the set. Arzner even used Bow's less-than-dulcet speaking tones to underscore the vivaciousness of her character.
Though Arzner made several successful films for Paramount, the studio teetered on the edge of bankruptcy due to the Depression, eventually going into receivership (before being saved by the advent of another iconic woman, Mae West). When the studio mandated a pay cut for all employees, Arzner decided to go freelance. RKO Radio Pictures hired her to direct its new star, headstrong young Katharine Hepburn, in her second starring film, Christopher Strong (1933). It was not a happy collaboration, as both women were strong and unyielding, but Arzner eventually prevailed. She was, after all, the boss on the set: The director. The fiercely independent Hepburn complained to RKO, but the studio backed its director against its star. Eventually the two settled into a working relationship, respecting each other but remaining cold and distant from one another. Ironically, Arzner would display her directorial flair in elucidating the kind of competitive rivalries between women she experienced with Hepburn.
The Directors Guild of America was established in 1933, and Arzner became the first woman member. Indeed, she was the only female member of the DGA for many years.
Arzner's films featured well-developed female characters, and she was known at the time of her work, quite naturally, as a director of "women's pictures". Not only did her movies portray the lives of strong, interesting women, but her pictures are noted for showcasing the ambiguities of life. Since the rise of feminist scholarship in the 1960s, Arzner's movies have been seen as challenging the dominant, phallocentric mores of the times.
Arzner was a lesbian, who cultivated a masculine look in her clothes and appearance (some feel as camouflage to hide the boy's club that was Hollywood). Many gay critics discern a hidden gay subtext in her films, such as "Christopher Strong". Whereas feminist critics see a critique of gender inequality in "Christopher Strong", lesbian critics see a critique of heterosexuality itself as the source of a woman's troubles. The very private Azner, the woman who broke the glass ceiling and had to survive, and indeed thrived, in the all-male world of studio filmmaking, refused to be categorized as a woman or gay director, insisting she was simply a "director." She was right.
Arzner did have less troubled and more productive collaborations with other actresses after her experience with Hepburn. She developed a close friendship with one of her female stars, Joan Crawford, whom she directed in two 1937 MGM vehicles, The Last of Mrs. Cheyney (1937) and The Bride Wore Red (1937). Arzner later directed Pepsi commercials as a favor to Crawford's husband, Pepsi-Cola Company's Chairman of the Board Alfred Steele.
In 1943 Arzner joined other top Hollywood directors such as John Ford and George Stevens in going to work for the war effort during World War Two. She made training films for the US Army's Women's Army Corps (WACs). That same year her health was compromised after she contracted pneumonia. After the war she did not return to feature film directing, but made documentaries and commercials for the new television industry. She also became a filmmaking teacher, first at the Pasadena Playhouse during the 1950s and 1960s and then at the University of California-Los Angeles campus during the 1960s and 1970s. At UCLA she taught directing and screenwriting, and one of her students was Francis Ford Coppola, the first film school grad to achieve major success as a director. She taught at UCLA until her death in 1979.
She was honored in her own lifetime, becoming a symbol and role model for women filmmakers who desired entry into mainstream cinema. The feminist movement in the 1960s championed her. In 1972 the First International Festival of Women's Films honored her by screening "The Wild Party", and her oeuvre was given a full retrospective at the Second Festival in 1976. In 1975 the DGA honored her with "A Tribute to Dorothy Arzner." During the tribute, a telegram from Katharine Hepburn was read: "Isn't it wonderful that you've had such a great career, when you had no right to have a career at all?"- Director
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The daughter of a cavalry captain, she was raised by a grandmother in Paris, where she studied various forms of art with an emphasis on music and the opera. In 1905 she married engineer-novelist Marie-Louis Albert-Dulac and under his influence veered toward journalism. As one of the leading radical feminists of her day, she was editor of La Française, the organ of the French suffragette movement. She also doubled as theater and cinema critic of the publication and became increasingly enamored with film as an art form. In 1915 she formed, with her husband, a small production company, Delia Film, and began directing highly inventive, small-budget pictures. Chronologically, she was the second woman director in French films, after Alice Guy, a contemporary of Georges Méliès. With La fête espagnole (1920) and her masterpiece, _Souriante Madame Beudet, La (1922)_, Dulac emerged as a leading figure in the impressionist movement in French films. In the late 20s, she was an important part of the "second avant-garde" of the French cinema with the surrealistic _Coquille et le Clergyman, La (1927)_ and a number of other experimental films. In these as well as in her theoretical writing, her goal was "pure" cinema, free from any influence from literature, the stage, or even the other visual arts. She talked of "musically constructed" films, or "films made according to the rules of visual music." Dulac was also instrumental in the development of cinema clubs throughout France in the mid-20s. Sound put an end to her experimentations and her career as a director. From 1930 until her death she was in charge of newsreel production at Pathé, then at Gaumont.- Director
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Leontine Sagan was born on 13 February 1889 in Vienna, Austria-Hungary [now Austria]. She was a director and actress, known for Mädchen in Uniform (1931), Men of Tomorrow (1932) and Showtime (1946). She was married to Dr. Victor Fleischer (dramatist). She died on 20 May 1974 in Pretoria, South Africa.- Director
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- Second Unit Director or Assistant Director
At the time when women directors make more and more their presence felt on the French scene, the importance of Jacqueline Audry cannot be overstated. All today's daring Metteuses En Scene are certainly her psychic daughters as they are Agnès Varda's. Audry, born in 1908, began to direct long before Varda, as contemporary of Ida Lupino in America. Audry's movies mostly dealt with female psychology from every angle. Her first effort was a subversive adaptation of La Comtesse De Ségur's "Les Malheurs De Sophie" (1946), the young heroine refused the aristocratic happiness and eventually took a rebel stand. "Gigi" (1948) (remade by Vincente Minnelli as a musical) and "Minne" (1950), both from Colette's novels, featured Danielle Delorme. But it was the overlooked "Olivia" (1951) which revealed Audry's remarkable talent: in a boarding-school for girls, two female teachers vied with each other for their students love; using literary works to enhance her story, helped by Edwige Feuillère's masterful performance, this Audry's tour De force about lesbianism was far ahead of its time. "Huis clos" (1954) from Sartre was her second great achievement: the beginning (the elevator) might have inspired Alan Parker for "Angel Heart", using flashbacks to avoid filmed stage production style, Audry's directing is dazzling, with an excellent cast featuring glorious Arletty as lesbian Inès. 'La Garçonne", a remake of a thirties movie which surpassed its model, introduced a woman who would want to live like a man, it contained scenes which, at the time, were more scandalous than what Roger Vadim was doing with Brigitte Bardot. Sadly, another remake, "L'Ecole Des Cocottes" (1958) ,could not hold a candle to the thirties version featuring Raimu. Her last worthwhile effort was "Le Secret Du Chevalier D'Eon" (1960), the fictionalized story of Louis The Fifteenth's spy who used to dress up as a woman: this film and "La Garçonne" featured Andrée Debar, whose androgynous looks worked wonders. A road movie ("Les Petits Matins",1961) and other indifferent movies in the sixties and Audry's career closed in 1971. She died in 1977, and she had unfairly sunk into oblivion. She was married to screenwriter Pierre Laroche who would work with her.- Director
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Kira Muratova was born on 5 November 1934 in Soroca, Romania [now Moldova]. She was a director and writer, known for Nastroyshchik (2004), Vtorostepennye lyudi (2001) and The Asthenic Syndrome (1989). She was married to Aleksandr Muratov and Yevgeni Golubenko. She died on 6 June 2018 in Odessa, Ukraine.- Director
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Larisa Shepitko was born on 6 January 1938 in Bakhmut, Ukrainian SSR, USSR [now Bakhmut, Donetsk Oblast, Ukraine]. She was a director and writer, known for The Ascent (1977), Heat (1963) and You and Me (1971). She was married to Elem Klimov. She died on 2 July 1979 in near Redkino, Kalinin Oblast, Russian SFSR, USSR.- Actress
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- Soundtrack
Tanaka Kinuyo was a highly regarded and prolific actress best known for her films with director Mizoguchi Kenji. She was immersed in the world of film having received her start in the world of entertainment at age fourteen, being a filmmaker herself, being the cousin of director Kobayashi Masaki and, very much like Hara Setsuko and Ozu Yasujiro, being anecdotally romantically linked with the aforementioned Mizoguchi. The director would later recommend against her being hired as a director, which caused a rift between the two. She received her first known credit in Shochiku's Genroku Onna in 1924. She stayed to become the studio's biggest actress, and a paradigm of beauty, until approximately 1949 when she travelled to the United States Of America as an ambassador of Japanese culture. Upon her return from the US the Japanese detected a change of attitude in her, as well as noting a new short hairdo, which momentarily lead to some criticism. She had married director Shimizu Hiroshi, with whom she had worked, in 1929. Sources claim this was a mere cohabitation however. The marriage lasted a matter of months, but the two worked together beyond their romantic union. She married another one of her directors Gosho Heinosuke, but not before also starring in several Ozu films. It looked like films like Aizen Katsu and Naniwa Onna would be the height of her fame with all their popularity, but post-war films like Life Of Oharu, Sansho The Bailiff and Ugetsu were even bigger classics and immortalized the actress. Another of her many other noteworthy performances was in The Ballad Of Narayama based on a tradition and folklore of Japan. As if to complete her tour de force of Japanese cinema she directed several films and even worked with Kurosawa Akira in Red Beard. She died of a brain tumor in 1977.- Second Unit Director or Assistant Director
- Editor
- Director
Tazuko Sakane was born on 7 December 1904 in Kyoto, Kyoto, Japan. She was an assistant director and editor, known for Kaitaku no hanayome (1943), Osaka Elegy (1936) and The Story of the Last Chrysanthemum (1939). She was married to Takaoka. She died on 2 September 1975 in Japan.- Ping Wang was born on 1 October 1950 in Taiwan. She is an actress, known for Five Fingers of Death (1972), Tiger Killer (1983) and The Singing Killer (1970).
- Additional Crew
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Wendy Toye was born on 1 May 1917 in London, England, UK. She was a director and actress, known for The Stranger Left No Card (1952), On the Twelfth Day... (1955) and Follow the Star (1979). She was married to Edward Selwyn Sharp. She died on 27 February 2010 in Hillingdon, Middlesex, England, UK.- Director
- Animation Department
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Lotte Reiniger was born on 2 June 1899 in Berlin, Germany. She was a director and writer, known for Silhouetten (1936), Der Graf von Carabas (1935) and Lotte Reiniger - The Fairy Tale Films (1961). She was married to Carl Koch. She died on 19 June 1981 in Dettenhausen, Baden-Württemberg, Germany.- Animation Department
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Alison De Vere was born on 16 September 1927 in Peshawar, North-West Frontier Province, British India. She was a director and writer, known for Mr. Pascal (1979), The Black Dog (1987) and Yellow Submarine (1968). She was married to Karl Weschke. She died on 2 January 2001 in Cornwall, England, UK.- Director
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Pirjo Honkasalo was born on 22 February 1947 in Helsinki, Finland. She is a director and cinematographer, known for Melancholian 3 huonetta (2004), Tanjuska and the Seven Devils (1993) and Tulennielijä (1998).- Director
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Wanda Jakubowska was born on 10 October 1907 in Warsaw, Poland, Russian Empire [now Warsaw, Mazowieckie, Poland]. She was a director and writer, known for The Last Stage (1948), Król Macius I (1958) and Pozegnanie z diablem (1957). She died on 24 February 1998 in Warsaw, Mazowieckie, Poland.- Director
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- Actress
Erika Runge was born on 22 January 1939 in Halle, Germany. She is a director and writer, known for Warum ist Frau B. glücklich? (1968), Lisa und Tshepo (1981) and David (1979).- Actress
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Ana Mariscal was born on 31 July 1923 in Madrid, Spain. She was an actress and director, known for Segundo López, aventurero urbano (1953), Una sombra en la ventana (1945) and Un hombre va por el camino (1949). She was married to Valentín Javier. She died on 28 March 1995 in Madrid, Spain.- Director
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Dinara Asanova was born on 24 November 1942 in Frunze, Kirghiz SSR, USSR [now Bishkek, Chuy, Kyrgyzstan]. She was a director and writer, known for Ne bolit golova u dyatla (1975), Rudolfio (1969) and Beda (1977). She died on 4 April 1985 in Murmansk, Russian SFSR, USSR [now Russia].- Director
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Martha Patterson Coolidge was born on August 17, 1946 in New Haven Connecticut. She studied illustration at Rhode Island School of Design, but changed majors, becoming the first film major at the school. She attended and graduated from New York University's Tisch School of the Arts, where she received her Master's degree in Fine Arts. Coolidge's diverse project range has given her a reputation for eclectic taste. Among a long list of working with Hollywood's finest, Coolidge also discovered great talents like Nicolas Cage (Valley Girl (1983)), Val Kilmer (Real Genius (1985)) and James Gandolfini (Angie (1994)).
In addition to working with talented artists, Coolidge has received many awards for her work. Recognition has included a Best Director "Spirit" Award from the Independent Feature Project West, the "Crystal Award" from Women in Film, the Maverick Award from the LeFemme Film Festival, the distinguished "Robert Aldrich Award" from the Directors Guild of America, the "Breakthrough Award" from Women, Men & Media, and "Lifetime Achievement Awards" from Methodfest, the Dallas Film Festival, a "Big Bear" from the Big Bear Film Festival and the "Award for Artist Excellence in Film" from Rhode Island School of Design. She has been inducted into the Connecticut Women's Hall of Fame and the Museum of Television and Radio, and also helped found the Association of Independent Video and Filmmakers, Inc. and the IFP.
An avid horsewoman. Ms. Coolidge breeds and shows Paso Fino horses and holds several National Championship titles. She is married to the award-winning production designer James H. Spencer and has one son, Preston, named in honor of one of her idols, playwright and film director Preston Sturges.- Director
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Shirley Clarke is an important figure in the history of mid-20th century independent cinema. Born Shirley Marion Brimberg to Samuel Nathan and Florence (Rosenberg) Brimberg, she was the eldest of their three daughters. She grew up in a wealthy family. Her father, who was born in present-day Belarus, made his fortune in manufacturing. Her mother was the daughter of a wealthy manufacturer. Her sisters were Elaine Rita (better known as actress and writer Elaine Dundy) and Betty Rose Brimberg.
As a young child, Shirley developed a passion for dance. Shirley's father was a violent bully, who didn't support her artistic ambitions. She married Bertram Clarke in 1942, partially to escape her father's control and to study dance with the masters of modern dance.
In the early 1950s, she became a filmmaker. Her love of dance informed her early work. Her first film, Dance in the Sun (1953), a six-minute short featuring dancer Daniel Nagrin was well-received. She would go on to direct several short films throughout the decade, some by herself and others in collaboration with others.
By the 1960s, when women directors were still somewhat of a novelty, she embarked on her first feature film. Rather than play it safe and do a romance or a comedy, she decided to do a film adaptation of "The Connection," a play by Jack Gelber. The Connection (1961) tells the story of a group of junkies who await the arrival of Cowboy (Carl Lee), their drug connection. Lee's portrayal, much like Bernie Hamilton as Traver in The Young One (1960) marked the arrival of a new type of Black character that hadn't been seen on the screen before -- brash, defiant, and bold. It would foreshadow the protagonists that dominated the blaxploitation films a decade later. However, in 1962, the film was initially banned in New York City because of it's use of the "S-word." However, after several legal challenges, "The Connection" was eventually able to screen in cinemas. Despite, it's limited commercial success, "The Connection," was the most widely seen of Clarke's three feature length films at the time of its release. The others were the narrative feature The Cool World (1963) and the landmark LGBTQ documentary, Portrait of Jason (1967).
Clarke received an Oscar nomination for the short Skyscraper (1959), which she also co-directed. She also directed Robert Frost: A Lover's Quarrel with the World (1963), an Oscar-winning short.
She would continue to make a series of short films and video works into the 1980s. One of her last completed works was Ornette: Made in America (1985), a documentary on jazz musician and composer Ornette Coleman.
From 1975 until 1983, she was an instructor at UCLA, where she taught a highly popular design class.
After her marriage to Bertram Clarke ended, she was in a relationship with Lee until his death in 1986.
Shirley Clarke died of a stroke in Boston in 1997 after suffering from Alzheimer's disease.
In 2014, Milestone Films, began releasing restored versions of her projects both theatrically and on home video.- Director
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Yuliya Solntseva was born on 7 August 1901 in Moscow, Russian Empire [now Russia]. She was a director and actress, known for Chronicle of Flaming Years (1961), Aelita, the Queen of Mars (1924) and Poem of the Sea (1958). She was married to Aleksandr Dovzhenko. She died on 29 October 1989 in Moscow, Russian SFSR, USSR [now Russia].- Director
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Astrid Henning-Jensen was born on 10 December 1914 in Copenhagen, Denmark. She was a director and writer, known for Winterborn (1978), Early Spring (1986) and Øjeblikket (1980). She was married to Bjarne Henning-Jensen. She died on 5 January 2002 in Copenhagen, Denmark.- Director
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Malvina Ursianu was born on 19 June 1927 in Gusoieni-Vilcea, Romania. She was a director and writer, known for Serata (1971), Întoarcerea lui Voda Lapusneanu (1980) and Fleeting Loves (1974). She died on 5 August 2015 in Bucharest, Romania.- Director
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Lorenza Mazzetti was born on 26 July 1927 in Rome, Lazio, Italy. She was a director and writer, known for Together (1956), Latin Lovers (1961) and I cattivi vanno in paradiso (1959). She died on 4 January 2020 in Rome, Lazio, Italy.- Director
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Shu Shuen Tong was born in 1941 in Hong Kong. She is a director and writer, known for The Arch (1968), China Behind (1978) and Shi san bu da (1975).- Director
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Irena Kamienska was born on 29 February 1928 in Lyszkowice, Lódzkie, Poland. She was a director and writer, known for Dzien za dniem (1989), Dzien dobry, dzieci (1967) and Mgla (1993). She died on 3 April 2016 in Poland.- Actress
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Maria Kaniewska was born on 27 May 1911 in Kiev, Russian Empire [now Ukraine]. She was an actress and director, known for Bicz bozy (1967), Zaczarowane podwórko (1974) and Lalka (1978). She died on 11 December 2005 in Warsaw, Mazowieckie, Poland.- Second Unit Director or Assistant Director
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Ludmila Niedbalska was born on 26 November 1933 in Warsaw, Mazowieckie, Poland. She was an assistant director and director, known for Slonce w galeziach (1987), Ostatni kurs (1963) and Bicz bozy (1967). She died on 1 March 2021.- Actress
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Diana Karenne was born in 1888 in Kiev, Russian Empire [now Ukraine]. She was an actress and director, known for Redenzione (1919), Marie Antoinette - Das Leben einer Königin (1922) and Rasputins Liebesabenteuer (1928). She died on 14 October 1940 in Aachen, Germany.- Director
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Ewa Petelska was born on 24 December 1920 in Pyzdry, Wielkopolskie, Poland. She was a director and writer, known for Black Wings (1963), The Artillery Sergeant Kalen (1961) and Kopernik (1973). She was married to Czeslaw Petelski. She died on 20 August 2013 in Warsaw, Mazowieckie, Poland.- Director
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Halina Bielinska was born on 14 August 1914 in Warsaw, Poland, Russian Empire [now Warsaw, Mazowieckie, Poland]. She was a director and writer, known for Zmiana warty (1959), Szczesciarz Antoni (1961) and Sam posród miasta (1965). She died on 13 October 1989 in Poland.- Director
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Svetlana Druzhinina was born on 16 December 1935 in Moscow, RSFSR, USSR [now Russia]. She is a director and writer, known for Solntse, snova solntse (1977), Gardemariny 1787. Mir (2023) and Gardemariny III (1992). She is married to Anatoliy Mukasey. They have one child.- Actress
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Liv Ullmann's father was a Norwegian engineer who used to work abroad, so as a child she lived in Tokyo, Canada, New York and Oslo. In the mid-1950s she made her stage debut and in 1957 made her film debut. She really became successful, however, when she began to work for Swedish director Ingmar Bergman in such films as Persona (1966), The Passion of Anna (1969) and Face to Face (1976). She also had a successful film career away from Bergman (The Abdication (1974), Dangerous Moves (1984).- Director
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Writer-director Katt Shea's latest movie "Rescued By Ruby" (2022) is a hugely successful Netflix original that received the highly coveted 100% Rating on Rotten Tomatoes. She balanced working with a dog as the star, a two year old toddler, 37 other dogs and animals, real canine unit members w/ principal roles and Strict Covid protocols to create a near perfect family film.
Katt has been honored by retrospectives her critically acclaimed films at the Museum of Modern Art in New York City, The British Film Institute in London and various festivals throughout Europe. She also won the Silver Award for screenwriting at The Houston Film Festival and the Trailblazing Award for "inspiring a generation of young filmmakers". Katt has been profiled on the front page of The New York Times Arts & Leisure section and in a special issue of US Magazine dedicated to the role of the director in filmmaking. Critics have compared her to Martin Scorsese, Oliver Stone and even Ingmar Bergman.
Andrew Sarris says of her, "I see an unusually kinetic talent combined with a flare for complex narrative. Ms. Shea does little things so well that big meanings flow out of them." Rolling Stone's Peter Travers adds, "The emotional resonance, visual sophistication and strong subtext of Shea's work fuse to create a distinctive style worth monitoring. Look at Jonathan Demme's Caged Heat, Martin Scorsese's Boxcar Bertha. Shea follows in that tradition and does it proud." New York Times writer Caryn James credits Katt with starting a new genre, about the screenings of Poison Ivy at the Sundance Film Festival she wrote: "One of the best competition films is Poison Ivy directed by Katt Shea whose previous movies were made for Roger Corman. Four of these movies will be shown at the Museum of Modern Art in Manhattan which says everything about the genre she and Sundance are helping to define."
Katt's first studio film, The Rage: Carrie 2, opened at # 2 at the box office, the film received rave reviews in The L.A. Times, The San Francisco Chronicle, The New York Post, The Village Voice and The Nation. Kevin Thomas of The Los Angeles Times called her "...a master of genre. Shea's ability to play various elements against one another gives "The Rage" welcome complexity and tension." Stuart Klawans of The Nation raves the Katt Shea's movies are "...remarkable for their disquieting themes, for their style (bold, fluent and varied)...Over the past dozen years only five or six American women besides Shea have managed to turn out a comparable number of commercial features...Look at he beauty and terror that Katt Shea can achieve and ask whether there's motivation today for The Rage." In recent years, the film has been discovered by younger audiences and praised for it's examination of real-life toxic masculinity & misogyny, that puts more importance on the futures of rapist boys over the dignity of teenage girls.
Katt's movies seem to set trends within the industry. Poison Ivy, which was a significant video hit and boasts the highest turns per copy in video history, inspired dozens of high profile imitators and the influence of her even her earliest low budget films, is still felt within the thriller genre. Katt's first TV Movie for CBS, called Sharing The Secret, won the prestigious Peabody Award. Airing on sweeps week, The Hollywood Reporter paid tribute: "Some first rate performances, along with Shea's fine tuned direction create Sharing The Secret's intelligent two hours." Her next TV movie, Nora Roberts' Sanctuary, is the first adaptation of a novel by the largest selling female author in history. It aired on CBS during February sweeps week. Variety said, "Director and co-screenwriter Katt Shea hits all the right beats, establishes the characters with depth and even invests the genre piece with some stylish dream sequences." ...Perhaps Peter Travers sums things up best when he says, "Why settle for a usual walk around the block when Shea offers a wild ride with the top down into un-chartered territory?"
Her Films continue to Screen to Sold out Audiences at Quentin Tarantino's New Beverly Theatre in Los Angeles, The Alamo Draft House & other Art House Cinemas across the country.
Katt is currently writing an Indie feature for production in 2023.
She is a voting member of the Academy.- Director
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As a successful director working both inside and outside the Hollywood studio system, Joan Micklin Silver was a true lamplighter. Garnering a steady stream of awards and box office successes, she proved herself time and again as one of the most important woman directors to come out of the United States, and demonstrated that films about Jewish topics can succeed with both Jews and non-Jews alike.
Based in New York, where she lived for many decades, Joan Micklin was born in Omaha, Nebraska in 1935. She was the daughter of Maurice David and Doris (Shoshone) Micklin, Russian Jewish immigrants who came separately to the United States before the upheavals of the Russian Revolution. Her father later founded the Micklin Lumber Company. Her deep love for the movies was first nurtured during her earliest days in pre-television Omaha, where she attended the local cinema religiously. She attended Temple Israel Synagogue and graduated from Central High School in 1952 and often wrote sketches for school plays.
Fresh after graduating Sarah Lawrence College in 1956, she married Raphael D. Silver, son of the famous Rabbi Abba Hillel Silver of Cleveland. The Silvers lived in Cleveland from 1956 to 1967 and raised three daughters there: Dina (born 1958), Marisa (born 1960), and Claudia (born 1963). While in Cleveland, Silver taught music and wrote plays, two of which were performed at local Cleveland theaters. In 1967, the Silvers moved to New York, where she worked briefly for the Village Voice and was then hired to adapt Lois Gould's 1970 novel Such Good Friends for legendary director Otto Preminger (she was replaced by a long line of others that included Joan Didion and Elaine May). Her first original screenplay, Limbo, about the wives of prisoners of war in Vietnam, was purchased by Universal Pictures and made into a film directed by Mark Robson. When Silver clashed with the director over her vision for the film, she was fired and replaced by James Bridges, though she received story and co-scripting credit in the final film.
The Learning Corporation of America then commissioned her to write and direct a series of short films, among them The Immigrant Experience: The Long Long Journey (1972), which went on to win several awards. When her success as a screenwriter and director of short films failed to score her a break in directing feature films, and when a studio executive actually told her that "women directors were another problem the studios didn't need," Silver's husband agreed to raise the money for her debut feature and serve as its producer. The film became Hester Street (1975), adapted by Silver from the 1890s novella Yekl by Abraham Cahan, the founder of the Jewish Daily Forward. Turned down by every major studio as an "ethnic oddity" with a limited audience appeal, Hester Street was independently distributed by the Silvers, with the guidance of John Cassavetes. Joan and Ray formed the production and distribution company Midwest Films, through which the film was seen worldwide and admired by Jewish and non-Jewish audiences. Hester Street became one of the earliest independent films to be nominated for Academy Awards, securing a Best Actress nod for lead Carol Kane. The following year, she adapted F. Scott Fitzgerald's Bernice Bobs Her Hair (starring Shelley Duvall, Bud Cort and Veronica Cartwright) as part of a series of median-length features taken from classic American short stories.
Despite the critical and surprise commercial success of Hester Street, major studios still would not back Silver's next film. Her second feature, Between the Lines (1977), about a group of people who work for an alternative newspaper in Boston, was once again produced by her husband. That comedy feature an ensemble cast of now-famous faces, including Jeff Goldblum, John Heard and Stephen Collins. Her third feature, Chilly Scenes of Winter (1979), based on the novel by Ann Beattie, marked Silver's first experience working with a major Hollywood studio, namely United Artists. Turner Classic Movies's Robert Osborne selected the film for inclusion in a special festival recognizing pictures that were "woefully overlooked and under-appreciated," then later programmed the film for his "night of favorites" on TCM in 2007. In November 2014, Chilly Scenes of Winter played to a sold-out crowd at New York City's IFC Center.
After years of directing stage productions, including the well-received A...My Name is Alice (1983), she returned to features in 1985 with the comedy-drama Finnegan Begin Again, starring Robert Preston, Mary Tyler Moore and Sam Waterston. The first effort produced by the fledgling HBO Premiere Films, the film won the Silver Leopard's Eye at the Locarno Film Festival. Her next film with a Jewish subject, the beloved Crossing Delancey, a hit romantic comedy about an assimilated Jewish Manhattanite (played by Amy Irving) and her Lower East Side pickle-salesman suitor (played by Peter Riegert), was produced for Warner Brothers and released in 1988. Her other theatrical releases include Loverboy (1989) for Tri-Star and Stepkids (a.k.a. Big Girls Don't Cry...They Get Even) (1992) for New Line.
Silver's other theater works include A...My Name Is Still Alice (1992), Album (1980), and Maybe I'm Doing It Wrong (1982). She has directed several films for television, among them Parole Board (1990), A Private Matter (1992), Invisible Child (1999) and Hunger Point (2003). In 2002, she directed independent film acting legend Gena Rowlands in Charms for the Easy Life (2002) for Showtime.
In 1995, Silver proved her versatility when she directed a series for National Public Radio called Great Jewish Stories from Eastern Europe and Beyond, which was co-produced by the National Yiddish Book Center. In 1983, she also directed Wallace Shawn and Hermione Gingold in How to Be a Perfect Person in Just 3 Days.
Joan Micklin Silver died at her Manhattan home on December 31, 2020. She was 85.- Actress
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Margarethe von Trotta was born in Berlin in 1942. In the 1960s she moved to Paris where she worked for film collectives, collaborating on scripts and co-directing short films. She also pursued an acclaimed acting career, starring in films by well known German directors such as Rainer Werner Fassbinder, and Volker Schlöndorff. In 1971, von Trotta divorced her first husband Juergen Moeller (with whom she had a child) and married Schlöndorff. She co-wrote many of the scripts for his films, and in 1975 the two of them co-directed The Lost Honor of Katharina Blum (1975). In 1977, von Trotta directed her first solo feature The Second Awakening of Christa Klages (1978). With her third film, Marianne & Juliane (1981), von Trotta's position as New German Cinema's most prominent and successful female filmmaker was fully secured.
Her films feature strong female protagonists, and are usually set against an important political background. Themes in her work include the effect of the political on the personal, and vice versa, as well as the relationships between female characters, often sisters.- Director
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Born in China in 1947, Ann Hui moved to Hong Kong when she was still in her youth. After graduating in English and Comparative Literature from Hong Kong University, she spent two years at the London Film School. Returning to Hong Kong, she worked as an assistant to director King Hu before joining TVB to direct drama series and short documentaries. In 1978, she directed three episodes for the RTHK series Si ji san ha (1972). After that, she directed her debut feature The Secret (1979).- Producer
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Leni Riefenstahl's show-biz experience began with an experiment: she wanted to know what it felt like to dance on the stage. Success as a dancer gave way to film acting when she attracted the attention of film director Arnold Fanck, subsequently starring in some of his mountaineering pictures. With Fanck as her mentor, Riefenstahl began directing films.
Her penchant for artistic work earned her acclaim and awards for her films across Europe. It was her work on Triumph of the Will (1935), a documentary commissioned by the Nazi government about Adolf Hitler and the Third Reich, that would come back to haunt her after the atrocities of World War II. Despite her protests to the contrary, Riefenstahl was considered an intricate part of the Third Reich's propaganda machine. Condemned by the international community, she did not make another movie for over 50 years.- Director
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Ula Stöckl was born on 5 February 1938 in Ulm, Baden-Württemberg, Germany. She is a director and writer, known for Geschichten vom Kübelkind (1971), Der Schlaf der Vernunft (1984) and Erikas Leidenschaften (1976).- Director
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Catherine Binet was born on 13 March 1937 in Tours, Indre-et-Loire, France. She was a director and writer, known for The Games of Countess Dolingen (1981), Spring (1971) and Trompe-l'oeil (1982). She died on 20 February 2006 in Paris, France.- Writer
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Muriel Box was born on 22 September 1905 in New Malden, Surrey [now in Kingston upon Thames, London], England, UK. She was a writer and director, known for The Seventh Veil (1945), Mr. Lord Says No (1952) and A Novel Affair (1957). She was married to Gerald Gardiner and Sydney Box. She died on 18 May 1991 in London, England, UK.- Actress
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Mary Pickford was born Gladys Louise Smith in Toronto, Ontario, Canada, to Elsie Charlotte (Hennessy) and John Charles Smith. She was of English and Irish descent. Pickford began in the theater at age seven. Then known as "Baby Gladys Smith", she toured with her family in a number of theater companies. At some point, at her devout maternal grandmother's insistence, when young Gladys was seriously ill with diphtheria, she received a Catholic baptism and her middle name was changed to "Marie".
In 1907, she adopted a family name Pickford and joined the David Belasco troupe, appearing in the long-running The Warrens of Virginia". She began in films in 1909 with the 'American Mutoscope & Biograph [us]', working with director D.W. Griffith.
For a short time in 1911, to earn more money, she joined the IMP Film Co. under Carl Laemmle. She returned to Biograph in 1912, then, in 1913 joined the Famous Players Film Company under Adolph Zukor. She then joined First National Exhibitor's Circuit in 1918. In 1919, she co-founded United Artists with D.W. Griffith, Charlie Chaplin and then-future husband, Douglas Fairbanks.- Producer
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Barbara Kopple was born on 30 July 1946 in New York City, New York, USA. She is a producer and director, known for Harlan County U.S.A. (1976), American Dream (1990) and Shut Up & Sing (2006).- Writer
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Amy Heckerling studied Film and TV at New York University and got a Masters Degree in Film from The American Film Institute. Despite this education she couldn't get a break in Hollywood. However, in 1982, she made Fast Times at Ridgemont High (1982), and people started to take notice. In 1985, while Amy was pregnant, she got the idea for Look Who's Talking (1989). In 1994, Amy wrote Clueless (1995). Amy is a liberal and also an environmentalist and helps environmental charities whenever she can.- Actress
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Penny Marshall was born Carole Penny Marshall on October 15, 1943 in Manhattan. The Libra was 5' 6 1/2", with brown hair and green eyes. She was the daughter of Marjorie (Ward), a tap dance teacher, and Anthony "Tony" Marshall, an industrial film director. She was the younger sister of filmmakers Garry Marshall and Ronny Hallin. Her father was of Italian descent, originally surnamed "Masciarelli," and her mother was of German, Scottish, English, and Irish ancestry.
Penny was known in her family as "the bad one"... because not only did she walk on the ledge of her family's apartment building, but she snuck into the movies as a child and even dated a guy named "Lefty." She attended a private girls' high school in New York and then went to the University of New Mexico for two and a half years. There, Penny got pregnant with daughter, Tracy Reiner, and soon after married the father, Michael Henry, in 1961. The couple divorced two years later in 1963. She worked as a secretary for awhile. Her film debut came from her brother Garry Marshall, who put her in the movie How Sweet It Is! (1968) with the talented Debbie Reynolds and James Garner. She also did a dandruff commercial with Farrah Fawcett - the casting people, of course, giving Farrah the part of the "beautiful girl" and Penny the part of the "plain girl." This only added to Penny's insecurity with her looks.
She then married Rob Reiner on April 10, 1971, shortly after getting her big television break as Oscar Madison's secretary, Myrna Turner, on The Odd Couple (1970). She also played Mary Richards' neighbor, Paula Kovacks, on The Mary Tyler Moore Show (1970) for a couple of episodes. However, her Laverne & Shirley (1976) fame came when her brother needed two women to play "fast girls" who were friends of Arthur Fonzarelli and would date Fonzie and Richie Cunningham on Happy Days (1974). Penny had been working on miscellaneous writing projects ("My Country Tis Of Thee", a bicentennial spoof for Francis Ford Coppola and "Paper Hands" about the Salem Witch Trials) with writing partner Cindy Williams. Cindy happened to be a friend and ex-girlfriend of Henry Winkler's, so Garry asked the two to play the parts of these girls. The audience saw their wonderful chemistry, and loved them so much, a spin-off was created for them.
Penny was well-known as Laverne DeFazio. She and Rob had divorced in 1980. The show ended three years later, half a year after Cindy Williams left the show due to pregnancy (her first baby, Emily, from now ex-husband Bill Hudson)... they wanted Williams to work the week she was supposed to deliver.
Soon after, Penny began directing such films as Jumpin' Jack Flash (1986), Big (1988) and A League of Their Own (1992). Her hobbies included needlepoint, jigsaw puzzles and antique shopping. She was best friends with actress Carrie Fisher and was godmother to Carrie's daughter, Billie.
Penny died at 75 in Los Angeles, California.- Actress
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A one-time pin-up beauty and magazine story model, Barbara Loden studied acting in New York in the early 50s and was on the Broadway boards within the decade. She was discovered for films by legendary producer/director Elia Kazan who was impressed with what she did in a small role as Montgomery Clift's secretary in Wild River (1960). He moved her up to feature status with her next role as Warren Beatty's wanton sister in his classic Splendor in the Grass (1961). As Kazan's protégé, she appeared as part of Kazan's stage company in the Lincoln Center Repertory Theater's production of After the Fall, winning the Tony and Outer Critic's Circle awards for that dazzling performance. An oddly entrancing, delicate blonde beauty possessed with a Marilyn Monroe-like vulnerability, she impressed in two of his other stage productions as well - But For Whom Charlie and The Changeling . After appearing in the failed movie Fade In (1973) with Burt Reynolds, she married Kazan and went into semi-retirement. Barbara wrote, directed and starred, however, in a bold independent film entitled Wanda (1970) and became an unexpected art house darling, distinguishing herself as one of the few woman directors whose work was theatrically-released during the period. She won praise in all three departments, nabbing the Venice Film Festival's International Critics Prize. Supposedly discouraged by a doubting, perhaps even resentful Kazan, Barbara never followed up on this success. She expressed interest and was in the midst of putting together another film, based on the novella The Awakening by Kate Chopin, when she learned in 1978 she had breast cancer. Barbara died two and a half years later, at age 48, after the cancer spread to her liver - before the project ever came to fruition. The Hollywood industry lost a burgeoning talent who just might have opened doors for other women directors had she been given the time.- Writer
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Euzhan Palcy was born in Saint-Joseph, Martinique, France. Euzhan is a writer and director, known for Siméon (1992), Sugar Cane Alley (1983) and A Dry White Season (1989).- Director
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Sara Gómez was born in 1943 in Cuba. She was a director and writer, known for One Way or Another (1977), En la otra isla (1968) and Iré a Santiago (1964). She was married to Germinal Hernández and Héctor Veitia. She died in 1974.- Camera and Electrical Department
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Noted adult and exploitation cinema filmmaker Roberta Findlay was born Roberta Hershkowitz in 1943 in New York City. The youngest in a family of three children, Roberta grew up in a tenement apartment in the Bronx. Findlay's Hungarian immigrant parents wanted her to be a pianist. Roberta met her husband Michael Findlay while a student at the City College of New York after she volunteered to be the accompanying pianist for a silent movie program that Michael was running on campus. Roberta married Michael at age eighteen. The couple collaborated on several sleazy and sadistic exploitation features together in the 1960's which include the notoriously nasty "Flesh" trilogy. After parting ways with Michael in the early 1970's, Roberta went on to direct a handful of explicit hardcore movies for producer and distributor Allan Shackleton. Moreover, Findlay also worked on various films as an editor, composer, producer, and cinematographer. Roberta ended her directing career toiling away on low-budget horror and grindhouse fare throughout the mid to late 1980's. In addition, Findlay and her late partner Walter E. Sear founded the recording studio Sear Sound in New York City.- Actress
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Rebecca Miller was born on 15 September 1962 in Roxbury, Connecticut, USA. She is an actress and writer, known for Maggie's Plan (2015), Personal Velocity (2002) and Angela (1995). She has been married to Daniel Day-Lewis since 13 November 1996. They have two children.- Actress
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Elaine May (born under the name Elaine Iva Berlin) is an American actress, comedian, film director, playwright, and screenwriter from Philadelphia. Her professional career started in the 1950s and is still ongoing. She has twice been nominated for the Academy Award for Best Adapted Screenplay. She is best remembered for directing the Cold War-themed action comedy "Ishtar" (1987). She won the Golden Raspberry Award for Worst Director, but the film has had a vocal minority of critics who defend its quality.
In 1932, May was born to a Jewish-American family. Both her parents were theatrical actors. Her father Jack Berlin was also a theater director and led his own traveling Yiddish theater company. Her mother was actress Ida Aaron. May made her stage debut c. 1935, at the age of 3. Her father had decided to include her in his performances. As a a child actress, she was reportedly cast in the roles of boys.
The theater company toured extensively, and May was part of their tours. She kept changing schools, enrolling for a few weeks and then moving to another city. May reputedly hated school, but loved reading books on her own. Her favorite topics were fairy tales and mythology.
Jack Berlin died c. 1942, and May's career as a child actress consequently ended. She was left in the custody of her mother. The duo settled in Los Angeles, and May eventually enrolled in Hollywood High School. In 1946, May dropped out of school. In 1948, she married her her first husband, the toy inventor Marvin May. She was only 16-years-old at the time of her marriage. She would later keep her husband's surname as her professional name.
In 1949, May had her only child, Jeannie Brette May. Jeannie would later become a professional actress in her own right, under the name Jeannie Berlin. May and her husband separated c. 1950, and she received a divorce in 1960. She started supporting herself through a series of odd jobs.
In 1950, May was interested in attending college, but most colleges in California required applicants to have high school diplomas. As a high school dropout, she did not have the necessary diploma. Learning that the University of Chicago did not use this requirement, she hitch-hiked her way to Chicago, At the time her personal fortune consisted of 7 dollars.
Once she arrived in Chicago, May started informally taking classes at the university by auditing, sitting in without enrolling. She habitually engaged in discussions with her instructors. She once had a fight with a philosophy instructor because of their different interpretations of the motives behind Socrates' apology. May was introduced to aspiring actor Mike Nichols (1931-2014),who was also attending the University. They bonded over their shared passion for the theater.
In 1955, May became one of the charter members of the Compass Players, a Chicago-based improvisational theater group. Nichols joined the group shortly after. The two of them formed a working partnership, jointly developing improvised comedy sketches. May helped the Compass Players to become a highly popular comedy troupe, due to her talent for satire. She helped in the training of novice members of the group.
In 1957, Nichols was asked to leave the Compass Players. His popularity had outshone most members of the group, and had caused internal conflicts. May left the group with him. They then decided to form their own stand-up comedy team, "Nichols and May". Their improvisational skills, and ability to come up with fresh material allowed them to impress their audience.
In 1960, the comedy duo made their Broadway debut, with the show "An Evening with Mike Nichols and Elaine May". A recording of the show won the 1962 "Grammy Award for Best Comedy Album". "Nichols and May" became very popular in New York City, performing in sold-out shows. They also started making appearances in radio and television, and even recorded commercials.
May was reportedly surprised with her own success. She had spend much of her adult life in near-poverty, but she was now earning a regular income from show business. She joked in an interview that she was practically barefoot when she arrived in New York, and now had to get used to wearing high heels.
In 1961, the duo was at the height of their fame. But they decided to dissolve their partnership in order to pursue solo careers. Nichols started working as a Broadway stage director, while May started her new career as a playwright. Her most successful play was "Adaptation" (1969), which she also directed. For her work as a theatrical director, she won the 1969 "Outer Critics Circle Award, Best Director".
May made her debut as a film director with the black comedy "A New Leaf" (1971). It was an adaptation of a short story by Jack Ritchie (1922-1983), depicting the story of an impoverished patrician who marries a wealthy heiress for her money. The main character initially considers murdering his wife to inherit her wealth, but first he has to protect her from other predators who were after her money.
Her first film found little success at the box office, but was praised by critics and was nominated for the "Golden Globe Award for Best Motion Picture - Musical or Comedy". It later earned a reputation as a cult classic, and in 2019 it was selected for preservation by the National Film Registry.
Her second film was the romantic comedy "The Heartbreak Kid" (1972). It concerns a newlywed man who falls madly in love with a younger woman while on his honeymoon. He pursues his romantic interest obsessively despite all signs that his love is unrequited, and despite the disapproval of the woman's protective father. The film was critically acclaimed, and has at times been listed in retrospectives concerning the funniest American films.
In an unusual career move, her third film was not a comedy. It was the rather bleak gangster film "Mikey and Nicky" (1976). It depicts a small-time mobster whose life is in danger, resorting to asking for help from his childhood friend. While creating this film, May got involved in a legal dispute with the film studio Paramount Pictures. The studio eventually decided to only allow a limited release for the film. The film found a niche audience in the home video market, but May's career as a director suffered from this dispute. She was effectively blacklisted.
May decided to focus on her screenwriting career. She found success with the script to the fantasy-comedy "Heaven Can Wait" (1978), about the afterlife of a man who died prematurely. The film was based on a 1938 play by Harry Segall (1892-1975), and also served as a remake to the classic film "Here Comes Mr. Jordan" (1941) which was based on the same play. The film earned about 99 million dollars at the worldwide box office, and was a critical hit. May was nominated for the Academy Award for Best Adapted Screenplay, but the award was instead won by rival screenwriter Oliver Stone (1946-).
During the early 1980s, May mainly worked as an uncredited script doctor. She "polished" scripts by other screenwriters. Her greatest success in this role was the romantic comedy "Tootsie" (1982), for which she wrote several additional scenes. She attempted her comeback as a director with the action comedy "Ishtar" (1987), which became a box office flop for the film studio Columbia Pictures. The film's failure reportedly convinced Columbia's parent company Coca-Cola to sell the under-performing studio to Sony.
"Ishtar" was derided at the time as the worst film of its era by many critics, but was also defended by a vocal minority of critics. It has since attracted a cult audience, who consider this to be a great film. However the film's failure ended May's career as a film director and damaged her reputation. She also ceased working as a screenwriter for several years, reduced to working as an actress again.
May made her comeback as a screenwriter with the comedy film "The Birdcage" (1996), a remake of the European comedy "La Cage aux Folles" (The Cage of Madwomen, 1978). In the film, the openly gay parents to a young man have to pretend to be straight in an attempt to impress their son's prospective in-laws. The film earned about 185 million dollars at the worldwide box office, the greatest hit in May's career up to that point. She was nominated for the "Writers Guild of America Award for Best Adapted Screenplay", but the award was instead won by rival screenwriter Billy Bob Thornton (1955-).
May found more critical success with her next screenplay, for the political film "Primary Colors" (1998). It was an adaptation of the roman à clef novel "Primary Colors: A Novel of Politics" (1996) by Joe Klein (1946-). The novel itself was a fictionalized version of Bill Clinton's 1992 presidential campaign, and depicts an idealistic campaign worker's disillusionment with the politician. The film's cast were nominated for several awards. May herself received her second nomination for the Academy Award for Best Adapted Screenplay, but the award was instead won by rival screenwriter Bill Condon (1955-).
May largely retired from screenwriting since the end of the 1990s. As an actress, she had a supporting role in the crime-comedy "Small Time Crooks" (2000). The film concerned nouveau riche criminals, who attempt to socialize with the American upper class. For this role, she won the "Best Supporting Actress Award" at the National Society of Film Critics Awards.
May lived in retirement until joining the cast of the television mini-series "Crisis in Six Scenes" (2016), her first television role in several decades. The series was created by Woody Allen (1935-), who happened to be an old friend of May.
In 2018, May made a theatrical comeback in Broadway. She played the elderly gallery owner Gladys Green in a revival of the play "The Waverly Gallery" (2000) by Kenneth Lonergan (1962-). In the play, Gladys shows early signs of Alzheimer's disease, and her family has to deal with her mental decline. May received critical acclaim for this role. For this role, she won the 2019 Tony Award for Best Actress in a Play. At age 87, she was the second-oldest winner of a Tony Award for acting.
As of 2021, May is 89-years-old. She is no longer very active, but she reportedly has plans to direct another film. She remains a popular actress.- Director
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Accomplished Film Director/Writer/Producer Mira Nair was born in India and educated at Delhi University and at Harvard. She began her film career as an actor and then turned to directing award-winning documentaries, including So Far From India and India Cabaret. Her debut feature film, Salaam Bombay! was nominated for an Academy Award for Best Foreign Language Film in 1988; it won the Camera D'Or (for best first feature) and the Prix du Publique (for most popular entry) at the Cannes Film Festival and 25 other international awards. Her next film, Mississippi Masala, an interracial love story set in the American South and Uganda, starring Denzel Washington and Sarita Choudhury, won three awards at the Venice Film Festival including Best Screenplay and The Audience Choice Award. Subsequent films include The Perez Family (with Marisa Tomei, Anjelica Huston, Alfred Molina and Chazz Palminteri), about an exiled Cuban family in Miami; and the sensuous Kama Sutra: A Tale of Love, which she directed and co-wrote. Nair directed My Own Country based on Dr. Abraham Verghese's best-selling memoir about a young immigrant doctor dealing with the AIDS epidemic. Made in 1998, My Own Country starred Naveen Andrews, Glenne Headly, Marisa Tomei, Swoosie Kurtz, and Hal Holbrook, and was awarded the NAACP award for best fiction feature. Nair returned to the documentary form in August 1999 with The Laughing Club of India, which was awarded The Special Jury Prize in the Festival International de Programmes Audiovisuels 2000. In the summer of 2000, Nair shot Monsoon Wedding in 30 days, a story of a Punjabi wedding starring Naseeruddin Shah and an ensemble of Indian actors. Winner of the Golden Lion at the 2001 Venice Film Festival, Monsoon Wedding also won a Golden Globe nomination for Best Foreign Language Film and opened worldwide to tremendous critical and commercial acclaim. Nair's next feature was an HBO original film, Hysterical Blindness. Set in working class New Jersey in 1987, the film stars Uma Thurman, Juliette Lewis, Gena Rowlands. Thurman and Lewis play single women looking for love in all the wrong places, while Rowlands, who plays Thurman's mother, adds to her daughter's hysteria when she finds Mr. Right in Ben Gazarra. The film received great critical acclaim and the highest ratings for HBO, garnering an audience of 15 million, a Golden Globe for Uma Thurman, and 3 Emmy Awards. Following the tragic events of September 11, 2001, Nair joined a group of 11 renowned filmmakers, each commissioned to direct a film that was 11 minutes, 9 seconds and one frame long. Nair's film is a retelling of real events in the life of the Hamdani family in Queens, whose eldest son was missing after September 11, and was then accused by the media of being a terrorist. 11.09.01 is the true story of a mother's search for her son who did not return home on that fateful day. In May 2003, Nair helmed the Focus Features production of the Thackeray classic, Vanity Fair, a provocative period tale set in post-colonial England, in which Reese Witherspoon plays the lead, Becky Sharp. The film is scheduled to release in Fall 2004. Nair's upcoming projects include Tony Kushner's Homebody/Kabul for HBO, and Hari Kunzru's The Impressionist, and there are also plans to take Monsoon Wedding to Broadway. Mirabai Films is establishing an annual filmmaker's laboratory, Maisha, which will be dedicated to the support of visionary screenwriters and directors in East Africa and India. The first lab, which is only for screenwriters, will be launched in August 2005 in Kampala, Uganda.- Actress
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Diane Kurys was born on 3 December 1948 in Lyon, Rhône, France. She is an actress and director, known for For a Woman (2013), Entre Nous (1983) and Peppermint Soda (1977).