国际电影导演词典（英文版）：2-3

859 S SANDERS-BRAHMS, Helma Nationality: German. Born: Helma Sanders in Emden, Germany, 20 November 1940; added her mother’s maiden name to her own to differentiate herself from another New German Cinema filmmaker, Helke Sander. Education: Studied acting in Hanover, Germany; studied drama and literature at Cologne University. Career: Worked as an announcer and interviewer for a Cologne television station, 1960s; began directing shorts and documentaries for German televi- sion, 1970; directed first feature, Gewelt, 1971; made Erdbeben in Chile, her first film for the Filmverlag der Autoren, set up by thirteen New German Cinema directors as a production and distribution cooperative, 1974. Films as Director and Screenwriter: 1970 Angelika Urban, verkauferin, verlobt (Angelika Urban, Sales- girl, Engaged) (short) 1971 Gewalt (Violence); Die industrielle Reservarmee (The Indus- trial Reserve Army) (doc) 1972 Der angestellte (The Employee) 1973 Die machine (The Machine) (doc) 1974 Die letzten tage von Gomorrah (The Last Days of Gomorrah); Erdbebenin Chile (Earthquake in Chile) 1975 Unter dem pflaster ist der strand (The Sand under the Pavement) 1976 Shirins hochzeit (Shirin’s Wedding) 1977 Heinrich 1980 Deutschland bleiche mutter (Germany, Pale Mother) (+ pr); Vringsveedeler triptichon (The Vringsveedel Tryptych) (doc) 1981 Die beruhrte (No Mercy No Future; No Exit No Panic) (+ pr, costumes, makeup) 1984 Flugel und fesseln (L’Avenir d’Emilie; The Future of Emily) 1986 Laputa 1987 Felix (co-dir) 1988 Geteilte liebe (Divided Love; Manoever) (+ pr) 1992 Apfelbaume (Apple Trees) 1995 Lumière et compagnie (Lumière and Company) (short Lumière film) 1995 Jetzt leben—Juden in Berlin 1997 Mein Herz—Niemandem! (My Heart Is Mine Alone) (+ pr) 2000 Clara (+ co-sc) Other Films: 1981 Der Subjektive Faktor (role) 1995 The Night of the Filmmakers (appearance) Publications By SANDERS-BRAHMS: articles— ‘‘Misunderstood Mother and Forgotten Father,’’ interview with G. Vincendeau in Monthly Film Bulletin (London), May 1985. Interview with C. Racine in Sequences (Montreal), February 1987. Interview with Peter Brunette in Film Quarterly (Berkeley, Califor- nia), Winter 1990. Sanders-Brahms, Helma, and S. Toubiana, ‘‘Menace a l’est,’’ in Cahiers du Cinéma (Paris), September 1990. Interview with E. Richter and R. Richter in Film und Fernsehen (Berlin), vol. 19, no. 8/9, 1991. Interview with Janine Euvrard, in Ciné-Bulles (Montreal), Spring 1994. Interview with Erika Richter, in Film und Fernsehen (Berlin), vol. 25, no. 2, 1997. On SANDERS-BRAHMS: articles— Silberman, M., ‘‘Women Filmmakers in West Germany: A Catalog,’’ in Camera Obscura (Los Angeles), Autumn 1980. Aude, F., article in Positif (Paris), November 1981. Silberman, M., ‘‘Women Working: Women Filmmakers in West Germany: A Catalog (Part 2),’’ in Camera Obscura (Los Ange- les), Fall 1983. Article in Film a Doba (Prague), June 1985. Bammer, A., ‘‘Through a Daughter’s Eyes: Helma Sanders-Brahms’s Germany, Pale Mother,’’ in New German Critique, Fall 1985. Fjordholm, H., article in Z Filmtidsskrift (Oslo), vol. 4, no. 5, 1986. Desjardins, M., ‘‘Germany, Pale Mother and the Maternal: Toward a Feminist Spectatorship,’’ in Spectator, vol. 8, no. 1, 1987. Elsaesser, T., ‘‘Public Bodies and Divided Selves: German Women Filmmakers in the 1980s,’’ in Monthly Film Bulletin (London), December 1987. Hyams, B., ‘‘Is the Apolitical Woman at Peace? A Reading of the Fairy Tale in Germany, Pale Mother,’’ in Wide Angle (Baltimore, Maryland), vol. 10, no. 3, 1988. Kinder, M., ‘‘Ideological Parody in the New German Cinema: Reading The State of Things, The Desire of Veronika Voss, and Germany, Pale Mother as Postmodernist Rewritings of The Search- ers, Sunset Boulevard, and Blonde Venus,’’ in Quarterly Review of Film and Video vol. 12, no. 1/2, 1990. Kindred, Jack, ‘‘German Helmer Quits Fest over Yank Invasion,’’ in Variety (New York), 14 February 1990. Euvrard, J., in Ciné-Bulles (Montreal), no. 2, 1994. SANDRICH DIRECTORS, 4 th EDITION 860 Keene, J., ‘‘Mothering Daughters: Subjectivity and History in the Work of Helma Sanders-Brahms’s Germany, Pale Mother (1979–1980), in Film-Historia, no. 1, 1997. Kino (Warsaw), no. 2, 1997. *** The films of Helma Sanders-Brahms have been programmed with some amount of relish at film festivals and in art houses and cinematheques, but it is a safe bet that they never will be mainstream movie fare. They are not engrossing dramas in which the audience can become emotionally involved in the onscreen action. Instead, Sanders- Brahms presents, from a distance, observable archetypes of life, often with a deliberate pacing. Rather than directing actors to express emotion, she prefers ‘‘pent-up’’ performers who hide their real feelings. In fact, actor Heinrich Giskes found himself so emotionally ‘‘pent-up’’ while shooting a scene for Heinrich that he broke a glass over his director’s head as soon as she yelled cut. Sanders-Brahms is a rebel to Hollywood conventions. She avoids casting glamorous leading ladies or hunky actors in order to sell tickets, and her films are often very slowly paced. She does not make ‘‘road movies,’’ because she does not revel in what she calls ‘‘the poetry of the road, the journey. The autobahn and the factory assembly line are the same thing, the same prison.’’ A producer and writer in addition to director, Sanders-Brahms is a member of the New German Cinema movement, and as such she builds her scripts around the concerns of the political left. Many of her films present themes pertaining to the plight of the worker in Germany: the inequities of modern working conditions; how workers have been pitted against one another in order to attain Germany’s capitalist ‘‘economic miracle’’; and how the Gastarbeiter (‘‘guest worker,’’ or foreign migrant worker in Germany) is exploited. Shirin’s Wedding addresses the Gastarbeiter problem, focusing on the suffering of a Turkish woman. As a child, Shirin was betrothed to Mahmud, but he left for Germany to become a Gastarbeiter. To escape an arranged marriage, Shirin travels to Germany to find Mahmud. She obtains work in a factory in Cologne and later as a cleaner, a job which disappears after she is raped by her boss. She winds up a prostitute, with Mahmud paying to have sex with her. Eventually, she is killed by a pimp’s bullet. In Die Beruhrte, the daughter of a bourgeois family seeks sexual partners in the streets, including black migrant workers, derelicts, and aged, crippled cast- offs of society. In these neglected people, she sees the essence of Christ. Finally, Apfelbaume shows the destruction of a family whose members are adversely affected by the politics of reunification. Other motifs in Sanders-Brahms’s work are the independent woman under fire and the mother-daughter relationship. She herself was raised by her self-reliant mother while her father was away fighting in Hitler’s armies. He did not return until she was five years old. Much of her perception of her parents’ relationship and her own childhood is depicted in Germany, Pale Mother, one of her best- known films. The mother is shown as a strong and independent woman who gives birth to her daughter (played by Sanders-Brahms’s own baby girl) during an air raid. When the war ends, this woman is expected to file away her independence in order to be an obedient wife. She does so, but her frustrations take hold in the form of a disease which paralyzes her face and, in a gut-wrenching scene, calls for the removal of all her teeth. The Future of Emilie tells of an actress who lives a single, unconventional lifestyle. She returns to her parents’ home to retrieve her daughter, only to be told by her own mother that she is a bad influence on the child. In a powerful scene the actress and her little girl visit the beach, where they spin fantasy adventures with each other. The movie makes reference to the myth of an Amazon queen, a woman who has killed off the man she loves and is living quite nicely without the company of men. Sanders-Brahms’s point is that, in modern society, there are women who also are living well without men, but they are brainwashed into thinking that they would be better off with male partners. Sanders-Brahms’s us-against-them brand of feminism mirrors the early 1970s, when the modern feminist movement was new and women who had grown up in a male-dominated society were feeling confrontational. Indeed, Felix, released in 1987, might have been made in the early 1970s. It is the politically loaded story of an egocentric, hypocritical modern male whose lack of self-awareness borders on the ridiculous. He has just been left by his lover, and he finds himself cast adrift in a world in which women no longer need men, or want men. Felix is filmed in four episodes, each shot by a different woman director—Christel Buschmann, Helke Sander, and Margarethe von Trotta, in addition to Sanders-Brahms. All are guilty of stereotyping men as jabbering idiots, and women as collectively sensitive, sensuous, and perceptive—practically perfect. Sanders-Brahms’s films are united in that they are reflective of the society in which she came of age. Along with her fellow members of the New German Cinema, she has a mission: to point out what is wrong with the world as she sees it. — Audrey E. Kupferberg SANDRICH, Mark Nationality: American. Born: Mark R. Sandrich in New York City, 26 August 1900. Family: Married to Freda (Wirtschater) Sandrich; father of television director Jay Sandrich and second unit/assistant director Mark Sandrich Jr. Education: Graduated from Columbia University, where he studied science and mathematics. Career: Entered the film industry as a propman, 1922; began directing comedy shorts, 1926; made his feature film directorial debut with Runaway Girl, 1928; began producing his films, 1949. Died: Of a heart attack in Los Angeles, 4 March 1945. Films as Director: 1926 Jerry the Giant (short) (co-d with Lesley Selander); Napoleon Junior (short) (co-d with Lesley Selander) 1927 Brave Cowards (short); Careless Hubby (short); First Prize (short); Hello Sailor (short); Hold Fast (short); Hold That Bear (short); Hot Soup (short); A Midsummer Night’s SANDRICHDIRECTORS, 4 th EDITION 861 Mark Sandrich (sitting on ground by scaffolding), on the set of A Woman Rebels Steam (short); The Movie Hound (short); Night Owls (short); Shooting Wild (short); Some Scout (short) 1928 Bear Knees (short); A Cow’s Husband (short); High Strung (short); A Lady Lion (short); Love Is Blonde (short) (co-d with Zion Myers); Sword Points (short); Runaways Girls 1929 The Talk of Hollywood (+ co-story); Two Gun Ginsburg (short) 1930 Aunt’s in the Pants (short); Barnum Was Wrong (short) (+ co- story, dialogue); General Ginsburg (short) (+ co-story, dialogue); Gunboat Ginsburg (short) (+ co-story, dialogue); Hot Bridge (short); Moonlight and Monkey Business (short (+ co-continuity, dialogue); Off to Peoria (+ co-story, dialogue); Razord in Old Kentucky (short); Society Goes Spaghetti (short) (+ co-story, dialogue); Talking Turkey (short) (co-story, dialogue); Trader Ginsburg (short) (+ co- story, dialogue) 1931 The County Seat (short) (+ co-story, dialogue); Cowslips (short) (co-story, continuity); False Roomers (short) (+ co- adaptation); The Gay Nineties (short) (+ co-adaptation, dialogue); Many a Sip (short) (+ co-story, continuity); A Melon-Drama (short) (+ co-adaptation, dialogue); Scratch- As-Catch-Can (short) (+ co-adaptation); The Strife of the Party (short) (+ co-story, adaptation); The Way of All Fish (short) (+ co-adaptation, dialogue); The Wife o’ Riley (short) (+ co-story, dialogue) 1932 Ex-Rooster (short) (+ co-story); A Hurry Call (short) + co- story); The Iceman’s Ball (short) (+ co-adaptation, dia- logue); Jitters, the Butler (short) (+ co-adaptation, dia- logue); The Millionaire Cat (short) (+ co-adaptation, dia- logue); A Slip at the Switch (short) (+ co-story); When Summons Comes (short (+ story, continuity); Hold ‘Em Jail (co-sc only) 1933 Aggie Appleby, Maker of Men; The Druggist’s Dilemma (short) (+ co-adaptation, dialogue); Hokus Focus (short) (+ co-adaptation, dialogue); Melody Cruise (+ co-sc); Pri- vate Wives (short) (+ co-story); So This Is Harris (short) (+ co-story); Thru Thin and Thicket; or, Who’s Zoo in Africa? (short) 1934 Hips, Hips, Hooray; Cockeyed Cavaliers; The Gay Divorcee 1935 Top Hat 1936 A Woman Rebels; Follow the Fleet 1937 Shall We Dance? SANJINéS DIRECTORS, 4 th EDITION 862 1938 Carefree 1939 Man about Town 1940 Love Thy Neighbor (+ pr); Buck Benny Rides Again (+ pr) 1941 Skylark (+ pr) 1942 Holiday Inn (+ pr) 1943 So Proudly We Hail! (+ pr) 1944 I Love A Soldier (+ pr); Here Come the Waves (+ pr) Publications On SANDRICH: articles— McManus, John T., ‘‘A Sandrich and a Dance or So,’’ in New York Times, 16 May 1937. Strauss, Theodore, ‘‘That Sandrich Man,’’ in New York Times, 12 July 1942. *** The signature of Mark Sandrich is blurred. With a string of significant features to his credit, it would seem that a few books on Sandrich should have been published. Yet there have been no career evaluations of this director/producer. The reason is two-fold. First of all, Sandrich’s efforts are upstaged by the star power in his films. Secondly, Sandrich died in early middle age in 1945, cutting short his screen legacy at a time when the major studio factory system was beginning to be derailed and director/producers of his caliber were just starting to assert their position as auteurs within an about-to-be newly designed Hollywood. With few exceptions, Sandrich’s most important films are come- dies featuring legendary performers in legendary performances. The best known are the several Fred Astaire-Ginger Rogers musicals that he made at RKO. No matter how often these films are packaged, they never are tagged ‘‘Mark Sandrich films.’’ Instead, they are the Astaire-Rogers musicals. Even so, it is Sandrich’s contribution that allowed for the creation of Astaire-Rogers as one of the 1930’s most popular and exciting screen teams. Sandrich employed his extensive experience in screen comedy to mold a bland-looking Fred Astaire from a stage dancer/singer into a lively and charming screen presence. Directing dozens of silent and early sound comedy shorts gave Sandrich an expert’s viewpoint on presenting screen comedy. With his sharpened eye, he determined how best to complement Astaire’s rather stagy manner and distant formality with the more free-flowing, vivacious Rogers. The results were dynamic. When The Gay Divor- cee was being made, Rogers had more screen experience than Astaire. She acts more loosely for the camera than Astaire, whose theatrical gestures and reactions are a bit heavy-handed for films. Realizing this, Sandrich adjusts the placement of the camera to accommodate each of his actors. The film unfolds with a series of brief comedy sequences involving Astaire, Rogers, and a number of character actors. When Sandrich films Astaire, he does so in a series of quick takes, and he does not bring the camera in for a close shot. When Astaire and Rogers ‘‘meet cute’’ over a large trunk in which Rogers’ dress is caught, Sandrich moves in for a couple close shots of Rogers reacting to the situation, but he keeps Astaire at a distance. By recognizing the comfort zone of his stars, he brings out the most effective perform- ance for each. Sandrich seems to savor the comedy scenes in his films. His attention to camera placement and fast-paced editing result in effi- cient comedy sequences that bring quick laughs and prevent overly long reaction shots. Hips, Hips, Hooray and Cockeyed Cavaliers, both of which star the zany comedy duo of Wheeler and Woolsey, offer examples of this technique. Buck Benny Rides Again and Love Thy Neighbor, offbeat comedies featuring Jack Benny and Eddie ‘‘Rochester’’ Anderson, work because Sandrich is sensitive to Benny’s precise comic timing, as well as the humorous styles of other popular radio comedians who make appearances in the film. Sandrich produced as well as directed his films from 1940 until his death. Taking a break from comedy, he made an outstanding World War II patriotic melodrama of brave nurses caring for fighting men in the Pacific. In So Proudly We Hail!, Sandrich emphasized accuracy and brought in several experienced combat nurses to document details of their experience. That authentication was particularly important to audiences since the film was in production when the war was in progress. This project, plus a follow-up called I Love a Soldier, a drama about wartime marriage which re-teams several of the So Proudly We Hail! stars, demonstrates Sandrich’s willingness to expand his cinematic repertoire, and make films that are serious as well as escapist. Because of Sandrich’s sudden death, one only can speculate whether he would have further developed his talents during the post- war era, perhaps in a manner similar to director George Stevens, whose early career parallels Sandrich’s. —Audrey Kupferberg SANJINéS, Jorge Nationality: Bolivian. Born: La Paz, Bolivia, 31 July 1936. Educa- tion: Studied filmmaking and philosophy at Catholic University in Santiago, Chile, late 1950s. Career: Made first film, Sue?os y realidades, with Oscar Soria, in Bolivia, 1961; named head of Bolivian Film Institute, 1965; left Bolivia following coup led by Hugo Banzer, 1972; returned to Bolivia, 1979. Address: c/o Consejo Nacional del Cine, Casilla 9933, La Paz, Bolivia. Films as Director: 1961 Sue?os y realidades (co-d) 1963 Revolución; Una día Paulino (co-d) 1965 Aysa 1966 Ukamau 1969 Yawar mallku (Blood of the Condor) 1971 El coraje del pueblo 1974 El enemigo principal 1976 Fuera de aquí 1983 Las banderas del amanecer (co-d) 1989 La nacion clandestina (+ sc) 1995 Para recibir el canto de los pajaros (+ sc) SANJINéSDIRECTORS, 4 th EDITION 863 Publications By SANJINéS:book— Theory and Practice of a Cinema with the People, with Ukamau Group and Richard Schaaf, Willimantic, 1989. By SANJINéS:articles— ‘‘Cinema and Revolution,’’ an interview in Cineaste (New York), Winter 1970/71. ‘‘Ukamau and Yawar Mallku: An Interview with Jorge Sanjinés,’’ in Afterimage (London), Summer 1971. ‘‘Sobre Fuera de Aquí!,’’ and ‘‘Llamado del Grupo Ukamau,’’ in Cine Cubano (Havana), no. 93, 1980. ‘‘El Cine revolucionario en Bolivia,’’ in Cine Cubano (Havana), no. 99, 1981. ‘‘Faire du cinéma un instrument de liberation,’’ an interview with G. Gervais, in Jeune Cinéma (Paris), March 1982. ‘‘Nuestro principal destinatario,’’ in Cine Cubano (Cuba), no. 105, 1983. ‘‘Revolutionary Cinema: The Bolivian Experience,’’ in Cinema and Social Change in Latin America: Conversations with Filmmakers, edited by Julianne Burton, Austin, Texas, 1986. ‘‘El plano secuencia integral,’’ in Cine Cubano (Cuba), no. 125, 1989. ‘‘Voraussetzung fuer das Verstaendnis sind Interesse an und Achtung gegenueber der anderen Kultur,’’ an interview with R. Nierich and P. B. Schumann, in Filmbulletin, vol. 33, no. 4, 1991. On SANJINéS: books— Gisbert, Carlos D. Mesa, and others, Cine Boliviano: Del realizador al critico, La Paz, 1979. Gisbert, Carlos D. Mesa, La aventura del cine boliviano 1952–85, La Paz, 1985. Armes, Roy, Third-World Filmmaking and the West, Berkeley, 1987. On SANJINéS: articles— Wilson, David, ‘‘Aspects of Latin American Political Cinema,’’ in Sight and Sound (London), Summer 1972. Campbell, Leon G., and Carlos Cortes, ‘‘Film as Revolutionary Weapon: A Jorge Sanjinés Retrospective,’’ in History Teacher, May 1979. Ledgard, M., ‘‘Jorge Sanjinés: El cine urgente,’’ in Hablemos de Cine (Lima), June 1981. West, Dennis, ‘‘Film and Revolution in the Andes,’’ in New Scholar (San Diego), vol. 8, no. 1/2, 1982. West, Dennis, ‘‘Alternative Cinema in Latin America,’’ in Roads to Freedom: The Struggle against Dependence in the Developing World, edited by Edwin G. Clausen and Jack Bermingham, Brookfield, Vermont, 1989. Ruggle, W., ‘‘Die eigene Identitaet zurueckerobern,’’ in Filmbulletin, vol. 33, no. 4, 1991. Malandrin, Stéphane, ‘‘Toulouse à l’heure latine,’’ in Cahiers du Cinéma (Paris), June 1995. Convents, G., in Film en Televisie + Video (Brussels), October 1995. Chaput, Luc, ‘‘Jorge Sanjines: Amérindien mon frére,’’ in Séquences (Haute-Ville), September-October 1997. *** The Bolivian Jorge Sanjinés has become internationally recog- nized as a leading filmmaker in spite of the fact that his country has few significant filmmaking traditions or production facilities. Work- ing outside of a film-industry context, Sanjinés has doggedly over- come formidable obstacles, including economic ones. For instance, to finance the fiction feature Yawar mallku Sanjinés and other members of his Ukamau production group sold personal belongings and accepted contributions. After finishing Yawar mallku, members of the Ukamau collective toured the Bolivian highlands with a 16mm print and portable projection equipment in an effort to reach the film’s intended audience—the Indian peasantry. Sanjinés is a militant filmmaker whose primary goal is to bring a revolutionary Marxist political agenda to peasant and working-class audiences. His principal films respond to a militant Marxist aesthetic by examining oppressed collective protagonists (for example, an Andean peasant community) in their historical situations, by educat- ing viewers to an understanding of those situations, and by inspiring audiences to transform the political and socioeconomic status quo in order to build a higher stage of society. The depiction of oppression in these films has in some cases been based on documented histori- cal events. Sanjinés’s works offer a defense of the Andean Indian way of life and expose and attack the Indians’ enemies. Yawar mallku denounces a Progress Corps (read Peace Corps) pediatrics clinic that sterilizes unsuspecting Andean women, while in the documentary reconstruc- tion El coraje del pueblo, Bolivian government and military officials responsible for the massacres of Indian miners are specifically identified. The fiction feature El enemigo principal illustrates the exploitation and brutality suffered by indigenous peasants at the hands of powerful landowners and links the power of the landowners to U.S. imperialism. The mise-en-scène of these films reflects Sanjinés’s defense of the Indian way of life. For instance, in El enemigo principal the Inca heritage of the modern Andean Indian pervades the mise-en-scène: the predominance of Quechua dialogue, the centuries- old custom of chewing coca leaves, the trapezoidal niches and doors characterizing Inca masonry, the ancient agricultural ritual, the every- day work of spinning and weaving. The structural, narrative, and stylistic approaches used by Sanjinés have evolved in accordance with his basic goal of optimum communi- cation with his peasant and working-class audiences. When exhibit- ing Yawar mallku to Indians in remote areas, Sanjinés drew on an Inca oral tradition; and before showing the film he first had a narrator introduce the story and the characters to the cinematically unsophisti- cated audiences. Later, in El enemigo principal, Sanjinés built a nar- rator into the film itself: a well-known Indian peasant leader periodi- cally appears to speak, in Quechua, directly to viewers in order to introduce the characters and events which will follow. From peasant reaction to his early films, Sanjinés found that unsophisticated viewers were shocked when a close shot follows an establishing shot. Therefore, in El enemigo principal outdoor group scenes appear initially in long shot; and then the camera slowly zooms in, much as a spectator would approach. Although Yawar mallku involved an Indian community in the filming, Sanjinés later sought from indige- nous groups an even more active collective participation in an effort SAURA DIRECTORS, 4 th EDITION 864 to make films ‘‘from the people, to the people.’’ In El coraje del pueblo, survivors of the army’s 1967 massacre of miners actively participated in the filmmaking by re-creating their own activities before and during the bloodbath. Since the appearance of Yawar mallku, Sanjinés has been a well- known and controversial figure in Bolivia; but he has at times been banished from his native country by right-wing regimes because of his highly political filmmaking activities. International critical opin- ion considers Sanjinés one of the leading Latin American militant filmmakers because of his oft-demonstrated ability to make aestheti- cally and politically significant feature films—both documentaries and fiction features—in spite of extremely limited technical and financial resources. SAURA, Carlos Nationality: Spanish. Born: Huesca, 4 January 1932. Education: Studied filmmaking at Instituto de Investigaciones y Experiencas Cinematográficos (IIEC), Madrid, 1952–57. Career: Professional photographer, 1950–53; teacher at IIEC, from 1957, left for political reasons, 1964; directed first feature, Los golfos, 1960. Awards: Silver Bear, Berlin Festival, for La caza, 1966, and Peppermint frappé, 1968; Special Jury Award, Cannes Festival, for La prima Angelica, 1974, and Cria cuervos, 1976; Golden Bear, Berlin Festival, for Hurry, Hurry, 1981. Address: Iberoamericana Films, Velazquez 12, Madrid 28001. Films as Director and Scriptwriter: 1957 La tarde del domingo (Sunday Afternoon) (short) 1958 Cuenca (short) 1960 Los golfos (The Hooligans) (+ role) 1964 Llanto por un bandido (Lament for a Bandit) 1966 La caza (The Hunt; The Chase) 1967 Peppermint frappé 1968 Stress es tres, tres (Stress Is Three, Three) 1969 La madriguera (The Honeycomb; The Net) 1970 El jardín de las delicias (The Garden of Delights) 1973 Ana y los lobos (Ana and the Wolves) 1974 La prima Angélica (Cousin Angelica) 1976 Cria cuervos (Raise Ravens) 1977 Elisa, vida mía (Elisa, My Love) 1978 Los ojos vendados (Blindfold) 1979 Mamá cumple cien a?os (Mama Turns One Hundred) 1980 Deprisa, deprisa (Hurry, Hurry) 1981 Dulces horas (Sweet Hours); Bodas de sangre (Blood Wedding) 1982 Antonieta 1983 Carmen 1984 Los zancos (The Stilts) 1985 El amor brujo (Love the Magician) 1987 El dorado 1989 La noche oscura (The Dark Night) 1990 Ay! Carmela 1992 Sevillanas; Marathon 1993 Dispara! (Shoot!) 1995 Flamenco 1996 Taxi (d only) 1998 Esa luz! 1998 Pajarico; Tango 1999 Goya en Burdeos (Goya in Bordeaux) Publications By SAURA: articles— Interviews with E. Brasó, in Positif (Paris), May and October 1974. Interview with G. Braucourt, in Thousand Eyes (New York), Octo- ber 1976. Interview with M. Capdenac and others, in Ecran (Paris), July 1977. ‘‘El cumplea?os de Saura,’’ interview with J.L. Guerin, in Cinema 2002 (Madrid), January 1980. ‘‘Carlos Saura: bodas de prisa,’’ interview with M. Pereira, in Cine Cubano (Havana), no. 99, 1981. Interview with Nick Roddick in Stills (London), September/Octo- ber 1983. ‘‘Brief an ein kind auf der treppe,’’ in Film und Fernsehen (Berlin), vol. 12, no 1., 1984. ‘‘Die Rueckkehr nach Spanien,’’ in Film und Fernsehen (Berlin), vol. 12, no. 1, 1984. ‘‘Toda Espanola en Saura,’’ an interview with M.E. Gilio, in Cine Cubano (Habana), no. 134, 1992. ‘‘Carlos Saura w Londynie,’’ interview in Kino (Warsaw), July 1993. On SAURA: books— Brasó, Enrique, Carlos Saura, Madrid, 1974. Gubern, Roman, Homenaje a Carlos Saura, Huelva, 1979. Arnold, Frank, and others, Carlos Saura, Munich, 1981. Oms, Marcel, Carlos Saura, Paris, 1981. Eichenlaub, Hans M., Carlos Saura, Freiburg, 1984. Hopewell, John, Out of the Past: Spanish Cinema after Franco, London, 1986. Higginbotham, Virginia, Spanish Film under Franco, Austin, Texas, 1988. Vidal, Agustin Sanchez, El cine de Carlos Saura, Zaragoza, 1988. D’Lugo, Marvin, The Films of Carlos Saura: The Practice of Seeing, Princeton, New Jersey, 1991. On SAURA: articles— ‘‘Anne et des loups Issue’’ of Avant-Scène du Cinéma (Paris), November 1974. ‘‘Cria cuervos Issue’’ of Avant-Scène du Cinéma (Paris), 15 Octo- ber 1978. Kinder, Marcia, ‘‘Carlos Saura: The Political Development of Indi- vidual Consciousness,’’ in Film Quarterly (Berkeley, California), no. 3, 1979. Kovács, Katherine, ‘‘Loss and Recuperation in The Garden of Delights,’’ in Cine-Tracts (Montreal), Summer/Fall 1981. Tate, S., ‘‘Carlos Saura, Spain, and Mama Turns One Hundred,’’ in Cinema Papers (Melbourne), April 1982. Bartholomew, G., ‘‘The Development of Carlos Saura,’’ in Journal of Film and Video (Carbondale, Illinois), Summer 1983. D’Lugo, M., ‘‘Carlos Saura: Constructive Imagination in Post-Franco Cinema,’’ in Quarterly Review of Film Studies (New York), Spring 1983. SAURADIRECTORS, 4 th EDITION 865 Carlos Saura (right) on the set of Ay! Carmela Kinder, Marcia, ‘‘The Children of Franco in the New Spanish Cinema,’’ in Quarterly Review of Film Studies (New York), Spring 1983. Insdorf, Annette, ‘‘So?ar con tus ojos: Carlos Saura’s Melodic Cinema,’’ in Quarterly Review of Film Studies (New York), Spring 1983. Clarens, Carlos, ‘‘Is There Film after Bu?uel?’’ in Village Voice (New York), 6 January 1984. Hernandez, V., ‘‘Lectura e interpretacion, el contexto y la referencia en el cine de Carlos Saura,’’ in Contracampo (Madrid), Win- ter 1984. Schumacher, E., ‘‘Saura’s New Film Returns to Flamenco,’’ in New York Times, 15 December 1985. Rabal, F., ‘‘Freund meiner Freund,’’ in Film und Fernsehen (Berlin), vol. 14, no. 7, 1986. Hopewell, John, ‘‘Mr. Carlosawa: Carlos Saura at the National Film Theatre,’’ in Sight and Sound (London), Autumn 1986. Hunter, A., ‘‘A Spanish Point of View,’’ in Films and Filming (London), September 1986. ‘‘Carlos Saura Joins with Gomez on Ambitious $5.5-mil El Dorado,’’ in Variety (New York), 22 October 1986. D’Lugo, Marvin, ‘‘Historical Reflexivity: Carlos Saura’s Anti-Car- men,’’ in Wide Angle (Baltimore, Maryland), vol. 9, no. 3, 1987. Moore, L., ‘‘Can Saura Save Olympic Epic?,’’ in Variety (New York), 31 August 1992. Helman, Alicja, ‘‘Czar pewnego imienia,’’ in Kino (Warsaw), July- August 1994. Landrot, Marine, ‘‘La griffe espagnole,’’ in Télérama (Paris), 8 Feb- ruary 1995. Arumi, E., ‘‘Goya, artista revolucionario y su influencia en el cine,’’ in Film-Historia (Barcelona), no. 3, 1996. Filmihullu (Helsinki), no. 6, 1996. *** Over the past three decades, Carlos Saura has attained interna- tional stature while exploring quintessentially Spanish themes. Saura was one of the first Spanish filmmakers to deal with the Spanish Civil War and its aftermath. In several films he explored the impact of the war years and of the postwar period on the men and women of his generation, those who were born in the 1930s and who suffered emotional and psychological damage that affected them well into SAUTET DIRECTORS, 4 th EDITION 866 their adult years. In a number of movies, we witness the efforts of Saura’s adult protagonists to resurrect their past memories in order to come to terms with them once and for all. In the course of their recollections, we see the negative effects not only of the war, but also of the repressive system of education and of the confining family structures that were consolidated by the triumph of Franco in the postwar period. Until Franco’s death in 1975, it was not possible to express this viewpoint openly. Films were censored first at the script stage and again upon completion. Nothing controversial was allowed. Even in the 1960s, a period of liberalization when some experimentation was allowed and the New Spanish Cinema movement was born, Saura and the other young directors associated with this movement walked a delicate and difficult line, trying to convey their ideas while avoiding the hurdles imposed by the censor. It was in this atmosphere that Saura developed his cinematic style and method of working. In order to deal with taboo subjects, he (and the other young directors of that time) resorted to tactics of allusion, association, and allegory. In one of Saura’s first movies, The Hunt, a hunting party arranged by four former comrades-in-arms under Franco is used to represent the legacy of the Civil War and the moral bankruptcy it has engendered. In other movies, Saura destroys the chronological sequence of events in order to show the impact of the past and its continued importance in explaining the present. Actions and events taking place in the present often recall or evoke corre- sponding past moments, and Saura’s protagonists come to exist in several temporal dimensions simultaneously. We participate in their memories, dreams, and visions as Saura creates a fluid movement from present to past and in and out of dreams. What is original about these shifts in time and perspective is that Saura dispenses with the dissolves and soft-focus shots usually used to effectuate a time change in films. In his movies, present and past, reality and fantasy are deliberately fused together. Dream figures seem to be as palpable and as concrete as any of the ‘‘real’’ actors on screen. The audience learns to distinguish them through a series of narrative clues, changes in clothing, and the actors’ voices and facial expressions. This method places substantial demands upon the actors with whom Saura works closely. He has often used the same actors in several movies. Saura has also worked with the same producer and crew for most of his career, which helps explain the significant continuity of his films. Sometimes images or sequences from one movie recur in later ones. As Saura himself has said, ‘‘Every film is a consequence of the film before.’’ Every film is also a consequence of the particular political and social climate prevailing in Spain. With the death of Franco and the subsequent abolition of film censorship that resulted from restoration of democratic rule, Saura moved away from the complex, nonlinear narrative forms he had cultivated under Franco and began to make simpler, almost documentary-like movies. One of these, which dealt with juvenile delinquents in Madrid, was shot with nonprofessional actors from the slums of the capital (De prisa, de prisa). Two others are filmed versions of flamenco ballets that are based upon well- known literary works (Bodas de sangre and Carmen). In these as in other movies which contain references to Spanish plays, poems, and paintings, Saura affirms his ties to Spanish cultural traditions and shows their relevance to the Spain of today. El amor brujo is the third of Saura’s ‘‘Spanish folk films,’’ following Bodas de sangre and Carmen. In it, he combines music, dance, and melodrama in telling the story of a pair of gypsies who have been promised to each other by their respective families; as their wedding approaches, each becomes involved in other romances. Despite an occasional foray into what for Saura is unusual territory—Dispara! is a clichéd, unconvincing psychological drama about a rape victim who murders her attackers—the filmmaker has continued creating highly political films which explore facets of recent Spanish history, and non-narrative cinematic essays which celebrate Spanish culture. In the former category is Ay, Carmela!, a pointed yet endearing, extremely entertaining farce in which Car- men Maura has one of her best roles in a film not directed by Pedro Almodovar. She plays an entertainer who brings diversion to the partisans during the Spanish Civil War, and who ends up caught behind enemy lines with her husband and their assistant. The film works best as a comic reminiscence of what it means to be politically and morally correct, yet still be on the losing side of a conflict. Flamenco is a loving, exquisitely detailed ode to flamenco music, consisting of lively performances by an array of talented singers, dancers, and guitarists of all ages. Flamenco is a film that Gene Kelly would love; it leaves audience members clapping after each number, entranced by the joy and energy put forth by the performers, the best of whom are nothing short of dazzling. There are no English subtitles in Flamenco. None are needed. —Katherine Singer Kovács, updated by Rob Edelman SAUTET, Claude Nationality: French. Born: Montrouge, Paris, 23 February 1924. Education: Ecole des Arts Decoratif, entered IDHEC, 1948. Career: Music critic for newspaper Combat, late 1940s; assistant director to Pierre Montazel, Gut Lefranc, Georges Franju, and Jacques Becker, 1950s; also TV producer; directed first feature, Classe tous risques, 1960. Died: Of liver cancer in Paris, 22 July 2000. Films as Director and Scriptwriter: 1951 Nous n’irons plus au bois (short) 1956 Bonjour sourire (d only) 1960 Classe tous risques (The Big Risk) 1965 L’Arme à gauche (Guns for the Dictator) 1970 Les Choses de la vie (The Things of Life) 1971 Max et les ferrailleurs 1972 César et Rosalie (Cesar and Rosalie) 1974 Vincent, Fran?ois, Paul . . . et les autres 1976 Mado 1978 Une Histoire simple 1980 Un Mauvais Fils (A Bad Son) 1983 Gar?on 1988 Quelques Jours avec moi 1992 Un Coeur en Hiver (A Heart in Winter) (co-sc) 1995 Nelly & Monsieur Arnaud (Nelly & Mr. Arnaud) (co-sc); Les Enfants de Lumière SAUTETDIRECTORS, 4 th EDITION 867 Other Films: (incomplete listing) 1954 Touchez pas au Grisbi (Grisbi) 1959 Les Yeux sans visages (Eyes without a Face) (Franju) (asst d) Publications By SAUTET: book— Conversations avec Claude Sautet, Institute Lumière, 1994. By SAUTET: articles— Interviews with Claude Beylie, in Ecran (Paris), December 1972 and November 1974. ‘‘Claude Sautet, c’est la vitalité,’’ with Fran?ois Truffaut, in Avant- Scène du Cinéma (Paris), December 1974. Interviews with Michel Ciment and others, in Positif (Paris), Decem- ber 1976 and January 1979. ‘‘Romy Schneider: une actrice qui depasse le quotidien,’’ in Avant- Scène du Cinéma (Paris), 15 March 1979. Interview with G. Legrand and I. Jordan in Positif (Paris), Decem- ber 1983. ‘‘Je ne prevoyais pas ce debordement emotionnel,’’ an interview with M. Sineux and Y. Tobin, in Positif (Paris), September 1992. Interview in Jeune Cinéma (Paris), October 1992. ‘‘Le jour se lève,’’ in Positif (Paris), June 1994. Douin, Jean-Luc, ‘‘Histoires pas si simples,’’ in Télérama (Paris), 20 July 1994. Interview in Filmihullu (Helsinki), no. 4, 1996. On SAUTET: book— Korkmaz, Joseph, Le Cinéma de Claude Sautet, Paris, 1985. On SAUTET: articles— Sineux, M., ‘‘Entretien avec Philippe Sarde sur Claude Sautet et quelques autres,’’ in Positif (Paris), January 1979. ‘‘Claude Sautet Issue’’ of Avant-Scène du Cinéma (Paris), Janu- ary 1984. Thomas, Kevin, ‘‘The Musical Style of Claude Sautet,’’ in Los Angeles Times, 18 June 1993. Arnold, Gary, ‘‘Sex and Violins,’’ in Washington Times, 11 July 1993. Arnold, Gary, ‘‘Montand, Schneider and the Little White Lie,’’ in Washington Times, 11 July 1993. Elley, Derek, ‘‘Film Reviews—Nelly & Mr. Arnaud,’’ in Variety (New York), 18 September 1995. Masson, Alain, Vincent Amiel and Michel Sineux, in Positif (Paris), October 1995. Dumas, Danielle, ‘‘L’intelligence du coeur,’’ in Avant-Scène du Cinéma (Paris), June 1996. Masson, A., ‘‘L’insouciance et la fidelite,’’ and ‘‘Quelques images de films de Claude Sautet,’’ in Avant-Scène du Cinéma (Paris), January 1997. *** The career of Claude Sautet was slow in getting underway, but by the 1970s he had virtually become the French cinema’s official chronicler of bourgeois life. He had made his directing debut with a solidly constructed thriller, Classe tous risques, in 1960, but a second film, L’Arme à gauche, did not follow until 1965 and was markedly less successful. Despite numerous scriptwriting assign- ments, his directing career did not really get underway until he completed Les Choses de la vie in 1969. This set the pattern for a decade of filmmaking. The core of any Sautet film is a fairly banal emotional problem—a man caught between two women in Les Choses de la vie or a married woman confronted with a former lover in César et Rosalie. Around this situation Sautet weaves a rich pattern of bourgeois life: concerns with home and family, with money and possessions, give these films their particular tone. This is a cinema of warm, convincingly depicted characters for whom Sautet clearly has great affection and more than a touch of complicity. Problems and motivations are always explicitly set out, for this is a style of psychological realism in which the individual, not the social, forms the focus of attention. The director’s style is a sober, classical one, built on the model of Hollywood narrative traditions: action, movement, vitality. Though his style can encompass such set pieces as the boxing match in Vincent, Francois, Paul . . . et les autres, Sautet is more concerned with the unfolding of a strong and involving narrative line. A key feature of all his work are the confrontation scenes which offer such excellent opportunities for the talented stars and solid character players who people his films. Sautet’s films from the mid-1970s to early 1980s—Mado, Une Histoire simple, and Une Mauvais Fils—are all characterized by a total assurance and a mastery of the medium. This mastery, however, is exercised within very precise limits—not in terms of the subject matter, which widens to take in the problems of affluence, women’s independence, and juvenile delinquency, but in the manner in which such issues of the moment are approached. Sautet’s classi- cism of form and ability to communicate directly with his audience is not accompanied by the resonances of social criticism which charac- terize the best North American cinema. Seeking to move his audience rather than enlighten it, Sautet uses powerful actors cast to type in carefully constructed roles, but any probing of the essential contradic- tions is avoided by a style of direction that keeps rigidly to the surface of life, the given patterns of bourgeois social behaviour. His approach is therefore condemned to a certain schematism, particularly in the handling of dialogue scenes, but his work gets its sense of vitality from the vigor with which the group scenes—the meals and excursions—and the typical locations of café or railway station are handled. Sautet offers a facsimile of life, a reflection of current problems or issues, but contained within a form calculated not to trouble the spectator after he has left the cinema. This conformism may seem limiting to the contemporary critic, but it will offer future generations a rare insight into the manner in which the French middle classes liked to see themselves in the 1970s. In two of his most recent features, the popularly and critically well-received Un Coeur en Hiver (1992) and Nelly & Monsieur Arnaud (1995), Sautet continues to offer versions of French middle- class bourgeois life in the 1990s. In keeping with Sautet’s thematic and stylistic terrain, Un Coeur and Nelly both focus on a small group of individuals as they undergo a set of personal and emotional SAYLES DIRECTORS, 4 th EDITION 868 situations. Again, while one senses a touch of Sautet’s complicity with the bourgeois world he represents, these films do not simply offer the conservative resolutions that characterize so many of the bourgeois Hollywood productions of the 1980s and 1990s. As we watch Un Coeur and Nelly, we proceed along the interior, emotional topographies of characters like the remote and ostensibly affectless Stephan in Un Coeur. The tension which builds throughout Un Coeur as a result of Stephan’s unwillingness and/or incapacity to love does not find its release, however, through the union of Stephan and Camille by the film’s end: Camille continues her relationship with Maxim, Stephan remains alone. As a result, Sautet powerfully suc- ceeds in having us experience the frustration these characters feel, because Un Coeur resists consummating a formulaic relationship with its audience via a happy ending as Hollywood films are likely to do. Nelly & Monsieur Arnaud affects its audience in similar ways. Comparable to Un Coeur, Nelly’s presentation of the emotional firings and mis-firings between Nelly, Arnaud, Vincent, and Jerome draw the viewer into a narrative that resists uncomplicated closure; because of this, the world of Nelly & Monsieur Arnaud is more likely to resemble the reality its audience will encounter once the credits role and the lights go up. Derek Elley aptly comments in Variety that Sautet, in his films, ‘‘is more interested in the what-could-have- happened than the what-actually-has.’’ Nelly, he concludes, ‘‘will delight those who don’t like their T’s crossed and I’s dotted.’’ While neither a revolutionary cinema nor one which simply gives way to Hollywood narrative conventions, Claude Sautet’s films endure as poignant and insightful tales depicting the often beguiling world of human affairs. —Roy Armes, updated by Kevin J. Costa SAYLES, John Nationality: American. Born: John Thomas Sayles in Schenectady, New York, 28 September 1950. Education: Williams College, Williamstown, Massachusetts, B.S. in psychology, 1972. Career: First novel published, 1975; writer for Roger Corman’s New World Pictures, from 1977; first film as director, The Return of the Secaucus Seven, 1980; directed own plays New Hope for the Dead and Turnbuckle, Off-Off-Broadway, 1981; writer and director for TV, from 1980; director of videos for Bruce Springsteen, including ‘‘Born in the U.S.A.’’ and ‘‘I’m on Fire.’’ Agent: Robinson, Weintraub, Gross and Associates, Inc., 8428 Melrose Place, Suite C., Los Angeles, CA 90069, U.S.A. Films as Director and Scriptwriter: 1980 The Return of the Secaucus Seven (+ ed, role as Howie) 1981 Lianna (+ ed, role as Jerry) 1983 Baby, It’s You 1984 The Brother from Another Planet (+ ed, role as bounty hunter) 1987 Matewan (+ role as preacher) 1988 Eight Men Out (+ role as Ring Lardner) 1991 City of Hope (+ ed, song, role as Carl) 1992 Passion Fish (+ ed) 1994 The Secret of Roan Inish (+ ed) 1995 Lone Star (+ pr) (+ ed) 1997 Men with Guns (Hombres armadas) (+ ed) 1999 Limbo (+ ed) Other Films: 1978 Piranha (Dante) (sc) 1979 The Lady in Red (Kiss Me and Die; Guns, Sin, and Bathtub Gin) (Teague) (sc) 1980 Battle beyond the Stars (Murakami) (sc); The Howling (Dante) (co-sc); Alligator (Teague) (sc) 1982 The Challenge (Frankenheimer) (co-sc) 1984 Hard Choices (King) (role as Don) 1985 The Clan of the Cave Bear (Chapman) (sc); Enormous Changes at the Last Minute (Bank, Hovde) (sc) 1987 Wild Thing (Reid) (sc); Something Wild (Demme) (role as motorcycle cop) 1989 Breaking In (Forsyth) (sc) 1992 Straight Talk (Kellman) (role as Guy Girardi); Malcolm X (Lee) (role as FBI man); Matinee (Dante) (role as phoney moral crusader) 1993 A Safe Place (Lang) (sc); My Life’s in Turnaround (Schaeffer, Ward) (role as film producer) 1994 Men of War (sc); Bedlam (Maclean) (sc) 1995 Apollo 13 (Howard) (sc) 1997 Gridlock’d (role) Publications By SAYLES: books— The Pride of the Bimbos, New York, 1975. Union Dues, New York, 1977. The Anarchists’ Convention, New York, 1979. Thinking in Pictures: The Making of the Movie ‘‘Matewan,’’ New York, 1987. Los Gusanos, New York, 1991. Sayles on Sayles, with Gavin Smith, New York, 1998. Men with Guns and Lone Star, New York, 1998. John Sayles: Interviews (Conversations with Filmmakers Series), Diane Carson, editor, Jackson, 1999. By SAYLES: articles— ‘‘Ways of Looking at the World,’’ an interview with Hunter Cordaiy, in Metro (Melbourne), Summer 1978/79. Interview with T. Crawley, in Monthly Film Bulletin (London), December 1982. Interview with D. Popkin, in Cineaste (New York), vol. 13, no. 1, 1983. Interview with Paul Kerr, in Monthly Film Bulletin (London), Janu- ary 1984. SAYLESDIRECTORS, 4 th EDITION 869 John Sayles (right) with Chris Cooper Interview with Richard Laermer, in Films in Review (New York), February 1985. ‘‘Dialogue on Film: John Sayles,’’ in American Film (Washington, D.C.), May 1986. Interview with Pat Aufderheide, in Cineaste (New York), vol. 15, no. 4, 1987. ‘‘Color Bars,’’ in American Film (Los Angeles), vol. 13, no. 6, April 1988. ‘‘Sayles on TV,’’ an interview with Patrick Goldstein, in Interview (New York), March 1990. ‘‘Low-budget Operator Who Has a Wealth of Creativity to Draw On,’’ an interview with David Robinson, in The Times (London), 29 August 1991. ‘‘Screening the Disenfranchised,’’ an interview with Alan Hunter, in Impact (London), October 1991. ‘‘Where the Hope Is,’’ an interview with Gary Crowdus and Leonard Quart, in Cineaste (New York), December 1991. ‘‘S’il y a un espoir, il est dans la fusion,’’ an interview with Michael Henry, in Positif (Paris), November 1992. ‘‘John Sayles’s Committed Cinema,’’ an interview with Harlan Jacobson, in Interview (New York), April 1993. ‘‘Sayles Talk,’’ an interview with Trevor Johnston, in Sight and Sound (London), September 1993. Interview in American Cinematographer (Los Angeles), February 1995. ‘‘‘I Don’t Want to Blow Anything by People,’’’ an interview with Gavin Smith, in Film Comment (New York), May-June 1996. Interview with Brooke Comer, in American Cinematographer (Los Angeles), June 1996. ‘‘Sayles-manship,’’ an interview with Max Alexander, in Variety (New York), 17 June 1996. ‘‘Rapping with John Sayles,’’ an interview with P. Nechak, in Filmmaker: The Magazine of Independent Film (Los Angeles), July/August 1996. ‘‘Classified Sayles,’’ an interview with Geoff Andrew, in Time Out (London), 2 October 1996. ‘‘Interview with John Sayles: Apollo 13: Rewriting History,’’ in Creative Screenwriting (Washington, D.C.), Summer 1996. ‘‘John Sayles Walking Alone,’’ an interview with Leslie Felperin, in Sight and Sound (London), September 1996. ‘‘Borders and Boundaries: Lone Star,’’ an interview with Dennis West and Joan M. West, in Cineaste (New York), December 1996. Zoom (Zürich), April 1997. SAYLES DIRECTORS, 4 th EDITION 870 On SAYLES: books— Ryan, Jack, John Sayles, Filmmaker: A Critical Study of the Indepen- dent Writer-Director: With a Filmography and Bibliography, Jefferson, North Carolina, 2000. Molyneaux, Gerry, John Sayles, Los Angeles, 2000. On SAYLES: articles— Levine, H., ‘‘Features for under a Million: John Sayles,’’ in Millime- ter (New York), February 1982. Osborne, David, ‘‘John Sayles: from Hoboken to Hollywood—and Back,’’ in American Film (Washington, D.C.), October 1982. Milligan, P., ‘‘Sayles Management,’’ in Film Directions (London), Summer 1984. Valen, M., ‘‘John Sayles,’’ in Films and Filming (London), Septem- ber 1984. Vecsey, George, ‘‘John Sayles Mines the Coal Wars,’’ in New York Times, 23 August 1987. Fishbein, Leslie, ‘‘John Sayles’ Matewan: Violence and Nostalgia,’’ in Film and History (Newark, New Jersey), vol. 18, no. 3, 1988. Isaacs, Neil D., ‘‘John Sayles and the Fictional Origin of Matewan,’’ in Literature/Film Quarterly (Salisbury, Maryland), vol. 16, no. 4, 1988. Lardner, Ring, Jr., ‘‘Foul Ball,’’ in American Film (Los Angeles), vol. 13, no. 9, 1988. Newman, Kim, ‘‘Red Sayles in the Sunset,’’ in City Limits (London), 13 April 1989. Wilson, David, ‘‘Of Anarchists and Alligators’’ in Monthly Film Bulletin (London), June 1989. Rose, Cynthia, ‘‘The Urbane Guerilla,’’ in Independent (London), 24 August 1990. Davis, Thulani, ‘‘Blue-Collar Auteur,’’ in American Film (Los Ange- les), June 1991. Andrew, Geoff, ‘‘Sayles Talk,’’ in Time Out (London), 23 Octo- ber 1991. Malcolm, Derek, ‘‘Why Sayles Refuses to Sell Out,’’ in Guardian (London), 12 November 1991. Thompson, Ben, ‘‘Sex, Lies, and Urban Renewal,’’ in New Statesman & Society (London), 15 November 1991. Grogan, Johnny, ‘‘True Saylesmanship,’’ in Film Ireland (Dublin), April/May 1993. Sarris, Andrew, ‘‘Baby It’s You: An Honest Man Becomes a True Filmmaker,’’ in Film Comment (New York), May/June 1993. Jackson, Kevin, ‘‘Making Movies against the Tide,’’ in Independent (London), 19 June 1993. Charity, Tom, ‘‘Sayles Pitch,’’ in Time Out (London), 25 August 1993. Gritten, David, ‘‘Hollywood? Not for Me, Thanks,’’ in Daily Tele- graph (London), 30 August 1993. Francke, Lizzie, ‘‘Passion Player,’’ in Guardian (London), 3 Septem- ber 1993. Thompson, Cliff, ‘‘The Brother from Another Race: Black Charac- ters in the Films of John Sayles,’’ in Cineaste (New York), December 1996. Schnelle, Frank, ‘‘Schatten der Vergangenheit,’’ in EPD Film (Frank- furt), March 1997. Biskind, P., ‘‘The Sweet Hell of Success,’’ in Premiere (Boulder), October 1997. *** No other American director has so successfully straddled both Hollywood and independent filmmaking as John Sayles. While his fellow independents have tended to restrict themselves either in terms of audience (Jim Jarmusch, Henry Jaglom) or creative scope (Woody Allen), Sayles has continued to make highly individual, idiosyncratic films of increasingly ambitious range, aimed firmly at a mainstream audience, without compromising his integrity or his radical views. Even before launching out as a director, Sayles had established his reputation both as a novelist and as a provider of witty, literate scripts for genre movies—Alligator, The Howling, The Lady in Red—into whose conventions he deftly introduced sharp touches of political allegory. His own films, though, have steered clear of generic formulae, remaining (in subject matter as in treatment) fresh and quirkily unpredictable. The first of them, The Return of the Secaucus Seven, observed the reunion of a bunch of ex-1960s radicals with an affection, and a relaxed humour, that Kasdan’s glossier treatment in The Big Chill never quite matched. ‘‘There was a realism there,’’ Roger Corman noted, ‘‘which more money might have obscured.’’ The film picked up several awards and rapidly became a cult favourite. Secaucus, for all its small-scale subject and slightly shaggy charm, established the priorities of all Sayles’s work to date: in his own words, ‘‘the acting, and believing in the characters and caring about them.’’ His films, situated (as Pat Aufderheide put it) ‘‘at the intersection of culture and politics,’’ favour ensemble playing over star performances, communication over sensation, and the explora- tion of character and ideas over pictorial values or technical bravura. ‘‘I don’t regard anything I do as art. That’s a foreign world to me. I regard it as a conversation. Very often in a conversation, you tell a story to illustrate something you think or feel,’’ Sayles has stated. Even so, Sayles’s work has developed steadily in terms of visual as well as dramatic complexity. His early films, such as Secaucus and Lianna, a sympathetic account of a married woman awakening to her lesbian nature, were criticised in some quarters for their static camerawork. Sayles, while readily conceding his lack of technical experience, pointed out that ‘‘Fluid camera work takes money. Unless it’s an action movie, why cut away from good actors?’’ More recently, however, from Matewan onwards, he has adopted a more sophisticated and even elegant shooting style, though never at the expense of the story. The long, intricate tracking shots of City of Hope map out social connections and tensions as graphically as anything in Ophüls; while in Matewan scenes of nocturnal wood-smoky encamp- ments in the Appalachian foothills, shot by Haskell Wexler in dark, grainy tones, recall elements of late Ford—Wagonmaster, say, or The Horse Soldiers. Not that Sayles (unlike his ‘‘movie brat’’ contempo- raries) is interested in strewing his pictures with allusive film-buff references. ‘‘I want people to leave the theater thinking about their own lives, not about other movies,’’ he noted. His work draws its resonance from his social concerns, from his sense of character as a product of historical and cultural influences, from his acute ear for dialogue and his insight into the political process. The mismatched young couple of Baby It’s You are no less constrained by the pressures of their class and environment (small-town 1960s New Jersey) than the West Virginian miners of Matewan, the baseball professionals of Eight Men Out, or the hostile urban factions of City of Hope. But Sayles is no rigid behaviourist. The two women in Passion Fish, both maimed by life and thrown together in prickly proximity, contrive to surmount their backgrounds and prejudices and reach a tentative friendship. Ethnic and social conditioning are powerful influences, but not absolutes. ‘‘Blood only means what you let it,’’ SCHAFFNERDIRECTORS, 4 th EDITION 871 says a character in Lone Star, and the children in The Secret of Roan Inish buck their family history through sheer determination. In his work as a director, Sayles has steadily extended and deepened his personal vision, always ready to take risks and strike out in new directions. Lone Star, his most accomplished film to date, is also his most narratively complex, interweaving a dozen storylines and subplots. In recent years he’s widened his geographical scope beyond the United States, taking in the west coast of Ireland for the mystical fable of Roan Inish, and Latin America for Men with Guns— which he shot in Spanish to get authentic performances from his Hispanic cast. Limbo, with its unexpected midway plot-switch and enigmatic ending, is his most dramatically audacious film yet. It was also the first time in sixteen years that Sayles had made a studio picture, something he’d renounced after the horrendous experience of making Baby, It’s You for Paramount. Limbo was financed by Sony, but Sayles still secured his regular terms— production control, casting control, and final cut. ‘‘The fact is,’’ he explained, ‘‘I’ve got to the point where I don’t need to make movies.... Why give up a year of your life for a film you are going to apologise for and you really don’t feel is yours?’’ Sayles’s films are, unmistakably, his. With his integrity established beyond question, and his status as doyen of American independents now secure, he can afford to shrug at studio backing. With or without it, his best work may yet be to come. —Philip Kemp SCHAFFNER, Franklin J. Nationality: American. Born: Tokyo, 30 May 1920. Education: Franklin and Marshal College; studied law at Columbia University. Military Service: Served in U.S. Navy, 1942–46. Family: Married Helen Jean Gilchrist, 1948, two daughters. Career: Assistant direc- tor, March of Time series, late 1940s; television director for CBS, 1949–62, work included Studio One, Ford Theater, and Playhouse 90; with Worthington Miner, George Roy Hill, and Fielder Cook, formed ‘‘Unit Four’’ production company, 1955; directed Advise and Consent on Broadway, 1961; signed three-picture contract with 20th Century-Fox and directed first feature, A Summer World (incom- plete), 1961; television counselor to President Kennedy, 1961–63; president, Gilchrist Productions, 1962–68; president, Franklin Schaffner Productions, from 1969; president, Directors Guild of America, 1987–89. Awards: Three Emmy Awards; Oscar for Best Director, and Directors Guild Award, for Patton, 1970. Died: Of cancer, in Santa Monica, California, 2 July 1989. Films as Director: 1961 A Summer World (incomplete) 1963 The Stripper (Woman of Summer) 1964 The Best Man 1965 The War Lord 1967 The Double Man (+ role) 1968 Planet of the Apes 1970 Patton (Patton—Lust for Glory; Patton: A Salute to a Rebel) 1971 Nicholas and Alexandra (+ pr) 1973 Papillon (+ co-pr) 1977 Islands in the Stream 1978 The Boys from Brazil 1981 Sphinx (+ exec pr) 1982 Yes, Giorgio 1987 Lionheart 1989 Welcome Home Publications By SCHAFFNER: book— Worthing Miner: Interviewed by Franklin J. Schaffner, Metuchen, New Jersey, 1985. By SCHAFFNER: articles— Interview with Gerald Pratley, in Cineaste (New York), Summer 1969. Interview with R. Feiden, in Inter/View (New York), March 1972. ‘‘Chronicler of Power,’’ an interview with Kathe Geist, in Film Comment (New York), September/October 1972. Interview with R. Appelbaum, in Films and Filming (London), February 1979. Interview with D. Castelli, in Films Illustrated (London), May 1979. ‘‘Sí, Giorgio/Pavarotti,’’ interview with Eugenio Amaya, in Casablanca, no. 23, November 1981. On SCHAFFNER: book— Kim, Erwin, Franklin J. Schaffner, Metuchen, New Jersey, 1986. On SCHAFFNER: articles— Wilson, David, ‘‘Franklin Schaffner,’’ in Sight and Sound (London), Spring 1966. Sarris, Andrew, ‘‘Director of the Month—Franklin Schaffner: The Panoply of Power,’’ in Show (Hollywood), April 1970. Lightman, Herb, ‘‘On Location with Islands in the Stream,’’ in American Cinematographer (Los Angeles), November 1976. ‘‘Franklin J. Schaffner,’’ in Kosmorama (Copenhagen), Autumn 1977. Cook, B., ‘‘The War between the Writers and the Directors: Part II: The Directors,’’ in American Film (Washington, D.C.), June 1979. ‘‘TV to Film: A History, a Map, and a Family Tree,’’ in Monthly Film Bulletin (London), February 1983. Countrymann, J., ‘‘Jerry Goldsmith and Franklin J. Schaffner: A Study of Collaboration,’’ in Cue Street (Hollywood), vol. 5, no. 2, April 1988. Obituary, in Variety (New York), 5 July 1989. Obituary, in EPD Film (Frankfurt), vol. 6, no. 8, August 1989. *** Franklin J. Schaffner has often been referred to as an ‘‘actors’ director.’’ A former actor himself, he spent over a decade directing SCHAFFNER DIRECTORS, 4 th EDITION 872 Franklin J. Schaffner television drama before making his first film. This experience proved invaluable when he arrived in Hollywood. All his films starred well- established professionals such as Fonda, Heston, Brynner, Scott, Hoffman, Peck, and Olivier. Schaffner’s first film, The Stripper, was based on William Inge’s play A Loss of Roses. Producer Jerry Wald died while it was being made, and after completion the film was taken out of Schaffner’s hands and re-edited. As a result the character of the ‘‘stripper’’, played by Joanne Woodward, was sadly lacking in contrast. Schaffner’s experience working on political television programs proved benefi- cial when he directed his second film, The Best Man, a story of two contenders for the presidential nomination at a political convention in Los Angeles. Set mainly in hotel rooms and corridors, it could have become very static. But Schaffner accepted the challenge and turned out a compelling drama. After the intimacy of The Best Man came the vastness of The War Lord. A medieval costume picture, the film was a complete change for Schaffner, but he succeeded in capturing the visual splendor of the outdoor sequences—particularly in the first few minutes—and the excitement and gusto of the battle scenes. Although an ‘‘action’’ film, it had a literate script—but once again Schaffner’s film was cut by the studio. The director’s next work was The Double Man, an average spy drama. His first big financial success was Planet of the Apes, in which he had to produce realistic performances from actors in monkey suits. Handled by another director, it could easily have been turned into a farce, but Schaffner’s craftsmanship made it a science fiction satire. In 1970 Schaffner directed George C. Scott in the role of General Patton. Twenty-seven years earlier Schaffner himself had taken part in the landings in Sicily under Patton. The film was shot in 70mm, but he insisted on cutting it in 35mm to avoid being influenced by the scope of 70mm. Scott’s performance was widely praised, but he refused an Academy Award (Schaffner accepted his). It was his interest in history that first attracted Schaffner to Nicholas and Alexandra. Here he told what was basically an intimate story of two people, but two people surrounded by the overflowing retinue of the court and the boundless expanse of the countryside. Schaffner used the contrast to great effect, and the film was nomi- nated for an Oscar. Papillon is the only film which Schaffner directed in sequence, and this was not by choice. Dalton Trumbo was rewriting the script as the film was being shot, often just managing to keep up with the production. This film marked the second time that Schaffner had SCHEPISIDIRECTORS, 4 th EDITION 873 worked with cinematographer Fred Koenekamp, and they were teamed again for his next feature, Islands in the Stream. This time he faced the problem of space and isolation, having to fill the large screen for a long time with just one man. He also found it necessary to use two cameras for some of the action sequences, something which he never did if he could avoid it. Several studios turned down The Boys from Brazil because it was impossible to cast, but Schaffner thought it would work if he cast against type. So Gregory Peck, always known as a ‘‘good guy,’’ played Mengele—the German doctor intent on producing clones of Hitler. Olivier, who had earlier played a German war criminal in Marathon Man, was the Jewish doctor trying to track down the Nazi. In the early 1980s Schaffner made Sphinx, an adventure story set amongst the pyramids, and Yes, Giorgio, his first ‘‘musical,’’ with Luciano Pavarotti. Schaffner had a reputation for getting the best out of his actors and coping well with intimate dramas. Yet he also achieved success with large-scale epics and has been compared with David Lean because of the beauty of his compositions and the breadth of his dramatic power. He reveled in films about men struggling to achieve a certain goal. A craftsman, he did his homework and prepared each scene before arriving on the set. —Colin Williams SCHEPISI, Fred Nationality: Australian. Born: Frederic Alan Schepisi in Melbourne, Victoria, 26 December 1939. Education: Briefly attended seminary school. Family: Married 1) Joan Ford, 1960, four children; 2) casting director Rhonda Finlayson, 1973, two children; 3) Mary Rubin, 1984, one child. Career: Director, producer, and writer at Carden Advertis- ing, Melbourne, from 1955; television production manager, Paton Advertising Service, Melbourne, 1961–64; Victorian manager of Cinesound Productions, Melbourne, 1964–65; managing director of The Film House, Melbourne, making advertising shorts and docu- mentaries, 1965–79 (chairman from 1979); first feature, The Devil’s Playground, won six Australian Film Institute awards, 1976; moved to United States, 1979; returned to Australia to make A Cry in the Dark, 1988; Governor of the Australian Film Institute. Awards: Best Director, Australian Film Awards, for The Devil’s Playground, 1976. Address: P.O. Box 317, South Melbourne VIC 3205, Australia. Agent: c/o Sam Cohn, International Creative Management, 40 W. 57th Street, New York, NY 10019, U.S.A. Films as Director: 1970 The Party (short) 1973 ‘‘The Priest’’ episode of Libido 1976 The Devil’s Playground (+ sc, pr) 1978 The Chant of Jimmie Blacksmith (+ sc, pr) 1981 Barbarosa 1984 Iceman 1985 Plenty 1987 Roxanne 1988 A Cry in the Dark (Guilty by Suspicion; Evil Angels) 1990 The Russia House (+ pr) 1992 Mr. Baseball (+ co-pr) 1993 Six Degrees of Separation (+ co-pr) 1994 I.Q. (+ co-pr) 1997 Fierce Creatures 2001 Last Orders Publications By SCHEPISI: articles— Interview in Cinema Papers (Melbourne), January 1978. ‘‘Le sauvage qui n’avait pas été enfant,’’ an interview with V. Amiel and others, in Positif (Paris), February 1983. Interview with M. Magill in Films in Review (New York), Janu- ary 1984. Interview with B. Lewis in Films and Filming (London), Decem- ber 1985. Interview in Screen International (London), 4 January 1986. ‘‘Dialogue on Film: Fred Schepisi,’’ in American Film (Washington D.C.), July/August 1987. ‘‘The Making of Evil Angels,’’ interview with P. Hawker in Cinema Papers (Melbourne), November 1988. ‘‘Fred Schepisi,’’ interview with S. Murray in Cinema Papers (Melbourne), August 1990. On SCHEPISI: books— Tulloch, John, Australian Cinema: Industry, Narrative, and Mean- ing, Sydney and London, 1982. Hall, Sandra, The New Australian Cinema in Review, Adelaide, 1985. Moran, Albert, and Tom O’Regan, editors, An Australian Film Reader, Sydney, 1985. Mathews, Sue, 35mm Dreams: Conversations with Five Directors about the Australian Film Revival, Ringwood, Australia, 1987. McFarlane, Brian, Australian Cinema 1970–85, London, 1987. On SCHEPISI: articles— Bromby, Robin, ‘‘Test for Australia,’’ in Sight and Sound (London), Spring 1979. Stratton, D., ‘‘Man of Plenty,’’ in Cinema Papers (Melbourne), March 1986. Taitz, N., ‘‘Fred Schepisi Puts Gossip on Trial,’’ in New York Times, 6 November 1988. Lewis, B., article in Films & Filming (London), May 1989. Matthews, T., article in Box Office (Hollywood), November 1990. Powers, P.R.W., ‘‘A Conversation with Bruce Smeaton,’’ in Soundtrack!, September 1991. Koch, N., ‘‘No Tea, No Sympathy,’’ in New York Times, 23 August 1992. Schiff, Stephen, ‘‘A Cinematic Gallant,’’ in New Yorker, 20 Decem- ber 1993. Kelleher, E., ‘‘Schepisi Expands Varied Career via Six Degrees,’’ in Film Journal (New York), January/February 1994. Segnocinema (Vicenza), July/August 1995. *** More than any other director of the Australian new wave, Fred Schepisi reflects, in his deal-making expertise, his emphasis on SCHEPISI DIRECTORS, 4 th EDITION 874 Fred Schepisi production values, even in his choice of New York as an adoptive base, the values of his home city, Melbourne, traditionally Australia’s capital of political conservatism, old money, the church, and the law. Schepisi’s first two features assaulted Australia’s endemic provin- cialism. The Devil’s Playground, a story of sexual repression and dead belief set in a Catholic seminary, is based on Schepisi’s 18 adolescent months in a monastery. (The theme was rehearsed in The Priest, his episode of the sketch film Libido, written by lapsed Catholic novelist Thomas Keneally.) The film’s gloomy, sensual elegance is typical of Schepisi’s later work, but his adolescent hero’s moral and religious doubts are dealt with sketchily. Schepisi prefers to emphasize the celibate staff’s problems with sex and drink, especially in a memorable scene in which priest Arthur Dignam spies on naked girls at a public swimming pool. The Chant of Jimmie Blacksmith, again based on Thomas Keneally’s work, is a period drama concerning the true story of nineteenth- century renegade aboriginal Jimmie Governor, who revolted against the dehumanization of his race at the hands of whites. Schepisi’s use of landscape echoes the westerns of Anthony Mann, underlining the similarities between his film and Hollywood’s pro-Indian dramas like Broken Arrow and Tell Them Willie Boy Is Here. In a film that, like Schepisi’s later A Cry in the Dark, mixes, sometimes uneasily, social protest with wide screen melodrama, an inexperienced Tommy Lewis rampages bloodily but unconvincingly across rural Australia as the ill-used part-aboriginal driven to massacre by corruption in law, religion, and the state. A highly successful producer of TV commercials and documenta- ries, the pragmatic Schepisi conformed more comfortably than most Australian directors to Hollywood. Though his first American pro- duction, the revenge western Barbarosa, has all the earmarks of a test piece, he extracted good performances from an aging Gilbert Roland and the project’s co-producers, Willie Nelson and a famously aggres- sive Gary Busey. (‘‘I am the first director he hasn’t destroyed,’’ Schepisi said proudly.) Schepisi proved equally decisive in Ice Man, a piece of Green science-fiction in which John Lone’s defrosted Neanderthal beguiles technocrat Tim Hutton with earth magic and Ice Age mythology. Schepisi’s first hit was an adaptation of David Hare’s play Plenty. As the ex-Resistance heroine who finds only disillusionment in Britain’s post-war affluence, Meryl Streep replaced Kate Nelligan, who created the role on stage. The casting turned Plenty into a star vehicle, winning international success at the cost of Hare’s more SCHLESINGERDIRECTORS, 4 th EDITION 875 precise political arguments, though Schepisi, as impatient as only an Australian can be with the British, manipulates Sir John Gielgud, Charles Dance, and especially Ian McKellen in waspish parodies of imperial privilege. Confirmed now as a technician able to tame any project or performer, Schepisi made Roxanne, a comedy version of Rostand’s Cyrano de Bergerac, reset in the Pacific Northwest as a vehicle for comic Steve Martin. In the wake of its enormous success, he returned to Australia to film A Cry in the Dark (Evil Angels), the sensational true story of a young mother’s trial and imprisonment for infanticide. Lindy Chamberlain insisted a wild dog had stolen her baby Azaria from Ayers Rock, one of Australia’s most famous desert tourist sites. But the lack of a body, combined with Lindy’s own unusual religious affiliations—she was a Seventh Day Adventist—fueled rumors that the child had been sacrificed in some arcane rite. She was freed only after investigators decisively discredited the forensic evidence. In a typical calculated risk, Schepisi cast Meryl Streep as Lindy and used the film to reprise The Chant of Jimmie Blacksmith. Australia itself becomes the villain, and Chamberlain was portrayed as another victim—like Blacksmith and the boy of The Devil’s Playground—of national bigotry and ignorance. A Cry in the Dark depicts Australia’s press as vulgar and meretricious, and its police as malicious and bumbling. Far from resenting either the imported star or the national slur, Australians greeted the film with enthusiasm, and the Streep name guaranteed a modest international success. Schepisi debated further Australian-based projects, but with the local industry’s financial base crumbling in the financial freeze of the late 1980s, he returned to New York (though much of the film was shot on location in Moscow) to direct another in his growing string of high-budget international projects, John le Carré’s The Russia House. Schepisi has evolved into a proficient director whose recent films, while made on big budgets with international stars, are for the most part not nearly as interesting as his early-career work in Australia. The Russia House, which starred Sean Connery and Michele Pfeiffer, is an uneven spy drama; conversely, I.Q., with Tim Robbins, Meg Ryan, and Walter Matthau, is a lightly likable fantasy-romance in which a fictionalized Albert Einstein plays cupid for his brainy niece. Mr. Baseball features Tom Selleck as a spoiled, aging American baseball star who goes to play in Japan. The film’s production was controversial in that it originally was intended strictly as a comedy. But when the Matsushita Electric Industrial Company acquired MCA, Inc., the owner of Universal Pictures (the film’s releasing company), Mr. Baseball became a more serious, complex film about an American hero who must become humbled and learn to accept Japanese customs before he is allowed success. Schepisi’s involve- ment with Mr. Baseball seems incidental; it is a well-directed film, to be sure, but then again it would be no matter what its ultimate storyline or point of view. The theme of relations between peoples of different cultures is continued in Six Degrees of Separation, among Schepisi’s better post- Australian films. It is a provocative version of John Guare’s play, in which a well-off Manhattan couple is taken in by a gracious young con artist who eases himself into their household by pawning himself off as the son of actor Sidney Poitier. Schepisi does an especially fine job of capturing the setting’s upper-class urban ambiance and various New York City vistas. —John Baxter, updated by Rob Edelman SCHLESINGER, John Nationality: British. Born: John Richard Schlesinger in London, 16 February 1926. Education: Uppingham School and Balliol College, Oxford, 1945–50. Career: Maker of short films, from 1948; actor with Colchester Repertory Company then Ngaio Marsh’s Touring Company, 1950–52; directed 24 short documentaries for BBC TV series Tonight and Monitor, 1956–61; directed first feature, A Kind of Loving, 1962; associate director, National Theatre, London, from 1973; opera director, 1980s; also director for TV, work includes Separate Tables, 1982, and An Englishman Abroad, 1983. Awards: Best Direction, New York Film Critics, for Darling, 1965; Oscar for Best Director, Best Direction Award, British Film Academy, and Directors Award, Directors Guild of America, for Midnight Cowboy, 1969; Best Direction Award, British Film Academy, for Sunday, Bloody Sunday, 1970; Commander of the British Empire, 1970; British Film and TV Academy Award, for An Englishman Abroad, 1983. Agent: c/o Duncan Heath, 76 Oxford Street, London W1R 1RB, England. Films as Director: 1961 Terminus (doc) (+ sc) 1962 A Kind of Loving 1963 Billy Liar 1965 Darling (+ sc) 1967 Far from the Madding Crowd 1969 Midnight Cowboy (+ co-pr) 1971 Sunday, Bloody Sunday 1972 ‘‘Olympic Marathon’’ section of Visions of Eight 1975 The Day of the Locust 1976 Marathon Man 1979 Yanks 1980 Honky Tonk Freeway 1981 Privileged (consultant d only) 1985 The Falcon and the Snowman (+ pr) 1987 The Believers (+ pr) 1988 Madame Sousatzka 1990 Pacific Heights 1991 A Question of Attribution 1993 The Innocent 1996 Eye for an Eye; Cold Comfort Farm 1998 The Tale of Sweeney Todd (for TV) 2000 The Next Best Thing Other Films: 1953 Single-handed (Sailor of the King) (Boulting) (role) 1955 The Divided Heart (Crichton) (role as ticket collector) 1956 The Last Man to Hang? (Fisher) (role as Dr. Goldfinger) 1957 The Battle of the River Plate (Pursuit of the Graf Spee) (Powell and Pressburger) (role); Brothers in Law (Boulting) (role) 1986 Fifty Years of Action! (appearance as himself) SCHLESINGER DIRECTORS, 4 th EDITION 876 John Schlesinger Publications By SCHLESINGER: articles— ‘‘How to Get into Films by the People Who Got in Themselves,’’ in Films and Filming (London), July 1963. ‘‘John Schlesinger,’’ in Directors in Action, edited by Bob Thomas, Indianapolis, 1968. Interview with David Spiers, in Screen (London), Summer 1970. Interview with Valerie Wade, in Interview (New York), July 1974. Interview with Gene D. Phillips, in Film Comment (New York), May/ June 1975. ‘‘Dialogue on Film: John Schlesinger,’’ with James Powers, in American Film (Washington, D.C.), December 1979. ‘‘John Schlesinger,’’ interview with John Study, in Films in Review (New York), October 1981. ‘‘Spies like Us,’’ interview with Stephen Rebello, in Saturday Review (New York), January/February 1985. ‘‘Treason to Believe,’’ interview with Graham Fuller in Stills (Lon- don), April 1985. ‘‘Dialogue on Film: John Schlesinger,’’ in American Film (Washing- ton D.C.), November 1987, January 1991. Interview with L. Farrah in Films and Filming (London), May 1988. ‘‘An Englishman Abroad,’’ an interview with Colette Maude, in Time Out (London), 20 February 1991. Interview with Tomá? Li?ka, in Film a Doba (Prague), Autumn 1994. Interview with L. Verswijver, in Film en Televisie + Video (Brussels), October 1994. ‘‘John Schlesinger Speaks No Evil,’’ an interview with T. Rice and T. Allen, in Moviemaker Magazine (Los Angeles), September/Octo- ber 1995. ‘‘Look Who’s Talking,’’ an interview with M. Figgis and J. Singleton, in Interview, June 1996. On SCHLESINGER: books— Brooker, Nancy J., John Schlesinger: A Guide to References and Resources, Boston, 1978. Phillips, Gene D., John Schlesinger, Boston, 1981. Salizzato, Claver, John Schlesinger, Florence, 1986. SCHLESINGERDIRECTORS, 4 th EDITION 877 On SCHLESINGER: articles— Phillips, Gene D., ‘‘John Schlesinger, Social Realist,’’ in Film Comment (New York), Winter 1969. Hall, William, ‘‘John Schlesinger, Award Winner,’’ in Action (Los Angeles), July/August 1970. ‘‘John Schlesinger at the Olympic Games,’’ in American Cinema- tographer (Hollywood), November 1972. Perry, George, The Great British Picture Show, London, 1974. Walker, Alexander, ‘‘A Kind of Stoicism,’’ in Hollywood UK: The British Film Industry in the Sixties, London, 1974. Rand, Kenn, ‘‘Behind the Scenes of Day of the Locust,’’ in American Cinematographer (Hollywood), June 1975. Sherman, Eric, ‘‘John Schlesinger,’’ in Directing the Film: Film Directors on Their Art, Boston, 1976. Phillips, Gene D., ‘‘Exile in Hollywood: John Schlesinger,’’ in Literature/Film Quarterly (Salisbury, Maryland), Spring 1977. Phillips, Gene D., ‘‘On Yanks and Other Films,’’ in Focus on Film (London), Fall 1978. Gross, Sheryl, ‘‘Guilt and Innocence in Marathon Man,’’ in Litera- ture/Film Quarterly (Salisbury, Maryland), January 1980. Welsh, James, ‘‘Hardy and Schlesinger: Far from the Madding Crowd,’’ in Literature/Film Quarterly (Salisbury, Maryland), Spring 1988. Fuller, Graham, ‘‘An Englishman Abroad,’’ in Cinema Papers (Mel- bourne), July 1985. Allmendinger, Blake, ‘‘From Silent Movies to the Talkies in The Day of the Locust,’’ in Literature/Film Quarterly (Salisbury, Mary- land), Spring 1988. Phillips, Gene D., Major Film Directors of the American and British Cinema, Cranbury, New Jersey, 1989. Brode, Douglas, ‘‘Darling, Midnight Cowboy,’’ in The Films of the Sixties, New York, 1990. Bookbinder, Robert, ‘‘Day of the Locust, Marathon Man,’’ in The Films of the Seventies, New York, 1990. Murphy, Robert, ‘‘Far from the Madding Crowd,’’ in Sixties British Cinema, London, 1992. Hadleigh, Boze, ‘‘Midnight Cowboy, Sunday, Bloody Sunday,’’ in The Lavender Screen: Homosexuality on Film, New York, 1993. Russell, Ken, ‘‘Sunday, Bloody Sunday,’’ in The Lion Roars: Ken Russell on Film, Winchester, Massachusetts, 1994. Kael, Pauline, ‘‘The Hollywood Novel: Day of the Locust and Other Films,’’ in Literature/Film Quarterly (Salisbury, Maryland), Win- ter 1995. Segnocinema (Vicenza), January/February 1997. *** John Schlesinger began his professional career by making short documentaries for the BBC. His first major venture in the cinema was a documentary for British Transport called Terminus, about twenty- four hours at Waterloo Station, which won him an award at the Venice Film Festival. Schlesinger’s documentaries attracted the attention of producer Joseph Janni; together they formed a creative association which has included several of Schlesinger’s British films, beginning with A Kind of Loving, which won the Grand Prize at the Berlin Film Festival. Schlesinger began directing feature films in Britain at the point when the cycle of low-budget, high-quality movies on social themes (called ‘‘Kitchen Sink’’ dramas) was in full swing. Because these films were made outside the large studio system, Schlesinger got used to developing his own film projects. He has continued to do so while directing films in Hollywood, where he has worked with increasing regularity in recent years, starting with his first American film, Midnight Cowboy. ‘‘I like the cross-fertilization that comes from making films in both England and America,’’ he explains. ‘‘Although I am English and I do like to work in England, I have gotten used to regarding myself more and more as mid-Atlantic.’’ As a matter of fact, foreign directors like Lang and Hitchcock and Schlesinger, precisely because they are not native Americans, are sometimes able to view American life with a vigilant, perceptive eye for the kind of telling details which home-grown directors might easily overlook or simply take for granted. Indeed, reviews of Midnight Cowboy by and large noted how accurately the British-born Schlesinger had caught the authentic atmosphere not only of New York City, but also of Miami Beach and the Texas Panhandle, as surely as he had captured the atmosphere of a factory town in his native England in A Kind of Loving. ‘‘Any film that is seriously made will reflect the attitudes and problems of society at large,’’ he says, and consequently possess the potential to appeal to an international audience, as many of his films have. ‘‘But it is inevitable that a director’s own attitudes will creep into his films. For my part I try in my movies to communicate to the filmgoer a better understanding of other human beings by exploring the hazards of entering into a mutual relationship with another human being, which is the most difficult thing on earth to do, because it involves a voyage of discovery for both parties.’’ Hence his prime concern as a director with examining complex human relationships from a variety of angles—ranging from the social outcasts of Mid- night Cowboy to members of the jet set in Darling. Among the standout films of his career are: Marathon Man, a thriller about a young American Jew who finds himself pitted against a Nazi war criminal in New York; The Falcon and the Snowman, the true story of two young Americans who betrayed their country to the Russians; and Madame Sousatzka, which concerns a dedicated, demanding London piano teacher whose exacting standards threaten to drive her most promising pupil away. Significantly, Schlesinger’s acutely observed depiction of the ramshackle old rooming house where Madame lives, with its colorful assortment of diverse tenants, lends to the film an authentic atmosphere that recalls Schlesinger’s social (‘‘Kitchen Sink’’) dramas. Given the great success of Marathon Man, Schlesinger went on to make a trio of superior thrillers: Pacific Heights, in which a hapless young landlord is victimized by a psychotic tenant; The Innocent, a story of international intrigue about a young English technician sent by British Intelligence to work on a secret operation in Berlin after World War II; and Eye for an Eye, a dark study wherein a vengeful mother vows to bring to justice the brute who raped and murdered her daughter. This trilogy of suspense films clearly established Schlesinger as a worthy successor to Hitchcock in the thriller genre. In sum, John Schlesinger is a member of the international commu- nity of filmmakers who speak to an equally international audience. That is the way the world cinema has been developing, and directors like Schlesinger have helped to lead it there. —Gene D. Phillips SCHL?NDORFF DIRECTORS, 4 th EDITION 878 SCHL?NDORFF, Volker Nationality: German. Born: Wiesbaden, 31 March 1939. Educa- tion: Lycée Henri IV, Paris; studied political science and economics; studied film directing at IDHEC, Paris. Family: Married filmmaker Margarethe von Trotta, 1969 (divorced). Career: Assistant to various French directors, 1960–64; returned to Germany, 1965; formed Hallelujah-Film with Peter Fleischmann, went into partnership with German TV stations, 1969; formed Bioskop-Film with Reinhard Hauff, 1973; opera director, from 1974. Awards: FIPRESCT Prize, Cannes Festival, for Young T?rless, 1966; Oscar for Best Foreign- Language Film, and Best Film, Cannes Festival (ex aequo), for The Tin Drum, 1979. Films as Director: 1960 Wen kümmert’s . . . (Who Cares . . . ) (short, unreleased) 1966 Der junge T?rless (Young T?rless) (+ sc) 1967 Mord und Totschlag (A Degree of Murder) (+ co-sc) 1969 Michael Kohlhaas—Der Rebell (Michael Kohlhaas—The Rebel) (+ co-sc) 1970 Baal (for TV) (+ sc); Ein unheimlicher Moment (An Uneasy Moment) (short; originally episode of uncompleted feature Paukenspieler, filmed 1967); Der pl?tzlicher Reichtum der armen Leute von Kombach (The Sudden Fortune of the Poor People of Kombach) (+ co-sc) 1971 Die Moral der Ruth Halbfass (The Moral of Ruth Halbfass) (+ co-sc); Strohfeuer (A Free Woman; Strawfire; Summer Lightning (+ co-sc) 1974 übernachtung in Tirol (Overnight Stay in the Tyrol) (for TV) (+ co-sc) 1975 Georginas Grunde (Georgina’s Reasons) (for TV); Die verlorene Ehre der Katharina Blum (The Lost Honor of Katharina Blum) (co-d, co-sc) 1976 Der Fangschuss (Coup de grace) 1977 Nur zum Spass—Nur zum Spiel (Only for Fun—Only for Play), Kaleidoskop Valeska Gert (Kaleidoscope Valeska Gert) (doc) (+ sc) 1978 Deutschland im Herbst (Germany in Autumn) (co-d) 1979 Die Blechtrommel (The Tin Drum) (+ co-sc) 1980 Der Kandidat (The Candidate) (doc) (+ co-sc) 1981 Die F?lschung (The Forgery) (+ sc); Circle of Deceit 1983 Krieg und Frieden (War and Peace) (doc) 1984 Swann in Love (Un Amour de Swann) 1985 Death of a Salesman 1987 Vermischte Nachrichten (Odds and Ends) (co-d); A Gathering of Old Men (for TV) 1990 The Handmaid’s Tale 1991 Last Call from Passenger Faber (Voyager) (+ co-sc) 1992 Billy Wilder, wie haben Sie’s gemacht? (Billy How Did You Do It?) (series for TV); The Michael Nyman Songbook 1996 Der Unhold (The Ogre) (+ co-sc) 1998 Palmetto (Dumme sterben nicht aus) 1999 Die Stille nach dem Schu? (Rita’s Legends) (+ co-sc) Publications By SCHL?NDORFF: book— Die Blechtrommel als Film, Frankfurt, 1979. By SCHL?NDORFF: articles— ‘‘Volker Schloendorff: The Rebel,’’ interview with Rui Nogueira and Nicoletta Zalaffi, in Film (London), Summer 1969. ‘‘Feu de paille,’’ interview with M. Martin, in Ecran (Paris), Febru- ary 1973. ‘‘Melville und der Befreiungskampf in Baltikum,’’ interview with H. Wiedemann, in Film und Ton (Munich), December 1976. ‘‘Die Blechtrommel,’’ in Film und Ton (Munich), June 1979. ‘‘The Tin Drum: Volker Schl?ndorff’s ‘Dream of Childhood’, inter- view with J. Hughes, in Film Quarterly (Berkeley), Spring 1981. ‘‘The Limits of Journalism,’’ an interview with A. Auster and L. Quart in Cineaste (New York), vol. 12, no. 2, 1982. Interview with B. Steinborn in Filmfaust (Frankfurt), February/ March 1983. ‘‘Director’s Chair,’’ an interview with D. DeNicolo in Interview (New York), March 1990. ‘‘The Last Days of Max Frisch,’’ in New York Times Book Review, April 1992. ‘‘Travelling Man,’’ an interview with Brian Case, in Time Out (London), 15 April 1992. ‘‘Schloendorff z Babelsbergu,’’ an interview with W. Wertenstein, in Kino (Warsaw), May 1993. On SCHL?NDORFF: books— Lewandowski, Rainer, Die Filme von Volker Schl?ndorff, Hildesheim, 1981. Franklin, James, New German Cinema: From Oberhausen to Ham- burg, Boston, 1983. Phillips, Klaus, editor, New German Filmmakers: From Oberhausen through the 1970s, New York, 1984. Elsaesser, Thomas, New German Cinema: A History, London, 1989. On SCHL?NDORFF: articles— ‘‘Le Coup de grace Issue’’ of Avant-Scène du Cinéma (Paris), 1 February 1977. Eichenlaub, H.M., ‘‘Den deutschen Film international machen: Volker Schl?ndorff und Die Blechtrommel,’’ in Cinema (Zurich), no. 2, 1979. Holloway, Ronald, ‘‘Volker Schl?ndorff,’’ in International Film Guide 1982, London, 1981. Rickey, C., ‘‘The War Lovers,’’ in American Film (Washington D.C.), January/February 1982. ‘‘Un Amour de Swann Issue’’ of Avant-Scène du Cinéma (Paris), no. 321/322, 1984. Horton, Andrew, ‘‘Black like Mich,’’ in Film Comment (New York), March/April 1987. Van Gelder, L., ‘‘At the Movies,’’ in New York Times, 16 March 1990. Strauss, F., article in Cahiers du Cinéma (Paris), September 1991. Lally, K., article in Film Journal, December 1991. Tagliabue, J., ‘‘A Director Who Pursues His Inner Demons,’’ in New York Times, 26 January 1992. SCHOEDSACKDIRECTORS, 4 th EDITION 879 Hickethier, Knut, in EPD Film (Frankfurt), November 1993. Guerin, N., ‘‘Cannes 94,’’ in Jeune Cinéma (Paris), January/Febru- ary 1995. Kino (Warsaw), June 1997. On SCHL?NDORFF: film— Private Conversation (doc about the making of Death of a Salesman), Blackwood, 1985. *** In discussions of the New German Cinema, Volker Schl?ndorff’s name generally comes up only after the mention of Fassbinder, Herzog, Wenders, and perhaps Straub, Syberberg, or von Trotta. Though his work certainly merits consideration alongside that of any of his countrymen, there are several reasons why he has stood apart from them. As a teenager, Schl?ndorff moved to France to study, earning academic honors and a university degree in economics and political science. He enrolled at IDHEC with an interest in film directing but chose instead to pursue an active apprenticeship within the French film industry. Eventually he served as assistant director to Jean-Pierre Melville, Alain Resnais, and Louis Malle. Schl?ndorff then returned to Germany and scored an immediate triumph with his first feature, Young T?rless. Like his mentor Louis Malle, then, he ushered in his country’s new wave of film artists, but also like Malle, Schl?ndorff’s eclectic range of projects has defied easy categorization, causing his work to seem less personal than that of almost any other German filmmaker. The thorough professional training received during his decade in France also set Schl?ndorff apart. His time there instilled in him an appreciation for the highly-crafted, polished filmmaking that marks his style. (The quality of the photography in his work—both black and white and in color, whether by Sven Nykvist, Franz Rath, or Igor Luther—has been consistently exceptional.) While most of his contemporaries declared their antipathy toward the look and produc- tion methods of the declining German film industry of the 1960s, Schl?ndorff endeavored successfully to make larger-scaled features. Toward this end he helped form and continues to operate two production companies—Hallelujah-Film and Bioskop-Film—and has regularly obtained financing from German television and a variety of international producers. Yet he has met shooting schedules of just three weeks, and his wide career includes shorts, documentaries, and television films (one is a production of Brecht’s Baal with Fassbinder in the title role). In the mid-1970s he even turned to directing opera: Jana?ek’s Katya Kabanova and a work by Hans Werner Henze. Intellectual, literate, and fluent in several languages, Schl?ndorff has chiefly been attracted to the adaption of literary works—a practice which has yielded mixed results: Young T?rless, from Robert Musil, remains one of his best films, and there is much to praise in The Tin Drum, the New German Cinema’s foremost commercial success, which Günter Grass helped to adapt from his novel. Despite strengths in each, though, the director’s adaptations of Kleist’s Michael Kohlhaas and Marguerite Yourcenar’s Coup de grace turned out unevenly for quite different reasons. The admirable Lost Honor of Katharina Blum comes from a Heinrich B?ll story, while the problematic Circle of Deceit was based on the novel by Nicolas Born. Among ‘‘original’’ projects, on the other hand, are A Degree of Murder, a failure by all accounts; the fine A Free Woman; and the excellent Sudden Wealth of the Poor People of Kombach. Despite the variety of his subjects, Schl?ndorff is almost invariably drawn to material that allows him expression as social critic. All the films cited above share this characteristic. Some of his projects have been courageously political: Katharina Blum is an undisguised attack on Germany’s powerful right-wing, scandal-mongering press, which serves large-scale social repression. As notable are his leading contributions to three collaborative documentaries: Germany in Autumn, a response to the authoritarian climate in the country in the wake of the Baader-Meinhof affair; The Candidate, a work shot during the election campaign that examines the career of ultra-conservative Christian Social Unionist Franz Josef Strauss; and War and Peace, an agit-prop film essay on the deployment of new American nuclear missiles in the Federal Republic. Schl?ndorff’s major theme is the temptation toward moral and political equivocation within an ambiguous or malignant social order, and his films are wryly or skeptically realistic about any hoped-for solutions, even courting controversy. A Free Woman chastens unbri- dled feminist idealism; Circle of Deceit (made prior to the Israeli invasion of Lebanon) refuses to take sides in the Lebanese conflict. Margarethe von Trotta, to whom Schl?ndorff is married, has performed in a number of her husband’s films and is a frequent collaborator on his scripts; interestingly, her own work as director is characterized not only by a polish equal to Schl?ndorff’s and similar political inspiration but also by a compelling intelligence and power of evocation. Throughout the 1980s and early 1990s, Schl?ndorff has continued directing films based on fine literature. They feature characters in moral conflict who are spooked by their pasts, uncertain of their futures, and unable to control their impulses and their fates. Swann in Love, based on Marcel Proust’s Remembrances of Things Past, is the elegantly sensual story of a wealthy gentleman (Jeremy Irons) who thrives in the finest circles of high society but risks everything over his erotic obsession with a courtesan. Death of a Salesman, superbly adapted from the 1984 Broadway revival of the Arthur Miller play, is the saga of Willy Loman (Dustin Hoffman), the tragic, desperate travelling salesman to whom ‘‘attention must be paid.’’ The Handmaid’s Tale, scripted by Harold Pinter from Marga- ret Atwood’s bestseller, is an intriguing science-fiction chiller told from a woman’s point of view. It is set in the future, when white women are coerced into birthing babies who will make up a new, ‘‘pure’’ generation. The story focuses on one such female (Natasha Richardson) who must contend with the advances of the powerful ‘‘commander’’ (Robert Duvall). Finally, Voyager, based on the Max Frisch book Homo Faber, is a pensive drama about two very different romances—one in the past, the other in the present—experienced by Walter Faber (Sam Shepard), a repressed American traveler. —Herbert Reynolds, updated by Rob Edelman SCHOEDSACK, Ernest B. Nationality: American. Born: Ernest Beaumont Schoedsack in Council Bluffs, Iowa, 8 June 1893. Military Service: Served in photographic dept. of U.S. Signal Corps. in France, 1916, then captain in Red Cross SCHOEDSACK DIRECTORS, 4 th EDITION 880 Ernest B. Schoedsack photographic unit. Family: Married actress Ruth Rose, 1926, one son. Career: Worked with engineering road gangs in San Francisco area, then secured job as cameraman for Mack Sennett through brother Felix (G.F.) Schoedsack, early 1910s; freelance newsreel cameraman, Europe, then returned to United States, 1922; collabo- rated with Merian C. Cooper and newspaper correspondent Marguerite Harrison on first film, Grass, 1925; suffered severe eye injury while testing photographic equipment for U.S. Army Air Corps, World War II. Died: 23 December 1979. Films as Director: 1925 Grass (doc) (co-d, co-pr, co-sc, co-ph) 1927 Chang (doc) (co-d, co-pr) 1929 The Four Feathers (co-d, co-pr) 1931 Rango (+ pr) 1932 The Most Dangerous Game (The Hounds of Zaroff) (co-d, co-pr) 1933 King Kong (co-d, co-pr); Son of Kong; Blind Adventure 1934 Long Lost Father 1935 The Last Days of Pompeii 1937 Trouble in Morocco; Outlaws of the Orient 1940 Dr. Cyclops 1949 Mighty Joe Young 1952 This Is Cinerama (d prologue only, uncredited) Publications By SCHOEDSACK: article— ‘‘Grass: The Making of an Epic,’’ in American Cinematographer (Hollywood), February 1983. On SCHOEDSACK: books— Goldner, Orville, and George Turner, The Making of King Kong, Cranbury, New Jersey, 1975. Gottesman, Ronald, and Harry Geduld, editors, The Girl in the Hairy Paw, New York, 1976. On SCHOEDSACK: articles— Boone, Andrew R., ‘‘Prehistoric Monsters Roar and Hiss for the Sound Film,’’ in Popular Science Monthly (New York), 1933. ‘‘The Making of the Original King Kong,’’ in American Cinema- tographer (Los Angeles), January 1977. ‘‘RKO: They Also Served,’’ in Monthly Film Bulletin (London), December 1979. Goimard, J., ‘‘Cooper et Schoedsack: une longue collaboration,’’ in Avant-Scène du Cinéma (Paris), November 1982. Mould, D. H., and G. Veeder, ‘‘The Photographer-Adventurers: Forgotten Heroes of the Silent Screen,’’ in Journal of Popular Film and Television (Washington, D.C.), vol. 16, no. 3, Fall 1988. *** Ernest B. Schoedsack’s initial fame as a filmmaker came from his work in the documentary mode directing ‘‘natural dramas,’’ as he and his partner Merian C. Cooper called their films. Schoedsack’s spirit for adventure in these pictures can be traced to the kind of life he himself led. He began his film career simply enough as a cameraman with the Mack Sennett Keystone Studios. When World War I broke out Schoedsack enlisted with the photographic section of the Signal Corps. He was stationed in France, where he gained a great deal of film experience as a newsreel cameraman. With the signing of the Armistice, Schoedsack decided to remain in Europe and aid the Poles in their battle against the Russians. While in Poland Schoedsack continued to make newsreels. This occupation, however, was prima- rily a cover to disguise the fact that he was smuggling supplies and Poles out of Russian-occupied territory. It was in Poland that Schoedsack met his future partner Merian C. Cooper. Like Schoedsack, Cooper was an American who wanted to help the Polish people in their struggle for freedom. Cooper’s exploits during the Russian-Polish conflict resulted in his imprisonment by the Russians as a spy. Fortunately he managed to escape before he could be executed. The true-life adventures of both Cooper and Schoedsack make it easy to see why these two sought out the most distant, difficult, and dangerous locations they could find for their films. Their first motion picture collaboration, titled Grass, concerned the yearly migration of the Bakhtiari tribes in Persia as they crossed over the Zardeh Kuh mountain range to find grazing land for their sheep and cattle. Although the trip was long and treacherous, Cooper and Schoedsack made the journey with the tribesmen, filming every step of the way. Back home Grass was an extremely successful film, SCHRADERDIRECTORS, 4 th EDITION 881 and, along with Nanook of the North, helped to set the style for documentary travelogues. Their next project together, Chang, was a documentary film set in China, but with a more centralized story line than Grass. This film dealt with one man’s efforts to protect his family from the dangers of nature. In order to help dramatize the story, some events in the film were staged. For example, the climactic elephant stampede toward the end of the film was directed at a mock village so that no lives would be endangered. Audiences in America were none the wiser, however, and Chang played to large crowds on Broadway. With each successive film Cooper and Schoedsack moved more and more toward fiction, although their films still retained a docu- mentary look. For example, their next film, The Four Feathers, included background scenes filmed in Africa, while the principal actors were filmed on a Hollywood stage. Eventually Cooper and Schoedsack moved their filmmaking partnership entirely to Holly- wood and away from real locations. They continued to make films in the documentary style, though, as shown by their most famous film of all, King Kong. As a work of fiction, King Kong is a fantasy version of Cooper and Schoedsack’s ultimate documentary adventure—a jour- ney to a faraway uncharted island in search of the ‘‘Eighth Wonder of the World.’’ The film was the box-office surprise of 1933 and it is still popular today. After King Kong Schoedsack directed little of note. He directed two more giant ape pictures, Son of Kong and Mighty Joe Young. An accident during World War II left him partially blinded, but his documentary films alone earned Schoedsack an important place in the tradition of non-fiction filmmaking. —Linda J. Obalil SCHRADER, Paul Nationality: American. Born: Grand Rapids, Michigan, 22 July 1946; the brother of screenwriter Leonard Schrader. Education: Educated in Ministry of Christian Reformed religion at Calvin College, Grand Rapids, Michigan, graduated 1968; took summer classes in film at Columbia University, New York; University of California at Los Angeles Film School, M.A., 1970. Family: Married actress Mary Beth Hurt, 1983, one daughter, one son. Career: Moved to Los Angeles, 1968; worked as a writer for the Los Angeles Free Press, then became editor of Cinema magazine; first script to be filmed, The Yakuza, 1974; directed his first feature, Blue Collar, 1977. Awards: First Prize Paris Festival, for Blue Collar, 1978; Valladolid International Film Festival Youth Jury Award-Special Mention, for Affliction, 1997; Writers Guild of America Laurel Award for Screen Writing Achievement, 1999. Address: Schrader Productions, 1501 Broadway, Suite 1405, New York, NY 10019, U.S.A. Agent: Jeff Berg, International Creative Management, 8899 Beverly Blvd., Los Angeles, CA 90048, U.S.A. Films as Director and Scriptwriter: 1977 Blue Collar 1978 Hardcore Paul Schrader 1979 American Gigolo 1981 Cat People (d only) 1985 Mishima: A Life in Four Chapters 1987 Light of Day 1988 Patty Hearst (d only) 1990 The Comfort of Strangers (d only) 1992 Light Sleeper 1994 Witch Hunt (d only) (for TV) 1997 Touch; Affliction 1999 Forever Mine Other Films: 1974 The Yakuza (Pollack) (co-sc) 1976 Taxi Driver (Scorsese) (sc); Obsession (De Palma) (co-sc) 1977 Rolling Thunder (Flynn) (sc); Close Encounters of the Third Kind (Spielberg) (co-sc, uncredited) 1978 Old Boyfriends (Tewkesbury) (co-sc, exec pr) 1980 Raging Bull (Scorsese) (co-sc) 1984 De Weg waar Bresson (The Road to Bresson) (De Boer, Rood) (doc) (ro as himself) 1986 The Mosquito Coast (Weir) (sc) 1988 The Last Temptation of Christ (Scorsese) (sc) 1995 City Hall (Becker) (co-sc); The Hollywood Fashion Machine (Ely—for TV) (doc) (ro as himself) 1999 Bringing out the Dead (Scorsese) (sc) 2002 Dino (Scorsese) (co-sc) SCHRADER DIRECTORS, 4 th EDITION 882 Publications By SCHRADER: books— Transcendental Style in Film: Ozu, Bresson, Dreyer, Berkeley, 1972. Schrader on Schrader, edited by Kevin Jackson, London, 1989. Cleopatra Club, New York, 1995. By SCHRADER: articles— Schrader, Paul, ‘‘Robert Bresson, Possibly,’’ in Film Comment (New York), September/October 1977. Interview with Gary Crowdus and Dan Georgakas, in Cineaste (New York), Winter 1977/78. ‘‘Paul Schrader’s Guilty Pleasures,’’ in Film Comment (New York), January/February 1979. Interview with M.P. Carducci, in Millimeter (New York), Febru- ary 1979. Interview with Mitch Tuchmann, in Film Comment (New York), March/April 1980. ‘‘Truth with the Power of Fiction,’’ interview with Tim Pulleine, in Sight and Sound (London), Autumn 1984. Interview with Michel Ciment, in Positif (Paris), June 1985. ‘‘The Japanese Way of Death,’’ interview with David Thomson, in Stills (London), June/July 1985. Interview with Allan Hunter, in Films and Filming (London), Novem- ber 1985. Interview with Karen Jaehne, in Film Quarterly (Berkeley), Spring 1986. Interview with Glenn Rechler, in Cineaste (New York), no. 1, 1989. Interview with E. Anttila, in Filmihullu (Helsinki), no. 2, 1989. ‘‘Dialogue on Film: Paul Schrader,’’ in American Film (Los Ange- les), July/August 1989. Schrader, Paul, ‘‘Does the Letter Still Rate? Porn Has the X, Let’s Use an A,’’ in New York Times, 5 August 1990. ‘‘Movie High,’’ interview with Scott Macaulay, in Filmmaker (Los Angeles), no. 1, 1992. ‘‘A Spirit Looking for a Body,’’ interview with H. Barlow, in Filmnews (New South Wales, Australia), no. 9, 1992. ‘‘To Hell with Paul Schrader,’’ interview with L. De Coppet, in Interview (New York), March 1992. ‘‘Awakenings,’’ interview with Gavin Smith, in Film Comment (New York), March/April 1992. Interview with Michel Ciment, in Positif (Paris), April 1993. Schrader, Paul, ‘‘Paul Schrader on Martin Scorsese,’’ in The New Yorker, 21 March 1994. Schrader, Paul, ‘‘Pickpocket de Bresson,’’ in Positif (Paris), June 1994. ‘‘A Man of Excess,’’ interview with G. Smith, in Sight and Sound (London), January 1995. Schrader, Paul, ‘‘Babes in the Woods,’’ in Artforum (New York), May 1995. Interview with A.J. Navarro, in Dirigido Por (Barcelona), Novem- ber 1997. On SCHRADER: articles— Toubiana, Serge, and L. Bloch-Morhange, ‘‘Trajectoire de Paul Schrader,’’ in Cahiers du Cinéma (Paris), November 1978. Cuel, F., ‘‘Dossier: Hollywood 79: Paul Schrader,’’ in Cinématographe (Paris), March 1979. Wells, J., ‘‘American Gigolo and Other Matters,’’ in Film Comment (New York), March/April 1980. Sinyard, Neil, ‘‘Guilty Pleasures: The Films of Paul Schrader,’’ in Cinema Papers (Melbourne), December 1982. Eisen, K., ‘‘The Young Misogynists of American Cinema,’’ in Cineaste (New York), vol 13, no. 1, 1983. Gehr, Richard, ‘‘Citizen Paul,’’ in American Film (Los Angeles), vol. 13, no. 10, 1988. Fraser, Peter, ‘‘American Gigolo and Transcendental Style,’’ in Literature/Film Quarterly (Salisbury, Maryland), vol. 16, no. 2, 1988. Combs, Richard, ‘‘Patty Hearst and Paul Schrader: A Life and a Career in 14 Stations,’’ in Sight and Sound (London), Sum- mer 1989. Kennedy, Harlan, ‘‘The Discomforts of Paul Schrader,’’ in Film Comment (New York), July/August 1990. Freedman, S.G., ‘‘A Fallen Calvinist Pursues His Vision of True Heroism,’’ in The New York Times, 25 August 1991. Prestor, U., ‘‘Paul Schrader,’’ in Ekran (Ljubljana, Yugoslavia, no. 8/9, 1992. McDonagh, M., ‘‘New Schrader Anti-Hero Awakens in Light Sleeper,’’ in Film Journal (New York), August 1992. Lopate, Philip, ‘‘With Pen in Hand, They Direct Movies,’’ in New York Times, 16 August 1992. Grimes, W., ‘‘The Auteur Theory of Film: Holy or Just Full of Holes?,’’ in New York Times, 20 February 1993. Mortimer, L., ‘‘Desperately Seeking Union: Paul Schrader and Light Sleeper,’’ in Metro Magazine (St. Kilda West, Victoria, Aus- tralia), Winter 1993. Skal, D.J., ‘‘Touch,’’ in Cinefantastique (Forest Park, Illinois), no. 8, 1997. Webster, A., ‘‘Filmography,’’ in Premiere (New York), Febru- ary 1997. *** While it is doubtless fanciful and recherché to read Paul Schrader’s movies as unmediated reflections of his own life and feelings, it is nonetheless true that the director/screenwriter’s ‘‘religious fascina- tion with the redeeming hero’’ echoes his extreme fascination with himself. The incredible urge that his characters have to confess (Schrader frequently resorts to voice-overs and interior monologues), exemplified by Travis Bickle’s mutterings in Taxi Driver, Christ’s musings on the cross during his Last Temptation, and Patty Hearst’s thoughts about her abduction, suggest that his films are firmly rooted in self-analysis. The 1989 book Schrader on Schrader, and the filmmaker’s enthusiasm for the bio-pic (Mishima, Patty Hearst), a genre that had been more or less moribund since the time of Paul Muni, testify that he does indeed share the Calvinist urge to account for everything, to make his art out of the introspective inventory of his, or somebody else’s, life. Appropriately, for a confirmed fan of the films of Bresson, the image of the condemned man/woman attempting to escape his/her fate is a leitmotif in Schrader’s work. He seems obsessed with prison metaphors, with images of captivity. In Patty Hearst, Natasha Rich- ardson is locked up in a cupboard. In Cat People, Nastassia Kinski ends up behind bars, in a zoo—a human captive in a panther’s body. Richard Gere, in American Gigolo, is ‘‘framed’’ (he is ‘‘framed’’ for a murder he did not commit and ‘‘framed’’ as the object of the gaze— the camera seems to love him), and the last time we see him, he is SCHRADERDIRECTORS, 4 th EDITION 883 reaching out for Lauren Hutton but is separated from her by the glass panel in the prison interview booth. Christ, predictably, ends up on the cross: he too is trapped. A last, sad image of Raging Bull is of Jake La Motta (Robert De Niro) banging his head against his cell wall. Schrader’s work abounds in figures cabined, cribbed, and confined. Travis Bickle, that emissary from 1970s America, is a prisoner in the city, a prisoner in his own body, a prisoner behind the wheel of his taxi, a slave to pornography and junk food, and he is trying, in his mildly psychotic way, to free Jodie Foster’s child prostitute, who is similarly trapped. Season Hubley in Hardcore is whisked away from a Calvinist Convention, kidnapped by a snuff movie producer, and needs an Ahab/John Wayne figure (George C. Scott) from the suburbs to rescue her, to try to reincarcerate her within the family. Even Schrader’s Venice in The Comfort of Strangers, studio-built and full of interminable dark corridors, seems more like San Quentin than a beautiful European city on water. An American of Dutch/German extraction, Schrader had a strict religious upbringing in Grand Rapids, Michigan. He did not watch as much TV as one might expect, and when it came to the cinema, he was cruelly deprived: incredibly, he saw his first film, The Absent-minded Professor, when he was seventeen. Then came the revelation of Wild in the Country, a lurid Elvis Presley vehicle which gave him his vision on the Road to Damascus: he was captured by the celluloid muse. His Calvinist background, combined with his early career as film histo- rian/critic, makes him among the more academically inclined of mainstream Hollywood filmmakers. He was a Pauline Kael protegé, a ‘‘Paulette’’ as he describes it, and it was Kael’s influence which got him into the film course at UCLA. Few of his contemporaries have been fellows of the American Film Institute or have written ineffably unfathomable monographs on transcendental style in the movies of Ozu, Bresson, and Dreyer. He straddles two mutually exclusive cultures, traditions, discourses. On the one hand, he is the film scholar and expert in European and Japanese cinema. On the other, he is the hack Hollywood director and screenwriter. It is a tension that he seems to enjoy. Is he the artist locked up in a commercial catacomb or is he the popular filmmaker, hampered by his own notions of art? Is he, perhaps, just plain religious freak and show-off? ‘‘The reason I put that Bressonian ending onto American Gigolo,’’ he noted, ‘‘was a kind of outrageous perversity, saying I can make this fashion- conscious, hip Hollywood movie and at the end claim it’s really pure; and in Cat People I can make this horror movie and say it was about Dante and Beatrice.’’ Sometimes Schrader seems too clever by half. Kael, attacking Patty Hearst, suggested he lacked a basic instinct for moviemaking: ‘‘He doesn’t reach an audience’s emotions.’’ This is probably unfair. His own scripts have a relentless narrative drive, generally toward some kind of judgement day (witness his work with Scorsese). When he is directing another writer’s scenario, he can lose that obsessive will to destruction, salvation, damnation. Both Patty Hearst and The Comfort of Strangers—though it must be taxing for any director to try to animate a Pinter script—lack the momentum, the frenetic desire to tell a story, which may be found in the films he wrote himself. Apparently, he worked with Spielberg on early drafts of Close Encounters, but Spielberg elbowed him off the project because Schrader did not share his Capra-like love of the common man and wanted to make the protagonist a crusading religious fruitcake à la Travis Bickle. Whatever one’s reservations about Schrader’s evan- gelism or his tedious self-obsession, he is undoubtedly one of Hollywood’s most formally arresting filmmakers. He pays enormous attention to set design. (He has worked frequently with Scarfiotti, Bertolucci’s designer on The Conformist.) He seems equally at home with the lush, magical opulence of New Orleans in Cat People, the sober, almost drama-doc look of Patty Hearst, the glossy, superficial Los Angeles, all hotels, restaurants, and expensive apartments, of American Gigolo, or the stagy, elaborate sets on Mishima. Edgy, prowling tracks (the opening shot of The Comfort of Strangers is a virtuoso effort in camera peripeteia to rival the first few minutes of Welles’ Touch of Evil), a predilection for high angle shots (humans as bugs), and his discerning use of music (he has worked with Philip Glass and Giorgio Moroder, among others) show him as a filmmaker with a consummate love of his craft. Yet Schrader thrives on controversy. He was sacked from his job as film critic for the Los Angeles Free Press because he gave a debunking review to Easy Rider. American Gigolo was attacked as being homophobic. Mishima provoked an outcry in Japan. The Last Temptation of Christ brought the moral majority out to the picket line. Apparently a student radical in the 1960s, Schrader caricatures the Symbionese Liberation Army, Patty Hearst’s abductors, as idiotic mouthers of revolutionary platitudes. His films seem to abound in right-wing visionaries (Travis Bickle, George C. Scott in Hardcore, Mishima, Christopher Walken in The Comfort of Strangers) and, while he does not straightforwardly endorse their viewpoints, he respects their right to be individuals and their struggle for redemption, a struggle which invariably leaves onlookers dead and dying in the crusading hero’s wake. Social historians of American culture and politics in the 1970s and 1980s will find rich pickings in the Schrader oeuvre. Schrader continued his cinematic explorations of characters attempting to purge themselves of their excesses and sins in Light Sleeper, a knowing, sobering film set amid the strata of the New York City drug culture. Symbolically, its scenario is set during a sanitation strike, allowing the streets to be strewn with garbage. Willem Dafoe plays John LeTour, a forty-year-old ex-junkie and ‘‘mid-level drug dealer’’ whose clientele consists of upscale New Yorkers willing to pay big bucks for top-quality product. Both LeTour and Ann (Susan Sarandon), his boss, are fascinating characters. Within the confines of her world, Ann is a celebrity, a legend: the Mayflower Madam of the drug trade. She dresses like a high-powered business executive, dines in fancy restaurants, and tools around town in a chauffeured limou- sine. She also is shifting from drug dealing to marketing cosmetics. LeTour, too, yearns to go straight: he is having trouble sleeping, and he fears he has run out of luck. However, his redemption will not come easily, a fact that quickly becomes apparent when he runs into Marianne (Dana Delany), his ex-girlfriend and also a former junkie. On occasion in Light Sleeper, Schrader waxes nostalgic about the ‘‘good old days’’ of drug use, ‘‘before crack came,’’ when cocaine was the drug of choice. Otherwise, he graphically depicts the ravages of drugs. His junkies are unromanticized and ultimately pathetic. Despite its top-of-the-line cast, Light Sleeper was too unsexy a film to earn the widespread hype enjoyed by many of Schrader’s ear- lier films. Touch, the story of a Christ-like character named Juvenal (Skeet Ulrich) who is exploited by various revivalists, fundamentalists, and hucksters, is another of Schrader’s films that may be directly linked to his upbringing. It also is one of his lesser films, as it wallows in understatement. He then reemerged in full force with Affliction, based on a novel by Russell Banks, the saga of Wade Whitehouse (Nick Nolte, in a performance that is a model of anguished intensity), a small-town New Hampshire sheriff who is drowning in his demons. His ex-wife despises him; his daughter feels only discomfort as he ineptly attempts to relate to her; and his problems are linked to his SCHROETER DIRECTORS, 4 th EDITION 884 abusive father (a riveting, Oscar-winning James Coburn), a dying man who wallows in alcoholic rage—and whom Wade still deeply fears. Then Schrader revisited the landscape of Taxi Driver by scripting Scorsese’s Bringing out the Dead, only here the loner-hero, Frank Pierce (Nicolas Cage), is a burned-out Manhattan paramedic whose soul has been deadened by all the pain he has witnessed, and who finds himself haunted by hallucinations. Taxi Driver and Bringing out the Dead offer alternative visions of the Manhattan of Woody Allen: an upper-middle-class playground where crime and creeps mostly are nonexistent, drug-taking is a chic, recreational sport (rather than a destroyer of souls), and an individual’s dysfunction is linked to his psyche (and Brooklyn Jewish upbringing) rather than the muck of his present-day environment. Frank Pierce and Wade Whitehouse are two more Schrader characters who are prisoners. Pierce’s shackles are the slick, danger- ous streets of New York between dusk and dawn, while Whitehouse’s lockup is his hometown. Unlike his brother, he has not had the good sense to move far, far away, and reinvent himself. —G.C. Macnab, updated by Rob Edelman SCHROETER, Werner Nationality: German. Born: Georgenthal, Thuringia, 7 April 1945. Education: Educated in Bielefeld and Heidelberg, and Naples; studied psychology at Mannheim; left Munich Television and Film Academy after a few weeks. Career: Worked as journalist, then Werner Schroeter with Rosa von Praunheim began making 8mm films, 1967; director for TV, from 1970; release of first film to theatres, The Kingdom of Naples, 1978; also director for opera and theatre, and actor in several films. Awards: Golden Bear, Berlin Festival, for Palermo or Wolfsburg, 1980. Films as Director: 1967 Verona (Zwei Katzen) (short) 1968 Callas Walking Lucia (short); Callas text mit doppel- beleuchtung (short); Maria Callas portr?t (short); Mona Lisa (short); Maria Callas singt 1957 Rezitativ und Arie der Elvira aus Ernani 1844 von Giuseppe Verdi (short); La morte d’Isotta; Himmel Hoch (short); Paula—‘‘je reviens’’; Grotesk—Burlesk—Pittoresk (co-d with Rosa von Praunheim); Faces (short); Aggressionen (short); Neurasia; Argila; Virginia’s Death (short) 1969 Eika Katappa; Nicaragua 1970 Der Bomber-pilot (for TV); Anglia 1971 Salome (for TV); Macbeth (for TV); Funkausstellung 1971— Hitparade (for TV) 1972 Der Tod der Maria Malibran (The Death of Maria Malibran) (for TV) 1973 Willow Springs (for TV) 1974 Der Schwarze Engel (The Black Angel) (for TV) 1975 Johannas Traum (short) 1976 Flocons d’or (Goldflocken; Goldflakes) 1978 Regno di Napoli (Neapolitanische Geschwister; Kingdom of Naples) 1980 Palermo oder Wolfsburg (Palermo or Wolfsburg); Weisse Reisse (White Journey); Die Generalprobe (La Répétition générale; The Dress Rehearsal) 1982 Der Tag der Idioten (Day of Idiots); Das Liebeskonzil (Lov- ers’ Council) 1983 Der lachende Stern (The Smiling Star) 1985 De l’Argentine (About Argentina); Der Rosenk?nig (Rose King); A la recherche du soleil (for TV) 1991 Malina 1996 Poussières d’amour (Love’s Debris) (+ co-sc) 1999 Die K?nigin Publications By SCHROETER: book— Liebeskonzil. Filmbuch, with Oskjar Panizza and Antonio Salines, Munich, 1982. By SCHROETER: articles— Interview with Gérard Courant and Jean-Claude Moireau, in Cahiers du Cinéma (Paris), January 1980. Interview with Alain Carbonnier and No?l Simsolo, in Cinéma (Paris), March 1984. Interview with A. Wilink, in EPD Film, January 1991. Interview, in Kino; Film der Bundesrepublik Deutschland, no. 2, 1991. Interview with P. Kremski, in Filmbulletin (Winterthur), no. 5, 1996. SCHROETERDIRECTORS, 4 th EDITION 885 On SCHROETER: books— Schmid, Eva, and Frank Scurla, editors, Werner Schroeter. Filme 1968–70, Bochum, 1971. Jansen, Peter W., and Wolfram Schütte, editors, Werner Schroeter, Munich, 1980. Courant, Gérard, editor, Werner Schroeter, Paris, 1982. Elsaesser, Thomas, New German Cinema: A History, London, 1989. On SCHROETER: articles— Wenders, Wim, ‘‘Filme von Werner Schroeter,’’ in Filmkritik (Mu- nich), May 1969; reprinted in Emotion Pictures: Reflections on the Cinema, London, 1990. Grafe, Frieda, ‘‘Schauplatz für Sprache: Neurasia,’’ in Filmkritik (Munich), no. 3, 1970. Greenberg, Alan, ‘‘Notes on Some European Directors,’’ in Ameri- can Film (Washington, D.C.), vol. 3, no. 1, 1977. Corrigan, Timothy, ‘‘Werner Schroeter’s Operatic Cinema,’’ in Dis- course (Berkeley), Spring 1981. Indiana, Gary, ‘‘Scattered Pictures: The Movies of Werner Schroeter,’’ in Art Forum (New York), March 1982. Kuhlbrodt, Dietrich, ‘‘Werner Schroeter,’’ in CineGraph. Lexikon zum deutschsprachigen film, edited by Hans-Michael Bock, Munich, 1984. Bassan, R., and M. Martin, ‘‘Werner Schroeter,’’ in Revue du Cinéma (Paris), February 1984. Corrigan, Timothy, ‘‘On the Edge of History: The Radiant Spectacle of Werner Schroeter,’’ in Film Quarterly (Berkeley), Summer 1984. Kunze, Barbara, ‘‘Focusing on the Abstract,’’ in World Press Review, April 1991. Danton, A., ‘‘Le desert et les roses,’’ in Cahiers du Cinéma (Paris), September 1991. Bernink, M., ‘‘De ruimte van het operateske,’’ in Skrien, February/ March 1992. Kino (Warsaw), no. 1, 1997. *** Werner Schroeter’s hyper-melodramatic films tend to provoke either intense admiration or outraged hostility. He is one of the most controversial filmmakers associated with the New German Cinema. His emotionally charged, performance-inspired cinema draws on and radically reinterprets nineteenth-century Italian bel canto opera and the music of German Romanticism. Schroeter’s central figure is always the outsider—the homosexual, the mad person, the foreigner— and his major theme is the yearning for self-realization through passionate love and artistic creativity. Schroeter’s concept of cinema relies on intense stylization, de- ploying manneristic prolonged gestures. The characters are framed in sumptuous tableaux compositions, and the visuals are underscored by a highly manipulated soundtrack. Images, music, and sound are non- synchronized in Schroeter’s early films: the performers mime exaggeratedly to the lyrics or spoken words on the soundtrack. The songs, arias, and literary citations (mostly from Lautréamont) give rise to stories which repeat distilled moments of desire, loss, and death. Schroeter is not interested in reproducing an illusion of reality with psychologically motivated actions; instead, he seeks to create visions for a psychic reality. He wants to break with conventional viewing habits, hence his predilection for fragmentation, non-syn- chronization, extended duration, and deliberately over-the-top acting. At its best, this approach to cinema simultaneously involves the spectator through the music, whilst distancing through anti-naturalist conventions (which should not be confused with Brechtian distanciation techniques). Schroeter’s cinema of excess and artifice occupies a transitional space between the avant-garde and art cinema, neither quite abstract nor quite narrative. Music, which is central in all of Schroeter’s films, is more important for its content than the mood it conveys: the music comments, but also contradicts at times. Juxtaposing classical with popular music is a major characteristic of Schroeter’s cinema. For example, he puts Maria Callas, the opera diva, side by side with Caterina Valente, the German popular singer. This blurs the hierarchi- cal distinction between ‘‘high’’ and ‘‘low’’ culture, between art and kitsch. Yet Schroeter has been accused of elitism—of making films for ‘‘culture vultures’’—since his complex system of citing from pop, opera, and literature sources demands a high degree of cultural literacy from the spectator. Moreover, with Schroeter one can never be quite certain whether he parodies or celebrates. Over the years, and thanks to major retrospectives in London, Paris, and New York, Schroeter has gained an international cult following. Though his cinema is marginal in terms of general audi- ence appeal, Schroeter has been a seminal presence in the New German Cinema of the 1970s. Fassbinder, Herzog, and Wenders have acknowledged him as a decisive influence on their work. His impact on Syberberg is so apparent that Fassbinder has even leveled charges of plagiarism. Eika Katappa, a radical appropriation of famous nineteenth- century opera scenes, won the Josef von Sternberg prize (as ‘‘the most idiosyncratic film’’) in 1969 at the Mannheim Film Festival and provided Schroeter with a major breakthrough. As a consequence he entered the world of television, and during the 1970s his films were produced almost exclusively by a small experimental television department. It is rather ironic that Schroeter’s ‘‘total cinema’’ (owing more to the spectacle than to the narrative arts) found a home in television. Der Tod der Maria Malibran, sublime and bizarre, is considered by many (including Michel Foucault and Schroeter himself) to be one of his best films, but it is also the most difficult. The historical figure of the singer Maria Malibran provides merely a starting point for a dense network of references and allusions encompassing Goethe, Lautréamont, Elvis Presley, and Janis Joplin. With Regno di Napoli Schroeter shifted towards art cinema, and it became his first commer- cial release. It was received with an unusual consensus of critical acclaim. Many who had regarded Schroeter as a filmmaker of fantastic fables were surprised subsequently at his politically hard- hitting documentaries. The Laughing Star is an extraordinary collage documentary on Marcos’s corrupt regime, while Zum Beispiel Argentinien denounces Galtieri’s dictatorship. Schroeter’s gay sensibility is expressed as an aesthetic approach that could be described as ‘‘high camp.’’ His conception has fre- quently been compared to and contrasted with (not always favourably) Rosa von Praunheim’s much more militant stance. Schroeter insists on the romantic version of homosexuality. In most of his films we get the gay historical subtext, rather than thematic treatment. Der Rosenk?nig, an excessive and entrancing hallucinatory fable of SCHUMACHER DIRECTORS, 4 th EDITION 886 oedipal and homosexual passion, is his most explicit gay film. It also marked the beginning of a six-year gap in fiction filmmaking for the director. Only in 1990 did he begin shooting his new film, Malina. During the 1980s Schroeter became much more widely known as a theatre and opera director, staging a range of productions in Germany and in other countries. Some of these works are highly acclaimed, but all are controversial; indeed, his theatre and opera efforts proved even more controversial than his films. —Ulrike Sieglohr SCHUMACHER, Joel Nationality: American. Born: New York, New York, 29 August 1939. Education: Attended the Fashion Institute of Technology; graduated with honors from the Parsons School of Design. Career: Worked as design-display artist at Henri Bendel department store while attending the Parsons School of Design, early 1960s; became a fashion designer and opened his own boutique, Paraphernalia, 1960s; worked on television commercials and designed packaging and clothing for the Revlon Group, 1960s; moved to Los Angeles and entered movies as a costume designer, 1972; designed costumes for The Time of the Cuckoo, presented at the Ahmanson Theatre in Los Angeles, 1974; made directorial debut with made-for-television movie The Virginia Hill Story, 1974; made theatrical film debut with The Incredible Shrinking Woman, 1981; executive produced television pilot, Now We’re Cookin’, 1983; directed first stage production, Speed-the-Plow, in Chicago, 1989; directed music video The Devil Inside for rock group INXS; co-executive produced and directed pilot episode of the television series 2000 Malibu Road, 1992. Agent: Creative Artists Agency, 9830 Wilshire Blvd., Beverly Hills, CA 90212, U.S.A. Films as Director: 1974 The Virginia Hill Story (for TV) (+ sc) 1979 Amateur Night at the Dixie Bar and Grill (for TV) (+ sc) 1981 The Incredible Shrinking Woman 1983 D.C. Cab (+ sc) 1985 St. Elmo’s Fire (+ co-sc) 1987 The Lost Boys 1989 Cousins 1990 Flatliners 1991 Dying Young 1993 Falling Down 1994 The Client 1995 Batman Forever 1996 A Time to Kill 1997 Batman & Robin 1999 8MM (+ co-pr); Flawless (+ sc, co-pr) 2000 Tigerland 2001 The Church of the Dead Girls Other Films: 1972 Play It as It Lays (Perry) (costumes); The Last of Sheila (Ross) (costumes) 1973 Sleeper (Allen) (costumes); Blume in Love (Mazursky) (costumes) 1974 Killer Bees (Harrington) (for TV) (production designer) 1975 The Prisoner of Second Avenue (Frank) (costumes) 1976 Sparkle (O’Steen) (sc); Car Wash (Schultz) (sc) 1978 Interiors (Allen) (costumes); The Wiz (Lumet) (sc) 1986 Slow Burn (Chapman) (for TV) (co-exec pr) 1987 Foxfire (Taylor) (for TV) (co-exec pr) 1995 The Babysitter (Ferland) (exec pr) Publications By SCHUMACHER: articles— Interview in Interview (New York), September 1977. Interview with Janet Maslin, in New York Times, 21 June 1985. ‘‘Joel Schumacher,’’ interview with A. Michaels, in Cinefantastique (Oak Park, Illinois), January 1990. ‘‘Schumacher’s Cat-related Theory,’’ interview with Susan Morgan, in Interview (New York), July 1990. ‘‘A Movie about Everything That Drives You Nuts,’’ interview with G. Fuller, in Interview (New York), March 1993. ‘‘The Last Romanov,’’ interview with M. Dargis, in Village Voice (New York), 2 March 1993. ‘‘A Director, His Life Redeemed, Savors the Summit of Success,’’ interview with Bernard Weinraub, in New York Times, 3 March 1993. ‘‘Riddle Me This, Batman,’’ interview with B. Bibby, in Premiere (New York), May 1995. ‘‘Visual Flair, a Hip Sensibility, and a Past,’’ interview with Bernard Weinraub, in New York Times, 11 June 1995. Schumacher, Joel, ‘‘Long Shot,’’ in Premiere (New York), August 1996. ‘‘Another Schumacher Summer,’’ interview with J. Roberts, in DGA Magazine (Los Angeles), no. 3, 1997. ‘‘What Is DVD?’’ interview with R. Pandiscio, in Interview (New York), May 1997. ‘‘Holy Split Personalities,’’ interview with Ingrid Sischy, in Inter- view (New York), June 1997. ‘‘The Mayor of Gotham Speaks,’’ interview with M. Miller, in Newsweek (New York), 23 June 1997. ‘‘Radiance and Shadow,’’ interview with Michael Fleming, in Movieline (Los Angeles), February 1999. On SCHUMACHER: articles— Talley, Andrea Leon, article in Women’s Wear Daily (New York), 17–24 October 1975. Silverman, Stephen, article in New York Post, 4 August 1987. SCHUMACHERDIRECTORS, 4 th EDITION 887 Joel Schumacher Farrow, Moira, ‘‘Making Cousins: An Excursion,’’ in New York Times, 5 February 1989. Lew, Julie, article in New York Times, 16 June 1991. ‘‘Filmografie,’’ in Segnocinema (Vincenza, Italy), January/Febru- ary 1992. Brennan, Susan, article in Newsday (Melville, New York), 23 Febru- ary 1993. Clark, J., ‘‘Joel Schumacher Has Something . . . To Say,’’ in Pre- miere (New York), March 1993. Lantos, S., ‘‘From Rags to Riches,’’ in Movieline (Los Angeles), April 1993. Biodrowski, S., ‘‘Batman Forever,’’ in Cinefantastique (Forest Park, Illinois), no. 4, 1995. Lantos, S., ‘‘On a Wing and a Prayer,’’ in Movieline (Los Angeles), June 1995. Vaz, M.C., ‘‘Forever and a Knight,’’ in Cinefex (Riverside, Califor- nia), September 1995. Reid, C., ‘‘Joel Schumacher, Director,’’ in Cinefantastique (Forest Park, Illinois), no. 1, 1997. Reid, C., ‘‘Batman & Robin,’’ in Cinefantastique (Forest Park, Illinois), no. 1, 1997. Major, W., ‘‘Bat out of Hell,’’ in Box Office (Los Angeles), May 1997. Pizzello, S., ‘‘Heavy Weather Hits Gotham City,’’ in American Cinematographer (Hollywood), July 1997. Webster, A., ‘‘Filmography,’’ in Premiere (New York), July 1997. *** Joel Schumacher’s background as a fashion designer, display artist, and package designer prepared him for his entry into the film industry as a costume designer. Similarly, he was primed for his career as a feature film director by his work as scriptwriter on several features, and especially as scriptwriter-director of two impressive made-for-television movies: The Virginia Hill Story (a based-on-fact chronicle of mobster Bugsy Siegel’s moll, that is a variation on Warren Beatty’s Bugsy); and Amateur Night at the Dixie Bar and Grill (a well-done comedy-drama spotlighting various characters involved in a talent show at a Southern roadhouse). All of Schumacher’s films have been generic Hollywood product, filled with all the gloss their budgets could buy. His debut feature is The Incredible Shrinking Woman, a distaff reworking of the 1950s SCOLA DIRECTORS, 4 th EDITION 888 science-fiction cult classic The Incredible Shrinking Man. Lily Tomlin plays a housewife whose continuous exposure to chemical products results in her beginning to shrink. The film starts out as a wickedly clever spoof of the plight of the American housewife; as Tomlin becomes smaller, she symbolically takes up residence in a dollhouse. But it soon degenerates into a frantic and silly farce. While The Incredible Shrinking Man is a classic of its kind, The Incredible Shrinking Woman became yet another forgettable Hollywood comedy. Among Schumacher’s better works are Dying Young, the deeply moving chronicle of a fatally ill cancer patient and the woman who befriends him; Cousins, an amiable Americanization of Jean-Charles Tachella’s smash-hit French romantic comedy Cousin-Cousine; Flatliners, a fast-paced drama about medical students who make themselves temporarily legally dead so that they may experience afterlife episodes; and Flawless, the well-intentioned and well-acted story of a conservative, retired security guard who suffers a stroke, and is forced to bond with his neighbor, a drag queen. Schumacher also directed two slick but solid adaptations of John Grisham novels: The Client, in which a lawyer represents an eleven-year-old boy who has come to know more than he ought to about Mafia dealings; and A Time to Kill, about a white lawyer who defends a black man who had shot and killed the two rednecks accused of raping his daughter. And he made the entertaining if special effects-laden Batman Forever, in which the famed superhero goes up against the Riddler and Two-Face. The second wrung of Schumacher’s credits includes D.C. Cab, a so-so comedy about a taxi company operated by oddballs; The Lost Boys, about a gang of adolescent vampires; St. Elmo’s Fire, a brat- pack soap opera; and Batman & Robin, a flat, uninspired sequel. 8MM is the flashy but unpleasant story of a private detective/family man bent on determining if the star of a snuff film did indeed die on camera. Perhaps Schumacher’s most unique work is Falling Down, an allegory featuring Michael Douglas as a stressed-out Modern Man who goes haywire while stuck in traffic on a Los Angeles freeway and begins a violence-laden odyssey across the city. Like The Incredible Shrinking Woman, the film is an attempt to make a statement about the perils of contemporary American society. And also like its predecessor, the result is only intermittently successful. As the years have gone by, Schumacher’s proficiency has allowed him to be assigned more prestigious, higher-budgeted projects. In his better work, he has been able to combine surface gloss with strong dramatic elements. —Audrey E. Kupferberg, updated by Rob Edelman SCOLA, Ettore Nationality: Italian. Born: Trevico, Avellino, 10 May 1931. Educa- tion: Studied law, University of Rome. Career: Scriptwriter on films with Ruggero Maccari, from 1953; directed first film, Se permette parliamo di donne, 1964. Awards: César Award, for C’eravamo tanto amati, 1975; Best Director, Cannes Festival, for Brutti, sporchi e cattivi, 1976; Special Jury Prize, Cannes Festival, for Una giornata particolari, 1977; Best Screenplay, Cannes Festival, for La terrazza, 1980; Grand Jury Prize for Body of Work, Cannes Festival, 1981. Ettore Scola Films as Director: 1964 Se permette parliamo di donne (Let’s Talk about Women) (+ co-sc); La congiuntura (+ co-sc) 1965 ‘‘Il vittimista’’ episode of Thrilling (+ co-sc) 1966 L’arcidiavolo (Il diavolo innamorato; The Devil in Love) (+ co-sc) 1968 Il commissario Pepe (+ co-sc); Riusciranno i nostri eroi a trovare il loro amico misteriosamente scomparso in Africa? (+ co-sc) 1970 Dramma della gelosia—Tutti i particolari in cronaca (The Pizza Triangle: A Drama of Jealousy, and Other Things) (+ co-sc) 1971 Permette? Rocco Papaleo (Rocco Papaleo) (+ co-sc) 1972 La piú bella serata della mia vita (+ co-sc) 1973 Trevico-Torino . . . Viaggio nel Fiat Nam (+ co-sc) 1974 C’eravamo tanto amati (We All Loved Each Other So Much) (+ co-sc) 1976 Brutti, sporchi e cattivi (Down and Dirty) (+ co-sc); one episode of Signori e signore, buonanotte (+ co-sc) 1977 Una giornata particolare (A Special Day) (+ co-sc); one episode of I nuovi mostri (The New Monsters; Viva Italia!) (+ co-sc) 1979 Che si dice a Roma (+ co-sc) 1980 La terrazza (+ co-sc) 1981 Passione d’amore (+ co-sc) 1982 Il mondo nuovo (+ co-sc); La Nuit de Varennes (+ co-sc) SCOLADIRECTORS, 4 th EDITION 889 1984 Le Bal (+ co-sc) 1985 Maccheroni (Macaroni) 1987 Famiglia (The Family) 1989 Splendor (The Last Movie) 1990 Che ora e 1991 Viaggio di Capitan Fracassa 1993 Mario, Maria e Mario 1995 Romanzo di un Giovane Povero (Diary of a Poor Young Man) (+ sc) 1997 Segment titled ‘‘1943–1997’’ in Corti italiani (+ co-sc) 1998 La Cena (+ co-sc) 2000 Concorrenza sleale Other Films: 1954 Un americano a Roma (Steno) (co-sc with Ruggero Maccari); Due notti con Cleopatra (Two Nights with Cleopatra) (co-sc with Maccari); Una Parigina a Roma (co-sc with Maccari) 1956 Lo scapolo (Pietrangeli) (co-sc with Maccari) 1958 Nata di marzo (co-sc with Maccari) 1960 Il mattatore (Love and Larceny) (co-sc with Maccari); Adua e le compagne (Love à la Carte) (co-sc with Maccari); Fantasmi a Roma (Ghosts of Rome) (co-sc with Maccari); ‘‘La storia di un soldato’’ (‘‘The Soldier’’) episode of L’amore difficile (Erotica; Of Wayward Love) (Manfredi) (co-sc with Maccari) 1962 Anni ruggenti (Roaring Years) (Zampa) (co-sc with Maccari); Il sorpasso (The Easy Life) (Risi) (co-sc with Maccari) 1963 I mostri (The Monsters; Opiate ‘67; Fifteen from Rome) (Risi) (co-sc with Maccari); La visita (co-sc with Maccari) 1964 Il gaucho (The Gaucho) (Risi) (co-sc); Alta infedeltà (High Infidelity) (co-sc); Il magnifico cornuto (The Magnificent Cuckold) (co-sc) 1965 Io la conoscevo bene (Pietrangeli) (co-sc); Made in Italy (Loy) (co-sc) 1966 Follie d’estate (co-sc) 1967 Le dolci signore (Anyone Can Play) (Zampa) (co-sc); Il Profeta (sc) 1971 Noi donne siamo fatte cosi (Women: So We Are Made) (Risi) (co-sc) 1988 Vacanza (Guillot) (pr); Mitico Gianluca (Lazotti) (pr); O samba (Constantin) (pr) Publications By SCOLA: articles— ‘‘Se permettete parliamo di Scola,’’ with J. A. Gili, in Ecran (Paris), November 1976. Interview with Aldo Tassone, in Image et Son (Paris), Novem- ber 1977. Interview with Dan Yakir, in Film Comment (New York), March/ April 1983. Interview with Mario Monicelli, in Chaplin (Stockholm), 1983. Interview with A. Cornand and others, in Revue du Cinéma (Paris), February 1984. ‘‘Monsieur le President ovvero un modo meno nevrotico di stare a Cannes,’’ in Bianco e Nero (Rome), July/September 1988. ‘‘Visuelle Stenogramme,’’ in Film und Fernsehen (Potsdam, Ger- many), January 1989. Interview with H. M. Fendel, in EPD Film (Frankfurt), August 1990. ‘‘A Place for the Soul,’’ in Chaplin (Stockholm), 1992. ‘‘Un cinéaste oublié: Antonio Pietrangeli,’’ in Jeune Cinéma (Paris), May-June 1998. On SCOLA: books— Gili, Jean, Le Cinema Italien, Paris, 1978. Tassone, Aldo, Parla il Cinema Italiano: Volume 1, Milan, 1979. Bondanella, Peter, Italian Neorealism to the Present, New York, 1983. Liehm, Mira, Passion and Defiance: Film in Italy from 1942 to the Present, Los Angeles and London, 1984. De Santi, Pier Marco, and Rossano Vittori, I film di Ettore Scola, Rome, 1987. Ellero, Roberto, Ettore Scola, Florence, 1988. On SCOLA: articles— Gili, J., article in Ecran (Paris), April and November 1976. Haustrate, G., ‘‘Un haut lieu de partage,’’ in Cinéma (Paris), August/ September 1976. Carcassone, P., article in Cinématographe (Paris), October 1977. Micheli, S., ‘‘Ein besonderer Tag,’’ in Film und Fernsehen (Potsdam, Germany), April 1978. Ieperen, A. V., ‘‘Comedie makt realitet verdraaglijk,’’ in Skoop (Netherlands), May 1978. Andersson, W., ‘‘Brutti, sporchi, cattivi & una giornata particolare,’’ in Filmrutan (Sweden), 1978. Gili, J., and others, ‘‘Une Journee Particuliere,’’ in Avant-Scene (Paris), 15 June 1979. Zaoral, Z., article in Film a Doba (Czechoslovakia), October 1985. Blum, Doris, ‘‘Scola’s World,’’ in World Press Review (excerpted from Die Welt) (Bonn), January 1986. Bassan, R., and R. Lefevre, ‘‘Macaroni: Wilder’s Touch,’’ in Revue du Cinéma (Paris), February 1986. ‘‘Macaroni Issue’’ of Avant-Scène du Cinéma (Paris), April 1986. De Santi, P. M., ‘‘Scola e Scarpelli dal disegno al film,’’ in Bianco e Nero (Rome), July/September 1986. Quenin, F. Navailh, ‘‘Le Choix d’Ettore: determinant,’’ in Cinéma (Paris), 4 May 1988. Bjorkman, S., ‘‘Nostalgi och satir,’’ in Chaplin (Stockholm), 1989. Anttila, E., ‘‘Scola: Suuren perinteen haltja,’’ in Filmihullu (Helsinki), June 1990. Cinémaction (Courbevoie), January 1992. Douin, J. L., ‘‘Pain, Amour, et Dialectique,’’ in Télérama (Paris), 17 February 1993. Douin, Jean-Luc, ‘‘Pain, amour et dialectique,’’ in Télérama (Paris), 17 February 1993. Degli-Esposti, Christina, in Screen (Oxford), Summer 1997. *** Revered more in the international film community than in Ameri- can cineaste circles, chameleon director Ettore Scola’s name is inexcusably absent from several English-language reference works. With Scola, one has to dig deep for the auteurist consistencies that SCORSESE DIRECTORS, 4 th EDITION 890 make less elusive artists easier to pigeonhole. While Scola’s fascina- tion with political attitude and social change dictated by purely personal psychology never varies, he skips the light fantastic through such specialties as historical epic (La Nuit de Varennes), the musical (Le Bal), screwball comedy (A Drama of Jealousy), domestic drama (The Family), and grand romance (Passione d’Amore). In each case, the director gives established genres a uniquely invigorating spin. Critic Stephen Harvey compares Scola to Joseph Mankiewicz, and that pithy summation of Scola as a Mankiewicz seasoned with oregano sheds light on how Scola’s comic screenwriting background (over fifty screenplays) informs his later career as a filmic maestro. Before directing his first feature in 1964, Scola was a writer and illustrator for satirical magazines, a scriptor for radio, and a screenwriter for movies, mainly comedies, directed by Nanni Loy, Antonio Pietrangeli, and Dino Risi, among others. Often constructed as star vehicles, his scripts contributed to the fame of such Italian mainstays as Vittorio Gassman, Ugo Tognazzi, and Alberto Sordi. From this particular brand of Italian comedy—bungling incompetents mud- dling through desperate situations, war’s grotesqueries, life’s ironies— Scola’s work has progressed to complex studies of his countrymen dealing with their history and social environment. Although Scola’s directorial debut, Let’s Talk about Women, echoed his film-star showcase scripts, the bold A Drama of Jealousy (The Pizza Triangle) established him as a quirky chronicler of amore as a no-win situation; the film is a sort of ‘‘Waiting for Cupid’’ where every day is a luckless Valentine’s Day. C’eravamo tanto amati, a tribute to Vittorio De Sica, is not only about the difficult, frustrating post-World War II years of three men whose class differences overwhelm the close bond they formed while fighting for the Resist- ance. It is also a complex survey of thirty years of Italian cinema and its relationship to Italian history, photographed in various appropriate cinematic styles. La Terazza also dissects the Italy-Cinema symbiosis as it scrutinizes the mores of Italian intellectuals, now middle-aged and no longer creative, forever failing to measure up to their he- roic past. In even his earliest directorial efforts, details of costume and milieu are integrated into Scola’s cinema of ideas compellingly, because inveterate sketch artist Scola is graced with a visual sensibil- ity that will reach its apotheosis in La Nuit de Varennes and Passione d’Amore. In Riusciranno, set in modern Angola, an Italian bourgeois explores twentieth-century Africa in a nineteenth-century concept of a safari outfit, while Brutti, sporchi e cattivi (literally ‘‘dirty, nasty and bad’’) satirizes the unavoidably disgusting appearance of the inhabitants of an impoverished village in a movie Scola had intended to introduce with comments by Pasolini. What is most striking about Scola’s oeuvre, however, is his gift for compression. Restricting his observations deliberately to confined areas (for example, the coaches in La Nuit de Varennes, the microcosmic dance hall in Le Bal, the family domicile that survives decades of unrest in The Family), Scola forces his encaged protagonists to reveal the inner turmoil that informs their societal stances. Nowhere is this economy more apparent than in Una giornata particolare, which demonstrates oppression in a super-organized society that devalues individuality. Moving deeper and deeper inside the confined setting, a fluid camera concentrates on the facade and interior of a workers’ dwelling on 6 May 1938, when Mussolini welcomes Hitler to Rome. As the radio blares Il Duce’s doctrinaire self-confidence, two trapped members of this society—a domestically repressed housewife and an anti-fascist homosexual—meet by chance and share their humanity for a few hours. Whereas in The Family, the family unit struggles to withstand the winds of war and upheaval, in the stylish Le Bal, the decades-shifting dancers merely reflect the changes transpiring out- side their social cocoon. Telescoping the French Revolution inside a few coaches, without portraying starving hordes or the king trying to escape the rabble’s wrath, Scola’s La Nuit de Varennes forces the opportunity for rumination upon an upper class facing a climate hostile to them. In a masterfully compact fashion, Scola continues to examine the past in order to interpret the present. Particularly in The Family, Scola avoids the epic sweep of traditional political caval- cades in favor of an intimate revisionism of history. In all Scola’s films, the choreography of history steps in partner- ship with his simpatico actors, gliding camerawork, and updated neo- realistic melancholy. Even taking his overcooked Hollywood debut, Macaroni, into consideration, and the failure of his last films to secure American releases, Scola’s place in humanist film history is unassailable. Unlike many screenwriters who turn director to ensure an unedited venue for their glorious dialogue, when Scola has something to say he lets his mise-en-scene do the talking. His manner of working liberates film stars from their confining personas and challenges moviegoers to experience the ambiguous passions of his characters. As in that embryonic Fatal Attraction for the nineteenth century, Passione d’Amore (newly minted as a Sondheim musical, Passion), Scola’s relentless pursuit of beauty is an all-consuming mission, one that makes this filmmaker sympathetic with misfits like Fosca, whose emotional deprivation in Passione d’Amore is not categorized as a negative, but as an occasion for greater sensitivity. Scola revisits the impersonal past to give it a human face. —Lillian Schiff, updated by Robert J. Pardi SCORSESE, Martin Nationality: American. Born: Flushing, New York, 17 November 1942. Education: Cardinal Hayes High School, Bronx, 1956–60; New York University, B.A., 1964, M.A., 1966. Family: Married 1) Laraine Brennan, 1965 (divorced), one daughter; 2) Julia Cameron (divorced), one daughter; 3) Isabella Rossellini, 1979 (divorced 1983); 4) Barbara DeFina, 1985. Career: Film Instructor, NYU, 1968–70; directed TV commercials in England, and first feature, Who’s That Knocking at My Door?, 1968; directed Boxcar Bertha for producer Roger Corman, 1972; directed The Act on Broadway, 1977; director for TV of ‘‘Mirror, Mirror’’ for Amazing Stories, 1985; directed promo video for Michael Jackson’s ‘‘Bad,’’ 1987. Awards: Best Director, National Society of Film Critics, and Palme d’Or, Cannes Festival, for Taxi Driver, 1976; Best Director, National Society of Film Critics, for Raging Bull, 1980; Best Director, Cannes Festival, for The Color of Money, 1986; Best Director, National Society of Film Critics, for GoodFellas, 1990. Films as Director: 1963 What’s a Nice Girl like You Doing in a Place like This? (short) (+ sc) 1964 It’s Not Just You, Murray (short) (+ co-sc) 1967 The Big Shave (short) (+ sc) SCORSESEDIRECTORS, 4 th EDITION 891 Martin Scorsese 1968 Who’s That Knocking at My Door? (+ sc, role as gangster) 1970 Street Scenes (doc) 1972 Boxcar Bertha (+ role as client of bordello) 1973 Mean Streets (+ co-sc, role as Shorty the Hit Man) 1974 Italian-American (doc) (+ co-sc) 1975 Alice Doesn’t Live Here Anymore (+ role as customer at Mel and Ruby’s) 1976 Taxi Driver (+ role as passenger) 1977 New York, New York 1978 The Last Waltz (doc) 1979 American Boy (doc) (+ sc) 1980 Raging Bull 1983 The King of Comedy (+ role as assistant) 1985 After Hours (+ role as disco patron) 1986 The Color of Money 1988 The Last Temptation of Christ 1989 ‘‘Life Lessons’’ episode in New York Stories 1990 GoodFellas (+ sc); Man in Milan (doc) 1991 Cape Fear 1993 Age of Innocence (+ sc, role) 1995 Casino (+ sc) 1997 Kundun 1999 Bringing out the Dead; Il Dolce Cinema (+ sc) 2001 The Gangs of New York 2002 Dino Other Films: 1965 Bring on the Dancing Girls (sc) 1967 I Call First (sc) 1970 Woodstock (ed, asst d) 1976 Cannonball (Bartel) (role) 1979 Hollywood’s Wild Angel (Blackwood) (role); Medicine Ball Caravan (assoc pr, post prod spvr) 1981 Triple Play (role) 1982 Bonjour Mr. Lewis (Benayoun) (role) 1990 Dreams (Kurosawa) (role); The Grifters (Frears) (pr); Fear No Evil (Winkler) (role); The Crew (Antonioni) (exec pr); Mad Dog and Glory (McNaughton) (exec pr) 1991 Guilty by Suspicion (role as Joe Lesser) 1993 Jonas in the Desert (role) SCORSESE DIRECTORS, 4 th EDITION 892 1994 Quiz Show (Redford) (role as sponsor); Naked in New York (exec pr) 1995 Search and Destroy (exec pr, role as accountant); Clockers (Lee) (pr) Publications By SCORSESE: books— Scorsese on Scorsese, edited by Ian Christie and David Thompson, London, 1989. Goodfellas, with Nicholas Pileggi, London, 1990. The Age of Innocence: A Portrait of the Film Based on the Novel by Edith Wharton, New York, 1993. A Personal Journey with Martin Scorsese through American Movies, with Michael Henry Wilson, British Film Institute, 1997. By SCORSESE: articles— ‘‘The Filming of Mean Streets,’’ an interview with A.C. Bobrow, in Filmmakers Newsletter (Ward Hill, Massachusetts), January 1974. Interview with M. Carducci, in Millimeter (New York), vol. 3, no. 5, 1975. Interview with M. Rosen, in Film Comment (New York), March/ April 1975. Martin Scorsese Seminar, in Dialogue on Film (Washington, D.C.), April 1975. ‘‘Scorsese on Taxi Driver and Herrmann,’’ an interview with C. Amata, in Focus on Film (London), Summer/Autumn 1976. Interview with Jonathan Kaplan, in Film Comment (New York), July/ August 1977. Interview with Richard Combs and Louise Sweet, in Sight and Sound (London), Winter 1977/78. ‘‘Martin Scorsese’s Guilty Pleasures,’’ in Film Comment (New York), September/October 1978. Interview with Paul Schrader, in Cahiers du Cinéma (Paris), April 1982. Interview with B. Krohn, in Cahiers du Cinéma (Paris), May 1986. ‘‘Body and Blood,’’ an interview with Richard Corliss, in Film Criticism (Meadville, Pennsylvania), vol. 24, no. 5, 1988. Interview with Chris Hodenfield, in American Film (Washington, D.C.), March 1989. ‘‘Entretien avec Martin Scorsese,’’ with H. Niogret, in Positif (Paris), October 1990. ‘‘Scorsese sur Scorsese,’’ an interview with P. Rollet and others, in Cahiers du Cinéma (Paris), October 1990. Interview with A. Decurtis, in Rolling Stone (New York), Novem- ber 1, 1990. ‘‘Martin Scorsese: Gangster and Priest,’’ an interview with A. M. Bahiana, in Cinema Papers (Melbourne), December 1990. Interview with David Rensin, in Playboy (Chicago, Illinois), April 1991. Interviews with Graham Fuller, in Interview (New York), November 1991 and October 1993. ‘‘Martin Scorsese’s Mortal Sins,’’ an interview with Marcelle Cle- ments, in Esquire (New York), November 1993. Interview with Gavin Smith, in Film Comment (New York), Novem- ber/December 1993. ‘‘A Personal Journey with Martin Scorsese through American Mov- ies,’’ an interview with Nicolas Saada, in Cahiers du Cinéma (Paris), June 1995. ‘‘Ace in the Hole: Visualizing a Vintage Vegas,’’ an interview with Stephen Pizzello and Ron Magid, in American Cinematographer (Hollywood), November 1995. ‘‘Martin Scorsese’s Testament: Bright Lights Big City,’’ an interview with Ian Christie and Pat Kirkham, in Sight and Sound (London), January 1996. Interview, in the Special Issue of Cahiers du Cinéma (Paris), March 1996. Interview with Jean-Pierre Coursodon and Michael Henry, in Positif (Paris), March 1996. ‘‘Martin Scorsese’s Calling: To Protect and Preserve Film Artists’ Rights,’’ an interview with Ted Elrick, in DGA Magazine (Los Angeles), March-April 1996. ‘‘The Art of Vision: Martin Scorsese’s Kundun,’’ an interview with Gavin Smith, in Film Comment (New York), January-Febru- ary 1998. An interview with Hubert Niogret and Michael Henry, in Positif (Paris), May 1998. On SCORSESE: books— Kolker, Robert Phillip, A Cinema of Loneliness: Penn, Kubrick, Coppola, Scorsese, Altman, Oxford, 1980; revised edition, 1988. Bliss, Michael, Martin Scorsese and Michael Cimino, Metuchen, New Jersey, 1986. Arnold, Frank, and others, Martin Scorsese, Munich, 1986. Cietat, Michel, Martin Scorsese, Paris, 1986. Domecq, Jean-Philippe, Martin Scorsese: Un Rêve Italo-Américan, Renens, Switzerland, 1986. Weiss, Ulli, Das Neue Hollywood: Francis Ford Coppola, Steven Spielberg, Martin Scorsese, Munich, 1986. Wood, Robin, Hollywood from Vietnam to Reagan, New York, 1986. Weiss, Marian, Martin Scorsese: A Guide to References and Resources, Boston, 1987. Kelly, Mary P., Martin Scorsese: A Journey, New York, 1991. Ehrenstein, David, The Scorsese Picture: The Art and Life of Martin Scorsese, New York, 1992. Keyser, Lester J., Martin Scorsese, New York, 1992. Connelly, Marie K., Martin Scorsese: An Analysis of His Feature Films, Jefferson, North Carolina, 1993. Friedman, Lawrence S., The Cinema of Martin Scorsese, New York, 1998. On SCORSESE: articles— Gardner, P. ‘‘Martin Scorsese,’’ in Action (Los Angeles), May/ June 1975. Scorsese Section of Positif (Paris), April 1980. ‘‘Martin Scorsese vu par Michael Powell,’’ in Positif (Paris), April 1981. Rickey, C., ‘‘Marty,’’ in American Film (Washington, D.C.), Novem- ber 1982. Rafferty, T., ‘‘Martin Scorsese’s Still Life,’’ in Sight and Sound (London), Summer 1983. Braudy, Leo, ‘‘The Sacraments of Genre: Coppola, De Palma, Scorsese,’’ in Film Quarterly (Berkeley), Spring 1986. Bruce, B., ‘‘Martin Scorsese: Five Films,’’ in Movie (London), Winter 1986. ‘‘Scorsese Issue’’ of Film Comment (New York), September/Octo- ber 1988. SCORSESEDIRECTORS, 4 th EDITION 893 Jenkins, Steve, ‘‘From the Pit of Hell,’’ in Monthly Film Bulletin (London), December 1988. Williams, T., ‘‘The Last Temptation of Christ: A Fragmented Oedipal Trajectory,’’ in CineAction (Toronto), Winter/Spring 1990. Morgan, D., ‘‘The Thriller in Scorsese,’’ in Millimeter (New York), October 1991. Biskind, Peter, ‘‘Slouching toward Hollywood,’’ in Premiere (New York), November 1991. Stanley, A., ‘‘From the Mean Streets to Charm School,’’ in New York Times, 28 June 1992. Murphy, Kathleen, ‘‘Artist of the Beautiful,’’ in Film Comment (New York), November/December 1993. Schrader, Paul, ‘‘Paul Schrader on Martin Scorsese,’’ in New Yorker, 21 March 1994. Thurman, J., ‘‘Martin Scorsese’s New York Story: An 1860s Town House for the Age of Innocence Director,’’ in Architectural Digest (Los Angeles), April 1994. Durgnat, Raymond, ‘‘Martin Scorsese: Between God and the Goodfellas,’’ in Sight and Sound (London), June 1995. Librach, Ronald S., ‘‘A Nice Little Irony: Life Lessons,’’ in Litera- ture/Film Quarterly (Salisbury), April 1996. Blake, Richard A., ‘‘Redeemed in Blood: The Sacramental Universe of Martin Scorsese,’’ in Journal of Popular Film and Television (Washington, D.C.), Spring 1996. Sherlock, James, ‘‘Why Thelma Loves Martin. . . and Michael,’’ in Cinema Papers (Fitzroy), December 1996. *** At present, with regard to the Hollywood cinema of the last fifteen years, two directors appear to stand head-and-shoulders above the rest, and it is possible to make large claims for their work on both formal and thematic grounds: Scorsese and Cimino. The work of each is strongly rooted in the American and Hollywood past, yet is at the same time audacious and innovative. Cimino’s work can be read as at once the culmination of the Ford/Hawks tradition and a radical re- thinking of its premises; Scorsese’s involves an equally drastic re- thinking of the Hollywood genres, either combining them in such a way as to foreground their contradictions (western and horror film in Taxi Driver) or disconcertingly reversing the expectations they traditionally arouse (the musical in New York, New York, the boxing movie and ‘‘biopic’’ in Raging Bull). Both directors have further disconcerted audiences and critics alike in their radical deviations from the principles of classical narrative: hence Heaven’s Gate is received by the American critical establishment with blank incompre- hension and self-defensive ridicule, while Scorsese has been accused (by Andrew Sarris, among others) of lacking a sense of structure. Hollywood films are not expected to be innovative, difficult, and challenging, and must suffer the consequences of authentic original- ity (as opposed to the latest in fashionable chic that often passes for it). The Cimino/Scorsese parallel ends at this shared tension between tradition and innovation. While Heaven’s Gate can be read as the answer to (and equal of) Birth of a Nation, Scorsese has never ventured into the vast fresco of American epic, preferring to explore relatively small, limited subjects (with the exception of The Last Temptation of Christ), the wider significance of the films arising from the implications those subjects are made to reveal. He starts always from the concrete and specific—a character, a relationship: the vicissitudes in the careers and love-life of two musicians (New York, New York); the violent public and private life of a famous boxer (Raging Bull); the crazy aspirations of an obsessed nonentity (King of Comedy). In each case, the subject is remorselessly followed through to a point where it reveals and dramatizes the fundamental ideological tensions of our culture. His early works are divided between self-confessedly personal works related to his own Italian-American background (Who’s That Knocking at My Door?, Mean Streets) and genre movies (Boxcar Bertha, Alice Doesn’t Live Here Anymore). The distinction was never absolute, and the later films effectively collapse it, tending to take as their starting point not only a specific character but a specific star: Robert De Niro. The Scorsese/De Niro relationship has proved one of the most fruitful director/star collaborations in the history of the cinema; its ramifications are extremely complex. De Niro’s star image is central to this, poised as it is on the borderline between ‘‘star’’ and ‘‘actor’’—the charismatic personality, the self-effacing impersonator of diverse characters. It is this ambiguity in the De Niro star persona that makes possible the ambiguity in the actor/director relationship: the degree to which Scorsese identifies with the charac- ters De Niro plays, versus the degree to which he distances himself from them. It is this tension (communicated very directly to the spectator) between identification and repudiation that gives the films their uniquely disturbing quality. Indeed, Scorsese is perhaps the only Hollywood director of consequence who has succeeded in sustaining the radical critique of American culture that developed in the 1970s through the Reagan era of retrenchment and recuperation. Scorsese probes the tensions within and between individuals until they reveal their fundamental, cultural nature. Few films have chronicled so painfully and abrasively as New York, New York the impossibility of successful heterosexual relations within a culture built upon sexual inequality. The conflicts arising out of the man’s constant need for self-assertion and domina- tion and the woman’s bewildered alterations between rebellion and complexity are—owing to the peculiarities of the director/star/char- acter/spectator relationship—simultaneously experienced and analysed. Raging Bull goes much further in penetrating to the root causes of masculine aggression and violence, linking socially approved vio- lence in the ring to socially disapproved violence outside it, violence against men to violence against women. It carries to its extreme that reversal of generic expectations so characteristic of Scorsese’s work: a boxing melodrama/success story, it is the ultimate anti-Rocky; a filmed biography of a person still living, it flouts every unwritten rule of veneration for the protagonist, celebration of his achieve- ments, triumph after tribulation, etc. Ostensibly an account of the life of Jake LaMotta, it amounts to a veritable case history of a paranoiac, and can perhaps only be fully understood through Freud. Most directly relevant to the film is Freud’s assertion that every case of paranoia, without exception, has its roots in a repressed homosexual impulse; that the primary homosexual love-objects are likely to be father and brothers; that there are four ‘‘principle forms’’ of paranoia, each of which amounts to a denial of homosexual attraction (see the analysis of the Schreber case and its postscript). Raging Bull exempli- fies all of this with startling (if perhaps largely inadvertent) thorough- ness: all four of the ‘‘principle forms’’ are enacted in Scorsese’s presentation of LaMotta, especially significant being the paranoid’s projection of his repressed desires for men onto the woman he ostensibly loves. The film becomes nothing less than a statement about the disastrous consequences, for men and women alike, of the repression of bisexuality in our culture. SCORSESE DIRECTORS, 4 th EDITION 894 King of Comedy may seem at first sight a slighter work than its two predecessors, but its implications are no less radical and subversive: it is one of the most complete statements about the emotional and spiritual bankruptcy of patriarchal capitalism today that the cinema has given us. The symbolic Father (once incarnated in figures of mythic force, like Abraham Lincoln) is here revealed in his essential emptiness, loneliness, and inadequacy. The ‘‘children’’ (De Niro and Sandra Bernhard) behave in exemplary Oedipal fashion: he wants to be the father, she wants to screw the father. The film moves to twin climaxes. First, the father must be reduced to total impotence (to the point of actual immobility) in order to be loved; then Bernhard can croon to him ‘‘You’re gonna love me/like nobody’s loved me,’’ and remove her clothes. Meanwhile, De Niro tapes his TV act which (exclusively concerned with childhood, his parents, self-deprecia- tion) culminates in a joke about throwing up over his father’s new shoes, the shoes he is (metaphorically) now standing in. We see ambivalence towards the father, the hatred-in-rivalry of ‘‘brother’’ and ‘‘sister,’’ the son’s need for paternal recognition (albeit in fantasy) before he can announce himself to the woman he (very dubiously) loves; and the irrelevance of the mother (a mere, intermit- tently intrusive, off-screen voice) to any ‘‘serious’’—i.e., Oedipal patriarchal—concerns. Thus King of Comedy constitutes one of the most rigorous assaults we have on the structures of the patriarchal nuclear family and the impossible desires, fantasies, frustrations, and violence those structures generate: an assault, that is, on the funda- mental premises of our culture. Since 1990, Scorsese has made four films which, taken together, establish him definitively as the most important director currently working in Hollywood. GoodFellas, Cape Fear, The Age of Inno- cence, and Casino reveal an artist in total command of every aspect of his medium—narrative construction, mise-en-scène, editing, the di- rection of actors, set design, sound, music, etc. Obviously, he owes much to the faithful team he has built up over the years, each of whom deserves an individual appreciation; but there can be no doubt of Scorsese’s overall control at every level, from the conceptual to the minutiae of execution, informed by his sense of the work as a totality to which every strand, every detail, contributes integrally. If the films continue to raise certain doubts, to prompt certain reservations, it is not on the level of realization, but on moral and philosophical grounds. Let it be said at once, however, that The Age of Innocence, which in advance seemed such an improbable project—provoking fears that it would not transcend the solid and worthy but fundamen- tally dull literary adaptations of James Ivory—is beyond all doubts and reservations a masterpiece of nuance and refinement, alive in its every moment. The other three films all raise the much-debated issue of the presentation of violence. There seem to be two valid ways of presenting violence (as opposed to the violence as ‘‘fun’’ of Pulp Fiction, violence as ‘‘aestheticized ballet’’ of John Woo’s films, or violence as ‘‘gross out’’ in the contemporary horror movie). One way is to refuse to show it, always locating it (by a movement of the camera or the actors) just off-screen (Lang in The Big Heat, Mizoguchi in Sansho Dayu), leaving our imaginations free to experience its horror: a method almost totally absent from modern Hollywood. The other is to make it as explicit, ugly, painful, and disturbing as possible so that it becomes quite impossible for anyone other than an advanced criminal psychotic to enjoy it. The latter is Scorsese’s method, and he cannot be faulted for it in the recent work. It was still possible, perhaps, to get a certain ‘‘kick’’ out of the violence in Taxi Driver, because of our ambiguous relationship to the central character, but this is no longer true of the violence in GoodFellas or Casino. An essential characteristic of the later films is the rigorous distance Scorsese constructs between the audience and all the characters: identification, if it can be said to exist at all, flickers only spo- radically—is always swiftly contradicted or heavily qualified. Yet herein lies what is at least a potential problem of these films. One can analyze the ways in which this distance is constructed, especially through the increasing fracturing of the narrative line, the splitting of voice-over narration among different characters in both GoodFellas and Casino; but isn’t alienation, for many of us, inherent in the characters themselves and the subject matter? Scorsese has insisted that the characters of Casino are ‘‘human beings’’: fair enough. But he seems to imply that if we cannot feel sympathetic to them we are somehow assuming an unwarranted moral superiority. One might retort (to take an extreme case—but the Pesci character is already pretty extreme) that Hitler and Albert Schweitzer were both ‘‘human beings’’: may we not at least discriminate between them? One can feel a certain compassion for the characters (even Joe Pesci) as people caught up in a process they think they can control but which really controls them; but can one say more for them than that? Beyond that, though connected with it, is the films’ increasing inflation: not merely their length (GoodFellas plays for almost two- and-a-half hours, Casino for almost three) but its accompanying sense of grandeur: for Scorsese, apparently, the grandeur of his subjects. One is invited to lament, respectively, the decline of the Mafia and of Las Vegas. But suppose one cannot see them, in the first place, in terms other than those of social disease? The films strike me as too insulated, too enclosed within their subjects and milieux: the Mafia and Las Vegas are never effectively ‘‘placed’’ in a wider social context. Scorsese’s worst error seems to be the use in Casino of the final chorus from Bach’s St. Matthew Passion: an error not merely of ‘‘tease’’ but of sense, comparable in its enormity to Cimino’s use of the Mahler ‘‘Resurrection’’ symphony at the end of Year of the Dragon. If it is possible to lament the decline of Las Vegas, it surely cannot be inflated into the lament of Bach’s cheer for the death of Christ on the cross. One cannot doubt the authenticity of Scorsese’s sense of the tragic. Yet it is difficult not to feel that he has not yet found for it (to adopt T. S. Eliot’s famous formulation) an adequate ‘‘objective correlative.’’ Martin Scorsese began the 1990s on a high note with GoodFellas but as the decade progressed, he has lost the support of the critics and the public. Arguably, Scorsese hasn’t tapered off as an artist; instead, the problem may be that his more recent films have failed to fulfill audience expectations. If so, it is somewhat ironic as Scorsese remains consistent in his thematic concerns and commitment to style as self expression. Casino is admittedly a demanding film. Viewer identification isn’t solicited and the film’s violence is excessive but without the absurdist connotations found in GoodFellas. On the one hand, the film offers a portrait of the Robert De Niro character, a gambler who, through his connections with the Mafia, gets to manage a casino in Las Vegas during the late 1970s and early 1980s. But Casino is also an ‘‘epic’’ in that it reflects the growing power of corporations; realizing the money to be made, ‘‘respectable’’ business takes over Las Vegas. Not unlike his role in Raging Bull, De Niro’s character succeeds ultimately to the extent that he survives. Scorsese’s concern with surviving in a world that is violent, brutal, and overwhelmingly indifferent to the individ- ual has been evident in his films from early on; but, in his more recent SCOTTDIRECTORS, 4 th EDITION 895 works, this concern is, if anything, treated with greater hesitation and delicacy. Much has been made of Scorsese’s Catholic background and its influence on his work. Kundun indicates that his interest in religion isn’t confined to Christianity. Kundun can be taken as a companion piece to The Last Temptation of Christ; but it can be considered equally in relation to Casino and the recent Bringing out the Dead. Like Casino, Kundun is an epic film; and its protagonist is also made to confront his fallibility and mortality. In Kundun, the Dalai Lama gradually achieves full consciousness of the destructiveness existing around him; the realization is what motivates him to accept the necessity of his survival. But unlike Casino, the violence in Kundun is constrained; it exists as a threat that fitfully and devastatingly erupts. Kundun is one of Scorsese’s most stylized films. Consistent with his aesthetics, the film is a combination of expressionism and realism, with the former given precedence. Although the film doesn’t directly impose viewer identification with the Dalai Lama, Kundun repeatedly features the Dalai Lama’s subjective responses. In effect, the film manages to be a simultaneously distancing and intimate experience. With Bringing out the Dead, Scorsese and Paul Schrader collaborated on a project that evokes their seminal Taxi Driver. Like the earlier film, Bringing out the Dead takes place on New York’s ‘‘mean streets’’ and features a male protagonist who, in addition to having a job which places him in direct contact with the city’s seamy side, harbors a martyrdom complex and wants to obtain salvation through becoming a savior figure. Th crucial difference between the two films resides in the character of the protagonist. Unlike Taxi Driver’s Travis Bickle, the Nicolas Cage character in Bringing out the Dead is motivated by genuinely humanistic impulses. He wants, not unlike the Dalai Lama, to be a good person who is capable of actively preserving human life. The character undergoes a crisis regarding his worth; at the film’s conclusion, he finds salvation through accepting his guilt over failure. As in Casino and Kundun, Bringing out the Dead is concerned fundamentally with the struggle between death and survival; and, like Casino, it is a brutal film. Although the film possesses an absurdist edge at times that suggests a black comedy, it is unrelenting in its capacity to disturb and horrify. During the 1990s Scorsese produced works that have challenged the viewer as powerfully as any of his previous films. The films may have not found acceptance partly because his vision has become increasingly somber and elegiac. On the other hand, Scorsese refuses to despair and his films continue to be exhilarating and life affirming statements. —Robin Wood, updated by Richard Lippe SCOTT, Ridley Nationality: English. Born: South Shields, County Durham, 1939. Education: Studied at West Hartlepool College of Art and at the Royal College of Art, London. Family: Married, three children. Career: Set designer, then director for BBC TV, including episodes of Z-Cars and The Informer, 1966–67; set up production company Ridley Scott Associates, directed close to 3,000 commercials, from Ridley Scott 1967; directed first feature, The Duellists, 1977. Awards: Special Jury Prize, Cannes Festival, for The Duellists, 1977; Venice Film Festival Award for commercial work. Films as Director: 1977 The Duellists 1979 Alien 1982 Blade Runner 1985 Legend 1987 Someone to Watch over Me (+ exec-pr) 1989 Black Rain 1991 Thelma and Louise (+ co-pr) 1992 1492: The Conquest of Paradise (+ pr) 1996 White Squall (+ exec pr) 1997 G.I. Jane (+ pr) 2000 Gladiator 2001 Hannibal Other Films: 1994 The Browning Version (co-pr); Monkey Business (exec pr) 1997 The Hunger (series for TV) (exec pr) 1998 Clay Pigeons (pr) 1999 RKO 281 (for TV) (pr) SCOTT DIRECTORS, 4 th EDITION 896 Publications By SCOTT: articles— ‘‘Ridley Scott cinéaste du décor,’’ an interview with O. Assayas and S. LePéron, in Cahiers du Cinéma (Paris), September 1982. ‘‘Designer Genes,’’ an interview with Harlan Kennedy, in Films (London), September 1982. Interview with Hubert Niogret, in Positif (Paris), September 1985. Interview with Sheila Johnston, in Films and Filming (London), November 1985. Interview with Raphael Bassan and Raymond Lefevre, in Revue du Cinéma (Paris), February 1986. Interview with M. Buckley, in Films in Review (New York), Janu- ary 1987. ‘‘Thelma and Louise Hit the Road for Ridley Scott,’’ an interview with M. McDonagh, in Film Journal (New York), June 1991. ‘‘Ridley Scott’s Road Work,’’ an interview with A. Taubin, in Sight and Sound (London), July 1991. ‘‘1492: Conquest of Paradise,’’ an interview with A. M. Bahiana, in Cinema Papers (Melbourne), October 1992. ‘‘Myth Revisited,’’ an interview with M. Moss, in Boxoffice (Chi- cago), October 1992. ‘‘Stormy Weather,’’ an interview with David E. Williams, in Ameri- can Cinematographer (Hollywood), February 1996. Interview with A. Jones, in Cinema Papers (Fitzroy), July 1997. On SCOTT: books— Kernan, Judith B., ed., Retrofitting ‘‘Blade Runner’’: Issues in Ridley Scott’s ‘‘Blade Runner’’ and Philip K. Dick’s ‘‘Do Androids Dream of Electric Sheep?,’’ Bowling Green, Ohio, 1991. Sammon, Paul M., Ridley Scott: The Making of His Movies (Close Up), New York, 1999. On SCOTT: articles— ‘‘Blade Runner Issue’’ of Cinefex (Riverside, California), July 1982. ‘‘Blade Runner Issues’’ of Starburst (London), September/Novem- ber 1982. Kellner, Douglas, Flo Leibowitz, and Michael Ryan, ‘‘Blade Runner: A Diagnostic Critique,’’ in Jump Cut (Chicago), no. 29, 1983. Caron, A., ‘‘Les archétypes chez Ridley Scott,’’ in Jeune Cinéma (Paris), March 1983. Durgnat, Raymond, ‘‘Art for Film’s Sake,’’ in American Film (Wash- ington, D.C.), May 1983. Milmo, Sean, ‘‘Ridley Scott Makes the Details Count,’’ in Advertis- ing Age (Chicago), 21 June 1984. Doll, Susan, and Greg Faller, ‘‘Blade Runner and Genre: Film Noir and Science Fiction,’’ in Literature/Film Quarterly (Salisbury, Maryland), no. 2, 1986. Rosen, Barbara, ‘‘How the Man Who Made Alien Invaded Madison Avenue,’’ in Business Week (New York), 24 March 1986. Davis, Brian, ‘‘Ridley Scott: He Revolutionized TV Ads,’’ in Adweek (Chicago), 2 October 1989. Zimmer, J., ‘‘Ridley Scott,’’ in Revue du Cinéma (Paris), Septem- ber 1990. ‘‘The Many Faces of Thelma and Louise’’ (8 short articles), in Film Quarterly (Berkeley), Winter 1991/92. Wilmington, Mike, ‘‘The Rain People,’’ in Film Comment (New York), January/February 1992. Wollen, Peter, ‘‘Cinema’s Conquistadors,’’ in Sight and Sound (London), November 1992. Strick, Philip, ‘‘Blade Runner: Telling the Difference,’’ in Sight and Sound (London), December 1992. Torry, Robert, ‘‘Awaking to the Other: Feminism and the Ego-Ideal in Alien,’’ in Women’s Studies (Champaign, Illinois), vol. 23, no. 4, 1994. Elrick, Ted, ‘‘Scott Brothers’ Work Showcased for UK/LA,’’ in DGA Magazine (Los Angeles), December-January 1994–1995. Filmography, in Premiere (Boulder), February 1996. Dauphin, G., ‘‘Heroine Addiction,’’ in Village Voice (New York), 26 August 1997. Lev, Peter, ‘‘Whose Future? Star Wars, Alien, and Blade Runner,’’ in Literature/Film Quarterly (Salisbury), January 1998. *** Ridley Scott has enjoyed more critical acclaim and financial success as a director of television commercials than he has as a feature filmmaker. Ironically, the very element that has made him an award- winning director of commercials—his emphasis on visual design to convey the message—has often been at the core of the criticism aimed at his films. Though Scott began his career directing popular TV programs for the BBC, he found that his meticulous attention to detail in terms of set design and props was more suited to making commercials. Scott honed his craft and style on hundreds of ad spots for British television during the 1970s, as did future film directors Alan Parker, Hugh Hudson, Adrian Lyne, and Tony Scott (Ridley’s brother). In 1979, Scott became a fixture in the American television marketplace with a captivating commercial for Chanel No. 5 titled ‘‘Share the Fan- tasy.’’ Still innovative in this arena, Scott continues to spark contro- versy with his ‘‘pocket versions of feature films’’—his term for commercials. Scott approaches his feature films with the same emphasis on mise-en-scène that distinguishes his commercials, prompting some critics to refer to him as a visual stylist. Scott assumes control over the visual elements of his films as much as possible, rather than turn the set design completely over to the art director or the photography over to the cinematographer. Because his first feature, The Duellists, was shot in France, Scott was able to serve as his own cinematographer for that film—a luxury not allowed on many subsequent films due to union rules. Hallmarks of Scott’s style include a detailed, almost crowded set design that is as prominent in the frame as the actors, a fascination with the tonalities of light, a penchant for foggy atmospheres backlit for maximum effect, and a reliance on long lenses, which tend to flatten the perspective. While these techniques are visually stunning in themselves, they are often tied directly to plot and character in Scott’s films. Of all Scott’s films, Blade Runner and Legend make the fullest use of set design to enhance the theme. In Blade Runner, the polluted, dank metropolis teems with hordes of lower-class merchants and pedestrians, who inhabit the streets at all hours. Except for huge, garish neon billboards, fog and darkness pervade the city, suggesting that urban centers in the future will have no daylight hours. This pessimistic view is in sharp contrast to the sterile, brightly lit sets found in conventional science-fiction films. Inherent in the set design SEIDELMANDIRECTORS, 4 th EDITION 897 is a critique of our society, which has allowed its environment to be destroyed. The overwrought set design also complements the feverish attempts by a group of androids to find the secret to longer life. Blade Runner influenced the genre with its dystopian depiction of the future, though the cluttered set design and low-key lighting were used earlier by Scott in the science-fiction thriller Alien. Legend, a fairy tale complete with elves, goblins, and unicorns, employs a simple theme of good and evil that is reinforced through images of light and darkness. The magical unicorns, for example, have coats of the purest white; an innocent, virginal character is costumed in flowing, white gowns; sunbeams pour over glades of white flowers; and light shimmers across silver streams as the unicorns gallop through the forest. In contrast, a character called Darkness (actually the Devil) looks magnificently evil in an array of blood reds and wine colors; the sinister Darkness resides in the dark, dismal bowels of the Earth, where no light is allowed to enter; and a corrupted world is symbol- ized by a charred forest devoid of flowers and leaves and black clouds that cover the sky. The forest set was constructed entirely inside the studio and is reminiscent of those huge indoor sets created for Fritz Lang’s Siegfried. In Black Rain, Scott once again reinforced the film’s theme through its mise-en-scène, though here he made exten- sive use of actual locations instead of relying so much on studio sets. Black Rain follows the story of two New York detectives tracking a killer through the underworld of Osaka, Japan. The two characters are frequently depicted against the backdrop of Osaka’s ornate neon signs and ultramodern architecture. Shot through a telephoto lens and lit from behind, the characters seem crushed against the huge set design, which serves as a metaphor for their struggle to penetrate the culture in order to track their man. Though Scott has forged a style that is recognizably his own, his approach to filmmaking has a precedent in German Expressionist filmmaking. The Expressionists were among the first to use the elements of mise-en-scène (set design, lighting, props, costuming) to suggest traits of character or enhance meaning. Similarly, Scott’s techniques are stunning yet highly artificial, a trait often criticized by American reviewers, who too often value plot and character over visual style, and realism over symbolism. Scott’s more recent films, especially Thelma and Louise, suggest that his strongest quality all along has been an ability to create film myths that resonate in viewers’ minds for years afterwards. The Duellists continues to be a haunting film despite the actors’ inade- quate performances, not just because of the splendidly romantic cinematography but because of the starkness of the tale itself (from Joseph Conrad); and Alien, with its own duel between a no-nonsense heroine and a hidden evil, continues to be an object of critical study, feminist and otherwise. Blade Runner, perhaps most of all of Scott’s films, has seized the imagination of both movie fans and scholarly theoreticians: a 1991 volume of critical studies of the film contains a 44-page annotated bibliography, and this is before the theatrical release of the ‘‘Director’s Cut,’’ which had aficionados debating the merits of its eliminating Deckard’s noiresque voiceovers and the hopeful green hills at the end, and of adding a brief shot of a unicorn. One might attribute the relative failures of Someone to Watch over Me and Black Rain, despite their visual swank, to their inability to transcend tired generic conventions, while the more recent 1492: The Conquest of Paradise seems most successful in its mythic moments— notably Columbus’s first glimpse of the New World as mists sweep aside—rather than in its efforts to document the Spanish extermina- tion of native peoples while partially exonerating Columbus himself. Thelma and Louise, with its near-hallucinatory, flamboyantly archetypal American Western settings (bearing little relation to such specificities as ‘‘Arkansas’’), debuted with much debate about how feminist it actually was in its characterizations of two ‘‘dangerous women’’ and in its delineations of the patriarchal causes of their doomed flight. But whatever conclusions might be drawn about the film’s polemics, those unforgettable shots of Thelma and Louise whooping in delight as they light out for the territory in their T-bird convertible—red hair flying, sunglasses glinting—seem destined to enter American mythology (granted that it is too soon to rank the pair alongside Huck and Jim on the raft). Closer to tall tale than high tragedy, Thelma and Louise is memorable due not only to the script and the seemingly inevitable casting of the leads, but to Scott’s realization of landscapes, from the rainy night highways (a back- ground wash of massive dark trucks and blinding lights) to Monument Valley and other vast spaces populated by little more than swarms of police vehicles. It may well be a defining film of the early 1990s, as Blade Runner has become for the early 1980s. —Susan Doll, updated by Joseph Milicia SEIDELMAN, Susan Nationality: American. Born: Near Philadelphia, Pennsylvania, 11 December 1952. Education: Attended school in Philadelphia; stud- ied design and film at Drexel University and New York University Graduate School of Film and TV. Career: Directed her first feature, Susan Seidelman SEIDELMAN DIRECTORS, 4 th EDITION 898 Smithereens, 1982; began directing episodes of the television series Sex in the City, 1998; began directing episodes of the television series Now and Again, 1999. Awards: Best Short Film (Live Action) Academy Award nomination, for The Dutch Master, 1994. Address: c/o Michael Shedler, 225 West 34th Street, Suite 1012, New York, NY 10122–0049. Agent: William Morris Agency, 151 El Camino Drive, Beverly Hills, CA 90212. Films as Director: 1976–77 And You Act like One (short); Deficit (short); Yours Truly, Andrea G. Stern (short) 1982 Smithereens (+ pr, story) 1985 Desperately Seeking Susan 1987 Making Mr. Right (+ exec pr) 1989 Cookie (+ sc); She-Devil (+ co-pr) 1992 Confessions of a Suburban Girl (+ ro) 1995 The Dutch Master (short, released as episode in Tales of Erotica in 1996 (+ co-sc); The Barefoot Executive (for TV) 1999 A Cooler Climate (for TV) 2000 Gaudi Afternoon Other Films: 1982 Chambre 666 (Wenders—for TV) (doc) (appearance) 1993 The Night We Never Met (Leight) (co-assoc pr) Publications By SEIDELMAN: articles— Interview with Richard Patterson, in American Cinematographer (Los Angeles), May 1983 Interview with Dan Yakir, in Film Comment (New York), May/ June 1985. Interview with Peter Goldin, in Films in Review (New York), June/ July 1985 ‘‘Celine and Julie, Susan and Susan,’’ interview with Jane Root, in Stills (London), October 1985. Interview with R. Censi and G.A. Nazarro, in Cineforum (Bergamo, Italy), October 1992. On SEIDELMAN: book— Redding, Judith M., and Victoria A. Brownworth, Film Fatales: Independent Women Directors, Seattle, 1997. On SEIDELMAN: articles— Hachem, S., ‘‘Susan Seidelman,’’ in Millimeter (New York), August 1983. Rickey, Carrie, ‘‘Where the Girls Are,’’ in American Film (Washing- ton, D.C.), January/February 1984. Jaehne, K., ‘‘In Search of Susan,’’ in Stills (London), May 1985. Stacey, Jackie, ‘‘Desperately Seeking Difference,’’ in Screen (Lon- don), Winter 1987. Current Biography (New York), 1990. Cook, Pam, ‘‘Good Girl/Bad Girl— Susan Seidelman,’’ in Monthly Film Bulletin (London), May 1990. Alion, Y., in Revue du Cinéma (Paris), September 1990. Strauss, F., in Cahiers du Cinéma (Paris), December 1992. Atkinson, M., ‘‘Armed (with Cameras) and Dangerous,’’ in Movieline (Los Angeles), August 1995. *** Prior to directing Smithereens, her breakthrough independent feature, and Desperately Seeking Susan, the film that announced her as a major cinematic talent, Susan Seidelman made Deficit, a 40- minute drama about a young man who seeks revenge for a crime committed against his father. The film was funded in part by the American Film Institute Independent Filmmaker Program. Call it understatement or prophecy, but a comment on the film’s evaluation form portended Seidelman’s future: ‘‘The filmmaker shows a bud- ding talent as a feature film director.’’ That talent was realized in Smithereens and Desperately Seeking Susan. Both are likably funky and keenly observed films featuring spirited, independent-minded but refreshingly unromanticized hero- ines: refugees from stifling suburbia who come to New York City’s East Village where they forge identities within a subculture. Both films are knowing depictions of 1980s New York punk/New Wave/ No Wave culture, and are clearly defined observations of hipness and pseudo-hipness. Smithereens, made for $80,000, is a minor landmark in the history of the then-burgeoning American independent film movement; for one thing, it was the first such film accepted as an official in- competition entry at the Cannes Film Festival. Smithereens benefits from its low budget, which allows it an authentic feel for time and place. Its heroine is Wren, a rootless 19-year-old whose motto might be ‘‘Desperately Seeking Celebrity.’’ She lives in a shabby East Village apartment, from which she is evicted for non-payment of rent; she may be energetic and determined, but her dreams of achieving fame, which are connected to the rock music industry and an idealized Southern California lifestyle, are hazy at best. Instead of educating herself and working to realize her dreams, Wren pastes photocopies of herself on subway car and station walls and attempts to link up with a rock singer whom she foolishly regards as a meal ticket. She will say and do anything and manipulate anyone, even if the result is her own debasement. Her rationale for her behavior is a line she repeats throughout the scenario: ‘‘I got a million and one places to go.’’ Seidelman entered the realm of mainstream filmmaking with her follow-up feature: Desperately Seeking Susan, a stylish screwball comedy that remained faithful to the feeling of its predecessor and became a surprise box-office smash. In retrospect, it is one of the more entertaining films of the mid-1980s. There are two heroines in Desperately Seeking Susan. The first is Roberta, a bored suburban housewife who sets out on a comic odyssey upon becoming intrigued by a series of ‘‘Desperately Seeking Susan’’ personal ads. Roberta’s counterpart, the Susan of the title, is a variation of Wren. She is a homeless but nonetheless ultra-hip East Village free spirit who has various boyfriends and sexual liaisons, and who will think nothing of pilfering jewelry or stiffing a taxi driver. Roberta and Susan become SEMBENEDIRECTORS, 4 th EDITION 899 immersed in a frantic, funny scenario involving mistaken identity, amnesia, and other plot devices. Desperately Seeking Susan is espe- cially successful in capturing the appeal of Madonna, who plays the title role and who then was blossoming as one of the era’s elite pop stars. Prior to her playing Evita twelve years later, Susan was her preeminent screen role. Unfortunately, Desperately Seeking Susan was to be a career apex for Seidelman; it and Smithereens are her foremost films to date. The clever female-oriented humor that worked so well in Desperately Seeking Susan simply is missing from Making Mr. Right, which attempts to squeeze laughs out a supposedly successful career woman’s inability to walk in high heels. The scenario (which is set in Miami Beach) has the heroine realizing she only can find true love with a robot. In Smithereens and Desperately Seeking Susan, the male characters run the gamut from boring and self-involved to sympa- thetic. In Making Mr. Right, the view of men is horribly clichéd and mean-spirited, and downright offensive in that a real man is insuffi- cient as the heroine’s romantic partner. Furthermore, the robot, which she has helped program, comes apart whenever it makes love. In She-Devil, Seidelman directed one of the era’s most distin- guished film actresses (Meryl Streep) and popular television comedi- ennes (Roseanne), and worked from an acclaimed feminist novel: Fay Weldon’s The Life and Loves of a She-Devil. But the result, involving a frumpy housewife who seeks revenge after her husband leaves her, is slight and predictable. Cookie, which like She-Devil was scripted by Nora Ephron (working with Alice Arlen), is the story of a cheeky adolescent who forges a relationship with her mafioso father upon his release from jail. But the film was strictly formulaic, and paled beside Seidelman’s earlier work. In these three films, the feeling is that Seidelman abandoned her New York artistic roots, and in so doing lost her way as an idiosyncratic filmmaker. Seidelman’s work in the 1990s at least was considered respect- able, even if it did not establish her as an A-list filmmaker. The luridly named Confessions of a Suburban Girl, whose title seems an at- tempted thematic throwback to Smithereens and Desperately Seeking Susan, actually is a revealing documentary account of the filmmaker and several of her friends as they parallel their youthful aspirations to the reality of their adult lives. The Dutch Master, a short film (which earned a Best Live Action Short Oscar nomination), is the story of a New York dental hygienist who becomes fascinated by, and begins fantasizing about, a 17th-century painting. As the decade closed, Seidelman could be found directing for television. Her credits include episodes of the TV series Sex in the City and Now and Again, and a pair of very different TV movies: The Barefoot Executive, a remake of the 1971 Disney kiddie comedy; and A Cooler Climate, a chronicle of the evolving relationship between two disparate middle-aged women. If you are, say, Steven Spielberg or Barry Levinson and you choose to latch onto a television series, that involvement will be viewed as slumming. Or if you are Martin Scorsese or Woody Allen and you direct a short, that work will be considered an exercise in creativity. But if you are Susan Seidelman, and you haven’t had a critical or commercial hit in well over a decade, your TV work and short film, however fine, will be viewed as a comedown. Tellingly, The Dutch Master was released commercially, along with three other shorts, under the throwaway title Tales of Erotica. It was paired with films by Ken Russell, Melvin Van Peebles, and Bob Rafelson—who, like Seidelman, are once-innovative filmmakers whose foremost works most likely are in their past. —Rob Edelman SEMBENE, Ousmane Nationality: Senegalese. Born: at Ziguinchor, Senegal, 8 January 1923. Military Service: Joined Free French Forces fighting in Africa, 1942, demobilized at Marseilles, 1946. Career: Worked as me- chanic, 1937–38; after military service, returned to Senegal, then moved to France, 1948; docker in Marseilles, and Secretary General of black workers organization in France; published first novel, Le Docker noir, 1956; returned to Senegal, 1960; studied cinema in Moscow under Sergei Gerasimov and Mark Donskoi, 1962; made first film, L’Empire Sonrai, 1963; founding editor, Kaddu newspaper, 1972. Awards: Dakar Festival of Negro Arts prize, 1966; Cannes Film Festival prize, 1967; Venice Film Festival prize, 1969; Atlanta Film Festival prize, 1970. Films as Director and Scriptwriter: 1963 Songhays (L’Empire Sonrai) (documentary, unreleased); Borom Sarret 1964 Niaye 1966 La Noire de. . . (The Black Girl from. . . ) 1968 Mandabi (The Money Order) 1970 Tauw (Taw) 1971 Emitai 1974 Xala (Impotence) 1977 Ceddo (The People) Ousmane Sembene SEMBENE DIRECTORS, 4 th EDITION 900 1987 Camp de Thiaroye 1992 Guelwaar Other Film: 1983 Camera d’Afrique (Boughedir) (role) Publications By SEMBENE: books— Le Docker noir, Paris, 1956. O pays, mon beau peuple, Paris, 1957. Les Bouts de bois de Dieu, Paris, 1960. Volta?que, Paris, 1962. L’Harmattan, Paris, 1964. Vehi Ciosane ou blanche genèse suivi de Mandat, Paris, 1965. Xala, Paris, 1973; Westport, Connecticut, 1976. Le Dernier de l’Empire, Paris, 1981; as The Last of the Empire, London, 1983. Niiwan; Taaw, Paris, 1987. Xala, translated by Clive Wake, Chicago, 1997. God’s Bits of Wood, translated by Francis Price, Westport, Connecti- cut, 1996. By SEMBENE: articles— Interview with Guy Hennebelle, in Jeune Cinéma (Paris), Novem- ber 1968. ‘‘Film-Makers Have a Great Responsibility to our People,’’ interview with H. D. Weaver Jr., in Cineaste (New York), vol. 6, no. 1, 1973. Interview with G. M. Perry, in Film Quarterly (Berkeley), Spring 1973. ‘‘Ousmane Sembene, Carthage et le cinéma africain,’’ and ‘‘Problématique du cinéaste africain: l’artiste et la révolution,’’ interviews with T. Cheriaa, in Cinéma Québec (Montreal), August 1974. Interview with C. Bosseno, in Image et Son (Paris), September 1979. Interview with A. Tournès, in Jeune Cinéma (Paris), November/ December 1988. Interview with M. T. Oldani, in Filmcritica (Rome), June 1991. Interview with E. Castiel, in Séquences (Montreal), July/August 1993. On SEMBENE: books— Vieyra, Paulin Soumanou, Ousmane Sembene, cinéaste: Première période 1962–71, Paris, 1972. Vieyra, Paulin Soumanou, Le Cinéma africain: des origines à 1973, Paris, 1975. Martin, Angela, editor, African Films: The Context of Production, London, 1982. Moore, Carried Dailey, Evolution of an African Artist: Social Realism in the Work of Ousmane Sembene, Ann Arbor, Michigan, 1984. Pfaff, Fran?oise, The Cinema of Ousmane Sembene, Westport, Con- necticut, 1984. Armes, Roy, Third-World Filmmaking and the West, Berkeley, 1987. Downing, John D. H., editor, Film and Politics in the Third World, New York, 1987. Pfaff, Fran?oise, 25 Black African Filmmakers: A Critical Study, Westport, Connecticut, 1988. Gadjigo, Samba, editor, Ousmane Sembene: Dialogues with Critics and Writers, Amherst, Massachusetts, 1993. Tsabedze, Clara, African Independence from Francophone and Anglophone Voices: A Comparative Study of the Post-Indepen- dence Novels by Ngugi and Sembene, New York, 1994. On SEMBENE: articles— Ghali, N., ‘‘Ousmane Sembene,’’ in Cinématographe (Paris), April 1976. Van Wert, William, ‘‘Ideology in the Third World Cinema: A Study of Ousmane Sembene and Glauber Rocha,’’ in Quarterly Review of Film Studies (Pleasantville, New York), Spring 1979. Armes, Roy, ‘‘Ousmane Sembene: Questions of Change,’’ in Ciné Tracts (Montreal), Summer-Fall 1981. Landy, M., and others, ‘‘Ousmane Sembene’s Films,’’ in Jump Cut (Berkeley), July 1982. Landy, M., ‘‘Political Allegory and ‘Engaged Cinema’: Sembene’s Xala,’’ in Cinema Journal (Champaign, Illinois), Spring 1984. Turvey, G., ‘‘Xala and the Curse of Neo-Colonialism,’’ in Screen (London), May/August 1985. Dauphin, G., ‘‘Into Africa,’’ in Village Voice (New York), 18 September 1990. Diawara, M., ‘‘Camp de Thiaroye,’’ in Black Film Review (Washing- ton, D.C.), vol. 6, no. 3, 1991. Rosen, P., ‘‘Making a Nation in Sembene’s ‘Ceddo,’’’ Quarterly Review of Film and Video (New York), vol. 13, no. 1/3, 1991. Kindem, G. H., and M. Steele, ‘‘Women in Sembene’s Films,’’ Jump Cut (Berkeley), May 1991. Atkinson, Michael, ‘‘Ousmane Sembene: ‘We Are No Longer in the Era of Prophets,’’’ in Film Comment (New York), July/Au- gust 1993. Cervoni, A., in Cinémaction (Courbevoie), no. 4, 1996. Vos, J.M. de, in Film en Televisie + Video (Brussels), April 1997. *** Ousmane Sembene is one of the most important literary figures of sub-Saharan Africa and, at the same time, its premier filmmaker. Born in 1923 in Senegal, he received little formal education. His first literary work, autobiographical in nature, dates from 1956. It featured as its backdrop the port city of Marseilles, where he worked as a docker. Sembene came to film by necessity: painfully aware that he could not reach his largely illiterate compatriots by means of a written art form, he studied film in Moscow in 1961 and began to work in this medium shortly thereafter. It is interesting and important to note that four of Sembene’s films are based on texts, written by Sembene, which first appeared as novels or short stories. Between 1963 and 1977 he produced eight films while publishing three works of fiction. Following Borom Sarret and Niaye, Sembene made La Noire de . . . , the first feature-length film to come out of sub-Saharan Africa: it received several awards. While technically flawed, it is still a powerful piece dealing with the issue of neocolonialism in post-independence Africa, a common theme in Sembene’s work. His next film, Mandabi (The Money Order), marked an important breakthrough for Sembene: it is his first film in color, but, more importantly, it is the first work to use an African SENDIRECTORS, 4 th EDITION 901 language—in this case Wolof, rather than French—and this allowed him to reach his primary audience in an even more direct manner than previously possible. His use of African languages continues with the creation of Emitai, which is made in Diola. Emitai was the first full- length film by Sembene which was not an adaptation of a written text. The conditions of filmmaking in Africa are difficult and the lack of trained personnel and financial support have discouraged many African artists from working in this medium. Sembene has managed to overcome these problems and has even made a virtue of certain necessities: his almost exclusive reliance on non-professional actors and actresses, including those playing leading roles, is an example of this. He is thus able to increase both the general force of the film—the audience can more easily identify with his actors than with ‘‘stars’’— and testify to his belief in the common man and the collective heroism of the masses. Sembene’s films are not innovative in a technical sense; instead, their power and critical success stem from their compelling portraits of Third World men and women struggling against forces, both internal and external, which threaten their dignity and, in fact, their very existence. Sembene clearly sees himself as a Marxist-Leninist and sees art as necessarily both functional and politically committed. But this does not mean that he is a mere propagandist and, in fact, his art transcends narrow definition. His art is clearly African in character despite his extensive contacts with the West: the filmmaker is the descendant of the traditional griot, recording the history of his society, criticizing its faults, finding strength in its people in the face of the denigration of African society and culture inherent in all forms of colonialism. —Curtis Schade SEN, Mrinal Nationality: Indian. Born: East Bengal (now Bangladesh), 4 May 1923. Education: Studied physics in Calcutta. Family: Married Gita Shome, 1953; one son. Career: Freelance journalist and medical representative in Uttar Pradesh; involved with Indian People’s Thea- tre Association, sponsored by Communist Party of India, 1943–47; directed first film, Raat Bhore, 1956; jury member at numerous international film festivals; chairman of Gov. Council Film and Television Institute of India, 1983–85. Awards: Silver Bear, Berlin Festival, for Akaler Sandhane, 1981. Films as Director: (in Bengali unless indicated) 1956 Raat Bhore (The Dawn; Night’s End) 1959 Neel Akasher Neechey (Under the Blue Sky) 1960 Baishey Shravana (The Wedding Day) 1961 Punnascha (Over Again) 1962 Abasheshey (And at Last) 1964 Pratinidhi (The Representative; Two Plus One) 1965 Akash Kusum (Up in the Clouds) 1967 Matira Manisha (Two Brothers) (+ co-sc, in Bengali); Moving Perspectives (doc) 1969 Bhuvan Shome (Mr. Shome)) (+ pr, sc, in Hindi) 1970 Ichhapuran (The Wish-Fulfillment) (+ sc, in Bengali, also Hindi version) 1971 Interview 1972 Calcutta 71 (+ sc); Ek Adhuri Kahani (An Unfinished Story) 1973 Padatik (The Guerilla Fighter) 1974 Chorus 1976 Mrigaya (The Royal Hunt) (+ co-sc, in Hindi) 1977 Oka Oorie Katha (The Outsiders) (+ co-sc, in Telugu) 1978 Parashuram (The Man with the Axe) 1979 Ek Din Pratidin (And Quiet Rolls the Dawn) 1980 Akaler Sandhane (In Search of Famine) 1981 Chalachitra (The Kaleidoscope) 1982 Kharij (The Case Is Closed) 1983 Khandahar (The Ruins) 1985 Tasveer Apni Apni 1986 Genesis 1989 Ek din achanak (+ sc) 1990 Calcutta, My El Dorado (doc) (+ pr) 1991 World Within, World Without 1992 Mahaprithivi (+ sc) 1994 The Confined (+ sc) Publications By SEN: books— In Search of Famine, Calcutta, 1983; London, 1990. The Ruins (Khandahar), Calcutta, 1984. Absence Trilogy, Columbia, 1999. By SEN: articles— ‘‘Introducing Mrinal Sen,’’ interview with U. Gupta, in Jump Cut (Berkeley), no. 12/13, 1976. ‘‘Mrinal Sen: cineasta de los humildes,’’ interview with M. Pereira, in Cine Cubano (Havana), no. 99, 1981. Interview with S. S. Chakravarty, in Ciné-Tracts (Montreal), 1981. Interview with Michel Ciment, in Positif (Paris), January 1982. ‘‘New Visions in Indian Cinema,’’ an interview with U. Gupta, in Cineaste (New York), vol. 11, no. 4, winter 1982. ‘‘Mrinal Sen,’’ in Cinema in India, vol. 4, no. 3, 1991. ‘‘La révolte des adolescents,’’ in Positif (Paris), June 1994. On SEN: books— da Cunha, Uma, editor, The New Generation 1960–1980: An Exami- nation of India’s New Cinema, New Delhi, 1981. Willemen, Paul, and Behroze Gandhy, Indian Cinema, London, 1982. Vasudev, Aruna, The New Indian Cinema, New Delhi, 1986. Hauff, Reinhard, Hauff on Sen: Ten Days in Calcutta: A Portrait of Mrinal Sen, Calcutta, 1987. Kishore, Valicha, The Moving Image, Hyderabad, India, 1988. Hood, John W., Chasing the Truth: The Films of Mrinal Sen, Columbia, 1993. Mukhopadhyay, Deepankar, Maverick Maestro—Mrinal Sen, Colum- bia, 1995. SENNETT DIRECTORS, 4 th EDITION 902 On SEN: articles— Williams, Forrest, ‘‘The Art Film in India: Report on Mrinal Sen,’’ in Film Culture (New York), Winter/Spring 1970. ‘‘Mrinal Sen,’’ in International Film Guide 1982, edited by Peter Cowie, London, 1981. Malcolm, D., ‘‘Guerrilla Fighter,’’ in Sight and Sound (London), Autumn 1981. Vreeswijk, L., and others, ‘‘Sen dossier,’’ special section, in Skrien (Amsterdam), October 1981. Bassan, Raphael, ‘‘Mrinal Sen,’’ in Revue du Cinéma (Paris), March 1985. Roddick, Nick, ‘‘Original Sen,’’ in Cinema Papers (Melbourne), July 1986. Sen, J., ‘‘Silence! Work in Progress,’’ in Cinema in India, vol. 2, no. 2, 1991. Krishen, P., ‘‘Knocking at the Doors of Public Culture: India’s Parallel Cinema,’’ in Public Culture, vol. 4, no. 1, 1991. Datta, B., ‘‘The Rhythm of Acting,’’ in Cinema in India, vol. 3, no. 2, 1992. Breschand, Jean, ‘‘Lyon fête ses Lumière,’’ in Cahiers du Cinéma (Paris), May 1995. Young, Deborah, ‘‘And the Show Goes On—Indian Chapter,’’ in Variety (New York), 21 October 1996. On SEN: film— Hauff, Reinhard, Ten Days in Calcutta: A Portrait of Mrinal Sen, 1987. *** Mrinal Sen’s work is distinguished by the attention he pays to the lives of the underprivileged in India. The style of his films varies considerably, and even within individual films his achievement is uneven, but the body of his work adds up to an important attempt in India at making political films, films which point to prevailing injustices and urge people to change society. Sen is India’s pre- eminent activist filmmaker. Sen’s early films testify to the influences of the Italian neorealists and of Satayajit Ray’s first films. Sen filmed people at the ragged edge of society, using natural locations and employing non-profes- sional actors. Nothing in his films touched up the drabness of poor villages. Unlike Ray, however, Sen’s attitude had less humanism in it than political urgency. In a strong film like Baishey Shravana, Sen suggests that a bourgeois mentality makes bad conditions worse by interposing the claims of respectability on matters of survival. Although Sen established a reputation in Bengal with Baishey Shravana, he came to be known throughout India for the comic Bhuvan Shome, made in Hindi in 1969. The film describes a railway official’s encounter with the wife of a ticket collector under fire for accepting bribes. The prudish railway official (played in a restrained slapstick manner by Utpal Dutt) is charmed by a country girl while on holiday in Gujarat and only later discovers that the girl is married to the offending ticket collector. The film is shot among sand dunes and sugarcane fields and reveals Sen’s skill at sustaining a simple narrative. To some critics, Bhuvan Shome remains Sen’s best film, an example of his little-used talents as a confectioner of cinema. Conditions of near civil war in Calcutta in the late 1960s led to three Sen films known as the Calcutta trilogy—Interview, Calcutta 71, and Padatik. In these films, Sen moved away from the surface realism of his previous work, turning instead to allegorical characters and symbolic utterances. Sen returned to conventional narrative with the Hindi film Mrigaya in 1976. Since that time he has continued to present stories about marginal people, framing the story so that the viewer is led to discover his or her own complicity with oppression. In 1980 Sen directed Akaler Sandhane, which describes the adventure of a film crew out to film a story about the Bengal famine of 1943. The villages in which the crew works are no more prosperous in 1980 than they were forty years before; an afternoon’s shopping for the film team cleans out the village vegetable market. Akaler Sandhane is intensively effective in its portrayal of the film-within-film. At one point the actors recreate the dire poverty of a disabled peasant’s household. The wife has sold herself to the landlord in order to bring home a potful of rice. Sen cuts from a chilling night scene of the lame husband beating his wife to the crowd of onlookers; it is an open question whether the dissipation of intensity which follows this distancing serves a necessary political purpose. Communist critics generally favor Sen’s work; liberal critics point to characteristic weakness of structure. But Sen’s compassion and energy are never contested. In film after film he probes the fate of those people—tribals (Mrigaya), outcasts (Oka Oorie Katha), pave- ment dwellers (Parashuram), working women (Ek Din Pratidin), servants (Kharij)—who are treated as if they were sub-human. Sen’s more recent films affect a subdued tone and, unlike the Calcutta trilogy, trust the audience to draw its own moral from the films. Outside of India, too, critics discern a new phase of maturity in Sen’s work of the 1990s. —Satti Khanna SENNETT, Mack Nationality: Canadian. Born: Mikall (Michael) Sinnott in Danville, Quebec, 17 January 1880. Career: Burlesque performer and chorus boy on Broadway, 1902–08; actor in Biograph films, 1908–10; director of Biograph shorts, from 1910, moved to Hollywood; formed Keystone Production Company with Charles Bauman and Adam Kessel, 1912; Keystone absorbed into Triangle Film Corporation with Thomas Ince and D.W. Griffith’s production companies, 1915; formed production company Mack Sennett Comedies following collapse of Triangle, 1917, though films released by Paramount; associated with Pathé, 1923–28, and with Educational Films, 1929–32, also returned to directing; producer and director of shorts for Para- mount, from 1932, and experimented with early color process called ‘‘Natural Color’’; returned to Educational Films, 1935, then retired to Canada; held nominal position at 20th Century-Fox from 1939. Awards: Special Oscar for contributions to screen comedy, 1937. Died: 1960. Films as Director: 1910 The Lucky Toothache (+ sc, role); The Masher (+ sc, role) 1911 Comrades (+ role); Priscilla’s April Fool Joke; Cured; Prisci- lla and the Umbrella; Cupid’s Joke; Misplaced Jealousy; The Country Lovers; The Manicure Lady (+ role); Curios- ity; A Dutch Gold Mine (+ role); Dave’s Love Affair; Their Fates Sealed; Bearded Youth; The Delayed Proposal; Stubbs’ SENNETTDIRECTORS, 4 th EDITION 903 Mack Sennett New Servants; The Wonderful Eye; The Jealous Husband; The Ghost; Jinks Joins the Temperance Club; Mr. Peck Goes Calling; The Beautiful Voice; That Dare Devil (+ role); An Interrupted Game; The Diving Girl; $500,000 Reward (+ role); The Baron; The Villain Foiled; The Village Hero (+ role); The Lucky Horseshoe; A Convenient Burglar; When Wifey Holds the Purse Strings; Too Many Burglars; Mr. Bragg, A Fugitive; Trailing the Counterfeit (+ role); Josh’s Suicide; Through His Wife’s Picture; The Inventor’s Secret; A Victim of Circumstances; Their First Divorce Case (+ role); Dooley Scheme; Won through a Medium; Resourceful Lovers; Her Mother Interferes; Why He Gave Up; Abe Gets Even with Father; Taking His Medicine; Her Pet; Caught with the Goods (+ role); A Mix-up in Rain- coats; The Joke on the Joker; Who Got the Reward; Brave and Bold; Did Mother Get Her Wash; With a Kodak; Pants and Pansies; A Near-Tragedy; Lily’s Lovers; The Fatal Chocolate (+ role); Got a Match; A Message from the Moon; Priscilla’s Capture; A Spanish Dilemma (+ role); The Engagement Ring; A Voice from the Deep; Hot Stuff; Oh, Those Eyes; Those Hicksville Boys; Their First Kid- napping Case (+ role); Help, Help; The Brave Hunter; Won by a Fish; The Leading Man; The Fickle Spaniard; When the Fire Bells Rang; The Furs; A Close Call; Helen’s Marriage; Tomboy Bessie; Algy, the Watchman; Katchem Kate; Neighbors; A Dash through the Clouds; The New Baby; Trying to Fool; One Round O’Brien; The Speed Demon; His Own Fault; The Would Be Shriner (+ role); Willie Becomes an Artist; The Tourists; What the Doctor Ordered; An Interrupted Elopement; The Tragedy of a Dress Suit; Mr. Grouch at the Seashore; Through Dumb Luck 1912 Cohen Collects a Debt (Cohen at Coney Island) (+ pr); The Water Nymph (+ pr); Riley and Schultz (+ pr); The New Neighbor (+ pr); The Beating He Needed (+ pr); Pedro’s Dilemma (+ pr, role); Stolen Glory (+ pr, role); The Ambi- tious Butler (+ pr, role); The Flirting Husband (+ pr); The Grocery Clerk’s Romance (+ pr); At Coney Island (+ pr, role); Mabel’s Lovers (+ pr); At It Again (+ pr, role); The Deacon’s Troubles (+ pr); A Temperamental Husband (+ pr); The Rivals (+ pr, role); Mr. (+ pr, role); A Desperate Lover (+ pr); A Bear Escape (+ pr, role); Pat’s Day Off (+ pr, role); Brown’s Seance (+ pr); A Family Mixup (+ pr, role); A Midnight Elopement (+ pr); Mabel’s Adventures (+ pr); Useful Sheep (+ pr); Hoffmeyer’s Legacy (+ pr); The Drummer’s Vacation (+ pr); The Duel (+ pr, role); Mabel’s Strategem (+ pr) 1913 Saving Mabel’s Dad (+ pr); A Double Wedding (+ pr); The Cure That Failed (+ pr); How Hiram Won Out (+ pr); For Lizzie’s Sake (+ pr); Sir Thomas Lipton out West (+ pr); The Mistaken Masher (+ pr, role); The Deacon Outwitted (+ pr); The Elite Ball (+ pr); Just Brown’s Luck (+ pr); The Battle of Who Run (+ pr, role); The Jealous Waiter (+ pr); The Stolen Purse (+ pr, role); Mabel’s Heroes (+ pr, role); Her Birthday Present (+ pr); Heinze’s Resurrection (+ pr); A Landlord’s Troubled (+ pr); Forced Bravery (+ pr); The Professor’s Daughter (+ pr); A Tangled Affair (+ pr); A Red Hot Romance (+ pr); A Doctored Affair (+ pr); The Sleuth’s Last Stand (+ pr, role); A Deaf Burglar (+ pr); The Sleuths at the Floral Parade (+ pr, role); A Rural Third Degree (+ pr); A Strong Revenge (+ pr, role); The Two Widows (+ pr); Foiling Fickle Father (+ pr); Love and Pain (+ pr); The Man Next Door (+ pr); A Wife Wanted (+ pr); The Rube and the Baron (+ pr, role); Jenny’s Pearls (+ pr); The Chief’s Predicament (+ pr); At Twelve O’Clock (+ pr); Her New Beau (+ pr, role); On His Wedding Day (+ pr); The Land Salesman (+ pr); Hide and Seek (+ pr); Those Good Old Days (+ pr); A Game of Poker (+ pr); Father’s Choice (+ pr); A Life in the Balance (+ pr); Murphy’s I.O.U. (+ pr); A Dollar Did It (+ pr); Cupid in the Dental Parlor (+ pr); A Fishy Affair (+ pr); The Bangville Police (+ pr); The New Conductor (+ pr); His Chum, the Baron (+ pr); That Ragtime Band (+ pr); Algie on the Force (+ pr); His Ups and Downs (+ pr); The Darktown Belle (+ pr); A Little Hero (+ pr); Mabel’s Awful Mistake (+ pr, role); The Foreman and the Jury (+ pr); The Gangster (+ pr); Barney Oldfield’s Race for a Life (+ pr, role); Passions—He Had Three (+ pr); Help! Help! Hydrophobia! (+ pr); The Hansom Driver (+ pr, role); The Speed Queen (+ pr); The Waiter’s Picnic (+ pr); The Tale of the Black Eye (+ pr); Out and In (+ pr); A Bandit (+ pr); Peeping Pete (+ pr); His Crooked Career (+ pr, role); For Love of Mabel (+ pr); Safe in Jail (+ pr); The Telltale Light (+ pr); Love and Rubbish (+ pr); A Noise from the Deep (+ pr); The Peddler (+ pr); Love and Courage (+ pr); Professor Bean’s Removal (+ pr); Cohen’s Outing (+ pr); The Firebugs (+ pr); Baby Day (+ pr); Mabel’s New Hero (+ pr); Mabel’s Dramatic Career (+ pr, role); The Gypsy Queen (+ pr); Willie Minds the Dog (+ pr); When Dreams Come True (+ pr); Mother’s Boy (+ pr); The SENNETT DIRECTORS, 4 th EDITION 904 Bowling Match (+ pr); The Speed Kings (+ pr); Love Sickness at Sea (+ pr, role); A Muddy Romance (+ pr); Cohen Saves the Flag (+ pr); Zuzu the Band Leader (+ pr) 1914 In the Clutches of the Gang (+ pr); Mabel’s Strange Predica- ment (co-d, pr); Love and Gasoline (+ pr); Mack at It Again (+ pr, role); Mabel at the Wheel (+ pr, role); The Knockout (+ pr); A New York Girl (+ pr, role); His Talented Wife (+ pr, role); Tillie’s Punctured Romance (+ pr, feature); The Fatal Mallet (co-d with Chaplin, pr, role) 1915 Hearts and Planets (+ pr, role); The Little Teacher (+ pr, role); My Valet (+ pr, role); A Favorite Fool (+ pr); Stolen Magic (+ pr, role) 1921 Oh, Mabel Behave (co-d, pr, role) 1927 A Finished Actor (co-d, pr) 1928 The Lion’s Roar (+ sc, pr) 1929 The Bride’s Relation (+ pr); The Old Barn (+ pr); Whirls and Girls (+ pr); Broadway Blues (+ pr); The Bee’s Buzz (+ pr); Girl Crazy (+ pr); The Barber’s Daughter (+ pr); Jazz Mamas (+ pr); The New Bankroll (+ pr); The Constable (+ pr); Midnight Daddies (+ pr); The Lunkhead (+ pr); The Golfers (+ pr); A Hollywood Star (+ pr); Scotch (+ pr); Sugar Plum Papa (+ pr); Bulls and Bears (+ pr); Match Play (+ pr); Honeymoon Zeppelin (+ pr); Fat Wives for Thin (+ pr); Campus Crushes (+ pr); The Chumps (+ pr); Goodbye Legs (+ pr); Average Husband (+ pr); Vacation Loves (+ pr); The Bluffer (+ pr); Grandma’s Girl (+ pr); Divorced Sweethearts (+ pr); Racket Cheers (+ pr); Rough Idea of Love (+ pr) 1931 A Poor Fish (+ pr); Dance Hall Marge (+ pr); The Chiseler (+ pr); Ghost Parade (+ pr); Hollywood Happenings (+ pr); Hold ‘er Sheriff (+ pr); Monkey Business in America (+ pr); Movie-Town (+ pr, role); The Albany Bunch (+ pr); I Surrender Dear (+ pr); Speed (+ pr); One More Chance (+ pr) 1932 Hypnotized (+ pr, sc) 1935 Ye Olde Saw Mill (+ pr, sc); Flicker Fever (+ pr); Just Another Murder (+ sc, pr); The Timid Young Man (+ pr); Way up Thar (+ pr) Other Films: (incomplete list) 1908 Balked at the Altar (Griffith) (role); Father Gets in the Game (Griffith) (role); The Song of the Shirt (Griffith) (role); Mr. Jones at the Ball (Griffith) (role) 1909 Mr. Jones Has a Card Party (Griffith) (role); The Curtain Pole (Griffith) (role); The Politician’s Love Story (Griffith) (role); The Lonely Villa (Griffith) (role); The Way of a Man (Griffith) (role); The Slave (Griffith) (role); Pippa Passes (Griffith) (role); The Gibson Goddess (Griffith) (role); Nursing a Viper (Griffith) (role) 1910 The Dancing Girl of Butte (Griffith) (role); All on Account of the Milk (Griffith) (role); The Englishman and the Girl (Griffith) (role); The Newlyweds (Griffith) (role); An Affair of Hearts (Griffith) (role); Never Again! (Griffith) (role); The Call to Arms (Griffith) (role); An Arcadian Maid (Griffith) (role) 1911 The Italian Barber (Griffith) (role); Paradise Lost (Griffith) (role); The White Rose of the Wilds (Griffith) (role); The Last Drop of Water (Griffith) (role) 1912 The Brave Hunter (role) 1913 Their First Execution (pr); Hubby’s Job (pr); Betwixt Love and Fire (pr); Toplitsky and Company (pr); Feeding Time (pr); Largest Boat Ever Launched Sidewalks (pr); Rastus and the Game-Cock (pr); Get Rich Quick (pr); Just Kids (pr); A Game of Pool (pr); The Latest in Life Saving (pr); A Chip off the Old Block (pr); The Kelp Industry (pr); Fatty’s Day Off (pr); Los Angeles Harbour (pr); The New Baby (pr); What Father Saw (pr); The Faithful Taxicab (pr); Billy Dodges Bills (pr); Across the Alley (pr); The Abalone Industry (pr); Schnitz the Tailor (pr); Their Husbands (pr); A Healthy Neighborhood (pr); Two Old Tars (pr); A Quiet Little Wedding (pr); The Janitor (pr); The Making of an Automobile Tire (pr); Fatty at San Diego (pr); A Small Town Act (pr); The Milk We Drink (pr); Wine (pr); Our Children (pr); Fatty Joins the Force (pr); The Woman Haters (pr); The Rogues’ Gallery (pr); The San Francisco Celebration (pr); A Ride for a Bride (pr); The Horse Thief (pr); The Gusher (pr); Fatty’s Flirtation (pr); Protecting San Francisco from Fire (pr); His Sister’s Kids (pr); A Bad Game (pr); Some Nerve (pr); The Champion (pr); He Would A Hunting Go (pr) 1914 A Misplaced Foot (pr); A Glimpse of Los Angeles (pr); Love and Dynamite (pr); Mabel’s Stormy Love Affair (pr); The Under Sheriff (pr); A Flirt’s Mistake (pr); How Motion Pictures Are Made (pr); Too Many Brides (pr); Won in a Closet (pr); Rebecca’s Wedding Day (pr); Little Billy Triumphs (pr); Mabel’s Bare Escape (pr); Making A Living (pr); Little Billy’s Strategy (pr); Kid Auto Races at Venice (pr); Olives and Their Oil (pr); A Robust Romeo (pr); Raffles (pr); Gentleman Burglar (pr); A Thief Catcher (pr); Twixt Love and Fire (pr); Little Billy’s City Cousin (pr); Between Showers (pr); A Film Johnnie (pr); Tango Tangles (pr); His Favorite Pastime (pr); A Rural Demon (pr); The Race (How Villains Are Made) (pr); Across the Hall (pr); Cruel, Cruel Love (pr); Barnyard Flirtations (pr); A Back Yard Theater (pr); Chicken Chaser (pr); The Star Boarder (pr); Fatal High (pr); The Passing of Izzy (pr); A Bathing Beauty (A Bathhouse Beauty) (pr); Twenty Minutes of Love (pr); Where Hazel Met the Villain (pr); Bowery Boys (pr); Caught in a Cabaret (pr); When Villains Wait (pr); Caught in the Rain (pr); A Busy Day (pr); The Morning Papers (pr); A Suspended Ordeal (pr); Finnegan’s Bomb (pr); Mabel’s Nerve (pr); The Water Dog (pr); When Reuben Fooled the Bandits (pr); Acres of Alfalfa (pr); Our Large Birds (pr); The Fatal Flirtation (pr); The Alarm (pr); The Fatal Mallet (pr); Her Friend the Bandit (pr); Our Country Cousin (pr); Mabel’s Busy Day (pr); A Gambling Rube (pr); A Missing Bride (pr); Mabel’s Married Life (pr); The Eavesdropper (pr); Fatty and the Heiress (pr); Caught in Tights (pr); Fatty’s Finish (pr); Love and Bullets (pr); Row-Boat Romance (pr); Laughing Gas (pr); Love and Salt Water (pr); World’s Oldest Living Thing (pr); Mabel’s New Job (pr); The Sky Pirate (pr); The Fatal Sweet Tooth (pr); Those Happy Days (pr); The Great Toe Mystery (pr); Soldiers of Misfortune (pr); The Property Man (pr, role); A Coat’s Tale (pr); The Face on the Barroom Floor (pr); Recreation (pr); The SENNETTDIRECTORS, 4 th EDITION 905 Yosemite (pr); Such a Cook (pr); That Minstrel Man (pr); Those Country Kids (pr); Caught in a Flue (pr); Fatty’s Gift (pr); The Masquerader (pr); Her Last Chance (pr); His New Profession (pr); The Baggage Smasher (pr); A Brand New Hero (pr); The Rounders (pr); Mabel’s Latest Prank (pr); Mabel’s Blunder (pr); All at Sea (pr); Bombs and Bangs (pr); Lover’s Luck (pr); He Loved the Ladies (pr); The New Janitor (pr); Fatty’s Debut (pr); Hard Cider (pr); Killing Hearts (pr); Fatty Again (pr); Their Ups and Downs (pr); Hello Mabel (pr); Those Love Pangs (pr); The Anglers (pr); The High Spots on Broadway (pr); Zipp, the Dodger (pr); Dash, Love and Splash (pr); Santa Catalina Islands (pr); The Love Thief (pr); Stout Heart but Weak Knees (pr); Shot in the Excitement (pr); Doug and Dynamite (pr); Gentlemen of Nerve (pr); Lovers’ Post Office (pr); Curses! They Remarked (pr); His Musical Career (pr); His Trysting Place (pr); An Incompetent Hero (pr); How Heroes Are Made (pr); Fatty’s Jonah Day (pr); The Noise of Bombs (pr); Fatty’s Wine Party (pr); His Taking Ways (pr); The Sea Nymphs (pr); His Halted Career (pr); Among the Mourners (pr); Leading Lizzie Astray (pr); Shotguns That Kick (pr); Getting Acquainted (pr); Other People’s Busi- ness (pr); His Prehistoric Past (pr); The Plumber (pr); Ambrose’s First Falsehood (pr); Fatty’s Magic Pants (pr); Hogan’s Annual Spree (pr); A Colored Girl’s Love (pr); Wild West Love (pr); Fatty and Minnie-He-Haw (pr); His Second Childhood (pr); Gussle the Golfer (pr); Hogan’s Wild Oats (pr); A Steel Rolling Mill (pr); The Knockout (Chaplin) (role) 1915 A Dark Lover’s Play (pr); Hushing the Scandal (pr); His Winning Punch (pr); U.S. Army in San Francisco (pr); Giddy, Gay and Ticklish (pr); Only A Farmer’s Daughter (pr); Rum and Wall Paper (pr); Mabel’s and Fatty’s Wash Day (pr); Hash House Mashers (pr); Love, Speed, and Thrills (pr); Mabel and Fatty’s Simple Life (pr); Hogan’s Messy Job (pr); Fatty and Mabel at the San Diego Exposi- tion (pr); Colored Villainy (pr); Mabel, Fatty and the Law (pr); Peanuts and Bullets (pr); The Home Breakers (pr); Fatty’s New Role (pr); Hogan the Porter (pr); Caught in the Park (pr); A Bird’s a Bird (pr); Hogan’s Romance Upset (pr); Hogan’s Aristocratic Dream (pr); Ye Olden Grafter (pr); A Glimpse of the San Diego Exposition (pr); A Lucky Leap (pr); That Springtime Fellow (pr); Hogan out West (pr); Ambrose’s Sour Grapes (pr); Wilful Ambrose (pr); Fatty’s Reckless Fling (pr); From Patches to Plenty (pr); Fatty’s Chance Acquaintance (pr); Love in Armor (pr); Beating Hearts and Carpets (pr); That Little Band of Gold (pr); Ambrose’s Little Hatchet (pr); Fatty’s Faithful Fido (pr); A One Night Stand (pr); Ambrose’s Fury (pr); Gussie’s Day of Rest (pr); When Love Took Wings (pr); Ambrose’s Lofty Perch (pr); Droppington’s Devilish Dream (pr); The Rent Jumpers (pr); Droppington’s Family Tree (pr); The Beauty Bunglers (pr); Do-Re-Mi-Fa (pr); Ambrose’s Nasty Temper (pr); Fatty and Mabel Viewing the World’s Fair at San Francisco (pr); Love, Loot, and Crash (pr); Gussie Rivals Jonah (pr); Their Social Splash (pr); A Bear Affair (pr); Mabel’s Wilful Way (pr); Gussie’s Backward Way (pr); A Human Hound’s Triumph (pr); Our Dare Devil Chief (pr); Crossed Love and Swords (pr); Mis Fatty’s Seaside Lover (pr); He Wouldn’t Stay Down (pr); For Better—But Worse (pr); A Versatile Villain (pr); Those College Girls (pr); Mabel Lost and Won (pr); Those Bitter Sweets (pr); The Cannon Ball (pr); A Home-Breaking Hound (pr); Foiled by Fido (pr); Court House Crooks (pr); When Ambrose Dared Walrus (pr); Dirty Work in a Laun- dry (pr); Fido’s Tin-Type Tangle (pr); A Lover’s Lost Control (pr); A Rascal of Wolfish Ways (pr); The Battle of Ambrose and Walrus (pr); Only a Messenger Boy (pr); Caught in the Act (pr); His Luckless Love (pr); Viewing Sherman Institute for Indians at Riverside (pr); Wished on Mabel (pr); Gussie’s Wayward Path (pr); Settled at the Seaside (pr); Gussie Tied to Trouble (pr); A Hash House Fraud (pr); Merely a Married Man (pr); A Game Old Knight (pr); Her Painted Hero (pr); Saved by Wireless (pr); Fickle Fatty’s Fall (pr); His Father’s Footsteps (pr); The Best of Enemies (pr); A Janitor’s Wife’s Temptation (pr); A Village Scandal (pr); The Great Vacuum Robbery (pr); Crooked to the End (pr); Fatty and the Broadway Stars (pr, role); A Submarine Pirate (pr); The Hunt (pr) 1916 The Worst of Friends (pr); Dizzy Heights and Daring Hearts (pr); The Great Pearl Tangle (pr); Fatty and Mabel Adrift (pr); Because He Loved Her (pr); A Modern Enoch Arden (pr); Perils of the Park (pr); A Movie Star (pr); His Hereafter (pr); He Did and He Didn’t (Love and Lobsters) (pr); Love Will Conquer (pr); His Pride and Shame (pr); Fido’s Fate (pr); Better Late than Never (pr); Bright Lights (pr); Cinders of Love (pr); Wife and Auto Troubles (pr); The Judge (pr); A Village Vampire (pr); The Village Blacksmith (pr); A Love Riot (pr); Gipsy Joe (pr); By Stork Delivery (pr); An Oily Scoundrel (pr); A Bathhouse Blunder (pr); His Wife’s Mistake (pr); His Bread and Butter (pr); His Last Laugh (pr); Bucking Society (pr); The Other Man (pr); The Snow Cure (pr); A Dash of ourage (pr); The Lion and the Girl (pr); His Bitter Pill (pr); Her Marble Heart (pr); Bathtub Perils (pr); The Moonshiners (pr); Hearts and Sparks (pr); His Wild Oats (pr); Ambrose’s Cup of Woe (pr); The Waiter’s Ball (pr); The Surf Girl (pr); A Social Club (pr); Vampire Ambrose (pr); The Winning Punch (pr); His Lying Heart (pr); She Loved a Sailor (pr); His Auto Ruination (pr); Ambrose’s Rapid Rise (pr); His Busted Trust (pr); Tugboat Romeos (pr); Sunshine (pr); Her Feath- ered Nest (pr); No One to Guide Him (pr); Her First Beau (pr); His First False Step (pr); The Houseboat (pr); The Fire Chief (pr); Love on Skates (pr); His Alibi (pr); Love Comet (pr); A la Cabaret (pr); Haystacks and Steeples (pr); A Scoundrel’s Toll (pr); The Three Slims (p); The Girl Guard- ian (pr); Wings and Wheels (pr); Safety First Ambrose (pr); Maid Mad (pr); The Twins (pr); Piles of Perils (pr); A Cream Puff Romance (pr); The Danger Girl (pr); Bombs (pr); His Last Scent (pr); The Manicurist (pr) 1917 The Nick of Time Baby (pr); Stars and Bars (pr); Maggie’s First False Step (pr); Villa of the Movies (pr); Dodging His Doom (pr); Her Circus Knight (pr); Her Fame and Shames (pr); Pinched in the Finish (pr); Her Nature Dance (pr); Teddy at the Throttle (pr); Secrets of a Beauty Parlor (pr); A Maiden’s Trust (pr); His Naughty Thought (pr); Her Torpedoed Love (pr); A Royal Rogue (pr); Oriental Love (pr); Cactus Nell (pr); The Betrayal of Maggie (pr); Skid- ding Hearts (pr); The Dog Catcher’s Love (pr); Whose Baby (pr); Dangers of a Bride (pr); A Clever Dummy (pr); SENNETT DIRECTORS, 4 th EDITION 906 She Needed a Doctor (pr); Thirst (pr); His Uncle Dudley (pr); Lost a Cook (pr); The Pawnbroker’s Heart (pr); Two Crooks (pr); A Shanghaied Jonah (pr); His Precious Life (pr); Hula Hula Land (pr); The Late amented (pr); The Sultan’s Wife (pr); A Bedroom Blunder (pr); Roping Her Romeo (pr); The Pullman Bride (pr); Are Waitresses Safe (pr); An International Sneak (pr); That Night (pr); Taming Target Center (pr) 1918 The Kitchen Lady (pr); His Hidden Purpose (pr); Watch Your Neighbors (pr); It Pays to Exercise (pr); Sheriff Nell’s Tussle (pr); Those Athletic Girls (pr); Friend Husband (pr); Saucy Madeline (pr); His Smothered Love (pr); The Battle Royal (pr); Love Loops the Loop (pr); Two Tough Tender- feet (pr); Her Screen Idol (pr); Ladies First (pr); Her Blighted Love (pr); She Loved Him Plenty (pr); The Summer Girls (pr); Mickey (pr); His Wife’s Friend (pr); Sleuths (pr); Beware the Boarders (pr); Whose Little Wife Are You (pr); Her First Mistake (pr); Hide and Seek Detectives (pr); The Village Chestnut (pr) 1919 Cupid’s Day Off (pr); Never Too Old (pr); Rip & Stitch, Tailors (pr); East Lynne with Variations (pr); The Village Smithy (pr); Reilly’s Wash Day (pr); The Foolish Age (pr); The Little Widow (pr); When Love Is Blind (pr); Love’s False Faces (pr); Hearts and Flowers (pr); No Mother to Guide Him (pr); Trying to Get Along (pr); Among Those Present (pr); Yankee Doodle in Berlin (pr); Why Beaches Are Popular (pr); Treating ‘em Rough (pr); A Lady’s Tailor (pr); Uncle Tom without the Cabin (pr); The Dentist (pr); Back to the Kitchen (pr); Up in Alf’s Place (pr); Salome vs. Shenandoah (pr); His Last False Step (pr); The Speak Easy (pr) 1920 The Star Boarder (pr); Ten Dollars or Ten Days (pr); Gee Whiz (pr); The Gingham Girl (pr); Down on the Farm (pr); Fresh from the City (pr); Let ‘er Go (pr); By Golly (pr); You Wouldn’t Believe It (pr); Married Life (pr); The Quack Doctor (pr); Great Scott (pr); Don’t Weaken (pr); It’s a Boy (pr); Young Man’s Fancy (pr); His Youthful Fancy (pr); My Goodness (pr); Movie Fans (pr); Fickle Fancy (pr); Love, Honor, and Behave (pr); A Fireside Brewer (Home Brew) (pr); Bungalow Troubles (pr) 1921 Dabbling in Art (pr); An Unhappy Finish (pr); On a Summer’s Day (pr); A Small Town Idol (pr, sc); Wedding Bells out of Tune (pr); Officer Cupid (pr); Away from the Steerage (Astray from the Steerage) (pr); Sweetheart Days (pr); Home Talent (pr, sc); She Sighed by the Seaside (pr); Hard Knocks and Love Taps (pr); Made in the Kitchen (pr); Call a Cop (pr); Love’s Outcast (pr); Molly O (pr, sc) 1922 By Heck (pr); Be Reasonable (pr); Bright Eyes (pr); The Duck Hunter (pr); On Patrol (pr); Step Forward (pr); Gymnasium Jim (pr); The Crossroads of New York (pr, sc); Oh Daddy! (pr); Home-made Movies (pr); Ma and Pa (pr); Bow Wow (pr); Love and Doughnuts (pr); When Summer Comes (pr) 1923 Suzanna (pr); The Shriek of Araby (pr, sc); Where Is My Wandering Boy This Evening (pr); Nip and Tuck (pr); Pitfalls of a Big City (pr); Skylarking (pr); Down to the Sea in Shoes (pr); The Extra Girl (pr, co-sc); Asleep at the Switch (pr); One Cylinder Love (pr); The Dare-Devil (pr); Flip Flops (pr); Inbad the Sailor (pr) 1924 Ten Dollars or Ten Days (remake, pr); One Spooky Night (pr); Picking Peaches (pr); The Half-Back of Notre Dame (pr); Smile Please (pr); Scarem Much (pr); Shanghaied Ladies (pr); The Hollywood Kid (pr); Flickering Youth (pr); Black Oxfords (pr); The Cat’s Meow (pr); Yukon Jake (pr); The Lion and the Souse (pr); His New Mama (pr); Romeo and Juliet (pr); Wall Street Blues (pr); The First Hundred Years (pr); East of the Water Plug (pr, sc); Lizzies of the Field (pr); The Luck of the Foolish (pr); Three Foolish Wives (pr); Little Robinson Corkscrew (pr); The Hansom Cabman (Be Careful) (pr); Riders of the Purple Cows (pr); The Reel Virginian (The West Virginian) (pr); Galloping Bungalows (pr); All Night Long (pr); Love’s Sweet Piffle (pr); The Cannon Ball Express (pr); Feet of Mud (pr); Off His Trolley (pr); Bull and Sand (pr); Watch Out (pr); Over Here (pr); The Lady Barber (pr); North of 57 (pr); Love’s Intrigue (pr); The Stunt Man (pr) 1925 The Sea Squaw (pr); The Plumber (pr); The Wild Goose Chaser (pr); Honeymoon Hardships (pr); Boobs in the Woods (pr); The Beloved Bozo (pr); Water Wagons (pr); His Marriage Wow (pr); The Raspberry Romance (pr); Bashful Jim (pr); Giddap (pr); Plain Clothes (pr); Breaking the Ice (pr); The Marriage Circus (pr); The Lion’s Whiskers (pr); Remember When (pr); He Who Gets Smacked (pr); Skinners in Silk (pr); Good Morning, Nurse! (pr); Super-Hooper- Dyne Lizzies (pr); Don’t Tell Dad (pr); Isn’t Love Cuckoo (pr); Sneezing Breezes (pr); Cupid’s Boots (pr); Tee for Two (pr); The Iron Nag (pr); Lucky Stars (pr); Cold Turkey (pr); Butter Fingers (pr); There He Goes (pr); Hurry, Doctor (pr); A Rainy Knight (pr); Love and Kisses (pr); ver There- Abouts (pr); Good Morning, Madam (pr); A Sweet Pickle (pr); Dangerous Curves Behind (pr); The Soapsuds Lady (pr); Take Your Time (pr); The Window Dummy (pr); From Rags to Britches (pr); Hotsy Toty (pr) 1926 The Gosh-Darn Mortgage (pr); Wide Open Faces (pr); Hot Cakes for Two (pr); Whispering Whiskers (pr); Saturday Afternoon (pr); Funnymooners (pr); Trimmed in Gold (pr); Gooseland (pr); Circus Today (pr); Meet My Girl (pr); Spanking Breezes (pr); Wandering Willies (pr); Hooked at the Altar (pr); A Love Sundae (pr); Soldier Man (pr); The Ghost of Folly (pr); Fight Night (pr); Hayfoot, Strawfoot (pr); A Yankee Doodle Dude (pr); Muscle-bound Music (pr); Oh, Uncle! (pr); Puppy Lovetime (pr); Ice Cold Cocos (pr); A Dinner Jest (pr); A Sea Dog’s Tale (pr); Baby’s Pets (pr); A Bachelor Butt-in (pr); Smith’s Baby (pr); Alice Be Good (pr); When a Man’s a Prince (pr); Smith’s Vacation (pr); Hubby’s Quiet Little Game (pr); Her Actor Friend (p); Hoboken to Hollywood (pr); The Prodigal Bridegroom (pr); The Perils of Petersboro (pr); Smith’s Landlord (pr); Love’s Last Laugh (pr); Smith’s Visitor (pr); Should Hus- bands Marry (pr); Masked Mamas (pr); A Harem Knight (pr); Smith’s Uncle (pr); Hesitating Houses (pr); The Divorce Dodger (pr); A Blonde’s Revenge (pr); Flirty Four-Flushers (pr); Smith’s Picnic (pr) 1927 Kitty from Killarney (pr); Smith’s Pets (pr); Should Sleep- walkers Marry (pr); Pass the Dumpling (pr); A Hollywood Hero (pr); Smith’s Customer (pr); Peaches and Plumbers (pr); Plumber’s Daughter (pr); A Small-Town Princess (pr); A Dozen Socks (pr); The Jolly Jilter (pr); Smith’s Surprise (pr); Smith’s New Home (pr); Broke in China (pr); Smith’s Kindergarten (pr); Crazy to Act (pr); Smith Fishing Trip (pr); His First Flame (pr); Pride of Pickeville (pr); SENNETTDIRECTORS, 4 th EDITION 907 Cured in the Excitement (pr); Catalina, Here I Come (pr); The Pest of Friends (pr); Love’s Languid Lure (pr); College Kiddo (pr); Smith’s Candy Shop (pr); The Golf Nut (pr); Smith’s Pony (pr); A Gold Digger of Weepah (pr); Smith’s Cook (pr); Daddy Boy (pr); For Sale a Bungalow (pr); Smith’s Cousin (pr); The Bull Fighter (pr); Fiddlesticks (pr); Smith’s Modiste Shop (pr); The Girl from Everywhere (pr); Love in a Police Station (pr); Hold that Pose (pr) 1928 Smith’s Holiday (pr); Run, Girl, Run (pr); The Beach Club (pr); Love at First Sight (pr); Smith’s Army Life (pr); The Best Man (pr); The Swan Princess (pr); Smith’s Farm Days (pr); The Bicycle Flirt (pr); The Girl from Nowhere (pr); His Unlucky Night (pr); Smith’s Restaurant (pr); The Good-bye Kiss (pr); The Chicken (pr); Taxi for Two (pr); Caught in the Kitchen (pr); A Dumb Waiter (pr); The Campus Carmen (pr); Motor Boat Mamas (pr); The Bargain Hunt (pr); Smith’s Catalina Rowboat Race (Catalina Rowboat Race) (pr); A Taxi Scandal (pr); Hubby’s Latest Alibi (pr); A Jim Jam Janitor (pr); The Campus Vamp (pr); Hubby’s Week- End Trip (pr); The Burglar (pr); Taxi Beauties (pr); His New Stenographer (pr) 1929 Clunked on the Corner (pr); Baby’s Birthday (pr); Uncle Tom (pr); Calling Hubby’s Bluff (pr); Taxi Spooks (pr); Button My Back (pr); Ladies Must Eat (pr); Foolish Husbands (pr); Matchmaking Mamas (pr); The Rodeo (pr); Pink Pajamas (pr); The Night Watchman’s Mistake (pr); The New Aunt (pr); Taxi Dolls (pr); Don’t Get Jealous (pr); Caught in a Taxi (pr); A Close Shave (pr); The Big Palooka (pr); Motoring Mamas (pr); Clancy at the Bat (pr); The New Half-Back (pr); Uppercut O’Brien (pr) 1930 He Trumped Her Ace (pr); Radio Kisses (pr); Hello Television (pr); Take Your Medicine (pr); Don’t Bite Your Dentist (pr); Strange Birds (pr); A Hollywood Theme Song (pr) 1931 No, No, Lady (pr); One Yard to Go (pr); The College Vamp (remake, pr); The Bride’s Mistake (pr); The Dog Doctor (pr); Just a Bear (It’s a Bear) (pr); Ex-Sweeties (pr); In Conference (pr); The Cowcatcher’s Daughter (pr); Slide, Speedy, Slide (pr); Fainting Lover (pr); Too Many Hus- bands (pr); The Cannonball (pr); The Trail of the Swordfish (pr); Poker Windows (pr); The World Flier (pr); Who’s Who in the Zoo (pr); Taxi Troubles (pr); The Great Pie Mystery (pr); Wrestling Swordfish (pr); All American Kickback (pr); Half Holiday (pr); The Pottsville Palooka (pr) 1932 Playgrounds of the Mammals (pr); Dream House (pr); The Girl in the Tonneau (pr); Shopping with Wife (pr); Lady! Please! (pr); Heavens! My Husband! (pr); The Billboard Girl (pr); The Flirty Sleepwalker (pr); Speed in the Gay Nineties (pr); Man-Eating Sharks (pr); Listening In (pr); The Spot in the Rug (pr); Divorce a la Mode (pr); The Boudoir Brothers (pr); Freaks of the Deep (pr); The Candid Camera (pr); Sea Going Birds (pr); Hatta Marri (pr); Alaska Love (pr); For the Love of Ludwig (pr); Neighbor Trouble (pr); His Royal Shyness (pr); Young Onions (pr); The Giddy Age (pr); Lighthouse Love (pr); Hawkins and Watkins (pr); The Singing Plumber (pr); Courting Trouble (pr); False Impressions (pr); Bring Back ‘em Sober (pr); A Hollywood Double (pr); The Dentist (pr); Doubling in the Quickies (pr); The Lion and the House (pr); Human Fish (pr) 1933 Blue of the Night (pr); The Wrestlers (A Wrestler’s Bride) (pr); Don’t Play Bridge with Your Wife (pr); The Singing Boxer (pr); Too Many Highballs (pr); Easy on the Eyes (pr); A Fatal Glass of Beer (pr); Caliente Love (pr); Sing, Bing, Sing (pr); The Plumber and the Lady (pr); Sweet Cookie (pr); The Pharmacist (pr); Uncle Jake (pr); Dream Stuff (pr); Roadhouse Queen (pr); See You Tonight (pr); Daddy Knows Best (pr); Knockout Kisses (pr); Husband’s Reunion (pr); The Big Fibber (pr); The Barber Shop (pr) 1939 Hollywood Cavalcade (role) 1949 Down Memory Lane (role) Publications By SENNETT: book— Mack Sennett: King of Comedy, as Told to Cameron Shipp, New York, 1954. By SENNETT: article— Interview with T. Dreiser, in Photoplay (New York), August 1928. On SENNETT: books— Lejeune, C.A., Mack Sennett, London, 1931. Fowler, Gene, Father Goose: The Story of Mack Sennett, New York, 1934. Chevallier, Jacques, Le Cinéma burlesque américain, 1912–30, Paris, 1964. Turconi, David, Mack Sennett, Paris, 1966. Geduld, Harry M., editor, Film Makers on Filmmaking, Bloomington, Indiana, 1967. Lahue, Kalton C., Dreams for Sale: The Rise and Fall of the Triangle Film Corporation, New York, 1971. Lahue, Kalton C., Mack Sennett’s Keystone: The Man, the Myth, and the Comedies, South Brunswick, New Jersey, 1971. Pratt, George C., Spellbound in Darkness, Greenwich, Connecti- cut, 1973. Mast, Gerald, The Comic Mind: Comedy and the Movies, Chicago, 1974; revised edition, 1979. Sherk, Warren M., The Films of Mack Sennett: Credit Documentation from the Mack Sennett Collection at the Margaret Herrick Library, Lanham, Maryland, 1997. On SENNETT: articles— Carr, H.C., ‘‘Mack Sennett—Laugh Tester,’’ in Photoplay (New York), May 1915. Carr, H., ‘‘The Secret of Making Film Comedies,’’ in Motion Picture Classic (Brooklyn), October 1925. Manners, D., ‘‘Defense of Low-Brow Comedy,’’ in Motion Picture Classic (Brooklyn), October 1930. Agee, James, ‘‘Comedy’s Greatest Era,’’ in Life (New York), 5 Sep- tember 1949. Knight, Arthur, ‘‘Era of Great Comedians,’’ in the Saturday Review (New York), 18 December 1954. Dyer, Peter John, ‘‘Cops, Custard, and Keaton,’’ in Films and Filming (London), August 1958. ‘‘Sennett Issue’’ of Cinéma (Paris), August/September 1960. SENNETT DIRECTORS, 4 th EDITION 908 ‘‘Sennett Issue’’ of Image et Son (Paris), April 1964. Durgnat, Raymond, ‘‘The World of Comedy: Breaking the Laugh Barrier,’’ in Films and Filming (London), October 1965. Giroux, Robert, ‘‘Mack Sennett,’’ in Films in Review (New York), December 1968. Hoffner, J.R., ‘‘King of Keystone,’’ in Classic Film Collector (Indi- ana, Pennsylvania), Summer 1971. Bodeen, Dewitt, ‘‘All the Sad Young Bathing Beauties,’’ in Focus on Film (London), Autumn 1974. Griffithiana (Stockholm), vol. 6, no. 12–15, October 1983. Cherchi Usai, P., ‘‘Sennett, Arbuckle e l’etica della volgarità,’’ in Segnocinema (Vicenza), vol. 4, no. 11, January 1984. ‘‘Mack Sennett Section’’ of Cinema Nuovo (Bari), April 1984. Stempel, T., ‘‘The Sennett Screenplays,’’ in Sight and Sound (Lon- don), Winter 1985/86. Landrot, M., ‘‘La crème du burlesque,’’ in Télérama (Paris), no. 2311, 27 April 1994. Adamson, Joe, ‘‘Smith’s Restaurant: A Case Study in the Sennett Method,’’ in Griffithiana (Stockholm), vol. 18, no. 53, May 1995. *** Mack Sennett was the outstanding pioneer and primitive of American silent comedy. Although Sennett’s name is most com- monly associated with the Keystone Company, which he founded in 1912, Sennett’s film career began four years earlier with the Biograph Company, the pioneering film company where D.W. Griffith estab- lished the principles of film narrative and rhetoric. Sennett and Griffith were colleagues and contemporaries, and Sennett served as actor, writer, and assistant under Griffith in 1908 and 1909. In 1910 he began his career as director of his own films under Griffith’s supervision. Sennett became associated with comic roles and comic films from the beginning under Griffith. In his first major role for Griffith, The Curtain Pole in 1908, Sennett played a comically drunk Frenchman who visits chaos upon all he meets in a desperate race through town to replace a broken curtain rod. The film contains several traits that would become associated with the mature Sennett style: the breath- less chase, the reduction of human beings to venal stereotypes, the reduction of human society and its physical surroundings to chaotic rubble, and a fondness for games concerning the cinema mechanism itself, manifested in the use of accelerated (by undercranking) and reverse motion. In other roles for Griffith, Sennett consistently played the comic rube or dumb servant—roles that took advantage of Sennett’s shambling bulk and oafish facial expressions. According to legend, Sennett founded the Keystone Company when he conned his bookies, Adam Kessel and Charles Bauman, to go double or nothing on his gambling debts and stake him to a film company. Kessel and Bauman, however, had been out of the bookmaking business and in the moviemaking business for at least five years as owners of Thomas Ince’s flourishing New York Motion Picture Company. Between late 1912 and early 1914, Sennett assem- bled a troupe of the finest raucous physical comedians and burlesque clowns in the film business. From Biograph he brought the pretty Mabel Normand, who was also an extremely agile and athletic physical comedienne, and the loony Ford Sterling, with his big- gesturing burlesque of villainy and lechery. Among the other physical comedians he found in those years were the burly Mack Swain, the tiny Chester Conklin, the round Fatty Arbuckle, and the cross-eyed Ben Turpin. He also discovered such future comic stars as Charles Chaplin, Harold Lloyd, and Harry Langdon, as well as the future director of sound comedies, Frank Capra. Perhaps more important than any artistic contribution was Sennett’s managerial ability to spot comic talent and give it the opportunity to display itself. At the root of Sennett’s comic style was the brash, the vulgar, and the burlesque. His films parodied the serious film and stage hits of the day, always turning the serious romance or melodrama into outra- geous nonsense. There were no serious moral, psychological, or social issues in Sennett films, simply raucous burlesque of social or emotional material. His short comedies were exuberantly impolite and often made public jokes out of ethnic, sexual, or racial stereo- types. Among the characters around whom he built film series were the Germans Meyer and Heinie, the Jewish Cohen, and the black Rastus. Many of these films were so brashly vulgar in their stereotypical humor that they cannot be shown in public today. As indicators of social attitudes of the 1910s, these films seem to suggest that the still largely immigrant American society of that time was more willing to make and respond to jokes openly based on ethnic and sexist stereotypes than they are today in an era of greater sensitivity to the potential harm of these stereotypes. In defense of Sennett’s making sport of ethnic types, it must be said that the method and spirit was consistent with his films’ refusal to take any social or psychological matters seriously. Sennett’s Keystone films were extremely improvisational; a typi- cal formula was to take a camera, a bucket of whitewash, and four clowns (two male, two female) out to a park and make a movie. Sennett’s aesthetic was not so much an art that conceals art but an art that derides art. His many Keystone films reveal the same contempt for orderly, careful, well-crafted art that one can see in the Marx Brothers’ Paramount films or W.C. Fields’s Universal films two decades later. The one conscious artistic tool which Sennett exploited was speed—keeping the actors, the action, the gags, the machines, and the camera in perpetual speeding motion. The typical Keystone title might be something like Love, Speed, and Thrills or Love, Loot, and Crash. Among other Sennett inventions were the Keystone Kops, a bur- lesque of attempts at social order, and the Bathing Beauties, a bur- lesque of attempts at pornographic sexuality. Sennett served his apprenticeship in the American burlesque theater, and he brought to the Keystone films that same kind of entertainment which took place at the intersection of vulgar lunacy and comic pornography. Sennett’s most memorable films include a series of domestic films starring Mabel Normand, married either to Fatty Arbuckle or Charlie Chaplin; a series of films pairing the beefy Mack Swain and the diminutive Chester Conklin; a series featuring Ben Turpin as a cross- eyed burlesque of romantic movie stars; a series built around remark- ably athletic automobiles and rampaging jungle beasts starring Billy Bevan; and a series of short films featuring the pixieish child-clown Harry Langdon. Sennett also produced and personally directed the first comic feature film produced in America (or anywhere else), Tillie’s Punctured Romance, starring Chaplin, Normand, and stage comedienne Marie Dressler in her first film role. Sennett ceased to direct films after 1914, becoming the producer and overseer of every comic film made by his company for the next two decades. Although the Keystone Company folded by the late 1910s, Sennett’s immensely long filmography is a testament to the sheer number of comic films he produced, well into the sound era. Sennett’s real importance to film history, however, derives from that crucial historical moment between 1912 and 1915, a period when a comic assumption, the evolution of film technique, and a collection SERREAUDIRECTORS, 4 th EDITION 909 of talented physical clowns all came together under Sennett’s stew- ardship to create a unique and memorable type of comedy that has assumed its place not only in the history of cinema, but in the much longer history of comedy itself. —Gerald Mast SERREAU, Coline Nationality: French. Born: Paris, 29 October 1947; daughter of famed avant-garde theatre director Jean-Marie Serreau and writer- translator Geneviève Serreau. Education: Studied music and dance at the Conservatoire de la rue Blanche; also studied acrobatics. Career: First of many leading roles on the French stage, in L’Escalier de Silas, by her mother Geneviève, 1970; first collaborative theatre work, Thérèse est triste, 1970; first documentary feature, Mais qu’est- ce qu’elles veulent? 1976; first feature film, Pourquoi pas?, 1977; wrote and starred in award-winning play Quisaitout et Grobeta, 1993. Awards: César Awards for Best Film and Best Screenplay, for Trois hommes et un couffin, 1986; César Award for Best Screenplay, for La Crise, 1993; Commandeur de l’ordre des Arts et des Lettres, awarded by the Ministry of Culture, 2000. Films as Director: 1976 Mais qu’est-ce qu’elles veulent? (But What Do Women Want?) (doc) 1977 Pourquoi pas? (Why Not?) (+ sc) 1982 Qu’est-ce qu’on attend pour être heureux! (What are you waiting for to be happy!) (+ sc) 1985 Trois hommes et un couffin (Three Men and a Cradle) (+ sc) 1989 Romuald et Juliette (Mama, There’s a Man in Your Bed) (+ sc) 1991 ‘‘Contre l’oubli’’ (‘‘écrire contre l’oubli’’; ‘‘Against Obliv- ion’’; ‘‘Lest We Forget’’) (3-minute episode in anthol- ogy film) 1992 La Crise (The Crisis) (+ sc) 1996 La Belle verte (The Green Planet) (+ sc, mu, ro as Mila) Other films: 1973 On s’est trompé d’histoire d’amour (Bertuccelli) (co-sc, ro as Anne) 1975 Sept morts sur ordonnance (Rouffio) (ro as Mme. Mauvagne) 1989 Three Men and a Baby (Nimoy) (co-sc) Publications On SERREAU: books— Austin, Guy, Contemporary French Cinema: An Introduction, Man- chester, 1996. Forbes, Jill, The Cinema in France: After the New Wave, Blooming- ton, Indiana, 1996. Powrie, Phil, French Cinema in the 1980s: Nostalgia and the Crisis of Masculinity, Oxford, 1997. Rollet, Brigitte, Coline Serreau, Manchester, 1998. About SERREAU: articles— Modleski, Tania, ‘‘Three Men and Baby M,’’ in Camera Obscura (Bloomington), May 1988. ‘‘‘Mama, There’s a Man in Your Bed’: Coline Serreau—Remade in America,’’ in American Film, March 1990. Durham, Carolyn A., ‘‘Taking the Baby out of the Basket and/or Robbing the Cradle: ‘Remaking’ Gender and Culture in Franco-American Film,’’ in The French Review, April 1992. Vincendeau, Ginette, ‘‘Coline Serreau: A High Wire Act,’’ in Sight and Sound (London), March 1994. Dalmolin, Elaine, ‘‘Fantasmes de maternité dans les films de Jacques Demy, Coline Serreau, et Fran?ois Truffaut,’’ in The French Review, March 1996. *** Genette Vincendeau’s insightful survey of Coline Serreau’s career calls it a ‘‘high wire act,’’ but one might shift the metaphor a little to ‘‘balancing act’’: for Serreau has managed to keep a steady balance between political activism and commercial success, outright farce and drama of sentiment. Her first feature, a documentary, was hailed as a landmark of feminist filmmaking, while her comedy Three Men and a Cradle (later critiqued by some American academic writers as misogynistic) was not only the highest-grossing French film of 1985 but one of the most successful since World War II. She has further- more balanced a career in filmmaking with a life in the theatre, as playwright and actress, with involvement in music and even acrobat- ics as well. With a background in feminism, Marxism, psychoanalysis, and modernist theatre, Serreau has made films that both interrogate gender roles and pose utopian possibilities. Her documentary Mais qu’est-ce qu’elles veulent?—containing interviews with women as socially and economically diverse as a Swiss church minister and a sex film star—was named after Freud’s famous expression of bafflement: ‘‘What do women want?’’ Her first fiction film, Pourquoi- pas?, portrays a successful ménage à trois (in which the woman has a career and the bisexual male partner manages the household), while Qu’est-ce qu’on attend pour être heureux! is about a group of actors rebelling against the commercial film they are making. The sensation- ally popular Trois hommes et un couffin shows the transformation of three ‘‘typical male’’ types when circumstances lead them to raise an infant, while Romuald et Juliette—truly a balancing act of fairy tale, wry observation of gritty detail, utopian hope and elaborate farce— tells of the successful marriage of a white business executive and a black janitor in his building. Trois hommes is both comic and sentimental in its tale of three Parisian bachelors having to curtail their usual amorous activities, and even their professional careers, to raise an abandoned infant. Farce is the engine that drives the plot at first: the writer-director seems to have asked herself what could, after all, induce three perennial swingers to settle down even unwillingly to such a task. But the latter part of the film manages to be touching without becoming treacly or preachy, or larded with gratuitous chase scenes—unlike, one might claim, the also very popular American remake, Three Men and SHEPITKO DIRECTORS, 4 th EDITION 910 a Baby. In its efforts to demonstrate that men too can be nurturing parents, Serreau’s film has been accused of glorifying patriarchy at the expense of women, in that the men eventually seem to claim exclusive rights over the realm of childcare, while there are no sympathetic females in the picture other than the infant, and the mother is literally infantilized as she sleeps in the crib at the end of the film. But Serreau’s droll observations of the bachelors suggest a more complex perspective: for example, when one of them, citing all the books he has read, tells off a haughty ‘‘Seconde Maman’’ from a governess agency, he is being comically vain himself; and in the final reunion of the infant with the bachelors, their all standing shirtless (just aroused from sleep) may not be an assertion of patriarchal authority but a signifier of both an absurd masculinity and emotional vulnerability. The farcical setup of Romuald et Juliette is considerably more ingenious than that of Trois hommes. Here, a yogurt tycoon on the eve of his greatest financial coup is the victim of three different and coincidental plots at the same time: his executive protegé is having an affair with his wife; another executive sabotages the yogurt plant to make Romuald and the protegé look culpable; and a third executive is using Romuald’s secretary/mistress to trap him in a phony insider trading scheme. All this is the means of igniting the unlikely romance of the title, between the tycoon and his office cleaning woman, a black mother of five who lives in a cramped tenement. The scène à faire, in which Juliette tells her boss about one plot after the other that she has overheard, is truly hilarious, thanks not only to the explosive release of tension but to Daniel Auteuil’s performance (and Serreau’s direc- tion), mixing genuine friendliness with strained politeness and baf- fled incredulity. Equally brilliant is a later matching scene in which Juliette (the superb Firmine Richard) reacts to Romauld’s marriage proposal with comparable astonishment but also indignation, even exasperation. Some have found the film’s ending problematic, with Romauld’s vast wealth seeming indeed to buy happiness, or at least serving to overcome Juliette’s reservations, and with Juliette rather too neatly becoming an earth mother for the late 1980s. At least, in its delirious vision of family harmony despite racial and economic barriers it is consistent with Serreau’s utopian/comic outlook. La Crise follows to a considerable extent the pattern set by its predecessors. The opening crisis is actually a multiple one in which the protagonist loses his job, is deserted by his wife, and finds most of his friends and relatives having momentous quarrels with their spouses and lovers. In this case the outsider who leads the middle- class protagonist to reconciliation is not an infant girl or African woman but a lower-class sot who accompanies the ‘‘hero’’ on a sentimental journey. As in her other films, Serreau keeps a cool eye on her obtuse—but educable—male protagonists. Most recently, La Belle verte carries Serreau’s utopian proclivities a great deal farther: in this comic fantasy the writer-director herself plays Mila, inhabitant of a ‘‘green planet,’’ where everyone lives free of stress, pollution, and bureaucracy, while practicing vegetarianism and acrobatics. Mila’s visit to Earth, armed with a device for ‘‘deprogramming’’ people so that they can be their ‘‘natural’’ selves (to the shock of other earthlings), allows Serreau herself to play the role of the beneficent outsider. Whether La Belle verte marks a new direction in her filmmaking or is a fanciful interlude amidst her relatively more down-to-earth comedies remains to be seen; mean- while, she has devoted more of her time to the theatre. Earlier plans to direct the American version of Trois hommes, and later a version of Romuald et Juliette, were never realized, so that her career and fame reside largely in France, where her success as actress and musician, playwright and screenwriter, composer and film director has long been recognized. —Joseph Milicia SHEPITKO, Larisa Nationality: Russian. Born: Armtervosk, Eastern Ukraine, 1938 (some sources list 1939); first name sometimes spelled ‘‘Larissa.’’ Family: Married film director Elem Klimov. Education: Studied with Alexander Dovzhenko at, and graduated from, the VGIK (State Film Institute). Career: Began assisting Yulia Solntseva, Alexander Dovzhenko’s widow, in making Poem of the Sea, based on Dovzhenko’s writings, 1956; directed the short films The Blind Cook and Living Water and the diploma feature Heat while at film school, early 1960s; a retrospective of her work presented at the Berlin Film Festival, where she was a member of the jury, 1978. Awards: Second Prize, Venice Film Festival, for Ti I Ya (You and I), 1971; Golden Bear, OCIC Award, FIPRESCI Award, and Interfilm Award Special Men- tion, Berlin International Film Festival, for Voshojdenie (The Ascent), 1977. Died: In a car accident near Moscow, July 1979. Films as Director: 1961 The Blind Cook (short) 1962 Living Water (short) 1963 Znoy (Heat) (co-sc) 1966 Krylya (Wings) 1971 Ti I Ya (You and I) (co-sc) 1977 Voshojdenie (Kodiyettom; The Ascent) (co-sc) 1987 The Homeland of Electricity (Rodina Electrichestva) (short; filmed in 1967 and released with Angel, a short directed by Andrei Smirnov, as The Beginning of an Unknown Century) Other Films: 1970 Sport, Sport, Sport (Klimov), (ro) 1981 Proschanie s Matyoroy (Farewell; Farewell to Matyora) (Klimov) (script concept) Publications By SHEPITKO: articles— ‘‘Sotnikov ni e nuzhen i dnes,’’ in Kinoizkustvo (Sofia, Bulgaria), September 1977. Vieira Marques, J. and M. Martin, ‘‘Entretien avec Larisa Shepitko,’’ in Ecran (Paris), 15 March 1978. Shepitko, Larisa and F. von Nostitz, ‘‘Obazana pered soboi i pered liudmi,’’ in Iskusstvo Kino (Moscow), no. 1, 1988. SHEPITKODIRECTORS, 4 th EDITION 911 On SHEPITKO: articles— Elley, Derek, ‘‘Hiding It under a Bushel,’’ in Films & Filming (London), March 1974. Karakhan, L., ‘‘Krutoi put Voskhozh deniia,’’ in Iskusstvo Kino (Moscow), no. 10, 1976. ‘‘Director Larisa Shepitko and Her New Film, The Ascent,’’ in Soviet Film (Moscow), no. 4, 1977. ‘‘Four Directors So Respected They Can Evade Soviet ‘Oversight’,’’ in Variety (New York), 11 May 1977. Simon, John, ‘‘Berlin Stories,’’ in New York Magazine, 25 July 1977. ‘‘Six Top Soviet Directors,’’ in Variety (New York), 24 August 1977. Kovic, B., ‘‘Pogovor z Larissa Shepitko,’’ in Ekran (Yugoslavia), no. 5/6, 1978. Herlinghaus, R., ‘‘Fuer Larisa Shepitko,’’ in Film und Fernsehen (Berlin), no. 8, 1979. Obituary in Iskusstvo Kino (Moscow), no. 12. 1979. Obituary in Cinématographe (Paris), no. 50, 1979. Obituary in Variety (New York), 25 July 1979. Obituary in Ecran (Paris), 15 September 1979. Nemes, K., ‘‘Larisza Sepityko 1938–1979,’’ in Filmkultura (Buda- pest), September/October 1979. Obituary in Bianco e Nero (Rome), September/December 1979. Obituary in Cinéma 79 (Paris), November 1979. Zemanova, Z, ‘‘Nespokojena maximalistka Larisa Shepitko,’’ in Film a Doba (Prague), June 1982. Pawlak, E., ‘‘W kregu pytan ostatecznych,’’ in Kino (Warsaw), June 1983. Abreu, T.G., ‘‘Ascension y permanencia de Larisa Shepitko,’’ in Cine Cubano (Havana), no. 109, 1984. Duarte, F., and M.F. Reis, ‘‘Larisa Chepitko (1938–1979): Ascensao,’’ in Celuloide (Portugal), October/November/December 1984. Rosenberg, Karen, ‘‘Shepitko,’’ in Sight and Sound (London), no. 2, 1987. ‘‘Ohjaajat ja valvojat,’’ in Filmihulli (Helsinki), no. 6, 1988. Quart, Barbara, ‘‘Between Materialism and Mysticism: The Films of Larisa Shepitko,’’ in Cineaste (New York), no. 3, 1988. ‘‘Manchmal schwieg die Kritik,’’ in Film und Fernsehen (Berlin), no. 1, 1989. Holloway, Ron, ‘‘Larisa Shepitko: Her Life and Films,’’ in Cinema in India (Bombay), no. 2, 1990. Wilmington, Michael, ‘‘A Chance to View Art of Shepitko,’’ in Chicago Tribune (Chicago), 12 September 1996. On SHEPITKO: film— Larisa, tribute directed by Elem Klimov, 1980. *** Barely two years after her greatest international triumph—winning the Golden Bear at the Berlin Film Festival for The Ascent— Ukrainian filmmaker Larisa Shepitko tragically died in an automobile accident. The Soviet cinema thus prematurely lost one of the major talents of its post-war generation, and the international film commu- nity was robbed of one of its emerging—and potentially most significant—creative lights. Shepitko and her work pretty much have remained unknown and ignored in North America, despite a small but fervent cult of admirers (including Martin Scorsese and Stan Brakhage). Shepitko’s films are visually stunning, and loaded with images that eloquently communicate her characters’ deepest feelings, con- cerns, and conflicts. They also are linked in that their settings are such disparate physical extremes as snow-covered landscapes, arid deserts, and rugged wastelands. Nature itself presents a threat to human life, with the basics of survival often the primary challenge for her characters. Furthermore, relationships in Shepitko’s films mostly are strained. Characters have their own personal visions and opposing views on key issues. While her first films explore clear-cut political questions within Soviet society, her work evolved to deal more with moral and ideological concerns. Ultimately, her films reflect on the use of cinema as a means of exploring such issues—and, accordingly, serve as expressions of the essence of the human spirit. In her all-too-short life—she was 40 years old when she died— Shepitko directed just four features. Her first, Heat, was her diploma work for the VGIK state film school, and was completed when she was 24 years old. It is set during the 1950s, on a small collective farm in the USSR’s arid central Asian territory of Kirghizia, where two males from different generations quarrel over the manner in which agricultural procedures may be used to modernize the farm. This crisply directed film is especially successful in connecting its charac- ters to their parched surrounding. Wings, which Shepitko made three years later, examines the friction between Russians who survived World War II and their offspring. Its main character is a fabled female fighter pilot who has difficulty reconciling her past with her present job as a school administrator. She is entering middle age, her lone true love died in the war, and her memories of the war at once fill her thoughts and adversely affect her present-day relationships with her students and adopted daughter. From a political perspective, Wings is a provoca- tive depiction of a character who views collectivism and obligation as the backbone of the Soviet Union and is troubled by what she perceives as an increase in individualism among the younger genera- tion. Adding resonance to the story is the fact that she is neither a Stalinist heavy nor a well-intentioned visionary, but rather an all- too-human being who is attempting to clarify her present-day identity and follow her convictions. You and I is a companion piece to Wings in that its main character, a brain surgeon, has come to question his role in society and the significance of his life and work. For this reason, he leaves his job and family and sets out on a soul-searching odyssey through Siberia. Both You and I and Wings are noteworthy as probing looks at moral dilemmas facing then-contemporary Soviet society. Finally, The Ascent, Shepitko’s masterwork, is a chilling drama about honor and corruption, devotion and duplicity, and human endurance under the most trying conditions. It is set during a snowy, dreary World War II winter in Byelorussia, the provincial Soviet region then controlled by the occupying Germans. The three pivotal characters are individuals who each must achieve a personal recon- ciliation as they fathom the meaning of their accountability while struggling to endure the bloodshed in their midst. The first is a German-speaking Russian—whose profession, ironically, is that of a schoolteacher—who collaborates with the enemy and toils as a torturer of his fellow citizens. The other two are partisans. The first gutlessly attempts to save himself by sacrificing his comrade; the second heroically refuses to cave into his captors’ pressure and comes to view his imminent demise on a religious-mystical level, as a sacri- fice in the wake of society’s horrors. Among the other characters are SHERIDAN DIRECTORS, 4 th EDITION 912 a trio of innocents sentenced to death for allegedly favoring the partisans. In July 1979, while driving to Moscow after looking over loca- tions for her next film, Shepitko and four of her crew members lost their lives in an automobile accident. The film, which ironically was to be titled Farewell, was completed by Shepitko’s husband, director Elem Klimov—who also filmed a documentary homage to her, titled Larisa. That Shepitko’s star was ascending on the international film scene is unquestionable. For this reason alone, her premature death is especially heartbreaking. —Rob Edelman SHERIDAN, Jim Nationality: Irish. Born: Dublin, 6 February 1949. Education: Graduated from University College in Dublin; attended the New York University film school. Career: Worked as director-writer at the Lyric Theatre in Belfast and Abbey Theatre in Dublin, originated Children’s Theatre Company in Dublin, and operated and wrote plays for the Project Arts Center, a Dublin alternative theater, 1970s-early 1980s; came to New York and became artistic director of the Irish Arts Center, 1982; made screen directorial debut with My Left Foot, 1989. Awards: Fringe Award for Best Play, Edinburgh Festival, 1983, for Spike in the First World War; Academy Award nomina- tions, Best Picture, Best Director, and Best Screenplay, and Best Jim Sheridan Film, New York Film Critics Circle, 1989, for My Left Foot; Acad- emy Award nominations, Best Picture, Best Director, and Best Screenplay, 1993, for In the Name of the Father. Films as Director and Screenwriter: 1989 My Left Foot (co-sc) 1990 The Field 1993 In the Name of the Father (co-sc, + pr) 1997 The Boxer (co-sc, + pr) Other Films: 1993 Into the West (Newell) (sc) 1996 Some Mother’s Son (co-sc, co-pr) 1999 Agnes Brown (Huston) (pr) 2000 Borstal Boy (Peter Sheridan) (exec pr); Catch the Sun (Carney) (pr) Publications By SHERIDAN: books— My Left Foot, with Shane Connaughton, London, 1989. Some Mother’s Son: The Screenplay, with Terry George, New York, 1997. By SHERIDAN: articles— ‘‘The Rage of Innocence,’’ an interview with Steve Grant, in Time Out (London), 2 February 1994. ‘‘Ohne Gewalt siegen,’’ an interview with Margret K?hler, in Film- Dienst (Cologne), 29 March 1994. ‘‘Getting Past the Violence: An Interview with Jim Sheridan,’’ with Gary Crowdus and O’Mara Leary, in Cineaste (New York), April 1998. On SHERIDAN: articles— Mueller, Matt, ‘‘Paternal Affairs,’’ in Premiere (New York), Decem- ber 1993. Boynton, Graham, ‘‘London Burning,’’ in Vanity Fair (New York), January 1994. Giles, Jeff, ‘‘Fathers, Sons, and the IRA,’’ in Newsweek (New York), 31 January 1994. George, Terry, ‘‘Terry George on Jim Sheridan,’’ in New Yorker, 21 March 1994. Bland, E. L., ‘‘In the Name of the Truth,’’ in Time (New York), 21 March 1994. Grenier, Richard, ‘‘In the Name of the IRA,’’ in Commentary (New York), April 1994. O’Brien, C., ‘‘Patriot Games: The Distortions of In the Name of the Father,’’ in New Republic (Washington, D.C.), 9 May 1994. *** SHINDODIRECTORS, 4 th EDITION 913 The cinema of Jim Sheridan is at once deeply personal, humanis- tic, and politically committed. His scenarios (taken from real-life as well as fiction) are heartrending, and his characters, all vividly realized, are individuals determined to triumph over seemingly insur- mountable obstacles. Sheridan’s films are rooted in the culture, history, and politics of his native Ireland and, commercially as well as creatively, he has been at the vanguard of his country’s film industry. In 1990, The Field, which he directed and scripted, was the number one box-office champion in Ireland—the initial instance where an Irish film bested all foreign competition. Perhaps Sheridan’s best film to date is his first, My Left Foot, which movingly charts the triumph of an extraordinary individual. At his death in 1981, Christy Brown (played by Daniel Day-Lewis) was one of Ireland’s foremost artistic and literary figures. Yet for Brown, it was no small achievement just to master the mundane. He was born with cerebral palsy, and he titled his autobiography My Left Foot because it was with this limb that he painted his pictures and wrote his stories. Sheridan’s telling of Brown’s life is so effective because he avoids mawkishness: by no means is Brown a cardboard cripple, a stereotypical figure to be pitied or feared. He is a complex character, with the wants, needs, and contradictions of any other man. Like Sheridan’s other heroes, Christy Brown is a man of the working class; his father was a Dublin bricklayer. My Left Foot reflects the importance of the familial bond as, without doubt, the love and support Brown receives from his family are crucial in enabling him to flourish as an artist. If My Left Foot is the story of a man who transcends his physical limitations, The Field and In the Name of the Father tell of ordinary souls thrust into extraordinary situations. The Field, based on a play by John B. Keane, spotlights the plight of Bull McCabe (Richard Harris), an aging, charismatic peasant who has rented a field and devoted his life to developing it into a top-quality parcel of land. Even though he does not legally own the field, he has nurtured it as one would his own child. Then, he must contend with the news that the wealthy widow who owns the land plans to sell it at auction. The scenario pointedly reflects on Ireland’s history and culture: it is set during the 1930s, with the memory of famine lingering in the minds of all the citizenry; and it offers a vivid portrait of traditional Irish village life. Furthermore, a focal point of the story is McCabe’s conviction that he has come to own the land. This belief is distilled from Irish tribal laws which, to his mind, transcend contemporary law. In the Name of the Father, based on Gerry Conlon’s autobio- graphical book Proved Innocent, is an even more straightforward saga of blind injustice. It is the story of Conlon (Daniel Day-Lewis), an unfocused young Belfast man who, along with others (including several of his equally guiltless family members), is arrested by the British authorities and falsely charged with the 1974 terrorist bomb- ing of a London pub. Conlon and three others, who came to be known as the Guildford Four, spent over fifteen years in prison until their convictions were reversed. In the Name of the Father is provocative in its anti-British feel, as Conlon and company clearly are innocents who are railroaded by an unfeeling power structure which is unconcerned with smoking out the true culprits—and which withholds decisive evidence that would have exonerated the accused. The scenario reflects on the Irish-British conflict regarding the plight of Northern Ireland, while focusing on the manner in which the dissension adversely and tragically affects one Irish family. Beyond the politics of In the Name of the Father, the film is motivated by humanistic and familial concern. For years, Conlon shares a jail cell with his father, Giuseppe. Previously, the son had no admiration for his father, but as time passes they become united, resulting in a solid and poign- ant bond. Like The Field, In the Name of the Father spotlights the individ- ual’s thirst for fairness. Gerry Conlon, like Bull McCabe, is keenly aware that he is a victim of injustice. In both cases, each man stubbornly persists in a single-minded pursuit of truth—just as Christy Brown perseveres in his determination to be viewed as a man without an affliction. Sheridan’s films are uniformly well acted. Daniel Day-Lewis and Brenda Fricker (cast as Christy Brown’s ever-supportive mother) won Oscars for their performances in My Left Foot. Richard Harris was nominated for The Field, while Day-Lewis, Pete Postlethwaite (as Giuseppe Conlon), and Emma Thompson (as the lawyer who uncovers the chicanery on the part of the Crown) were cited for In the Name of the Father. —Rob Edelman SHINDO, Kaneto Nationality: Japanese. Born: Hiroshima Prefecture, 28 April 1912. Family: Married first wife, 1939 (died 1940); second wife (divorced late 1940s); actress Nobuko Otowa. Career: Joined art section of Shinko-Kinema Tokyo Studio, 1928; moved to scenario department, 1939; moved to Koa Film, from 1942 (absorbed by Shochiku-Ofuna Studio, 1943); with director Kosaburo Yoshimura, left Shochiku to form independent production company Kindai Eiga Kyokai, with producer Hisao Itoya, director Tengo Yamada, and actor Taiji Tonoyama, 1950; directed first film, 1951; became president of Japanese Association of Scenario Writers, 1972. Awards: Grand Prix, Moscow Festival, for Naked Island, 1960; Asahi Prize, Japan, for activities in independent film production, 1975. Address: 4–8-6 Zushi, Zushi-City, Kanagawa, Japan. Films as Director: 1951 Aisai monogatari (Story of My Loving Wife) (+ sc) 1952 Nadare (Avalanche) (+ sc); Genbakuno-ko (Children of the Atomic Bomb) (+ sc) 1953 Shukuzu (Epitome) (+ sc); A Life of a Woman (+ sc) 1954 Dobu (Gutter) (+ co-sc) 1955 Ookami (Wolves) (+ sc) 1956 Gin-Shinju (Silver Double Suicide) (+ sc); Ruri no kishi (Bank of Departure) (+ sc); Joyu (An Actress) (+ sc) 1957 Umi no yarodomo (Guys of the Sea) (+ sc) 1958 Kanashimi wa onna dakeni (Sorrow Is Only for Women) (+ sc) 1959 Dai go fukuryu-maru (+ co-sc); Hanayome san wa sekai-ichi (The World’s Best Bride) (+ sc); Rakugaki kokuban (Graf- fiti Blackboard) (+ sc) 1960 Hadaka no shima (Naked Island; The Island) (+ sc) 1962 Ningen (Human Being) (+ sc) 1963 Haha (Mother) (+ sc) SHINDO DIRECTORS, 4 th EDITION 914 1964 Onibaba (+ sc) 1965 Akuto (A Scoundrel) (+ sc) 1966 Honno (Instinct) (+ sc); Totsuseki iseki (Monument of Totsuseki) (+ sc); Tateshina no shiki (Four Seasons of Tateshina) (+ sc) 1967 Sei no kigen (Origin of Sex) (+ sc) 1968 Yabu no naka no kuroneko (A Black Cat in the Bush) (+ sc); Tsuyomushi onna (&) yawamushi otoko (Strong Woman and Weak Man) (+ sc) 1969 Kagero (Heat Haze) (+ co-sc) 1970 Shokkaku (Tentacles) (+ sc); Hadaka no jukyu-sai (Naked Nineteen-year-old) (+ co-sc) 1972 Kanawa (Iron Ring) (+ sc); Sanka (A Paean) (+ sc) 1973 Kokoro (Heart) (+ sc) 1974 Waga michi (My Way) (+ sc) 1975 Aru eiga-kantoku no shogai: Mizoguchi Kenji no kiroku (Life of a Film Director: Record of Kenji Mizoguchi) (doc) (+ sc) 1977 Chikuzan hitori-tabi (Life of Chikuzan) (+ sc) 1982 Hokusai manga (Hokusai, Ukiyoe Master) (+ sc) 1984 Chiheisen (The Horizon) 1987 A Deciduous Tree 1988 Sakur Tai 8–6 1993 Bokuto Kidan (The Strange Story of Oyuki) (+ sc) 1995 Gogo no Yuigon-jo (+ sc) Other Films: (partial list: has written over 200 scripts) 1939 Nanshin josei (South Advancing Women) (Ochiai) (sc) 1946 Machiboke no onna (Woman Who Is Waiting) (Makino) (sc); Josei no shori (The Victory of Women) (Mizoguchi) (sc) 1947 Anjo-ke no butokai (The Ball of the Anjo Family) (Yoshimura) (sc) 1948 Yuwaku (Seduction) (Yoshimura) (sc); Waga shogai no kagayakeru hi (My Life’s Bright Day) (Yoshimura) (sc) 1949 Waga koi wa moenu (My Love Burns) (Mizoguchi) (co-sc); Shitto (Jealousy) (Yoshimura) (sc); Mori no Ishimatsu (Ishimatsu of Mori) (Yoshimura) (sc); Ojosan kanpai (Toast to a Young Miss) (Kinoshita) (sc) 1951 Itsuwareru seiso (Deceiving Costume) (Yoshimura) (sc); Genji monogatari (Tale of Genji) (Yoshimura) (sc) 1955 Bijo to kairyu (The Beauty and the Dragon) (Yoshimura) (sc) 1958 Hadaka no taiyo (Naked Sun) (Ieki) (sc); Yoru no tsuzumi (Night Drum) (Imai) (co-sc) 1963 Shitoyakana kemono (Soft Beast) (Kawashima) (sc) 1964 Kizudarake no sanga (Mountains and Rivers with Scars) (Yamamoto) (sc) 1967 Hanaoko Seishu no tsuma (Seishu Hanaoka’s Wife) (Masumura) 1972 Gunki hatameku shitani (Under the Military Flag) (Fukasaku) (sc) 1987 Eiga Joyu (sc) 1988 Hachi-Ko (sc) 1993 Tooki Rakujitsu (K?yama) (co-sc) 1995 Miyazawa Kenji sono ai (K?yama) (sc) Publications By SHINDO: books— Seishun no monokuromu, Tokyo, 1988. Shigotoshi retsuden, Tokyo, 1991. Nagai futari no michi: Otowa Nobuko to tomo ni, Tokyo, 1996. By SHINDO: article— Iskusstvo Kino (Moscow), December 1995. On SHINDO: books— Mellen, Joan, Voices from the Japanese Cinema, New York, 1975. Mellen, Joan, The Waves at Genji’s Door, New York, 1976. Anderson, Joseph, and Donald Richie, The Japanese Film, expanded edition, Princeton, 1982. On SHINDO: article— ‘‘Kaneto Shindo,’’ in CinemAction! (Toronto), January 1992. *** Kaneto Shindo began his career in film as a scenario writer. An episode portraying his study of scenario writing, under the perfection- ist director Kenji Mizoguchi, is included in his own first film as a director, Story of My Loving Wife. The rigorous influence of his mentor on Shindo’s style is seen in both his scenarios and his direction. Such persistent influence, by one director on another, on mise-en-scène and writing, is rarely found in the work of other filmmakers. Shindo became a very successful scenario writer mainly for Kosaburo Yoshimura’s films at Shochiku. However, after this team was subjected to commercial pressure from the studio, they left to produce their own films, establishing Kindai Eiga Kyokai, or the Society of Modern Film. Thus, they have been able to pursue their own interests and concerns in choosing subjects and styles. Shindo, a Hiroshima native, frequently deals with the effects of the atomic bomb. He traced Hiroshima’s aftermath, in Children of the Atomic Bomb, based on the compositions of Hiroshima children. This subject could be treated only after the American Occupation ended. Mother focuses on a surviving woman’s decision to become a mother after much mental and physical trauma. Instinct deals with a middle- aged survivor whose sexual potency is revived by the love of a woman. Dai go fukuryu-maru is about the tragedy of the fishermen heavily exposed to nuclear fallout after American testing in the South Pacific. Shindo condemns nuclear weapons for causing such misery to innocent people, but also strongly affirms the survivor’s will to live. Shindo’s best-known film internationally, Naked Island, is experi- mental in not using any dialogue but only music. It also uses local people except for a professional actor and actress who play a couple living on a small island. We are impressed with the hardship of their farming life as well as with the beauty of their natural surroundings throughout the cycle of the seasons. The joy, sorrow, anger, and desperation of the hardworking couple is silently but powerfully expressed in a semi-documentary manner. The peaceful atmosphere of this film is in contrast to many of Shindo’s more obsessive works, such as Epitome, Gutter, Sorrow Is SHINODADIRECTORS, 4 th EDITION 915 Only for Women, Onibaba, and A Scoundrel. These convey a claus- trophobic intensity by using only a few small settings for the action, with much close-up camera work. In 1975, Shindo expressed his lifelong homage to his mentor, Mizoguchi, in a unique documentary: The Life of a Film Director: Record of Kenji Mizoguchi. In this film, he brought together many interesting and honest accounts of Mizoguchi by interviewing people who had worked for this master. These personal recollections, along with sequences from Mizoguchi’s films, are a testimony to the greatness of Mizoguchi’s art, and to his intriguing personality. Like Mizoguchi, Shindo creates many strong female figures who, by virtue of their love and the power of their will, try to ‘‘save’’ their male counterparts. While Mizoguchi’s women seem to rely more on their generous compassion to sustain their men, Shindo’s women tend to inspire and motivate their men by their own energy and power. In much the same way, Shindo’s own energy and perseverance have supported his artistic vision through four decades of independent filmmaking. —Kyoko Hirano SHINODA, Masahiro Nationality: Japanese. Born: Gifu Prefecture, 9 March 1931. Edu- cation: Studied drama and literature at Waseda University, Tokyo, graduated 1952. Family: Married actress Shima Iwashita. Career: Assistant director at Shochiku-Ofuna Studios, from 1953; began as director of ‘‘youth’’ films, 1960; left Shochiku, 1965; directed first film for independent production company Hyogen-sha [Expression Company], Clouds at Sunset, 1967. Address: 1–11-13, Kitasenzoku, Ota-Ku, Tokyo, Japan. Films as Director: 1960 Koi no katamichi kippu (One-Way Ticket to Love) (+ sc); Kawaita mizuumi (Dry Lake; Youth in Fury) 1961 Yuhi ni akai ore no kao (My Face Red in the Sunset; Killers on Parade); Waga koi no tabiji (Epitaph to My Love) (+ co-sc); Shamisen to otobai (Love Old and New) 1962 Watakushi-tachi no kekkon (Our Marriage) (+ co-sc); Yama no sanka: moyuru wakamono-tachi (Glory on the Summit: Burning Youth); Namida o shishi no tategami ni (Tears on the Lion’s Mane) (+ co-sc) 1963 Kawaita hana (Pale Flower) (+ co-sc) 1964 Ansatsu (Assassination) 1965 Utsukushisa to kanashimi to (With Beauty and Sorrow); Ibun sarutobi sasuke (Samurai Spy; Sarutobi) 1966 Shokei no shima (Punishment Island; Captive’s Island) 1967 Akanegumo (Clouds at Sunset) 1969 Shinju ten no Amijima (Double Suicide) 1970 Buraikan (The Scandalous Adventures of Buraikan) 1971 Chinmoku (Silence) 1972 Sapporo Orimpikku (Sapporo Winter Olympic Games) 1973 Kaseki no mori (The Petrified Forest) 1974 Himiko 1975 Sakura no mori no mankai no shita (Under the Cherry Blossoms) (+ co-sc) 1976 Nihon-maru (Nihon-maru Ship) (doc); Sadono kuni ondeko- za (Sado’s Ondeko-za) (doc) 1977 Hanare goze Orin (The Ballad of Orin) (+ co-sc) 1979 Yashagaike (Demon Pond) 1980 Aku Ryoto (Devil’s Island) 1984 Setouchi Shonen Yakyudan (MacArthur’s Children) 1986 Yari no Gonza (Gonza, the Spearman) 1989 Maihime (Die T?nzerin; The Dancer) 1990 Shonnenjidai (Takeshi) 1995 Sharaku 1997 Setouchi munraito serenade (Moonlight Serenade) Publications By SHINODA: articles— Interview in American Film (New York), May 1985. ‘‘MacArthur’s Children,’’ interview with R. Silberman and K. Hirano in Cineaste (New York), vol. 14, no. 3, 1986. Interview in Kino (Sophia), no. 5, 1995. On SHINODA: books— Sekai no eiga sakka 10: Shinoda Masahiro, Yoshida Yoshishige [Film Directors of the World 10: Masahiro Shinoda and Yoshishige Yoshida], Tokyo, 1971. Richie, Donald, Japanese Cinema: Film Style and National Charac- ter, New York, 1971. Mellen, Joan, Voices from the Japanese Cinema, New York, 1975. Mellen, Joan, The Waves at Genji’s Door, New York, 1976. Bock, Audie, Japanese Film Directors, Tokyo, 1978; revised edition, Tokyo, 1985. On SHINODA: articles— Russell, Catherine, ‘‘‘Overcoming Modernity’: Gender and the Pathos of History in Japanese Film Melodrama,’’ in Camera Obscura (Bloomington), May 1995. McDonald, Keiko I., ‘‘Short Story into Action: Shinoda’s Mahihime,’’ in Post Script (Commerce), Summer 1996. *** After his debut with One-Way Ticket to Love in 1960, Masahiro Shinoda (along with Oshima and Yoshida) was termed a ‘‘Japanese Nouvelle Vague’’ director. However, Shinoda’s devotion to sensual modernism contrasted with Oshima’s direct expression of his politi- cal concerns. Shinoda’s early films center on the fickle and frivolous entertainment world, petty gangsters, or confused student terrorists, ornamented by pop-art settings and a sensibility which may be largely attributed to his scenario writer, poet Shuji Terayama. Being an intellectual and ideologue, Shinoda analyzes the fates of his marginal but likable characters with a critical eye on the social and political milieu. Even his work on Shochiku Studio home drama and melodrama projects show his critical views of the social structure. His indulgent aestheticism, which appears in his films as incompa- rable sensuality, has been connected with images of death and SIEGEL DIRECTORS, 4 th EDITION 916 destruction (Assassination, With Beauty and Sorrow, Clouds at Sunset, Double Suicide, The Ballad of Orin) and of degradation (Silence, The Petrified Forest, Under the Cherry Blossoms). This stance again contrasts with that of Oshima, whose sexual and political outlook ultimately affirms the value of life and survival. Shinoda’s fundamental pessimism, represented by the image of falling cherry blossoms in his films, is rooted in the ephemerality of life. The stylistic aspect of Shinoda’s work originated in his long interest in the Japanese traditional theater. Double Suicide received the highest acclaim for his bold art direction (elaborate calligraphy on the set was done by his cousin, Toko Shinoda), ambitious experimen- tation as in his use of men dressed in black (recalling traditional Japanese puppeteers) appearing to lead the characters to their destin- ies, and the double roles of the contrasting and competing heroines, the prostitute and the wife. This black-and-white film presents a most imaginative adaptation of Bunraku, the Japanese puppet play. The Scandalous Adventures of Buraikan is an elaborate and colorful adaptation of Kabuki drama, playful in spirit. Himiko recalls the origin of Japanese theater in the primordial Japanese tribe’s ritu- als, making use of avant-garde dancers. The two leading female roles in Demon Pond are played by the popular Kabuki actor Tamasaburo Bando. Another unique aspect of Shinoda’s work is his interest in sports. As an ex-athlete, he was well qualified for the assignment of making the official documentary Sapporo Winter Olympic Games, and a docu- mentary on runners, Sado’s Ondeko-za. In these films, he succeeds in conveying in a beautiful visual manner the emotions of athletes in lonely competition. Shinoda has also played an important role as the head of an independent film production firm, Hyogen-sha, or Expressive Com- pany, since he left Shochiku in 1965. Thus he has pursued his own concerns in choices of subjects and methods of expression, mostly through the adaption of traditional and modern Japanese literary works. He has developed many talented collaborators—actress Shima Iwashita (to whom he is married), music composer Toru Takemitsu, art directors Jusho Toda and Kiyoshi Awazu, and poet Taeko Tomioka, working as his scenario writer. —Kyoko Hirano SIEGEL, Don Nationality: American. Born: Chicago, 26 October 1912. Educa- tion: Jesus College, Cambridge University, England; Royal Acad- emy of Dramatic Art, London. Family: Married 1) actress Viveca Lindfors, 1948 (divorced 1953), one son; 2) actress Doe Avedon, 1957 (divorced), four children; 3) Carol Rydall. Career: Actor with the Contemporary Theater, Los Angeles, 1930; joined Warner Bros. as film librarian, 1934, later assistant editor, then joined insert department; set up montage department, 1939; 2nd unit director for Michael Curtiz, Raoul Walsh, and others, 1940–45; directed first film, Star in the Night, 1945, and first feature, The Verdict, 1946; worked for Howard Hughes at RKO, 1948–51; producer and director for TV, from 1961; executive producer for Trial and Error, for TV, 1988. Awards: Oscars for Best Short Subject, for Star in the Night, and for Best Documentary, for Hitler Lives?, 1946. Died: Of cancer, after a long illness, 20 April 1991, in Nipoma, California. Don Siegel Films as Director: 1945 Star in the Night; Hitler Lives? 1946 The Verdict 1949 Night unto Night; The Big Steal 1952 No Time for Flowers; Duel at Silver Creek 1953 Count the Hours (Every Minute Counts); China Venture 1954 Riot in Cell Block 11; Private Hell 36 1955 An Annapolis Story (The Blue and the Gold) 1956 Invasion of the Body Snatchers; Crime in the Streets 1957 Spanish Affair; Baby Face Nelson 1958 The Gun Runners; The Line-up 1959 Edge of Eternity (+ co-pr, role as man at the pool); Hound Dog Man 1960 Flaming Star 1962 Hell Is for Heroes 1964 The Killers (+ pr, role as short-order cook in diner); The Hanged Man 1967 Stranger on the Run 1968 Madigan 1969 Coogan’s Bluff (+ pr, role as man in elevator); Death of a Gunfighter (uncredited co-d) 1970 Two Mules for Sister Sara 1971 The Beguiled (+ pr); Dirty Harry (+ pr) 1973 Charley Varrick (+ pr, role as Murph) 1974 The Black Windmill (+ pr) 1976 The Shootist 1977 Telefon SIEGELDIRECTORS, 4 th EDITION 917 1979 Escape from Alcatraz (+ pr, role as doctor) 1980 Rough Cut 1982 Jinxed! Other Films: 1940 City for Conquest (Litvak) (montage d) 1941 Blues in the Night (Litvak) (montage d) 1942 Casablanca (Curtiz) (art d) 1943 Edge of Darkness (Milestone) (set d); Mission to Moscow (Curtiz) (art d); Northern Pursuit (Walsh) (special effects d) 1944 The Adventures of Mark Twain (Rapper) (ph) 1971 Play Misty for Me (Eastwood) (role as Marty the bartender) 1978 Invasion of the Body Snatchers (Kaufman) (role as cab driver) 1985 Into the Night (Landis) (role as embarrassed man) Publications By SIEGEL: book— A Siegel Film: An Autobiography, foreword by Clint Eastwood, London, 1993. By SIEGEL: articles— Interview with Peter Bogdanovich, in Movie (London), Spring 1968. ‘‘The Anti-Heroes,’’ in Films and Filming (London), January 1969. ‘‘Conversation with Donald Siegel,’’ with Leonard Maltin, in Action (Los Angeles), July/August 1971. Interview with Sam Fuller, in Interview (New York), May 1972. Interview with Stuart Kaminsky, in Take One (Montreal), June 1972. ‘‘Stimulation,’’ interview with Gordon Gow, in Films and Filming (London), November 1973. ‘‘The Man Who Paid His Dues,’’ interview with B. Drew, in American Film (Washington, D.C.), December 1977/January 1978. On SIEGEL: books— McArthur, Colin, Underworld, U.S.A., London, 1972. Kaminsky, Stuart M., Don Siegel: Director, New York, 1974. Kaminsky, Stuart M., American Film Genres, Dayton, Ohio, 1974; revised edition, Chicago, 1983. Lovell, Alan, Don Siegel: American Cinema, London, 1977. Belton, John, Cinema Stylists, Metuchen, New Jersey, 1983. Vaccino, Roberto, Donald Siegel, Florence, 1985. On SIEGEL: articles— Austen, David, ‘‘Out for the Kill,’’ in Films and Filming (London), May 1968. Mundy, Robert, ‘‘Don Siegel: Time and Motion, Attitudes and Genre,’’ in Cinema (London), February 1970. Kael, Pauline, ‘‘Saint Cop,’’ in New Yorker, 15 January 1972. Gregory, Charles T., ‘‘The Pod Society vs. the Rugged Individual- ist,’’ in Journal of Popular Film (Bowling Green, Ohio), Win- ter 1972. Pirie, D., ‘‘Siegel’s Bluff,’’ in Sight and Sound (London), Autumn 1973. Kass, Judith M., ‘‘Don Siegel,’’ in The Hollywood Professionals, vol. 4, London, 1975. Allombert, Guy, ‘‘Donald Siegel: cinéaste de la violence et du anti- héros,’’ in Image et Son (Paris), May 1976. Chase, A., ‘‘The Strange Romance of ‘Dirty Harry’ Callahan and Ann Mary Deacon,’’ in Velvet Light Trap (Madison), Winter 1977. Combs, R., ‘‘Less Is More: Don Siegel from the Block to the Rock,’’ in Sight and Sound (London), Spring 1980. Combs, Richard, ‘‘Count the Hours: The Real Don Siegel,’’ in Monthly Film Bulletin (London), February 1984. Nepoti, R., ‘‘Una poetica dell’antieroe,’’ in Segnocinema (Vicenza), vol. 8, no. 34, September 1988. Obituary, in Variety, 29 April 1991. Powers, J., ‘‘Imperial Measures,’’ in Sight and Sound (London), vol. 1, no. 2, June 1991. Seeslen, G., and H. R. Blum, ‘‘Zu den Filmen von Don Siegel. Gespr?che mit Don Siegel,’’ in EPD Film (Frankfurt), vol. 8, no. 6, June 1991. Sheehan, H., ‘‘Dark Worlds,’’ in Sight and Sound (London), vol. 1, no. 2, June 1991. Ockersen, T., ‘‘Don Siegel (1912–1991),’’ in Skrien (Amsterdam), no. 178, June-July 1991. Kock, I. de, ‘‘Don Siegel. De paradox van de onafhankelijke huurling,’’ in Film en Televisie (Brussels), no. 410–411, July-August 1991. Krohn, B., and B. Frank, ‘‘Feu le roi de l’action,’’ in Cahiers du Cinéma (Paris), no. 446, July-August 1991. Sarris, A., and Clint Eastwood, ‘‘Don Siegel. The Pro. The Padrón,’’ in Film Comment (Denville, New Jersey), vol. 27, no. 5, Septem- ber-October 1991. Bernstein, M., ‘‘Institutions and Individuals: Riot in Cell Block 11,’’ in Velvet Light Trap (Austin, Texas), no. 28, Fall 1991. Sarris, Andrew, ‘‘Don Siegel: The Pro,’’ in Film Comment, Septem- ber/October 1991. Eastwood, Clint, ‘‘The Padron,’’ in Film Comment, September/ October 1991. Norman, B., in Radio Times (London), 4 June 1994. Vaccino, Roberto, ‘‘Donald Siegel,’’ in Castoro Cinema (Milan), no. 111, 1995. *** Don Siegel’s virtues—tightly constructed narratives and explo- sive action sequences—have been apparent from the very beginning. Even his B pictures have an enviable ability to pin audiences to their seats through the sheer force and pace of the events they portray. Unlike some action-movie specialists, however, Siegel rarely allows the action to overcome the characterization. The continuing fascina- tion of Riot in Cell Block 11, for instance, stems as much from its central character’s tensions as from the violent and eventful story. Dunn is a paradigmatic Siegel protagonist, caught between a violent inclination and the strategic need for restraint. Such incipient personal instability animates many Siegel films, finding material expression in the hunts and confrontations which structure their narratives. His people react to an unpleasant world with actions rather than words, often destroying themselves in the process. They rarely survive with dignity. Siegel’s singular distinction, however, lies in his refusal to strike conventional moral postures in relation to this depressing and often sordid material. Though one cannot fail to be involved in and excited by his action-packed stories, there is always a clear sense that he SILVER DIRECTORS, 4 th EDITION 918 remains outside of them as something of a detached observer. In the 1950s that seeming ‘‘objectivity’’ gave him a minor critical reputa- tion as a socially conscious and ‘‘liberal’’ director, though this was a liberalism by implication rather than a direct and paraded commit- ment. In retrospect the 1950s movies seem best described as individu- alistic, antagonistic to unthinking social conformity, rather than liberally sentimental after the fashion of ‘‘socially concerned’’ Holly- wood movies of the period. These films are generalized warnings, not exercises in breast-beating. Their spirit is that of Kevin McCarthy’s cry to his unheeding fellows in Siegel’s original ending to Invasion of the Body Snatchers (United Artists added an epilogue): ‘‘You’re next!’’ In the 1960s and 1970s Siegel’s reputation and his budgets grew. He struck out in new directions with such films as Two Mules for Sister Sara and The Beguiled, though his major concerns remained with action and with his emotionally crippled ‘‘heroes.’’ The three cop movies (Madigan, Coogan’s Bluff, and Dirty Harry) are repre- sentative, the last especially encouraging the critical charge that Siegel had become a law-and-order ideologue. Its ‘‘wall-to-wall carpet of violence’’ (Siegel’s description) easily lent itself to a ‘‘tough cop against the world’’ reading. Yet, just as his earlier films cannot be reduced to simple liberal formulae, so the later movies are far more complex than much criticism has suggested. A colleague remarks of Madigan: ‘‘For him everything’s either right or wrong—there’s nothing in between.’’ In exploring his characters’ doomed attempts to live by such absolutes Siegel refuses to make their mistake. And though he does not presume to judge them, that does not mean that he approves of their actions. As the less frenetic films like The Shootist and Escape from Alcatraz make clear, his appreciation of character and morality is far more subtle than that. More than any other action director of his generation Siegel has avoided the genre’s potential for reductive simplification. He has combined entertainment with perception, skilled filmmaking econ- omy with nicely delineated characters, and overall moral detachment with sympathy for his hard-pressed protagonists. His movie world may often seem uncongenial, but its creator has never appeared callous or unconcerned. His films have achieved much-deserved commercial success; his skill and subtlety have deserved rather more in the way of critical attention. —Andrew Tudor SILVER, Joan Micklin Nationality: American. Born: Omaha, Nebraska, 24 May 1935. Education: Studied at Sarah Lawrence College, New York, B.A., 1956. Family: Married Raphael D. Silver, three daughters. Career: Freelance writer for an educational film company, New York, from 1967; directed first feature, Hester Street, 1974; directed Chilly Scenes of Winter for United Artists, 1979, studio changed the title and the ending, but released it in its original form in 1982; director for stage and TV, 1980s. Films as Director: 1972 Immigrant Experience: The Long Long Journey (short) 1974 Hester Street (+ sc) 1976 Bernice Bobs Her Hair (for TV) 1977 Between the Lines 1979 Chilly Scenes of Winter (Head over Heels) (+ sc) 1985 Finnegan, Begin Again (for TV) 1988 Crossing Delancey 1990 Loverboy 1991 ‘‘Parole Board’’ segment of Prison Stories: Women on the Inside 1992 Big Girls Don’t Cry . . . They Get Even (Stepkids); A Private Matter (for TV) 1996 In the Presence of Mine Enemies (for TV) 1999 A Fish in the Bathtub; Invisible Child (for TV) Other Films: 1972 Limbo (Women in Limbo) (Robson) (co-sc) 1979 On the Yard (Silver) (prod) Publications By SILVER: book— A—My Name Is Still Alice: A Musical Revue, with Julianne Boyd, London, 1993. By SILVER: articles— ‘‘On Hester Street,’’ an interview with Raphael Silver, in American Film, October 1975. Interview in Image et Son (Paris), November 1975. ‘‘Dialogue on Film: Joan Micklin Silver,’’ in American Film (Los Angeles), May 1989. Interview with Graham Fuller in the Independent (London), 7 April 1989. Interview in American Film (Los Angeles), May 1989. On SILVER: books— Cohen, Sarah Blacher, From Hester Street to Hollywood: The Jewish- American Stage and Screen, Bloomington, Indiana, 1983. Squire, Jason, E., The Movie Business Book, Englewood Cliffs, New Jersey, 1983. Wood, Robin, Hollywood from Vietnam to Reagan, New York, 1986. On SILVER: articles— Michel, S., ‘‘Yekl and Hester Street: Was Assimilation Really Good for the Jews?’’ in Literature/Film Quarterly (Salisbury), Spring 1997. Buckley, Michael, ‘‘Chilly Scenes of Winter,’’ in Films in Review (New York), October 1982. Bordat, Francis, ‘‘Le melting-pot américain et les métèques hollywoodiens,’’ in Cinémaction (Courbevoie), July 1990. *** Undoubtedly, the impact of the feminist movement during the 1960s and early 1970s was instrumental in making it possible for SINGLETONDIRECTORS, 4 th EDITION 919 women to establish themselves as directors by the latter half of the 1970s. Joan Micklin Silver was one of the first to do so. Silver’s films aren’t explicitly feminist in content, but she consistently displays an awareness of and sensitivity to women’s identities and concerns. As in her initial effort, Hester Street, Silver’s films have tended to be intimate character studies centred on heterosexual relationships that are in a transitional process. In several of the films, Silver, while not minimizing her significance, decentres the film’s female protago- nist: in Finnegan, Begin Again, for example, the Robert Preston character dominates the narrative. But the two most striking examples are the films featuring John Heard, Between the Lines and Chilly Scenes of Winter. In both films, Heard plays a character with similar characteristics: a tendency to be possessive about the woman he professes to love and a casting of the relationship in the terms of romantic love. In Chilly Scenes of Winter, Heard imbues the film with his consciousness. His fantasy regarding a meeting with the Mary Beth Hurt character is visualized and he frequently directly addresses the viewer, providing access to his mental and/or emotional responses to a specific situation. By the film’s conclusion, Heard has relin- quished his romantic passion, but not without undergoing a consider- able psychic and emotional strain. While Hurt rejects Heard and his overwhelming demands, she appears, on the other hand, to have no clearly formed idea of what she either wants or needs from a love relationship. Interestingly, the film does not imply that Hurt’s uncer- tainty is a negative condition—she is just beginning to discover that she can explore the range of sexual and/or romantic involvements available to a contemporary woman. In Chilly Scenes of Winter, the most complex and disturbing of her films, Silver indicates that from Hurt’s point of view romantic love is oppressive and destructive; in Crossing Delancey, Silver employs a woman, the Amy Irving character, to investigate what could be called a romantic ‘‘perception’’ about possible relationships. Irving rejects the Peter Riegert character before she gets to know him on the grounds that the conditions of their meeting and his profession preclude the possibility of a romance between them. To an extent, Irving’s rejection is motivated by her desire to distance herself from her Jewish ghetto origins. In Silver’s films, a character’s attitude to his or her origins, profession, etc., is often shown to be a contributing factor in the shaping of the romantic fantasy. In the Heard films, the character is frustrated by (Between the Lines) or indifferent to (Chilly Scenes of Winter) his professional life. In Crossing Delancey, it is only after Irving distinguishes between her romantic notions of appropriate partners and the reality of the Riegert character that a romance between the two can develop. With Lover Boy, Silver addresses another aspect of the thematic: a young man, played by Patrick Dempsey, learns gradually through his experiences as the paid lover of a number of frustrated married women that sexual desire, pleasure, and fulfillment are enriched by having a romantic attitude towards intimate relationships (in courting women, Dempsey’s musical tastes move from heavy metal to Fred Astaire). Silver’s films feature a continual probing of what the romantic means—the various dimensions of the concept and its possible significance to both of the sexes. As a concept, the romantic ideal is not gender specific, and it is treated as something that can be either negative or positive in application. In Hollywood from Vietnam to Reagan, Robin Wood argues that Chilly Scenes of Winter, to be fully appreciated, needs to be read in relation to the generic expectations it in part fulfills but also under- mines. Wood’s contention that the film belongs to the classical Hollywood tradition of the light comedy is well-taken; essentially, the same can be said of both Crossing Delancey, which is a reworking of the classical romantic comedy, and Lover Boy, which has its antece- dents in the 1930s screwball comedy. (Similarly, Silver’s graceful but unobtrusive mise-en-scène is a reflection of the classical filmmaking tradition.) In making this claim, it is important to indicate that the films are not evoking these classical genres for nostalgic purposes; instead, the films, while utilizing the structural strengths and comic potentials of the generic formulas, are offering a contemporary vision of the tensions underpinning heterosexual relations, and Silver’s films predominantly respond to these tensions in a progressive manner. From this perspective, Silver’s films can be compared to Woody Allen’s light romantic comedies (Annie Hall, Manhattan, Broadway Danny Rose), though of the two directors, Silver is much less sentimental and precious about her characters (particularly in her treatment of the films’ male protagonists). As more women directors emerge both outside and within the Hollywood establishment, Silver has come to be regarded as an elder statesman of women filmmakers. One of this new breed is her daughter, Marisa, whose films include Old Enough, Permanent Record, Vital Signs, and He Said, She Said (the latter co-directed with Ken Kwapis). Silver’s lone feature after Loverboy is Big Girls Don’t Cry . . . They Get Even, released in 1992 but screened the preceding year as Stepkids. It is a comedy that charts the plight of Laura (Hilary Wolf), a teen with a large family—and big problems. While a genial, generally likable film, it is far from Silver’s best work, as it often plays like a television situation comedy, complete with overly ador- able or precocious children and a too neatly wrapped-up finale. In the last twenty years, Silver has produced a small but personal and distinguished body of work. She remains an underrated filmmaker; in part, this may be due to the fact that her films are not big-budget projects or star vehicles. (Consistently, her films are conceived as ensemble pieces and contain beautifully judged performances.) It may also be due to the fact that the tone of Silver’s films tends to be decidedly off-beat: although the films are clearly ‘‘serious’’ examina- tions of the complexities of heterosexual relations, Silver infuses them with a slightly absurdist humour. On the one hand, this may produce a distancing effect that alienates the viewer. But it also allows the viewer to take a more contemplative attitude towards her depic- tion of the often aching pleasures involved in love relationships. —Richard Lippe, updated by Rob Edelman SINGLETON, John Nationality: American. Born: John Daniel Singleton in Los Angeles, California, 6 January 1968. Education: Graduated from University of Southern California School of Cinema-Television, 1990. Family: Married Akosua Busia (an actress), 12 October 1994 (divorced, 15 June 1997); children: one daughter, Hadar. Career: Director and writer; directed Michael Jackson’s video ‘‘Remember the Time,’’ 1992. Awards: Jack Nicholson Award (twice) and Robert Riskin Writing Award, University of Southern California School of Cinema- Television; New Generation Award, Los Angeles Film Critics Asso- ciation, 1991; New York Film Critics Circle Award for best new director, 1991, and MTV Movie Award for best new filmmaker, 1992, both for Boyz N the Hood; ShoWest Award for screenwriter of the year, and Special Award for directorial debut of the year, ShoWest SINGLETON DIRECTORS, 4 th EDITION 920 John Singleton Convention, 1992. Office: New Deal Productions, 10202 West Washington Blvd., Metro Bldg., Room 203, Culver City, CA 90232. Agent: Creative Artists Agency, Inc., 1888 Century Park East, Suite 1400, Los Angeles, CA 90067. Films as Director: 1991 Boyz N the Hood (Boys in the Hood) (+ sc, ro as mailman) 1993 Poetic Justice (+ sc, pr) 1995 Higher Learning (+ sc, pr) 1997 Rosewood 2000 Shaft (+ ro as bored cop with coffee cup) Other Films: 1994 Beverly Hills Cop III (Landis) (ro as fireman) 1995 Your Studio and You (Parker) (ro as himself) 1998 Woo (exec pr) Publications By SINGLETON: book— With Veronica Chambers, Poetic Justice: Film-Making South Cen- tral Style, New York, 1993. By SINGLETON: articles— ‘‘Introduction,’’ in Like Judgment Day: The Ruin and Redemption of a Town Called Rosewood, by Michael D’Orso, New York, 1996. ‘‘Look Who’s Talking’’ (interview), in Interview (New York), June 1996. On SINGLETON: articles— Essay in Karl Schanzer and Thomas Lee Wright, American Screenwriters, New York, 1993. Greene, R., ‘‘Higher Ground,’’ in Boxoffice (Chicago), vol. 131, January 1995. Dauphin, G., ‘‘Ashes and Embers,’’ in Village Voice (New York), 21 May 1996. Stevens, J., ‘‘John Singleton,’’ in DGA (Los Angeles), vol. 21, no. 5–6, 1996–1997. ‘‘The Complicated Men,’’ in Vanity Fair, April 2000. *** John Singleton, who grew up on the fringes of the black ghetto in South Central Los Angeles, graduated from the prestigious film school at the University of Southern California to begin his career at an interesting moment in Hollywood history. For the early 1990s witnessed, albeit on a small scale, a revisionist revival of the blaxploitation movement that had so energized Hollywood cinema in the 1970s with its anti-establishment celebration of African-Ameri- can ghetto culture. Blaxploitation classics such as Superfly, The Mack, and Coffy had sometimes glorified the drug dealing, organized crime, and sexual promiscuity they ostensibly condemned, thereby providing a weak critique at best of a dysfunctional culture in the process of being destroyed by middle-class flight, decaying munici- pal infrastructures, and systemic racism. The spectacularly successful New Jack City, a 1991 film directed by Mario Van Peebles, can be similarly faulted for an exploitative political rhetoric. It is hardly remarkable, therefore, that the four-wall exhibition of New Jack City proved dangerous for theatergoers and theater owners alike. Gang- bangers in attendance reaffirmed their commitment to the lawless lifestyle appealingly depicted on the screen by, in part, shooting up the place and each other. Violence also greeted the initial screenings of John Singleton’s Boyz N the Hood, but this 23-year-old wunderkind had not authored and directed a film that could be blamed for anything more than depicting, accurately and movingly, the coming to manhood of a group of young black men in South Central. Gang life, and the endemic violence and police reaction it fosters, is hardly romanticized in the film, but pointlessly destroys the lives of some. Tre Styles is the exception to this iron rule. He is the only one of the homeboys lucky enough to benefit from a father’s correction and instruction. With his father’s example providing an alternative, Tre chooses to save him- self by refusing to go along on a vengeance-prompted drive-by. Like his girlfriend, brought up strictly by a respectable Catholic family, Tre escapes the ‘hood for the blessings of a college education. Thus, the film’s ideological center is Tre’s father, the aptly named Furious Styles, who advocates a rigorous program of self-improvement and self-control (occasionally tinged by Farrakhanesque paranoia) for both his son and community. Didactic and overly conventional at times, Boyz N the Hood offers more than a political program. The film is also a portrait in depth, both SIODMAKDIRECTORS, 4 th EDITION 921 loving and critical, of a community in crisis, where almost no one prospers and where the line between the good and the bad is almost impossible to draw. A self-made entrepreneur who makes the most of his hard work, Furious Styles bequeaths to his son—and the film’s audience—hope for the future that depends on individual effort rather than institutional reform. It is notable in this regard that Tre’s future looks positive precisely because he has left behind the dangerous South Central neighborhood where he grows up. With this film, John Singleton established himself as a filmmaker with commitment as well as cinematic talent. Like Spike Lee’s Crooklyn, Boyz N the Hood adroitly negotiates between commercial demands for engaging melo- drama and the director’s desire to deliver a timely message. It was certainly an auspicious debut. None of Singleton’s next three films has met this very high standard of accomplishment. Poetic Justice is more or less a Janet Jackson vehicle, with the popular singer playing a homegirl from South Central who takes to the road in an attempt to assuage the pain of a broken heart and escape the violence of her neighborhood. In this instance, Singleton’s script suffers from a lack of direction and narrative energy; the result is somewhat unaffecting soap opera with the beautician heroine, who also writes poetry, hooking up with a mailman and his daughter after the tragic killing of her boyfriend. The story finds little of interest to do with the characters-driven- together-by-fortune structure that it initially develops. Higher Learn- ing, also scripted by the director, suffers from similar problems. It treats racial and gender tensions at the mythical Columbus U., which is proposed as a metonymy for American society. Unfortunately, Singleton’s screenplay creates characters who are neither particularly plausible nor attractive, and the narrative in which they are plunged is needlessly fragmented and uninvolving. As in Boyz, Singleton puts an African-American father figure at the ideological center of the story, though this character, a rather aloof and prissy professor of political science, has no real depth. In Rosewood, Singleton wisely secured the services of a competent screenwriter, Gregory Poirier. But this at times exciting and moving re-creation of an historical event, an anti- black pogrom in a 1920s Florida small town, still suffers from structural problems: too many main characters; too much time and energy devoted to setting up the central actions the film will treat; too much of an emphasis on emotions handled with the predictable sentimentality of soap opera. In this film, Singleton shows flashes of directorial brilliance, and it is undoubtedly an improvement on its two immediate pedecessors. Unfortunately, Rosewood demonstrates that as the 1990s ended Singleton had still proven unable to move effectively beyond the authentic recreations of his adolescent experi- ence that made Boyz such a critical and popular success. —R. Barton Palmer SIODMAK, Robert Nationality: American/German. Born: Memphis, Tennessee, 8 Au- gust 1900. Education: University of Marburg, Germany. Career: Actor with German repertory companies, 1920–21; bank worker, 1921–23; titler for imported American films, 1925; editor for Herbert Nossen and Seymour Nebenzal, 1926–28; hired by Erich Pommer to scout for writers for UFA, 1928; directed first feature, 1930; follow- ing attack by Goebbels on film Brennende Geheimnis, moved with Robert Siodmak brother Curt to Paris, 1933; moved to Hollywood, 1940, signed two- year contract with Paramount, then moved to Universal under seven- year contract; after filming The Crimson Pirate in England and Spain, remained in Europe, from 1952. Died: In 1973. Films as Director: 1929 Menschen am Sonntag (People on Sunday) (doc) (co-d) 1930 Abschied (So sind die Menschen) 1931 Der Mann der seinen M?rder sucht (Looking for His Mur- derer); Voruntersuchung (Inquest) 1932 Stürme der Leidenschaft (The Tempest; Storm of Passion); Quick (Quick—K?nig der Clowns) 1933 Brennende Geheimnis (The Burning Secret) (+ pr); Le Sexe faible 1934 La Crise est finie (The Slump Is Over) 1936 La Vie parisienne; Mister Flow (Compliments of Mr. Flow) 1937 Cargaison blanche (Le Chemin de Rio; French White Cargo; Traffic in Souls; Woman Racket) 1938 Mollenard (Hatred); Ultimatum (co-d; completed for Rob- ert Wiene) 1939 Pièges (Personal Column) 1941 West Point Widow 1942 Fly by Night; The Night before the Divorce; My Heart Belongs to Daddy 1943 Someone to Remember; Son of Dracula 1944 Phantom Lady; Cobra Woman; Christmas Holiday SIODMAK DIRECTORS, 4 th EDITION 922 1945 The Suspect; Uncle Harry (The Strange Affair of Uncle Harry; The Zero Murder Case); The Spiral Staircase 1946 The Killers; The Dark Mirror 1947 Time Out of Mind (+ pr) 1948 Cry of the City 1949 Criss Cross; The Great Sinner 1950 Thelma Jordan; Deported 1951 The Whistle at Eaton Falls 1952 The Crimson Pirate 1954 Le Grand Jeu (Flesh and Woman) 1955 Die Ratten 1956 Mein Vater der Schauspieler 1957 Nachts wann der Teufel kam (The Devil Strikes at Night) 1959 Dorothea Angermann; The Rough and the Smooth (Portrait of a Sinner) 1960 Katya (Un Jeune Fille un seul amour, Magnificent Sinner); Mein Schulefreund 1962 L’Affaire Nina B (The Nina B Affair); Tunnel 28 (Escape from East Berlin) 1964 Der Schut 1965 Der Schatz der Azteken; Die Pyramide des Sonnengottes 1968 Custer of the West (A Good Day for Fighting) 1968/69 Der Kampf um Rom (in two parts) Other Films: 1936 Le Grand Refrain (Symphonie d’amour) (Mirande) (supervisor) 1945 Conflict (Bernhardt) (co-story) Publications By SIODMAK: article— ‘‘Hoodlums: The Myth and the Reality,’’ with Richard Wilson, in Films and Filming (London), June 1959. On SIODMAK: books— McArthur, Colin, Underworld U.S.A., London, 1972. Dumont, Hervé, Robert Siodmak: Le maitre du film noir, Lausanne, 1981. Alpi, Deborah Lazaroff, Robert Siodmak: A Biography, with Critical Analyses of His Films Noirs and a Filmography of All His Works, Scotch Plains, New Jersey, 1999. Greco, Joseph, The File on Robert Siodmak in Hollywood, 1941–1951, Dissertation.com, 1999. On SIODMAK: articles— Marshman, D., ‘‘Mister Siodmak,’’ in Life (New York), August 1947. Taylor, John, ‘‘Encounter with Siodmak,’’ in Sight and Sound (London), Summer/Autumn 1959. Nolan, Jack, ‘‘Robert Siodmak,’’ in Films in Review (New York), April 1969. Flinn, Tom, ‘‘Three Faces of Film Noir,’’ in Velvet Light Trap (Madison, Wisconsin), Summer 1972. Beylie, Claude, ‘‘Robert Siodmak l’éclectique,’’ in Ecran (Paris), May 1973. ‘‘Robert Siodmak,’’ in Monthly Film Bulletin (London), June 1978. Masson, André, ‘‘Des genres creux, du clinquant, du simili,’’ in Positif (Paris), September 1982. Telotte, J. P., ‘‘Siodmak’s Phantom Women and Noir Narrative,’’ in Film Criticism (Meadville, Pennsylvania), Spring 1987. *** Robert Siodmak is an example of the UFA-influenced German directors who moved to Hollywood when war threatened Europe. Less well known than his compatriots Billy Wilder and Fritz Lang, Siodmak demonstrated his cinematic skills early in his career with his innovative movie Menschen am Sonntag, which featured a non- professional cast, hand-held camera shots, stop motion photography, and the sort of flashbacks that later became associated with his work in America. Siodmak carried with him to Hollywood the traditions and skills of his German film heritage, and became a major influence in American film noir of the 1940s. Deep shadows, claustrophobic compositions, elegant camera movements, and meticulously created settings on a grand scale mark the UFA origins of his work. Such themes as the treachery of love and the prevalence of the murderous impulse in ordinary people recur in his American films. The use of the flashback is a dominant narrative device, reflecting his fatalistic approach to story and character. The Killers (1946 version) presents a narrative that includes multiple flashbacks, each one of which is a part of the total story and all of which must be accumulated to understand the opening sequence of the film. This opening, based directly on Ernest Hemingway’s famous short story, is a masterful example of film storytelling. A typical Siodmak film of his noir period is Phantom Lady, a mini-masterpiece of mood and character that creates intense para- noia through the use of lighting and setting. Two key sequences demonstrate Siodmak’s method. In the first, the heroine follows a man into the subway, a simple action that sets off feelings of danger and tension in viewers, feelings that grow entirely out of sound, light, cutting, and camera movement. In the second, one of the most famous sequences in film noir, Siodmak uses jazz music and cutting to build up a narrative meaning that is implicitly sexual as the leading lady urges a drummer to a faster and faster beat. Siodmak’s work is frequently discussed in comparison with that of Alfred Hitchcock, partly because they shared a producer, Joan Harrison, for a period of time. Harrison produced two Siodmak films for Universal, The Suspect and Uncle Harry. In both films a seem- ingly ordinary, innocent man is drawn into a tangled web of murder, while retaining the audience’s sympathy. Criss Cross, arguably Siodmak’s best noir work, ably demonstrates his ability to create depth of characterization through music, mood, and action, particu- larly in a scene in which Burt Lancaster watches his ex-wife, Yvonne DeCarlo, dance with another man. His fatal obsession with his wife and the victim/victimizer nature of their relationship is capably demonstrated through purely visual means. In later years, Siodmak turned to such action films as The Crimson Pirate and Custer of the West, the former a celebrated romp that was one of the first truly tongue-in-cheek anti-genre films of its period. Although Siodmak’s films were successful both critically and com- mercially in their day, he has never achieved the recognition which the visual quality of his work should have earned him. An innovative SIRKDIRECTORS, 4 th EDITION 923 and cinematic director, he explored the criminal or psychotic im- pulses in his characters through the ambience of his elegant mise-en- scène. The control of all cinematic tools at his command—camera angle, lighting, composition, movement, and design—was used to establish effectively a world of fate, passion, obsession, and compul- sion. Although his reputation has been elevated in recent years, his name deserves to be better known. —Jeanine Basinger SIRK, Douglas Nationality: German/American. Born: Claus Detlev Sierk in Skagen, Denmark, 26 April 1900. Education: Studied law, philosophy, and art history in Copenhagen, Munich, Jena, and Hamburg until 1922. Career: Dramaturg for Deutsches Schauspiele, Hamburg, 1921; director for Chemnitz ‘‘Kleinez Theater,’’ 1922; artistic director, Bremen Schauspielhaus, 1923–29; director of Altes Theater, Leipzig, 1929–36; directed first film, as Detlef Sierck, for UFA, 1935; head of Leipzig drama school, 1936; left Germany, worked on scripts in Austria and France (notably Renoir’s Partie de campagne, 1937); signed for Warners in Hollywood, 1939, but inactive, 1940–41; contract as writer for Columbia, 1942; director for Universal, from 1950; returned to Europe, 1959; active in theatre in Munich and Hamburg, 1960s. Died: Of cancer, in Lugano, Switzerland, 14 January 1987. Films as Director: (as Detlef Sierck) 1935 It Was een April (Dutch version); April, April (German version); Das Madchen vom Moorhof; Stutzen der Gesellschaft 1936 Schlussakkord (Final Accord) (+ co-sc); Das Hofkonzert (+ co-sc); La Chanson du souvenir (Song of Remembrance) (co-d) (French version of Das Hofkonzert) 1937 Zu neuen Ufern (To New Shores, Paramatta, Bagne de femmes) (+ co-sc); La Habanera 1939 Boefje (+ co-sc) (as Douglas Sirk) 1943 Hitler’s Madman 1944 Summer Storm (+ co-sc) 1946 A Scandal in Paris 1947 Lured 1948 Sleep My Love 1949 Slightly French; Shockproof 1950 Mystery Submarine 1951 The First Legion (+ co-pr); Thunder on the Hill; The Lady Pays Off; Weekend with Father 1952 No Room for the Groom; Has Anybody Seen My Gal?; Meet Me at the Fair; Take Me to Town 1953 All I Desire; Taza, Son of Cochise 1954 Magnificent Obsession; Sign of the Pagan; Captain Lightfoot 1955 All That Heaven Allows; There’s Always Tomorrow 1956 Never Say Goodbye (Hopper) (d uncredited, completed film); Written on the Wind 1957 Battle Hymn; Interlude; The Tarnished Angels 1958 A Time to Love and a Time to Die 1959 Imitation of Life (for Munich Film School) 1975 Talk to Me like the Rain 1977 Sylvesternacht 1979 Bourbon Street Blues Other Films: 1937 Liebling der Matrosen (Hinrich) (co-sc as Detlef Sierck) 1938 Dreiklang (Hinrich) (story as Detlef Sierck) 1939 Accordfinal (Bay) (supervision, uncredited); Sehnsucht nach Afrika (Zoch) (role) 1986 My Life for Zarah Leander (Blackwood) (doc) (role) Publications By SIRK: book— Imitation of Life, edited by Lucy Fischer, New Brunswick, New Jersey, 1991. By SIRK: articles— Interview with Serge Daney and Jean-Louis Noames, in Cahiers du Cinéma (Paris), April 1967. ‘‘Douglas Sirk,’’ with interview with D. Rabourdin and others, in Cinéma (Paris), October 1978. Interview with M. Henry and Y. Tobin in Positif (Paris), Septem- ber 1982. On SIRK: books— Halliday, Jon, Sirk on Sirk, New York, 1972. Edinburgh Film Festival 1972: Douglas Sirk, Edinburgh, 1972. Bourget, Jean-Loup, Douglas Sirk, Paris, 1984. Gledhill, Christine, editor, Home Is Where the Heart Is: Studies in Melodrama and the Woman’s Film, London, 1987. Laüfer, Elisabeth, Skeptiker des Lichts: Douglas Sirk und seine Filme, Frankfurt, 1987. Sirk in Germany, Goethe Institute, London, 1988. Mulvey, Laura, Visual and Other Pleasures, London, 1989. Klinger, Barbara, Melodrama and Meaning: History, Culture, and the Films of Douglas Sirk, Bloomington, Indiana, 1994. On SIRK: articles— Comolli, Jean-Louis, ‘‘L’Aveugle et le miroir, ou l’impossible cin- ema de Douglas Sirk,’’ in Cahiers du Cinéma (Paris), April 1967. ‘‘Sirk Issue’’ of Screen (London), Summer 1971. Bourget, E., and J. L. Bourget, ‘‘Sur Douglas Sirk,’’ in Positif (Paris), April and September 1972. SIRK DIRECTORS, 4 th EDITION 924 Douglas Sirk (second from left) with Barbara Rush, Jane Wyman, Greg Palmer, Rock Hudson, and R. Husson on the set of Magnificent Obsession Willemen, P., ‘‘Toward an Analysis of the Sirkian System,’’ in Screen (London), Winter 1972/73. ‘‘Fassbinder on Sirk,’’ in Film Comment (New York), November/ December 1975. McCourt, J., ‘‘Douglas Sirk: Melo Maestro,’’ in Film Comment (New York), November/December 1975. Stern, M., ‘‘Patterns of Power and Potency, Repression and Vio- lence,’’ in Velvet Light Trap (Madison, Wisconsin), Fall 1976. Degenfelder, P., ‘‘Sirk’s The Tarnished Angels: ‘Pylon’ Recreated,’’ in Literature/Film Quarterly (Salisbury, Maryland), Summer 1977. Mulvey, Laura, ‘‘Notes on Sirk and Melodrama,’’ in Movie (Lon- don), Winter 1977/78. Honickel, T., ‘‘Idol der Munchner Filmstudenten: Douglas Sirk wieder in der HFF,’’ in Film und Ton (Munich), February 1979. Bleys, J.P., ‘‘Quand Douglas Sirk s’appelait Detlef Sierck,’’ in Cahiers de la Cinémathèque (Perpignan), no. 32, Spring 1981. Pulleine, T., ‘‘Stahl into Sirk,’’ in Monthly Film Bulletin (London), November 1981. ‘‘Douglas Sirk Issue’’ of Positif (Paris), September 1982. Feuer, Jane, ‘‘Melodrama, Serial Form and Television Today,’’ in Screen (London), January/February 1984. Bourget, J.L, ‘‘Vers de nouveaus rivages. Les débuts américains de Douglas Sirk,’’ in Positif (Paris), July/August 1984. Heung, Marina, ‘‘‘What’s the Matter with Sara Jane?’: Daughters and Mothers in Imitation of Life,’’ in Cinema Journal (Champaign, Illinois), vol. 26, no. 3, 1987. Obituary, in Variety (New York), 21 January 1987. Bourget, J.L., ‘‘Rêverie; sur les sources scandinaves de Sirk,’’ in Positif (Paris), September 1987. Castellano, Alberto, ‘‘Douglas Sirk,’’ in Castoro Cinema (Milan), no. 132, 1987. Fesser, J., ‘‘Melodrama, Serienform und Fernsehen heute,’’ in Frauen und Film (Frankfurt), no. 42, August 1987. Petley, Julian, ‘‘Sirk in Germany,’’ in Sight and Sound (London), Winter 1987/1988. Hunter, Ross, ‘‘Magnificent Obsessions,’’ in American Film (Los Angeles), April 1988. Koch, G., ‘‘Von Detlef Sierck zu Douglas Sirk,’’ in Frauen und Film (Frankfurt), no. 44–45, October 1988. Klinger, Barbara, ‘‘Much Ado about Excess: Genre, Mise-en-Scène, and the Woman in Written on the Wind,’’ in Wide Angle (Balti- more), vol. 11, no. 4, 1989. SIRKDIRECTORS, 4 th EDITION 925 Babington, B., and P. Evans, ‘‘All That Heaven Allowed,’’ in Movie (Dumfriesshire), no. 34–35, Winter 1990. Brandlmeier, T., ‘‘Kameramann bei: Herzog achternbusch Sirk,’’ in EPD Film (Frankfurt), vol. 7, no. 7, July 1990. Petro, P., ‘‘Imitations of White,’’ in Sight and Sound (London), vol. 1, no. 9, January 1992. Kennedy, H., ‘‘The melodramatists,’’ in American Film (Marion, Ohio), vol. 17, no. 1, January-February 1992. Metz, Walter, in Film Quarterly (Berkeley), vol. 49, no. 1, Fall 1995. Nazzaro, G. A., ‘‘Difficile impedire ‘i voli pindarici della critica’,’’ in Cineforum (Boldone), vol. 36, no. 353, April 1996. Hake, Sabine, ‘‘The Melodramatic Imagination of Detlef Sierck: Final Chord and Its Resonances,’’ in Screen (Glasgow), vol. 38, no. 2, Summer 1997. Andrew, Geoff, ‘‘Sirk It and See,’’ in Time Out (London), no. 1423, 26 November 1997. *** Douglas Sirk’s critical reputation has almost completely reversed from the time when he was a popular studio director at Universal in the 1950s. He was regarded by contemporary critics as a lightweight director of soap operas who showcased the talents of Universal name stars such as Rock Hudson and Lana Turner. His films often were labelled ‘‘women’s pictures,’’ with all of the pejorative connotations that term suggested. After his last film, Imitation of Life, Sirk retired to Germany, leaving behind a body of work that was seldom dis- cussed, but which was frequently revived on television late shows. Standard works of film criticism either totally ignored or briefly mentioned him with words such as ‘‘not a creative film maker’’ (quoted from his brief entry in Georges Sadoul’s Dictionary of Film Makers). In the early 1970s, however, a few American critics began to re-evaluate his works. The most important innovators in Sirk criti- cism in this period were Jon Halliday, whose lengthy interview in book form, Sirk on Sirk, has become a standard work, and Andrew Sarris, whose program notes on the director’s films were compiled into the booklet Douglas Sirk—The Complete American Period. From the time of these two works, it became more and more appropriate to speak of Sirk in terms of ‘‘genius’’ and ‘‘greatness.’’ By 1979, Sirk was even honored by BBC Television with a ‘‘Sirk Season’’ during which his now loyal following was treated to a weekly installment from the Sirk oeuvre as it now fashionably could be called. Critics today see Sirk’s films as more than melodramas with glossy photography and upper-middle-class houses. The word ‘‘ex- pressionist’’ is frequently used to describe his technique, an indica- tion not only of the style of Sirk’s work in the United States, but also his background in films within the framework of German expression- ism in the 1920s and early 1930s. Sirk, who was born in Denmark, but immigrated to Germany in the teens, began work in the theater, then switched to films in the mid- 1930s. Known for his ‘‘leftist’’ leanings, Sirk left Germany with the rise of Nazism, and eventually came to the United States in the early 1940s. The first part of Sirk’s American career was characterized by low- budget films which have faded into oblivion. His first well-known film was Sleep My Love, a variation on the Gaslight theme starring Don Ameche and Claudette Colbert. Soon he began directing films that starred several of the ‘‘hot’’ new Universal stars, among them Hudson and John Gavin, as well as many of the grandes dames of the 1930s and 1940s, such as Barbara Stanwyck, Lana Turner, and Jane Wyman. Although today he is known primarily for his dramas, Sirk did make a few lighter pieces, among them Has Anybody Seen My Gal?, a musical comedy set in the 1920s, and remembered by movie buffs as one of the first James Dean movies. Many critics consider Written on the Wind to be Sirk’s best film. It was also the one which was best received upon its initial release. All of Sirk’s movies deal with relationships which are complicated and often at a dead-end. In Written on the Wind, the film’s central characters are unhappy despite their wealth and attractiveness. They have little to interest them and seek outlets for their repressed sexuality. One of the four main characters, Kyle Hadley (Robert Stack), has always lived in the shadow of his more virile friend Mitch Wayne (Rock Hudson). He hopes to forget his own feelings of inadequacy by drinking and carousing, but his activities only rein- force his problems. Sexuality, either in its manifestation or repres- sion, is a strongly recurrent theme in all of Sirk’s works, but perhaps no where is it more blatantly dramatized than in Written on the Wind, where sex is the core of everyone’s problems. Mitch is the only truly potent figure in the film, and thus he is the pivotal figure. Hudson’s role as Mitch is very similar to that of Ron Kirby in All That Heaven Allows. Ron and Mitch both exhibit a strong sense of sexuality that either attracts or repels the other characters and initiates their action. Kyle’s feelings of sexual inadequacy and jealousy of Mitch are interrelated; Mitch is the manly son Kyle’s father always wanted and the virile lover his wife Lucy (Lauren Bacall) loves. Kyle admires Mitch, yet hates him at the same time. Similarly, Carey Scott in All That Heaven Allows desires the earthy gardener Ron, yet she is shocked at her own sexuality, an apparent rejection of the conventions of her staid upper-middle-class milieu. In There’s Always Tomorrow, Clifford Groves (Fred MacMurray) is faced with a similar situation. He seeks sexual and psychological freedom from his stifling family with Norma Vail (Barbara Stanwyck), yet his responsibilities and sense of morality prevent him from finding the freedom he seeks. It is an ironic key to Sirk’s popular acclaim now that exactly the same stars whose presence seemed to confirm his films as being ‘‘programmers’’ and ‘‘women’s pictures’’ have ultimately added a deeper dimension to his works. By using popular stars of the 1930s through 1950s—stars who often peopled lightweight comedies and unregenerate melodramas, Sirk revealed another dimension of Ameri- can society. His films often present situations in which the so-called ‘‘happy endings’’ of earlier films are played out to their ultimate (and often more realistic) outcomes by familiar faces. For example, in There’s Always Tomorrow, Clifford and his wife Marion (Joan Bennett) might very well have been the prototypes for the main characters of a typical 1930s comedy in which ‘‘boy gets girl’’ in the last reel. Yet, in looking at them after almost 20 years of marriage, their lives are shallow. The happy ending of a youthful love has not sustained itself. Similarly, in All That Heaven Allows, the attractive middle-aged widow of a ‘‘wonderful man’’ has few things in life to make her happy. Whereas she was once a supposedly happy house- wife, the loving spouse of a pillar of the community, her own identity has been suppressed to the point that his death means social ostracism. These two examples epitomize the cynicism of Sirk’s view of what was traditionally perceived as the American dream. Most of Sirk’s films depict families in which a house, cars, and affluence are present, but in which sexual and emotional fulfillment are not. Many of Sirk’s films end on a decidedly unhappy note; the ones that do end SJ?BERG DIRECTORS, 4 th EDITION 926 optimistically for the main characters are those in which traditions are shattered and the strict societal standards of the time are rejected. —Patricia King Hanson SJ?BERG, Alf Nationality: Swedish. Born: Stockholm, 21 June 1903. Education: Studies at the Royal Dramatic Theater. Career: Stage actor, from 1925; stage director, from 1927 (chief director, Royal Dramatic Theater, from 1930); directed first film, Den starkaste, 1929; returned to filmmaking, 1940. Awards: Best Film (ex aequo), Cannes Festi- val, for Fr?ken Julie, 1951. Died: In Stockholm, 17 April 1980. Films as Director: 1929 Den starkaste (The Strongest) (+ story) 1940 Med livet som insats (They Staked Their Lives) (+ co-sc); Den blomstertid (Blossom Time) (+ sc) 1941 Hem fr?n Babylon (Home from Babylon) (+ co-sc) 1942 Himlaspelet (The Road to Heaven) (+ co-sc) 1944 Hets (Torment); Kungajakt (The Royal Hunt) 1945 Resan bort (Journey Out) (+ sc) 1946 Iris och l? jtnantsh j?rta (Iris and the Lieutenant) (+ sc) 1949 Bara en mor (Only a Mother) (+ co-sc) 1951 Fr?ken Julie (Miss Julie) (+ sc) 1953 Barabbas (+ co-sc) 1954 Karin Mansdotter (+ sc) 1955 Vildf?glar (Wild Birds) (+ co-sc) 1956 Sista paret ut (Last Pair Out) 1960 Domaren (The Judge) (+ co-sc) 1966 On (The Island) 1969 Fadern (The Father) Publications By SJ?BERG: articles— Interview in Chaplin (Stockholm), December 1965. ‘‘Ingmar Bergman’s Schooldays,’’ an interview with Peter Cowie in Monthly Film Bulletin (London), April 1983. On SJ?BERG: books— Cowie, Peter, Swedish Cinema, New York, 1966. Lundin, Gunnar, Filmregi Alf Sj?berg, Lund, 1979. On SJ?BERG: articles— Chaplin (Stockholm), no. 7, 1969. Obituary, in Variety (New York), 30 April 1980. ‘‘Bergman on Sj?berg,’’ in National Film Theatre Booklet (London), September 1982. Werner, Gosta, ‘‘Alf Sjoberg som filmskapare,’’ in Chaplin (Stock- holm), vol. 25, no. 3, 1983. *** Along with Sj?str?m, Stiller, and Bergman, Alf Sj?berg must be counted as one of the most significant directors of the Swedish cinema, and indeed as the most important in that long period between the departure of Sj?str?m and Stiller for Hollywood and the establish- ment of Bergman as a mature talent. However, it is hard not to agree with the judgement of Peter Cowie when he states that Sj?berg ‘‘is hampered by a want of thematic drive, for he is not preoccupied, like Bergman, with a personal vision. He has not created a world to which one returns with an immediate feeling of recognition and empathy. Each of his films is a solitary achievement, illuminating for a moment the universe of Strindberg, Lagerkvist and others with a cinematic expertise that rarely falters.... If one concludes that Sj?berg’s most successful accomplishments are founded on the inspiration of others . . . , it is not to deny his impeccable craftsmanship, his uncanny grasp of historical period, and his gift for describing his characters compellingly within their environment.’’ After studying with Greta Garbo at Stockholm’s famous Dramatic Theatre School, Sj?berg rapidly made a name for himself as a theatre director, becoming chief director at the Stockholm Theatre by 1930. In the late 1920s he encountered the films of Eisenstein and Pabst, but the chief influence on his early films would appear to be the fatalism and melancholy of French ‘‘poetic realism’’ of the 1930s. However, in his first film, The Strongest, an epic tale of the seal hunters of Arctic Norway, the influences would appear to be an intriguing blend of Jack London, Robert Flaherty, the Sj?str?m of The Outlaw and His Wife and, in the remarkably fluidly edited bear-hunt that climaxes the film, Eisenstein. All this was too much for a cinema industry preoccupied with feeble studio comedies and light dramas, and Sj?berg was unable to make another film for ten years. Instead he confined his experi- ments in mise-en-scène to the theatre. In They Stake Their Lives, a sombre story of the underground in an unidentified Baltic totalitarian state, and The Royal Hunt, which deals with Russian attempts to overthrow Gustav III of Sweden in the late eighteenth century, there are clear references to the Nazi threat. In more general terms these films deal with the theme of power and domination, one of the threads that runs through much of the director’s work. More important, however, is The Road to Heaven, a film very much in the Sj?str?m/Lagerl?f tradition that is generally regarded as one of the finest of the period 1920–1950 and an important milestone in the revival of the Swedish cinema at this time. A sort of Swedish Pilgrim’s Progress, it draws heavily on the same kind of Swedish peasant art which influenced The Seventh Seal, though it is both more nationalistic and more specifically and directly Christian in inspiration than that work. As Forsyth Hardy has pointed out, ‘‘it helped to give spiritual structure to the revival of the Swedish cinema.’’ Frenzy signalled a new departure both for Swedish cinema in general and Sj?berg’s work in particular, as well as the arrival of a powerful new talent in the form of its scriptwriter—Ingmar Bergman. In its story of a tyrannical schoolmaster (aptly nicknamed Caligula) who torments one of his students beyond endurance, Sj?berg clearly found a subject close to his heart, one which went beyond the obvious SJ?STR?MDIRECTORS, 4 th EDITION 927 theme of youthful ardour vs. oppressive, reactionary middle and old age. The story allowed him to explore power relationships (with all their distinctly sexual ramifications) in a more general way. Sj?berg created a remarkably claustrophobic and sombre atmosphere to match Bergman’s agonised screenplay—there are few sets, less still exterior shots, and the harsh lighting at times recalls the German silent cinema. One of the themes explored in Frenzy is the destructive effect of outdated class divisions, and the evils of class society are also very much to the fore in Only a Mother, which is set among the ‘‘stataren,’’ rural communities where farm labourers and their families were forced to endure almost serf-like conditions. The social dimension of Sj?berg’s work at this time is a reminder that Sweden had recently introduced the full apparatus of a welfare state. At the same time, the director is still much preoccupied with formal matters, experimenting here with deep focus, huge close-ups, and sharply angled inte- rior shots. Sj?berg’s best known film is probably Miss Julie, which trans- forms Strindberg’s by-then rather outdated condemnation of the class system into a study of power relationships between the sexes. Here the sado-masochistic element comes right to the fore, which earned the film a rather risqué reputation in Anglo-Saxon countries. In addition to instituting considerable modifications to the original story, Sj?berg also experimented with rapid transitions between past and present, often without the aid of cuts, and the film also contains a rare example of the flash-forward. Like Iris and the Lieutenant and Only a Mother, Miss Julie is also an indictment of the position of women under a stern patriarchal order. Strindberg was also the inspiration behind Karin Mansdotter, parts of which were based on his play Erik XIV. Beginning with a bizarre (and rather out of place) parody of cinematic costume drama, the film is beautifully shot, mostly on location in some of Sweden’s most spectacular castles, by Sven Nykvist. In his later work Sj?berg returned to contemporary Swedish society. The struggle between the sexes is continued in Wild Birds and the Bergman-scripted The Last Pair Out. At the same time, the director’s concern with social injustice is evident in The Judge, an indictment of dubious legal activities, and The Island, in which the central character urges his apathetic fellow islanders to fight govern- ment plans to take away their land and turn it into a gunnery range. It has to be admitted, however, that Sj?berg’s later work does not show him at his best; characters too often come across as mere puppets, there are too many wordy passages, and Sj?berg often seems unable to sustain any consistency of mood or refrain from exaggerated melodramatics. Still, his dramatically resonant use of settings, and the way in which he controls his characters’ movements within them, remain interesting, reminding one that Sj?berg, at his best, has been compared to Emile Zola. —Julian Petley SJ?STR?M, Victor Nationality: Swedish. Born: Victor David Sj?str?m in Silbodal, Sweden, 20 September 1879; also known as Victor Seastrom. Educa- tion: Attended high school in Uppsala, Sweden. Family: Married 1) Sascha St. Jagoff, 1900 (died 1916); 2) Lili Bech, 1916; 3) actress Edith Erastoff, 1922 (died 1945), two children. Career: Lived in Brooklyn, New York, from 1880; returned to Sweden to live with aunt, 1887; stage actor and director in Sweden and Finland, from 1896; formed own theater company, 1911; film director for Svenska Biograf film studio, Stockholm, from 1912; director for MGM, Hollywood, from 1923; worked under ‘‘Americanized’’ name, ‘‘Seastrom’’; returned to Sweden as actor, 1930; artistic director, Svensk Filmindustri, 1943–49. Died: In Stockholm, 3 January 1960. Films as Director: 1912 Tr?dgárrdsma?staren (The Gardener) (+ role); Ett Hemligt gifterma?l (A Secret Marriage); En sommarsaga (A Sum- mer Tale) 1913 L? jen och t?rar (Ridicule and Tears); Blodets r?st (Voice of the Blood) (+ sc, role) (released 1923); Lady Marions sommarflirt (Lady Marion’s Summer Flirt); ?ktenskapsbryd?n (The Marriage Agency) (+ sc); Livets konflikter (Conflicts of Life) (co-d, role); Ingeborg Holm (+ sc); Halvblod (Half Breed); Miraklet; P? livets ?desv?gar (On the Roads of Fate) 1914 Pr?sten (The Priest); Det var i Maj (It Was in May) (+ sc); K?rlek starkare ?n hat (Love Stronger than Hatred); D?men icke (Do Not Judge); Bra flicka reder sig sj?lv (A Clever Girl Takes Care of Herself) (+ sc); Gatans barn (Children of the Street); H?gfj?llets dotter (Daughter of the Moun- tains) (+ sc); Hj?rtan som m?tas (Meeting Hearts) 1915 Strejken (Strike) (+ sc, role); En av de m?nga (One of the Many) (+ sc); Sonad oskuld (Expiated Innocence) (+ co-sc); Skomakare bliv vid din l?st (Cobbler Stay at Your Bench) (+ sc) 1916 Lanksh?vdingens dottrar (The Governor’s Daughters) (+ sc); R?sen p? Tistel?n (Havsgammar; The Rose of Thistle Island; Sea Eagle); I. Pr?vningens stund (Hour of the Trial) (+ sc, role); Skepp som motas (Meeting Ships); Hon segrade (She Conquered) (+ sc, role); Therese (+ co-sc) 1917 D?dskyssen (Kiss of Death) (+ co-sc, role); Terje Vigen (A Man There Was) (+ co-sc, role) 1918 Berg-Ejvind och hans hustru (The Outlaw and His Wife) (+ co-sc, role); T?sen fr?n stormyrtorpet (The Lass from the Stormy Croft) (+ co-sc) 1919 Ingmars?nerna, Parts I and II (Sons of Ingmar) (+ sc, role); Hans n?ds testamente (The Will of His Grace) 1920 Klostret I Sendomir (The Monastery of Sendomir) (+ sc); Karin Ingmarsdotter (Karin, Daughter of Ingmar) (+ co-sc, role); M?sterman (Master Samuel) (+ role) 1921 K?rkarlen (The Phantom Chariot; Thy Soul Shall Bear Wit- ness) (+ sc, role as David Holm) 1922 Vem d?mer (Love’s Crucible) (+ co-sc); Det omringgade huset (The Surrounded House) (+ co-sc, role) 1923 Eld ombord (The Tragic Ship) (+ role) 1924 Name the Man; He Who Gets Slapped 1925 Confessions of a Queen; The Tower of Lies 1927 The Scarlet Letter 1928 The Divine Woman; The Wind; Masks of the Devil 1930 A Lady to Love 1931 Markurells I Wadk?ping (+ role) 1937 Under the Red Robe SJ?STR?M DIRECTORS, 4 th EDITION 928 Other Films: 1912 Vampyren (Stiller) (role as Lt. Roberts); De svarta maskerna (Stiller) (role as the Lieutenant); I livets v?r (Garbagni) (role) 1913 Nar karlekan dodar (Stiller) (role as the painter); Barnet (Stiller) (role as medical student) 1914 F?r sin k?dleks skull (Stiller) (role as Borgen); H?gfj?llets dotter (Stiller) (role); Guldspindeln (Magnusen) (role); Thomas Graals b?sta film (Stiller) (role as Thomas Graal); Thomas Graals b?sta barn (Stiller) (role as Thomas Graal) 1934 Synnove Solbakken (T. Ibsen) (role) 1935 Valborgsma?ssoafton (Edgren) (role) 1937 John Ericsson (role) 1939 Gubben Kommer (Lindberg) (role); Mot nya tider (Wallen) (role) 1941 Striden g?r vidare (Molander) (role) 1943 Det brinner en eld (Molander) (role); Ordet (Molander) (role) 1944 Kejsaren av Portugalien (Molander) (role) 1947 Rallare (Mattson) (role) 1950 Till Gl?dje (Bergman) (role); Kvartetten som spr?ngdes (Molander) (role) 1952 H?rd klang (Mattson) (role) 1955 Nattens v?v (Mattson) (role) 1957 Smultronst?llet (Wild Strawberries) (Bergman) (role as Professor) Publications On SJ?STR?M: books— Idestam-Almquist, Bengt, Den Svenska Filmens Drama: Sj?str?m och Stiller, Stockholm, 1938. Hardy, Forsyth, Scandinavian Film, London, 1951. Lauritzen, Einar, Swedish Film, New York, 1962. Jeanne, Rene, and Charles Ford, Sj?str?m et l’ecole suédois, Paris, 1963. Cowie, Peter, Swedish Cinema, London, 1966. Pensel, Hans, Seastrom and Stiller in Hollywood, New York, 1969. Petrie, Graham, Hollywood Destinies: European Directors in Holly- wood 1922–31, London, 1985. Forslund, Bengt, Victor Sj?str?m: His Life and His Work, New York, 1988. On SJ?STR?M: articles— Vaughn, Dai, ‘‘Victor Sj?str?m and D.W. Griffith,’’ in Film (Lon- don), January/February 1958. ‘‘Bergman on Victor Sj?str?m,’’ in Sight and Sound (London), Spring 1960. Turner, Charles L., ‘‘Victor Sj?str?m,’’ in Films in Review (New York), May and June 1960. Wood, Robin, ‘‘Essays on the Swedish Cinema (Part 2),’’ in Lumière (Melbourne), April/May 1974. Gillett, John, ‘‘Swedish Retrospect,’’ in Sight and Sound (London), Summer 1974. Milne, Tom, ‘‘Lost and Found,’’ in Sight and Sound (London), Autumn 1975. Beylie, Claude, and M. Martin, ‘‘Sj?str?m, Stiller et L’Amérique,’’ in Ecran (Paris), September 1978. Torbacke, J., ‘‘Vem s?g Victor Sj?str?m m?sterverk?,’’ in Chaplin (Stockholm), vol. 22, no. 6, 1980. ‘‘Victor Sjostrom Issue’’ of Avant-Scène du Cinéma (Paris), July/ August 1984. Niogret, H., ‘‘Notes sur quelques films de Victor Sj?str?m,’’ in Positif (Paris), September 1987. Viviani, C., ‘‘Trois films américains pour conna?tre Victor Sj?str?m,’’ in Positif (Paris), June 1989. *** With a career in film that in many ways paralleled that of his close friend Mauritz Stiller, Victor Sj?str?m entered the Swedish film industry at virtually the same time (1912), primarily as an actor, only to become almost immediately, like Stiller, a film director. Whereas Stiller had spent his youth in Finland, however, Sj?str?m had spent six formative years as a child in America’s Brooklyn. Once back in Sweden after an unhappy childhood, his training for the theater proved fruitful. He became a well-established actor before entering the film industry at the age of 32. ‘‘The thing that brought me into filmmaking was a youthful desire for adventure and a curiosity to try this new medium,’’ he once said in an interview. The first films in which he appeared in 1912 were Stiller’s The Black Masks and Vampyren. Although Sj?str?m proved excellent as an actor in com- edy, his innate seriousness of outlook was reflected in the films he directed. He developed a deep response to nature and the spectacular northern landscape, capturing the expanses of ice, snow, trees, and mountains in all their (to him as to other Scandinavians) mystical force. One of his earliest films was Ingeborn Holm, which exposed the cruelties of the forced labor system to which the children of paupers were still subjected. This film was produced partially out- doors; Sj?str?m’s pantheistic response to nature was developed in Terje Vigen, his adaptation of Ibsen’s ballad poem, with its narrative set in the period of the Napoleonic confrontation with Britain. Sj?str?m himself played Terje, the bitter Norwegian sailor who had been imprisoned for a while by the British for attempting to break through their blockade at sea in order to bring food through to the starving people, including his wife and son, in his village. He fails in this attempt and they die as a consequence. Terje’s obsessive desire for vengeance is later purged as a result of his response to his British captor’s child, whom he rescues in a storm. Sj?str?m became a prolific director. He completed nearly 30 films between 1912 and 1918, the year he directed The Outlaw and His Wife. Of that film, French critic and filmmaker Louis Delluc wrote in 1921: ‘‘Here without doubt is the most beautiful film in the world. Victor Sj?str?m has directed it with a dignity that is beyond words . . . it is the first love duet heard in the cinema. A duet that is entire life. Is it a drama? . . . I don’t know.... People love each other and live. That is all.’’ In this film a rich widow abandons her estate to live in the mountains with her outlaw lover until, hounded by his pursuers, they die together in the snow. It is typical of the Swedish film that winter, after the symbolic summer of love, should become the synonym for death. Sj?str?m’s intense feeling for nature expanded still further in his first adaptation of a novel by Selma Lagerl?f who, as a writer in the grand tradition, became one of the primary inspirers of the Swedish cinema of this period. This adaptation was from The Lass from the Stormy Croft and featured a magnificent rustic setting which seems at once to transcend and embody the exigencies of human passion—the frustration of the poor peasant girl with her illegitimate child and the SKOLIMOWSKIDIRECTORS, 4 th EDITION 929 troubles that afflict the son of a landowner (played by Lars Hanson in his first important film role) who tries to befriend her. As Carl Dreyer, who in the same year made The Parson’s Widow in Sweden, com- mented, ‘‘Selma Lagerl?f’s predilection for dreams and supernatural events appealed to Sj?str?m’s own somewhat sombre artistic mind.’’ Sj?str?m’s most famous film before his departure for Hollywood in 1923 was The Phantom Chariot (also known as Thy Soul Shall Bear Witness), also based on a novel by Selma Lagerl?f. The legend had it that the phantom chariot came once each year, on New Year’s Eve, St. Sylvester’s Night, to carry away the souls of sinners. In the film the central character is David Holm, a violent and brutalized man who is brought to relive his evil past on St. Sylvester’s Night, especially the ill-treatment he had given his wife, until his conscience is awakened. As Holm recalls his wicked deeds in flashback he is haunted by the approach of the chariot, and is saved just in time through reunion with his wife, whose imminent suicide he prevents. Holm is played brilliantly by Sj?str?m himself, while Julius Jaenzen’s multi-expo- sure camerawork emphasizes the distinction between body and soul in visuals that surpass virtually all that had been achieved in cinematography by 1920. In the postwar era, Swedish films, with their comparatively heavy themes, began to prove less popular as exports. Sj?str?m, like Stiller, left for America on the invitation of Louis B. Mayer at MGM. He was to remain in Hollywood for six years, directing nine films under the name of Victor Seastrom. Of these, The Scarlet Letter, with Lillian Gish as Hester Prynne and Lars Hanson as the priest, and The Wind, also with Lillian Gish and Lars Hanson, are the more significant; the latter now ranks as a masterpiece of the silent cinema. Lillian Gish said of Sj?str?m that ‘‘his direction was a great education for me . . . the Swedish school of acting is one of repression.’’ In The Wind she plays a sensitive girl from Kentucky forced into marriage with a coarse cattleman from Texas, a repellent marriage which, along with the harsh Texan environment, finally drives her nearly insane and impels her to kill a male intruder in self-defense. The film, shot in the Mojave region, suffered from re-editing by the studio and the imposi- tion of a sound track. Sj?str?m’s single attempt to recreate Sweden in America was The Tower of Lies (with Lon Chaney and Norma Shearer), an adaptation of Selma Lagerl?f’s novel The Emperor of Portugal, which at least one American reviewer praised for, ‘‘its preservation of the simplicity of treatment in Thy Soul Shall Bear Witness.‘‘ Sj?str?m returned to Sweden in 1928 and directed one good sound film, Markurells i Wadk?ping, in which he starred as a grim man, much like Terje Vigen, who is finally purged of his desire for revenge. Apart from directing a lame period romance in England called Under the Red Robe, with Raymond Massey and Conrad Veidt, Sj?str?m concentrated on his career as an actor, giving at the age of 78 a great performance as the aged professor in Bergman’s Wild Strawberries. —Roger Manvell SKOLIMOWSKI, Jerzy Nationality: Polish. Born: Warsaw, 5 May 1938. Education: Edu- cated in literature and history at Warsaw University, diploma 1959; Warsaw University and State Superior Film School in Lodz, 1960–64. Career: Published first collection of poetry, Quelque part près de soi, 1959; directed first feature (as film student), Rysopis, 1964; Rece de gory banned by Polish authorities, left Poland, 1967; moved to United States, 1984. Awards: Grand Prix for Grand Prize, Bergamo Interna- tional Film Festival, 1966, for Barrier; Golden Bear, Berlin Film Festival, 1967, for Le Depart; Special Jury Grand Prize, Cannes Festival, 1978, for The Shout; British Film Award and Best Screen- play, Cannes Festival, for Moonlighting, 1982; Special Prize, Venice Film Festival, 1985, for The Lightship. Films as Director: 1960 Oko wykol (L’Oeil Torve) (short) (+ sc); Hamles (Le Petit Hamlet) (short) (+ sc); Erotyk (L’érotique) (short) (+ sc) 1961 Boks (Boxing) (short) (+ sc); Piednadze albo zycie (La Bourse ou la vie) (short) (+ sc); Akt (short) (+ sc) 1964 Rysopis (Identification Marks: None) (+ sc, pr, art d, ed, role as Andrzej Leszczyc) 1965 Walkower (Walkover) (+ sc, co-ed, role as Andrzej Leszczyc) 1966 Bariera (Barrier) (+ sc) 1967 Le Départ (+ co-sc); Rece do gory (Hands Up!) (+ sc, co-art d, role as Andrzej Leszczyc) 1968 Dialog (Dialogue) (+ sc, art d) 1970 The Adventures of Gerard (+ co-sc); Deep End (+ co-sc) 1971 King, Queen, Knave (+ co-sc) 1978 The Shout (+ co-sc) 1982 Moonlighting (+ sc, co-pr) 1984 Success Is the Best Revenge 1985 The Lightship 1989 Torrents of Spring (+ sc) 1991 Ferdydurke (+ sc) 1992 30 Door Key Other Films: 1959 Niewinni czardodzieje (Innocent Sorcerers) (Wajda) (co-sc) 1960 Noz w wodzie (Knife in the Water) (Polanski) (co-sc); Przy Jaciel (A Friend) (co-sc) 1981 Falschung (Schl?ndorff) (role) 1985 White Knights (Hackford) (role) 1987 Big Shots (Mandel) (role) 1996 Mars Attacks! (Burton) (role) 1998 L.A. without a Map (Kaurism?ki) (role) Publications By SKOLIMOWSKI: books— Quelque part près de soi, Np, 1958. La Hache et le ciel, Np, 1959. By SKOLIMOWSKI: articles— ‘‘Passages and Levels: Interview with Jerzy Skolimowski,’’ with Michel Delahaye, in Cahiers du Cinéma in English (New York), December 1967. ‘‘‘An Accusation That I Throw in the Face of My Generation’—A Conversation with the Young Polish Director, Jerzy Skolimowski,’’ in Film Comment (New York), Fall 1968. SKOLIMOWSKI DIRECTORS, 4 th EDITION 930 Jerzy Skolimowski ‘‘Jerzy Skolimowski: A Conversation,’’ with Peter Blum, in Film Culture (New York), Fall 1968. Interview with Michel Ciment and Bernard Cohn, in Positif (Paris), February 1972. ‘‘Skolimowski’s Cricket Match,’’ interview with Philip Strick, in Sight and Sound (London), Summer 1978. ‘‘Jerzy Skolimowski,’’ an interview with P. Carcassonne and others, in Cinématographe (Paris), June 1978. Interview with K.L. Geist in Films in Review (New York), vol. 33, no. 9, November 1982. Interview with Dan Yakir in Film Comment (New York), November/ December 1982. Interviews in Cahiers du Cinéma (Paris), January 1983 and Sum- mer 1984. Interview with E. Carrière and Michel Ciment in Positif (Paris), February 1986. ‘‘Under Western Eyes: Skolimowski’s Conradian Progress,’’ inter- view with Richard Combs in Monthly Film Bulletin (London), May 1986. ‘‘Jade do Polski robic ‘Ferdydurke,’’’ interview with V. Remy in Kino (Warsaw), June 1990. Interview with S. Mizrahi in Positif (Paris), March 1992. Interview with Peter von Bagh, in Filmihullu (Helsinki), no. 6, 1997. On SKOLIMOWSKI: book— Borin, Fabrizio, Jerzy Skolimowski, Florence, 1987. On SKOLIMOWSKI: articles— Toeplitz, Krzysztof-Teodor, ‘‘Jerzy Skolimowski: Portrait of a Debutant Director,’’ in Film Quarterly (Berkeley), Fall 1967. Thomsen, Christian, ‘‘Skolimowski,’’ in Sight and Sound (London), Summer 1968. Bean, Robin, ‘‘Adventures of Yurek,’’ in Films and Filming (Lon- don), December 1968. ‘‘Director of the Year,’’ in International Film Guide 1970, Lon- don, 1969. Lefèvre, R., ‘‘Jerzy Skolimowski ou la poésie du dérisoire,’’ in Cinéma (Paris), September/October 1973. Powers, J., ‘‘Under Western Eyes,’’ in American Film (Washington, D.C.), December 1986. SMITHDIRECTORS, 4 th EDITION 931 Fuksiewicz, J., ‘‘Des Polonais a l’Quest,’’ in CinemAction (Conde- sur-Noireau, France), July 1990. Saada, N., ‘‘Skolimowski tourne Ferdydurke,’’ in Cahiers du Cinéma (Paris), March 1991. Miodek, M., ‘‘Ferdydurke,’’ in Filmowy Serwis Prasowy, vol. 38, no. 3, 1992. Mizrahi, S., ‘‘La porte de la maturite,’’ in Positif (Paris), March 1992. Borroni, M., ‘‘Jerzy sul ring,’’ in Cineforum (Bergamo), January/ February 1997. Azzalin, C., ‘‘Meglio camminare,’’ in Segnocinema (Vicenza), Janu- ary/February 1997. *** Together with Roman Polanski, Jerzy Skolimowski is the most remarkable representative of the second generation of the Polish New Wave. Younger than Wajda, Munk, or Kawalerowicz, these two did not share the hope for a new society after World War II. They are more skeptical filmmakers, to the point of cynicism at times. With Polanski, Skolimowski wrote Knife in the Water, which deals pre- cisely with the relationship between two generations, after having also collaborated on the script of Wajda’s Innocent Sorcerers, one of the director’s rare attempts at portraying Poland’s youth. A student in ethnography, a poet, an actor, and a boxer, Skolimowski went to the Lodz film school (1960–1964) and graduated with a diploma work that brought world attention to his talent. That film, Rysopis (Identification Marks: None), and its totally controlled sequel Walkover, reveal an astonishing flexible style as it follows a central character, Andrzej Leszczyc, played by Skolimowski himself. With- out resorting to a subjective camera, the director nevertheless makes us see reality through his hero. He refuses dramatic plot twists, filming instead in a manner very much like a jazz musician—all rhythm and improvisation. Rysopis tells of the few hours before being called up for military service, while Walkover provides an account of the time preceding a boxing match. A limited number of shots (39 and 29, respectively!) give an extraordinary sense of fluidity, of life caught in its most subtle shifts. Bariera is a much more literary and symbolic work. It offers the same themes and milieu (young people, often students), although with a dreamlike atmosphere. The film’s somnambulistic quality reap- pears later in Skolimowski’s work, though integrated into its realistic surface. ‘‘Our cynical and indifferent generation still possesses romantic aspirations,’’ says one of the characters, a statement that accurately sums up the filmmaker’s ambivalent attitude toward life. If Bariera was, according to Skolimowski, influenced by Godard’s Pierrot le fou, his next film, Le Départ, shot in Belgium, borrowed two actors, Jean-Pierre Léaud and Catherine Duport, from the French director’s Masculin féminin. The film deals with a young hairdresser who dreams of becoming a rally driver, and his relationship with a girl. The same sensitive portrait of youth is found again in a more accomplished work, Deep End, a brilliant portrayal of a London swimming bath attendant and his tragic love affair. The titles of Skolimowski’s films (Walkover, Barrier, Departure, Hands Up, Deep End) suggest the relationship to sports, movement, and physical effort that characterize his nervous and dynamic style. Hands Up, banned for fifteen years by the Polish authorities because of its bleak symbolic portrayal of a group of people shut up inside a railway carriage, prompted Skolimowski to work in the West, though he has always returned regularly to his home country. But difficulties associated with an international career appeared quickly with the failure of The Adventures of Gerard, a spoof on Conan Doyle’s Napoleonic novel, and the more evident one of King, Queen, Knave, a film based on Nabokov’s novel that was shot in Munich. However, Skolimowski came back to the forefront of European filmmaking with The Shout and Moonlighting. The former, adapted from a Robert Graves short story, has a sense of the absurd which verges on creating a surrealistic atmosphere—a classic component of Polish culture. This film, which concerns a love triangle between a kind of sorcerer, the woman he is in love with, and her husband, is an intense, haunting piece of work. Moonlighting, arguably Skolimowski’s best film to date, was written and shot within a few months and looks deceptively simple. The tale of four Polish workers sent from Warsaw to refurbish the house a rich Pole has bought in London gradually reveals layers of meaning, commenting on contacts between East and West and repression in Poland. The nightmare emerges slowly from a close scrutiny of reality, confirming that Skolimowski’s materialism and lucidity do not contradict but rather refine his unique poetic sensibility. Subsequent films included Success, The Lightship, Torrents of Spring, and 30 Door Key. Of these, The Lightship was notable for its depiction of a grim power struggle between characters played by Klaus Maria Brandauer and Robert Duvall. Torrents of Spring, meanwhile, a visually lavish drama about a nineteenth-century Rus- sian aristocrat and his love for two women, was based on an Ivan Turgenev story. —Michel Ciment SMITH, Kevin Nationality: American. Born: Highlands, New Jersey, 2 August 1970. Education: Attended the New School for Social Research in New York for one semester, and the Vancouver Film School in British Columbia for four months. Family: Married Jennifer Schwalbach, 1999; daughter: Harley Quinn. Career: Enjoyed critical and commercial success with his first feature, Clerks, 1994; hired by Jon Peters to script Superman Lives, but his script eventually was rejected, 1995; established View Askew production company with Scott Mosier; owner of Jay and Silent Bob’s Secret Stash (comic book store), Red Bank, New Jersey; created Clerks: The Animated Series, ABC-TV, 2000. Awards: Cannes Film Festival Young Cinema Award, Sundance Film Festival Filmmakers Trophy, and Deauville Film Festival Audience Award, for Clerks, 1994; Independent Spirit Award for Best Screenplay, for Chasing Amy, 1997. Addresses: View Askew Productions, 69 Broad Street, Red Bank, NJ 07701, U.S.A.; c/o Jay and Silent Bob’s Secret Stash, 35 Broad Street, Red Bank, NJ 07701, U.S.A. Films as Director: 1992 Mae Day: The Crumbling of a Documentary (short) (+ sc, ro as himself, pr) 1994 Clerks (+ sc, ro as Silent Bob, co-pr, co-ed) 1995 Mallrats (+ sc, ro as Silent Bob) 1997 Chasing Amy (+ sc, ro as Silent Bob, co-ed) 1999 Dogma (+ sc, ro as Silent Bob, co-ed) SMITH DIRECTORS, 4 th EDITION 932 Kevin Smith (left) with Ben Affleck Other Films: 1996 Drawing Flies (Gissing, Ingram) (ro as Silent Bob, pr) 1997 A Better Place (Pereira) (pr); Good Will Hunting (Van Sant) (co-ex-pr) 1998 Vulgar (Johnson) (ro as Martan Ingram); Independent’s Day (Zenovich—for TV) (as himself); Overnight Delivery (Bloom) (co-sc, uncredited) 1999 Big Helium Dog (Lynch) (exec pr); Tail Lights Fade (Ingram) (exec consultant) 2000 Scream 3 (Craven) (ro as Silent Bob); Preacher (Talalay) (exec pr); Coyote Ugly (McNally) (co-sc) Publications By SMITH: books— Clerks and Chasing Amy: Two Screenplays, New York, 1997. Dogma: A Screenplay, New York, 1999. Jay & Silent Bob: Chasing Dogma, Portland, Oregon, 1999. Marvel’s Finest: Daredevil Visionaries, New York, 1999. Clerks: The Comic Book, Portland, Oregon, 2000. By SMITH: articles— John Pierson, ‘‘With the Conversational Collaboration of Kevin Smith,’’ interview in Spike, Mike, Slackers & Dykes, New York, 1995. ‘‘Film Fraternity,’’ in Filmmaker (Los Angeles), no. 4, 1995. ‘‘God Bless the Mall of America,’’ in Premiere (New York), July 1995. ‘‘Malleable,’’ interview with M. Ingram in Film Threat (Beverly Hills), December 1995. ‘‘Shannen Take 2: Director vs. Star,’’ in Film Threat (Beverly Hills), December 1995. ‘‘A Conversation with Writer and Director Kevin Smith,’’ interview with C. Duritz Jr., in Film History (London), no. 2, 1996. ‘‘Obsession Confession,’’ in Details (New York), November 1996. ‘‘Strip Teased,’’ in Details (New York), November 1996. ‘‘Lovelines,’’ interview with R. Pride in Filmmaker (Los Angeles), no. 3, 1997. SMITHDIRECTORS, 4 th EDITION 933 ‘‘Mr. Smith Goes to Emotion,’’ interview with G. Fuller in Interview (New York), April 1997. ‘‘Mr. Smith Goes to Hollywood,’’ interview with Mark Salisbury, in Premiere UK (London), December 1997. ‘‘Mr. Smith Goes to Church: Religious Spoof Dogma Came out of Crisis of Faith, Filmmaker Says,’’ interview with Bruce Kirkland, in Toronto Sun, 7 September 1999. On SMITH: articles— Smith, C., ‘‘Register Dogs,’’ in New York, 24 October 1994. Taubin, Amy, ‘‘The Sweet Sell of Success,’’ in Village Voice (New York), 1 November 1994. Peary, Danny, ‘‘What’s the Catch,’’ in Movieline (Los Angeles), March 1995. Taubin, Amy, ‘‘Before the Fall,’’ in Village Voice (New York), 5 September 1995. Wheeler, K., ‘‘Have Script? Will Travel,’’ in Onfilm (Auckland, New Zealand), no. 5, 1996. ‘‘Great XPectations,’’ in Time (New York), 9 June 1997. Elias, M., ‘‘De l’amour different,’’ in Séquences (Montreal), July- August 1997. Rudolph, E., ‘‘View Askew Lines up Its Sights,’’ in American Cinematographer (Hollywood), August 1997. Current Biography (New York), February 1998. Talty, Stephen, ‘‘The Clerk, the Girl, and the Corduroy Hand Job,’’ in Playboy (Chicago), December 1998. *** It is fitting that Kevin Smith hocked his comic book collection to partially finance Clerks, his breakthrough independent feature. The characters in Clerks and his subsequent films are reflective of the video game/comic book culture in which he came of age. They are slackers, stoners, and convenience store/suburban mall lounge lizards whose obsessions—American pop culture, drugs, and a colorfully graphic, gossipy, who-laid-who view of sex—have not transcended adolescence or young adulthood; his more entrepreneurial characters are artists, rather than yuppies. Smith’s films are set in a nondescript suburban-American landscape that is as much a part of his celluloid palate as Monument Valley was for John Ford. The worst that can be said of Clerks is that it is a movie made by a very young person who is short on real-life experience, and whose world view has been derived from repeated screenings of Star Wars. But that is precisely the point: Clerks features a distinctive cinematic sensibility that can be fully appreciated by those of Smith’s age and background. The main characters in the film are Dante, a likable 22-year-old convenience store clerk, and his obnoxious pal Randal, who works in an adjacent mom-and-pop video store. Dante and Randal are afflicted with the sort of ennui that the media tells us is the scourge of those contemporary twentysomethings who have not yet become million- aires by playing the stock market on-line. Dante resists the pleas of his girlfriend Veronica, who has been pressuring him to leave his dead- end job and return to school. He constantly complains about his job— if he quit, he would not be forfeiting a banker’s salary—and he obsesses about an ex-girlfriend who has just become engaged. Randal, meanwhile, spends more time talking trash with Dante than clerking in the video store. He casually and smugly insults customers, and is forever managing to foul up Dante’s life. Clerks was inspired by Smith’s experiences working for $5 an hour at the Quick Stop, the New Jersey convenience store that is the film’s primary setting. He penned the script in a month, filmed it at the store during his off-hours at a cost of $27,575—and promptly found himself, at the tender age of 24, at the epicenter of the burgeoning mid-1990s independent film movement. There is neither sex nor nudity in the film, just some rough, locker-room language in which characters engage in hilariously profane sex-oriented conversations. Yet because of that language Clerks originally was rated NC-17, a fact that Miramax, the film’s distributor, cannily milked for the maximum amount of publicity. The rating was changed to R on appeal. Mallrats, Smith’s follow-up feature, was a critical and commer- cial failure. Its story involves a parade of characters who hang out at a suburban mall; among them are T.S. Quint and Brodie, slackers who have just been dumped by their girlfriends. But Smith proved that he was no one-shot success story with his next film: Chasing Amy, a romantic comedy in which he ponders what might happen if a heterosexual male were to fall in love with a woman who is completely unavailable, not because she is married or has a steady boyfriend but because she prefers sleeping with women. Chasing Amy is the story of Holden, a successful young comic book artist who works with Banky, his old high school pal, and becomes smitten with Alissa, a perky fellow comic book artist, without knowing that she is a lesbian. Suffice to say that in the final reel of a standard Hollywood romance, Alissa would permanently renounce her sexual preference and she and Holden would set off on a happy-ever-after dance along the New Jersey Turnpike of life. But Chasing Amy is no generic Hollywood product. So what happens to Alissa and Holden as they work out their feelings is far more complex and credible. As their stories unfold, Chasing Amy becomes a knowing examination of what it means to fall in love, and the sexual and emotional baggage that men and women bring to relationships in our modern era. With regard to Holden’s connection to Banky, Chasing Amy contemplates the meaning of friendship and the petty jealousies that may come between friends as well as lovers. Ultimately, the film works best as a fervent plea for open-mindedness, compassion, and sensitivity. As such, it is by far the most fully developed of Smith’s first three features. Dogma, Smith’s next film, is a wickedly funny satire/fantasy/road movie about Loki and Bartleby, fallen angels who find a loophole in the Bible that will allow them to re-enter Heaven. As they set off on their quest, an array of characters parade across the screen. They include a woman whose religious faith has been severely tested, a messenger sent from heaven, a black apostle, a demon, and a muse. The film’s cheeky irreverence is exemplified by Smith’s casting of the anti-establishment comedian George Carlin as a Cardinal, and the pop singer Alanis Morisette as God. But the filmmaker is just being playful; he does not take cheap shots at his subject matter. Despite its absurdist overtones, Dogma is a serious-minded reflection on the meaning of faith and spirituality. To this end, Smith poses a series of questions: Why do we practice religion, and what do we get out of our faith? How do we know that what is written in the Bible is fact? How do we know that the images of Jesus found in religious art are true-to- life? Could there have been another apostle, and might he have been black? Can a practicing Catholic justify working in a womans’ health clinic? Could God really be a ‘‘she’’? As Smith asks these questions, he also comes to conclusions. He is critical of the manner in which religion has been sold to the masses, as if it were a soft drink or potato chip; the corporate marketing of images that the masses come to SODERBERGH DIRECTORS, 4 th EDITION 934 worship as idols; and all of the wars and violence that, through the ages, have been carried out ‘‘in God’s name.’’ Depending upon your point of view, Dogma either is a provoca- tive or profane film. To some, Smith is thoughtfully reflecting on the nature of faith. To others, his satirizing of religion is tantamount to blasphemy. And so, unsurprisingly, Dogma was the subject of much controversy prior to its release as it was denounced by conservative Catholics as being sacrilegious. Miramax, once a beacon for indepen- dent filmmaking but now an arm of Disney, bowed out as distributor. Dogma eventually was released by Lions Gate Films. Smith’s films, all of which are powered by non-stop dialogue, are extensions of each other in that their characters are interrelated. Those portrayed or mentioned in one might be friends, acquaintances, old schoolmates, or former lovers of those in another. Two of Smith’s creations slink in and out of each, and actually have featured roles in Dogma: Jay and Silent Bob (the latter played by Smith), a two-person slacker/stoner Greek chorus. Jay (Jason Mewes) is the loquacious one, endlessly obsessing about and commenting on sex and drugs, while Silent Bob is usually, but not always, speechless. When he does speak, he offers gems of wisdom. In addition to Jay and Silent Bob, Smith’s films usually feature two male characters (Dante and Randal in Clerks; T.S. Quint and Brodie in Mallrats; Holden and Banky in Chasing Amy; and Loki and Bartleby in Dogma) who are long-time friends or partners, and who verbally spar as if they are Ralph and Alice Kramden in The Honeymooners. —Rob Edelman SODERBERGH, Steven Nationality: American. Born: 14 January 1963, in Atlanta, Georgia. Education: High school graduate, 1980. Family: Married Betsy Brantley, 1989 (divorced, 1994); one daughter. Career: Did odd jobs while writing scripts and directing short films, 1980–85; directed 90125, a Yes concert film, for MTV, 1986; first feature, sex, lies, and videotape, a surprise international success, 1989. Awards: Grammy Award for Best Director, for 90125, 1986; Palme d’Or for Best Feature Film, Cannes International Film Festival, 1989, and Sundance Film Festival Audience Award and Independent Spirit Awards for Best Feature and Best Director, 1990, for sex, lies, and videotape; National Society of Film Critics Best Director Award for Out of Sight, 1998. Agent: Patrick Dollard, Dollard Management and Productions, 21361 Pacific Coast Highway νm3, Malibu, CA 90265, U.S.A. Films as Director: 1986 90215 (doc; for TV) 1989 sex, lies, and videotape (+ sc, ed) 1991 Kafka (+ ed) 1993 King of the Hill (+ sc); ‘‘The Quiet Room’’ (episode of TV series Fallen Angels) 1995 The Underneath (+ co-sc, uncredited) 1996 Gray’s Anatomy; Schizopolis (+ sc, ph, ro as Fletcher Munson/ Dr. Jeffrey Korchek) 1998 Out of Sight 1999 The Limey Steven Soderbergh 2000 Erin Brockovich; Traffic 2001 Ocean’s Eleven Other Films: 1993 Suture (McGehee) (exec pr) 1996 The Daytrippers (Mottola) (co-pr) 1998 Nightwatch (Bornedal) (co-sc); Pleasantville ( Ross) (co-pr) Publications By SODERBERGH: book— sex, lies, and videotape (journal and screenplay), New York, 1990. On SODERBERGH: book— Singer, Michael, A Cut Above: 50 Film Directors Talk about Their Craft, Los Angeles, 1998. On SODERBERGH: articles— Minsky, Terri, ‘‘Hot Phenom,’’ in Rolling Stone (New York), May 18, 1989. Jacobson, Harlan, ‘‘Truth or Consequences,’’ in Film Comment (New York), July-August 1989. SODERBERGHDIRECTORS, 4 th EDITION 935 Gabriel, Trip, ‘‘Steven Soderbergh: The Sequel,’’ in New York Times Magazine, 3 November 1991. Werckmeister, O. K., ‘‘Kafka 007,’’ in Critical Inquiry, Winter 1995. Kehr, Dave, ‘‘The Hours and Times: The (Film) World according to Steven Soderbergh,’’ in Film Comment (New York), September- October 1999. Johnston, Sheila, ‘‘The Flashback Kid,’’ in Sight and Sound (Lon- don), November 1999. *** Steven Soderbergh’s work is difficult to characterize as a whole, considering its remarkable variety. His first four features differ considerably in both style and subject: a contemporary sexual drama/ comedy, a fantasy thriller set in Kafka’s Prague, a portrait of a child growing up in Depression-era America, and a remake of a classic film noir. And the next five include a farce too avant-garde even for the art- house circuit and an altogether conventional Hollywood star vehicle. Following the sensational success of his first feature, sex, lies, and videotape, Soderbergh was often compared to other young indepen- dent American filmmakers, notably Jim Jarmusch and Hal Hartley. However, his film style has turned out to be much less immediately identifiable (or from a Hollywood viewpoint, less eccentric) than Hartley’s in particular. Overall, one can say that in his best films, he tells stories in concise and polished ways, reminiscent of classic Hollywood models, yet with fresh, unusual structures and surprising turns from scene to scene; and his cinematography is usually superb, notably in framing and lighting, though always adaptive to the overall subject and mood. sex, lies, and videotape is more than a highly accomplished debut film—it would be highly accomplished at any stage of a career. In portraying a budding relationship between a man who is impotent, except when watching his own video interviews with women on sexual topics, and a woman recoiling from the discovery that her husband and sister are having an affair, the writer/director manages to create neither low farce nor soap-operatic psychodrama. Actually, the film is rather touchingly romantic, in a witty, gentle, unsoppy sort of way. Soderbergh deftly introduces the four main characters through a montage of scenes linked by a voiceover of Ann speaking to her therapist; he moves the story forward with some striking close-ups and high angle shots, while unobtrusively linking each character to a special decor (mostly empty spaces in Graham’s case). And he brilliantly structures the climactic scene of Ann taking hold of Graham’s video camera: its second half unfolds only later, when her unfaithful but furious husband seizes her tape and begins to watch it, at which point Soderbergh cuts from the video footage to a flashback of Ann and Graham making the tape. As for the director’s handling of the actors, one might simply note that the film immeasurably boosted the careers of James Spader and Andie MacDowell and gave Laura San Giacomo a strong debut. If Peter Gallagher’s performance is merely solid—perhaps because his character is conceived more as a simple type than the other three—Soderbergh did later provide the actor with one of his best, most subtle screen roles, in The Under- neath. Striking into new territory for his eagerly anticipated second feature, Soderbergh created a work uneasily occupying a space between a European art film and a plot-driven Hollywood suspense film. Kafka has a script that derives from two different kinds of paranoid world—the literary one of Franz Kafka and the cinematic one of the political-conspiracy thriller. Its visual style seems inspired by Carol Reed’s The Third Man (rather than Orson Welles’s version of Kafka’s The Trial), and perhaps too blatantly by Terry Gilliam’s Brazil in the color sequence inside the Castle. The film does have astonishingly handsome black-and-white cinematography, some quite terrifying moments involving a shrieking killer, and some droll slapstick humor in the antics of a pair of office assistants. But there is an awkwardness in having a protagonist who on one level is the ‘‘real’’ Franz Kafka—shown as a drudge in an insurance office who writes agonized letters to his father and fantastic stories like ‘‘Meta- morphosis’’—but on another level is a reluctant movie hero drawn into uncovering a sinister organization that turns out to be diabolical in a much more conventional way than anything in an actual Kafka story. King of the Hill has its terrifying moments too, notably in the figure of a snarly bellboy trying to evict the young hero from the hotel room where his father has more or less abandoned him. Indeed, all three of Soderbergh’s features following sex, lies, and videotape have a single isolated male protagonist trapped in a world out of his control or comprehension. But King of the Hill also particularly recalls sex, lies, and videotape in its concern with lies and the doubtful knowability of other people. The plot, based upon A. E. Hotchner’s memoir, centers upon the efforts of an impoverished twelve-year-old (Jesse Bradford) to pass himself off at school as well-to-do, and upon his need to trust that his suspiciously undemonstrative father (Jeroen Krabbe) will return to him. Overall, the story line is rather dark: the boy not only is exposed as a liar, but loses contact with everyone he loves—in turn, his kid brother, sickly mother, travelling-salesman father, the girl next door, and his roguish best friend—until he is nearly literally reduced to starvation. Yet, in Dickensian fashion, there are also warm, even comical moments and whole episodes, as well as a number of reunions. Soderbergh manages to balance the bleak and joyful elements skillfully, for the most part, though one might wish the cinematography did not have that hazy golden glow that for a time was too commonly used for period pieces. In choosing to remake the classic film noir Criss Cross, Soderbergh had a perfect vehicle for continuing his fascination with motifs of lies, trust, and seemingly cosmic entrapment within the conventions of a genre that specializes in such concerns. Most impressively, The Underneath has the true noir feel, without aping the black-and-white visuals of the Robert Siodmak original or other 1940s films, or leaning toward parody à la Body Heat, or making a slick melodrama with an unambiguously decent protagonist and an upbeat ending (as in Barbet Schroeder’s remake of Kiss of Death, which opened at the same time as The Underneath). Selecting widescreen Panavision with some very unsettling compositions, and constructing a far more complex flashback structure than the original film had, Soderbergh flawlessly plays out the drama of an ex-gambling addict still obsessed with his ex-wife (now married to a gangster) and drawn into an armored car robbery that betrays his kindly mentor. There is a telling moment when Michael’s new girlfriend, sensing his mind on other things, remarks, ‘‘You’re not very present tense’’: a perfect descrip- tion of a noir hero trapped in webs of the past and fearing the future. In the film’s fluid flashback structure we indeed see Michael’s life fluctuating between three timelines, and only gradually put the puzzle together: his selfish or addictive past (marked by his having a beard); his ethical/familial/sexual entanglements when he returns to his hometown; and (in what may be considered flashforwards) the day of the robbery, marked by bluish lighting and time subtitles, like ‘‘6:02 p.m.’’ Only at the violent moment of the robbery, more than an hour into the film, are we fully ‘‘caught up’’ in time; and at this point SOLANAS and GETINO DIRECTORS, 4 th EDITION 936 Soderbergh proceeds to a daring seven minutes of POV shots as a delirious Michael watches various characters address him in his hospital bed. This is followed by a set piece of suspense, involving a possible assassin, that owes something to Siodmak’s film but is so superbly gauged that it is a classic in itself. Receiving mixed reviews and low attendance at its opening, The Underneath quickly disappeared from theatres—an undeserved fate for one of the best of the neo-noirs, and perhaps Soderbergh’s most accomplished work after sex, lies, and videotape. Taking a break from conventional storytelling, he shot a Spaulding Gray performance piece, Gray’s Anatomy, and then the curious Schizopolis, which he wrote, photographed, and starred in, playing both a minor executive for a Scientology-like firm and a dentist who is having an affair with the executive’s wife. Soderbergh proves to be a deft enough comic actor, and writes some ingenious dialogue for husband and wife in the form of summaries. (Upon the wife’s return home ‘‘from a movie’’: ‘‘Obligatory question about the evening’s activities.’’ ‘‘Oh, quali- fied, vaguely positive reply.’’) Less amusing are scenes when his character is dubbed into Italian or French, or when men in white outfits are chasing a madman wearing only a t-shirt with the movie’s name on it. Parts of the film toy with narrative levels in a Monty Python manner, but the comic timing often seems vaguely off. Soderbergh moves back into fine form, however, and critical and popular success, with the Elmore Leonard adaptation Out of Sight. Too playful to be properly called a thriller, though it features jailbreaks, crazed killers, graphic violence, and a climactic armed robbery caper, the film provides perfect roles for George Clooney as a cool and clever petty criminal and Jennifer Lopez as a U.S. Marshall trying to bring him in but (sort of) falling in love with him. The film’s racial and gender politics may be open to question (black men are either villains or loyal sidekicks, and Lopez is drawn to Clooney even though he kidnaps her upon their first meeting), but the performances are accomplished, the jazzy soundtrack sets a laid-back mood, and the editing is beautifully fluid even with the film’s extremely intricate flashback/flashforward structure. All of these virtues come together in a scene of seduction with snow falling outside a hotel window, a model of elegant cinematic romance. The Limey uses flashbacks and flashforwards too, but in less fluid, more flashily self-conscious way. Here the technique and some of the plot recall John Boorman’s 1967 Point Blank. Terrence Stamp is suitably hard-boiled as an ex-con taking revenge on a whole slew of younger mobsters, but Peter Fonda as the head villain seems a gim- mick in casting, and the tale, despite the narrative games, is rather one-dimensional, with a weak resolution. Perhaps the most surprising turn in Soderbergh’s career to date is not his choice of the muckraking drama Erin Brockovich for his next project, but his actual direction of it. From the opening close-up of Julia Roberts the film is clearly gauged as a vehicle for the star, whose demeanor is just a little too classy, and her outfits a little too calculatedly vulgar, for her to be fully plausible as the real-life redneck lawyer’s assistant who brought a successful lawsuit against a powerful utility for poisoning people’s groundwater. But the casting is not the problem: it is that virtually every shot, every character’s reaction to every story development, seems utterly predictable from beginning to end. One can only hope that the film’s huge box-office success will not keep Soderbergh from making the deftly structured, surprising dramas he has achieved in the past. —Joseph Milicia SOLANAS, Fernando E., and Octavio GETINO Nationality: Argentinian. Born: Solanas born in Buenos Aires, 16 February 1936; Getino born in Spain, moved to Argentina, 1952. Education: Solanas studied law, theater, and musical composition. Career: Solanas worked in advertising, early 1960s; Getino active as writer, also made short documentary Trasmallos, early 1960s; both entered Cine Liberación group, making underground films, 1966; Perón returned to power, Getino accepted post on national film board, 1973; following military coup against Perón, Solanas moved to Paris, Getino moved to Peru, working for TV, 1976; Getino moved to Mexico as member of Film Dept. of the Universidad Autónoma de México, 1982. Awards: Solanas, Best Director Award, Cannes Festival, for Sur, 1988. Films as Directors: 1968 La hora de los hornos (The Hour of the Furnaces) (Solanas d, co-sc, co-ph, ed, mus; Getino co-sc, sound) 1971 Perón: actualización politica y doctrinaria para la toma del poder; Perón: La revolución justicialista (both films made as part of Grupo de Cine Liberación) 1973 El familiar (Getino only) 1976 Los hijos de Fierro (Solanas only) 1978 La familia Pichilin (Getino only) 1979 La mirada de los otros (Régard des autres)) (doc) (Solanas only) 1986 Tangos—el exilio de Gardel (Tangos—l’exil de Gardel) (Solanas only) 1988 Sur (Solanas only) 1992 El Viaje (Solanos only) 1998 La Nube (The Clouds) (Solanos only) (+ sc, exec pr) Publications By SOLANAS AND GETINO: books— Cine, cultura y descolonización, Mexico City, 1973. Getino, Octavio, Notas sobre cine argentino y latinoamericano, Mexico City, 1984. By SOLANAS AND GETINO: articles— ‘‘Cinema as a Gun,’’ an interview with Solanas by Gianni Volpi and others, in Cineaste (New York), Fall 1969. ‘‘Fernando Solanas: An Interview,’’ in Film Quarterly (Berkeley), Fall 1970. Getino, Octavio, and Fernando Solanas, ‘‘Toward a Third Cinema,’’ in Cineaste (New York), Winter 1971. Solanas, Fernando, and others, ‘‘Situation et perspectives du cinéma d’Amérique Latine,’’ in Positif (Paris), June 1972. ‘‘Dar espacio a la expresión popular,’’ Solanas interview, in Cine Cubano (Havana), no. 86/88, 1973. ‘‘Argentina: Fernando Solanas,’’ an interview with Don Ranvaud, in Framework (Norwich), Spring 1979. SOLANAS and GETINODIRECTORS, 4 th EDITION 937 Solanas, Fernando, and others, ‘‘Round Table: The Cinema: Art Form or Political Weapon,’’ in Framework (Norwich), Autumn 1979. ‘‘Godard on Solanas/Solanas on Godard,’’ in Reviewing Histories, edited by Coco Fusco, Buffalo, New York, 1987. ‘‘The Tango of Esthetics and Politics,’’ interview with Solanas by Coco Fusco, in Cineaste (New York), vol. 16, nos. 1/2, 1987/1988. Interview with Paranagua, in Positif (Paris), December 1988. ‘‘De La hora de los hornos a Sur: Entrevista con Fernando Solanas,’’ with Luis Gastelum, in Dicine (Mexico City), September 1989. ‘‘Durch die Stimme der Poesie,’’ an interview with Margret K?hler, in Film-Dienst (Cologne), 13 April 1993. ‘‘Fernando Solanas: Cuatro respuestas/Con Solanas proa hacia un viaje real? e imaginario,’’ an interview with Jorge Yglesias and Luciano Castillo, in Cine Cubano (Habana), no. 138, 1993. Newman,K., ‘‘National Cinema after Globalization: Fernando E. Solanas’ Sur and the Exiled Nation,’’ in Quarterly Review of Film and Video (Reading), April 1993. Interview with Hélène Romano, in Jeune Cinéma (Paris), Janu- ary 1994. On SOLANAS AND GETINO: books— Pick, Zuzana Mirjam, Latin American Filmmakers and the Third Cinema, Ottawa, 1978. King, John, and Nissa Torrents, editors, The Garden of Forking Paths: Argentine Cinema, London, 1988. Pines, Jim, and Paul Willemen, editors, Questions of Third Cinema, London, 1989. King, John, Magical Reels: A History of Cinema in Latin America, London, 1990. On SOLANAS AND GETINO: articles— Matthews, John, ‘‘. . . And After?: A Response to Solanas and Getino,’’ in Afterimage (London), Summer 1971. Wilson, David, ‘‘Aspects of Latin American Political Cinema,’’ in Sight and Sound (London), Summer 1972. Burton, Julianne, ‘‘The Camera as ‘Gun’: Two Decades of Culture and Resistance in Latin America,’’ in Latin American Perspec- tives, Winter 1978. Hennebelle, Guy, ‘‘Le Réalisme magique et les élans du coeur,’’ in Ecran (Paris), 15 March 1979. Stam, Robert, ‘‘Hour of the Furnaces and the Two Avant-Gardes,’’ in Millennium (New York), Fall/Winter 1980/81. ‘‘Solanas Issue’’ of Avant-Scène du Cinéma (Paris), January/Febru- ary 1989. Evora, J. A., ‘‘Milagro en la Torre de Babel,’’ in Cine Cubano, no. 129, 1990. Chanan, M., ‘‘Le troisieme cinema de Solanas et Getino,’’ in Cinemaction, July 1991. Paranagua, P. A., ‘‘Solanas, victime d’un attentat,’’ in Positif (Paris), July/August 1991. Arlyck, R., ‘‘Argentine Filmmaker Fights Menem ‘Mafia,’’’ in The Independent, October 1991. Pelko, S., ‘‘Fernando Solanas: izumitelj poti,’’ in Ekran, no. 6/7, 1992. Vicari, D., ‘‘La volonta di crescere nel viaggio di Fernando Solanas,’’ in Cinema Nuovo, March/April 1993. Deslandes, Jeanne, ‘‘Persiste et signe: Le voyage de Fernando Solanas,’’ in Ciné-Bulles (Montreal), Summer 1993. Chanan, Michael, ‘‘The Changing Geography of Third Cinema,’’ in Screen (Oxford), Winter 1997. *** Originators of the pivotal ‘‘third cinema’’ concept, Fernando E. Solanas and Octavio Getino demonstrated its practice in the only really important film they were to make—the influential La hora de los hornos. ‘‘Third cinema’’ was the product of a very specific context: the world-wide insurrections during the late 1960s. While U.S. students were protesting against the Vietnam War, Argentina moved close to genuine social revolution for the first time in its history. Solanas and Getino participated in that movement as cineastes, but they made it clear that their concern was with social change, not film art, in their first declaration as the Cine Liberacion Group: ‘‘Our commitment as cineastes in a dependent country is not with universal culture or art or abstract man; before anything else it is with the liberation of our country and the Latin American peoples.’’ As intellectuals and artists in a neo-colonial situation, Solanas and Getino were greatly influenced by the ‘‘Third Worldism’’ of the period, frequently citing ideologists from the African (Frantz Fanon) and Asian (Mao Tse-Tung) struggles. They contrasted ‘‘third cin- ema’’ to the ‘‘first cinema’’ of the Hollywood industry and to the auteurist ‘‘second cinema’’ in various ways, distinguishing it first of all by its ideological commitment to anti-imperialism and the struggle for socialism. Against the consumerism provoked by the hermetic narrative structures of Hollywood, they proposed a cinema which would require active audience participation. Thus, a film was impor- tant as a ‘‘detonator’’ or a ‘‘pretext’’ for assembling a group, not as an experience that was born and that died on the screen. Likening themselves to guerrillas who open paths with machete blows, they perceived cinema as a provisional tool: ‘‘Our time is one of hypothe- sis rather than thesis, a time of works in process—unfinished, unordered, violent works made with the camera in one hand and a rock in the other.’’ The most realized description of ‘‘third cinema’’ can be found near the end of their often-reprinted essay, ‘‘Toward a Third Cin- ema.’’ There they summarize it in the following manner: ‘‘The third cinema above all counters the film industry of a cinema of characters with one of themes, that of individuals with that of masses, that of the author with that of the operative group, one of neocolonial misinfor- mation with one of information, one of escape with one that recaptures the truth, that of passivity with that of aggressions. To an institutional- ized cinema, it counterposes a guerilla cinema; to movies as shows, it opposes a film act . . . to a cinema made for the old kind of human being, it proposes a cinema fit for a new kind of human being, for what each one of us has the possibility of becoming.’’ Given their concern to produce a cinema of information rather than one of fantasies to be consumed, Solanas and Getino naturally turned to the documentary. However, they conceived of the documen- tary as ‘‘not fundamentally one which illustrates, documents, or passively establishes a situation; rather it attempts to intervene in the situation as an element providing thrust or rectification . . . it provides discovery through transformation.’’ La hora de los hornos may be a bit too didactic at times, but it was certainly more ‘‘revolutionary’’ than the documentaries they were to make as the official cineastes they became on the return of Juan Perón, the urban populist who was president of Argentina (1946–55 and 1973–74). SOLAS DIRECTORS, 4 th EDITION 938 Because of the timeliness of La hora de los hornos and the extensive publication of Solanas and Getino’s theoretical writings and interviews, they have received attention which may be dispropor- tionate to that given to other Latin American cineastes of greater achievement, most notably the Cubans. Nonetheless, the French film critic Guy Hennebelle argued that ‘‘third cinema’’ is the concept that seems to be ‘‘most viable’’ as a counterpoint to traditional film study, stating, ‘‘according to this perspective, a veritable ‘counter-history’ of the seventh art is yet to be written.’’ In both their writings and their cinematic practice, Solanas and Getino have provided an alternative and a clearly articulated challenge to bourgeois cinema. —John Mraz SOLAS, Humberto Nationality: Cuban. Born: Havana, December 1942. Education: Studied architecture, 1957. Career: Involved in insurrectionary movement against Batista government, 1957–59; member of Instituto Cubano de Arte e Industria Cinematografico (ICAIC), from 1959; directed first film in collaboration with Hector Veitia, under supervi- sion of Joris Ivens, 1961; Licenciatura in history, University of Havana, 1978. Films as Director: 1961 Casablanca 1962 Minerva traduce el mar (co-d) 1963 Variaciones; El retrato 1964 El acoso 1965 La acusation; Manuela 1968 Lucía 1972 Un dia de Noviembre 1974 Simparele 1975 Cantata de Chile (+ sc) 1977 Nacer en Leningrado (short) 1978 Wilfredo Lam 1982 Cecilia Valdés 1983 Amada 1986 Un hombre de exito (A Successful Man) (+ sc) 1992 El Siglo de las luces Publications By SOLAS: articles— Interview with Pastor Vega, in Cine Cubano (Havana), no. 42/ 44, 1967. Interview with Gerardo Chijona, in Ecran (Paris), January 1977. Interview with Gerardo Chijona, in Cine Cubano (Havana), March 1978. Interview with Julianne Burton and Marta Alvear, in Jump Cut (Chicago), December 1978. Interview with J. King, in Framework (Norwich), Spring 1979. ‘‘Reflexiones,’’ in Cine Cubano (Havana), no. 102, 1982. ‘‘Alrededor de una dramaturgia cinematográfica latinoamericano,’’ in Cine Cubano (Havana), no. 105, 1983. Interview in Cine Cubano (Havana), no. 116, 1986. Interview with P. L. Thirard and P. A. Paranagua, in Positif (Paris), December 1988. Interview with H. Romano, in Jeune Cinéma (Paris), July/August 1993. ‘‘Kino in Kuba,’’ an interview with Rainer Braun, in EPD Film (Frankfurt), May 1997. On SOLAS: books— Nelson, L., Cuba: The Measure of a Revolution, Minneapolis, 1972. Myerson, Michael, Memories of Underdevelopment: The Revolution- ary Films of Cuba, New York, 1973. Chanan, Michael, The Cuban Image, London, 1985. Burton, Julianne, editor, Cinema and Social Change in Latin Amer- ica: Conversations with Filmmakers, Austin, Texas, 1986. On SOLAS: articles— Sutherland, Elizabeth, ‘‘Cinema of Revolution—Ninety Miles from Home,’’ in Film Quarterly (Berkeley), Winter 1961/62. Adler, Renata, article in New York Times, 10, 11, and 12 Febru- ary 1969. Engel, Andi, ‘‘Solidarity and Violence,’’ in Sight and Sound (Lon- don), Autumn 1969. Biskind, P., ‘‘Lucía: Struggles with History,’’ in Jump Cut (Chicago), July/August 1974. Mraz, John, ‘‘Lucía: History and Film in Revolutionary Cuba,’’ in Film and History (Newark, New Jersey), February 1975. Kovacs, Steven, ‘‘Lucía: Style and Meaning in Revolutionary Film,’’ in Monthly Review (New York), June 1975. ‘‘Solas Issue’’ of Jump Cut (Chicago), December 1978. Film a Doba (Prague), November 1986. Cioni, P. ‘‘Humberto D. Solas: Dal neorealismo alla realta virtuale,’’ in Cinema Sud (Avellino), August/September/October 1997. *** Perhaps the foremost practitioner of the historical genre for which Cuban cinema has achieved international acclaim, Humberto Solas is a member of the first generation of directors to mature under the revolution. Of humble origins, Solas became an urban guerrilla at age fourteen and later left school altogether because ‘‘it was a very unstable time to try to study. Either Batista (dictator of Cuba) closed down the university, or we did.’’ Prior to the triumph of the revolu- tion, being a filmmaker ‘‘seemed like an unrealizable dream,’’ but Solas financed a short film out of his savings and was invited to join the Cuban Film Institute (ICAIC) soon after its founding in 1959. Although it is customary for Cuban directors to serve an extensive apprenticeship in documentaries, Solas directed several early fiction shorts as well. He considers his imitation of European film styles in these works to be typical of feelings of cultural inferiority and alienation in the underdeveloped world, and affirms that ‘‘Neither me, nor my generation, nor my country can be seen in any of these films.’’ SOLONDZDIRECTORS, 4 th EDITION 939 Historical subjects proved to be Solas’s avenue to Cuban and Latin American reality. He believes that the importance attached to histori- cal films in Cuba derives from the fact that ‘‘Our history had been filtered through a bourgeois lens. We lack a coherent, lucid, and dignified appreciation of our national past.’’ Manuela, a medium- length film on the guerrilla war in the mountains, was the first of Solas’s works to embody ‘‘more genuinely Cuban forms of expres- sion.’’ His continuing search for national (and Latin American) cinematic idioms and themes led him to direct his masterpiece to date, Lucía, at age twenty-six. Focusing on three periods of Cuban history through the characters of representative women, Solás used three different film styles to portray forms of experience and cognition during these epochs. In his later films, Solas interpretively analyzed the history of Haiti (Simparele), Chile (Cantata de Chile), and slavery in Cuba (Cecilia Valdés). These works are marked by an exciting blend of music, dance, documentary footage, primitive painting, and the re-enactment of historical events in an operatic style. Solas considers his films ‘‘historical melodramas,’’ in which a Marxist perspective provides a materialistic explanation for events and personal psychology. He contrasts this to common melodrama and its ‘‘particular world of valorative abstractions’’ which determine events, but lack the power to explain them. For example, although the travails suffered by the heroines of Lucía are experienced personally, they are depicted as deriving specifically from the colonial and neo- colonial situation of Cuba (and vestigial machismo), rather than from any ‘‘eternal passions’’ which have no relationship to concrete historical circumstances. For Solas, historical cinema is always a dialogue about the present, and he has often chosen women as a central metaphor in his films because, as a dominated group, they feel more deeply and reflect more immediately the contradictions of society—for example, the mainte- nance of archaic forms such as machismo in a revolutionary situation. As Solas states: ‘‘The sad masquerade of limited, archetyped, and suffocating human relations in defense of private property is most transparent in the case of the women—half of humanity. The pathetic carnival of economic exploitation begins there.’’ To Solas, the past is only present insofar as it continues to condition (for both good and bad) the lives of people today. It is about this past/present that Humberto Solas has made and continues to make beautiful and moving cinema. —John Mraz SOLONDZ, Todd Nationality: American. Born: Newark, New Jersey, 15 October 1959. Education: Studied film, New York University. Career: Made three award-winning short films while at New York University, Feelings, Babysitter, Schatt’s Last Shot; spent six years teaching English as a Second Language to immigrants from Syria, Russia, and other countries; made short film, How I Became a Leading Artistic Figure in New York City’s East Village Cultural Landscape, for Saturday Night Live. Awards: Grand Jury Prize, Sundance Film Todd Solondz on the set of Welcome to the Dollhouse Festival, for Welcome to the Dollhouse, 1996; FIPRESCI Award, Cannes Film Festival, for Happiness, 1998. Films as Director: 1989 Fear, Anxiety, and Depression (+ sc, ro as Ira Ellis) 1995 Welcome to the Dollhouse (Middle Child) (+ sc, pr) 1998 Happiness (+ sc) Films as Actor: 1988 Married to the Mob (as The Zany Reporter) 1997 As Good as It Gets (as Man on Bus) Publications By SOLONDZ: articles— ‘‘Surviving Adolescence with Dignity: An Interview with Todd Solondz,’’ interview with Alice Cross, in Cineaste (New York), vol. 22, no. 3, Summer 1996. ‘‘Bullies for You,’’ interview with Geoff Andrew, in Time Out (London), no. 1379, 22 January 1997. ‘‘Suburban Shocker,’’ interview with Kitty Bowe Hearty, in Inter- view (New York), vol. 28, no. 11, November 1998. SPHEERIS DIRECTORS, 4 th EDITION 940 On SOLONDZ: articles— Taubin, Amy, ‘‘Before the Fall,’’ in Village Voice, 5 September 1995. Chang, Chris, ‘‘Cruel to Be Kind: A Brief History of Todd Solondz,’’ in Film Comment (New York), vol. 34, no. 5, September-Octo- ber 1998. Lewis Conn, Andrew, ‘‘The Bad Review Happiness Deserves or: The Tyranny of Critic-Proof Movies,’’ in Film Comment (New York), vol. 35, no. 1, January 1999. ‘‘The Culture,’’ in National Review, 9 November 1998. Lucia, Cynthia, and Ed Kelleher, ‘‘Happiness,’’ in Cineaste (New York), vol. 24, no. 2–3, Spring-Summer 1999. Taylor, Charles, ‘‘Welcome to the Nerdhouse,’’ Sight and Sound, March 1999. Charity, Tom, ‘‘Solondz Is Golden,’’ in Time Out, 14 April 1999. *** Todd Solondz’s first film—the one almost nobody has seen including (or so he claims) Solondz himself—was called Fear, Anxiety, and Depression. It’s a measure of the precision with which the director has staked out his own highly specific territory that the title could have served equally well for either of his two subsequent features. With Welcome to the Dollhouse and, even more, Happiness, Solondz has definitively established himself as the cinematic bard of squirming, self-despising misery. Swimming determinedly against the mainstream of American cinema, with its propensity for easy consolation and feel-good narrative closure, he has so far persisted, often in the face of public outrage and critical abuse, with his disquieting brand of anguished comedy. ‘‘Misanthropy’’ is the charge most often levelled at Solondz; in a sustained and largely personalised attack, the critic Charles Taylor accused him of ‘‘timidity of technique, paucity of insight and smug misanthropy.’’ These and similar indictments were prompted by Happiness. But it could be argued that the widely acclaimed Dollhouse painted a blacker picture of humankind in general. While continuing the cycle of ‘‘schooldays are hell’’ dark comedies such as Michael Lehmann’s Heathers and Richard Linklater’s Dazed and Confused, Solondz’s film lacks any leavening of borderline sympathetic charac- ters. In Dollhouse nobody is likeable, not even the victimised heroine; when the opportunity offers, she callously vents her spleen on someone yet more vulnerable than herself. It’s clear that Dawn—even her name is a cruel irony—will grow up into a bitter, unpleasant adult thanks to her childhood torments. In Solondz’s own words, ‘‘Both the persecutors and the persecuted are damaged and warped, maybe for life.’’ The characters of Happiness are all, in their different ways, social disaster areas, but not all of them are ill-intentioned. Ironically, if Solondz had made everybody in the film nastier it might have hit a lot less flak. Press hackles were raised, and Happiness’s distributors, October, were forced by their parent com- pany Universal to drop the film, largely on account of its paedophile element. The film’s most seemingly normal and well-adjusted char- acter, a happily married psychiatrist, turns out to be a serial rapist who drugs his 10-year-old son’s male schoolfriends during overnight stays in order to sodomise them. Solondz has the audacity not only to present this man in the context of a comedy (albeit a thoroughly miserabilist comedy), but to refuse to demonise him. The psychiatrist, Bill, may be a pederast, but he’s also a good husband and a loving father. The scene where Bill, exposed, has to explain himself to his son is honest, tender—and funny. In response to the expressions of outrage, and to objections that the film as a whole mocks and patronises social inadequates, Solondz responds, ‘‘I don’t see them that way. I endeavour to get under the skin of characters who for me are bleeding souls. The compelling themes for me are loneliness and desire, alienation and a struggle to connect.’’ At the same time, the director who originally wanted to call Dollhouse ‘‘Faggots and Retards’’ could scarcely claim that contro- versy over his work was unexpected, or even uninvited. ‘‘After Dollhouse everything was open to me, careerwise. I wanted to take advantage of that.... So I thought what’s the most horrific, horrible thing? I wanted to know how far I could push.’’ It can’t be denied that the comedy of Solondz’s films—Dollhouse no less than Happiness—derives from cruelty, and several of his characters, such as Philip Seymour Hoffman’s sweaty sexual harasser in Happiness, can well be described as grotesque. But it’s disputable whether their creator treats them cruelly; even at their most abjectly inadequate, they never lack the last saving degree of pathos. Solondz’s films tread a very fine line, a knife-edge between comedy and contempt. It’s a fiendishly difficult balancing-act, and he doesn’t always succeed in maintaining it; but in view of the vast preponder- ance of comedies that plump, complacently for the easiest of options, Solondz deserves applause for the disquieting audacity of his vision. —Philip Kemp SPHEERIS, Penelope Nationality: American. Born: New Orleans, Louisiana, 2 December 1945. Education: School of Theater, Film, and Television, Univer- sity of California at Los Angeles, M.F.A. Family: One daughter, whose father died of a heroine overdose in 1974. Career: Voted Most Likely to Succeed by her high school classmates; made several short films while studying at UCLA, early 1970s; worked as an actress and film editor, early 1970s; founded Rock ‘n’ Reel, a company specializ- ing in rock music promotion, 1974; produced short films directed by Albert Brooks and presented on Saturday Night Live, mid-late 1970s; entered the motion picture industry as producer of Brooks’s feature Real Life, 1979; directed first theatrical feature, the documentary The Decline of Western Civilization, 1981; directed first fictional feature, Suburbia, 1984; co-created, co-wrote, and directed television series Danger Theater, 1993. Agent: The Gersh Agency, 232 North Canon Drive, Beverly Hills, CA 90210, U.S.A. Films as Director: 1981 The Decline of Western Civilization (doc) (+ sc, pr) 1984 Suburbia (The Wild Side) (+ sc) SPHEERISDIRECTORS, 4 th EDITION 941 Penelope Spheeris with Marlon Wayans on the set of Senseless 1985 The Boys Next Door 1986 Hollywood Vice Squad 1987 Dudes 1988 The Decline of Western Civilization II: The Metal Years (doc) (+ sc) 1991 Prison Stories: Women on the Inside (for TV) (episode of three-part film) 1992 Wayne’s World; Lifers Group: World Tour (doc short) 1993 The Beverly Hillbillies 1994 The Little Rascals (+ sc) 1995 Black Sheep 1998 The Thing in Bob’s Garage; Senseless; The Decline of West- ern Civilization Part III Other Films: 1979 Real Life (Brooks) (pr) 1987 Summer Camp Nightmare (The Butterfly Revolution) (Dragin) (co-sc) 1990 Wedding Band (Raskov) (role); Thunder and Mud 1991 Prison Stories: Women on the Inside (for TV) 1992 Wayne’s World 1993 The Beverly Hillbillies 1994 The Little Rascals (+ co-sc) 1996 Black Sheep Publications By SPHEERIS: articles— ‘‘Is There Life after Punk?,’’ an interview with Peter Occhiogrosso in American Film (Washington, D.C.), April 1985. Spheeris, Penelope, ‘‘Western Civilization Declines Again,’’ in Pre- miere (New York), June 1988. ‘‘Dialogue on Film,’’ with Penelope Spheeris and Danny Elfman, in American Film (New York), February 1991. ‘‘Wayneing Supreme,’’ an interview with R. Guilliatt, in Time Out (London), 13 May 1992. SPIELBERG DIRECTORS, 4 th EDITION 942 On SPHEERIS: articles— Gold, Richard, article in Variety (New York), 26 December 1984. Wickenhaver, J., article in Millimeter (New York), April 1987. Occhiogrosso, Peter, article in Premiere (New York), October 1987. Milward, John, article in Newsday (Melville, New York), 17 June 1988. Maslin, Janet, ‘‘Film View: Penelope Spheeris Finds the Heart of Rock,’’ in New York Times, 26 June 1988. Willman, Chris, article in Los Angeles Times, 1 March 1992. Diamond, Jamie, ‘‘Penelope Spheeris: From Carny Life to Wayne’s World,’’ in New York Times, 12 April 1992. Cohn, Lawrence, ‘‘Truth-Tellers Start to Tell Tales,’’ in Variety (New York), 11 May 1992. Marc, David, ‘‘Sibling Rivalry,’’ in Sight and Sound (London), July 1994. Harvey, Dennis, ‘‘The Decline of Western Civilization Part III,’’ in Variety (New York), 2 February 1998. O’Hehir, Andrew, ‘‘Gleaning the Tube,’’ in Sight and Sound (Lon- don), August 1998. *** Unlike many women directors, Penelope Spheeris does not make films that are sensitive at their core, that focus on women and their relationships and emotions. Rather, her films—at least the group she made in the first section of her career—are hard-edged and in-your- face brutal. In terms of subject matter, they often deal with male adolescent angst as it exists within a grim, realistic urban environ- ment. If none are particularly distinguished, they certainly are linked thematically, and by their solemn and depressing outlook. Suburbia, Spheeris’s first non-documentary feature, details the plight of a group of teen runaways residing on the edge of Los Angeles. It opens with a pack of wild dogs tearing a baby to shreds. The Boys Next Door is the saga of two teen boys who become serial killers. It included footage that had to be edited out in order to avoid an X rating. Dudes focuses on some young urban punk rockers who cross paths with murderous Southwestern rednecks. Not all of Spheeris’s young protagonists are male, however. One of the charac- ters in Hollywood Vice Squad is a runaway girl who has become a heroin-addicted prostitute. Spheeris has admitted that her preoccupation with alienation and brutality is directly related to the incidents in her life. ‘‘I look at violence in a realistic way because I’ve experienced a lot of it in my own life,’’ she once told an interviewer. While she grew up in a travelling side show called the Magic Empire Carnival, there was nothing enchanted about her childhood. When she was seven years old, her father was murdered. Her younger brother died at the hands of a drunken driver. Her mother, an alcoholic, was married nine times. And her lover, the father of her daughter Anna, overdosed on heroin in 1974. Perhaps the infant being torn apart at the beginning of Suburbia is a representation of innocent young Penelope Spheeris, whose childhood purity was ripped from her at a too-young age. As a child, Spheeris became captivated by rock music as an expression of youthful rebellion. This interest led her into a career in the music industry (as she formed her own company, Rock ‘n’ Reel, which produced short promotional films for such groups as the Doobie Brothers) and to the subject matter of her initial feature, the one which established her as a director. It is the 1981 documentary The Decline of Western Civilization, which records the late 1970s punk rock scene in Los Angeles. Featured are groups with such names as Circle Jerks, Fear, X, and Catholic Discipline, which are made up of rockers who are alienated not only from the core of straight American society but from the established, old guard in the rock ‘n’ roll hierarchy; to these rockers, the Beatles, Rolling Stones, or Kinks are as much a part of the mainstream as Spiro Agnew. Six years later, Spheeris made The Decline of Western Civilization Part II: The Metal Years, which contrasted several veterans of the heavy metal scene (including Ozzy Osbourne, Gene Simmons, and members of Aerosmith) to younger punk wannabes. Indeed, Spheeris’s attraction to individu- als so far outside even the farthest degrees of the establishment may be traced to one of the films she made while a student at the UCLA Film School, Hats Off to Hollywood, about the romance between a drag queen and a lesbian. Spheeris’s first mega-hit came with Wayne’s World, based on the nonsensical but nonetheless popular Saturday Night Live skit featur- ing Mike Myers and Dana Carvey as self-proclaimed ‘‘party dudes’’ who have their own cable TV show. Despite the film’s box-office success, it is too often idiotic and dull. Her features since then, like The Beverly Hillbillies and The Little Rascals, are even bigger disappointments, and far removed from the spirit of her earlier work: the first is a poorly done version of the silly but funny 1960s TV sit- com, and the second a pale reworking of the beloved Hal Roach one- and two-reel comedies. —Rob Edelman SPIELBERG, Steven Nationality: American. Born: Cincinnati, Ohio, 18 December 1947. Education: California State College at Long Beach, B.A. in English, 1970. Family: Married 1) actress Amy Irving (divorced 1989), one son, one daughter; 2) actress Kate Capshaw, one daughter. Career: Won amateur film contest with 40-minute film Escape to Nowhere, 1960; on strength of film Amblin’, became TV director for Universal, late 1960s; TV work included episodes of Marcus Welby, M.D., Columbo, and Night Gallery, and TV films, including Duel, then given theatrical release; directed first feature, The Sugarland Express, 1974; formed own production company, Amblin Productions; pro- duced television series Amazing Stories, late 1980s, and seaQuest DSV and others, 1990s; formed new Hollywood studio DreamWorks SKG, with David Geffen and Jeffrey Katzenberg, 1995. Awards: David Di Donatello Award (Italy) for Best Foreign Director, Kinema Jumpo Award (Japan) for Best Foreign Director, National Society of Film Critics Award for Best Director, and L.A. Film Critics Award for Best Director, for E.T., 1982; Directors Guild Award for Best Director, and British Academy of Film and Television Arts Award for Best Director, for The Color Purple, 1985; Irving G. Thalberg Award for body of work, Motion Picture Academy, 1986; D. W. Griffith Award, National Board of Review, for Empire of the Sun, 1987; SPIELBERGDIRECTORS, 4 th EDITION 943 Academy Awards for Best Director and Best Film, L.A. Film Critics Best Film, New York Film Critics Circle Best Film, D. W. Griffith Award for Best Film, and National Society of Film Critics Best Film and Diretor, for Schindler’s List, 1993; Golden Lion for Career Achievement, Venice Film Festival, 1993; Life Achievement Award, American Film Institute, 1995; Distinguished Public Service Award, U.S. Navy, 1999. Agent: Jay Moloney, Creative Artists Agency, 9830 Wilshire Boulevard, Beverly Hills, CA 90212, U.S.A. Address: Amblin Entertainment/Dreamworks SKG, 100 Universal City Plaza, Bungalow 477, Universal City, CA 91608–1085, U.S.A. Films as Director, Scriptwriter, and Producer: 1969 Amblin’ (short) 1971 Duel (for TV) 1972 Something Evil (for TV) 1974 The Sugarland Express (+ co-story) 1975 Jaws 1977 Close Encounters of the Third Kind (2nd version released 1980) (+ story) 1979 1941 1981 Raiders of the Lost Ark 1982 E.T.—The Extraterrestrial (co-pr) 1983 episode of The Twilight Zone—The Movie (co-pr) 1984 Indiana Jones and the Temple of Doom 1986 The Color Purple (co-pr) 1987 Empire of the Sun (co-pr) 1989 Indiana Jones and the Last Crusade 1990 Always (co-pr) 1991 Hook 1993 Jurassic Park (+ co-exec pr); Schindler’s List (+ co-exec pr) 1997 The Lost World: Jurassic Park; Amistad (+ pr) 1998 Saving Private Ryan (+ pr) 1999 The Unfinished Journey (short) 2001 A. I. (+ co-sc, pr) 2002 Minority Report (+ pr) Other Films: 1973 Ace Eli and Rodger of the Skies (Erman) (story) 1978 I Wanna to Hold Your Hand (Zemeckis) (pr) 1980 Used Cars (Zemeckis); The Blues Brothers (Landis) (role) 1981 Continental Divide (Apted) (co-exec pr) 1982 Poltergeist (Hooper) (co-pr, co-story, co-sc) 1984 Gremlins (Dante) (co-exec pr) 1985 Back to the Future (Zemeckis) (co-exec pr); Young Sher- lock Holmes (Levinson) (co-exec pr); Goonies (Donner) (co-exec pr) 1986 The Money Pit (Benjamin) (co-exec pr); An American Tail (Bluth) (co-exec pr); Innerspace (Dante) (co-exec pr); *batteries not included (Matthew Robbins) (co-exec pr) 1988 Who Framed Roger Rabbit? (Zemeckis) (co-exec pr); The Land before Time (Bluth) (co-exec pr) 1989 Dad (Goldberg) (co-exec pr); Back to the Future, Part II (Zemeckis) (co-exec pr); Joe vs. the Volcano (Shanley) (co-exec pr) 1990 Arachnophobia (Frank Marshall) (co-exec pr); Back to the Future, Part III (Zemeckis) (co-exec pr); Gremlins 2: The New Batch (Dante) (co-exec pr) 1991 Cape Fear (Scorsese) (exec pr); An American Tail: Fievel Goes West (Nibbelink) (co-pr) 1993 We’re Back: A Dinosaur’s Tail (co-exec pr); Trail Mix-up (exec pr) 1994 I’m Mad (exec pr) 1995 To Wong Foo, Thanks for Everything, Julie Newmar (Kidron) (co-exec pr); Balto (exec pr); Casper (exec pr) 1996 High Incident (for TV) (exec pr); Twister (exec pr) 1997 Men in Black (exec pr) 1998 Toonslyvania (series for TV) (exec pr); Pinky, Elmyra & the Brain (series for TV) (exec pr); Invasion America (series for TV) (exec pr); Deep Impact (exec pr); The Mask of Zorro (exec pr); The Last Days (exec pr); Paulie (exec pr); Small Soldiers (exec pr); Antz (exec pr); The Prince of Egypt (exec pr); In Dreams (exec pr) 1999 Forces of Nature (exec pr); The Love Letter (exec pr); The Haunting (exec pr); Wakko’s Wish (for video) (exec pr); American Beauty (exec pr); Freaks and Geeks (series for TV) (exec pr); Galaxy Quest (exec pr) 2000 The Road to El Dorado (exec pr); The Flintstones in Viva Rock Vegas (exec pr); Gladiator (exec pr); Road Trip (exec pr); Small Time Crooks (exec pr); Chicken Run (exec pr) 2001 Jurassic Park 3 (exec pr); The Martian Chronicles (pr); Anne Frank: The Whole Story (for TV) (exec pr); Band of Brothers (for TV) (exec pr); Publications By SPIELBERG: books— The Sugarland Express—Spielberg, Barwood and Robbins, Zsigmond, edited by Rochelle Reed, Washington, D.C., 1974. The Last Days, New York, 1999. By SPIELBERG: articles— Steven Spielberg Seminar, in Dialogue on Film (Washington, D.C.), July 1974. ‘‘From Television to Features,’’ an interview with M. Stettin, in Millimeter (New York), March 1975. ‘‘Close Encounter of the Third Kind: Director Steve Spielberg,’’ with C. Austin, in Filmmakers Newsletter (Ward Hill, Massachusetts), December 1977. ‘‘The Unsung Heroes or Credit Where Credit Is Due,’’ in American Cinematographer (Los Angeles), January 1978. Interview with Mitch Tuchman, in Film Comment (New York), January/February 1978. ‘‘Directing 1941,’’ in American Cinematographer (Los Angeles), December 1979. ‘‘Of Narrow Misses and Close Calls,’’ in American Cinematographer (Los Angeles), November 1981. SPIELBERG DIRECTORS, 4 th EDITION 944 Steven Spielberg (second from left) on the set of Saving Private Ryan Interview with T. McCarthy, in Film Comment (New York), May/ June 1982. ‘‘Dialogue on Film: Steven Spielberg,’’ in American Film (Washing- ton, D.C.), June 1988. ‘‘A Revealing Interview with Steven Spielberg,’’ in Film Threat (Beverly Hills), vol. 19, 1989. ‘‘Always,’’ an interview with S. Royal, in American Premiere Magazine (Beverly Hills), no. 6, 1989/90. ‘‘China and the Oscars,’’ written with Kathleen Kennedy, New York Times, 25 March 1991. ‘‘A Close Encounter with Steven Spielberg,’’ an interview with D. Shay, in Cinefex (Riverside, California), February 1993. ‘‘Chase, Crush and Devour,’’ an interview with Stephen Pizzello, in American Cinematographer (Hollywood), June 1997. On SPIELBERG: books— Pye, Michael, and Lynda Myles, The Movie Brats: How the Film Generation Took over Hollywood, London, 1979. Kolker, Robert Phillip, A Cinema of Loneliness: Penn, Kubrick, Scorsese, Spielberg, Altman, Oxford, 1980; revised edition, 1988. Crawley, Tony, The Steven Spielberg Story, London, 1983. Goldau, Ant Je, and Hans Helmut Prinzler, Spielberg: Film als Spielzeug, Berlin, 1985. Mott, Donald R., and Cheryl McAllister Saunders, Steven Spielberg, Boston, 1986. Smith, Thomas G., Industrial Light and Magic: The Art of Special Effects, London, 1986. Weiss, Ulli, Das Neue Hollywood: Francis Ford Coppola, Steven Spielberg, Martin Scorsese, Munich, 1986. Godard, Jean-Pierre, Spielberg, Paris, 1987. Sinyard, Neil, The Films of Steven Spielberg, London, 1987. Slade, Darren, and Nigel Watson, Supernatural Spielberg, Lon- don, 1992. Taylor, Philip M., Steven Spielberg: The Man, His Movies, and Their Meaning, New York, 1992; revised, 1994. Somazzi, Claud, Steven Spielberg: Dreaming the Movies, Santa Cruz, 1994. Brode, Douglas, The Films of Steven Spielberg, New York, 1995. Oskar Schindler and His List: The Man, the Book, the Film, the Holocaust, and Its Survivors, Forest Dale, Vermont, 1995. Ferber, Elizabeth, Steven Spielberg: A Biography, New York, 1996. SPIELBERGDIRECTORS, 4 th EDITION 945 Sanello, Frank, Spielberg: The Man, the Movies, the Myth, Dal- las, 1996. McBride, Joseph, Steven Spielberg: A Biography, New York, 1997. On SPIELBERG: articles— Eyles, A., ‘‘Steven Spielberg,’’ in Focus on Film (London), Win- ter 1972. Cumbow, R. C., ‘‘The Great American Eating Machine,’’ in Movietone News (Seattle), 11 October 1976. Cook, B., ‘‘Close Encounters with Steven Spielberg,’’ in American Film (Washington, D.C.), November 1977. Jameson, R. T., ‘‘Style vs. ‘Style’,’’ in Film Comment (New York), March/April 1980. Geng, Veronica, ‘‘Spielberg’s Express,’’ in Film Comment (New York), July/August 1981. Auty, Chris, ‘‘The Complete Spielberg?,’’ in Sight and Sound (Lon- don), Autumn 1982. Turner, G. E., ‘‘Steven Spielberg and E.T.—the Extra-Terrestrial,’’ in American Cinématographer (Los Angeles), January 1983. McGillivray, D., ‘‘The Movie Brats: Steven Spielberg,’’ in Films and Filming (London), May 1984. Smetak, J. R., ‘‘Summer at the Movies, Steven Spielberg: Gore, Guts, and PG-13,’’ in Journal of Film and Popular Television (Wash- ington, D.C.), Spring 1986. Britton, Andrew, ‘‘Blissing Out: The Politics of Reaganite Entertain- ment,’’ in Movie (London), Winter 1986. Combs, Richard, ‘‘Master Steven’s Search for the Sun,’’ in Listener (London), February 1988. ‘‘Cinematheque Honors Spielberg,’’ in New York Times, 3 April 1989. Griffin, Nancy, ‘‘Manchild in the Promised Land,’’ in Premiere (New York), June 1989. Abbott, Diane, ‘‘Steven Spielberg,’’ in American CinemEditor (Encino, California), no. 1, 1990. Cientat, M., ‘‘Le phenomene Spielberg ou la nouvelle cinephilie,’’ in Cinemaction (Conde-sur-Noireau), January 1990. Torry, Robert, ‘‘Politics and Parousia in Close Encounters of the Third Kind,’’ in Literature/Film Quarterly (Salisbury, Maryland), no. 3, 1991. Peacock, John, ‘‘When Folk Goes Pop: Consuming the Color Pur- ple,’’ in Literature/Film Quarterly (Salisbury, Maryland), no. 3, 1991. Greenberg, Harvey Roy, ‘‘Raiders of the Lost Text: Remaking as Contested Homage in Always,’’ in Journal of Popular Film and Television (Washington, D.C.), Winter 1991. Gordon, Andrew, ‘‘Steven Spielberg’s Empire of the Sun: A Boy’s Dream of War,’’ in Literature/Film Quarterly (Salisbury, Mary- land), no. 4, 1991. Schruers, Fred, ‘‘Peter Pandemonium,’’ in Premiere (New York), December 1991. Davis, Ivor, ‘‘I Won’t Grow Up!’’ in Los Angeles Magazine, Decem- ber 1991. Wood, G., ‘‘On Spielberg: A Tale of Two Steves,’’ in Cinefantastique (Forest Park, Illinois), no. 4, 1991. Green, C., and others, ‘‘Steven Spielberg: A Celebration,’’ in Journal of Popular Film (Washington, D.C.), no. 4, 1991. Andrews, S., ‘‘The Man Who Would Be Walt,’’ in New York Times, 26 January 1992. Sheehan, Henry, ‘‘The Panning of Steven Spielberg,’’ in Film Com- ment (New York), May 1992. Sheehan, Henry, ‘‘Spielberg II,’’ in Film Comment (New York), July/ August 1992. Perlez, J., ‘‘Spielberg Grapples with the Horror of the Holocaust,’’ in New York Times, 13 June 1993. Wollen, Peter, ‘‘Theme Park and Variations,’’ in Sight and Sound (London), July 1993. Secher, Andy, ‘‘Directing the Dinosaurs,’’ in Lapidary Journal (San Diego, California), July 1993. Jameson, L., ‘‘Spielberg’s Theory of Devolution,’’ in Film Threat (Beverly Hills), August 1993. Place, Vanessa, ‘‘Supernatural Thing,’’ in Film Comment (New York), September/October 1993. Gellately, Robert, ‘‘Between Exploitation, Rescue, and Annihilation: Reviewing Schindler’s List,’’ in Central European History (At- lanta, Georgia), no. 4, 1993. Richardson, John H., ‘‘Steven’s Choice,’’ in Premiere (New York), January 1994. Maser, Wayne, ‘‘The Long Voyage Home,’’ in Harper’s Bazaar (New York), February 1994. Gourevitch, Philip, ‘‘A Dissent on Schindler’s List,’’ in Commentary (New York), February 1994. White, Armond, ‘‘Toward a Theory of Spielberg History,’’ in Film Comment (New York), March 1994. Louvish, Simon, ‘‘Witness,’’ in Sight and Sound (London), March 1994. ‘‘Schindler’s List: Myth, Movie, and Memory,’’ roundtable discus- sion in Village Voice (New York), 29 March 1994. Thomson, David, ‘‘Presenting Enamelware,’’ in Film Comment (New York), March 1994. Schiff, Stephen, ‘‘Behind the Camera: Seriously Spielberg,’’ in New Yorker, 21 March 1994. Nagorski, Andrew, ‘‘Schindler’s List and the Polish Question,’’ in Foreign Affairs (New York), July 1994. Epstein, Jason, ‘‘Rethinking Schindler’s List,’’ in Utne Reader (Min- neapolis, Minnesota), July 1994. Lane, Randall, ‘‘I Want Gross,’’ Forbes (New York), 26 Septem- ber 1994. O’Shaughnessy, Elise, ‘‘The New Establishment,’’ in Vanity Fair (New York), October 1994. Manchel, Frank, ‘‘A Reel Witness: Steven Spielberg’s Representa- tion of the Holocaust in Schindler’s List,’’ in Journal of Modern History (Chicago), March 1995. Corliss, Richard, ‘‘Hey, Let’s Put on a Show!’’ in Time (New York), 27 March 1995. Masters, Kim, ‘‘What’s Ovitz Got to Do with It?’’ in Vanity Fair (New York), April 1995. Hartman, Geoffrey, ‘‘The Cinema Animal: On Spielberg’s Schindler’s List,’’ in Salmagundi (Saratoga Springs, New York), Spring 1995. Griffin, Nancy, ‘‘In the Grip of Jaws,’’ in Premiere (New York), October 1995. Scorsese, Martin, ‘‘Notre génération,’’ in Cahiers du Cinéma (Paris), March 1996. Piazzo, Philippe, ‘‘La peur aux trousses,’’ in Télérama (Paris), 14 August 1996. D?uber, Daniel, ‘‘Forever Young: Peter Pan oder der Kindskopf in Manne,’’ in Zoom (Zürich), April 1997. Biskind, P., ‘‘A ‘World’ Apart,’’ in Premiere (Boulder), May 1997. McBride, J., ‘‘A Portrait of the Artist as a Young Man,’’ in Boxoffice (Chicago), May 1997. Bart, P., ‘‘Watching Steven Sizzle,’’ in Variety (New York), 18/24 August 1997. SPIELBERG DIRECTORS, 4 th EDITION 946 White, Armond, ‘‘Against the Hollywood Grain,’’ in Film Comment (New York), March-April 1998. Doherty, Thomas, ‘‘Saving Private Ryan,’’ in Cineaste (New York), vol. 24, no. 1, 1998. *** Perhaps any discussion of Steven Spielberg must inevitably begin with the consideration that as the new millennium gets underway after a century of cinema, Spielberg remains the most commercially successful director the world has known—an incredible, if mind- boggling proposition which, in another time, might have immediately made the director’s films ineligible for serious critical consideration. Yet the fact that Spielberg’s combined films have grossed well over one billion dollars attests to their power in connecting to the mass audience and offers the analyst an immediate conundrum which may take a more distanced generation of critics and filmgoers to answer fully: What does Spielberg know? And why has so much of his work invited such audience approval? Spielberg has worked in a variety of genres: the television film Duel is a thriller; Jaws is a horror film; 1941 is a crazy comedy; Close Encounters of the Third Kind is a science-fiction film; Raiders of the Lost Ark is an adventure film patterned after film serials of the early 1950s; E.T.—The Extraterrestrial is a fantasy/family film combining elements from The Wizard of Oz, Lassie, and Peter Pan; The Color Purple is a social drama; Empire of the Sun is an expansive wartime epic. And yet virtually all of Spielberg’s films are united by the same distinctive vision: a vision imbued with a sense of wonder which celebrates the magic, mystery, and danger that imagination can reveal as an alternative to the humdrum and the everyday. The artistic consistency within Spielberg’s work is demonstrated further by his narratives, which are structurally similar. In the typical Spielberg film, an Everyman protagonist has his conception of the world enlarged (often traumatically) as he comes face to face with some extraordinary and generally non-human antagonist who is often hidden from the rest of the world and/or the audience until the narrative’s end. In Duel, a California businessman named Mann finds himself pitted against the monstrous truck whose driver’s face is never shown; in Jaws, the water-shy sheriff must face an almost mythological shark whose jaws are not clearly shown until the final reel; in Close Encounters, a suburban father responds to the extrasen- sory messages sent by outer-space creatures who are not revealed until the last sequence of the film; in Raiders of the Lost Ark, Indiana Jones quests for the Lost Ark which, at film’s end we discover is Pandora’s Box of horrors when summoned up by those who would attempt to profit from it; and, of course, in E.T., a small boy whose life is already steeped in imagination keeps secret his adoption of a play- ful extra-terrestrial (although one could easily argue that the non- human antagonist here is not really the sensitive E.T., but the masked and terrifying government agents who, quietly working behind the scenes throughout the narrative, finally invade the suburban house and crystallize the protagonist’s most horrific fears). Structural analy- sis even reveals that Poltergeist, the Spielberg-produced, Tobe Hoop- er-directed film which relates to Spielberg’s career in the same way the Howard Hawks-produced, Christian Nyby-directed The Thing related to Hawks’s career, is indeed a continuation of the Spielberg canon. In Poltergeist, a typical American family ultimately discovers that the antagonists responsible for the mysterious goings-on in their suburban home are the other-worldly ghosts and skeletons not shown until the end of the film, when the narrative also reveals the villainy of the real estate developer who had so cavalierly disposed of the remains from an inconveniently located cemetery. Technically proficient and dazzling, Spielberg’s films are vora- cious in their synthesis of the popular culture icons which have formed the director’s sensibilities: Hitchcock movies, John Wayne, comic books, Bambi, suburban homes, fast food, the space program, television. His vision is that of the child-artist—the innocent and profound imagination that can summon up primeval dread from the deep, as well as transcendent wonder from the sky. If Spielberg’s early films particularly are sometimes attacked for a certain lack of interest in social issues or ‘‘adult concerns,’’ they may be defended on the grounds that his films—unlike so many of the ‘‘special effects’’ action films of the 1970s and 1980s—derive from a sensibility which is sincerely felt. A more subtle attack on Spielberg would hold that his interest in objects and mechanical effects (as in 1941 and Raiders of the Lost Ark), though provocative, may not always be in perfect balance with his interest in sentiment and human values. Spielberg himself acknowledges his debt to Walt Disney, whose theme ‘‘When You Wish upon a Star,’’ a paean to faith and imagination, dictates the spirit of several Spielberg films. And yet certainly if intellectual and persuasive critical constructions be sought to justify our enjoyment of Spielberg’s cinema, they can easily be found in the kind of mythic, Jungian criticism which analyzes his very popular work as a kind of direct line to the collective unconscious. Jaws, for instance, is related to the primal fear of being eaten as well as to the archetypal initiation rite; Close Encounters is constructed according to the archetypal form of the quest and its attendant religious structures of revelation and salvation; and of course E.T. has already been widely analyzed as a re- telling of the Christ story—complete wth a sacred heart, a ritual death, a resurrection brought about by faith, and an eventual ascension into heaven as E.T. returns home. If Spielberg is especially notable in any other way, it is perhaps that he represents the most successful example of what has been called the film-school generation, which is increasingly populating the new Hollywood: a generation which has been primarily brought up on television and film, rather than literature, and for whom film seems apparently to have replaced life as a repository of significant experience. And yet if the old Hollywood’s studio system is dead, it has been partially replaced by a solid, if informal matrix of friend- ships and alliances: between Spielberg and a fraternity that includes George Lucas, Francis Ford Coppola, Lawrence Kasdan, John Milius, Bob Zemeckis, Robert Gale, Hal Barwood, Matthew Robbins, Melissa Mathison, and Harrison Ford. It is noteworthy that Hollywood, though consistently accused of a preference for box-office appeal over critical acclaim, has neverthe- less refused (until Schindler’s List in 1994) to valorize publicly Spielberg’s work, despite his popular and critical success. The Academy of Motion Picture Arts and Sciences has consistently chosen to pass over Spielberg’s films and direction—in 1975 bypass- ing Jaws in favor of One Flew over the Cuckoo’s Nest and Milos Forman; in 1977, bypassing Close Encounters for Annie Hall and Woody Allen; in 1981 bypassing Raiders of the Lost Ark for Chariots of Fire and Warren Beatty (as director of Reds); in 1982 bypassing E.T. for Gandhi and Richard Attenborough; and in 1985 bypassing The Color Purple for Out of Africa and Sydney Pollack. More than requiring an explanatory footnote in film history texts, these ‘‘slights’’ made it clear that the industry of the time had come to hold Spielberg responsible for the juvenilization of the American cinema in the late 1970s and 1980s. If the Coppolas and the Scorseses attempted to remake Hollywood to their own vision of a freer, more SPIELBERGDIRECTORS, 4 th EDITION 947 European, artistic sensibility (and by and large failed), should Spielberg now be held responsible for betraying earlier victories and turning Hollywood into a Disneyland? And although Spielberg became the richest man in Hollywood, the most commercially savvy, the man everyone most wanted to make a deal with, the most influential, he could not easily become anything at all like its most serious, respected artist. Spielberg’s longtime insistence on avoiding adult themes, instead taking refuge in nostalgia, special effects, remakes, and sequels, seemed to be directly responsible for rather perniciously preventing non-Spielberg-like films from being produced. As well, the overwhelming number of Spielberg imitators, many producing films under Spielberg’s own auspices, have largely contributed commercially successful hackwork. Hollywood noted the irony, too, that it was in the Spielberg production of The Twilight Zone movie (directed by John Landis) that two children and actor Vic Morrow should have been killed in a clearly avoidable accident in which the children’s employment violated child-labor law. The Color Purple, although conforming to Spielberg’s typical pattern of the hidden antagonist, backed off from an explicit representation of Celie’s lesbianism, turning her instead into a cute E.T.-like creature. Thus the confrontation of the hidden antagonist (Celie’s true nature) became a kind of missing climax in a film which many critics ridiculed. After The Color Purple, when receiving the Irving Thalberg award from the Motion Pictures Acad- emy, Spielberg gave a widely quoted speech which seemed surpris- ingly to admit responsibility for the state of American film culture: ‘‘I think in our romance with technology and our excitement at exploring all the possibilities of film and video, I think we have partially lost something.... It’s time to renew our romance with the word; I’m as culpable as anyone in exalting the image at the expense of the word.... Only a generation of readers will spawn a generation of writers.’’ Spielberg’s speech was followed by arguably his finest work: from a screenplay by famed dramatist Tom Stoppard, Empire of the Sun, set in Asia during World War II, includes some of Spielberg’s most startling set-pieces (such as a crowd sequence which rivals Eisenstein’s use of montage in ‘‘The Odessa Steps’’ sequence of Potemkin, or an unusually expressive evocation of the atomic bombing at Hiroshima), as well as more adult themes relating to war and peace, community integration and disintegration. Nevertheless, when this film was overshadowed in many ways by Bertolucci’s Asia epic, The Last Emperor, Spielberg seemed to beat a hasty retreat into safer material. Always, a remake of A Guy Named Joe in which Spielberg portrayed adult relationships within a fantasy context including helpful ghosts, was both a critical and financial failure. Even more distressing was the critical failure of the 1991 Hook, in which Spielberg’s professed appreciation for the word disappeared un- der the weight of charmless Hollywood juveniles having onscreen food fights amidst special effects gleefully presented by Spielberg as artistic entertainment. Although critics had for years suggested that the source material Peter Pan would provide Spielberg his most natural material (a boy not wanting to grow up), many were stunned when Spielberg’s version finally arrived: bloated, overlong, overproduced, looking more like a vapid amusement park ride or a multimillion dollar commercial for a new attraction at the Universal Studio Tour than a film. Its artistic message—that its adult Peter Pan should work less and spend more quality time with his children—was in ludicrous contradiction to the herculean effort required by all, including its director, to devote themselves to such a high-budget, effects-heavy project; thus the film emerges as the most cynical, hypocritical attempt to play on audience sentiment to attract box- office in the Spielberg oeuvre. The year 1993 marked a turning point for Spielberg—with the release of two films in the same year that could not have been more different. Jurassic Park, a cinefantastique wonder showing dinosaurs wreaking havoc in a contemporary theme park, was a roller-coaster ride which fast became the most commer- cially successful film of all time, bypassing even Spielberg’s own E.T. Although the special effects were mostly marvelous and defi- nitely the reason for the film’s appeal (can anyone who has seen the film ever forget the startlingly graceful images of apatosaurs grazing in the forest?), many critics were startled by a certain desultoriness in the construction of the narrative: loose ends here and there, scenes which seemed not all to pay off. And indeed, deficiencies may be attributed to Spielberg losing some interest in the project—for the other Spielberg film released in 1993 was the film which would finally, irrevocably answer his critics: a black-and-white film photo- graphed in a radically different camera style, devoid of the famous Spielberg backlighting as well as his traditional over-the-top orches- trations, using virtually unknown actors, and all on the single most unremittingly serious subject of the contemporary world: the Holo- caust. Spielberg’s Schindler’s List was his most striking, overwhelm- ing work; with it, he finally won his Academy Awards for film and director, as well as best film awards from the L.A. and New York critics groups, the Board of Review, and the National Society of Film Critics—a startlingly unanimous achievement. For a serious film, Schindler’s List was also amazingly successful with the public, which was powerfully moved and horrified by the film. Based on the real- life story of Oskar Schindler, a German industrialist who actually saved over a thousand Jews by employing them at his factory, Schindler’s List, keping with the Spielberg ethos, emphasized the most hopeful components of the story without minimizing or denying its horrifying components. The film’s coda, which showed the actors along with their real-life counterparts who survived because of Schindler visiting the gravesite of the real Schindler, was criticized by some, but this strategy insisted the audience understand the story as historical and gave the film an even greater emotional depth. Although time will tell whether Schindler’s List will retain its instant reputation as a great, towering achievement comparable to, say, Alain Resnais’s short Night and Fog, the definitive Holocaust film, the film has— according to his own testimony—altered Spielberg’s life, sensibility, and career. The first artistic work that allowed Spielberg directly to explore his Jewish heritage, Schindler’s List so consumed him that he has since embarked on what he has called his most important life’s work: a video project documenting the survivors of the Holocaust for educational purposes. In interviews given before his multiple Acad- emy Award wins, Spielberg has also said that he could no longer imagine going back to directing the kinds of films he made before Schindler’s List. Either Spielberg’s sincerity must be regarded as suspect or his resolve as short-lived, for he followed the winning of his first Academy-award by directing The Lost World, a Jurassic Park sequel unnecessary for any motive except craven profit, in the process becoming more a designer of amusement park attractions than an artist. Psychologically vacuous, The Lost World shows men with gadgets who say things like ‘‘Lindstrade air rifle. Fires a sub-sonic impact delivery dart.’’ The exposition is obligatory, the villains cardboard, a black Disney child improbably appears to improve the film’s demographics, and characters behave stupidly so that dino- saurs can attack them. When at one point, we even see a man ripped in half by two dinosaurs competing for their dinner, we understand that the humanism of Schindler’s List has been replaced by the expediency SPIELBERG DIRECTORS, 4 th EDITION 948 of efficient, crowd-pleasing violence: it feels almost like a porno- graphic vision. The few pleasures in The Lost World come from its irony—Jeff Goldblum, for instance, responding to a colleague’s awe at the dinosaurs: ‘‘Yeah, ‘ooh, ahhh,’ that’s how it always starts. But then later there’s running and then screaming.’’ A few scenes invoke Hitchcock’s The Birds, generally to The Lost World’s disadvantage, but only the climactic scenes showing a tyrannosaurus rex drinking from a swimming pool in suburban San Diego evoke, through their surreal wit, any lasting sense of awe. Amistad, a noble subject in the tradition of Schindler’s List, deals with the 1839 shipboard revolt of fifty-three African slaves. Despite the film’s idealism and the genuine interest of its historical narrative, much of Amistad is problematic. In a surprising review in the Los Angeles Times, Kenneth Turan put forward the thesis that for Spielberg, ‘‘There’s been leakage from the no-brainers to the quality stuff and . . . bad habits picked up in the mindless movies are driving out better [habits].’’ Turan’s comments seemed shocking then, particularly delivered in Spielberg’s own hometown community, and seem pre- scient still. Dialogue in Amistad seems incredibly stilted, as reflected in this retort to John Quincy Adams, which passes as conversational: ‘‘There remains but one task undone, one vital task the founding fathers left to their sons before their thirteen colonies could precisely be called United States, and that task, sir, as you well know, is crushing slavery.’’ Not all performers escape seeming like high school students dressing up for an historical pageant. As well, there are conceptual lapses: the moral outrage of slavery has little to do with the thunder and lightning Spielberg uses in many of the shipboard sequences, and Spielberg’s traditional backlighting—particularly during the Middle Passage of the slaves’ journey—adds a sheen of romanti- cism totally inappropriate to his subject. Although the black slave leader’s passionate outburst in court is certainly moving, that it comes after he sees a picture of Christ and that it is accompanied by a theme, which (if African) is orchestrated in the style of a heavenly choir directly out of The Ten Commandments, seem conceptually suspect, too: is it only with the inspiration of Christian myths of sacrifice that black slavescan find their African voice? These failings exist simulta- neously with wonderful, expressive moments, particularly those which are silent: an ebony-muscled body framed against a black sky full of stars—an image suggesting the rapturous universal beauty of black. Unforgettable, too, is a slave mother falling backwards and overboard with her newborn baby in order to commit suicide rather than submit; even more horrifying is the sight of fifty slaves, shackled together in a line and tossed into the ocean, each one dragged by the weight of the other, as if they were only so much ballast. Although Spielberg has gotten Hollywood credit for making socially significant films, his ‘‘social’’ films take respectably safe subjects: can anyone be in favor of concentration camps or slavery? So far Spielberg has avoided contemporary stories of anti-Semitism, racial injustice, or social inequity which might alienate some spectators, raise contro- versy, or invite more ambivalent emotions. Of course, Spielberg is more interested in story-telling than in changing the world. Even in Amistad, John Quincy Adams’ advice on how to win a case sounds suspiciously like Spielberg’s mantra: ‘‘What is their story?’’ says Adams, noting that whoever tells the best story generally wins. Later, when Adams offers tribute to the leader of the slave revolt, his comment that ‘‘if he were white . . . the great authors of our time would fill books about him, his story would be told and be told. . .’’ itself seems a self-congratulatory pat on Spielberg’s own back for being one of these great auteurs/authors. Amistad was followed by another excursion into the past: Saving Private Ryan, a war story which begins with the June 6, 1944 D-Day storming of Omaha Beach. Saving Private Ryan seems to be that rarest entity: an instant classic—particularly in its D-Day sequence, which presents the confusion and the terror, the beach running red with blood, the literal viscera of graphic violence. General audiences were stunned, and many surviving WWII veterans were emotionally unhinged. Valorizing a generation of veterans, Saving Private Ryan presents their sacrifice with great emotional expressiveness and good old-fashioned patriotism. If The Thin Red Line, the long-awaited Terrence Malick war film released the same year, was more philo- sophical and profound, Spielberg’s film was nevertheless the more coherent story, emotionally perfectly pitched. Although Spielberg won the Academy award for best director, his film’s surprising defeat for best film by the comedy Shakespeare in Love was yet another sign that Hollywood retains Spielberg reservations. And certainly critics disparaged Spielberg’s framing device as unfairly obscuring the identity of the American pilgrim ostensibly telling the story—itself an unfair criticism for a rhetorical flourish totally appropriate for a story told. If the last hour of Saving Private Ryan seems like an extraordi- narily good episode of the TV series Combat, even this criticism seems a quibble, because of the film’s accumulating emotional power. Certainly, so many images are unforgettable: the soldier who collects dirt samples from each country he does battle in; the bag filled with hundreds of dog tags, each representing a dead American; a German soldier slowly inserting a knife directly into a GI’s heart. The art design and hisorical reconstruction of the film are flawless, its final images of the D-Day battlefield absolutely awe-inspiring (even more so because we never see the beach in long shot until the battle is over). Moving, too, is the Iowa sequence showing a bereaved mother framed in the doorway, its evocation of the opening of The Searchers effortlessly suggesting that the titular search for her surviving child will be successful (just as was the search in the John Ford film Spielberg so obviously admires). On other fronts, Spielberg has continued to consolidate his posi- tion in Hollywood as its most powerful man. His company, Amblin Entertainment, has long been involved with television production, either Spielberg and/or Amblin involved in television series as disparate as Amazing Stories, seaQuest DSV, the top-rated drama ER, and the children’s show The Animaniacs. Spielberg has continued to produce the films of others, and at least one post-Schindler film, To Wong Foo, Thanks for Everything, Julie Newmar, though a traditional Hollywood film in its warmth and sentiment, takes on a contemporary hot-button issue: homophobia in America. More monumentally, in one of the most publicized entertainment stories of 1994, Spielberg formed a new Hollywood studio called DreamWorks SKG in partner- ship with two of the other most powerful men in Hollywood, Jeffrey Katzenberg and David Geffen. In 1999, DreamWorks released Ameri- can Beauty, a savage satire about bankrupt values and homophobia in the suburbs, which won the Academy award for best film. In 2000, inspired by the success of Saving Private Ryan, Spielberg was in the process of producing (in conjunction with Tom Hanks) a series of TV films with World War II stories. As Spielberg moves closer to being an all-powerful, modern-day studio mogul in the style of Walt Disney or Harry Cohn, will his Schindler’s experience inspire a greater devotion to serious, artistically ambitious projects requiring no apol- ogy, or will the lure of big bucks for sequels and popular entertain- ments prove too great a temptation for DreamWorks to forego? Although Spielberg executive-produced The Last Days, the 1998 STAHLDIRECTORS, 4 th EDITION 949 Academy-award winning documentary on Hungarian holocaust sur- vivors, his Amblin released early in 2000 the lowbrow Viva Rock Vegas, the Flintstones sequel. Reportedly, Spielberg is also currently preparing at least one more Jurassic Park sequel. Perhaps Spielberg will find some way of mediating his apparently contradictory goals with enough integrity and skill to retain his critical respectability as a serious artist, as well as his popular appeal. —Charles Derry STAHL, John M. Nationality: American. Born: New York City, 21 January 1886. Education: Educated in New York City public schools. Family: Married Roxana Wray, 1932. Career: Actor on stage and later in films, from 1901; hired by Vitagraph Studio, Brooklyn, as director, 1914; moved to Hollywood, worked for Louis B. Mayer in indepen- dent productions, then at MGM, 1917; vice president and directorial producer, Tiffany-Stahl Studios, 1928; sold interest in studio and joined Universal, 1930. Died: 12 January 1950. Films as Director: (incomplete listing prior to 1918) 1914 The Boy and the Law 1917 The Lincoln Cycle (14-reeler distributed in six chapters in- cluding My Mother, My Father, My Self, The Call to Arms) 1918 Scandal Mongers; Wives of Men (+ sc); Suspicion 1919 Her Code of Honor; A Woman under Oath 1920 Greater than Love; Women Men Forget; The Woman in His House; Sowing the Wind; The Child Thou Gavest Me (+ pr) 1922 The Song of Life; One Clear Call (+ pr); Suspicious Wives 1923 The Wanters (+ pr); The Dangerous Age (+ pr) 1924 Why Men Leave Home; Husbands and Lovers (+ pr) 1925 Fine Clothes 1926 Memory Lane (+ pr, co-sc); The Gay Deceiver 1927 Lovers? (+ pr); In Old Kentucky (+ pr) 1930 A Lady Surrenders 1931 Seed; Strictly Dishonorable 1932 Back Street 1933 Only Yesterday 1934 Imitation of Life 1935 Magnificent Obsession 1937 Parnell 1938 Letter of Introduction (+ pr) 1939 When Tomorrow Comes (+ pr) 1941 Our Wife 1942 The Immortal Sergeant 1943 Holy Matrimony 1944 The Eve of St. Mark; The Keys of the Kingdom 1946 Leave Her to Heaven 1947 Forever Amber (replaced by Otto Preminger); The Foxes of Harrow 1948 The Walls of Jericho 1949 Father Was a Fullback; Oh, You Beautiful Doll Publications By STAHL: article— ‘‘Oh, the Good Old Days,’’ in The Hollywood Reporter, 16 May 1932. On STAHL: books— Glèdhill, Christine, editor, Home Is Where the Heart Is: Studies in Melodrama and the Woman’s Film, London, 1987. On STAHL: articles— Obituary, in The New York Times, 14 January 1950. Sarris, Andrew, ‘‘Esoterica,’’ in Film Culture (New York), Spring 1963. Morris, G., ‘‘John M. Stahl: The Man Who Understood Women,’’ in Film Comment (New York), May/June 1977. Pulleine, Tim, ‘‘Stahl into Sirk,’’ in Monthly Film Bulletin (London), November 1981. Renov, Michael, ‘‘Leave Her to Heaven: The Double Bind of Post- War Women,’’ in Journal of the University Film and Video Association, Winter 1983. *** John Stahl was a key figure in the development of the Hollywood ‘‘women’s melodrama’’ during the 1930s and 1940s, and quite possibly in the 1910s and 1920s as well. Although he began directing in 1914, and apparently made as many films before sound as after, only two of his silents (Her Code of Honor and Suspicious Wives) seem to have survived. Yet this is hardly the only reason that the ultimate critical and historical significance of his work remains to be established. More pertinent is the critical disrepute of the ‘‘tearjerker’’ genre in which he worked almost exclusively—a genre which had to await the discovery of Douglas Sirk’s melodramas and the reworking of the form by R.W. Fassbinder to attract serious critical attention. Comparisons between Sirk’s baroquely aestheticized and Stahl’s straightforwardly unadorned treatments of equally improbable plots is somewhat useful, and virtually inevitable, given that Sirk remade three of Stahl’s classic 1930s ‘‘weepies’’: Imitation of Life (1934/ 1959), Magnificent Obsession (1935/1954), and When Tomorrow Comes (1939), which became Interlude (1957). In a genre focusing on the problems presented by the social/sexual order for the individual (most frequently, the bourgeois female), Sirk tended to abstract dramatic conflicts in the direction of Brecht, while Stahl chose to emphasize the effects of social rigidities through the emotions of his characters. Stahl’s career seemed to flourish most at Universal in the 1930s with the production of the highly accomplished Back Street, Only Yesterday, and the three films Sirk remade, all of which present emotionally similar heroines buffeted by twists of fate which wreak havoc on their socially determined modes of behavior. In his version STAHL DIRECTORS, 4 th EDITION 950 John M. Stahl and Myrna Loy on the set of Parnell of Fannie Hurst’s Back Street (remade in 1941 and 1961), Stahl encourages sympathy for Irene Dunne, an independent working woman who gives up everything to be ‘‘kept’’ in isolation by the respectable married man she loves. Audacious contradictions emerge from the very simplicity with which Stahl presents outrageous plot twists. Dunne meets the ‘‘kept woman’’ next door to her back street apartment, for example, only when the woman literally catches on fire and must be rescued. Recognizing a sister in shame, Dunne counsels the injured woman against allowing herself to be exploited by the man she loves; yet what seems to be a dawning moment of self-awareness on the part of our heroine is instantly obscured by a romantic haze when her own lover walks through the door in the middle of her diatribe. Similarly powerful contradictions abound in Imitation of Life (based on another Hurst novel), where best friends Claudette Colbert and Louise Beavers find themselves incapable, despite their best intentions, of breaking the social conventions which keep the black woman subservient to the white, even when the former is responsible for the latter’s wealth and success. Given material such as the Fannie Hurst novels, the ‘‘inspira- tional’’ message of Lloyd C. Douglas’s Magnificent Obsession, and the hopelessly romantic Only Yesterday (virtually remade as Max Ophüls’ Letter from an Unknown Woman), and considering the period during which Stahl worked, the point of reference seems not to be Sirk so much as Stahl’s better-appreciated contemporary Frank Borzage. It is Borzage’s unrelenting romanticism which is usually assumed to characterize the ‘‘weepies’’ of the 1920s and 1930s; yet Stahl’s work offers another perspective. While he clearly encourages emotional identification with his heroines, Stahl seems more inter- ested in exposing their romantic illusions than in relishing them. In fact, his meditative restraint in such situations has prompted George Morris to suggest that ‘‘it is Carl Th. Dreyer whom Stahl resembles more than directors like Sirk or Borzage.’’ Yet ultimately, Stahl’s visual style seems largely dependent upon studio and cinematographer, a fact most clearly demonstrated by Leave Her to Heaven, a preposterously plotted drama of a psychotically duplicitous woman shot in Technicolor by Leon Shamroy on the modernesque sets of 20th Century-Fox, where the director’s mise-en- scène emerges as florid and baroque as Sirk in his heyday—and a full decade earlier. It seems that Stahl’s films represent something of a missing link between Borzage’s romanticism and Sirk. Certainly, an examination of his work expands an understanding of the variety of Hollywood’s STAUDTEDIRECTORS, 4 th EDITION 951 strategies in personalizing overtly ideological questions of sex, status, and money. In fact, if film scholars are serious about studying the melodrama in any depth, then the films of John Stahl remain a top and current priority. —Ed Lowry STAUDTE, Wolfgang Nationality: German. Born: Saarbrücken, 9 October 1906. Educa- tion: Educated as engineer. Career: Stage actor for Max Reinhardt and Erwin Piscator, until 1933; film actor, from 1931; writer and director of advertising films and shorts, 1930s; directed first feature, Akrobat sch?-?-?n, for Tobis Film, also co-founder, with Harald Braun and Helmut Kaütner, ‘‘Freie Film-Produktion-GmbH,’’ 1943; worked for DEFA Studios, East Germany, 1945; worked in West Germany, from 1953; television director, from 1970s. Awards: Silver Lion, Venice Festival, for Ciske de Rat, 1955. Died: Of heart failure, in Zigarski, 19 January 1984. Films as Director: 1943 Akrobat sch?-?-?n (+ sc) 1944 Ich hab’ von Dir getr?umt 1945 Frau über Bord 1946 Die M?rder sind unter uns (The Murderers Are among Us) (+ sc) 1948 Die seltsamen Abenteuer des Herrn Fridolin B (+ sc) 1949 Rotation (+ co-sc); Schicksal aus zweiter Hand (+ sc); Der Untertan (The Submissive) (+ co-sc) 1953 Die Geschichte des kleinen Muck (The Story of Little Mook) (+ co-sc) 1954 Leuchtfeuer (+ co-sc) 1955 Ciske—Ein Kind braucht Liebe (Ciske—A Child Wants Love) (+ sc) 1957 Rose Bernd 1958 Kanonen-Serenade (The Muzzle) (+ co-sc); Madeleine und der Legion?r; Der Maulkorb 1959 Rosen für den Staatsanwalt (Roses for the Prosecutor) (+ story) 1960 Kirmes (Kermes) (+ sc); Der letzte Zeuge (The Last Witness) 1962 Die glücklichen Jahre der Thorwalds (co-d) 1963 Die Dreigroschenoper (The Threepenny Opera) 1964 Herrenpartie (Me’s Outing); Das Lamm (The Lamb) 1966 Ganovenehre (Hoodlum’s Honor) 1968 Heimlichkeiten (+ co-sc) 1970 Die Herren mit der weissen Weste (Those Gentlemen Who Have a Clean Sheet) 1971 Fluchtweg St. Pauli—Grossalarm fur die Davidswache 1972 Verrat ist kein Gesselschaftsspiel (for TV); Marya Sklodowska- Curie. Ein M?dchen, das die Welt ver?ndert (for TV) 1973 Nerze Nachts am Strassenrand (for TV); The Seawolf 1974 Ein herrliches Dasein 1976 Zwei Erfahrungen Reicher (for TV) 1978 Des Verschollene Inka-Gold (for TV); Zwischengleis (Memories) Wolfgang Staudte Other Films: 1931 Gassenhauer (Pick) (role) 1945 Der Mann, dem man den Namen stahl (co-sc) 1949 Das Beil von Wandsbek (co-sc) 1950 Geheimnis des blauen Zimmers (role); Tannenberg (role); Der Choral von Leuthen (role); Heimkehr ins Glück (role); Pechmarie (role); Die Bande von Hoheneck (role); Schwarzer J?ger Johanna (role); St?rker als Paragraphen (role); Gleisdreieck (role); Susanne im Bade (role); Am seidenen Faden (role); Lauter Lügen (role); Pour le mérite (role); Mordsache Holm (role); Spiel im Sommerwind (role); Das Gewehr über (role); Die fremde Frau (role); Drei Unteroffiziere (role); Brand im Ozean (role); Legion Con- dor (role); Blutsbrüderschaft (role); Aus erster Ehe (role); Jud Süss (role); Jungens (role); Friedemann Bach (role); . . . reitet für Deutschland (role); Das grosse Spiel (role) Publications By STAUDTE: articles— ‘‘Aber wenn geschlagen wird im diesem Land . . . ,’’ interview, in Film und Fernsehen (Berlin), no. 5, 1979. ‘‘Die M?rder sind unter uns,’’ interview, in Film und Fernsehen (Berlin), vol. 19, no. 5, May 1991. STEVENS DIRECTORS, 4 th EDITION 952 On STAUDTE: articles— Bachmann, J., ‘‘Wolfgang Staudte,’’ in Film (London), Summer 1963. ‘‘Kurt Maetzig, Wolfgang Staudte,’’ in Information (Wiesbaden), no. 3–6, 1976. Karkosch, K., ‘‘Wolfgang Staudte,’’ in Film und Ton (Munich), March 1976. Ein Nachtrag zur DEFA—Geschicte—der Regisseur Wolfgang Staudte,’’ in Film und Fernsehen (Berlin), vol. 19, no. 9, Septem- ber 1986. Nrrested, Carl, ‘‘Glemte kontinuitets faktorer i tysk film,’’ in Kosmorama (Copenhagen), vol. 40, no. 207, Spring 1994. Schenk, Ralf, ‘‘Im Jahr ‘49. Die ‘dunklen’ filme von Wolgang Staudte,’’ in Film-Dienst (Cologne), 8 October 1996. *** Wolfgang Staudte is one of the few important German directors of the postwar years. Die M?rder sind unter uns, the first German postwar film, remains today among the director’s best works. In the film, a surgeon, Hans Mertens, returns home from the war, becomes an alcoholic, and lives hopelessly among the ruins. His girlfriend Susanne has survived a concentration camp and attempts to help him overcome his apathy. The apathy is quickly dispelled by the appear- ance of an industrialist, formerly a Nazi, whose outlook remains unchanged and who, just as before the war, uses deceptive phrases to justify the new situation. This contemporary material was realized by Staudte in a thor- oughly realistic style with expressionistic strokes in a manner that suggests analogies with Rossellini’s Paisà. An English critic identi- fied the director as a successor to Lang and Pabst. A phrase in the film—‘‘The murderers are among us’’—became a symbolic expres- sion for the spirit of the time, in which progressive German intellectu- als sought every means to reckon with the fascist past. It was not by chance that the film was made in the Soviet sector of Berlin and produced by the newly founded DEFA studios. Staudte’s efforts to interest cultural officials in the western zones in his project met with no success. This was also the case with Rotation and Der Untertan, a satiric version of Heinrich Mann’s novel of the same title, set in an actual embassy. Staudte was a political artist because, as he said, he was a political person. He had perfect command of a variety of means of expression and narrative forms, and used a rich palette of symbolic images in realistically-structured filmic space. His films often led to compari- sons with René Clément and Rossellini. Only his own country—the media and public as well as the authorities—could not accept him and systematically and conclusively thwarted him. In the beginning Staudte was repeatedly labelled a communist because of his association with DEFA. He was urged to make West German films. In 1951 he decided to do so, and so began an unhappy period for him which consisted of attempts ‘‘to improve the world with the money of people who already find the world to be just fine.’’ He was regularly reproached for fouling his own nest, and was reluctantly reduced to making entertainment films. In its headlong rush toward economic development, West German society wanted to see neither fundamental analysis of the Nazi past, nor pessimistic mistrust directed against the new, American-oriented NRD-model. Years of harassment by the press and cultural authorities went by with Staudte working away, often in vain, writing unengaging come- dies. He nevertheless made a few masterpieces: Rosen für den Staatsanwalt, Kirmes, and Herrenpartie. These films are united by Staudte’s conviction that the present and the past are bound together and that man today remains inseparable from yesterday. The most imposing of these films is Herrenpartie: it confronts two worlds— that of today’s German bourgeoisie, which would gladly bury Nazi memories, and that of a village of Yugoslavian widows who, despite everything, are better able to behave humanely than the Germans. In the latter part of his career, Wolfgang Staudte directed televi- sion detective stories. His case demonstrates that the new German cinema has worthy predecessors who nevertheless remain unappreci- ated even by their colleagues. —Maria Racheva STEVENS, George Nationality: American. Born: George Cooper Stevens in Oakland, California, 18 December 1904. Family: Married Joan (Stevens) (divorced), one son. Military Service: Joined U.S. Army Signal Corps, became head of Special Motion Pictures Unit assigned to photograph activities of 6th Army, 1943; Unit awarded citation from General Eisenhower, 1945. Career: Actor and stage manager for father’s theatrical company, 1920–21; moved to Hollywood, 1921, worked as assistant and 2nd cameraman, then cameraman; joined Hal Roach as cameraman for Laurel and Hardy shorts, 1927; director of two-reel shorts for Roach, from 1930, and for RKO and Universal, from 1932; directed first feature, The Cohens and Kellys in Trouble, 1933; also producer, from 1938; resumed career after military service during World War II. Awards: Oscars for Best Director, for A Place in the Sun, 1951, and Giant, 1956; Irving G. Thalberg Award, Academy of Motion Picture Arts and Sciences, 1953. Died: In Paris, 9 March 1975. Films as Director: 1930 Ladies Past 1931 Call a Cop !; High Gear; The Kick-Off; Mama Loves Papa 1932 The Finishing Touch; Boys Will Be Boys; Family Troubles 1933 Should Crooners Marry; Hunting Trouble; Rock-a-bye Cow- boy; Room Mates; A Divorce Courtship; Flirting in the Park; Quiet Please; Grin and Bear It; The Cohens and the Kellys in Trouble 1934 Bridal Bail; Ocean Swells; Bachelor Bait; Kentucky Kernels 1935 Laddie; The Nitwits; Alice Adams; Annie Oakley 1936 Swing Time 1937 Quality Street; A Damsel in Distress 1938 Vivacious Lady (+ pr) 1939 Gunga Din (+ pr) 1940 Vigil in the Night (+ pr) 1941 Penny Serenade (+ pr) 1942 Woman of the Year; The Talk of the Town (+ pr) 1943 The More the Merrier (+ pr) 1948 I Remember Mama (+ co-pr) STEVENSDIRECTORS, 4 th EDITION 953 George Stevens (right) and Warren Beatty on the set of The Only Game in Town 1951 A Place in the Sun (+ pr) 1952 Something to Live For (+ pr) 1953 Shane (+ pr) 1956 Giant (co-pr) 1959 The Diary of Anne Frank (+ pr) 1965 The Greatest Story Ever Told (+ pr) 1970 The Only Game in Town Other Films: (partial list) 1924 The White Sheep (cameraman); The Battling Oriole (cameraman) 1925 Black Cyclone (cameraman) 1926 The Devil Horse (cameraman); The Desert’s Toll (camera- man); Putting Pants on Philip (cameraman) 1927 No Man’s Law (cameraman); The Valley of Hell (camera- man); Lightning (cameraman); The Battle of the Century (cameraman) 1928 Leave ‘em Laughing (cameraman); Two Tars (McCarey) (cameraman); Unaccustomed as We Are (cameraman) 1929 Big Business (cameraman) Publications By STEVENS: articles— Interview, in Cinema (Beverly Hills), December/January 1965. ‘‘George Stevens: Shorts to Features: Interview,’’ with Leonard Maltin, in Action (Los Angeles), November/December 1970. On STEVENS: books— Richie, Donald, George Stevens: An American Romantic, New York, 1970. Phillips, Gene D., The Movie Makers: Artists in the Industry, Chi- cago, 1973. Petri, Bruce, A Theory of American Film: The Films and Techniques of George Stevens, New York, 1987. STILLER DIRECTORS, 4 th EDITION 954 On STEVENS: articles— ‘‘Best Director in Hollywood,’’ in Time (New York), 16 Febru- ary 1942. Houston, Penelope, ‘‘Shane and George Stevens,’’ in Sight and Sound (London), Fall 1953. Cecil, N., ‘‘George Stevens: Letter,’’ in Films in Review (New York), February 1954. Archer, E., ‘‘George Stevens and the American Dream,’’ in Film Culture (New York), no. 1, 1957. Luft, Herbert, ‘‘George Stevens,’’ in Films in Review (New York), November 1958. Stasey, Joanne, ‘‘Hollywood Romantic,’’ in Films and Filming (London), July 1959. Silke, J.R., ‘‘The Costumes of George Stevens,’’ in Cinema (Beverly Hills), November/December 1963. Bartlett, N., ‘‘Sentiment and Humanism,’’ in Film (London), Spring 1964. ‘‘Stevens Issue’’ of Cinema (Beverly Hills), December/Janu- ary 1964/65. McVay, D., ‘‘Greatest Stevens,’’ in Films and Filming (London), April 1965. Stanbrook, Alan, ‘‘The Return of Shane,’’ in Films and Filming (London), May 1966. Beresford, Bruce, ‘‘George Stevens,’’ in Film (London), Summer 1970. ‘‘Stevens Issue’’ of Dialogue on Film (Washington, D.C.), no. 1, 1972. Obituary, in Action (Los Angeles), March/April 1975. Beylie, Claude, obituary, in Ecran (Paris), May 1975. ‘‘Stevens Issue’’ of Dialogue on Film (Washington, D.C.), May/ June 1975. ‘‘A George Stevens Album,’’ in Action (Los Angeles), May/June 1975. Petri, Bruce, ‘‘George Stevens: The Wartime Comedies,’’ in Film Comment (New York), July/August 1975. McGilligan, P., and J. McBride, ‘‘George Stevens: A Piece of the Rock,’’ in Bright Lights (Los Angeles), no. 4, 1979. Adair, Gilbert, ‘‘Directors of the Decade: Forties,’’ Films and Film- ing (London), June 1983. Combs, Richard, ‘‘Slow Burner,’’ in Listener (London), 12 Febru- ary 1987. Kothenschulte, Daniel, ‘‘An Anfang der reise,’’ in Film-Dienst (Cologne), vol. 48, no. 19, 12 September 1995. *** Katharine Hepburn had originally been responsible for bringing George Stevens to the attention of those in the front office. He had directed a great many two-reelers for Hal Roach, and was just entering films as a director of features when Hepburn met him, liked him, and asked that he be assigned as director to her next film, Alice Adams. It was a giant step forward for Stevens, but Alice Adams, from the Booth Tarkington novel, was a project right up his alley. Two years later Stevens directed Hepburn again in a charming version of Barrie’s play, Quality Street, and then in 1941 Hepburn again got him over to MGM to direct her and Spencer Tracy in Woman of the Year, the first film the two actors did together. In the first half of his film career Stevens directed a Barbara Stanwyck feature, Annie Oakley, one of the best Astaire-Rogers dancing romances, Swing Time, and a delightful Ginger Rogers feature, Vivacious Lady. Astaire was never more debonair than in the adaption of Wodehouse’s novel A Damsel in Distress, with George Burns and Gracie Allen. Stevens then really hit his stride as director of Gunga Din, a Kiplingesque glorification of romantic derring-do that featured Cary Grant, Victor McLaglen, and Douglas Fairbanks Jr. Two romances, Vigil in the Night, starring Carole Lombard, and Penny Serenade, co-starring Irene Dunne with Cary Grant, added to his reputation as an ideal director for romance, especially the weepy sort. His final feature before departing for wartime Europe was one of his best. The More the Merrier was a very funny comedy concerning the wartime housing situation in the nation’s capital. After the war, Stevens decided that he would like to produce and direct something that glorified America’s past, preferably a comedy. Fortunately, Stevens had been named by Irene Dunne as one of those she would like to work for as the projected star of I Remember Mama. The film was in production for six months and went far over schedule and budget. Stevens was a perfectionist who was determined not to be caught short of any piece of film he needed when making his first cut. He shot a master scene fully, with moving camera, and then shot and kept shooting the same scene from every conceivable angle. For a montage sequence involving Sir Cedric Hardwicke, Stevens spent nearly ten days shooting footage of Sir Cedric reading aloud while the family listened. He overshot, and it was expensive, but the end result was as nearly perfect as any movie could be. Because of the excessive production cost (over $3 million), I Remember Mama did not realize the profit it might have earned, although it premiered and played five continuous weeks at Radio Music City Hall, gathering rave notices and honors for all concerned. Stevens had proved that he was back in form and at the top. He moved over to Paramount, where he made two of his best pictures—A Place in the Sun, from Theodore Dreiser’s American classic, and An American Tragedy, with three perfectly cast players: Montgomery Clift, Elizabeth Taylor, and Shelly Winters. He then served as the producer-director of one of the most remarkable westerns ever filmed, Shane. Told through the eyes of a young boy, the film has a disarming innocence in spite of its violence. Stevens moved over to Warner Bros. to film Giant, Edna Ferber’s novel about Texas. Giant featured Elizabeth Taylor, Rock Hudson, and James Dean. It was Dean’s final credit, for he was killed in an auto crash directly after the shooting of his scenes was finished. Stevens’ last three features—The Diary of Anne Frank, The Greatest Story Ever Told, and The Only Game in Town—were released by 20th Century-Fox. The last one, the best of the three, was virtually sloughed off in its release. When asked what the story was about, Stevens replied, ‘‘It’s about an aging hooker and a losing gambler, if you think the world is ready for that.’’ He had become embittered. The climate had changed in Hollywood, and it was difficult to get a first-class release for a picture made with the kind of extravagance Stevens was accustomed to. —De Witt Bodeen STILLER, Mauritz Nationality: Swedish/Russian (became citizen of Sweden, 1921). Born: Mosche Stiller in Helsinki, Finland, 17 July 1883. Career: Actor in Finland, from 1899; moved to Sweden to avoid Russian military draft, worked as actor in Sweden, from 1904; manager of avant-garde theatre Lilla Teatern, Stockholm, 1911; hired as film director (also writer and actor) for newly formed Svenska Biograf STILLERDIRECTORS, 4 th EDITION 955 Mauritz Stiller (left) directing Greta Garbo and Antonio Moreno film studio, Stockholm, 1912; began collaboration with Greta Gustafsson (Greta Garbo), 1923; moved to Hollywood under contract to MGM, 1925; fired by MGM before completing a film, hired by Erich Pommer at Paramount to direct Hotel Imperial, then returned to Sweden, 1927. Died: 8 November 1928. Films as Director: 1912 Mor och dotter (Mother and Daughter) (+ sc, role as Count Raoul de Saligny); N?r sv?rmor regerar (When the Moth- er-in-Law Reigns) (+ sc, role as the pastor); Vampyren (Vampire) (+ sc); Barnet (The Child); De svarta makerna (The Black Masks) (+ co-sc); Den tryanniske f?stmannen (The Tyrannical Fiancée) (+ sc, role as Elias Petterson) 1913 N?r k?rleken d?dar (When Love Kills) (+ co-sc); N?r larmhlockan ljuder (When the Alarm Bell Rings); Den ok?nda (The Unknown Woman) (+ sc); Br?derna (Broth- ers) (+ co-sc); Den moderna suffragetten (The Suffragette) (+ sc); P?livets ?desv?ger (The Smugglers); Mannek?gen (The Model) (+ sc); F?r sin k?rleks skull (The Stockbroker) (+ sc); Gr?nsfolken (The Border Feud); Livets konflikter (Conflicts of Life) (+ sc); Kammarjunkaren (Gentleman of the Room) (+ sc) 1914 Lekkamraterna (The Playmates) (+ sc); Stormf?geln (The Stormy Petrel); Det r?da tornet (The Master) (+ co-sc); Skottet (The Shot); N?r konstn?rer ?lska (When Artists Love) 1915 Hans hustrus f?rflutna (His Wife’s Past); H?mnaren (The Avenger); Madame de Thèbes (The Son of Destiny); M?stertjuven (The Son of Fate); Hans br?llopsnatt (His Wedding Night); Minlotsen (The Mine Pilot); Dolken (The Dagger) (+ co-sc); Lyckon?len (The Motorcar Apaches) (+ co-sc) 1916 Balettprimadonnan (Anjuta, the Dancer); K?rlek och journalistik (Love and Journalism); Kampen om hans hj?rta (The Struggle for His Heart); Vingarne (The Wings) (+ co-sc) 1917 Thomas Graals b?sta film (Thomas Graal’s Best Picture); Alexander den Store (Alexander the Great) (+ sc) 1918 Thomas Graals b?sta barn (Thomas Graal’s First Child) (+ co-sc); S?ngen om den eldr?da blomman (Song of the Scarlet Flower, The Flame of Life) STILLER DIRECTORS, 4 th EDITION 956 1919 Fiskebyn (The Fishing Village); Herr Arnes Pengar (Sir Arne’s Treasure) (+ co-sc) 1920 Erotikon (Bonds That Chafe) (+ co-sc); Johan (+ sc) 1921 De Landsflyktige (The Exiles) (+ co-sc) 1922 Gunnar Hedes saga (Gunnar Hede’s Saga, The Old Mansion) (+ sc) 1923 G?sta Berlings saga (The Story of G?sta Berling; The Atone- ment of G?sta Berling) (+ co-sc) 1926 The Temptress (finished by Fred Niblo) (+ sc) 1927 Hotel Imperial (+ co-sc); The Woman on Trial; Barbed Wire (finished by Rowland Lee) (+ sc) 1928 The Street of Sin (finished by Ludvig Berger) (+ sc) Publications On STILLER: books— Idestam-Almquist, Bengt, Den Svenska Filmens Drama: Sj?str?m och Stiller, Stockholm, 1938. Hardy, Forsyth, Scandinavian Film, London, 1951. Waldekranz, Rune, Swedish Cinema, Stockholm, 1959. Lauritzen, Einar, Swedish Film, New York, 1962. Cowie, Peter, Swedish Cinema, London, 1966. Pensel, Hans, Seastrom and Stiller in Hollywood, New York, 1969. Werner, G?sta, Mauritz Stiller och hans filmer, Stockholm, 1969. Petrie, Graham, Hollywood Destinies: European Directors in Holly- wood 1922–31, London, 1985. Werner, G?sta, Mauritz Stiller: ett livs?de, Stockholm, 1991. On STILLER: articles— Idestam-Almquist, Bengt, ‘‘Stiller, a Pioneer of the Cinema,’’ in Biografbladet (Stockholm), Fall 1950. Idestam-Almquist, Bengt, ‘‘The Man Who Found Garbo,’’ in Films and Filming (London), August 1956. Sj?str?m, Victor, ‘‘As I Remember Him,’’ in Film Comment (New York), Summer 1970. Wood, Robin, ‘‘Essays on the Swedish Cinema (Part 2),’’ in Lumiere (Melbourne), April/May 1974. Gillett, John, ‘‘Swedish Retrospect,’’ in Sight and Sound (London), Summer 1974. Robertson, J., ‘‘Mauritz Stiller,’’ in Monthly Film Bulletin (London), December 1977. Beylie, Claude, and M. Martin, ‘‘Sj?str?m, Stiller et l’Amérique,’’ in Ecran (Paris), September 1978. Sopocy, M., ‘‘Oltre il realisimo. ‘Griffithiana’,’’ in Quarterly Review of Film Studies (New York), September 1986. Sopocy, M., ‘‘Beyond Realism: Reconstructing some Lost Stiller Films at the Library of Congress,’’ in Quarterly Review of Film and Video (Reading, UK), vol. 11, no. 2, August 1989. Czako, A., ‘‘Egy kozmopolita sved filmkolto: Mauritz Stiller,’’ in Filmkultura (Budapest), vol. 29, no. 9, April 1993. *** Like the other two distinguished pioneers of the early Swedish cinema, Sj?str?m and Sj?berg, Mauritz Stiller had an essentially theatrical background. But it must be remembered that he was reared in Finland of Russian-Jewish stock, did not immigrate to Sweden until he was 27, and remained there only 15 years before going to Hollywood. He responded relatively late to the Swedish cultural tradition, so heavily influenced by the country’s extreme northern climate and landscape, and by the fatalistic, puritanical literary and dramatic aura exerted most notably by the Swedish dramatist Strindberg and the Nobel prize-winning novelist Selma Lagerl?f. The latter’s works—Herr Arne’s Treasure, Gunnar Hede’s Saga, and G?sta Berlings Saga—were inspired by tradition and legend, and were all to be adapted by Stiller for the silent screen. After establishing himself as a talented stage actor, Stiller’s work on film began in 1912. He immediately proved to be a meticulous craftsman, with a strong visual instinct and a polished sense of timing and rhythm. His early work showed how much he had learned technically from the considerable number of D.W. Griffith’s short narrative films shown in Sweden. For example, The Black Masks, made in 1912, is noted by Forsyth Hardy as having, ‘‘over a hundred scenes, a constantly changing combination of interiors and exteriors, close-ups and panoramic shots.’’ In 1913 Stiller even made a film based on the activities of Mrs. Pankhurst called Den moderna suffragetten, reflecting his reputation in the theater for avant-garde subjects. Stiller also proved adept at comedy, as his films Love and Journalism, Thomas Graal’s Best Film—one of the earliest films about filmmaking—and Thomas Graal’s First Child reveal, with their skirmishing and coquetry that characterize the relationship of the sexes. Stiller insisted, however, on restraint in acting style; he was an autocratic perfectionist, and Emil Jannings, Germany’s leading actor, termed him ‘‘the Stanislavski of the cinema.’’ The second of these films had a complex structure, full of flashbacks and daydreams; the director Victor Sj?str?m starred in all three, as well as in other of Stiller’s films. In some of his earliest efforts, Stiller made appearances himself. The climax to Stiller’s career in the production of elegant and graceful comedies of sex manners was Erotikon; though better known, because of its alluring title, than its predecessors, it is somewhat less accomplished. Elaborately staged and full of sexual by-play—the wife of a preoccupied professor has two lovers in hot pursuit, a young sculptor and an elderly baron—it includes a specially commissioned ballet performed by the opera in Stockholm. These sophisticated silent films rank alongside the early comedies of Lubitsch, whose work in this genre in Germany in fact succeeded them. Lubitsch readily acknowledged his debt to Stiller. Again like Lubitsch (with whose career Stiller’s can best be compared at this stage), Stiller also worked on epic-style, historical subjects. He took over the adaptation of Selma Lagerl?f’s novel Sir Arne’s Treasure from Sj?str?m, its original director. This was essen- tially an eighteenth-century story of escape and pursuit—three Scot- tish mercenaries in the service of King John III are imprisoned for conspiracy. They abscond in the depths of winter, undertaking a desperate journey overland to flee the country. In the process they become increasingly violent and menacing until they come upon Arne’s mansion. They steal his treasure, burn his house, and slaughter its inhabitants except for an orphan girl. The orphan Elsalill, who survives the massacre, is a haunted figure half-attracted to the leader of the Scottish renegades. But she eventually betrays him and dies in the final confrontation in which the Scots are recaptured. The long, snake-like column of black-robed women moving over the icy waste in the girl’s funeral procession is Stiller’s concluding panoramic scene; one of the best-known spectacular shots in early cinema, it still appears in most history books. The film illustrates grandly the STILLMANDIRECTORS, 4 th EDITION 957 response of the early Swedish filmmakers to the menacing magnifi- cence of the northern winter landscape. After completing Erotikon Stiller moved on to Johan, a dark and satiric study of the triangular relationship of husband, wife, and the visitant, stranger-lover. Set in the desolate expanse of the countryside, the film includes a climax worthy of Griffith as the guilty couple, chased by the husband, ride the rapids in a small boat. Stiller then crowned his career in Sweden with two further adaptations of Lagerl?f’s work: Gunnar Hedes Saga and G?sta Berlings Saga. In the former—in every way an outstanding film of its period in its immixture of dream and actuality—the hero, the violinist Nils (Einar Hansson), is inspired to emulate his father, who made a fortune by driving a vast herd of reindeer south from the Arctic circle. Nils’s adventure in realizing this dream only leads to severe injury resulting in amnesia; back home in the forests of the south he experiences hallucinations from which the girl who loves him finally liberates him. The film’s duality is striking: the realism of the trek with the reindeer, which involved panoramic shots of the great herds and brilliant tracking shots of the catastrophic stampede which leads to Nils’s accident, is in marked contrast to the twilit world of his hallucinations. G?sta Berling’s Saga, on the other hand, though famous for its revelation of the star quality of the young drama student, Greta Garbo, and its melodramatic story of the defrocked priest (Lars Hanson) fatally in love with Garbo’s Italian girl, is clumsy in structure compared with Gunnar Hede’s Saga, and was later destructively cut for export to half its original length of four hours. Stiller travelled in 1925 to America at the invitation of Louis B. Mayer of MGM on the strength of his reputation as a sophisticated European director, but mostly (it would seem) because he was Garbo’s Svengali-like and obsessive mentor. He very soon fell out with Mayer, who endured him because he wanted Garbo as a contract player. All but mesmerized by Stiller, Garbo insisted that he direct her in The Temptress; the inevitable difficulties arose and he was with- drawn from the film. Stiller’s best film in America was made at Paramount. Hotel Imperial, which starred Pola Negri, concerned a wartime love affair between a hotel servant and an Austrian officer and was notable for its spectacular, composite hotel set over which the camera hung sus- pended from an overhead rail. After finishing a second film with Negri, The Woman on Trial, Stiller never managed to complete another film; the respiratory illness that was undermining his health forced him to part from Garbo and return to Sweden, where he died in 1928 at the age of 45. —Roger Manvell STILLMAN, Whit Nationality: American. Born: Washington, D.C., 1952. Education: Harvard University, B.A., 1973. Family: Married Irene Perez Porro (a television journalist), 1980; children: two daughters. Career: Editorial assistant and first reader, Doubleday, New York City, 1974–78; Access News Summery, 1979–81; foreign sales agent for Spanish films, Barcelona, Spain, 1981–85; owner and operator, Riley Illustration (cartoonist agency), New York City, 1984–91; contribu- tor to periodicals, including Harper’s, Village Voice, the Guardian Whit Stillman (London), and El Pais (Barcelona). Awards: Critics Award, Deauville Film Festival, Independent Spirit Award for Best First Feature, Silver Leopard, Locarno International Film Festival, and New York Film Critics Circle Award for Best New Director, for Metropolitan, 1990. Agent: John Sloss, Sloss Law Office, 170 Broadway, New York, NY 10010, U.S.A. Films as Director: 1990 Metropolitan (+ pr, sc) 1993 ‘‘The Heart of Saturday Night,’’ episode of Homicide: Life on the Streets (for TV) 1994 Barcelona (+ pr, sc) 1998 The Last Days of Disco (+ pr, sc) Films as Actor: 1983 La Línea del cielo (The Sky Line) (Colomo) 1984 Sal gorda (Trueba) (as Mortimer Peabody) Publications By STILLMAN: article— Marano, Hara Estroff, interview in Psychology Today, May-June 1998. STONE DIRECTORS, 4 th EDITION 958 On STILLMAN: book— Lyons, Donald, Independent Visions, New York, 1994. On STILLMAN: articles— Lyons, Donald, ‘‘Places in the Heart,’’ in Film Comment (New York), July/August 1994. Kauffman, Stanley, ‘‘Americans Abroad,’’ in The New Republic, 15 August 1994. Miller, Laura, ‘‘Celebrated Whit,’’ in Salon, 28 May 1998. Teachout, Terry, ‘‘Old Money, Young Love,’’ in Civilization, June- July 1998. Pappas, Ben, ‘‘Social Studies,’’ in Forbes, 6 July 1998. *** The characters populating Whit Stillman’s first three films occupy a more-or-less definable epoch at the end of the 20th century. The Last Days of Disco (1998) and Barcelona (1994) are set in the early 1980s; Metropolitan (1990) is set ‘‘not so long ago,’’ which would seem to be around the time of the other two pictures. Yet these people might easily have attended the parties, traipsed through the mansions, and jumped into the fountains of F. Scott Fitzgerald’s Roaring Twenties. Stillman has often been pegged as an ironist, but his movies are also informed by a rich nostalgia. And although he captures the tone of the 1980s with a keen eye—and especially a sharp ear—his people are also timeless types, their foibles and longings as authentic in the disco era as they would have been in the jazz age. Had Stillman himself been alive in the 1920s, he probably would have known Fitzgerald. His great-grandfather was James Stillman, president of the banking leviathan that would become Citibank. Born to parents who worked in Democratic politics, Whit Stillman grew up partly in a Hudson Valley town, graduated from Harvard in 1973, and worked for a time in New York publishing (an environment that would form the backdrop of The Last Days of Disco). Having abandoned an early fling at novel-writing, he became involved in the movie business while living in Spain (he married a Barcelonan in 1980), as a sales representative for Spanish films and even as an occasional actor. His specialty was in geeky Americans—his appear- ances in Spanish movies include playing a character named Mortimer Peabody in Fernando Trueba’s Sal Gorda. While managing a design agency in Manhattan in the mid-1980s, Stillman wrote a feature screenplay about a Park Avenue debutante season. Stillman produced Metropolitan on a shoestring (including $50,000 from the sale of his apartment), arranging the film around a series of plainly but smartly shot dialogue scenes. The result was an utterly disarming look at the mating habits of upper-class WASPs, whose self-conscious yet earnest urges are no less poignant for their being born in the ‘‘urban haute bourgeoisie.’’ The characters often speak of Jane Austen, even if the central character doesn’t actually read novels (‘‘I prefer good literary criticism’’), and Stillman’s film is evocative of Austen’s earned wisdom and blade-edged satire. Most daringly, Stillman brought a wry sympathy to the privileged class at a time when serious film—especially serious independent film—was assumed to be ex- clusively concerned with problems and issues of ethnicity, feminism, crime, or life in the lower classes. Metropolitan enjoyed a well-deserved round of critical gush, and it returned handsomely on its original investment. It won Stillman an Oscar nomination for his erudite screenplay; perhaps more impor- tantly it won him a production deal at Castle Rock Pictures, which made his next two films. For Barcelona, Stillman plucked two of the supporting actors from Metropolitan, Chris Eigeman and Taylor Nichols, and built an entire film around them. In ‘‘the last decade of the Cold War,’’ two young Americans in Barcelona navigate the dangerous waters of beautiful women and anti-gringo sentiment. A torrent of talk swirls around them, from an ant-farm analogy of America’s foreign policy to the proper method of shaving, but Stillman’s Barcelona is not a toothless collection of glib ideas; he both satirizes and stands up for Eigeman’s defensive patriot, which accounts for the film’s sometimes bristling tone. With seam- less efficiency, Stillman allows the picture to darken as it goes along, never losing its comic momentum but nicely upping the stakes. The visual portrait of the city was also evocative, but not in a picture- postcard way—critic Donald Lyons observed, ‘‘It is not surprising that Stillman, wary of clichés, includes not a single shot of a signature Gaudí building in this valentine to Gaudí’s city.’’ And Barcelona confirmed Chris Eigeman as Stillman’s chief interpreter: as Marlene Dietrich was to Josef von Sternberg, so Chris Eigeman is to Whit Stillman. The filmmaker does not classify Eigeman as an alter ego: ‘‘I love that character he plays in my films, but actually that isn’t me.... (T)he characters Chris plays would be the older, impressive, funny cousins that I had—people in college who were two years older than me.’’ The wide-eyed, deadpan actor lets Stillman’s dialogue roll trippingly off his tongue, thus embodying the special kind of ironical sincerity that the director has perfected. Stillman wrote a role for ‘‘a Chris Eigeman type’’ in his next film, and worried over whom to cast. . . until coming to his senses and simply casting Chris Eigeman. That film was The Last Days of Disco, a character comedy that lived up to its jokey yet vaguely melancholic title. Once again Stillman wrapped the delights of repartee around a solid emotional core, although this time the narrative weight was shifted to the female characters, especially the unlucky innocent played by Chloe Sevigny. Stillman’s picture of Manhattan youth waltzing through the Studio 54 scene confirmed his grasp of social groups. ‘‘This is something we hunger for in the United States,’’ Stillman has said. ‘‘We’re living in times that are a bit atomized. When we find those groups, it can really mean a lot to us.’’ The stylization of Stillman’s dialogue risks his actors lapsing into wooden recitation, yet within minutes the films find their own rhythm and tone. The loose trilogy makes Stillman look like a Preston Sturges of the Reagan years, though admittedly less antic. Working at a deliberate pace, Stillman makes a film every four years, and after Disco planned to break away from his favored milieu and create a completely different kind of film—which means the UHB, the Urban Haute Bourgeoisie, may never again find as eloquent a voice. —Robert Horton STONE, Oliver Nationality: American. Born: New York City, 1946. Education: Studied at Yale University, dropped out, 1965; studied filmmaking under Martin Scorsese, New York University, B.F.A., 1971. Military STONEDIRECTORS, 4 th EDITION 959 Oliver Stone Service: Volunteered for 25th Infantry Division, U.S. Army, 1967, awarded Bronze Star for Valor, and the Purple Heart with Oak Leaf Cluster. Family: Married 1) Majwa Sarkis, 1971 (divorced 1977); 2) Elizabeth Burkit Cox, 1981. Career: Teacher at Free Pacific Institute, Cholon, Vietnam, 1965; joined U.S. Merchant Marine, 1966; taxi driver in New York City, 1971; directed first film, Seizure, 1974; co-producer of TV miniseries Wild Palms, 1993. Awards: Oscar for Best Screenplay Adaptation, and Writers Guild Award, for Midnight Express, 1979; Directors Guild of America Award, Oscar for Best Director, and Golden Globe Award for Best Director, for Platoon, 1987, and for Born on the Fourth of July, 1989. Agent: Marty Bauer, William Morris Agency, 151 El Camino Drive, Beverly Hills, CA 90211. Films as Director and Scriptwriter: 1974 Seizure 1979 Mad Man of Martinique 1981 The Hand 1986 Salvador (+ pr, co-sc); Platoon 1987 Wall Street (co-sc) 1988 Talk Radio (co-sc) 1989 Born on the Fourth of July (co-sc) 1991 The Doors (co-sc, + uncredited role as film professor); JFK (+ pr) 1993 Heaven and Earth (+ pr) 1994 Natural Born Killers 1995 Nixon (+ pr) 1997 U Turn 1999 Any Given Sunday (+ exec pr) Other Films: 1973 Sugar Cookies (Gershuny) (co-pr) 1978 Midnight Express (Parker) (sc) 1982 Conan the Barbarian (Milius) (co-sc) 1983 Scarface (De Palma) (sc) 1985 Year of the Dragon (Cimino) (sc) 1986 8 Million Ways to Die (Ashby) (co-sc) 1991 The Iron Maze (exec pr) 1992 South Central (exec pr); Zebrahead (exec pr) 1993 Dave (role as himself); The Last Party (role as himself); The Joy Luck Club (exec pr); Wild Palms (for TV) (exec pr) 1994 The New Age (exec pr) 1995 Indictment: The McMartin Trial (for TV) (exec pr) 1996 Freeway (exec pr); Killer: Journal of a Murder (exec pr); The People vs. Larry Flint (pr) 1998 The Last Days of Kennedy and King (exec pr); Savior (pr) 1999 Chains (exec pr); The Corrupter (exec pr) Publications By STONE: books— Platoon and Salvador: The Screenplays, with Richard Boyle, Cranbury, New Jersey, 1987. Oliver Stone’s Heaven and Earth, with Michael Singer, Boston, 1993. JFK: The Book of the Film, with Zachary Sklar, New York, 1992. A Child’s Night Dream, St. Martin’s Press, 1997. By STONE: articles— Interview with Nigel Floyd, in Monthly Film Bulletin (London), January 1987. Interview with Pat McGilligan, in Film Comment (New York), January/February 1987. Interview with M. Burke, in Stills (London), 29 February 1987. Interview with Louise Tanner, in Films in Review (New York), March 1987. Interview with M. Sineux and Michel Ciment, in Positif (Paris), April 1987. Interview with Alexander Cockburn, in American Film (Washington D.C.), December 1987. Interview with Gary Crowdus, in Cineaste (New York), vol. 16, no. 3, 1988. Interview with M. Tessier and others, in Revue du Cinéma (Paris), April 1989. Interview with Mark Rowland, in American Film (Washington, D.C.), March 1991. Interview with David Breskin, in Rolling Stone (New York), 4 April 1991. Interview in Time (New York), 23 December 1991. STONE DIRECTORS, 4 th EDITION 960 Interview with David Ansen, in Newsweek (New York), 23 Decem- ber 1991. Interview with Jeff Yarbrough, in Advocate (New York), 7 April 1992. Interview with Gavin Smith, in Film Comment (New York), January/ February 1994. Interview with Gregg Kilday, in Entertainment Weekly (New York), 14 January 1994. Interview with Graham Fuller, in Interview (New York), Septem- ber 1994. Interview with Nathan Gardels, in New Perspectives (Toronto), Spring 1995. ‘‘The Dark Side: Nixon,’’ an interview with Gavin Smith and José Arroyo, in Sight and Sound (London), March 1996. Interview with Ric Gentry, in Post Script (Commerce), Summer 1996. ‘‘Ten Years, Ten Films,’’ an interview with Erik Bauer, in Creative Screenwriting (Washington, D.C.), Fall 1996. ‘‘Past Imperfect: History according to the Movies: History, Dramatic Licence, and Larger Historical Truths,’’ an interview with Mark C. Carnes and Gary Crowdus, in Cineaste (New York), March 1997. ‘‘Desert Noir: How the Southwest was Redone,’’ an interview with Andrew O. Thompson, in American Cinematographer (Holly- wood), October 1997. ‘‘The Sweet Hell of Success,’’ an interview with P. Biskind, in Premiere (Boulder), October 1997. On STONE: books— Beaver, Frank, Oliver Stone: Wakeup Cinema, New York, 1994. Riordan, James, Stone: The Controversies, Excesses, and Exploits of a Radical Filmmaker, New York, 1994. Salewicz, Chris, Oliver Stone, New York, 1998. Toplin, Robert Brent (editor), Oliver Stone’s USA: Film, History, and Controversy, Lawrence, 2000. On STONE: articles— Chase, Chris, ‘‘Good Fortune Has Creator of Hand Nervous,’’ in New York Times, 15 May 1981. Sklar, Robert, and others, ‘‘Platoon on Inspection: A Critical Sympo- sium,’’ in Cineaste (New York), vol. 15, no. 4, 1987. Peary, Gerald, ‘‘The Ballad of a Haunted Soldier,’’ in Maclean’s (Toronto), 30 March 1987. Boozer, Jack, Jr., ‘‘Wall Street: The Commodification of Percep- tion,’’ in Journal of Popular Film and Television (Washington, D.C.), vol. 17, no. 3, 1989. Corliss, Richard, ‘‘Who Cares?,’’ in Film Criticism (Meadville, Pennsylvania), vol. 25, no. 1, 1989. Jones, G., ‘‘Trash Talk: Oliver Stone’s Talk Radio,’’ in Enclitic (Los Angeles), vol. 11, no. 2, 1989. Wrathall, J., ‘‘Greeks, Trojans and Cubans—Oliver Stone,’’ in Monthly Film Bulletin (London), October 1989. Denby, David, ‘‘Days of Rage,’’ in New York, 18 December 1989. Klawans, Stuart, ‘‘Born on the Fourth of July,’’ in Nation (New York), 1 January 1990. Kauffman, Stanley, ‘‘The Battle after the War,’’ in New Republic (New York), 29 January 1990. Simon, John, ‘‘Wild Life,’’ in National Review (New York), 5 Febru- ary 1990. Hoberman, J., ‘‘Out of Order,’’ in Sight and Sound (London), Spring 1991. Horton, Robert, ‘‘Riders on the Storm,’’ in Film Comment (New York), May/June 1991. Schiff, Stephen, ‘‘The Last Wild Man,’’ in New Yorker, 8 Au- gust 1994. Cieutat, Michel, and others, in Positif (Paris), April 1996. Rosenbaum, R., ‘‘The Pissing Contest,’’ in Esquire, December 1997. Tobin, Yann, and Michael Henry, in Positif (Paris), January 1998. Pizzello, Chris, ‘‘Smash-Mouth Football,’’ in American Cinema- tographer (Hollywood), January 2000. On STONE: film— Oliver Stone: Inside Out (for TV), 1992. *** Anyone attempting with any degree of success, both artistic and commercial, to make overtly political movies that sustain a left-wing position within the Hollywood cinema of the 1980s and 1990s deserves at least our respectful attention. In fact, Oliver Stone’s work dramatizes, in a particularly extreme and urgent form, the quandary of the American left-wing intellectual. Platoon and Wall Street provide a useful starting point, as they share the same basic structure. A young man (Charlie Sheen, in both films) has to choose in terms of values between the Good Father (Willem Dafoe, Martin Sheen) and the Bad Father (Tom Berenger, Michael Douglas); he learns to choose the Good Father and destroy the Bad. The opposition is very similar in both cases: the Good Father is a liberal with a conscience, aware of the impossibility of changing or radically affecting the general situation but committed to the preservation of his personal integrity; the Bad Father has no con- science and no integrity to preserve, and this, combined with a total ruthlessness, is what equips him to survive (until the dénouement) and makes him an insidiously seductive figure. The Bad Father is com- pletely adapted to a system that the Good Father can protest against but do nothing to change. The young man can exact a kind of individual justice by destroying the Bad Father, but the system remains intact. Platoon and Wall Street do not represent Stone’s work at its best: their targets are a bit too obvious, the characteristic rage comes too easily, tinged with self-righteousness, so that the alienating aspects of his manner—the heavy stylistic rhetoric, the emotional bludgeoning— are felt at their most obtrusive. But the two films encapsulate the quandary—one might say the blockage—that is treated more complexly elsewhere: what does one fight for within a system one perceives as totally corrupt but in which the only alternative to capitulation is impotence? The fashionable buzz-phrase ‘‘structuring absence’’ becomes resonant when applied to Stone’s films: in the most literal sense, his work so far is structured precisely on the absence of an available political alternative, which could only be a commitment to what is most deeply and hysterically taboo in American culture, a form of Marxist socialism. There is a curious paradox here which Americans seem reluctant to notice: Lincoln’s famous formula, supposedly one of the foundations of American political ideology, ‘‘Government of the people, by the people and for the people,’’ could only be realized STONEDIRECTORS, 4 th EDITION 961 in a system dubbed, above all else, ‘‘un-American’’ (American capitalism, as Stone sees very clearly, is government by the rich and powerful for the rich and powerful). In both Salvador and Born on the Fourth of July the protagonist declares, at a key point in the develop- ment, ‘‘I am an American, I love America,’’ and we must assume he is speaking for Stone. But we must ask, which America does he love, since the American actuality presented in both films is unambigu- ously and uniformly hateful? What is being appealed to here is clearly a myth of America, but the films seem, implicitly and with profound unease, to recognize that the myth cannot possibly be realized, that capitalism must take the forms it has historically taken. Hence the sense one takes from the films of a just but impotent rage: without the availability of the alternative there is no way out. This is nowhere clearer than in Salvador, one of Stone’s strongest, least flawed works and a gesture of great courage within its social- political context. While in American capitalist democracy it is still possible to make a film like Salvador (the equivalent in Stalinist Russia would have been unthinkable), it is not possible for the film to go further than it does, to take the necessary, logical step. Impotent rage is permissible, the promotion of a constructive alternative is not. Stone’s films can be acceptable, even popular, even canonized by Academy Awards precisely because their ultimate effect, beyond the rage, is to suggest that things cannot be changed (as indeed they cannot, while one remains within the system). Salvador offers a lucid and cogent analysis of the political situation, a vivid dramatization of historical events (the death of Romero, the rape and murder of the visiting Nicaraguan nuns), and an outspoken denunciation of Ameri- can intervention. Neither does it chicken out at the end: the final scene, where the protagonist at last gets his lover and her two children over the border into the ‘‘land of the free,’’ to have them abruptly and brutally sent back by American security officers, is as chilling as anything that modern Hollywood cinema has to offer. But the film’s attitude to the concept of a specifically socialist revolution (as opposed to a vague notion of people ‘‘fighting for their freedom’’) is thoroughly cagy and equivocal. Nothing is done to demystify the habitual American conflation of socialism and Marxism with Stalinism. All the film can say is that the threat of a general ‘‘Communist’’ takeover is either imaginary or grossly exaggerated (if it were not, presumably the horrors we are shown would all be justified or at least pardonable), that the Salvadoreans, like good Americans, just want their liberty, and that America, in its own interests, has betrayed its founding principles by intervening on the wrong side. Born on the Fourth of July recapitulates the earlier film’s force, rage, and outspokenness, and also its impasse. It seems to be weak- ened, however, by its final construction of its protagonist as a redeem- er-hero. Ron Kovic, by the end of the film, in realizing (with whatever irony) his mother’s dream that he would one day speak before thousands of people saying wonderful things, at once regains his full personal integrity and sense of self-worth and offers an apparent political escape by revealing the ‘‘truth.’’ But recent history has shown many times that the revelation of truth can be very readily mythified and absorbed into the system (the Oscar awards and nominations for Stone’s movies represent an exact equivalent). Talk Radio received no such accolades and seems generally regarded as a minor, marginal work. On the contrary, it is arguably Stone’s most completely successful film to date and absolutely central to his work, to the point of being confessional. It has been taken as more an Eric Bogosian movie than a Stone movie. We can credit Stone with firmer personal integrity and higher ambitions than are evidenced by Barry Champlain (Bogosian’s character), but, that allowance made, Stone has found here the perfect ‘‘objective correla- tive’’ for his own position, his own quandary. Champlain’s rage, toppling over into hysteria, parallels the tone of much of Stone’s work and identifies one of its sources, the frustration of grasping that no one really listens, no one understands, no one wants to understand; the sense of addressing a people kept in a state of mystification so complete, by a system so powerful and pervasive, that no formal brainwashing could improve on it (this ‘‘reading’’ of the American public is resumed in Born on the Fourth of July). The film is indeed revelatory, and very impressive in its honesty and nakedness. In the 1990s, Stone’s career entered a new phase as the director became even more commercially successful while raising the ante of political controversy. His earlier films, especially Platoon, had suc- cessfully exploited classic realist techniques—especially the device of a likeable main character—to arouse audience sympathy for a radical point of view: that the system deals in death, not life, and counts as enemies all who oppose it, including ‘‘good’’ Americans. Classic realism, however, leads the spectator toward emotional catharses that blunt the point of such political perceptions; further- more, the narrative closure required in such texts suggests a victory for the protagonists of good will even as the political problems so tellingly enunciated are transcended. Of Stone’s recent films, only Heaven and Earth, which completes his Vietnam trilogy, remains more or less within the regime of classic realism. Based on the autobiographical novels of Le Ly Hayslip, Heaven and Earth also offers a main character—a young Vietnamese woman—who is both sympathetic and socially typical, who offers, in short, an ideal emotional and narrative vantage point for the representation—poign- ant if not objective or detailed—of Vietnamese history since 1953. Le Ly is abused and manipulated by the successive regimes in her village—French, South Vietnamese, Viet Cong—only to be ‘‘res- cued’’ by a burned-out GI who takes her to an America concerned only with materialism and its own comfort. This ambitious film never individualizes, hardly humanizes its main character (who heroically resists Americanization by an entrepreneurship that allows her to live alone and return to Vietnam). With its startling visual stylization, artful use of disorienting editing, and expressionistic mise-en-scène, Heaven and Earth treats its subject with an operatic grandeur. The abandonment of realism (with itscarefully restrained stylization) for expressionism is also evident in The Doors, which takes as its subject yet another—for Stone—heroic rebel of the 1960s, musician/poet Jim Morrison. Here visual and aural stylizations are motivated by Stone’s desire to pay homage to the psychodelism of the period, even as they ‘‘express’’ the artistic rebellion of Morrison’s music. As in Heaven and Earth, the film is less about a character than a zeitgeist, but many reviewers and spectators were disappointed by Stone’s lack of emphasis on narrative and complex character. A further, though never complete rejection of realism is to be found in the three Stone films that have found the most commercial success, even as they have aroused the greatest political controversy (making Stone a frequent guest on TV talk shows to defend his latest work and simultaneously plug it). Natural Born Killers, though ostensibly set in the 1990s, actually constructs its own, nightmarish version of American reality. Following Brecht, Stone here revives an American myth—the outlaw couple à la Bonnie and Clyde—but empties the outrageously violent attack on family and society perpe- trated by Mickey and Mallory of all emotional content through two defamiliarizing techniques: a fragmentary, Eisensteinian montage STORCK DIRECTORS, 4 th EDITION 962 that prevents any scene from achieving a reality effect; and acting that avoids naturalism at all costs. If Platoon uses the violence of war for melodramatic effect, Natural Born Killers eschews emotion of any kind to make a political point: the murderous connection between the deep-seated pathology of American family life and the reprehensible tendency for the media to exploit the desire of the abused and battered to find some kind of identity and self-worth. The result is the most intellectually profound and cerebral contemplation of violence in American life since Peckinpah’s The Wild Bunch. Stone, however, has not been satisfied to transcend the historical through mythopoeia and stylistic virtuosity (in the manner of, say, Jim Morrison). His conception of the film director’s social role is the most enlarged since the time of D. W. Griffith, whose career his own has in part mirrored. What the Civil War was for Griffith’s generation, the Kennedy assassination has been for Stone’s: a defining historical event, seen rightly or wrongly as the source of subsequent developments. JFK is Stone’s attempt to argue that case: not simply to advance yet another conspiracy theory, but to identify the death of Kennedy as the beginning of a deterioration in American life that has not yet come to an end. Like Griffith, Stone attempted a paradoxical recreation of history: a film that, he argues, is ‘‘true’’ to the facts and yet, making use of dramatic license, creates its own facts as an interpretation, a possible version of history. Like Griffith, Stone has been much attacked for so doing, even as his film has reopened interest in an event and its aftermath for a new generation. JFK uneasily joins two stylistic regimes: a classic realist narrative (the pursuit of the truth by a sympathetically presented main character, district attorney Jim Garrison) and a highly rhetorical, expressionistic recreation of the events under investigation. Of course, Garrison, like Stone’s other heroes, fails to do more than the right thing: the vaguely evoked fascistic cabal of southern businessmen and loose cannon Cubans emerges unscathed after pinning the rap on hapless Lee Harvey Oswald. Like Heaven and Earth, JFK ultimately turns nostalgically toward a past as yet unspoiled by the fall into political violence. Nixon, in contrast, is less oriented toward an event and an era than toward political biography. In the extensively annotated published screenplay, Stone answers his expected critics by pointing to the historical record as a source for the film’s material. In that book, Stone insists that his story of Nixon is a classically tragic tale of the essentially good man who overreaches and thereby dooms himself to disgrace. The resulting film, however, is disappointingly simplistic. Nixon becomes a bumbling, foul-mouthed fool whose physical and political gaffes define his relations with others (their constant disap- proval is evoked by numerous reaction shots). This interpretation is very much at odds with the substance of the political record and does nothing to explain the shifting tides of popular sentiment that swept Nixon into office and returned him for a second term. Choosing a subject for which he could feel little sympathy, Stone reveals in Nixon the limits of his political vision, which, like Griffith’s, depends too much on the melodramatic binarism of heroes and villains. —Robin Wood As not in JFK, the opposition of a classic realist regime (the film’s investigational structure, a la Citizen Kane, its most obvious model) to an expressionistically represented subjectivity (Nixon’s flow of memories) produces little more than confusion for anyone not absolutely familiar with the detailed factual record of Nixon’s presidency. Griffith’s genius lay in his ability, if that is what it was, to tell a complicated story in simple but evocative images. In this he was followed by the other great cinema historian, Sergei Eisenstein. Stone’s ponderous record of the American decline exemplified and contributed to by Nixon fails to tell a story to which anyone not a member of the chorus of the converted would likely attend or even be able to follow. Stone’s work in the closing years of the decade signals a further decline. U-Turn moves away from political filmmaking toward the exploding of a popular genre—the neo-noir erotic thriller—through the same ostentatious stylistic excesses that made some political sense in JFK and Nixon (since they were a calculated Brechtian rhetoric), but here seem so much empty, facetious posing. Sean Penn offers an excellent performance as a petty criminal trapped by bad luck and his own ineptitude in a nightmare landscape (reminiscent of the world Welles limns in Touch of Evil, the paranoid masterpiece that Stone consciously evokes). Yet the film is strangely uninvolving, full of oneiric imagery signifying nothing. Unlike many neo-noir films, U- Turn says nothing new about the discontents of gender or the existential frustrations of the American dream. We are hardly surprised that in the bloodbath finale of cross and double cross the hero thinks he has broken the hold of bad fortune only to realize that the femme fatale, now dead by his hand, has taken the keys to the car that offers his only chance of escape. The same subject matter is treated with more wit and narrative finesse in Red Rock West, The Last Seduction, and other neo-noir programmers. Stone returned to the big subject in Any Given Sunday, where he attempts to anatomize professional football, which we are implicitly asked to accept as a quintessence of American values, discontents, and dreams. Despite a huge expenditure on what are intended to be graphic depictions of the on-field struggle, Any Given Sunday seems surprisingly ill-informed on the sport and often fails to represent it meaningfully or clearly (for example, the plot involves a young black quarterback who leads the team to temporary success by making up plays in the huddle, an ‘‘innovation’’ we are asked to understand as both plausible and impressive). The struggle in which Stone is more interested takes place in the corporate board room and in the players’ luxurious homes. Here Stone proves incapable of capturing quickly and unforgettably the ambience of such a life on the edge and at the top (making Martin Scorsese’s evocation of Las Vegas in Casino seem all that more impressive). The narrative, unsurprisingly, comes down to a big game that the teams wins for the aging, jaded coach whose job is in jeopardy (another sad-faced portrayal by Al Pacino of a ‘‘godfather’’ in decline). Overlong, self-indulgent, and unconvincing, Any Given Sunday fails to add anything to our understanding of professional sports, or of the athletes and businessmen who control them. —updated by R. Barton Palmer STORCK, Henri Nationality: Belgian. Born: Ostend, 5 September 1907. Family: Married photographer Virginia Lierens. Career: Began making films in 8mm, 1927; organized cine-club in Ostend, made first ‘‘reportages,’’ 1928; assistant in France to Pierre Billon, Jean Croillon, and Jean Vigo, 1931; with Joris Ivens, made Borinage, 1933; began making films about art and folklore, 1936; directed first Belgian-international STORCKDIRECTORS, 4 th EDITION 963 co-production, Le Banquet des fraudeurs, 1951; president (for fifteen years), Association Belge des Auteurs de Films et Auteurs de Televi- sion, and co-founder, Royal Film Archive of Belgium. Died: 16 September 1999, in Brussels, Belgium, of natural causes. Films as Director: 1927–28 amateur films on Ostend 1929–30 Pour vos beaux yeux; Images d’Ostende 1930 Une Pêche au hareng; Le Service de sauvetage sur la c?te belge; Les Fêtes du centenaire; Trains de plaisir; Tentative de films abstraits; La Mort de Vénus; Suzanne au bain; Ostende, reine des plages 1931 Une Idylle à la plage 1932 Travaux du tunnel sous l’Escaut; Histoire du soldat inconnu; Sur les bords de la caméra 1933 Trois Vies une corde; Misère au Borinage (co-d, co-ph) 1934 Création d’ulcères artificiels chez le chien; La Production sélective du réseau à soixante-dix 1935 Electrification de la ligne Bruxelles-Anvers; L’?le de Paques; Le Trois-Mats; Cap du sud; L’Industrie de la tapisserie et du meuble sculpté; Le Coton 1936 Les Carillons; Les Jeux de l’été et de la mer; Sur les routes de l’ete; Regards sur la Belgique ancienne 1937 La Belgique nouvelle; Un ennemi public; Les Maisons de la misère 1938 Comme une lettre à la poste; La Roue de la fortune; Terre de Flandre; Vacances; Le Patron est mort 1939 Voor Recht en Vrijheid te Kortrijk 1940 La Foire internationale de Bruxelles 1942–44 Symphonie paysanne (co-d, ph) 1944 Le Monde de Paul Delvaux (+ ph) 1947 La Joie de revivre 1947–48 Rubens 1949 Au carrefour de la vie 1950 Carnavals 1951 Le Banquet des fraudeurs (feature) 1952 La Fenêtre ouverte 1953 Herman Teirlinck 1954 Les Belges et la mer; Les Portes de la maison; Le Tour du monde en bateau-stop 1955 Le Trésor d’Ostende 1956 Décembre, mois des enfants 1957 Couleur de feu 1957–60 Les Seigneurs de la forêt 1960 Les Gestes du silence 1961 Les Dieux du feu; L’énergie et vous 1962 Variation sur le geste; Le Bonheur d’être aimée (+ co-pr, co-sc); Les Malheurs de la guerre 1963 Plastiques 1964 Matières nouvelles 1965 Le Musée vivant 1966 Jeudi on chantera comme dimanche 1968 Forêt secrète d’Afrique 1969–70 Paul Delvaux ou les femmes défendues (+ ed) 1969–72 Fêtes de Belgiques 1974–75 Fifres et tambours d’Entre-Sambre-et-Meuse; Les Marcheurs de Sainte Rolende; Les Joyeux Tromblons 1985 Permeke (+ sc) Other Film: 1975 Jeanne Dielman, 23 Quai du commerce, 1080 Bruxelles (Akerman) (role as 1st caller) 1987 Henri Storck: Ooggetuige (consultant) 1998 Mes entretiens filmés (role) Publications By STORCK: articles— Interview, in Documentary Explorations, by G. Roy Levin, New York, 1972. Interview with Bert Hogenkamp, in Skrien (Amsterdam), July/Au- gust 1977. Interview with J. P. Everaerts in Film en Televisie (Brussels), Septem- ber 1987. Interviews with A. Tournès in Jeune Cinéma (Paris), May/June and July/August 1988. Interview with J. Petley and M. Chanan, in Vertigo (Paris), no. 4, 1994/1995. ‘‘Why the Documentary Cinema?’’ in Vertigo (Paris), no. 4, 1994/1995. ‘‘Henri Storck, humaniste engage,’’ an interview with C. Chauville and V. Hamon, in Bref (Paris), Summer 1995. Interview with F. Tanzarella, in Cineforum (Bergamo), January- February 1996. ‘‘Je ne suis pas tres tenace,’’ an interview with L. Baron, in Ciné- Bulles (Montreal), no. 2, 1997. On STORCK: articles— Blakeston, Oswell, ‘‘The Romantic Cinema of Henri Storck,’’ in Architectural Review (New York), May 1931. Bassan, R., ‘‘Storck le touche-à-tout,’’ in Ecran (Paris), Septem- ber 1977. Grelier, R., ‘‘Henri Storck,’’ in Image et Son (Paris), September 1977. Davay, P., ‘‘Henri Storck à l’honneur,’’ in Amis du Film et de la Télévision (Brussels), January 1979. ‘‘Storck Issue’’ of Revue Belge du Cinéma (Brussels), August 1979. De Bongnie, J., ‘‘Storck vu par un jeune Hudon,’’ in Amis du Film et de la Télévision (Brussels), November 1979. ‘‘Storck Section’’ of Revue Belge du Cinéma (Brussels), Winter/ Spring 1983/84. Vrielynck, R., ‘‘Sincerite et bon sens,’’ in Plateau, vol. 7, no. 3, 1986. Everaerts, Jan-Pieter, in Film en Televisie + Video (Brussels), Sep- tember 1987. Storck, Henri, ‘‘Henry Storck, témoin fraternel,’’ in Jeune Cinéma (Paris), July-August 1988. Euvrard, Michel, and Lily Baron, ‘‘Le documentaire en Belgique,’’ in Ciné-Bulles (Montreal), Summer 1997. *** After growing up in the seaside town of Ostend, Henri Storck naturally chose the beach and the sea, with the surrounding sand dunes, as background and subject for many of his early films. He became friendly with Ostend’s resident and visiting artists, and they all apparently absorbed creative strength from the solid tradition of Flemish paintings as well as physical stamina from the invigorating STRAUB and HUILLET DIRECTORS, 4 th EDITION 964 North Sea air. Primarily a documentarist, Storck’s prolific output of over seventy films does include a couple of fiction films: Une Idylle à la plage, a short film about adolescent love; and Le Banquet des fraudeurs, a feature film with a thriller framework. Storck has described the work of his mentor, Charles DeKeukeleire, another Belgian film pioneer, as having ‘‘lyrical expression, faithful- ness to authentic reality, and a sense of rhythm in editing.’’ These words are just as applicable to Storck’s own oeuvre. Borinage, a film about a coal miners’ strike in the Borinage—a district southwest of Brussels—is a powerful revelation of the miners’ living conditions. The film cinematically echoes the feelings that Van Gogh expressed in his drawings of an earlier period. Borinage is full of strong, intense images. A daring project, made in collaboration with Joris Ivens, the film had to be shot covertly in order to evade the police. Banned from public showing in Belgium and Holland at the time it was released, Borinage became a time-tested classic and an inspiration to the ‘‘Grierson boys’’ in England. Symphonie paysanne, made in a com- pletely different style, depicted the passage of the seasons on a Bel- gian farm. This pastoral eulogy again demonstrated Storck’s ability to express his humane sensibility in a cinematic manner. After the war, Storck immensely enhanced a developing genre— films analyzing the visual arts. Rubens (made in collaboration with Paul Haesaerts) and The World of Paul Delvaux are outstanding examples which were immediately recognized as tours de force. The Open Window and The Sorrows of the War were also worthy contributions to this category. A later film about Delvaux, Paul Delvaux or the Forbidden Women, was, to Storck’s great amusement, promoted on Times Square as a pornographic film. In his films about art, Storck was particularly innovative in his use of camera movement to display the details of the art works, and in some films used animated lines to demonstrate their structures of composition. Henri Storck’s humanistic vision is revealed by his films and crosses all national and cultural boundaries. —Robert Edmonds STRAUB, Jean-Marie, and Danièle HUILLET STRAUB. Nationality: French, German. Born: Metz, France, 8 Janu- ary 1933. Education: Studied literature at the Universities of Stras- bourg and Nancy, 1950–54. Family: Married Danièle Huillet, 1959. Career: Organized a film society in his hometown, late 1940s; moved to Paris and began collaboration with Huillet, 1954; worked as assistant to French directors Abel Gance, Jean Renoir, Jacques Rivette, Robert Bresson, and Alexandre Astruc, 1954–58; left France to avoid military service in the Algerian conflict, 1958 (received amnesty, 1971); Straub and Huillet moved to Munich, 1959; collabo- rated on their first film, Machorka-Muff, 1963; moved to Italy, 1969. HUILLET. Nationality: French. Born: France, 1 May 1936. Edu- cation: Studied film at the Universities of Nancy and Strasbourg. Family: Married the director Jean-Marie Straub, 1959. Career: Began collaboration with Jean-Marie Straub,1954; Straub and Huillet moved to Munich, 1959; Collaborated on their first film, Machorka- Muff, 1963; moved to Italy, 1969. Address: c/o French Film Office, 745 5th Avenue, New York, NY 10151, U.S.A. Films as Directors: 1963 Machorka-Muff (Straub: d, co-ed, co-sound; Huillet: sc, co-ed, co-sound) 1965 Nicht vers?hnt oder Es hilft nur Gewalt, wo Gewalt herrscht (Es hilft nicht, wo Gewalt herrscht; Not Reconciled) (Straub: d, co-ed, co-ph; Huillet: sc, co-ed, co-ph) 1968 Chronik der Anna Magdalena Bach (Chronicle of Anna Magdalena Bach) (Straub: d; Huillet: sc); Der Br?utigam, die Kom?diantin und der Zuh?lter (The Bridegroom, the Comedienne, and the Pimp) (Straub: d, co-ed; Huillet: sc, co-ed) 1969 Othon (Les Yeux ne veulent pas en tout temps se fermer ou Peut-être qu’un jour Rome se permettra de choisir à son tour; Die Augen wollen sich nicht zu jeder Zeit schliessen oder Vielleicht eines Tages wird Rom sich erlauben, seinerseits zu w?hlen; Eyes Do Not Want to Close at All Times or Perhaps One Day Rome Will Permit Herself to Choose in Her Turn, Othon) (co-d, co-ed; Huillet + sc, Straub + role under pseudonym Jubarithe Semaran); Einleitung zu Arnold Schoenberg Begleit Musik zu einer Lichtspielscene (Introduction to Arnold Schoenberg’s Accompaniment for a Cinematographic Scene) (+ co-pr, co-ed; Huillet + sc) (for TV) 1972 Geschichtsunterricht (History Lessons) (+ co-pr, co-ed; Huillet + sc) 1975 Moses und Aron (Moses and Aaron) (+ co-ed; Huillet + sc) 1976 Fortini/Cani (I cani del Sinai) (+ co-ed; Huillet + sc) 1977 Toute révolution est un coup de dés (Every Revolution Is a Throw of the Dice) (Huillet + sc) 1979 Della nube alla resistenza (From the Cloud to the Resistance) (Huillet + sc) 1983 Trop tot, trop tard (Too Early, Too Late) 1985 Klassenverh?ltnisse (Class Relations) 1987 Tod des Empedokles (The Death of Empedocles) 1989 Schwarze Sunde (Black Sin); Cézanne 1992 Antigone (Straub d, sc; Huillet, sc) 1994 Lothringen! (Huillet, ed) 1997 Von heute auf morgen 1999 Sicilia! (Straub d, sc; Huillet, sc) Other Films (Straub): 1954 La Tour des Nesle (Gance) (asst d) 1955 French Cancan (Renoir) (asst d) 1956 Eléna et les hommes (Renoir) (asst d); Le Coup de Berger (Rivette) (asst d); Un Condamné à mort s’est échappé (Bresson) (asst d) 1958 Une Vie (Astruc) (asst d) Publications By STRAUB AND HUILLET: book— Klassenverh?ltnisse, edited by Wolfram Schütte, Frankfurt, 1984. STRAUB and HUILLETDIRECTORS, 4 th EDITION 965 By STRAUB AND HUILLET: articles— ‘‘Frustration of Violence,’’ in Cahiers du Cinéma in English (New York), January 1967. ‘‘Moses und Aron as an Object of Marxist Reflection,’’ interview with J. Rogers, in Jump Cut (Chicago), no. 12–13, 1976. ‘‘Decoupage di Fortini/Cani,’’ in Filmcritica (Rome), November/ December 1976. Interview with R. Gansera, in Filmkritik (Munich), September 1978. Interview with Serge Daney and J. Narboni, in Cahiers du Cinéma (Paris), November 1979. Interview with H. Hurch and B. Brewster, in Undercut (London), Spring 1983. Interview with H. Farocki, in Filmkritik (Munich), May 1983. Interview with S. Blum and J. Prieur, in Camera/Stylo (Paris), September 1983. Interview with E. Bruno and R. Rosetti, in Filmcritica (Rome), September 1984. Interview with M. Blank and others, in Filmkritik (Munich), Septem- ber/October 1984. Interview with A. Bengala and others, in Cahiers du Cinéma (Paris), October 1984. Interview with P. Toulemonde, in Cinématographe (Paris), Novem- ber 1984. Interview with E. Szekely, in Filmvilag (Budapest), vol. 28, no. 8, 1985. Interview with G. Baratta and G. Latini, in Filmcritica (Rome), January/February 1987. Straub. J.M., article in Cahiers du Cinéma (Paris), October supple- ment 1987. Rossellini, R., and J.M. Straub, ‘‘Rapporto tra film e conoscenza,’’ in Filmcritica (Rome), December 1987. Interview with C. Desbarats, in Cinéma 88 (Paris), 6/13 January 1988. Interview with H. Hurch, in Andere Sinema (Antwerp), September/ October 1989. Interview with P. Willemsen, in Andere Sinema (Antwerp), Septem- ber/October 1989. Straub, J.M., ‘‘Senza titolo,’’ in Filmcritica (Rome), December 1989. Interview with Mart Dominicus and Jos de Putter, in Skrien (Amster- dam), February-March 1990. Interview with Christian Bosséno, in Vertigo (Paris), January 1996. Bramkamp, Robert, ‘‘Eine Hexe, die eine Menge Energie verbraucht,’’ in Film und Fernsehen (Berlin), vol. 25, no. 5–6, 1997. On STRAUB AND HUILLET: books— Roud, Richard, Jean-Marie Straub, London, 1971. Walsh, Martin, The Brechtian Aspect of Radical Cinema, Lon- don, 1981. Franklin, James, New German Cinema: From Oberhausen to Ham- burg, Boston, 1983. Phillips, Klaus, New German Filmmakers: From Oberhausen through the 1970s, New York, 1984. Rosetti, Riccardo, editor, Straub-Huillet Film, Rome, 1984. Elsaesser, Thomas, New German Cinema: A History, London, 1989. Byg, Barton, Landscapes of Resistance: The German Films of Danièle Huillet and Jean-Marie Straub, Berkeley, 1995. Foster, Gwendolyn Audrey, Women Film Directors: An International Bio-Critical Dictionary, Westport, Connecticut, 1995. Byg, Barton, Landscapes of Resistance: The German Films of Daniele Huillet and Jean-Marie Straub, Berkeley, 1996. On STRAUB AND HUILLET: articles— Baxter, B., ‘‘Jean-Marie Struab,’’ in Film (London), Spring 1969. Engel, Andi, ‘‘Jean-Marie Straub,’’ in Second Wave, New York, 1970. Walsh, M., ‘‘Political Formations in the Cinema of Jean-Marie Straub,’’ in Jump Cut (Chicago), November/December 1974. ‘‘Moses und Aron Issue’’ of Cahiers du Cinéma (Paris), October/ November 1975. ‘‘Straub and Huillet Issue’’ of Enthusiasm (London), December 1975. Bonitzer, P., ‘‘J.-M.S. et J.-L.G.,’’ in Cahiers du Cinéma (Paris), February 1976. Dermody, S., ‘‘Straub/Huillet: The Politics of Film Practice,’’ in Cinema Papers (Melbourne), September/October 1976. ‘‘Danièle Huillet Jean-Marie Straub’s Fortini/Cani,’’ special issue of Filmkritik (Munich), January 1977. Simsolo, Noel, ‘‘Jean-Marie Straub et Danièle Huillet,’’ in Cinéma (Paris), March 1977. Bennett, E., ‘‘The Films of Straub Are Not ‘Theoretical’,’’ in Afterimage (Rochester), Summer 1978. Rosenbaum, Jonathan, ‘‘Jean-Luc, Chantal, Danielle, Jean-Marie and the Others,’’ in American Film (Washington, D.C.), February 1979. Daney, Serge, ‘‘Le Plan Straubien,’’ in Cahiers du Cinéma (Paris), November 1979. Magisos, M., ‘‘Not Reconciled: The Destruction of Narrative Pleas- ure,’’ in Wide Angle (Athins, Ohio), vol. 3, no. 4, 1980. Sauvaget, D., article in Revue du Cinéma (Paris), April 1980. Blank, R., article in Skrien (Amsterdam), Summer 1981. Durgnat, Raymond, ‘‘From Caligari to Hitler,’’ in Film Comment (New York), Summer 1981. Graziani, G. and others, article in Filmcritica (Rome), September/ October 1981. Goldschmidt, D., article in Cinematographe (Paris), March 1982. Mitry, Jean, article in Cinematographe (Paris), September 1982. Simons, J., article in Skrien (Amsterdam), September 1982. Lange, M., and others, article in Filmkritik (Munich), January 1983. Ranieri, N., article in Cinema Nuovo (Torino), August-October 1983. Maderna, M., article in Segnocinema (Vicenza), January 1984. Hoberman, J., ‘‘Once upon a Time in Amerika,’’ in Artforum (New York), September 1984. Bergala, A., article in Cahiers du Cinéma (Paris), October 1984. Ehrenstein, D., and others, ‘‘Reagan at Bitburg: Spectacle and Memory,’’ in On Film (Los Angeles), Spring 1985. Rosetti, R., article in Filmcritica (Rome), October 1985. Kamiah, J., article in Filmcritica (Rome), January-February 1987. Chevrie, M., article in Cahiers du Cinéma (Paris), April 1989. Dominicus, M., and J. de Putter, article in Skrien (Amsterdam), February-March 1990. Petley, Julian, ‘‘Straub/Huillet’s Empedocles,’’ in Sight and Sound (London) Summer 1990. ‘‘Jean-Marie Straub wird 60,’’ in EPD Film (Frankfurt), Janu- ary 1993. *** The films of Jean-Marie Straub and Danièle Huillet are best understood in the context of contemporary developments in radical, materialist cinema. They offer what many people see as a genuine alternative to both dominant narrative cinema and conventional art movies. Their work is formally austere and demands attentive, STURGES DIRECTORS, 4 th EDITION 966 intellectual participation from audiences. However, it must be ac- knowledged that many people find their films nearly impenetrable and absolutely boring. This is explained in part by the fact that the films do not rely on standard narrative construction or conventional characters. While the films of Straub and Huillet are by no means ‘‘abstract’’ it is nearly impossible to (re)construct a unified, imagi- nary, referential ‘‘world’’ through them. In a sense their work might be explained in terms of strategies of displeasure, a wilful refusal to captivate audiences with a coherent fictional world. Instead they promote a distanced, intellectual interac- tion between viewer and film. Because of this insistence on critical distance, audiences must work with the film in a dialectical process of meaning construction. (In fact, Straub is notoriously critical of ‘‘lazy’’ viewers who are unwilling to engage in this activity.) Straub and Huillet’s films directly address the nature of cinematic signification and its political implications. This includes breaking away from conventional assumptions and practices of dominant narrative cinema. Their films exploit all channels of the medium— music, sounds, words, and images—as equivalent carriers of mean- ing, rather than privileging the ‘‘visual’’ or relegating music and sound effects to the task of support material. Thus, there are times when extremely long, static shots accompany lengthy, complex verbal passages (a singularly ‘‘uncinematic’’ practice according to conventional canons of film aesthetics). Sequences may be developed along the lines of montage construction, juxtaposing graphic mate- rial, verbal material, and moving images. Both of these strategies are used in Introduction to Schoenberg’s ‘‘Accompaniment for a Cinematographic Scene’’; and the starting point for this short film was a piece of music written by the composer. The major texts, read on-screen (though interrupted at intervals by black frames), are a letter from Schoenberg to Kandinsky explaining his reasons for not participating in the Bauhaus, and a text by Brecht elaborating the relationship between fascism and capitalism. The readings of these texts take up most of the film, which includes Straub and Huillet as on-camera narrators ‘‘placing’’ the texts. The film then concludes with a montage sequence. The political aspect of the film derives not only from the logical argument advanced, the Brecht analysis stand- ing as a critique of Schoenberg’s ‘‘liberal’’ position, but also from the film’s rejection of documentary norms. At the same time it has been pointed out that Schoenberg’s music stands in relation to classical rules of harmonic composition in the same manner that Straub and Huillet films stand in relation to the conventions of dominant cinema. The incorporation of musical works and verbal texts, as both a source for and signifying material within their films, is an important aspect of their work. The figure of Bertolt Brecht is perhaps the most pervasive presence in Straub and Huillet’s films. His writing is included in Introduction to Schoenberg and provided the source for History Lessons. More crucially, the strategies of deconstruction and distanciation in their films derive from principles advanced in Brechtian theory. These include concepts of alienation and anti-illusionism elaborated in Brecht’s theory of epic theater. Straub and Huillet have developed these ideas in the context of their films and their persistent concern with the politics of cinematic expression. Straub and Huillet will probably never be as well known to cineastes as fellow New German filmmakers Rainer Werner Fassbinder, Volker Schlondorff, Werner Herzog, or Wim Wenders. But their minimalist films remain important contributions to the New German cinema, and they have been a meaningful voice for the art crowd in Germany. As with all gifted and dedicated film artists whose works are unconventionally structured, their cinematic output remains wor- thy of study by serious film students and equally worthy of viewing by discerning audiences. —M.B. White, updated by Rob Edelman STURGES, Preston Nationality: American. Born: Edmund P. Biden in Chicago, 29 August 1898; adopted by mother’s second husband, Solomon Sturges. Education: Educated in Chicago (Coulter School); Lycée Janson, Paris; Ecole des Roches, France; Villa Lausanne, Switzerland; and in Berlin and Dresden. Family: Married 1) Estelle Mudge (divorced 1928); 2) Eleanor Post Hutton, 1932 (annulled 1932); 3) Louise Sergeant Tervis (divorced); 4) actress Anna Nagle (known profes- sionally as Sandy Mellen), three sons. Career: Managed mother’s cosmetic shop in Deauville, then New York, early 1910s; runner for Wall Street brokerage firm, 1914; enlisted in Air Corps, attended School of Military Aeronautics, Austin, Texas, 1917; returned to cosmetic business in New York, invented kissproof lipstick, 1919; turned business over to mother, worked in various jobs and as inventor; playwright, from 1927; The Guinea Pig ran 16 weeks on Broadway, 1929; scriptwriter from 1930, moved to Hollywood, 1932; directed own screenplays, from 1940; also manager of Sturges Engineering Company, producing diesel engines; began association with Howard Hughes, 1944; moved to Paris, 1949. Awards: Oscar Preston Sturges (right) with Joel McCrea and Claudette Colbert on the set of The Palm Beach Story STURGESDIRECTORS, 4 th EDITION 967 for Best Original Screenplay, for The Great McGinty, 1940; Laurel Award for Achievement (posthumously), Writers Guild of America, 1974. Died: At the Algonquin Hotel, New York, 6 August 1959. Films as Director and Scriptwriter: 1940 The Great McGinty; Christmas in July 1941 The Lady Eve; Sullivan’s Travels 1942 The Palm Beach Story 1944 Hail the Conquering Hero; The Miracle of Morgan’s Creek; The Great Moment 1947 Mad Wednesday (+ pr) 1948 Unfaithfully Yours (+ pr) 1949 The Beautiful Blonde from Bashful Bend (+ pr) 1951 Vendetta (co-d with Ferrer, uncredited) 1957 Les Carnets du Major Thompson (The French, They Are a Funny Race) Other Films: 1930 The Big Pond (Henley) (co-sc, co-dialogue); Fast and Loose (Newmeyer) (sc, dialogue) 1931 Strictly Dishonorable (Stahl) (sc, play basis) 1933 The Power and the Glory (Howard) (sc); Child of Manhattan (Buzzell) (sc, play basis) 1934 Thirty-Day Princess (Gering) (co-sc); We Live Again (Mamoulian) (co-sc); Imitation of Life (Stahl) (co-sc, uncredited) 1935 The Good Fairy (Wyler) (sc); Diamond Jim (Sutherland) (co-sc) 1936 Next Time We Love (Edward Griffith) (co-sc, uncredited); One Rainy Afternoon (Lee) (lyrics for ‘‘Secret Rendezvous’’) 1937 Hotel Haywire (Archainbaud) (sc); Easy Living (Leisen) (sc) 1938 Port of Seven Seas (Whale) (sc); If I Were King (Lloyd) (sc) 1940 Remember the Night (Leisen) (sc) 1947 I’ll Be Yours (Seiter) (screenplay basis) 1951 Strictly Dishonorable (Frank and Panama) (play basis) 1956 The Birds and the Bees (Taurog) (screenplay basis) 1958 Rock-a-bye Baby (Tashlin) (screenplay basis); Paris Holiday (Oswald) (role as Serge Vitry) Publications By STURGES: books— Five Screenplays by Preston Sturges, edited by Brian Henderson, Berkeley, 1985. Preston Sturges by Preston Sturges, edited by Sandy Sturges, New York, 1990. By STURGES: articles— ‘‘Conversation with Preston Sturges,’’ with Gordon Gow, in Sight and Sound (London), Spring 1956. Interview, in Interviews with Film Directors, edited by Andrew Sarris, New York, 1967. On STURGES: books— Cywinski, Ray, Satires and Sideshows: The Films and Career of Preston Sturges, Ann Arbor, Michigan, 1981. Gordon, James R., Comic Structures in the Films of Preston Sturges, Ann Arbor, Michigan, 1981. Curtis, James, Between Flops: A Biography of Preston Sturges, New York, 1982. Cywinski, Ray, Preston Sturges: A Guide to References and Resources, Boston, 1984. Dickos, Andrew, Intrepid Laughter: Preston Sturges and the Movies, Metuchen, New Jersey, 1985. Spoto, Donald, Madcap: The Life of Preston Sturges, Boston, 1990. Jacobs, Diane, Christmas in July: The Life and Art of Preston Sturges, Berkeley, 1992. Rozgonyi, Jay, Preston Sturges’s Vision of America, Scotch Plains, New Jersey, 1995. James, Harvey, Romantic Comedy: In Hollywood from Lubitsch to Sturges, New York, 1998. On STURGES: articles— Ericsson, Peter, ‘‘Preston Sturges,’’ in Sequence (London), Sum- mer 1948. Kracauer, Siegfried, ‘‘Preston Sturges or Laughter Betrayed,’’ in Films in Review (New York), February 1950. King, Nel, and G.W. Stonier, ‘‘Preston Sturges,’’ in Sight and Sound (London), Summer/Autumn 1959. Farber, Manny, and W.S. Poster, ‘‘Preston Sturges: Success in the Movies,’’ and Eric Jonsson, ‘‘Preston Sturges and the Theory of Decline,’’ in Film Culture (New York), no. 26, 1962. Houston, Penelope, ‘‘Preston Sturges,’’ in Sight and Sound (London), Summer 1965. Budd, Michael, ‘‘Notes on Preston Sturges and America,’’ in Film Society Review (New York), January 1968. Sarris, Andrew, ‘‘Preston Sturges in the Thirties,’’ in Film Comment (New York), Winter 1970/71. Corliss, Richard, ‘‘Preston Sturges,’’ in Cinema (Beverly Hills), Spring 1972. Rubenstein, E., ‘‘The Home Fires: Aspects of Sturges’s Wartime Comedy,’’ in Quarterly Review of Film Studies (New York), Spring 1982. Rebello, S., and J. Curtis, ‘‘King of Comedy: The Rise of Preston Sturges,’’ in American Film (Washington, D.C.), May 1982. Rubinstein, E., ‘‘The End of Screwball Comedy: The Lady Eve and The Palm . . . ,’’ in Post Script (Jacksonville, Florida), Spring- Summer 1982. ‘‘Preston Sturges Issue’’ of Positif (Paris), July/August 1984. Schickel, Richard, ‘‘Preston Sturges: Alien Dreamer,’’ in Film Com- ment (New York), November/December 1985. Henderson, B., ‘‘Sturges at Work,’’ in Film Quarterly (Berkeley), Winter 1985/1986. Brown, Geoff, ‘‘Preston Sturges Inventor,’’ in Sight and Sound (London), Autumn 1986. Sarris, Andrew, ‘‘Comedies with Bite,’’ in American Film (Washing- ton, D.C.), October 1986. Shokoff, James, ‘‘A Knockenlocker by Any Other Word: The Demo- cratic Comedy of Preston Sturges,’’ in Post Script (Jacksonville, Florida), vol. 8, no. 1, 1988. SYBERBERG DIRECTORS, 4 th EDITION 968 Douin, J.-L., ‘‘Le Feydeau d’Hollywood,’’ in Télérama (Paris), no. 2273, 4 August 1993. Corliss, R., ‘‘Still Talking,’’ in Film Comment (Denville, New Jersey), vol. 28, no. 6, November-December 1992. Schnelle, F., ‘‘Niemals müde: oder zwei Leben in einema,’’ in EPD Film (Frankfurt), vol. 7, no. 8, August 1990. Youngerman, Joseph C., ‘‘The Olden Days according to Youngerman,’’ DGA (Los Angeles), vol. 20, no. 3, July-August 1995. Doak, Robert, in Journal Popular Film and Television (Washington, D.C.), vol. 25, no. 2, Summer 1997. Parla, Paul, and Donna Parla, ‘‘Newfound Faith. Rediscovering the Elusive Faith Domergue,’’ in Filmfax (Evanston, Illinois), no. 59, February-March 1997. *** As a screenwriter, Preston Sturges stands out for his narrative inventiveness. All of the amazing coincidences and obvious repeti- tions in such comedies as Easy Living and The Good Fairy show Sturges’s mastery of the standard narrative form, as well as his ability to exaggerate it and shape it to his own needs. Moreover, in The Power and the Glory (an early model for Citizen Kane), Sturges pioneered the use of voice-over narration to advance a story. Along with John Huston, Sturges was one of the first of the sound- era screenwriters to become a director, and those films that he made from his own screenplays take even further the narrative experiments he began as a writer in the 1930s. He continued making comedies, but often he combined them with elements that more properly belonged to social dramas in the Warner Brothers tradition, even though Sturges himself worked primarily for Paramount. The Great McGinty, for instance, deals with big-city political corruption. Christmas in July, despite its happy end, analyzes an American dream perverted by dishonesty and commercial hype. And Sullivan’s Travels, even as it mixes aspects of It Happened One Night and I Am a Fugitive from a Chain Gang, examines the uses of comedy in a society burdened by poverty and social injustice. With The Palm Beach Story and The Lady Eve, Sturges goes from combining genres to parodying the standard narrative form. Tradi- tionally, in the classical narrative, elements repeat from scene to scene, but with slight differences each time. The story, then, becomes a series of episodes that are similar, but not obviously so. The Palm Beach Story, however (although we cannot be sure of this until the end), deals with two sets of twins, one pair male and the other female, and Sturges takes full advantage of a practically infinite number of possibilities for doubling and repetition. In The Lady Eve, there are no twins to call our attention to how Sturges exaggerates the typical narrative. But the central female character, Jean, changes her identity and becomes Eve Harrington, an English aristocrat, so she can double-cross the man who jilted her when he found out she made her living as a con artist. So in this film, too, Sturges provides us with some obvious doubling. In fact, The Lady Eve divides neatly into two very similar parts: the shipboard romance of Charles and Jean, and then the romance, on land, of Charles and Jean-as-Eve. In this second half, the film virtually turns into a screwball comedy version of Vertigo. Charles falls in love with a woman who looks exactly like another woman he had loved and lost, and who, indeed, really is that woman. The Lady Eve is most interesting in the way that it stands narrative convention on its head. Charles Pike, a wealthy ale heir, looks for snakes on the Amazon, but as soon as he leaves the jungle and heads back to civilization, the hunter becomes the hunted. This inversion itself is hardly remarkable, either in literature or the cinema. What does stand out as unusual is that the predators are all women. Pike boards a luxury liner steaming back to the United States, and every unmarried woman on board decides to end the voyage engaged to him, to ‘‘catch’’ him just as Charles had been trying to capture reptiles. Few films from this period feature such active, aggressive female characters. Sturges works out the notion of feminine entrapment not only in his script but also through his visual style. On board, Jean plots to get Charles, and Sturges shows us her predatory skill by letting her capture Pike’s image. In the dining room, Jean watches as various women attempt to attract Pike’s attention. She does not want him to see her staring, so she turns away from Pike’s table and holds a mirror to her face, as if she were giving a quick re-arrangement to her makeup. But instead she uses the mirror to watch Charles. Sturges cuts to a close-up of the mirror, and so we share Jean’s point of view. As spectators, we are used to an appreciative male gaze, and are accustomed to a woman as the subject of that gaze. But here, once again, Sturges reverses our expectations. In his tale it is the woman who plays the voyeur. As an added show of her strength, it is Jean who apparently controls the images through her possession of the mirror. She thus captures an unknowing Charles within the frame of a look- ing-glass. Sturges’s most interesting achievement may be his 1948 film, Unfaithfully Yours. Here, he shows the same event three times. While fairly common in literature, this sort of narrative construction is extremely rare in the cinema. But even in literature, the repeated event almost always comes to us from the points of view of different characters. In Sturges’s films, we see the event the first and second time through the eyes of the same man: an orchestra conductor plots revenge on his wife, whom he suspects of infidelity, and he imagines two different ways of accomplishing his goal. Then, the next repeti- tion, rather than being imaginary, actually depicts the conductor’s attempts to murder his wife. So, since the conductor acts once again as the main character, even this last repetition comes to us from his point of view. The film stands out, then, as a remarkable case study of the thoughts and actions of a single character, and as one more of Sturges’s experiments in narrative repetition. During the early and mid-1940s, critics hailed Sturges as a comic genius. But after Unfaithfully Yours, over the last eleven years of his life, Sturges made only two more films. Upon leaving Paramount, he set out to make films for Howard Hughes, but the attempt was an ill- fated one, and Sturges’s standing in the critical community declined rapidly. For several years, though, a reevaluation has been underway. Sturges’s sophisticated handling of sexual relations (which the heir- ess in The Palm Beach Story refers to as ‘‘Topic A’’) make his films seem remarkably contemporary. And there can be no doubting Sturges’s screenwriting abilities. But only recently have critics come to appreciate Sturges’s consummate skills as a filmmaker. —Eric Smoodin SYBERBERG, Hans-Jurgen Nationality: German. Born: Nossendorf, Pomerania, 8 December 1935. Education: Educated in literature and art history, Munich. Career: Lived in East Berlin, then moved to West Germany, 1953; SYBERBERGDIRECTORS, 4 th EDITION 969 Hans-Jurgen Syberberg made 8mm films of Brecht’s Berliner Ensemble at work, 1950s (blown up for release on 35mm, 1970); made 185 current affairs and documentary shorts for Bavarian Television, 1963–66; formed own production company, 1965; made five feature-length ‘‘character portraits’’ on Fritz Kortner and others, 1965–69; directed first feature, Scarabea, 1968; made ‘‘German Trilogy,’’ 1972–77; began working exclusively on projects with German actress Edith Clever after the release of Parsifal, 1983. Films as Director: 1965 Fünfter Akt, siebte Szene. Fritz Kortner probt Kabale und Liebe (Act Five, Scene Seven. Fritz Kortner Rehearses Kabale und Liebe); Romy. Anatomie eines Gesichts (Romy. Anatomy of a Face) (doc) 1966 Fritz Kortner spricht Monologe für eine Schallplatte (Fritz Kortner Recites Monologues for a Record) (doc); Fritz Kortner spricht Shylock (Fritz Kortner Recites Shylock) (short; extract from Fritz Kortner spricht Monologe . . . ); Fritz Kortner spricht Faust (Fritz Kortner Recites Faust) (short; extract from Fritz Kortner spricht Monologe . . . ); Wilhelm von Kobell (short, doc) 1967 Die Grafen Pocci—Einige Kapitel zur Geschichte einer Familie (The Counts of Pocci—Some Chapters toward the History of a Family) (doc); Konrad Albert Pocci, der Fussballgraf vom Ammerland—Das vorl?ufig letzte Kapitel einer Chronik der Familie Pocci (Konrad Albert Pocci, the Football Count from the Ammerland—Provisionally the Last Chap- ter of a Chronicle of the Pocci Family) (extract from the preceding title) 1968 Scarabea—Wieviel Erde braucht der Mensch? (Scarabea— How Much Land Does a Man Need?) 1969 Sex-Business—Made in Passing (doc) 1970 San Domingo; Nach Meinem letzten Umzug (After My Last Move); Puntila and Faust (shorts; extracts from the preced- ing title) 1972 Ludwig II—Requiem für einen jungfr?ulichen K?nig (Ludwig II—Requiem for a Virgin King); Theodor Hierneis oder: Wie man ehem. Hofkoch wird (Ludwig’s Cook) 1974 Karl May SYBERBERG DIRECTORS, 4 th EDITION 970 1975 Winifred Wagner und die Geschichte des Hauses Wahnfried von 1914–1975 (The Confessions of Winifred Wagner) 1977 Hitler. Ein Film aus Deutschland (Hitler, a Film from Germany; Our Hitler) (in four parts: 1. Hitler ein Film aus Deutschland [Der Graal]; 2. Ein deutscher Traum; 3. Das Ende eines Winterm?rchens; 4. Wir Kinder der H?lle) 1983 Parsifal 1985 Die Nacht 1987 Penthesilea 1989 Die Marquise Von O 1993 Syberberg filmt Brecht (Syberberg Films Brecht) (+ pr, ed, ph) 1994 Ein Traum, was sonst (A Dream, What Else?) Publications By SYBERBERG: books— Zum Drama Friedrich Durrenmatts; zwei modellinterpretationen zur Wesensdentung des modernen Dramas, Munich, 1963. Le Film, musique de l’avenir, Paris, 1975. Syberberg Filmbuch, Munich, 1976. Hitler, ein Film aus Deutschland, Reinbek bei Hamburg, 1978. Die Freudlose Gesellschaft: Notizen aus dem Letzten Jahr, Munich, 1981. Parsifal, ein Filmessay, Munich, 1982. Der Wald Steht Schwarz und Schweiger, Neue Notizen aus Deutschland, Zurich, 1984. By SYBERBERG: articles— Interview with A. Tournès, in Jeune Cinéma (Paris), December/ January 1972/73. ‘‘Forms of Address,’’ interview and article with Tony Rayns, in Sight and Sound (London), Winter 1974/75. Interview with M. Martin, in Ecran (Paris), July 1978. ‘‘Form ist Moral: ‘Holocaust’ Indiz der gr?ssten Krise unserer intellektuellen Existenz,’’ in Medium (Frankfurt), April 1979. Interview with B. Erkkila, in Literature-Film Quarterly (Salisbury, Maryland), October 1982. Interview with I. Schroth, in Filmfaust (Frankfurt), October/Novem- ber 1985. ‘‘Sustaining Romanticism in a Postmodernist Cinema,’’ an interview with Christopher Sharrett, in Cineaste (New York), vol. 15, no. 3, 1987. ‘‘S’approprier le monde,’’ in Cahiers du Cinéma (Paris), May 1991 (supplement). Berlin Snell, Marilyn, ‘‘Germany’s New Nostalgia: How Benign?,’’ in Harper’s Magazine (New York), March 1993. ‘‘Fassbinder, a mediahos,’’ in Filmvilag (Budapest), no. 3, 1994. On SYBERBERG: books— Franklin, James, New German Cinema: From Oberhausen to Ham- burg, Boston, 1983. Phillips, Klaus, editor, New German Filmmakers: From Oberhausen through the 1970s, New York, 1984. Rentschler, Eric, editor, West German Filmmakers on Film: Visions and Voices, New York, 1988. Elsaesser, Thomas, New German Cinema: A History, London, 1989. Santner, Eric L., Stranded Objects: Mourning, Memory, and Film in Postwar Germany, Ithaca, New York, 1990. Socci, Stefano, Hans Jurgen Syberberg, Florence, 1990. On SYBERBERG: articles— Pym, John, ‘‘Syberberg and the Tempter of Democracy,’’ in Sight and Sound (London), Autumn 1977. Sauvaget, D., ‘‘Syberberg: dramaturgie, anti-naturaliste et germanitude,’’ in Image et Son (Paris), January 1979. ‘‘Syberberg Issue’’ of Revue Belge du Cinéma (Brussels), Spring 1983. Article, in Sight and Sound (London), Spring 1985. Rockwell, John, ‘‘An Elusive German Director Re-emerges in Edin- burgh,’’ in New York Times, 2 September 1992. Goettler, F., ‘‘Ein Leitstrahl fuer Kortner und Brecht,’’ in Filmwaerts (Hannover), December 1993. *** The films of Hans-Jurgen Syberberg are at times annoying, confusing, and overlong—but they are also ambitious and compell- ing. In no way is he ever conventional or commercial: critics and audiences have alternately labeled his work brilliant and boring, absorbing and pretentious, and his films today are still rarely screened. Stylistically, it is difficult to link him with any other filmmaker or cinema tradition. In this regard he is an original, the most controver- sial of all the New German filmmakers and a figure who is at the vanguard of the resurgence of experimental filmmaking in his homeland. Not unlike his contemporary, Rainer Werner Fassbinder, Syberberg’s most characteristic films examine recent German his- tory: a documentary about Richard Wagner’s daughter-in-law, a close friend of Hitler (The Confessions of Winifred Wagner); his trilogy covering 100 years of Germany’s past (Ludwig II: Requiem for a Virgin King, Karl May, and, most famously, Hitler, A Film from Germany, also known as Our Hitler). These last are linked in their depictions of Germans as hypocrites, liars, and egocentrics, and in the final part he presents the rise of the Third Reich as an outgrowth of German romanticism. Even more significantly, Syberberg is concerned with the cin- ema’s relationship to that history. Our Hitler, seven hours and nine minutes long, in four parts and 22 specific chapters, is at once a fictional movie, a documentary, a three-ring circus (the ‘‘greatest show on earth’’), and a filmed theatrical marathon. The Führer is presented with some semblance of reality, via Hans Schubert’s performance. But he is also caricatured, in the form of various identities and disguises: in one sequence alone, several actors play him as a house painter, Chaplin’s Great Dictator, the Frankenstein monster, Parsifal (Syberberg subsequently filmed the Wagner opera), and a joker. Hitler is also portrayed as an object, a ventriloquist’s doll, and a stuffed dog. In all, twelve different actors play the role, and 120 dummy Führers appear in the film. The result: Syberberg’s Hitler is painted as both a fascist dictator who could have risen to power at any point in time in any number of political climates (though the filmmaker in no way excuses his homeland for allowing Hitler to exist, let alone thrive), and a monstrous movie mogul whose Intolerance would be the Holocaust. Syberberg unites fictional narrative and documentary footage in a style that is at once cinematic and theatrical, mystical and magical. His films might easily be performed live (Our Hitler is set on a stage), but the material is so varied that the presence of the camera is SZABóDIRECTORS, 4 th EDITION 971 necessary to thoroughly translate the action. The fact that his staging has been captured on celluloid allows him total control of what the viewer sees at each performance. Additionally, the filmmaker is perceptibly aware of how the everyday events that make up history are ultimately comprehended by the public via the manner in which they are presented in the media. History is understood more by catch- words and generalities than facts. As a result, in this age of mass media, real events can easily become distorted and trivialized. Syberberg demonstrates this in Our Hitler by presenting the Führer in so many disguises that the viewer is often desensitized to the reality that was this mass murderer. ‘‘Aesthetics are connected with morals,’’ Syberberg says. ‘‘Some- thing like Holocaust is immoral because it’s a bad film. Bad art can’t do good things.’’ He commented that ‘‘my three sins are that I believe Hitler came out of us, that he is one of us; that I am not interested in money, except to work with; and that I love Germany.’’ Our Hitler, and his other films, clearly reflect these preferences. In recent years, Syberberg has remained relatively inactive as a filmmaker. None of his latter work has earned him the visibility, let alone the acclaim, of his earlier films. Since Parsifal, his version of the Wagnerian opera which was his most widely seen film, he has collaborated only with one of that film’s stars, Edith Clever. Their artistic ventures have included a number of theatrical monologues, a few of which have been videotaped or filmed. The series com- menced with Die Nacht, a six-hour-long examination of how an individual may act or what an individual may ponder deep into the night. Syberberg, however, has spoken out on issues relating to his homeland. He especially is troubled by the Americanization of world culture, and has hypothesized that the resurgence of neo-Nazism in Germany, especially among the nation’s youth, is a natural response to the hollowness of the capitalist culture which enveloped Germany in the post-World War II years. Thus, even in the wake of German unification, the memory of Hitler—despite the fact that he ultimately brought catastrophe and anguish to Germany—continues to influence and mold the national psyche. —Rob Edelman SZABó, Istvan Nationality: Hungarian. Born: Budapest, 18 February 1938. Educa- tion: Academy of Theatre and Film Art, Budapest, graduated 1961. Career: Directed two shorts for Béla Balázs Studio, 1961–63; directed first feature, Almodozások kora, 1964. Awards: Silver Bear, Berlin Festival, for Confidence, 1980; Oscar for Best Foreign Film, David di Donatello Prize, Hungarian Film Critics Award, and Best Screenplay Award and FIPRESCI Prize, Cannes Festival, for Mephisto, 1982. Films as Director: 1961 Koncert (Concert) (short) (+ sc): Variációk egy témára (Varia- tions on a Theme) (short) (+ sc) 1963 Te (You . . . ) (short) (+ sc) 1964 álmodozások kora (The Age of Daydreaming) (+ sc) 1966 Apa (Father) (+ sc) 1967 Kegyelet (Piety) (short) (+ sc) 1970 Szerelmesfilm (Love Film) (+ sc) 1971 Budapest, amiért szeretem (Budapest, Why I Love It) (series of shorts: Alom a házr?l [Dream about a House], Duna— halak—madarak [The Danube—Fishes—Birds], Egy tukor [A Mirror], Léanyportre [A Portrait of a Girl], Tér [A Square], Hajnal [Dawn], Alkony [Twilight]) (+ sc) 1973 Tüzoltó utca 25 (25 Fireman’s Street) (+ sc) 1974 ?sbemutató (Premiere) (+ sc) 1976 Budapesti mesék (Budapest Tales) (+ sc) 1977 Várostérkép (City Map) (short) (+ sc) 1979 Bizalom (Confidence) (+ sc); Der grüne Vogel (The Green Bird) (+ sc) 1981 Mephisto (+ sc) 1984 Bali 1985 Redl Ezredes (Colonel Redl) 1988 Hanussen 1990 Meeting Venus (+ sc) 1992 Sweet Emma, Dear Bobe (+ sc) 1996 Offenbach titkai 1999 Sunshine (+ co-sc) Publications By SZABó: articles— Interview with Yvette Biro, in Cahiers du Cinéma (Paris), July 1966. ‘‘Hungarian Director Szabo Discusses His Film Father,’’ with Robert Siton, in Film Comment (New York), Fall 1968. ‘‘Conversation with István Szabó,’’ in Hungarofilm Bulletin (Buda- pest), no. 5, 1976. ‘‘Mit adhat a magyar film a világnak?,’’ interview, in Filmkultura (Budapest), January/February 1978. ‘‘The Past Still Plays a Major Role,’’ interview, in Hungarofilm Bulletin (Budapest), no. 2, 1979. ‘‘Dreams and Nightmares,’’ interview with L. Rubenstein, in Cineaste (New York), vol. 12, no. 2, 1982. ‘‘Mephisto: Istvan Szabo and ‘the Gestapo of Suspicion,’’’ interview with J.W. Hughes, in Film Quarterly (Berkeley), Summer 1982. ‘‘I’d Like to Tell a Story,’’ in Hungarofilm Bulletin (Budapest), vol. 2, no. 84, 1984. Interview with Karen Jaehne, in Stills (London), December 1985/ January 1986. Interview with R. Pede, in Film en Televisie + Video (Brussels, Belgium), November 1991. Interview with A. Crespi, in Cineforum (Bergamo, Italy), April 1992. Interview with K. Csala, in New Hungarian Quarterly (Budapest), vol. 33, no. 125, 1992. Interview with L. Joris, in Film en Televisie + Video (Brussels, Belgium), no. 432, May 1993. Interview with Tomi Aitio and Peter von Baugh, in Filmihullu (Helsinki), no. 6, 1997. On SZABó: book— Petrie, Graham, History Must Answer to Man: The Contemporary Hungarian Cinema, London, 1978. SZABó DIRECTORS, 4 th EDITION 972 Istvan Szabó On SZABó: articles— Jaehne, Karen, ‘‘Istvan Szabo: Dreams of Memories,’’ in Film Quarterly (Berkeley), Fall 1978. Hirsch, T., ‘‘Filmek családfája,’’ in Filmkultura (Budapest), March/ April 1981. ‘‘Colonel Redl Issue’’ of Avant-Scène du Cinéma (Paris), March 1986. Christensen, Peter G., ‘‘Collaboration in Istvan Szabo’s Mephisto,’’ in Film Criticism (Meadville, Pennsylvania), vol. 12, no. 3, 1988. Gyertyan, E., ‘‘In Search of a Trilogy,’’ in New Hungarian Quarterly (Budapest), vol. 29, no. 112, 1988. Rutkowski, A. M., ‘‘Opera Europa,’’ in Kino (Warsaw), July 1990. Mills, M. C., ‘‘The Three Faces of Mephisto: Film, Novel, and Reality,’’ in Literature Film Quarterly (Salisbury, Maryland), vol. 18, no. 4, 1990. Blomkvist, M., ‘‘Maste det regna pa var karlek?’’ in Chaplin (Stock- holm), vol. 33, no. 5, 1991. Lefebvre, P., ‘‘La tentation de Venus,’’ in Grand Angle (Mariembourg, Belgium), September/October 1991. Bohlen, C., ‘‘Meeting Venus Sings of Politics,’’ in New York Times, November 10, 1991. McCreadie, M., ‘‘Istvan Szabo,’’ in Premiere (New York), Novem- ber 1991. Baron, G., ‘‘Harom trilogia,’’ in Filmkultura (Budapest), vol. 28, no. 2, 1992. Landrot, Marine, ‘‘Les exorcistes,’’ in Télérama (Paris), 14 Decem- ber 1994. Piette, Alain, ‘‘The Face in the Mirror: Faust as a Self-deceived Actor,’’ in Literature/Film Quarterly (Salisbury), April 1998. Cockrell, Eddie, ‘‘Sunshine,’’ in Variety (New York), 20 Septem- ber 1999. *** Istvan Szabó’s films are notable because he works with a rich spectrum of possibilities and decisions, which only when seen in their totality attain the poetic quality that becomes the viewer’s primary experience. Istvan Szabó reacts like a sensitive membrane to every- thing that has happened around him in the past or is just happening. At the same time he builds solely from motives that brand a film reel with the mark of an individual personality. This is true even when he strives for seemingly objective symbols such as, for example, SZABóDIRECTORS, 4 th EDITION 973 a streetcar—‘‘that constantly recurring, tangibly real and yet poeti- cally long logogram for his individual and very special world.’’ Such were the words of the noted Hungarian historian and film theoretician Josef Marx as he considered the work of director Szabó. They underscore the essential characteristic of Szabó’s work: its inventive- ness, which in his films takes on general forms in the broadest sense. Szabó’s first feature film, álmodozások kora, together with Gaal’s Sordásban, was the most expressive confession of an artistic genera- tion and became a model for other artists, while his entire work has built up an unprecedented picture of contemporary life and its activities. In his earliest period Szabó’s starting point was his own experience, which he transformed into artistic images. At the same time he carefully absorbed everything that was happening around him. He attempted to discern the essence of modern people, and to come to an understanding of their concerns, endeavors, and aspira- tions. His films examine young engineers at the start of their careers; the personal ideals of a young man on the threshold of maturity; the changing relationship of two people, framed within a quarter-century of Hungarian history; the dreams and locked-up memories of people living together in an old apartment building; the story of an ordinary city streetcar with an allegorical resemblance to our contemporaries; the love and distrust between a pair of completely different people in a charged wartime atmosphere; and a deep probe into the character of a young actor whose talents are displayed and subordinated by the totalitarian power of nascent German fascism. All of these films are linked by the setting off of intimate confession against historical reality. The images of Szabó’s films are full of poetry and the symbolism of dreamlike conceptions. They capture the small dramas of ordinary people—their disappointments, successes, loves, enthusiasms, moments of anxiety and ardor, joy and pain—as the history of post-war Hungary passes by in contrapuntal detail. Istvan Szabó creates auteur films in which the shaping of the theme and the screenplay are just as important as the direction, so that the resulting works bears a unique stamp. The heroes of his films are not only people, but also cities, streets, houses, parks. In his films, his native Budapest serves as the point of intersection of human fates. Under Szabó’s creative eye the city awakens, stirs, arises, wounded after the tumult of the war, and lives with its heroes. In the early 1980s Istvan Szabó deviated from the rule of auteur films (the model for his film Mephisto was a novel by Klaus Mann). This detracted nothing from the importance of the work, which won an Oscar and several other awards. Even in this film the director left his imprint; he managed to develop it into a picture of personal tragedy painted into a fresco of historical events. At the same time, it shows that the creative process is a tireless search for pathways. Only a responsible approach to history and the way it is shaped can help the artist gain a complete understanding of today’s world. ‘‘To awaken an interest in the people I want to tell about; to capture their essence so that a viewer can identify with them; to broaden people’s understanding and sympathy—and my own as well: That’s what I’d like to do,’’ Istvan Szabó once said in an interview. His films are an affirmation of this credo. —Vacláv Merhaut 975 T TANNER, Alain Nationality: Swiss. Born: Geneva, 6 December 1929. Education: Educated in economic sciences, Calvin College, Geneva. Career: Shipping clerk, early 1950s; moved to London, worked at British Film Institute, 1955; assistant producer for the BBC, 1958; returned to Switzerland, 1960; co-founder, Association Suisse des Réalisateurs, early 1960s; director for Swiss French TV, 1964–69; began collabo- ration with writer John Berger on Une Ville à Chandigarh, 1966; co-founder, Groupe 5, 1968. Awards: Experimental Film Prize, Venice Festival, for Nice Time, 1957; Best Screenplay (with Berger), National Society of Film Critics, for Jonah Who Will Be 25 in the Year 2000, 1976; Special Jury Prize, Cannes Festival, for Les Années lumière, 1981. Films as Director: 1957 Nice Time (short) (co-d) 1959 Ramuz, passage d’un poète (short) 1962 L’Ecole (sponsored film) 1964 Les Apprentis (doc feature) 1966 Une Ville à Chandigarh 1969 Charles, mort ou vif (Charles, Dead or Alive) 1971 Le Salamandre (The Salamander) 1973; Le Retour d’Afrique 1974 Le Milieu du monde (The Middle of the World) 1976 Jonah qui aura 25 ans en l’année 2000 (Jonah Who Will Be 25 in the Year 2000) 1978 Messidor 1981 Les Années lumière (Light Years Away) 1983 Dans la ville blanche (In the White City) 1985 No Man’s Land 1986 Fran?ois Simon—La présence 1987 Flamme dans mon coeur (A Flame in My Heart); Vallée Fant?me 1989 Femme de Rose Hill (The Woman of Rose Hill) 1992 L’Homme que a perdu son ombre (+ pr, sc) 1993 The Diary of Lady M (+ pr) 1995 Les Hommes du port (+ sc) 1996 Fourbi (+ sc, pr) 1998 Requiem (+ sc, pr) 1999 Jonas et Lila, à demain (+ sc, pr) Publications By TANNER: book— Jonah Who Will Be 25 in the Year 2000, with John Berger, Berke- ley, 1983. By TANNER: articles— Interview with Michel Delahaye and others, in Cahiers du Cinéma (Paris), June 1969. Interview with L. Bonnard, in Positif (Paris), February 1972. ‘‘Le Milieu du monde,’’ an interview with Noel Simsolo and Guy Braucourt, in Ecran (Paris), October 1974. ‘‘Irony Is a Double-edged Weapon,’’ an interview with L. Rubinstein, in Cineaste (New York), vol. 6, no. 4, 1975. ‘‘Keeping Hope for Radical Change Alive,’’ an interview with L. Rubinstein, in Cineaste (New York), Winter 1976/77. ‘‘Alain Tanner: After Jonah,’’ an interview with M. Tarantino, in Sight and Sound (London), no.1, 1978/79. Interview with Jill Forbes, in Films and Filming (London), Febru- ary 1982. Interview with Martyn Auty, in Monthly Film Bulletin (London), November 1983. Interview with J. Chevallier and Y. Alion, in Revue du Cinéma (Paris), September 1985. Interview with F. Sabouraud and S. Toubiana, in Cahiers du Cinéma (Paris), October 1987. ‘‘Tanner in the Year 1991,’’ interview with Bruno Vecchi, in World Press Review, December 1991. ‘‘Alain Tanner,’’ interview with M. Buruiana, in Sequences, Septem- ber 1990. Interview, in Cinémaction (Courbevoie), January 1992. ‘‘Ou sont les reponses nouvelles?’’ in Ciné-Bulles (Montreal), no. 219/220, 1994. Interview with Thierry Jousse and Frédéric Strauss, in Cahiers du Cinéma (Paris), April 1994. ‘‘A Lindsay Anderson,’’ an obituary in Cahiers du Cinéma (Paris), October 1994. On TANNER: books— Leach, Jim, A Possible Cinema: The Films of Alain Tanner, Metuchen, New Jersey, 1984. Dimitriu, Christian, Alain Tanner, Paris, 1985. On TANNER: articles— ‘‘Tanner Issue’’ of Cinema (Zurich), vol. 20, no. 1, 1974. Tarantino, M., ‘‘Tanner and Berger: the Voice Off-Screen,’’ in Film Quarterly (Berkeley), Winter 1979/80. Harrild, A. E., ‘‘Tanner-Jonah-Ideology,’’ in Film Directions (Belfast), vol. 3, no. 11, 1980. ‘‘The Screenwriter as Collaborator,’’ interview of John Berger, in Cineaste (New York), Summer 1980. ‘‘Les Années lumière Issue’’ of Avant-Scène du Cinéma (Paris), 15 June 1981. TARANTINO DIRECTORS, 4 th EDITION 976 Pulleine, Tim, ‘‘Tanner’s White City,’’ in Sight and Sound (London), Winter 1983/1984. Buache, Freddy, ‘‘Alain Tanner,’’ in Revue Belge du Cinéma (Brus- sels), Winter 1985. Kinder, M., ‘‘‘Thelma & Louise’ and ‘Messidor’ as Feminist Road Movies,’’ in Film Quarterly, vol. 45, no. 2, 1991/1992. de Baecque, A., ‘‘Entretien avec Alain Tanner,’’ in Cahiers du Cinéma (Paris), May 1992. White, Armond, ‘‘Time Zones,’’ in Film Comment (New York), May/June 1992. Deriaz, F., ‘‘A Soleure: Alain Tanner s’explique,’’ in Cine-Bulletin (Zurich), no. 245, 1996. *** Alain Tanner’s involvement with film began during his college years. While attending Geneva’s Calvin College, he and Claude Goretta formed Geneva’s first film society. It was during this time that Tanner developed an admiration for the ethnographic documen- taries of Jean Rouch and fellow Swiss Henry Brandt, an influence that continued throughout his career. After a brief stint with the Swiss merchant marine, Tanner spent a year in London as an apprentice at the BFI, where, with Goretta, he completed an experimental docu- mentary, Nice Time, which chronicled the night life of Piccadilly Circus. While in London he participated in the Free Cinema Move- ment, along with Karel Reisz, Tony Richardson, and Lindsay Ander- son. Through Anderson, Tanner made the acquaintance of novelist and art critic John Berger, who would later write the scenarios for Le Salamandre, Middle of the World, Jonah Who Will Be 25 in the Year 2000, and Le Retour d’Afrique. Upon returning to Switzerland in 1960, Tanner completed some forty documentaries for television. Among these were: Les Apprentis, which concerned the lives of teenagers (and created using the methods of Rouch’s direct cinema); Une Ville à Chandigarh, on the architecture designed by Le Corbusier for the Punjab capital (the narration for this film was assembled by John Berger); and newsreel coverage of the events of May 1968 in Paris. This last project provided the ammunition for Tanner (once again with Goretta) to form Groupe 5, a collective of Swiss filmmakers. They proposed an idea to Swiss TV for the funding of full-length narrative features to be shot in 16-millimeter and then blown-up to 35-millimeter for release. The plan enabled Tanner to make his first feature, Charles, Dead or Alive, which won first prize at Locarno in 1969. The film tells of a middle-aged industrialist who, on the eve of receiving an award as the foremost business personality of the year, discovers his disaffection for the institution-laden society in which he finds himself. Following an innate sense of anarchism that Tanner posits as universal, he attempts to reject this lifestyle. His retreat into madness is blocked by his family and friends, who compel him, by appealing to his sense of duty, to resume his responsibilities. All Tanner’s films follow a similar scenario: individuals or a group become alienated from society; rejecting it, they try to forge a new society answerable to themselves alone, only to be defeated by the relentless pressures of traditional society’s institutions, whose commerce they never cease to require. This theme receives its fullest and most moving expression in Jonah Who Will Be 25 in the Year 2000. Here the failure of the collective and the survivors of 1968, who come together at Marguerite’s farm outside Geneva, is not viewed as a defeat so much as one generation’s attempt to keep the hope of radical social change alive by passing on the fruits of its mistakes, that is, its education or its lore, to the succeeding generation. Tanner’s style is a blend of documentary and fable. He uses techniques such as one scene/one shot, a staple of cinéma-vérité documentary, to portray a fable or folk-story. This tension between fact and fiction, documentary and fable, receives its most exacting treatment in Le Salamandre. Rosemonde’s indomitable, rebellious vitality repeatedly defeats the efforts of the two journalists to harness it in a pliable narrative form. After Jonah, Tanner introduces a darker vision in Messidor, Light Years Away, and Dans la ville blanche. The possibility of escaping society by returning to nature is explored and shown to be equally provisional. The tyranny of physical need is portrayed as being just as oppressive and compromising as that of the social world. —Dennis Nastav TARANTINO, Quentin Nationality: American. Born: Quentin Jerome Tarantino in Knox- ville, Tennessee, 27 March 1963; grew up in Los Angeles. Educa- tion: Studied acting. Career: Worked at Video Archives with Roger Avary; did telephone sales for Imperial Entertainment; began writing scripts for Cinetel; formed production company, A Band Apart, with Lawrence Bender; directed ‘‘Motherhood’’ episode of ER television series, 1994. Awards: Palme d’Or, Cannes Film Festival, for Pulp Fiction, 1994; Academy Award, Best Original Screenplay, and Golden Globe Award, Best Screenplay and Best Director, for Pulp Fiction, 1995. Address: A Band Apart Productions, 6525 Sunset Blvd. #G-12, Los Angeles, CA 90028, U.S.A. Films as Director, Screenwriter, and Actor: 1992 Reservoir Dogs 1994 Pulp Fiction 1995 ‘‘Man from Hollywood’’ episode of Four Rooms 1997 Jackie Brown (uncredited answering machine voice) Other Films: 1992 Past Midnight (assoc pr) 1993 Natural Born Killers (Stone) (uncredited co-sc); True Romance (Tony Scott) (sc); Eddie Presley (role as hospital orderly) 1994 Killing Zoe (Avary) (sc, exec pr); Sleep with Me (role as Sid); The Coriolis Effect (short) (role as radio disc jockey); Somebody to Love (role as bartender); Destiny Turns on the Radio (role as Johnny Destiny) 1995 Desperado (Rodriguez) (role as pick-up guy) 1996 From Dusk till Dawn (Rodriguez) (sc, co-exec pr, role as Richard Gecko); Girl 6 (role); Curdled (exec pr) 1998 God Said ‘Ha!’ (exec pr) TARANTINODIRECTORS, 4 th EDITION 977 Quentin Tarantino (right) with Harvey Keitel on the set of Reservoir Dogs 1999 From Dusk till Dawn 2: Texas Blood Money (exec pr); 2000 From Dusk till Dawn 3: The Hangman’s Daughter (exec pr) Publications By TARANTINO: books— Quentin Tarantino: Interviews, edited by Gerald Peary, Jackson, Mississippi, 1998. Quentin Tarantino: The Film Geek Files, with Paul Woods, Lon- don, 2000. By TARANTINO: articles— ‘‘A Rare Sorrow,’’ in Sight and Sound (London), February 1993. ‘‘Gangsters in Hollywood,’’ in Film en Televisie + Video (Brussels), March 1993. ‘‘Steve Buscemi,’’ in Bomb (New York), Winter 1993. ‘‘The Mouth and the Method,’’ in Sight and Sound (London), March 1998. On TARANTINO: books— Bernard, Jami, Quentin Tarantino: The Man and His Movies, New York, 1995. Clarkson, Wensley, Quentin Tarantino: Shooting from the Hip, Woodstock, New York, 1995. Dawson, Jeff, Quentin Tarantino: The Cinema of Cool, New York, 1995. On TARANTINO: articles— Hoberman, J., ‘‘Back on the Wild Side,’’ in Premiere (New York), August 1992. Ciment, M., and H. Niogret, ‘‘A chacun sa couleur,’’ in Positif (Paris), September 1992. Pizzello, S., ‘‘From Rags to Reservoir Dogs,’’ in American Cinema- tographer (New York), November 1992. Taubin, A., ‘‘The Men’s Room,’’ in Sight and Sound (London), December 1992. Ryan, J., ‘‘Quentin Tarantino,’’ in Premiere (New York), Janu- ary 1993. TARANTINO DIRECTORS, 4 th EDITION 978 Atkinson, M., ‘‘Hype Dreams,’’ in Movieline (Escondido, Califor- nia), March 1993. Deemer, Charles and Ira Nayman, ‘‘The Screenplays of Quentin Tarantino: Pop Go the Weasles,’’ in Creative Screenwriting (Washington, D.C.), Winter 1994. Boon, Kevin A., ‘‘Stoning Tarantino,’’ in Creative Screenwriting (Washington, D.C.), Winter 1994. Deutsch, Joel, ‘‘The Feature Film Four,’’ in DGA Magazine (Los Angeles), April-May 1995. Corsello, Andrew, ‘‘’Hello This Is Quentin - Your %#&@ Tape Is Overdue!’’ in Gentleman’s Quarterly, October 1995. Fornara, Bruno, ‘‘Polpa e macinato. Il cinema in un film,’’ in Cineforum (Bergamo), November 1996. Leitch, Thomas M., ‘‘The Hitchcock Moment,’’ in Hitchcock Annual (Gambier), 1997–1998. *** Quentin Tarantino’s meteoric rise to fame with the phenomenal critical and popular success of Pulp Fiction, his second feature, is not only the result of his considerable talent but of two forces operating within contemporary Hollywood: first, an economic mini-crisis brought on by the box-office and critical failures of many recent high-budget blockbuster productions (Waterworld is perhaps the most remarkable example) that has opened the door, as in the past, for young directors who are able to make successful films on small budgets (made for $8 million, Pulp Fiction earned almost $64 million at the box office, not counting video sales and rentals); second, the continuing popularity of neo-noir films, a popularity not limited to its most thriving sub- genre, the erotic thriller. If Hollywood’s economic hard times have given Tarantino (and others) a chance, it is the director’s personal obsessions, so much in tune with what contemporary audiences want to see, that have made him popular. The widely read and very cineliterate Tarantino has an obvious liking for classic hard-boiled pulp fiction (evidently Jim Thompson and W. R. Burnett in particular) and classic film noir (Huston’s Asphalt Jungle probably served as a model for Reservoir Dogs). But like several of the prominent directors of the Hollywood Renaissance in the middle 1970s (especially Martin Scorsese and Paul Schrader), Tarantino also owes a substantial debt to French film noir, especially the work of Jean Pierre Melville and Jean Luc Godard. Godard’s modernist refiguration of noir themes and conventions (Alphaville is the classic example), however, would hardly please the mass audi- ence Tarantino has in mind. The most substantial contribution of nouvelle vague anti-realism in Tarantino’s films can be seen in their creative use of achronicities, disorderings in the storytelling process that make the narratives intriguing puzzles even as they uncover interesting ironies for the spectator, who must take an active role in the deciphering of the plot. The anti-Aristotelianism of this proce- dure, its disruption of emotional identification with the characters’ plight, allows Tarantino to concentrate on thematic elements, espe- cially the role violence plays in American culture. Like the gang in Asphalt Jungle, the crooks in Reservoir Dogs assembled to pull a heist (itself never represented) are shown partici- pating in what is simply a ‘‘left-handed form of endeavor.’’ If Huston endeavors to demonstrate that criminals too have an ordinary life (households to run, relationships to pursue, bills to pay), Tarantino, in contrast, is more interested in moral dilemmas and conflict, especially as these are brought to life by situations of extraordinary danger and threat. In fact, the central conflicts of Reservoir Dogs carry a substan- tial moral charge and significance, even if, in the end, as the all- knowing spectator alone recognizes, the characters are destroyed no matter if they are sociopaths with a yen for torture or men of good will who stand by their friends even at the cost of their own lives. And yet Tarantino obviously sympathizes with those who despise mauvaise foi and make the difficult choices that confront them. A Sartrean and Camusian moralism pervades this film. Much the same can be said of the similar characters in Pulp Fiction, whose existential plights and difficult choices are here examined from a serio-comic perspective. A torpedo working for a drug dealer is given the assignment of looking after the boss’s flirtatious wife. He tries to resist her various come-ons, only to be faced with a sudden, more demanding test: she overdoses on heroin, goes into a near-fatal coma from which he can arouse her only by jabbing a harpoon-sized needle into her heart. Amazingly, she recov- ers, and Tarantino finishes this sequence with a comic leave-taking scene that ends their ‘‘date’’. Once again, in Pulp Fiction difficult moral questions are raised. A boxer in the same drug dealer’s pay refuses out of personal integrity to throw a fight as ordered. Fleeing town, he meets his boss by accident on a city street. Their confronta- tion, however, opens unexpectedly onto another moral plane. Both men wind up the prisoners of local sadists, who plan to sodomize, torture, and kill them. The boxer escapes, and, feeling the pang of conscience, goes back to free his erstwhile boss, who forgives the man’s earlier betrayal before exacting a terrible vengeance on his torturers, one of whom is a policeman. With their philosophical dimensions, unremitting representations of venality and depravity among the criminal under and over class, art cinema narrational complexities, and black humor, Tarantino’s first two films are strikingly original contributions to an American cinema struggling to rebound from the artistic doldrums of the 1980s. As a screenwriter, he has been no less successful. Written for former video shop co-worker Roger Avary, Killing Zoe offers a romantic twist on the themes examined in Tarantino’s own directorial efforts. In this case, a somewhat naive and easily swayed young criminal must make a moral stand against his lifelong friend to save the life of a prostitute he has come to care for; the gesture is reciprocated, and the two rescue themselves from a nightmarish world of self-destruc- tive violence and addiction. Similarly, True Romance and Natural Born Killers offer outlaw couples on the run whose loyalty to each other is rewarded in the end by their escape from a corrupt and disfiguring America that attempts to destroy them. Tarantino’s third film as a director, Jackie Brown, proved less successful with audiences, though it shares much in common with his earlier work. Though at times almost sedate, Jackie Brown also offers a nuanced meditation on the Los Angeles criminal underworld. Adapting an Elmore Leonard novel replete with a complex plot of double and triple crosses, Tarantino here focuses on the attempts of an impoverished black woman, a petty criminal and part-time steward- ess, to heist the laundered money of a psychopathic underworld kingpin. Much in the Leonard vein, the film is very detailed in its mise-en-scène, which is carefully calculated to reveal both the seedi- ness of urban L.A. and the cultural wasteland of the outlying suburbs; the film is also devoted to the depiction of character rather than the relentless advancement of the plot. This accounts for its more than two-and-a-half hours of running time. Like Reservoir Dogs, Jackie Brown is also a complicated cinematic homage. Robert De Niro and Michael Keaton appear in cameo roles that gently parody their screen personas. Pam Grier as the title character reprises the role of the TARKOVSKYDIRECTORS, 4 th EDITION 979 independent woman who turns on her oppressors that she successfully portrayed in many 1970s blaxploitation films. Less philosophically oriented and characterized by a more subdued cinematic style, Jackie Brown nevertheless shows Tarantino working interestingly and crea- tively within his chosen generic limitations. —R. Barton Palmer TARKOVSKY, Andrei Nationality: Soviet Russian. Born: Moscow, 4 April 1932; name sometimes transliterated Tarkovskij, or Tarkovski. Education: Insti- tute of Oriental Languages, graduated 1954; All-Union State Cinematography Institute (VGIK), graduated 1960. Family: Married twice (two children by first marriage, one son by second marriage). Career: Geological prospector in Siberia, 1954–56; on diploma work The Steamroller and the Violin, began collaboration with cameraman Yadim Yusov and Vyacheslav Ovchinnikov, 1960; directed opera Boris Godunov at Covent Garden, 1983; made last film, The Sacri- fice, in Sweden, 1986. Awards: Lion of St. Mark for Best Film, Venice Festival, for Ivan’s Childhood, 1962; International Critics Award, Cannes Festival, for Andrei Rublev, 1969; Special Jury Prize, Cannes Festival, for Solaris, 1972; Merited Artistic Worker of the RSFSR, 1974; Grand Prix, Cannes Festival, for The Sacrifice, 1986. Died: Of cancer, in Paris, 29 December 1986. Films as Director: 1959 There Will Be No Leave Today (short) 1960 Katok i skripka (The Steamroller and the Violin) (+ co-sc) 1962 Ivanovo detstvo (Ivan’s Childhood) 1969 Andrei Rublev (+ co-sc) 1971 Solyaris (Solaris) (+ co-sc) 1975 Zerkalo (The Mirror) (+ co-sc) 1979 Stalker 1983 Nostalghia (Nostalgia) 1986 Offret (The Sacrifice) Publications By TARKOVSKY: books— Andrei Rublev, Paris, 1970. Sculpting in Time: Reflections on the Cinema, London, 1986; revised edition, 1989. By TARKOVSKY: articles— Interview with O. Surkova, in Iskusstvo Kino (Moscow), July 1977. ‘‘Against Interpretation,’’ an interview with Ian Christie, in Frame- work (Norwich), Spring 1981. ‘‘Tarkovsky in Italy,’’ an interview with T. Mitchell, in Sight and Sound (London), Winter 1982/83. Interview with J. Hoberman, in American Film (Washington, D.C.), November 1983. ‘‘Strasti po Andreaja,’’ interview with A. Lipkov, in Kinoizkustvo, vol. 44, no. 2, February 1989. ‘‘Dlja celej li?nosti vysokih,’’ in Isskusstvo Kino (Moscow), no. 4, April 1992. ‘‘Dosto?evski au cinéma,’’ in Cahiers du Cinéma (Paris), no. 476, February 1994. ‘‘Ital’janskij dialog,’’ in Isskusstvo Kino (Moscow), no.11, Novem- ber 1995. On TARKOVSKY: books— Liehm, Mira, and Antonín Liehm, The Most Important Art: Eastern European Film after 1945, Berkeley, 1977. Borin, Fabrizio, Andrej Tarkovsky, Venice, 1987. Jacobsen, Wolfgang, and others, Andrej Tarkovskij, Munich, 1987. Le Fanu, Mark, The Cinema of Andrei Tarkovsky, London, 1987. Gauthier, Guy, Andrei Tarkovsky, Paris, 1988. Turovskaya, Maya, Tarkovsky: Cinema as Poetry, London, 1989. Tarkovskaya, Marina, compiler, About Andrei Tarkovsky, Mos- cow, 1990. Goudling, Daniel J., Five Filmmakers: Tarkovsky, Forman, Polanski, Szabó, Makavejev, Bloomington, Indiana, 1994. Johnson, Vida T., and Graham Petrie, The Films of Andrei Tarkovsky: A Visual Fugue, Bloomington, Indiana, 1994. On TARKOVSKY: articles— Montagu, Ivor, ‘‘Man and Experience: Tarkovski’s World,’’ in Sight and Sound (London), Spring 1973. Ward, M., ‘‘The Idea That Torments and Exhausts,’’ in Stills (Lon- don), Spring 1981. Strick, Philip, ‘‘Tarkovsky’s Translations,’’ in Sight and Sound (London), Summer 1981. Dempsey, M. ‘‘Lost Harmony—Tarkovsky’s The Mirror and The Stalker,’’ in Film Quarterly (Berkeley), Fall 1981. ‘‘Tarkovsky Issue’’ of Positif (Paris), October 1981. Zak, M., in Iskusstvo Kino (Moscow), September 1982. Ratschewa. M., ‘‘The Messianic Power of Pictures: The Films of Andrei Tarkovsky,’’ in Cineaste (New York), vol. 13, no. 1, 1983. Mitchell, T., ‘‘Andrei Tarkovsky and Nostalghi,’’ in Film Criticism (Meadville, Pennysylvania), Spring 1984. Tarkovsky Section of Positif (Paris), October 1984. Green, P., ‘‘The Nostalgia of The Stalker,’’ in Sight and Sound (London), Winter 1984/1985. Tarkovsky Sections of Positif (Paris), May and June 1986. Tarkovsky Section of Cahiers du Cinéma (Paris), July/August 1986. Obituary, in Variety (New York), 31 December 1986. Christie, Ian, ‘‘Raising the Shroud,’’ in Monthly Film Bulletin (Lon- don), February 1987. Green, Peter, obituary in Sight and Sound (London), Spring 1987. Kennedy, Harlan, ‘‘Tarkovsky, a Thought in Nine Parts,’’ in Film Comment (New York), May/June 1987. Leszczylowski, Michal, ‘‘A Year with Andrei,’’ in Sight and Sound (London), Autumn 1987. Tarkovsky Section of Positif (Paris), February 1988. Strick, Philip, ‘‘Releasing the Balloon, Raising the Bell,’’ in Monthly Film Bulletin (London), February 1991. TARKOVSKY DIRECTORS, 4 th EDITION 980 Pomeranc, G., and others, ‘‘Zrimaja svjatost’,’’ in Isskusstvo Kino (Moscow), special section, no. 10, October 1989. Israel, L., ‘‘At erkende verden,’’ in Kosmorama (Copenhagen), vol. 37, no. 196, Summer 1991. Totterdell, A., ‘‘Time and the Film Aesthetics of Andrei Tarkovsky,’’ in Canadian Journal of Film Studies (Ottawa), vol. 2, no. 1, 1992. Klimanova, E., ‘‘Edinstvo obrasa. Syn i otec,’’ in Iskusstvo Kino (Moscow), no. 4, April 1992. Alexander, L., and E. Demant, ‘‘Tajemnice Andrieja Tarkowskiego./ Wygnanie i smierc Tarkowskiego,’’ in Kino (Warsaw), vol. 26, no. 10, October 1992. Génin, Bernard, and Vincent Remy, ‘‘Spécial Russie,’’ in Télérama (Paris), special section, no. 2290, 1 December 1993. Spidlik, Toma?, ‘‘Slavjanskata duhovnost i pravoslavnata religioznost v kinoto na Andrej Tarkovski,’’ in Kino (Sofia), no. 1, Janu- ary 1995. Skramtaeva, Ju, ‘‘Postsovetskoe my?lenie i anangard,’’ in Isskusstvo Kino (Moscow), no. 9, September 1995. Eichenberger, Ambros, ‘‘Filme über die Zeit—für die Ewigkeit,’’ in Film-Dienst (Cologne), vol. 40, no. 26, 17 December 1996. Graffy, Julian, Layla Alexander, and Bérénice Reynaud, ‘‘Tarkov- sky,’’ in Sight and Sound (London), special section, vol. 7, no. 1, January 1997. Macheboeuf, Lise, ‘‘Andrei Tarkovski. Filmer l’exil spirituel,’’ in Positif (Paris), no. 435, May 1997. Lopu?anskij, K., and others, ‘‘Tarkovskij v 97-m,’’ in Isskusstvo Kino (Moscow), no. 10, October 1997. Pallasmaa, Juhani, ‘‘Kauhun ja nostalgian tilat,’’ in Filmihullu (Helsinki), no. 1, 1997. Todorov, Hristo, ‘‘Tarkovski s upovanie v boga,’’ in Kino (Sofia), no. 2, 1998. On TARKOVSKY: film— Leszczylowski, Michal, Directed by Andrei Tarkovsky, 1986. *** ‘‘Tarkovsky is the greatest of them all. He moves with such naturalness in the room of dreams. He doesn’t explain. What should he explain anyhow?’’ Thus Ingmar Bergman, in his autobiography The Magic Lantern, bows down before the Russian director while also hinting at what makes Tarkovsky’s work so awkward to critics: it can verge on the inscrutable. Too opaque to yield concrete meaning, it offers itself as sacral art, demanding a rapt, and even religious, response from its audiences. His 1979 film Stalker, for instance, features a place called the Zone where all ‘‘desires come true.’’ Rather like the land of Oz, this mysterious outland promises to reveal the secret of things to any intrepid travellers who prospect it to its core. But there are no cowardly lions or tin men to ease the journey, no yellow brick road to follow. The Zone is an austere realm—typical Tarkovsky territory—of bleak landscapes populated by characters laden with a peculiarly Russian gloom. Watching Tarkovsky’s films, his ‘‘sculptures in time,’’ spectators can find themselves on a journey every bit as arduous as that undertaken by the pilgrims who headed toward the Zone. The son of a poet, the director treated film as a medium in which he could express himself in the first person. His six years at the Moscow State Film School, during which he received a thorough grounding in film technique from such Soviet luminaries as Mikhail Romm, did nothing to disabuse him of the notion that cinema was a ‘‘high art.’’ He felt he could tap the same vein of poetic intimacy that his father sought in lyric verse. The necessary intrusion of camera crews and actors, and the logistical problems of exhibition and distribution, worried him not a jot. Although all his films are self-reflexive, he does not draw attention to the camera for radical Brechtian reasons. He is not trying to subvert bourgeois narrative codes. He is not even assaulting the tenets of Socialist Realism, a doctrine he found every bit as unappeal- ing as Western mass culture aimed at the ‘‘consumer’’ (although his ex-partner, Konchalovsky, ended up in Hollywood directing Sylvester Stallone vehicles). What his constant use of tracking shots, slow motion, and never-ending pans—indeed his entire visual rhetoric— seems to emphasize is that he is moulding the images. He is a virtuoso, and he wants us to be aware of the fact. Tarkovsky’s first two feature length projects, Ivan’s Childhood and Andrei Rublev, mark a curious collision between the personal and the political. On one level, the former is a propaganda piece, telling yet again the great Soviet story of the defeat of the Nazi scourge during World War II. But Tarkovsky destabilizes the film with dream sequences. The ‘‘big questions’’ that are ostensibly being addressed turn out to be peripheral: the director is more concerned with the poetic rekindling of childhood than with a triumphal narrative of Russian resilience. Similarly, Rublev, an epic three-hour biography of a medieval icon painter, is, in spite of the specificity and grandeur of its locations, a rigorous account of the role of the artist in society, as applicable to the 1960s as to the 1300s. As if to display his versatility, Tarkovsky skipped genres, moving from the distant past to the distant future for his third feature, Solaris, a rather ponderous sci-fi movie taken from a novel by the Polish writer Stanislaw Lem. The harsh, Kubrick-like spaceship interiors suit the director far less than his customary wet and muddy land- scapes. The musings on love and immortality engaged in by the cosmonauts as they hover above a sea of liquid gas—for a filmmaker with such a flair for images, Tarkovsky resorts to portentous dialogue with surprising frequency—weigh the story down. Still, Solaris works on a more intimate level when it explores a man’s attempts to come to terms with the death of his wife. Mirror is quintessential Tarkovsky; ravishing to look at, full of classical music, and so narratively dense as to be almost unfathom- able on a first viewing. There are only 200 or so shots in it, and it is a film that fell into shape, almost by accident, late in the editing stage, but it is Tarkovsky’s richest and most resonant work. The narrative flits between the present and the past, between the ‘‘adult’’ mentality of the narrator and the memory of his childhood. Moreover, the wide open spaces of the countryside where Tarkovsky spent his earliest years are contrasted with the constricting rooms of city apartments. Poems by the director’s father, Arseny, appear on the soundtrack. Complementing these, Tarkovsky is at his most elemental in this film: the wind rustling the trees, fire, and water are constant motifs. Tarkovsky went to enormous lengths to recreate the landscape of his infancy, planting buckwheat a year before shooting started, and constructing, from memory and old photographs, the bungalow where he had lived. There is a humour and warmth in Mirror sometimes absent in his work as a whole. (This may have something to do with the fact that it is his only film to have a woman protagonist. Margarita Terekova, who ranks with Anatoli Solonitzine as Tarkovsky’s favourite actor, plays both the narrator’s wife and his mother.) Generally, TASHLINDIRECTORS, 4 th EDITION 981 Tarkovsky terrain is desolate, ravaged by war, or threatened with catastrophe, as in The Sacrifice. In Mirror, however, the forests and rivers and fields are nurturing and colourful. Accused by the authori- ties of being narratively obscure, Tarkovsky testified that he received many letters from viewers who had seen their own childhoods miraculously crystallize as they watched the film. Nostalgia was his first film in exile after his defection to the West. Shot in Italy, it showed the Russian pining for his homeland. He wouldn’t live to see it again. The Sacrifice is a typically saturnine final testament from a filmmaker overly aware of his own reputation. Tarkovsky believed that ‘‘modern mass culture, aimed at the consumer . . . is crippling people’s souls.’’ A self-conscious exercise in spiritual plumbing, his last work before his premature death from cancer in 1987 is weighed down by its own gravitas. Shot by Sven Nykvist, who used natural light for the interior scenes, and full of intricate pans, the film has the formal beauty that one has come to associate with the director. But its endless and wordy metaphysical surmising stops it from tugging at memory and emotion in the way of the best of his work, most notably Mirror. —G.C. Macnab TASHLIN, Frank Nationality: American. Born: Weehawken, New Jersey, 19 Febru- ary 1913. Education: Educated in public school, Astoria, Long Island. Family: Married Mary Costa. Career: Errand boy for Max Fleischer, 1928; worked on Aesop’s Fables cartoons at RKO, from 1930, became animator; sold cartoons to magazines under pseudo- nym ‘‘Tish-Tash,’’ until 1936; moved to Hollywood, worked at Vitaphone Corp. on Merrie Melodies and Looney Tunes, 1933; comic strip Van Boring syndicated, 1934–36; gagman at Hal Roach Studios, 1935, then director and scriptwriter for Looney Tunes; story director at Disney studios for Mickey Mouse and Donald Duck series, 1939–40; executive producer, Columbia’s Screen Gems Cartoon Studios, 1941; returned to Merrie Melodies and Looney Tunes, 1942, also directed first Private Snafu cartoon for Frank Capra’s Army Signal Corps Unit; first non-animated film credit as co-scriptwriter for Delightfully Dangerous, 1944; gag writer at Paramount, 1945; writer for Eddie Bracken’s CBS radio shows, 1946; took over direction of The Lemon Drop Kid at request of Bob Hope, 1950; writer, producer and director for television, from 1952. Died: In Hollywood, 5 May 1972. Films as Director: 1950 The Lemon Drop Kid (co-d, uncredited, + co-sc) 1951 The First Time (+ co-sc); Son of Paleface (+ co-sc) 1953 Marry Me Again (+ sc); Susan Slept Here (+ co-sc uncredited) 1955 Artists and Models (+ co-sc); The Lieutenant Wore Skirts (+ co-sc) 1956 Hollywood or Bust (+ co-sc uncredited); The Girl Can’t Help It (+ pr, co-sc) 1957 Will Success Spoil Rock Hunter? (+ sc, pr) 1958 Rock-a-Bye Baby (+ sc); The Geisha Boy (+ sc) 1959 Say One for Me (+ co-sc uncredited, pr) 1960 Cinderfella (+ sc) 1962 Bachelor Flat (+ co-sc) 1963 It’s Only Money (+ co-sc); The Man from The Diner’s Club; Who’s Minding the Store? (+ co-sc) 1964 The Disorderly Orderly (+ sc) 1965 The Alphabet Murders 1966 The Glass-Bottom Boat; Caprice (+ co-sc) 1968 The Private Navy of Sergeant O’Farrell (+ sc) Other Films: 1944 Delightfully Dangerous (Lubin) (sc) 1947 Variety Girl (Marshall) (co-sc); The Paleface (McLeod) (co-sc); The Fuller Brush Man (That Mad Mr. Jones) (Simon) (co-sc) 1948 One Touch of Venus (Seiter) (co-sc); Love Happy (Miller) (co-sc) 1949 Miss Grant Takes Richmond (Innocence Is Bliss) (Bacon) (co-sc); Kill the Umpire (Bacon) (sc); The Good Humor Man (Bacon) (sc) 1950 The Fuller Brush Girl (The Affairs of Sally) (Bacon) (sc) 1956 The Scarlet Hour (Curtiz) (co-sc) Publications By TASHLIN: articles— ‘‘Frank Tashlin—An Interview and an Appreciation,’’ with Peter Bogdanovich, in Film Culture (New York), no. 26, 1962. On TASHLIN: book— Johnston, Claire, and Paul Willemen, editors, Frank Tashlin, Lon- don, 1973. Schneider, Steve, That’s All Folks!: The Art of Warner Bros. Anima- tion, New York, 1988. On TASHLIN: articles— Benayoun, Robert, and others, articles, in Positif (Paris), no. 29. Boussinot, Roger, ‘‘Frank Tashlin,’’ in Cinéma (Paris), no. 49, 1960. Cameron, Ian, ‘‘Frank Tashlin and the New World,’’ in Movie (London), February 1963. Bogdanovich, Peter, ‘‘Tashlin’s Cartoons,’’ in Movie (London), Winter 1968/69. Bogdanovich, Peter, ‘‘Frank Tashlin,’’ in The New York Times, 28 May 1972. Beylie, Claude, ‘‘La Fin d’un amuseur,’’ in Ecran (Paris), July/ August 1972. Grisolia, M., ‘‘Frank Tashlin ou la poétique de l’objet,’’ in Cinéma (Paris), July/August 1972. TASHLIN DIRECTORS, 4 th EDITION 982 Frank Tashlin Cohen, M.S., ‘‘Looney Tunes and Merrie Melodies,’’ in Velvet Light Trap (Madison), Autumn 1975. Arnold, Frank, ‘‘Neu gesehen: Tahlin in Locarno,’’ in EPD Film (Frankfurt), vol. 11, no. 10, October 1994. Bulgakowa, O., ‘‘Glückskind oder verkanntes Genie? Frank Tashlin . . . zig Jahre danach,’’ in Film-Dienst (Cologne), vol. 47, no. 20, 27 September 1994. Bogaert, Pieter van, ‘‘Populaire gevoeligheden: Tashlin Codelli, Lorenzo Ziefeld Tashlin (terug) zien!’’ in Andere Sinema (Antwerp), no. 125, January-February 1995. *** Frank Tashlin had achieved recognition as a children’s writer when he entered the film industry to work in the animation units at Disney and Warner Bros. Both of these early careers would have decisive import for the major films that Tashlin would direct in the 1950s. This early experience allowed Tashlin to see everyday life as a visually surreal experience, as a kind of cartoon itself, and gave him a faith in the potential for natural experience to resist the increased mechanization of everyday life. Tashlin’s films of the 1950s are great displays of cinematic technique, particularly as it developed in a TV- fearing Hollywood. They featured a wide-screen sensibility, radiant color, frenetic editing, and a deliberate recognition of film as film. Tashlin’s films often resemble live versions of the Warners cartoons. Jerry Lewis, who acted in many of Tashlin’s films, seemed perfect for such a visual universe with his reversions to a primal animality, his deformations of physicality, and his sheer irrationality. Tashlin’s films are also concerned with the ways the modern world is becoming more and more artificial; the films are often filled with icons of the new mass culture (rock and roll, comic books, television, muscle men, Jayne Mansfield, Hollywood) and are quite explicit about the ways such icons are mechanically produced within a consumer society. For example, in Will Success Spoil Rock Hunter?, the successful romance of Rita Marlow (Jayne Mansfield) causes other women to engage in dangerous bust-expanding exercises to the point of nervous exhaustion. Yet the very critique of mass culture by an artist working in a commercial industry creates the central contra- diction of Tashlin’s cinema: if the danger of modern life is its increasing threat of mechanization, then what is the critical potential of an art based on mechanization? Significantly, Tashlin’s films can be viewed as a critique of the ostentatious vulgarity of the new plastic TATIDIRECTORS, 4 th EDITION 983 age while they simultaneously seem to revel in creating ever better and more spectacular displays of sheer technique to call attention to that age. The Girl Can’t Help It, for instance, chronicles the making of a non-talent (Jayne Mansfield) into a star, viewing the process with a certain cynicism but at the same time participating in that process. These films are vehicles for Mansfield as Mansfield, and are thus somewhat biographical. As with Jerry Lewis, serious treatment of Tashlin began in France (especially in the pages of Positif, which has always had an attraction to the comic film as an investigator of the Absurd). Anglo-American criticism tended to dismiss Tashlin (for example, Sarris in American Cinema called him ‘‘vulgar’’). In such a context, Claire Johnston and Paul Willemen’s Frank Tashlin had the force of a breakthrough, providing translations from French journals and analyses of the cinematic and ideological implications of Tashlin’s work. —Dana B. Polan TATI, Jacques Nationality: French. Born: Jacques Tatischeff in Le Pecq, France, 9 October 1908. Education: Attended Lycée de St.-Germain-en- Laye; also attended a college of arts and engineering, 1924. Family: Married Micheline Winter, 1944; children: Sophie and Pierre. Ca- reer: Rugby player with Racing Club de Paris, 1925–30; worked as pantomimist/impressionist, from 1930; recorded one of his stage routines, ‘‘Oscar, champion de tennis,’’ on film, 1932; toured Euro- pean music halls and circuses, from 1935; served in French Army, 1939–45; directed himself in short film, L’Ecole des facteurs, 1946; directed and starred in first feature, Jour de fête, 1949; offered American television series of 15-minute programs, refused, 1950s; made Parade for Swedish television, 1973. Awards: Best Scenario, Venice Festival, for Jour de fête, 1949; Max Linder Prize (France) for L’Ecole des facteurs, 1949; Prix Louis Delluc, for Les Vacances de M. Hulot, 1953; Special Prize, Cannes Festival, for Mon Oncle, 1958; Grand Prix National des Arts et des Lettres, 1979; Commandeur des Arts et des Lettres. Died: 5 November 1982. Films as Director: 1947 L’Ecole des facteurs (+ sc, role) 1949 Jour de fête (+ co-sc, role as Fran?ois the postman) 1953 Les Vacances de Monsieur Hulot (Mr. Hulot’s Holiday) (+ co-sc, role as M. Hulot) 1958 Mon Oncle (+ co-sc, role as M. Hulot) 1967 Playtime (+ sc, role as M. Hulot) 1971 Trafic (Traffic) (+ co-sc, role as M. Hulot) 1973 Parade (+ sc, role as M. Loyal) Other Films: 1932 Oscar, champion de tennis (sc, role) 1934 On demande une brute (Barrois) (co-sc, role) 1935 Gai Dimanche (Berry) (co-sc, role) 1936 Soigne ton gauche (Clément) (role) 1938 Retour à la terre (pr, sc, role) 1945 Sylvie et le fantOme (Autant-Lara) (role as ghost) 1946 Le Diable au corps (Autant-Lara) (role as soldier) Publications By TATI: articles— ‘‘Tati Speaks,’’ with Harold Woodside, in Take One (Montreal), no. 6, 1969. Interview with E. Burcksen, in Cinématographe (Paris), May 1977. Interview with M. Makeieff, in Cinématographe (Paris), January 1985. On TATI: books— Sadoul, Georges, The French Film, London, 1953. Bazin, André, Qu’est ce-que le cinéma, London, 1958. Carrière, Jean-Claude, Monsieur Hulot’s Holiday, New York, 1959. Cauliez, Armand, Jacques Tati, Paris, 1968. Mast, Gerald, The Comic Mind, New York, 1973; revised edition, Chicago, 1979. Kerr, Walter, The Silent Clowns, New York, 1975. Gilliatt, Penelope, Jacques Tati, London, 1976. Maddock, Brent, The Films of Jacques Tati, Metuchen, New Jer- sey, 1977. Fischer, Lucy, Jacques Tati: A Guide to References and Resources, Boston, 1983. Harding, James, Jacques Tati: Frame by Frame, London, 1984. Chion, Michel, Jacques Tati, Paris, 1987. Dondey, Marc, Tati, Paris, 1989. On TATI: articles— ‘‘Mr. Hulot,’’ in the New Yorker, 17 July 1954. Mayer, A. C., ‘‘The Art of Jacques Tati,’’ in Quarterly of Film, Radio, and Television (Berkeley), Fall 1955. Simon, John, ‘‘Hulot; or The Common Man as Observer and Critic,’’ in the Yale French Review (New Haven, Connecticut), no. 23, 1959. Houston, Penelope, ‘‘Conscience and Comedy,’’ in Sight and Sound (London), Summer/Autumn 1959. Marcabru, Pierre, ‘‘Jacques Tati contre l’ironie fran?aise,’’ in Arts (Paris), 8 March 1961. Armes Roy, ‘‘The Comic Art of Jacques Tati,’’ in Screen (London), February 1970. Dale, R. C., ‘‘Playtime and Traffic, Two New Tati’s,’’ in Film Quarterly (Berkeley), no. 2, 1972–73. Rosenbaum, Jonathan, ‘‘Tati’s Democracy,’’ in Film Comment (New York), May/June 1973. Thompson, K., ‘‘Parameters of the Open Film: Les Vacances de Monsieur Hulot,’’ in Wide Angle (Athens, Ohio), vol. 1, no. 4, 1977. Nepoti, Roberto, ‘‘Jacques Tati,’’ special issue, in Castoro Cinema (Firenze), no. 58, 1978. ‘‘Tati Issue’’ of Cahiers du Cinéma (Paris), September 1979. TATI DIRECTORS, 4 th EDITION 984 Jacques Tati Schefer, J. L., ‘‘Monsieur Tati,’’ in Cahiers du Cinéma (Paris), December 1982. Fischer, Lucy, ‘‘Jour de fête: Americans in Paris,’’ in Film Criticism (Meadville, Pennsylvania), Winter 1983. ‘‘Jacques Tati Issue’’ of Cinéma (Paris), January 1983. Rosenbaum, Jonathan, ‘‘The Death of Hulot,’’ in Sight and Sound (London), Spring 1983. Carriére. J. C. ‘‘Comedie à la Fran?aise,’’ in American Film (New York), December 1985. Thompson, Kristin, ‘‘Parade, a Review of an Unreleased Film,’’ in Velvet Light Trap (Madison, Wisconsin), no. 22, 1986. Fawell, J. ‘‘Sound and Silence, Image and Invisibility in Jacques Tati’s Mon oncle,’’ in Literature and Film Quarterly (Salisbury), vol. 18, no. 4, October 1990. Hommel, M., and F. Hauffmann, ‘‘Hulot in de menigte. Twee kapiteins op iin schip,’’ in Skrien (Amsterdam), no. 178, June- July 1991. Pierre, S., ‘‘Tati est grand,’’ in Cahiers du Cinéma (Paris), no. 442, April 1991. Jullier, L., ‘‘L’art des bruits chez Jacques Tati,’’ in Focales (Nancy Cedex), no. 2, 1993. Olofsson, A., ‘‘Marodor i lyckoriket,’’ in Chaplin (Stockholm), vol. 35, no. 4, 1993. Teisseire, G., and others, ‘‘Jacques Tati: Playtime,’’ in Positif (Paris), May 1993. Charbonneau, A., ‘‘Monsieur Tati ou l’exigence du rire,’’ in 24 Images (Montreal), no. 68- 69, September-October 1993. Douin, Jean-Luc, ‘‘Tonton Tati,’’ in Télérama (Paris), no. 2291, 8 December 1993. Kermabon, Jacques, ‘‘Tati architecte: La transparence, le reflet et l’ephémère,’’in CinémAction (Conde-sur-Noireau), no. 75, April 1995. Sartor, Freddy, in Film en Televisie (Brussel), no. 466, Novem- ber 1996. Salonen, Annika, ‘‘Hullunkurinen Herra Hulot,’’ in Filmihullu (Helsinki), no. 4–5, 1997. *** Jacques Tati’s father was disappointed that his son didn’t enter the family business, the restoration and framing of old paintings. In TAVERNIERDIRECTORS, 4 th EDITION 985 Jacques Tati’s films, however, the art of framing—of selecting borders and playing on the limits of the image—achieved new expressive heights. Instead of restoring old paintings, Tati restored the art of visual comedy, bringing out a new density and brilliance of detail, a new clarity of composition. He is one of the handful of film artists—the others would include Griffith, Eisenstein, Murnau, Bresson—who can be said to have transformed the medium at its most basic level, to have found a new way of seeing. After a short career as a rugby player, Tati entered the French music hall circuit of the early 1930s; his act consisted of pantomime parodies of the sports stars of the era. Several of his routines were filmed as shorts in the 1930s (and he appeared as a supporting actor in two films by Claude Autant-Lara), but he did not return to direction until after the war, with the 1947 short L’Ecole des facteurs. Two years later, the short was expanded into a feature, Jour de fête. Here Tati plays a village postman who, struck by the ‘‘modern, efficient’’ methods he sees in a short film on the American postal system, decides to streamline his own operations. The satiric theme that runs through all of Tati’s work—the coldness of modern technology—is already well developed, but more importantly, so is his visual style. Many of the gags in Jour de fête depend on the use of framelines and foreground objects to obscure the comic event—not to punch home the gag, but to hide it and purify it, to force the spectator to intuit, and sometimes invent, the joke for himself. Tati took four years to make his next film, Les Vacances de Monsieur Hulot (Mr. Hulot’s Holiday), which introduced the charac- ter he was to play for the rest of his career—a gently eccentric Frenchman whose tall, reedy figure was perpetually bent forward as if by the weight of the pipe he always kept clamped in his mouth. The warmth of the characterization, plus the radiant inventiveness of the sight gags, made Mr. Hulot an international success, yet the film already suggests Tati’s dissatisfaction with the traditional idea of the comic star. Hulot is not a comedian, in the sense of being the source and focus of the humor; he is, rather, an attitude, a signpost, a perspective that reveals the humor in the world around him. Mon Oncle is a transitional film: though Hulot had abdicated his star status, he is still singled out among the characters—prominent, but strangely marginal. With Playtime, released after nine years of expensive, painstaking production, Tati’s intentions become clear. Hulot was now merely one figure among many, weaving in and out of the action much like the Mackintosh Man in Joyce’s Ulysses. And just as Tati the actor refuses to use his character to guide the audience through the film, so does Tati the director refuse to use close-ups, emphatic camera angles, or montage to guide the audience to the humor in the images. Playtime is composed almost entirely of long- shot tableaux that leave the viewer free to wander through the frame, picking up the gags that may be occurring in the foreground, the background, or off to one side. The film returns an innocence of vision to the spectator; no value judgements or hierarchies of interest have been made for us. We are given a clear field, left to respond freely to an environment that has not been polluted with prejudices. Audiences used to being told what to see, however, found the freedom of Playtime oppressive. The film (released in several ver- sions, from a 70mm stereo cut that ran over three hours to an absurdly truncated American version of 93 minutes) was a commercial failure. It plunged Tati deep into personal debt. Tati’s last theatrical film, the 1971 Traffic, would have seemed a masterpiece from anyone else, but for Tati it was clearly a protective return to a more traditional style. Tati’s final project, a 60-minute television film titled Parade, has never been shown in America. Five films in 25 years is not an impressive record in a medium where stature is often measured by prolificacy, but Playtime alone is a lifetime’s achievement—a film that liberates and revitalizes the act of looking at the world. —Dave Kehr TAVERNIER, Bertrand Nationality: French. Born: Lyons, 25 April 1941. Education: Studied law for one year. Family: Married writer Colo O’Hagan (separated), two children. Career: Film critic for Positif and Cahiers du Cinéma, Paris, early 1960s; press agent for producer Georges de Beauregard, 1962; freelance press agent, associated with Pierre Rissient, 1965; directed first film, L’Horloger de St. Paul, 1974. Awards: Prix Louis Delluc, for L’Horloger de St. Paul, 1974; Cesar Awards for Best Director and Best Original Screenplay (with Jean Aurenche), for Que la fête commence, 1975; European Film Festival Special Prize, for La Vie et rien d’autre, 1989. Films as Director and Co-Scriptwriter: 1964 ‘‘Une Chance explosive’’ episode of La Chance et l’amour 1965 ‘‘Le Baiser de Judas’’ episode of Les Baisers 1974 L’Horloger de Saint-Paul (The Clockmaker) 1975 Que la fête commence (Let Joy Reign Supreme) 1976 Le Juge et l’assassin (The Judge and the Assassin) 1977 Des enfants gatés (Spoiled Children) 1979 Femmes Fatales 1980 La Mort en direct (Death Watch) 1981 Une Semaine de vacances (A Week’s Vacation) 1982 Coup de torchon (Clean Slate); Philippe Soupault et le surréalisme) (doc) 1983 Mississippi Blues (Pays d’Octobre) (co-d) 1984 Un Dimanche à la campagne (A Sunday in the Country) 1986 Round Midnight (Autour de minuit) 1987 Le Passion Béatrice 1988 Lyon, le regard intérieur (doc for TV) 1989 La Vie et rien d’autre (Life and Nothing But) 1990 Daddy Nostalgie (These Foolish Things) 1991 La guerre sans non (The Undeclared War) 1992 L.627 1994 Le fille de D’Artagnan (The Daughter of D’Artagnan); Any- where but Here 1995 L’appat (Fresh Bait) 1996 Capitaine Conan (Captain Conan) 1997 La Lettre (for TV) (d only) TAVERNIER DIRECTORS, 4 th EDITION 986 Bertrand Tavernier 1998 De l’autre c?té du périph (The Other Side of the Tracks) (d only) 1999 ?a commence aujourd’hui (It All Starts Today) Other Films: 1967 Coplan ouverte le feu à Mexico (Freda) (sc) 1968 Capitaine Singrid (Leduc) (sc) 1977 Le Question (Heynemann) (pr) 1979 Rue du pied de Grue (Grandjouan) (pr); Le Mors aux dents (Heynemann) (pr) 1993 Des demoiselles ont en 25 ans (The Young Girls Turn 25) (Varda) (appearance); Francois Truffaut: portraits voles (Francois Truffaut: Stolen Portraits) (Toubiana, Pascal) (appearance) 1994 Troubles We’ve Seen: A History of Journalism in War- time (pr) 1995 The World of Jacques Demy (Varda) (appearance); American Cinema (role) 2000 Il avait dans Le coeur des jardins introuvables (co-sc) Publications By TAVERNIER: book— 30 ans de cinéma américaine (30 Years of American Cinema), with Jean-Pierre Coursodon, Paris. Amis americains: entretiens avec les grands auteurs d’Hollywood, Paris, 1993. Fragments: Portraits from the Inside, with Andre De Toth and Martin Scorsese, New York, 1996. By TAVERNIER: articles— ‘‘Il n’y a pas de genre à proscrire ou à conseiller . . . ,’’ an interview with D. Rabourdin, in Cinéma (Paris), May 1975. ‘‘Les Rapports de la justice avec la folie et l’histoire,’’ in Avant-Scène du Cinéma (Paris), June 1976. ‘‘Notes éparses,’’ in Positif (Paris), December/January 1977/78. ‘‘Blending the Personal with the Political,’’ an interview with L. Quart and L. Rubinstein, in Cineaste (New York), Summer 1978. TAVERNIERDIRECTORS, 4 th EDITION 987 ‘‘Director of the Year,’’ International Film Guide (London, New York), 1980. ‘‘Cleaning the Slate,’’ an interview with I. F. McAsh, in Films (London), August 1982. Interviews in Films in Review (New York), March and April 1983. Interview with Michel Ciment and others, in Positif (Paris), May 1984. Interview with Dan Yakir, in Film Comment (New York), September/ October 1984. ‘‘Round Midnight,’’ an interview with Jean-Pierre Coursodon, in Cineaste (New York), vol. 15, no. 2, 1986. ‘‘All the Colors: Bertrand Tavernier Talks about Round Midnight,’’ an interview with Michael Dempsey, in Film Quarterly (Berke- ley), Spring 1987. Interview with M. Ruuth, in Chaplin (Stockholm), vol. 29, 1987. Interview, in Skrien (Amsterdam), Spring 1987. Interview, in Positif (Paris), September 1989. Interview by F. Laurendeau, in Sequences (Montreal), November 1989. ‘‘La guerre n’est pas finie,’’ an interview with K. Jaehne, in Cineaste (New York), vol. 18, no. 1, 1990. Obituary, of Michael Powell, in Positif (Paris), May 1990. ‘‘A la rencontre de Budd Boetticher,’’ in Positif (Paris), July/ August 1991. ‘‘Journey into light,’’ an interview with Patrick McGilligan, in Film Comment (New York), March/April 1992. Interview by F. Aude and H. Niogret, in Positif (Paris), April 1992. ‘‘Police State,’’ an interview with Geoff Andrew, in Time Out (London), 6 January 1993. ‘‘Tavernier on Mackendrick,’’ in Sight and Sound (London), August 1994. Interview with Jean-Claude Raspiengeas, in Télérama (Paris), 3 May 1995. Interview with Philippe Piazzo, in Jeune Cinéma (Paris), January- February 1997. ‘‘Filming a Forgotten War: An Interview with Bertrand Tavernier,’’ in Cineaste (New York), April 1998. On TAVERNIER: books— Bion, Danièle, Bertrand Tavernier: cinéaste de l’émotion, Renens, 1984. Mereghetti, Paolo, editor, Bertrand Tavernier, Venice, 1986. Douin, Jean-Luc, Tavernier, Paris, 1988. Mehle, Kerstin, Blickstrategien im Kino von Bertrand Tavernier, Frankfurt, 1991. La vida, la muerte: el cine de Bertrand Tavernier, Valencia, Spain, 1992. Zants, Emily, Bertrand Tavernier: Fractured Narrative and Bour- geois Values, Lanham, 1999. Hay, Stephen, Bertrand Tavernier: The Film Maker of Lyon, I.B. Tauris & Co. Ltd, 2000. On TAVERNIER: articles— ‘‘L’Horloger de Saint-Paul Issue’’ of Avant-Scène du Cinéma (Paris), May 1974. Auty, M., ‘‘Tavernier in Scotland,’’ in Sight and Sound (London), Winter 1976/77. Hennebelle, G., and others, ‘‘Le Cinéma de Bertrand Tavernier,’’ in Ecran (Paris), September and October 1977. Magretta, W. R. and J., ‘‘Bertrand Tavernier: The Constraints of Convention,’’ in Film Quarterly (Berkeley), Summer 1978. ‘‘Bertrand Tavernier Dossier’’ in Revue du Cinéma (Paris), April 1984. Ciment, Michel, ‘‘Sunday in the Country with Bertrand,’’ in Ameri- can Film (Washington, D.C.), October 1984. Harvey, Stephen, ‘‘Focus: Beatrice,’’ in American Film (New York), March 1988. Riding, Alan, ‘‘Bertrand Tavernier Films Small Romances amid Wide-Scale History,’’ in New York Times, 11 September 1990. Seidenberg, Robert, ‘‘Daddy Nostalgia,’’ in American Film (New York), February 1991. Loiseau, Jean-Claude, and others, ‘‘Capitaine Conan,’’ in Télérama (Paris), 16 October 1996. Vincendeau, Ginette, ‘‘Black to the Blackboard,’’ in Sight and Sound (London), July 1999. *** It is significant that Bertrand Tavernier’s films have been paid little attention by the more important contemporary film critics/ theorists: his work is resolutely ‘‘realist,’’ and realism is under attack in critical quarters. Realism has frequently been a cover for the reproduction and reinforcement of dominant ideological assump- tions, and to this extent that attack is salutary. Yet Tavernier’s cinema demonstrates effectively that the blanket rejection of realism rests on very unstable foundations. Realism has been seen as the bourgeoisie’s way of talking to itself. It does not necessarily follow that its only motive for talking to itself is the desire for reassurance; nor need we assume that the only position realist fiction constructs for the reader/ viewer is one of helpless passivity (Tavernier’s films clearly postulate an alert audience ready to reflect and analyze critically). Three of Tavernier’s films, Death Watch, Coup de torchon, and A Week’s Vacation, while they may not unambiguously answer the attacks on realism, strongly attest to the inadequacy of their formula- tion. For a start, the films’ range of form, tone, and address provides a useful reminder of the potential for variety that the term ‘‘classical realist text’’ tends to obliterate. To place beside the strictly realist A Week’s Vacation the futurist fantasy of Death Watch on the one hand and the scathing, all-encompassing caricatural satire and irony of Coup de torchon on the other is to illustrate not merely a range of subject-matter but a range of strategy. Each film constructs for the viewer a quite distinct relationship to the action and to the protagonist, analyzable in terms of varying degrees of identification and detach- ment which may also shift within each film. Nor should the descrip- tion of A Week’s Vacation as ‘‘strictly realist’’ be taken to suggest some kind of simulated cinéma-vérité: the film’s stylistic poise and lucid articulation, its continual play between looking with the pro- tagonist and looking at her, consistently encourage an analytical distance. Through all his films, certainly, the bourgeoisie ‘‘talks to itself,’’ but the voice that articulates is never reassuring, and bourgeois institutions and assumptions are everywhere rendered visible and opened to question. Revolutionary positions are allowed a voice and are listened to respectfully. This was clear from Tavernier’s first film, The Clockmaker, among the screen’s most intelligent uses of Simenon. Under Tavernier, the original project is effectively transformed by introducing the political issues that Simenon totally represses, and by changing the crime from a meaningless, quasi-existentialist acte TAVIANI DIRECTORS, 4 th EDITION 988 gratuit to a gesture of radical protest. But Tavernier’s protagonists are always bourgeois: troubled, questioning, caught up in social institu- tions but not necessarily rendered impotent by them, capable of growth and awareness. The films, while basically committed to a well-left-of-center liberalism, are sufficiently open, intelligent, and disturbed to be readily accessible to more radical positions than they are actually willing to adopt. Despite the difference in mode of address, the three films share common thematic concerns (most obviously, the fear of conformism and dehumanization, the impulse towards protest and revolt, the difficulties of effectively realizing such a protest in action). They also have in common a desire to engage, more or less explicitly, with interrelated social, political, and aesthetic issues. The caustic analysis of the imperialist mentality and the kind of personal rebellion it provokes (itself corrupt, brutalized, and ultimately futile) in Coup de torchon is the most obvious instance of direct political engagement. Death Watch, within its science fiction format, is fascinatingly involved with contemporary inquiries into the construction of narra- tive and the objectification of women. Its protagonist (Harvey Keitel) attempts to create a narrative around an unsuspecting woman (Romy Schneider) by means of the miniature television camera surgically implanted behind his eyes. The implicit feminist concern here be- comes the structuring principle of A Week’s Vacation. Without explicitly raising feminist issues, the film’s theme is the focusing of a contemporary bourgeois female consciousness, the consciousness of an intelligent and sensitive woman whose identity is not defined by her relationship with men, who is actively engaged with social problems (she is a schoolteacher), and whose fears (of loneliness, old age, death) are consistently presented in relation to contemporary social realities rather than simplistically defined in terms of ‘‘the human condition.’’ In Tavernier’s films through the early 1990s, he has covered a wide variety of moods, styles, and settings, with the most repre- sentative of these works linked by a common contemplative quality. His concerns are the passage of time and its effect on human relationships and the individual soul. In particular, he is interested in characters who are aged and ill, or have seen too much of the seamier aspects of human behavior. These latter works investigate how they come to terms with loved ones—especially their children. A Sunday in the Country, set at the turn of the twentieth century, is the story of an elderly painter who resides in the country and is visited one Sunday by his reserved son and daughter-in-law, their three children, and his free-spirited daughter. The film is a pensive, poignant tale of old age and the choices people make in their lives. There is much drama and emotion in Life and Nothing But, a thought- ful war film which in fact takes place at a time when there is no fighting and bloodshed. Set after the conclusion of a war, the film concerns a soldier (Tavernier regular Philippe Noiret) who is assigned to chronicle his country’s war casualties. Meanwhile, a couple of women have set out in search of their lovers, who are missing in action. In Round Midnight, Tavernier caringly recreates the community of black jazz artists in exile in France. The film is a character study of an aged, alcoholic tenor sax legend, a composite of Bud Powell and Lester Young (and played by Dexter Gordon, himself a jazz great). He settles in Paris in 1959 and plays nightly at a famed jazz club; at the core of the story is his friendship with a young, adoring Frenchman, a dedicated jazz fan. Finally, in Daddy Nostalgia, the filmmaker examines the complex alliance between a father (Dirk Bogarde) and daughter (Jane Birkin). He is seriously ill; she visits him for an extended stay and attempts to understand their relationship, and his life. The fact that Tavernier’s recent films have (unaccountably) had very little exposure in North America must not be taken as evidence of decline. Only Daddy Nostalgie has had any wide release; the rest have gone direct to video after brief screenings in specialist theaters. All are well worth searching out, conceived and directed with Tavernier’s customary intelligence and complexity. His mastery of mise-en-scène is complete, from the intimate oedipal tensions of the family scenes in Daddy Nostalgie to the spectacular and horrifying battles of Capitaine Conan, though one would not easily guess this from the wretched video of Daddy Nostalgie, a widescreen film presented in the wrong format and suggesting that Tavernier doesn’t know how to frame. The other films have been treated by their distributors with more respect. L.627 (the title refers to the Public Health Card for junkies, who get check-ups every twenty-four hours) is among the most intelligent movies in any language about the inner workings of the police, a fine example of Tavernier’s refusal to make simple statements or offer the spectator clear and uncompromised moral positions, implying severe criticisms of the organization while showing sympathy and some respect for the officers who try to preserve a modicum of decency and self-respect within it. The ‘‘bait’’ of L’Appat is a young woman used by her two male friends to seduce wealthy men to unlatch their apartment doors so that her colleagues can burst in and rob them; while no character is admirable, none is presented without some sympathy, so that the underlying implication is, as usual with Tavernier, that it is the culture that is pervasively ‘‘wrong,’’ not the individuals caught within it. Capitaine Conan is a fascinating study of the complexities of military service, centered on a dedicated ‘‘career officer’’ who has constructed for himself a personal code of honour the inherent contradictions and misguidedness of which are exposed at every step. Tavernier remains a major figure in contemporary cinema; it is time for festivals and cinematheques to take note and honour him with retrospectives, which might serve to rectify the terrible neglect into which his work seems to have fallen. —Robin Wood, updated by Rob Edelman and Robin Wood TAVIANI, Paolo and Vittorio Nationality: Italian. Born: Paolo born in San Miniato, Pisa, 8 No- vember 1931; Vittorio born in San Miniato, Pisa, 20 September 1929. Education: University of Pisa, Paolo in liberal arts, Vittorio in law. Career: With Valentino Orsini, ran cine-club at Pisa, 1950; with Cesare Zavattini, directed short on Nazi massacre at San Miniato; together and in collaboration with Orsini, made series of short documentaries, 1954–59; worked with Joris Ivens, Roberto Rossellini, and others, early 1960s; with Orsini, directed first feature, A Man for Burning, 1962. Awards: Best Film and International Critics Prize, Cannes Festival, for Padre padrone, 1977; Special Jury Prize, Cannes TAVIANIDIRECTORS, 4 th EDITION 989 Paolo and Vittorio Taviani Festival, and Best director Award (shared), National Society of Film Critics, for La notte di San Lorenzo, 1982. Films as Directors: (documentary shorts, sometimes in collaboration with Valentino Orsini) 1954 San Miniato, luglio ‘44 1955 Voltera, comune medievale 1955–59 Curtatone e Montanara; Carlo Pisacane; Ville della Brianza; Lavatori della pietra; Pittori in città; I Pazzi della domenica; Moravia; Carbunara 1960 Episode of L’Italia non è un paesa povero (features) 1962 Un uomo da bruciare (A Man for Burning) (co-d, co-sc) 1963 I fuorilegge del matrimonio (co-d, co-sc) 1967 Sovversivi (+ sc, + Vittorio in role) 1969 Sotto il segno dello scorpione (Under the Sign of Scorpio) (+ sc) 1971 San Michele aveva un gallo (+ sc) 1974 Allonsanfan (+ sc) 1977 Padre padrone (Father Master) (+ sc) 1979 Il prato (The Meadow) (+ sc) 1982 La notte di San Lorenzo (+ sc) 1983 The Night of the Shooting Stars (+ sc) 1984 Kaos 1986 Good Morning Babilonia (Good Morning Babylon) 1990 Il Sole anche di notte (Night Sun) (+ co-sc) 1992 Fiorile (+ co-sc) 1996 Le Affinità elettive (The Elective Affinities) (+ co-sc) 1998 Tu ridi (You Laugh) (+ co-sc) Publications By the TAVIANIS: books— San Michele aveva un gallo/Allonsafan, Cappelli, 1974. Good Morning Babylon, with Tonino Guerra, London, 1987. By the TAVIANIS: articles— Interview with G. Mingrone and others, in Filmcritica (Rome), January 1972. ‘‘Très longue rencontre avec Paolo et Vittorio Taviani,’’ with J. A. Gili, in Ecran (Paris), July/August 1975. ‘‘The Brothers Taviani,’’ an interview with V. Glaessner, in Cinema Papers (Melbourne), January 1978. Interview with Gary Crowdus, in Cineaste (New York), vol. 12, no. 3, 1983. ‘‘Vittorio Taviani: An Interview,’’ with P. Brunette, in Film Quar- terly (Berkeley), Spring 1983. Interview with F. Accialini and L. Coluccelli, in Cineforum (Bergamo), January 1985. Interview with Robert Katz, in American Film (Washington D.C.), June 1987. Interview with J.A. Gili, in Positif (Paris), June 1987. ‘‘En promenad vid Villa Pamphili,’’ in Chaplin (Stockholm), vol. 30, no. 2/3, 1988. Interview, in Cinema (Paris), June 1990. Taviani, Paolo and Vittorio, ‘‘Fou rire,’’ in Cahiers du Cinéma (Paris), May 1991 (supplement). Interview, in Positif (Paris), June 1993. ‘‘Your Own Reality: An Interview with Paolo and Vittorio Taviani,’’ with David Ehrenstein, in Film Quarterly (Berkeley), Summer 1994. On the TAVIANIS: books— Aristarco, Guido, Sotto il segno dello Scorpione: Il cinema dei fratelli Taviani: con un saggio sul film di Valentino Orsini I dannati della terra, Messina, Florence, 1977. Camerino, Vincenzo, Dialettica dell’utopia: Il cinema di Paolo e Vittorio Taviani, Manduria, 1978. Accialini, Fulvio, Paolo e Vittorio Taviani, Florence, 1979. Ferrucci, Riccardo, editor, La bottega Taviani: Un viaggio nel cinema di San Miniato a Hollywood, Florence, 1987. Orto, Nuccio, La notte dei desideri: Il cinema dei fratelli Taviani, Palermo, 1987. De Santi, Pier Marco, I film di Paolo e Vittorio Taviani, Rome, 1988. Ferrucci, Riccardo, editor, Paolo and Vittorio Taviani: Poetry of the Italian Landscape, Rome, 1996. TéCHINé DIRECTORS, 4 th EDITION 990 On the TAVIANIS: articles— Aristarco, Guido, ‘‘Dall’utile attraverso il vero verso il bello,’’ in Cinema Nuovo (Turin), September/October 1974. Zambetti, S., editor, ‘‘Speciale Taviani,’’ in Cineforum (Bergamo), October 1974. Mitchell, T., ‘‘Toward Utopia, by Way of Research, Detachment, and Involvement,’’ in Sight and Sound (London), no. 3, 1979. Ranvaud, Don, ‘‘A Tuscan Romance,’’ in Monthly Film Bulletin (London), December 1982. Yakir, Dan, ‘‘The Tavianis,’’ in Film Comment (New York), March/ April 1983. Quart, Leonard, ‘‘A Second Look,’’ in Cineaste (New York), vol. 16, no. 1/2, 1987/1988. Timm, M., article in Chaplin (Stockholm), vol. 30, no. 1, 1988. Romney, Jonathan, ‘‘Family Tussles Tuscan-Style,’’ New Statesman & Society, 24 March 1995. Gardies, R., ‘‘Les sentiers interieurs,’’ in Semiotica, no. 1–2, 1996. *** Since the early 1960s, when they realized that fiction feature films were going to be their main interest, Paolo and Vittorio Taviani have written scenarios and scripts, designed settings, developed a filmmaking style and philosophy, directed a dozen features, and patiently ex- plained their methods and concepts to many interviewers and audi- ences in Italy and abroad. Although influenced to some extent by neorealism—such as the films of Rossellini and De Santis, characterized by on-location settings, natural lighting, authentic environmental sounds, non-pro- fessional actors, and an emphasis on ‘‘the people’’ as protagonists— the Tavianis want reviewers to see their films as invented and staged, as interpretations of history rather than as documentaries. They draw upon their early interests and background—as youngsters they saw musicals and concerts but not movies—and use artistic and technical means and methods similar to those utilized in theater and opera. Their films in which music is part of plot and theme reveal an inventory of flutes, accordions, record players, radios, human singing voices, folk tunes, opera, and oratorio (mostly Italian but also German), and even ‘‘The Battle Hymn of the Republic.’’ The photography in their films takes the eye back to the horizon or across a huge field, far along a road or deep into the front of a church or schoolroom. Even casual viewers must realize the frequent alterna- tion of intense close-ups and long shots that never cease to remind one of locale. In addition, thoughts and dreams are often given visual expression: A picture of a girl and her brother studying on a couch follows her interior monologue about missing the long yellow couch in her living room (La notte di San Lorenzo); a prisoner in solitary confinement for ten years creates a world of sound and sight ex- pressed on the screen (San Michele aveva un gallo). With theatrical form and technique serving as the framework for their political cinema, and complex, individualistic characters as protagonists, the Tavianis are as concerned with corruption, abuse of power, poverty, and suffering as were the neorealists and their successors. Struck by the autobiography of Gavino Ledda, which became their well-received Padre Padrone, they investigate the abuse of power by a father, compelled by tradition and his own need to survive to keep his son a slave. Amazingly, the illiterate, virtually mute shepherd boy whom a quirk of fate (army service) rescues from lifetime isolation becomes a professor of linguistics through curios- ity, will, and energy. In Un uomo da Bruciare Salvatore, who wants to help Sicilian peasants break the Mafia’s hold, is complex, intellectual, and egotistical. Other themes and topics in Taviani films include divorce, revolu- tion as an ongoing effort interrupted by interludes of other activity, the changing ways of dealing with power and corruption, resistance in war, fascism, and the necessity of communal action for accomplish- ment. The Tavianis use the past to illuminate the present, show the suffering of opposing sides, and stress the major role of heritage and environment. Their characters ask questions about their lives that lead to positive solutions (and sometimes to failure). The two directors believe in the possibility of an eventual utopia. In 1987 the Tavianis made their first English-language film, Good Morning Babylon, a poetic, sweetly nostalgic ode to the origins of cinema and the invulnerability of great art. Their scenario chronicles the plight of two Italian-born siblings whose ancestors are craftsmen who for centuries have restored cathedrals. They arrive in America during the 1920s and end up designing sets for D. W. Griffith’s Intolerance. This was followed by two works as outstanding as any of their earlier films. Il Sole anche di notte (Night Sun), adapted from Tolstoi’s ‘‘Father Sergius,’’ is the story of a young man who is deeply troubled by the knowledge that he exists in a world of temptation and hypocrisy. He sees that too many of his fellow humans seek sex and status, and then turn to religion only to ease their guilt. All he wishes is to find inner tranquility, so he becomes a monk—and even cuts off his finger rather than give in to his desires and allow himself to be seduced by a temptress. A sensitive man who only wishes to make the world a better place, Father Sergius only can end up disappointed; he becomes an eternal wanderer, forever seeking the true meaning of his life and existence. Ultimately, the Tavianis are able to elicit a special sensitivity toward the human condition in the film. Fiorile is linked to Night Sun as an intricate, sardonic tale of tainted innocence. While on his way from Paris to Tuscany to visit his sick, hermit-like father, whom he hasn’t seen in a decade, a man discloses to his two young children the story of their ancestry. He commences by telling them of the nefarious means by which their forefathers became rich during the Napoleonic era—and how this wealth became a family curse for future generations. In Fiorile, the Tavianis examine the manner in which ill-gotten affluence will tarnish the soul and only result in misery. While their films are not lacking in political content—they keenly illustrate how greed, cru- elty, lust for power, and temptation will wither one’s soul—the cinema of Paolo and Vittorio Taviani is one of a simple, but never simplistic, humanism. —Lillian Schiff, updated by Rob Edelman TéCHINé, Andre Nationality: French. Born: Valence d’Agen, 13 March 1943. Edu- cation: Lycée at Valence d’Agen. Career: Writer for Cahiers du Cinéma and assistant to stage director Marc’O and film director Jacques Rivette, 1964–67; his second film, Souvenirs d’en France, establishes him as an important director, 1974; friendship with writer Roland Barthes, who dedicates essay ‘‘Diderot, Brecht, Eisenstein’’ to him, 1977; international success of his autobiographical film Les TéCHINéDIRECTORS, 4 th EDITION 991 Roseaux sauvages, 1994. Awards: Cannes Film Festival Best Direc- tor, for Rendez-vous, 1985; César Awards for Best Director and Best Writer, and New York Film Critics Circle Award for Best Foreign Language Film, for Les Roseaux sauvages, 1995. Agent: Artmedia, 10 Avenue George V, 75008 Paris. Films as Director and Writer/Co-Writer: 1969 Paulina s’en va 1974 Souvenirs d’en France (French Provincial) 1976 Barocco 1979 Les Soeurs Bront? (The Bront? Sisters) 1981 Hotel des Amériques 1983 La Matiouette (short, for TV) 1984 L’atelier (doc short, for TV) 1985 Rendez-vous 1986 Le Lieu du crime (Scene of the Crime) 1987 Les Innocents 1991 J’embrasse pas (I Don’t Kiss) 1993 Ma saison préferée (My Favorite Season) 1994 Le Chêne et le roseau (The Oak and the Reed) (for the TV series Tous les gar?ons et les filles de leur age); Les Roseaux sauvages (Wild Reeds) 1996 Les Voleurs (Thieves) 1997 Que sont-ils devenus? (for TV) 1998 Alice et Martin (Alice and Martin) 2000 Terminus des anges Other Films: 1974 Aloise (de Kermadec) (co-sc) 1990 Mauvaise fille (Franc) (co-sc) 1997 Transatlantique (Laurent) (sc) Publications On TéCHINé: books— Philippon, Alain, André Téchiné, Paris, 1988. Forbes, Jill, The Cinema in France: After the New Wave, Blooming- ton, 1993. On TéCHINé: articles— Kael, Pauline, ‘‘Lion-hearted Women,’’ in The New Yorker, 1 March 1976. Rafferty, Terrence, ‘‘Rendez-vous/Scene of the Crime,’’ in The Nation (New York), 7 February 1987. White, Armond, ‘‘Strange Gifts: André Téchiné Remakes the Melo- drama,’’ in Film Comment (Berkeley), July/August 1995. Riding, Alan, ‘‘Finding Cinematic Gold in the Dysfunctional Fam- ily,’’ in The New York Times, 29 December 1996. Everett, Wendy, ‘‘Film at the Crossroads: Les Roseaux sauvages,’’ in French Cinema in the 1990s: Continuity and Difference, edited by Phil Powrie, Oxford, 1999. On TéCHINé: film— André Téchiné, apres la nouvelle vague, 1994. *** André Téchiné belongs to a generation of French filmmakers, including Bertrand Blier and Bertrand Tavernier among those with an international reputation, who came into prominence in the mid-1970s. Many of his films have been classified as melodramas, though it might be more accurate to say that they play with conventions of melodrama and the thriller while exploring psychological states and social structures, with particular emphasis upon estrangement from home, both family and milieu. Intricately plotted or seemingly improvisatory—it is sometimes difficult to tell the difference—often with bizarre turns of event and unexpected sexual attractions, his films also feature memorable performances of both established stars—Catherine Deneuve above all—and young unknowns like Juliette Binoche and élodie Boucher. With a trio of films in the mid- 1990s—My Favorite Season, Wild Reeds, and Thieves—Téchiné reached what many critics found to be a new power and maturity as a filmmaker. Téchiné first came into prominence with Souvenirs d’en France. Filmed in the director’s native village, it is a highly compressed history of a small-town family from early in the century through the Resistance and on to May 1968. In a series of vignettes Téchiné explores intersections of private life and historical forces—as he would later do in the autobiographical Wild Reeds, though in a much briefer timeframe. Souvenirs d’en France is also densely allusive in regard to cinema history: it ‘‘quotes’’ a great many films and film styles via its own eclectic visual style, its echoes of other family- dynasty movies, and its references to actual films the characters see. At the same time, it provides juicy roles for Jeanne Moreau and Marie-France Pisier as women who marry into the family and become rivals—Moreau a laundress who becomes a matriarch and Pisier a bourgeoise who seeks the glamour of America. Téchiné’s next film, Barocco, set the pattern for several works to follow, especially in its roots in the crime thriller, its perverse love relationships—characters helplessly drawn to dangerously violent people—and its fascination with train stations, including their cafes and the bridges connecting them to gritty neighborhoods. The film could not be more aptly named: it is ‘‘baroque’’ in both its convoluted plot and its elaborate camera movements and widescreen framings which turn the station and the unnamed city itself into a labyrinth. The plot involves a boxer (Gérard Depardieu) who has accepted and then turned down a huge bribe from a politician to tell a lie that will influence an election, a hired killer (Depardieu again, though no one seems to register just how very much the two look alike) who slays the boxer, and the boxer’s girlfriend (Isabelle Adjani), who eventually falls in love with the killer while trying to remake him into the image of her slain lover—a sort of bizarre reverse spin on the plot of Vertigo (itself based on a French novel). If one were to judge the film in terms of plausible narrative, it would hardly be worth discussing—Vertigo is documentary realism in comparison—but in its virtuoso photogra- phy by Bruno Nuytten and its toying with themes of identity and doubles, not to mention its political critique within a thriller context, Barocco has its compelling moments. The whole train station se- quence from Adjani’s arrival to the shooting of the boxer by his double is a tour de force of cinematography and editing. TéCHINé DIRECTORS, 4 th EDITION 992 Making a film biography of the Bront? sisters gave Téchiné the opportunity to use an all-star cast (Pisier, Adjani, and Isabelle Huppert) while exploring one of literary history’s famed dysfunctional families, but most critics found The Bront? Sisters unable to leap beyond the conventions of movie biography—though there is a memora- ble scene of the three sisters rescuing their naked, unconscious brother from a fire in his bedroom. Far more successful was Hotel des Amériques, the story of a hopelessly ill-matched love affair between a woman (Catherine Deneuve) recovering from the suicide of a for- mer lover and a man (Patrick Dewaere) feverishly attracted to her, but behaving like a spoiled child in moments of anger and jealousy, and still emotionally attached to a parasitic and bullying male friend. The casting is perfect, with Deveuve’s emotional opaqueness and Dewaere’s brooding, haunted intensity suggesting dimensions of their characters beyond articulation. And the film has interests extending well beyond its central couple, from the secondary characters with their own mysterious love afflictions to the setting of Biarritz, a formerly glamorous tourist town which the Deneuve character hates for somehow being neither ‘‘France’’ nor foreign, and neither urban nor rural, but all of the characters are partly defined by their relation to it. Rendez-vous is more flamboyantly melodramatic than Hotel des Amériques, as even a very brief plot summary might suggest. Here a would-be actress (Binoche, callow but already with true screen presence) fleeing her provincial home for Paris is irrationally in love with a sadistic, self-destructive young actor (Lambert Wilson, repel- lent yet fiercely strong in the role), a former Romeo who caused the death of his Juliet and who is now playing a ‘‘Romeo’’ in a live-sex show. When the actor himself is killed in an accident, or possible suicide, his former mentor/director (Jean-Louis Trintignant), and father of the Juliet, determines to cast the untried Binoche as his new Juliet, though Wilson’s ghost (or her own hallucination) tries to stop her. Again a wildly improbable plot serves as a vehicle for exploring the violent intensity of certain emotional attachments and their ability to cause one’s life to spin off in unexpected directions. Hardly less extravagant is Scene of the Crime, which begins with a scene between a boy and an escaped convict right out of the opening of Great Expectations, but climaxes with the boy (a highly troubled youth himself) discovering his mother (Deneuve again) having sex with the handsome young convict—one of the stranger representations of Freud’s ‘‘primal scene’’ in cinema. But plot summary and perform- ance description do little justice to these films, which share with most of Téchiné’s work a restless camera movement and seemingly casual editing that suggest a nervous, intense curiosity, equivalent to an artist’s rapid sketching. Scene of the Crime, for example, directs our attention to a gorgeous French countryside (and to Deneuve’s lakeside disco, deceptively serene when seen from afar), an ironic backdrop for two kinds of characters: those living repressed lives in a stifling bourgeois environment and those, more uninhibited, who play out a series of violent passions, with the boy caught in the middle. Les Innocents and J’embrasse pas (seldom seen outside France) show Téchiné moving away from genre pictures while continuing to explore complex sets of emotional involvements, now more centrally concerning homosexual attractions, and in Les Innocents a theme he will take up again in Wild Reeds: repercussions of the French- Algerian conflict on individual lives. The more widely distributed My Favorite Season may be Téchiné’s most incisively detailed portrait of an unhappy family, with Daniel Auteuil giving one of his most brilliant performances as an emotionally volatile physician long estranged from his mother and sister (the latter played once again by Deneuve, effortlessly revealing the complexities of middle age). Like many another Téchiné character, the brother is unpredictable in his outbursts, but these are now rooted in a plausible family conflict rather than a baroque plot. Wild Reeds stands apart from Téchiné’s other films in its having had restrictions placed upon it from outside— restrictions which paradoxically seem to have allowed the director to make one of his freest, most graceful, and open-ended films. A French television network invited a number of directors to make an hour-long film for an anthology series about adolescence: each film was required to be more or less autobiographical, to give a sense of historical context, and to contain a party scene and popular songs of the day. Téchiné made not only ‘‘The Oak and the Reed’’ but a feature-length version of the same material to be shown in theatres as a kickoff for the series. Wild Reeds is centered upon four teenagers, three boys and a girl, each struggling with far from trivial coming-of- age concerns: for example, Fran?ois is trying to come to terms with hs realization that he is gay, while Henri, a pied-noir (French-Algerian immigrant), is defensive of the French presence in Algeria. The film never preaches a ‘‘correct’’ position on sexuality or politics, though it is clearly enough in support of a generosity of understanding; but what makes it come alive is what might be called the director’s investigative style of camera movement and framing, by means of which he seems effortlessly to evoke the early 1960s and to expand his story to other lives beyond the four adolescents. In the final scenes, when the youths go swimming in a river and walk off to an uncertain future, we see without the point being hammered down that they are the reeds which bend instead of breaking. For Thieves Téchiné takes up gangster melodrama, constructing a plot around a robbery that goes murderously awry—yet, perhaps through the experience of Wild Reeds and its free-form but not frayed or fragmented narrative, he has come up with perhaps his most accomplished and original film in terms of complex structure and shifting point-of-view. The story is divided into marked sections, each narrated by one of several characters, and each taking us backward or forward over days or months in time. Téchiné reunites Arteuil and Deneuve, playing exceedingly dissimilar characters, a cop and a philosophy professor, who are brought together over their sexual involvement with a much younger and very desperate woman (Laurence Cote) who works for a crime family of which Arteuil is the ‘‘white’’ sheep. One must add that the cop has quite enough hang-ups, sexual and otherwise, to make him far from a simple protagonist; that the young woman has a brother involved in crime like the cop’s own brother (another example of Téchiné’s love of doublings); and that once again the director features a troubled boy (the cop’s nephew) unable to break from a family trap—in this case, too young to know he is ensnared. In a New York Times interview Téchiné has said that he begins work on a film with a vivid scene or compelling character or two in mind, and only eventually constructs a coherent story and finds an ending. (To be sure, since his plots rarely have full closure, his endings typically suggest a number of alternatives.) This method of development may explain why his earlier films like Barocco and Rendez-vous seem to have dazzling moments and scenes but little sense of a coherent drama evolving toward an inevitable conclusion. But it also suggests how films like Wild Reeds and Thieves can seem so loose in structure and yet so accomplished, each part organically related to every other and drawing us powerfully toward their TIANDIRECTORS, 4 th EDITION 993 denouements. It is exciting to see a filmmaker so lavishly talented in youth create films in middle age that seem no less fiery in their passions or incisive in their technique while attaining a new sense of full achievement. —Joseph Milicia TIAN Zhuangzhuang Nationality: Chinese. Born: People’s Republic of China, 1952. Education: Trained at the Beijing Agricultural Film Studio, 1975; admitted to the Beijing Film Academy, 1978. Career: Directed first feature for TV, 1980. Awards: Palme d’Or, Cannes Film Festival, for The Blue Kite, 1994. Films as director: 1980 Our Corner (for TV) 1982 The Red Elephant (co-d with Zhang Jianya) 1984 September 1985 On the Hunting Ground; Daoma Zei (Horse Thief) 1986 Travelling Players 1988 Rock ‘n’ Roll Kids 1990 Feifa Shengming 1991 Li Lianying, the Imperial Eunuch 1993 Lan Fengzheng (The Blue Kite) Other Film: 1992 Family Portrait (assoc pr) Publications By TIAN: articles— ‘‘Flying Colours,’’ an interview with Tony Rayns, in Time Out (London), 2 February 1994. ‘‘People and Politics, Simple and Direct,’’ an interview with Robert Sklar, in Cineaste (New York), vol. 20, no. 4, 1994. Interview with Hubert Niogret, in Positif (Paris), March 1994. ‘‘Odd Man Out: Tian Zhuangzhuang,’’ an interview with Phillip Lopate, in Film Comment (New York), July/August 1994. On TIAN: books— Semsel, George, editor, Chinese Film: The State of the Art in the People’s Republic, New York, 1987. Berry, Chris, editor, Perspectives on Chinese Cinema, London, 1991. Chow, Rey, Primitive Passions: Visuality, Sexuality, Ethnography, and Contemporary Chinese Cinema, New York, 1995. On TIAN: articles— Clark, Paul, ‘‘Ethnic Minorities in Chinese Films: Cinema and the Exotic,’’ in East-West Film Journal (Honolulu, Hawaii), June 1987. Marchetti, Gina, ‘‘Two from China’s Fifth Generation: Interviews with Chen Kaige and Tian Zhuangzhuang,’’ in Continuum (On- tario), vol. 2, no. 1, 1988/89. Berry, Chris, ‘‘Race: Chinese Film and the Politics of Nationalism,’’ in Cinema Journal (Austin, Texas), Winter 1992. Scofield, Aislinn, ‘‘Tibet: Projections and Perceptions,’’ in East- West Film Journal (Honolulu, Hawaii), January 1993. Lapinski, Stan, ‘‘Woede en doortrapte mildheid,’’ Skrien (Amster- dam), no. 197, August-September 1994. Sklar, Robert, ‘‘People and Politics, Simple and Direct,’’ Cineaste (New York), vol. 20, no. 4, 1994. Gladney, D. C., ‘‘Tian Zhuangzhuang, The Fifth Generation, and Minorities in Film in China,’’ in Public Culture, no. 1, 1995. *** Tian Zhuangzhuang began his career as part of what has become known as the ‘‘Fifth Generation’’ of film directors from the People’s Republic of China. He is fairly representative of that group for a number of reasons. Like Chen Kaige, for example, he comes from a family already established in Chinese film circles; Tian’s mother, a major film star, headed the Beijing Children’s Film Studio for many years, and his father, an actor, headed the Chinese National Film Bureau at one time. Also, like many of his contemporaries who were in their teens or early twenties during the Great Proletarian Cultural Revolution, he joined the army and traveled extensively, visiting remote parts of China few ‘‘city kids’’ with an intellectual family background would have seen without the political and social upheaval of that period. Tian became a photographer at this time, and it is this period in his life that undoubtedly provided the impetus for many of his subsequent film features. Marked by a politicized youth, Tian and others of his generation began to search for a sense of themselves as artists, as part of a Chinese culture and civilization, as national subjects, as men and women, when they matured in the post-Mao era. Many, including Zhang Yimou, Chen Kaige, the late Zhang Nuanxin, and Tian Zhuangzhuang, looked to those remote areas of China, where ques- tions of identity have historically been perceived as more fluid: the dry, barren, western deserts, the forbidding northern frontier at the edges of the Great Wall, the distinct non-Han (not part of the majority ethnic group of Han Chinese) areas of Mongolia, Tibet, and Manchuria, and the lush jungles and wetlands of the southern border with Thailand and Vietnam. Rather than looking for models of exemplary behavior among a revolutionary elite, these filmmakers searched for Chinese identity among the poor, the illiterate, the unenlightened, the dispossessed of these border regions. Tian Zhuangzhuang is perhaps the best known of this group for reviving and revitalizing a staple of the Chinese film industry—the ‘‘national minority’’ genre. Made to celebrate the solidarity of the Chinese people under the Communist regime, these films, often made by studios based in the minority areas themselves, showcased the songs, dances, customs, and patriotism of the non-Han community. Stories of liberation, they usually contrast the ‘‘backwardness’’ of traditional life before the Revolution with the benefits of Chinese Communist rule. Tian’s On the Hunting Ground, made in Inner Mongolia, and Horse Thief, set in Tibet, fall within the rough TORRE NILSSON DIRECTORS, 4 th EDITION 994 parameters of this genre. However, Tian’s work marks a radical break with the aesthetics of earlier generations of Chinese filmmakers. Rather than placing minority peoples within a narrative of liberation accessible to the average Han Chinese viewer, Tian, in On the Hunting Ground, for example, emphasizes the relationship between the land and the people. Long shots and long takes dominate; the landscape overpowers any identification with individual characters; dialogue, which is minimal, goes untranslated; rituals and social relationships remain unexplained. The Mongolian steppes—exotic, violent, harsh, and picturesque—become the visual embodiment of an unfathomable part of the Chinese nation, a marker of the limits of an ethnic identity. Clearly, this distance signals that this film may say more about Tian as the eye of the camera, an outsider, an intruder, than about the Mongolians as objects of his observations. These films are not about the plight of a downtrodden ‘‘minority’’ (although the people presented in Tian’s films are indeed poor and sometimes desperate), rather these are films about the liminality of Chinese ethnicity and, by implication, political authority, within its own borders. After the Cultural Revolution, a generation became ‘‘outsid- ers’’ in their own nation, stripped of political certainty and a clear sense of an ethnic, national, and gendered self. (It is not coincidental that On the Hunting Ground and Horse Thief are peopled principally by non-Han men engaged in ‘‘manly,’’ often violent and bloody occupations like hunting, since political, economic, and cultural uncertainties often play themselves out as a search for a more certain sense of gender—a nostalgia for a time or a yearning for a place where ‘‘men are men.’’) In Horse Thief, Tian continues to explore the issues he outlined in On the Hunting Ground. However, this film follows a more conven- tional path, and centers its narrative around the tribulations of Rorbu, the horse thief of the title, who attempts to change his ways after the death of his son. Set before the Chinese annexation of Tibet, the film could be read as a pre-Revolutionary indictment of traditional Tibetan nomads. However, the spectacular images the camera lingers over— from the beauty of the mountains to the grizzly ‘‘sky burials,’’ featuring vultures picking the bones of human cadavers, and the other, unexplained Buddhist rites that form the backbone of the film—take attention away from the protagonist and his ethical and economic dilemmas. Rather, like On the Hunting Ground, Horse Thief chal- lenges the viewer with an unexplained and unexplainable ‘‘otherness’’ that defies easy recuperation into a Han sense of self. The analogy to the filmmaker’s own predicament again becomes clear. Investigating the Tibetan horse thief, an outlaw from a still recalcitrant ‘‘minority’’ nation, takes on the trappings of an investigation of the filmmaker’s own sense of self and otherness, rather than of a call for a ‘‘free’’ Tibet or an enlightened, subdued, ‘‘revolutionary’’ Tibet to cure Rorbu’s ills. This is an aesthetic search for a new way of depicting China, and a visual call for a reinvention of Chinese cinema. Ironically, the free experimentation that Tian’s earlier work exem- plified has been tempered less by government censorship (although Tian has had some problems) and more by the growing pressures on Chinese filmmakers to fit into the new market economy and make films that make money. Rock ‘n’ Roll Kids, for example, exploited interest in rock music among Chinese youth. Travelling Players, based on a well-known literary source, followed a more gritty road with its itinerant minstrels; however, Li Lianying, the Imperial Eunuch is, in most respects, a conventional costume drama, made on the coattails of films like Bertolucci’s The Last Emperor, to exploit international interest in pre-Republican palace intrigue and spectacle. The Blue Kite marks another stage in Tian’s career. Almost a companion piece to Zhang Yimou’s To Live, The Blue Kite takes an epic view of post-Liberation China, primarily focusing on the years of the Cultural Revolution, through the eyes of Tietou, ‘‘Iron Head,’’ an innocent who becomes the victim of senseless violence brought on by political turmoil. Although suppressed by the government, The Blue Kite still found its way into the international festival circuit and has enjoyed commercial distribution as an ‘‘art film’’ abroad. After its screening at the Cannes Film Festival without official permission, however, Tian was not able to work in the Chinese film industry again until very recently (as an executive producer rather than director). Given that the Chinese government itself is delighted to decry the excesses of the Cultural Revolution publicly in the international press, the controversy generated by the film must spring from an allegorical reading of Tietou as hard-headed China herself, innocent, tough, but ultimately vulnerable and naive. Perhaps Tietou is too much like Tian’s generation as a group, victims of and witnesses to a corruption that may or may not be endemic to a system or an era or an identity, and undeniably, like Tietou’s family, complicit in that corruption. Like the minority peoples of his earlier films, the child Tietou acts as a mirror of the preoccupations of a generation, and this film functions as a bridge to the more experimental works of Tian’s oeuvre. —Gina Marchetti TORRE NILSSON, Leopoldo Nationality: Argentinian. Born: Buenos Aires, 5 May 1924, son of filmmaker Leopoldo Torres Rios. Family: Married writer Beatriz Guido. Career: Assistant to father, from 1939; with father, directed first feature, 1949; began working with Guido, 1957; founder of production company Producciones Angel, 1959; signed contract with Columbia to make El ojo de la cerradura, 1964. Awards: Interna- tional Critics Prize, Cannes Festival, for Hands in the Trap, 1961. Died: 8 September 1978. Films as Director: 1947 El muro (The Wall) (short) 1950 El crimen de Oribe (Oribe’s Crime) (co-d) 1953 El hijo del crack (Son of the ‘‘Star’’) (co-d); La Tigra (The Tigress) 1954 Días de odio (Days of Hate) 1955 Para vestir (The Spinsters) 1956 El protegido (The Protégé); Graciela 1957 La casa del ángel (End of Innocence; The House of the Angel) (+ co-sc with Beatriz Guido, based on Guido novel); Precursores de la pintura argentina (short) (Guido: sc); Los arboles de Buenos-Aires (short) (Guido: sc) 1958 El secuestrador (The Kidnapper) (+ sc) TORRE NILSSONDIRECTORS, 4 th EDITION 995 Leopoldo Torre Nilsson 1959 La cáida (The Fall) (+ co-sc with Guido); Fin de fiesta (The Party Is Over; The Blood Feast) (Guido: sc) 1960 Un guapo del 900 (+ co-pr) 1961 La mano en la trampa (The Hand in the Trap) (Guido: sc); Piel de verano (Summer Skin) (+ pr, Guido: sc) 1962 Setenta veces siete (The Female: 70 Times 7) (Guido: sc); Homenaje a la hora de la siesta (Homage at Siesta Time) (Guido: sc); La terraza (The Terrace) (Guido: sc) 1964 El ojo de la cerradura (The Eavesdropper) (Guido: sc) 1965 Once upon a Tractor (for United Nations) (Guido: sc) 1966 La chica del lunes (Monday’s Child) (Guido: sc); Los traidores de San Angel (The Traitors of San Angel) (Guido: sc); Cavar un foso (To Dig a Pit) (Guido: sc) 1968 Martin Fierro (Guido: sc) 1969 El santo de la espada (The Knight of the Sword) (Guido: sc) 1970 Güemes—La terra en armas (Guido: sc) 1972 La maffia (The Mafia) (Guido: sc) 1973 Los siete locos (The Seven Madmen) (Guido: sc) 1974 Boquitas pintadas (Painted Lips) (Guido: sc) 1975 Diario de la guerra del cerdo (La guerra del cerdo; Diary of the Pig War) (Guido: sc); El pibe cabeza (Guido: sc) 1976 Piedra libre (Guido: sc) Other Films: 1975 Los gauchos judíos (Jewish Gauchos) (co-pr) Publications By TORRE NILSSON: book— Entre sajones y el arrabal, edited by Jorge Alvarez, Buenos Aires, 1967. By TORRE NILSSON: articles— Interview, in Cuadernos de cine (Buenos Aires), October 1954. Interview with Hector Grossi, in Mundo Argentino (Buenos Aires), February 1957. Interview, in Tiempo de cine (Buenos Aires), October 1960. ‘‘How to Make a New Wave,’’ in Films and Filming (London), November 1962. Interview with I. León Frías and R. Bedoya, in Hablemos de Cine (Lima), April 1979. On TORRE NILSSON: books— Martin, Jorge Abel, Los films de Leopoldo Torre Nilsson, Buenos Aires, 1980. Barnard, Tim, Argentine Cinema, Toronto, 1986. King, John, and Nissa Torrents, editors, Argentine Cinema: The Garden of Forking Paths, London, 1988. On TORRE NILSSON: articles— Trajtenberg, Mario, ‘‘Torre-Nilsson and His Double,’’ in Film Quar- terly (Berkeley), Fall 1961. Di Nubila, Domingo, ‘‘An Argentine Partnership,’’ in Films and Filming (London), September 1961. Botsford, Keith, ‘‘Leopoldo Torre-Nilsson: The Underside of the Coin,’’ in Show (Hollywood), November 1962. ‘‘Director of the Year,’’ in International Film Guide 1967, Lon- don, 1966. Cozarinsky, E., ‘‘Torre-Nilsson Remembered,’’ in Sight and Sound (London), no. 1, 1978–79. Mahieu, A., ‘‘Revisión Crítica del cine Argentino,’’ in Cine Cubana (Havana), vol. 104, 1984. *** Leopoldo Torre Nilsson’s international reputation is based on a handful of films made in the late 1950s and at the very beginning of the 1960s, but his career as a director spanned three decades. In addition, through his father, the director Leopoldo Torre Rios, he had direct links with the pioneering days of Argentine cinema. Born in Buenos Aires of part Spanish-Catholic, part Swedish-Protestant an- cestry, he began his involvement with cinema at the age of fifteen, when he became his father’s assistant. In all, he worked as assistant director on sixteen of his father’s films. He also scripted ten features in the 1940s before making his directing debut with a short film, El Muro, in 1947. His feature debut, El Crimen de Oribe, the first of two films co-directed with his father, already shows some signs of his future concerns: literary adaptation (the film was from a short story by TOURNEUR DIRECTORS, 4 th EDITION 996 Adolfo Bioy Casares) and stylistic experiment. The same is true of his first solo feature, Dias de Odio, adapted from ‘‘Emma Zunz,’’ a story by Jorge Luis Borges. Torre Nilsson himself regarded his first five films as an indepen- dent director as apprentice efforts, and certainly they achieved little commercial success in Argentina. He reached maturity as a director and far wider international audiences in 1957, when he began his collaboration with the novelist Beatriz Guido, whom he subsequently married. Complementary personalities, they proved a highly success- ful team, with Guido creating a claustrophobic world and sets of characters ideally suited to her husband’s virtuoso camerawork and concern with symbolic detail. Three highly successful films starring the young Elsa Daniel exemplify the qualities of the pair. The House of the Angel provided an acid picture of upper middle-class life in Buenos Aires in the 1920s (a combination of puritanical religion and political corruption) but its central theme is the destruction of virginal innocence, for it features an adolescent heroine bound forever to the man who has half-seduced, half-raped her on the eve of a duel. The director then evoked with great force and conviction the enclosed, Cocteau-esque world of The Fall, which combined the sexual tensions of a young governess with the amorality of the four wild children who become her charges. In 1961 Torre Nilsson adapted two further novels by his wife, both of which depicted a young woman at odds with her elders and caught in a trap of her own devising. In The Hand in the Trap, one of the director’s most successful works, Elsa Daniel uncovers the secret of her aunt’s withdrawal from the world and arranges a confrontation with the man who jilted her. But the cost of this curiosity is high, since she herself falls victim to the same seducer and realizes that she will live out her aunt’s story all over again. Summer Skin, which shows the director at his brilliant visual best, is a further tale of lost innocence, with Graciela Borges playing a girl who sells herself as ‘‘companion’’ to her dying cousin. The film has an open-air setting of beach and summer resort, but like the previous films it portrays a morally corrupt society. Even at this period of his greatest acclaim, Torre Nilsson achieved comparatively little success with films outside this narrow range, such as The Kidnapper, a study of poverty, or his films on history and politics, The Party Is Over and A Tough Guy of 1900. Torre Nilsson’s subsequent attempts to widen the scope of his filmmaking received a mixed reception. Films in which he tried to combine his literary and historical concerns with the requirements of local commercial formu- las received little international attention, but his constant struggle to maintain an independent voice made him an important figure within Argentina. He managed to continue working through the difficult years of censorship until two years before his death, when his last feature, Piedra libre (1976) was banned. But his reputation rests essentially on the handful of stylish depictions of corruption and loss of innocence which made such an impact on the art cinema and international festival circuits of the years around 1960. —Roy Armes TOURNEUR, Jacques Nationality: American/French. Born: Paris, 12 November 1904, son of director Maurice Tourneur; became U.S. citizen, 1919. Education: Attended Hollywood High School. Family: Married actress Christianne (died). Career: Moved to United States with family, 1914; office boy at MGM, 1924, later actor; script clerk for father’s last six American films; moved to Paris, edited father’s films, 1928; directed first film, in France, 1931; 2nd unit director for MGM, Hollywood, 1935; directed shorts, then B features, from 1939; director for producer Val Lewton at RKO, from 1942; television director, from late 1950s. Died: In Bergerac, 19 December 1977. Films as Director: 1931 Un vieux gar?on; Tout ?a ne vaut pas l’amour 1933 La Fusée; Toto; Pour être aimée 1934 Les Filles de la concierge 1939 They All Came Out; Nick Carter, Master Detective 1940 Phantom Raiders 1941 Doctors Don’t Tell 1942 Cat People 1943 I Walked with a Zombie; The Leopard Man 1944 Days of Glory; Experiment Perilous 1946 Canyon Passage 1947 Out of the Past (Build My Gallows High) 1948 Berlin Express 1949 Easy Living 1950 The Flame and the Arrow; Stars in My Crown 1951 Circle of Danger; Anne of the Indies 1952 Way of a Gaucho 1953 Appointment in Honduras 1955 Stranger on Horseback; Wichita 1956 Great Day in the Morning 1957 Nightfall; Night of the Demon (Curse of the Demon) 1958 The Fearmakers 1959 Timbuktu; La battaglia di Maratona (The Battle of Mara- thon); Frontier Rangers (originally for TV) 1963 The Comedy of Terrors 1965 War Gods of the Deep (City under the Sea) Other Films: 1923 Scaramouche (Ingram) (role) 1927 The Fair Co-ed (Wood) (role); Love (Goulding) (role) 1929 The Trail of ‘98 (Brown) (role) Publications By TOURNEUR: articles— ‘‘Taste without Clichés,’’ in Films and Filming (London), Novem- ber 1956. Interview with Patrick Brion and Jean-Louis Comolli, in Cahiers du Cinéma (Paris), August 1966. Interview, in The Celluloid Muse, edited by Charles Higham and Joel Greenberg, London, 1969. TOURNEURDIRECTORS, 4 th EDITION 997 Jacques Tourneur and Patricia Roc on the set of Circle of Danger On TOURNEUR: books— Siegel, Joel, Val Lewton: The Reality of Terror, London, 1972. Henry, Michel, Jacques Tourneur, Dossiers du Cinéma, Paris, 1974. Johnston, Claire, and Paul Willemen, editors, Jacques Tourneur, Edinburgh, 1975. Selby, Spencer, Dark City: The Film Noir, London, 1990. Fujiwara, Chris, Jacques Tourneur: The Cinema of Nightfall, Jeffer- son, N. C., 1998. On TOURNEUR: articles— Sarris, Andrew, ‘‘Esoterica,’’ in Film Culture (New York), Spring 1963. Noames, Jean-Louis, ‘‘Trois Tourneur,’’ in Cahiers du Cinéma (Paris), May 1964. Tavernier, Bertrand, ‘‘Propos de Tourneur,’’ in Positif (Paris), Novem- ber 1971. Wood, Robin, ‘‘The Shadow Worlds of Jacques Tourneur,’’ in Film Comment (New York), Summer 1972. Henry, M., ‘‘Le Jardin aux sentiers qui bifurquent (Sur Jacques Tourneur),’’ in Positif (Paris), April 1973. McCarty, John, ‘‘The Parallel Worlds of Jacques Tourneur,’’ in Cinefantastique (Oak Park, Illinois), Summer 1973. Passek, J.L., ‘‘Jacques Tourneur,’’ in Cinéma (Paris), February 1978. Turner, G., ‘‘Out of the Past,’’ in American Cinematographer (Los Angeles), March 1984. M?ller, Olaf, ‘‘Meister der Schatten-Spiele,’’ in Film-Dienst (Co- logne), vol. 47, no. 24, 22 November 1994. *** The first director Val Lewton hired for his RKO unit was Jacques Tourneur, and the first picture made by that unit was Cat People, an original screenplay by DeWitt Bodeen. When Tourneur’s father, Maurice, returned to Paris after a number of years in America, Jacques had gone with him, working as assistant director and editor for his father. In 1933, he made a few directorial solos in the French language and then returned to Hollywood, where he became an assistant director at MGM. It was at this time that he first met Val Lewton, and the two young men worked as special unit directors for Jack Conway on A Tale of Two Cities; it was Lewton and TOURNEUR DIRECTORS, 4 th EDITION 998 Tourneur who staged the storming of the Bastille sequence for that film. Tourneur remained at MGM, directing over 20 short subjects, and Lewton eventually went on to become David O. Selznick’s story editor. When Lewton left Selznick to head his own production unit at RKO, he had already made up his mind that Tourneur would direct his first production. Tourneur came to RKO, where he served as director for Lewton’s first three films—Cat People, I Walked with a Zombie, and The Leopard Man. The front office held his work in such esteem that he was given the ‘‘A’’ treatment—solo direction of a high-budget film called Days of Glory, which was Gregory Peck’s first starring film. It was not held against him that Days of Glory bombed. Tourneur immediately turned to another high budget picture at RKO—Experi- ment Perilous, starring Hedy Lamarr with Paul Lukas and George Brent. Under Tourneur’s skillful direction, it became a suspenseful mood period film, certainly one of his and Hedy Lamarr’s best. Tourneur stayed on at RKO to direct Robert Mitchum in one of his finest pictures, Out of the Past (aka Build My Gallows High), as well as an excellent melodrama, Berlin Express, starring Merle Oberon and Robert Ryan with Paul Lukas. Filmed partially in Berlin, the work was the first Hollywood picture to be made in Germany since the end of the war. Tourneur then directed three excellent westerns for his friend Joel McCrea—Stars in My Crown, Stranger on Horseback, and Wichita, which featured McCrea as Wyatt Earp. He also directed The Flame and the Arrow, starring Burt Lancaster, and Great Day in the Morning, another RKO western with Robert Stack and Virginia Mayo. He then went back to make another horror picture in England, Night of the Demon, with Dana Andrews. This film is rated as highly as those he made for Lewton. Television direction occupied the greater part of Tourneur’s time for the next decade, but he retired in 1966 and returned to his native country, where he died in Bergerac on December 19, 1977. The best pictures which he directed were those of suspense and genuine terror, though he also did well with those that had a great deal of action. He wisely resisted scenes with long patches of dialogue. When con- fronted with such scenes, he typically frowned and said, ‘‘It sounds so corny.’’ —DeWitt Bodeen TOURNEUR, Maurice Nationality: French/American. Born: Maurice Thomas in Paris, 2 February 1876; became U.S. citizen, 1921. Education: Educated at Lycée Condorcet. Military Service: Military service in artillery, late 1890s. Family: Married Fernande Petit (stage name Van Doren), 1904 (separated 1927), son Jacques Tourneur. Career: Illustrator and graphic and interior designer, from 1894; assistant to Auguste Rodin and Puvis de Chavannes; actor, then stage director, from 1900; actor, then director for Eclair films, from 1912; moved to United States, 1914; production head of Paragon studio, 1915; contracted to Jesse Lasky for three Olga Petrova vehicles, 1917; formed own production company, 1918; moved to California, contracted to Paramount, formed Associated Producers Inc. with Thomas Ince and others (failed 1921), 1919; moved to Universal, 1920; quit direction of The Mysterious Island, returned to France, 1926; son Jacques edited films, from 1930. Died: 1961. Films as Director: 1912 Le Friquet (+ sc); Jean la poudre (+ sc); Le Système du Docteur Goudron et du Professeur Plume; Figures de cire 1913 Le Dernier Pardon (+ sc); Le Puits mitoyen; Le Camée; S?urette (+ sc); Le Corso rouge; Mademoiselle 100 mil- lions; Les Gaites de l’escadron (+ sc); La Dame de Montsoreau (+ sc) 1914 Monsieur Lecocq (+ sc); Rouletabille I: Le Mystère de la chambre jaune (+ sc); Rouletabille II: La Dernière Incar- nation de Larson (+ sc); Mother (+ sc); The Man of the Hour (+ sc); The Wishing Ring (+ sc); The Pit 1915 Alias Jimmy Valentine (+ sc); The Cub; Trilby (+ sc); The Ivory Snuff Box (+ sc); A Butterfly on the Wheel; Human Driftwood 1916 The Pawn of Fate; The Hand of Peril (+ sc); The Closed Road (+ sc); The Rail Rider; The Velvet Paw 1917 A Girl’s Folly; The Whip; The Undying Flame; Exile; The Law of the Land (+ sc); The Pride of the Clan; The Poor Little Rich Girl; Barbary Sheep; The Rise of Jennie Cushing 1918 Rose of the World; A Doll’s House; The Blue Bird; Prunella; Woman; Sporting Life 1919 The White Heather; The Life Line; Victory; The Broken Butterfly (+ co-sc) 1920 My Lady’s Garter; The County Fair; Treasure Island; The White Circle; Deep Waters; The Last of the Mohicans 1921 The Bait; The Foolish Matrons 1922 Lorna Doone 1923 While Paris Sleeps (made in 1920); The Christian; The Isle of Lost Ships; The Brass Bottle; Jealous Husbands 1924 Torment (+ co-sc); The White Moth 1925 Never the Twain Shall Meet; Sporting Life (+ sc) (remake); Clothes Make the Pirate 1926 Aloma of the South Seas; Old Loves and New; The Mysterious Island (co-d, sc) 1927 L’Equipage (+ co-sc) 1929 Das Schiff der verlorene Menschen (Le Navire des hommes perdus) 1930 Accusée, levez-vous 1931 Maison de danses; Partir . . . (Partir!) 1932 Au nom de la loi; Les Gaites de la escadron (+ co-sc); L’Idoire (+ co-sc) 1933 Les Deux Orphelines (+ co-sc); L’Homme mysterieux (Obsession) 1934 Le Voleur 1935 Justin de Marseille 1936 Konigsmark; Samson; Avec le sourire 1938 Le Patriote; Katia 1940 Volpone 1941 Péchés de jeunesse; Mam’zelle Bonaparte 1942 La Main du diable 1943 Le Val d’enfer; Cecile est morte 1947 Après l’amour 1948 L’Impasse des deux anges Other Films: 1920 The Great Redeemer (Brown) (supervisor) TOURNEURDIRECTORS, 4 th EDITION 999 Maurice Tourneur Publications By TOURNEUR: articles— ‘‘Stylization in Motion Picture Direction,’’ in Motion Picture (New York), September 1918. Interview with M.S. Cheatham, in Motion Picture Classic (Brook- lyn), February 1920. Article, in Film Comment (New York), July/August 1976, reprinted from Shadowland, May 1920. On TOURNEUR: articles— Haskins, H., ‘‘Work of Maurice Tourneur,’’ in Motion Picture Classic (Brooklyn), September 1918. Geltzer, George, ‘‘Maurice Tourneur,’’ in Films in Review (New York), April 1961. Sight and Sound (London), Autumn 1961 (also notes and corrections, Winter 1961). Beylie, Claude, ‘‘Tombeau de Tourneur,’’ in Cahiers du Cinéma (Paris), January 1962. Koszarski, Richard, ‘‘Maurice Tourneur: The First of the Visual Stylists,’’ in Film Comment (New York), March/April 1973. Deslandes, J., ‘‘Maurice Tourneur—films parlants 1930/1948,’’ in Avant-Scène du Cinéma (Paris), 15 June 1977. Brownlow, Kevin, letter, in American Classic Screen (Shawnee Mission, Kansas), Fall 1979. Tourneur Section of Griffithiana (Pordenone), 1988. *** Maurice Tourneur is one of the greatest pictorialists of the cinema, deriving his aesthetic from his early associations with Rodin and Puvis de Chavannes. Having worked for André Antoine as an actor and producer, he joined the Eclair Film Company in 1912 and travelled to their American Studios at Fort Lee, New Jersey, in 1914. There he directed films based on successful stage plays. In The Wishing Ring it is possible to see the charm and visual beauty he brought to his work. His team consisted of John van der Broek, the cameraman who later tragically drowned during one of Tourneur’s TROELL DIRECTORS, 4 th EDITION 1000 productions; Ben Carré, the art director; and Clarence Brown, his editor, who would later achieve fame as Garbo’s favorite director. Tourneur was most literate in his pronouncements on the cinema, individualistic and iconoclastic at times. He saw the cinema in perspective and would not concede it a status equal to the other arts. He stated: ‘‘To speak of the future development of the art of the cinema is futile. It cannot be. It costs a great deal of money to produce a motion picture. The only way the financial backer can get his money back, to say nothing of a profit, is to appeal to the great masses. And the thing that satisfies millions cannot be good. As Ibsen once wrote, it is the minority which is always right.’’ In practice, however, Tourneur’s own work belied this statement. To everything he did he brought a sense of beauty and great responsibility to his audiences. Tourneur directed Clara Kimball Young in Trilby, Mary Pickford in Pride of the Clan and Poor Little Rich Girl, the latter a very successful film. He made three films with Olga Petrova. In 1918 five memorable films came from his hand: Elsie Ferguson appeared in his The Doll’s House; two other stage plays, The Bluebird by Maeterlinck and Prunella by Granville Barker, gave Tourneur full scope for his visual style; Woman was a series of episodes that dealt with Adam and Eve, Claudius and Messalina, Heloise and Abelard, a Breton fisher- man and a mermaid. and a Civil War story; and Sporting Life was significant for its absence of stars and its depiction of a fog-ridden London, anticipating Griffith’s Broken Blossoms of the follow- ing year. In 1919 Tourneur made Joseph Conrad’s Victory for Paramount. A year later, he unveiled a delightful Treasure Island with Shirley Mason (as Jim Hawkins) and Lon Chaney, who also starred in While Paris Sleeps. For Associated Producers he made The Last of the Mohicans, which many consider to be his masterpiece, although Clarence Brown took over direction when Tourneur fell ill during production. Tourneur’s remaining Hollywood films included Lorna Doone, The Christian, The Isle of Lost Ships, The Brass Bottle, The White Moth, Never the Twain Shall Meet, and Aloma of the South Seas. During the production of The Mysterious Island for MGM, however, Tourneur grew resentful of a producer’s interference. He walked off the set and returned to France. He continued to work in films in Europe, his first being L’Equipage. In 1929 he made Das Schiff der Verlorene in Germany with Marlene Dietrich. This was his last silent film, but he accepted the coming of sound and, before his death in 1961, he had made over 20 sound films. The most important of these were Les Deux Orphelines, the delightful Katia with Danielle Darieux, Volpone with Harry Baur and Louis Jouvet, La Main du diable, made from a story by Gerard de Nerval and featuring Pierre Fresnay, and his last film, L’Impasse des deux anges. Tourneur was a man who had no illusions about working in films. He realized the limitations of Hollywood and the films he was given to direct. However, he brought his considerable talent as a designer to bear on his work, and did not hesitate to experiment. He stylized his sets and was influenced by new movements in the theater, but he also used the effects of nature to heighten his dramas. His awareness of the potentialities of the camera was profound, giving strength to his images. —Liam O’Leary TROELL, Jan Nationality: Swedish. Born: Limnhamm, Skane, 23 July 1931. Career: Teacher, Sorgenfri primary school, Malmo, for nine years; made short documentaries about life in Malmo, 1960–65; made epic- length chronicles of Swedish history and contemporary life, including Har har du ditt liv (Here Is Your Life), 1966, and the two-part saga Utvandrarna (The Emigrants) and Nybyggarna (The New Land), 1970; later films abroad include Zandy’s Bride (1974), Hurricane (1979) in Bora Bora, and Ingenjor andrees luftfard (The Flight of the Eagle), 1982; returned to documentary filmmaking with his most ambitious project to date, Sagolandet (The Fairytale Country), an eighty-hour chronicle of Swedish contemporary life, 1988. Awards: State Prize, Swedish Film Institute, for Johan Ekberg; Grand Prix, Oberhausen, for Stopover; Golden Bear, Berlin Film Festival, for Who Saw Him Die?; four Academy Award nominations for The Emigrants, and a Best Foreign-Language Film Academy Award nomination for The Flight of the Eagle. Films as Director: 1960 Stad 1961 Baten (The Ship); Sommartag (Summer Train); Nyar i Skane (New Year’s Eve in Skane) 1962 Pojken och draken (A Boy and His Kite) (with Bo Widerberg); Var i Dalby hage (Spring in the Pastures of Dalby) Jan Troell TROELLDIRECTORS, 4 th EDITION 1001 1964 De gamla kvarnen (The Old Mill); Trakom (Trachoma); Johan Ekberg 1965 Portratt av Asa (Portrait of Asa); Uppehall i myrlandet (Stopover in the Marshland) (episode in Four by Four) 1966 Har har du ditt liv (Here Is Your Life) 1968 Ole dole doff (Who Saw Him Die?; Eeny Meeny Miny Moe) 1970 Utvandrarna (The Emmigrants); Nybyggarna (The New Land; Unto a Good Land) 1974 Zandy’s Bride 1977 Bang! 1979 Hurricane 1982 Ingenjor andrees luftfard (The Flight of the Eagle) 1988 Sagolandet (The Fairytale Country) 1991 Il Capitano 1996 Hamsun 1997 En Frusen dr?m (A Frozen Dream) 2000 92,8Mhz-dr?mmar: s?der; S? vit som sn? Other Film: 1963 Barnvagnen (The Baby Carriage) (Bo Widerberg) (lighting cameraman) Publications By TROELL: book— Jan Troell (portrait and interview), Swedish Film Institute (Stock- holm), 1975. By TROELL: articles— ‘‘John Simon on Jan Troell,’’ interview in Film Heritage (New York), Summer 1974. ‘‘Filmmaking in Sweden,’’ in Interview (New York), no. 1, n.d. ‘‘Mordare med kaniner I bagaget,’’ in Chaplin (Stockholm), vol. 33, no. 5, 1991. ‘‘Att s?tta en stenbumling I r?relse,’’ in Chaplin (Stockholm), vol. 38, no. 3, 1996. On TROELL: book— Cowie, Peter, editor, Sweden (Screen Series, Vols. 1 and 2), Stock- holm, 1970. On TROELL: articles— Landau, Jon, ‘‘The New Land,’’ in Rolling Stone (New York), 6 December 1973. Crist, Judith, ‘‘A Repast of Things Remembered,’’ New York, 27 May 1974. Steen, Brigitta, ‘‘An Interlude with Jan Troell,’’ Thousand Eyes (New York), 4 March 1976. Monaco, James, ‘‘Look Back: Zandy’s Bride,’’ Millimeter (New York), 8 April 1976. Gilliatt, Penelope, ‘‘Hurricane,’’ in New Yorker, 23 April 1979. Chase, Chris, ‘‘At the Movies: Jan Troell Calm about Oscar Bid,’’ New York Times, 8 April 1983. Thomas, Kevin, ‘‘Here Is Your Life Launches UCLA Jan Troell Retrospective,’’ Los Angeles Times, 8 January 1990. Garrett, Robert, ‘‘The Journey Outward: The Films of Jan Troell,’’ Boston Globe, 16 February 1990. Hedling, O., ‘‘Carlsson mot May,’’ in Filmh?ftet (Stockholm), Decem- ber 1993. *** ‘‘We are the last dinosaurs of Swedish film,’’ lamented Ingmar Bergman to Jan Troell in 1983. At the time neither could yet claim to be an elder statesman—Bergman was sixty-five at the time and Troell was only fifty-two—but both had lived and worked long enough to find themselves somewhat estranged from their own profession. Frequently cited as Sweden’s two greatest filmmakers, they have much else in common. Both are fiercely independent artists, trained in film and television, who have made their slow and patient way as chroniclers and critics of the history, myths, and institutions of their native land. As director, photographer, and editor of his films, Troell has retained an unusual degree of control for most of his career. His films are invariably pictorially beautiful, stylistically conservative, and moderately paced. Excepting an occasional foray into contemporary life, his subjects have been mostly historical in nature. Troell’s first projects drew upon his experiences as a boy and later as a teacher in his native town of Malmo, in the southernmost province of Skane. Baten (The Ship, 1961) was a documentary about the last journey of the SS Malmo, which for many years had carried passengers to Copenhagen. Sommartag (Summer Train, 1961) was a nostalgic tribute to an Osterlen locomotive. And Nyar i Skane (New Year’s Eve in Skane) recalled the Scanian plains of his childhood. After winning a state prize for Johan Ekberg, a sensitive docu- mentary about a retired railroad worker’s coming to terms with old age, and the Oberhausen Grand Prix for Uppehall i myrlandet (Stopover in the Marshland, 1965), a short film with Max von Sydow as a railroad brakeman, Troell was ready for the most productive phase of his career. Between 1966 and 1979, under the aegis of the Svensk Filmindustry and producer Bengt Forslung, he made eight ambitious features. First came Har har du ditt liv (Here Is Your Life, 1966), based on Eyvind Johnson’s four-volume autobiographical novel. The 167-minute film, the longest Swedish feature made up to that time, was set in the decade after World War I. It is Troell’s most picaresque work, a coming-of-age saga of young Olof (Eddie Axberg), who, on the way to becoming a writer, leaves school and survives colorful encounters on the railroad, at a timber camp, in a sawmill, and as a movie projectionist. The serio-comic tone, convoluted editing, and unusual color technique (interspersing black-and-white and color sequences) relates it to the French New Wave, while Troell’s characteristic empathy for his characters links him with earlier masters like Sweden’s Victor Sjostrom and France’s Jean Renoir. Critic Vernon Young admired its sense of the passage of time—a trait to be found in most of Troell’s later works. ‘‘You don’t just watch the film, you live through it.’’ Ole dole doff (Who Saw Him Die? 1968), by contrast a far more subdued and dark tale of a teacher (Per Oscarsson) alienated from his students, was shot at the Malmo school where Troell himself had TRUFFAUT DIRECTORS, 4 th EDITION 1002 taught. Particularly successful, in the opinion of Peter Cowie, was Troell’s ability to convey ‘‘telling images’’ of loneliness and despair in the parks, docks, and streets of Malmo. Troell’s best films are concerned with people who measure their dreams and test their characters against the hostilities and vicissitudes of weather and landscape. Perhaps no other director in Swedish film history, save Victor Sjostrom, has as consistently explored this theme. The Emigrants and The New Land (made in 1970 and released in America three years later), his most famous and most popular films, were based on Vilhelm Moberg’s quartet of novels about the immi- gration of the family of Karl and Kristina Nilsson (Max von Sydow and Liv Ullmann) to America in the mid-nineteenth century. A slow- breathing, deliberately paced story of hardship and survival, it also tracks the changing textures and moods of land and water, from the stony monochrome of the bleak Swedish farmland, to the tossing grey-blue of the pitiless ocean, to the bursting colors of the verdant Minnesota river country. In Zandy’s Bride (1974) the spectacular vistas of California’s Big Sur form the backdrop for the developing relationship between a pioneer rancher, Zandy (Gene Hackman), and his mail-order bride, Hannah (Liv Ullmann). Hurricane (1979), shot in Bora Bora, relates the inner turmoil of star-crossed lovers (Mia Farrow and Dayton Ka’ne) to the spectacular elemental fury of a South Seas storm. The Flight of the Eagle pits the fool-hardy ambitions of three Swedish explorers, who were bent on reaching the North Pole by balloon, against the implacable hostilities of the frozen wastes. At first glance, Troell’s more recent films might seem to indicate new directions. The ironically titled Sagolandet (The Fairytale Coun- try, 1988), made for the Swedish Film Institute, is a rather dour, three- hour documentary about contemporary Swedish life. By means of location shooting and numerous interviews—with parliamentary and local politicians, a rural road planner, a plant exterminator, a woods- man, an artist-weaver, etc.—a portrait emerges of a tightly regulated nation where social and technical progress threaten free will and imagination. Il Capitano has a much narrower focus, an account of a real-life murder case that attempts to explain how two youths could murder three people in cold blood. Yet both share Troell’s concerns with the alienation of characters from the wellsprings of nature and tradition. There is no breathing room in a world cramped by partitions and conformity; there is no place for the independent and heroic gesture in a society where the machine and a welfare bureaucracy discourage initiative and achieve- ment. Loneliness and isolation are the only rewards. Troell has not been without his detractors. Many critics have justly complained of the inordinate length and plodding pace of works like The New Land, of the unrelieved bleakness of The Flight of the Eagle, and of the long intervals of silence in Zandy’s Bride (indeed, Troell can be the quietest of filmmakers). His preoccupation with landscape photography in Hurricane aroused Penelope Gilliatt’s scorn: ‘‘Never has there been so much surf, so much lashing of waves, such a tempest . . . and you have never seen so many sunsets or so many pensive wanderings along beaches.’’ Jon Landau characterized too many of his characters as ‘‘rigidly humorless and largely unchanging.’’ Other attacks single out Troell’s conventional—even old-fashioned—modes of narrative. ‘‘He tells a coherent story,’’ defends Peter Cowie, ‘‘when gritty realism is the cameraman’s mode, he persists with poetic imagery. For all this, Jan Troell rides not behind but above his time, resorting to cinema as a means of expressing man’s better gifts.’’ His flaws and obsessions notwithstanding, it seems that the persuasive integrity and earnestness that Troell invests in his subjects has been so consistently maintained that it must eventually earn our respect. ‘‘He has the sense of the justice owed to people and the homage owed to nature,’’ writes Pauline Kael. Critic John Simon adds: ‘‘You feel you are in the hands of a human being who cares about other human beings, who renders the truths of their lives without rending the veils of their privacy, who has sympathy even for what he deplores.’’ —John C. Tibbetts TRUFFAUT, Fran?ois Nationality: French. Born: Paris, 6 February 1932. Education: Attended Lycée Rollin, Paris. Military Service: Enlisted in army, but deserted on eve of departure for Indochina, 1951; later released for ‘‘instability of character.’’ Family: Married Madeleine Morgenstern, 1957 (divorced), two daughters. Career: Founded own cine-club in Paris, lack of funds caused closing, was jailed for inability to pay debts, released with help of André Bazin, 1947; with Godard, Rivette, and Chabrol, member of Ciné-club du Quartier Latin, 1949; briefly employed by the Service Cinématographique of the Ministry of Agriculture, 1953; writer on film for Cahiers du cinéma, then Arts, from 1953, including seminal article, ‘‘Une Certain Tendance du cinéma fran?ais,’’ in 1954; with Rivette and Resnais, made short 16mm film, 1955; assistant to Roberto Rossellini, 1956–58; directed first feature, Les Quatre Cents Coups, and wrote script for Godard’s A bout de souffle, 1959; published Le Cinéma selon Hitchcock, 1966; instigated shutting down of 1968 Cannes Festival in wake of May uprisings. Awards: Best Director, Cannes Festival, for Les Quatres Cents Coup, 1959; Prix Louis Delluc, and Best Director, National Society of Film Critics, for Stolen Kisses, 1969; Acedemy Award for Best Foreign-Language Film, Best Director, National Society of Film Critics, Best Direction, New York Film Critics, and British Academy Award for Best Direction, for Day for Night, 1973. Died: Of cancer, in Paris, 21 October 1984. Films as Director: 1955 Une Visite (+ sc, co-ed) 1957 Les Mistons (+ co-sc) 1958 Une Histoire d’eau 1959 Les Quatre Cents Coups (The Four Hundred Blows) (+ sc) 1960 Tirez sur le pianist (Shoot the Piano Player) (+ co-sc) 1961 Jules et Jim (Jules and Jim) (+ co-sc) 1962 ‘‘Antoine et Colette’’ episode of L’Amour a vingt ans (Love at Twenty) (+ sc, role) 1964 La Peau douce (The Soft Skin) (+ co-sc) 1966 Fahrenheit 451 (+ co-sc) 1967 La Mariée était en noir (The Bride Wore Black) (+ co-sc) 1968 Baisers volés (Stolen Kisses) (+ co-sc) 1969 La Sirène du Mississippi (Mississippi Mermaid) (+ sc); L’Enfant sauvage (The Wild Child) (+ co-sc, role as Dr. Jean Itard) 1970 Domicile conjugal (Bed and Board) (+ co-sc) TRUFFAUTDIRECTORS, 4 th EDITION 1003 Fran?ois Truffaut 1971 Les Deux Anglaises et le continent (Two English Girls) (+ co-sc) 1972 Une Belle Fille comme moi (Such a Gorgeous Kid like Me) (+ co-sc) 1973 La Nuit américaine (Day for Night) (+ co-sc, role as Ferrand) 1975 L’Histoire d’Adèle H. (The Story of Adele H.) (+ co-sc) 1976 L’Argent de poche (Small Change) (+ co-sc) 1977 L’Homme qui aimait les femmes (The Man Who Loved Women) (+ co-sc) 1978 La Chambre verte (The Green Room) (+ co-sc, role as Julien Davenne) 1979 L’Amour en fuite (Love on the Run) (+ co-sc) 1980 Le Dernier Metro (The Last Metro) (+ sc) 1981 La Femme d’à c?té (The Woman Next Door) 1984 Vivement dimanche! (Finally Sunday) Other Films: 1977 Close Encounters of the Third Kind (Spielberg) (role as French scientist) Publications By TRUFFAUT: books— Les Quatre Cent Coups, with Marcel Moussy, Paris, 1959; as The Four Hundred Blows: A Film by Fran?ois Truffaut, New York, 1969. Le Cinéma selon Hitchcock, Paris, 1967; revised edition published as Hitchcock, New York, 1985. Ce n’est qu’un début, Paris, 1968. Jules et Jim, New York, 1968. The Adventures of Antoine Doinel: Four Autobiographical Screen- plays, New York, 1971. La Nuit américaine et le journal de tournage de Farenheit 451, Paris, 1974. Day for Night, New York, 1975. Les Films de ma vie, Paris, 1975; published as The Films in My Life, New York, 1978. The Wild Child, New York, 1975. Small Change, New York, 1976. The Story of Adele H., New York, 1976. TRUFFAUT DIRECTORS, 4 th EDITION 1004 L’Homme qui aimait les femmes, Paris, 1977. The Last Metro, New Brunswick, New Jersey, 1985. Truffaut par Truffaut, edited by Dominique Rabourdin, Paris, 1985; published as Truffaut on Truffaut, New York, 1987. Le Plaisir des yeux, Paris, 1987. Fran?ois Truffaut: correspondence, edited by Gilles Jacob and Claude de Givray, Renens, 1988; published as Fran?ois Truffaut: Letters, translated by Gilbert Adair, London, 1990. La petite voleuse, with Claude de Givray, Paris, 1989. By TRUFFAUT: articles— ‘‘Une Certain Tendance du cinéma fran?ais,’’ in Cahiers du Cinéma (Paris), January 1954. ‘‘Renoir in America,’’ with J. Rivette, in Sight and Sound (London), July/September 1954. ‘‘La Crise d’ambition du cinéma fran?ais,’’ in Arts (Paris), 30 March 1955. Interview of Rossellini, with Maurice Scherer, in Film Culture (New York), March/April 1955. ‘‘On the Death of André Bazin,’’ in Cahiers du Cinéma (Paris), January 1959. ‘‘On Film: Truffaut Interview,’’ in the New Yorker, 20 Febru- ary 1960. ‘‘Les Mistons,’’ in Avant-Scéne du Cinéma (Paris), no. 4, 1961. ‘‘Histoire d’eau,’’ in Avant-Scéne du Cinéma (Paris), no. 7, 1961. ‘‘Jules et Jim,’’ in Avant-Scéne du Cinéma (Paris), June 1962. ‘‘Sex and Life,’’ in Films and Filming (London), July 1962. ‘‘Vivre sa vie,’’ in Avant-Scène du Cinéma (Paris), October 1962. ‘‘Sur le cinéma américaine,’’ in Cahiers du Cinéma (Paris), Decem- ber 1963 and January 1964. ‘‘Skeleton Keys,’’ in Film Culture (New York), Spring 1964. ‘‘La Peau douce,’’ in Avant-Scène du Cinéma (Paris), May 1965. ‘‘Farenheit 451’’ (working notes by Truffaut), in Cahiers du Cinéma (Paris), February/July 1966. ‘‘Jean-Luc Godard,’’ in Les Lettres Fran?aises (Paris), 16 March 1967. ‘‘Georges Sadoul,’’ in Les Lettres Fran?aises (Paris), 18 Octo- ber 1967. ‘‘Ernst Lubitsch,’’ in Cahiers du Cinéma (Paris), February 1968. ‘‘Francoise Dorlèac,’’ in Cahiers du Cinéma (Paris), April/May 1968. ‘‘Is Truffaut the Happiest Man on Earth? Yes,’’ in Esquire (New York), August 1970. ‘‘L’Enfant Sauvage,’’ in Avant-Scène du Cinéma (Paris), Octo- ber 1970. ‘‘Intensification,’’ an interview with Gordon Gow, in Films and Filming (London), July 1972. ‘‘The Lesson of Ingmar Bergman,’’ in Take One (Montreal), July 1973. ‘‘A Portrait of Francois Truffaut,’’ an interview with S. Mallow, in Filmmakers Newsletter (Ward Hill, Massachusetts), Decem- ber 1973. Interview with Charles Higham, in Action (Los Angeles), January/ February 1974. ‘‘Adèle H.,’’ an interview with Gilbert Adair, in Sight and Sound (London), Summer 1975. ‘‘Fran?ois Truffaut: The Romantic Bachelor,’’ with Melanie Adler, in Andy Warhol’s Inter/View (New York), March 1976. ‘‘Dialogue on Film: Interview with Truffaut,’’ in American Film (Washington, D.C.), May 1976. ‘‘Kid Stuff: Fran?ois Truffaut on Small Change,’’ with J. McBride and T. McCarthy, in Film Comment (New York), September/ October 1976. ‘‘Truffaut, Part V,’’ an interview in the New Yorker, 18 October 1976. ‘‘Fran?ois Truffaut: Feminist Filmmaker?,’’ with Annette Insdorf, in Take One (Montreal), January 1978. ‘‘Truffaut: Twenty Years After,’’ an interview with D. Allen, in Sight and Sound (London), no. 4, 1979. ‘‘My Friend Hitchcock,’’ in American Film (Washington, D.C.), March 1979. Daney, Serge, Jean Narboni, and Serge Toubiana, ‘‘Truffaut ou le juste milieu comme expérience limite,’’ interview in Cahiers du Cinéma (Paris), no. 315, September 1980. Interview with A. Gillain, in Wide Angle (Athens, Ohio), vol. 4, no. 4, 1981. Interview with Marcel Ophuls, in American Film (New York), May 1985. ‘‘Travelling arrière,’’ in Télérama (Paris), no. 2335, 12 October 1994. On TRUFFAUT: books— Petrie, Graham, The Cinema of Fran?ois Truffaut, New York, 1970. Crisp, C.G., and Michael Walker, Fran?ois Truffaut, New York, 1971. Fanne, Dominique, L’Univers de Fran?ois Truffaut, Paris, 1972. Allen, Don, Finally Truffaut, London, 1973; revised edition, 1985. Monaco, James, The New Wave: Truffaut, Godard, Chabrol, Rohmer, Rivette, New York, 1976. Collet, Jean, Le Cinéma de Fran?ois Truffaut, Paris, 1977; revised edition, 1985. Insdorf, Annette, Fran?ois Truffaut, Boston, 1978. Walz, Eugene P., Fran?ois Truffaut: A Guide to References and Resources, Boston, 1982. Winkler, Willi, Die Film von Fran?ois Truffaut, Munich, 1984. Bergala, Alain, and others, Le Roman de Fran?ois Truffaut, Paris, 1985. De Fornari, Oreste, I filme di Fran?ois Truffaut, Rome, 1986. Dalmais, Hervé, Truffaut, Paris, 1987. Ciment, Gilles, and others, Les 400 Couples de Fran?ois Truffaut, Paris, 1988. Guerif, Fran?ois, Fran?ois Truffaut, Paris, 1988. Cahoreau, Gilles, Fran?ois Truffaut, 1932–84, Paris, 1989. Insdorff, Annette, Fran?ois Truffaut: le cinéma est-il magique?, Paris, 1989. Merrick, Hélène, Fran?ois Truffaut, Paris, 1989. Baecque, Antoine de, and Serge Toubiana, Fran?ois Truffaut, Paris, 1996; translated by Catherine Temerson, New York, 1999. On TRUFFAUT: articles— Sadoul, Georges, ‘‘Notes on a New Generation,’’ in Sight and Sound (London), October 1959. Burch, No?l, ‘‘Qu’est-ce que la Nouvelle Vague?,’’ in Film Quar- terly (Berkeley), Winter 1959. Farber, Manny, ‘‘White Elephant Art vs. Termite Art,’’ in Film Culture (New York), Winter 1962/63. Shatnoff, Judith, ‘‘Fran?ois Truffaut—The Anarchist Imagination,’’ in Film Quarterly (Berkeley), Spring 1963. Taylor, Stephen, ‘‘After the Nouvelle Vague,’’ in Film Quarterly (Berkeley), Spring 1965. Klein, Michael, ‘‘The Literary Sophistication of Fran?ois Truffaut,’’ in Film Comment (New York), Summer 1965. TRUFFAUTDIRECTORS, 4 th EDITION 1005 Braudy, Leo, ‘‘Hitchcock, Truffaut, and the Irresponsible Audi- ence,’’ in Film Quarterly (Berkeley), Summer 1968. Wood, Robin, ‘‘Chabrol and Truffaut,’’ in Movie (London), Win- ter 1969/70. Bordwell, David, ‘‘A Man Can Serve Two Masters,’’ in Film Comment (New York), Spring 1971. Beylie, Claude, and others, ‘‘Le Continent, Truffaut et le deux anglaises,’’ in Ecran (Paris), January 1972. Jebb, Julian, ‘‘Truffaut: The Educated Heart,’’ in Sight and Sound (London), Summer 1972. Houston, Beverle, and Marsha Kinder, ‘‘Truffaut’s Gorgeous Kill- ers,’’ in Film Quarterly (Berkeley), Winter 1973/74. Lefanu, Mark, ‘‘The Cinema of Irony: Chabrol, Truffaut in the 1970s,’’ in Monogram (London), no. 5, 1974. Martin, Marcel, ‘‘Vingt ans après: une certain constante du cinéma fran?ais,’’ in Ecran (Paris), January 1974. Coffey, B., ‘‘Art and Film in Fran?ois Truffaut’s Jules and Jim and Two English Girls,’’ in Film Heritage (New York), Spring 1974. Hess, J., ‘‘La Politique des auteurs: Part 2: Truffaut’s Manifesto,’’ in Jump Cut (Chicago), July/August 1974. Thomas, P., ‘‘The Sorcerer’s Apprentice: Bazin and Truffaut on Renoir,’’ in Sight and Sound (London), Winter 1974/75. Barbera, Alberto, special issue, in Castoro Cinema (Firenze), no. 27, 1976. Carcassonne, P., ‘‘Truffaut le narrateur,’’ in Cinématographe (Paris), November 1977. ‘‘La Chambre vert Issue’’ of Avant-Scène du Cinéma (Paris), 1 No- vember 1978. Tintner, A.R., ‘‘Truffaut’s La Chambre vert,’’ in Literature/Film Quarterly (Salisbury, Maryland), vol. 8, no. 2, 1980. Almendros, N., ‘‘Otto set di Truffaut illuminati da Almendros,’’ in Segnocinema (Vicenza), vol. 3, no. 6, January 1983. ‘‘Le Dernier Metro Issue’’ of Avant-Scène du Cinéma (Paris), March 1983. Turner, D., ‘‘Made in USA: The American Child in Truffaut’s 400 Blows,’’ in Literature/Film Quarterly (Salisbury, Maryland), April 1984. Obituary in Cahiers du Cinéma (Paris), November 1984. ‘‘Truffaut Issue’’ of Cinéma (Paris), December 1984. ‘‘Truffaut Issue’’ of Cinématographe (Paris), December 1984. Truffaut Section of Wide Angle (Baltimore), vol. 7, nos. 1/2, 1985. Jameson, R. T., and others, in Film Comment (New York), January/ February 1985. Dixon, W., ‘‘Fran?ois Truffaut: A Life in Film,’’ in Films in Review (New York), June/July and August/September 1985. ‘‘Tirez sur le pianiste and Vivement dimanche! Issue’’ of Avant-Scène du Cinéma (Paris), July/August 1987. Moullet, Luc, ‘‘La balance et le lien,’’ in Cahiers du Cinéma (Paris), July/August 1988. Allen, Don, ‘‘Truffaut’s Miller’s Tale,’’ in Sight and Sound (Lon- don), Spring 1989. Desbarats, F., ‘‘Fran?ois Truffaut, ou la communication barré,’’ in Cahiers de la Cinématheque (Peripignan), no 54, December 1990. Gruault, J., ‘‘Nom de code 00–14 (avec Fran?ois Truffaut),’’ in Cahiers du Cinéma (Paris), no. 447, September 1991. Pasolini, Pier Paolo, ‘‘Fellini, Bergman, Trjuffo,’’ in Iskusstvo Kino (Moscow), no. 3, March 1992. Gassen, H., ‘‘Georges Delerue. Das Spektakel van Klang und Licht,’’ in EPD Film (Frankfurt), vol. 9, no. 6, June 1992. Rosenbaum, J., ‘‘Cineaste,’’ vol. 20, no. 2, 1993. Bénoliel, Bernard, ‘‘Vivement dimanche!: Testament de Fran?ois Truffaut?’’ in Mensuel du Cinéma (Paris), no. 4, March 1993. Auzel, D., ‘‘Truffaut. L’art d’écrire-l’art d’aimer,’’ in Séquences (London), no. 164, May 1993. Cahiers du Cinéma (Paris), no. 467–468, May 1993. Douin, Jean-Luc, ‘‘La bande des quatre,’’ in Télérama (Paris), no. 2262, 19 May 1993. Crowdus, G., ‘‘Truffaut on Laserdisc,’’ in Cineaste (New York), vol. 20, no. 3, 1994. *** Fran?ois Truffaut was one of five young French film critics, writing for André Bazin’s Cahiers du Cinéma in the early 1950s, who became the leading French filmmakers of their generation. It was Truffaut who first formulated the politique des auteurs, a view of film history and film art that defended those directors who were ‘‘true men of the cinema’’—Renoir, Vigo, and Tati in France; Hawks, Ford, and Welles in America—rather than those more literary, script-oriented film directors and writers associated with the French ‘‘tradition of quality.’’ Truffaut’s original term and distinctions were subsequently borrowed and translated by later generations of Anglo-American film critics, including Andrew Sarris, Robin Wood, V.F. Perkins, and Dave Kehr. When Truffaut made his first feature in 1959, Les Quatre Cent Coups, he put his ideas of cinema spontaneity into practice with the study of an adolescent, Antoine Doinel, who breaks free from the constrictions of French society to face an uncertain but open future. Since that debut, Truffaut’s career has been dominated by an explora- tion of the Doinel character’s future (five films) and by the actor (Jean-Pierre Léaud) whom Truffaut discovered to play Antoine. In Truffaut’s 25 years of making films, the director, the Doinel charac- ter, and Léaud all grew up together. The rebellious teenager of Les Quatre Cent Coups becomes a tentative, shy, sexually clumsy suitor in the ‘‘Antoine et Colette’’ episode of Love at Twenty. In Baisers volés, Antoine is older but not much wiser at either love or money making. In Domicile conjugal, Antoine has married but is still on the run toward something else—the exotic lure of other sexual adventures. And in L’Amour en fuite, Antoine is still running (running became the essential metaphor for the Doinel character’s existence, beginning with the lengthy running sequence that concludes Les Quatre Cent Coups). Although Antoine is now divorced, the novel which he has finally completed has made his literary reputation. That novel, it turns out, is his life itself, the entire Doinel saga as filmed by Truffaut, and Truffaut fills his films with film clips that are both visual and mental recollections of the entire Doinel cycle. Truffaut deliberately collapses the distinction between written fiction and filmed fiction, between the real life of humans and the fictional life of characters. The collapse seems warranted by the personal and professional connections between Truffaut the director, Doinel the character, and Léaud the actor. Many of Truffaut’s non-Doinel films are style pieces that simi- larly explore the boundaries between art and life, film and fiction. The main character of Tirez sur le pianist tries to turn himself into a fictional character, as does Catherine in Jules et Jim. Both find it difficult to maintain the consistency of fictional characters when faced with the demanding exigencies of real life. La Mariée etait en noir was Truffaut’s elegy to Hitchcock, a deliberate style piece in the Hitchcock manner, while Fahrenheit 451, his adaption of Ray Bradbury’s novel, explores the lack of freedom in a society in which books—especially works of fiction—are burned. Adele H in L’Histoire TRUFFAUT DIRECTORS, 4 th EDITION 1006 d’Adele H attempts to convert her passion into a book (her diary), but life can neither requite nor equal her passion; instead, it drives her to madness and a total withdrawal from life into the fantasy of her romantic fiction. In L’Homme qui aimait les femmes, an incurable womanizer translates his desire into a successful novel, but the existence of that work in no way diffuses, alleviates, or sublimates the desire that vivified it. The Green Room is Truffaut’s homage to fiction and the novelist’s craft—a careful, stylish adaption of a Henry James story. Given his conscious commitment to film and fiction, it is not surprising that Truffaut devoted one of his films to the subject of filmmaking itself. La Nuit américaine is one of the most loving and revealing films about the business of making films, an exuberant illustration of the ways in which films use artifice to capture and convey the illusion of life. This film, in which Truffaut himself plays a film director, is a comically energetic defense of the joys and pains of filmmaking, a deliberate response to the more tortured visions of Fellini’s 8‘‘ or Bergman’s Persona. Those Truffaut films not con- cerned with the subject of art are frequently about education. L’Enfant sauvage explores the beneficial power and effects of civilization on the savage passions of a child who grew up in the forest, apparently raised by beasts. Truffaut again plays a major role in the film (dedicated to Jean-Pierre Léaud), playing a patient scientist who effects the boy’s conversion from savagery to humanity. Like the director he played in La Nuit américaine, Truffaut is the wise and dedicated patriarch, responsible for the well-being of a much larger enterprise. L’Argent de poche examines the child’s life at school and the child’s relationships with adults and other children. As opposed to the imprisoning restrictions which confined children in the world of Les Quarte Cent Coups, the now adult Truffaut realizes that adults— parents and teachers—treat children with far more care, love, and devotion than the children (like the younger, rebellious Truffaut himself) are able to see. Unlike his friend and contemporary Jean-Luc Godard, Truffaut remained consistently committed to his highly formal themes of art and life, film and fiction, youth and education, and art and education, rather than venturing into radical political critiques of film forms and film imagery. Truffaut seemed to state his position in Le Dernier Métro, his most political film, which examines a theater troupe in Nazified Paris. The film director appeared to confess that, like those actors in that period, he could only continue to make art the way he knew how, that his commitment to formal artistic excellence would eventually serve the political purposes that powerful art always serves, and that for him to betray his own artistic powers for political, programmatic purposes would perhaps lead to his making bad art and bad political statements. In this rededication to artistic form, Truffaut was probably restating his affinity with the Jean Renoir he wrote about for Cahiers du Cinéma. Renoir, like Truffaut, progressed from making more rebellious black-and-white films in his youth to more accepting color films in his maturity; Renoir, like Truffaut, played major roles in several of his own films; Renoir, like Truffaut, believed that conflicting human choices could not be condemned according to facile moral or political formulae; and Renoir, like Truffaut, saw the creation of art (and film art) as a genuinely humane and meaningful response to the potentially chaotic disorder of formless reality. Renoir, however, lived much longer than Truffaut, who died of cancer in 1984 at the height of his powers. —Gerald Mast 1007 U-V ULMER, Edgar Nationality: Austrian. Born: Edgar Georg Ulmer in Vienna, 17 September 1904. Education: Studied architecture at Academy of Arts and Sciences, Vienna; studied stage design at Burgteater, Vienna. Family: Married Shirley Castle, one daughter. Career: Designer for Decla-Bioscope film company, 1918; designer for Max Reinhardt, Vienna, 1919–22; designer for Universal in New York, 1923; re- turned to Germany as assistant to Murnau, 1924; returned to United States, art director and production assistant at Universal, from 1925; co-directed first film, with Robert Siodmak, 1929; art director at MGM and stage designer for Philadelphia Grand Opera Co., 1930–33; made public health documentaries for minority groups, New York, mid-1930s; director and writer for Producers’ Releasing Corporation (PRC), Hollywood, 1942–46; worked in United States, Mexico, Italy, Germany, and Spain, through 1950s. Died: In Woodland Hills, California, 30 September 1972. Films as Director: (claimed to have directed 128 films; following titles are reported in current filmographies): 1929 Menschen am Sonntag (People on Sunday) (co-d, co-sc) 1933 Damaged Lives (+ co-sc); Mr. Broadway 1934 The Black Cat (+ co-sc); Thunder over Texas (d as ‘‘John Warner’’) 1937 Green Fields (co-d) 1938 Natalka Poltavka (+ sc, assoc pr); The Singing Blacksmith (+ pr); Zaporosch Sa Dunayem (Cossacks in Exile; The Cossacks across the Danube) 1939 Die Tlatsche (The Light Ahead) (original title: Fishe da Krin) (+ pr); Moon over Harlem; Americaner Schadchen (The Marriage Broker; American Matchmaker); Let My People Live 1940 Cloud in the Sky 1941 Another to Conquer 1942 Tomorrow We Live 1943 My Son, the Hero (+ co-sc); Girls in Chains (+ story); Isle of Forgotten Sins (+ story); Jive Junction 1944 Bluebeard 1945 Strange Illusion (Out of the Night); Club Havana; Detour 1946 The Wife of Monte Cristo (+ co-sc); Her Sister’s Secret; The Strange Woman 1947 Carnegie Hall 1948 Ruthless 1949 I pirati de Capri (Pirates of Capri) 1951 St. Benny the Dip; The Man from Planet X 1952 Babes in Bagdad 1955 Naked Dawn; Murder Is My Beat (Dynamite Anchorage) 1957 The Daughter of Dr. Jekyll; The Perjurer 1960 Hannibal; The Amazing Transparent Man; Beyond the Time Barrier; L’Atlantide (Antinea, L’amante della città Sepolta); Journey beneath the Desert (co-d) 1964 Sette contro la morte (Neunzing N?chte and ein Tag) 1965 The Cavern Other Films: 1927 Sunrise (Murnau) (asst prod des) 1934 Little Man, What Now? (set design) 1942 Prisoner of Japan (story) 1943 Corregidor (co-sc); Danger! Women at Work (co-story) Publications By ULMER: articles— Interview, in Cahiers du Cinéma (Paris), August 1961. Interview with Peter Bogdanovich, in Film Culture (New York), no. 58/60, 1974. On ULMER: books— Belton, John, The Hollywood Professionals Vol. 3, New York, 1974. McCarthy, Todd, and Charles Flynn, editors, Kings of the B’s: Working within the Hollywood System, New York, 1975. Belton, John, Cinema Stylists, Metuchen, New Jersey, 1983. On ULMER: articles— Moullet, Luc, ‘‘Edgar G. Ulmer,’’ in Cahiers du Cinéma (Paris), April 1956. Sarris, Andrew, ‘‘Esoterica,’’ in Film Culture (New York), Spring 1963. Belton, John, ‘‘Prisoners of Paranoia,’’ in Velvet Light Trap (Madi- son, Wisconsin), Summer 1972; reprinted Winter 1977. Beylie, Claude, ‘‘Edgar G. Ulmer, dandy de grand chemin,’’ in Ecran (Paris), December 1972. ‘‘Le Chat Noir Issue’’ of Avant-Scène du Cinéma (Paris), 1982. Jenkins, Steve, ‘‘Ulmer and PRC: A Detour down Poverty Row,’’ in Monthly Film Bulletin (London), July 1982. Krohn, B., ‘‘King of the B’s,’’ in Film Comment (New York), July/ August 1983. Mandell, P., ‘‘Edgar Ulmer and The Black Cat,’’ in American Cinematographer (Los Angeles), October 1984. Prédal, René, ‘‘L’usine aux maléfices,’’ in Avant-Scène du Cinéma (Paris), March 1985. *** ULMER DIRECTORS, 4 th EDITION 1008 Edgar Ulmer (fourth from left) with Bela Lugosi (from left), Jacqueline Wells, Harry Cording, and John Mescall on the set of The Black Cat The films of Edgar G. Ulmer have generally been classified as ‘‘B’’ pictures. However, it might be more appropriate to reclassify some of these films as ‘‘Z’’ pictures. On an average, Ulmer’s pictures were filmed on a six-day shooting schedule with budgets as small as $20,000. He often worked without a decent script, adequate sets, or convincing actors. But these hardships did not prevent Ulmer from creating an individual style within his films. Part of the look of Ulmer’s films was, naturally, a result of their meager budgets. The cast was kept to a minimum., the sets were few and simple, and stock footage helped to keep costs down (even when it did not quite match the rest of the film). The length of the scripts was also kept to a minimum. Most of Ulmer’s films ran only 60 to 70 minutes, and it was not uncommon for his pictures to open upon characters who were not formally introduced. Ulmer often plunged his audience into the middle of the action, which would add to their suspense as the story finally did unfold. Characters in Ulmer’s films commonly found themselves in strange and distant surroundings. This plight is especially true for the title character of The Man from Planet X. This curious being is stranded on earth (which from his point of view is an alien world) and is at the mercy of the strangers around him. In another example, the Allisons, a young couple on their honeymoon in The Black Cat, find themselves trapped in the futuristic home of the bizarre Mr. Poelzig. They are held against their will with all avenues of escape blocked off. Many of Ulmer’s characters find that they are prisoners. Some of them are innocent, but many times they live in prisons of their own making. Another theme that is prevalent in Ulmer’s films is fate. His characters rarely have control over their own destiny, an idea verbal- ized by Al Roberts in Detour, who says, ‘‘whichever way you turn, Fate sticks out its foot to trip you.’’ In The Amazing Transparent Man, a scientist who has been forced to work against his will on experi- ments with nuclear material explains that he ‘‘didn’t do anything by choice.’’ The Allisons in The Black Cat have no control over their destiny, either—their fate will be determined by the outcome of a game of chess. In most cases the characters in Ulmer’s films find themselves swept away in a series of circumstances that they are unable to stop. The critical recognition of Ulmer’s work has been a fairly recent ‘‘discovery.’’ Initial reviews of Ulmer’s films (and not all of his films received reviews) were far from complimentary. Part of the reason for their dismissal may have been their exploitative nature. Titles like VADIMDIRECTORS, 4 th EDITION 1009 Girls in Chains and Babes in Bagdad could conceivably have some difficulty finding a respectable niche in the film world. Taken as a whole, however, the work of Edgar Ulmer reveals a personal vision that is, at the very least, different and distinctive from the mainstream of film directors. —Linda Obalil VADIM, Roger Nationality: French. Born: Roger Vadim Plemiannikov in Paris, 26 January 1928. Education: Educated in political science; studied acting with Charles Dullin. Family: Married 1) Brigitte Bardot, 1952 (divorced); 2) Annette Stroyberg, 1958 (divorced), one child; child by Catherine Deneuve; 3) Jane Fonda, 1967 (divorced); 4) Catherine Schneider, 1975 (divorced), one child; 5) Marie-Christine Barrault, 1990. Career: Stage actor, 1944–47; assistant to Marc Allégret on Juliette, 1953, and others; journalist for Paris-Match, and TV direc- tor, early 1950s; directed first film, Et . . . Dieu créa la femme, 1956. Died: 11 February, 2000, in Paris, France, of cancer. Films as Director: 1956 Et . . . Dieu créa la femme (And . . . God Created Woman) (+ co-sc) 1957 Sait-on jamais? (No Sun in Venice) (+ sc) 1958 Les Bijoutiers du clair de lune (Heaven Fell That Night; The Night That Heaven Fell) (+ co-sc) 1959 Les Liaisons dangereuses (+ co-sc) 1960 Et mourir de plaisir (Blood and Roses) (+ co-sc) 1961 La Bride sur le cou (Please, Not Now!) (co-d, uncredited, co-sc) 1962 ‘‘L’Orgueil’’ (Pride) episode of Les Sept Pechées capitaux (Seven Deadly Sins) (+ co-sc); Le Repos du guerrier (Warrior’s Rest; Love on a Pillow) (+ co-sc) 1963 Le Vice et la vertu (Vice and Virtue) (+ co-sc, pr); Chateau en Suede (Nutty, Naughty Chateau) (+ co-sc) 1964 La Ronde (Circle of Love) (+ co-sc, co-adapt) 1966 La Curée (The Game Is Over) (+ co-sc, pr) 1968 ‘‘Metzengerstein’’ episode of Histoires extraordinaires (Spirits of the Dead) (+ co-sc); Barbarella (+ co-sc) 1971 Pretty Maids All in a Row 1972 Hellé (+ story) 1973 Don Juan 1973 ou si Don Juan était une femme (Ms. Don Juan; Don Juan, or If Don Juan Were a Woman) (+ co-sc) 1974 La Jeune Fille assassinée (Charlotte) (+ pr, sc, role) 1976 Une Femme fidèle (+ co-sc) 1979 Night Games 1980 The Hot Touch 1981 Art of Deceit 1983 Surprise Party 1983 Come Back 1987 And God Created Woman 1991 Le Fou amoureaux (+ sc) 1996 La Nouvelle tribu (series for TV) (+ sc); Mon père avait raison Roger Vadim Publications By VADIM: books— Les Liaisons dangereuses, with Roger Vailland and Claude Brulé, New York, 1962. Memoirs of the Devil, New York, 1976. The Hungry Angel, New York, 1984. Bardot, Deneuve and Fonda: The Memoirs of Roger Vadim, Lon- don, 1986. By VADIM: articles— ‘‘Pretty Maids,’’ in Playboy (Chicago), April 1971. ‘‘Meeting the Gallic Svengali,’’ an interview with M. Rosen, in Millimeter (New York), October 1975. ‘‘So Who Created Vadim?,’’ an interview with Marc Mancini, in Film Criticism (Meadville, Pennsylvania), vol. 24, no. 2, 1988. On VADIM: books— Carpozi, George Jr., The Brigitte Bardot Story, New York, 1961. de Beauvoir, Simone, Brigitte Bardot and the Lolita Syndrome, London, 1961. Frydland, Maurice, Roger Vadim, Paris, 1963. VANDERBEEK DIRECTORS, 4 th EDITION 1010 On VADIM: articles— Mardore, Michel, ‘‘Roger Vadim,’’ in Premier Plan (Lyon), Octo- ber 1959. Burch, No?l, ‘‘Qu’est-ce que la Nouvelle Vague?,’’ in Film Quar- terly (Berkeley), Winter 1959. Billard, G., ‘‘Ban on Vadim,’’ in Films and Filming (London), November 1959. Maben, A., ‘‘Vadim and Zola,’’ in Films and Filming (London), October 1966. Beylie, Claude, ‘‘Quatre de la forfanterie,’’ in Ecran, October 1975. Obituary, in Maclean’s, 21 February 2000. Obituary, in Newsweek, 21 February 2000. *** With Et . . . Dieu créa la femme Roger Vadim created the commercial climate which made the nouvelle vague possible. Despite this, his reputation as director has always lagged behind that as a connoisseur of the beautiful women who inhabit his films. His relationships with Brigitte Bardot, Annette Stroyberg, Catherine Deneuve, Jane Fonda, and others established him, in English-speak- ing countries at least, as the archetypal ‘‘French’’ director. The American retitling of Le Repos du guerrier as Love on a Pillow, and Chateau en Suede as Nutty, Naughty Chateau, glumly emphasizes his raffish image. Vadim claims in his fanciful autobiography that a prostitute provided by producer Raoul Levy to relieve the tedium of screenwriting furnished him with rationale for Bardot’s character in Et . . . Dieu créa la femme—unselfishness. ‘‘If she’s not interested in money, people won’t think she’s a whore.’’ This motive recurs in Vadim’s work, where generous, warm-hearted, and sensual women lavish their favors on indifferent, often evil love objects. Fulfillment comes only with death. In La Jeune Fille assassiné, Vadim even makes death in the throes of orgasm the sole ambition of his heroine, and his first American film, Pretty Maids All in a Row, casts Rock Hudson as an improbable mass-murdering psychiatrist in a girls’ college. For an artist with a single subject, Vadim has proved remarkably imaginative. Sait-on jamais exploits Venice with style, the Modern Jazz Quartet’s chiming score harmonizing precisely with Vadim’s romantic thriller. His lesbian vampire melodrama, Et mourir de plaisir, is among the lushest of horror films, enlivened by a clever use of color and a surrealist dream sequence which reminds one that he knew Cocteau and acted in La Testament d’Orphée. Jane Fonda never looked more beautiful than in the incest drama La Curée, and in Barbarella he turned Jean-Claude Forest’s comic strip into something between Grand Guignol and an erotic tableau vivant. Even his lamentable American re-make of Et . . . Dieu créa la femme trans- formed Rebecca de Mornay from rural tart into temptress. Vadim is at his best in the high style, where the material encour- ages grand gestures. Bardot in Le Repos du guerrier standing like the Winged Victory in a ruined church, face turned into a torrent of wind; Stroyberg in an eighteenth-century white gown gliding through the cypresses of Hadrian’s Villa to Jean Prodromides’s score of harp and pizzicati strings in Et mourir de plaisir—these are images that briefly transcend the novelettish material from which they spring. —John Baxter VANDERBEEK, Stan Nationality: American. Born: New York City, 1927. Education: Studied painting. Family: Married, two children. Career: Began making collage-films, early 1960s; built dome-studio (‘‘The Movie- Drome’’) in Stony Point, New York, mid-1960s; university lecturer and teacher, from mid-1960s; worked at Bell Telephone Laboratory, Murray Hill, New Jersey, on experiments in computer graphics, late 1960s. Awards: First Prize in Animation, Bergamo Festival, for Mankinda, 1960. Died: 19 September 1984. Films as Director: 1957 What Who How; Mankinda; Astral Man 1957–58 One and Yet 1958 Ala Mode; Wheeeeels No.1; Visioniii 1959 Wheeeeels No. 2; Dance of the Looney Spoons; Science Friction; Achoo Mr. Keroochev; Street Meat (documen- tary, not completed) 1960 Skullduggery; Blacks and Whites in Days and Nights 1961 Snapshots of the City 1961–62 Misc. Happenings (documentaries of Claus Oldenberg happenings); Summit 1964 Breathdeath; Phenomenon No.1 1965 The Human Face Is a Monument; Variations No.5; Feedback 1966 Poem Field No.2 1967 See, Saw, Seems; Poem Field No.1; Man and His World; Panels for the Walls of the World; Poem Field No.5; Free Fall; Spherical Space No.1; The History of Motion in Motion; T.V. Interview; Poem Field No.7 1968 Newsreel of Dreams No.1; Vanderbeekiana; Oh; Super-Impo- sition; Will 1968–70 Found Film No.1 1969 Newsreel of Dreams No.2 1970 Film Form No.1; Film Form No.2; Transforms 1972 Symmetricks; Videospace; Who Ho Ray No.1; You Do, I Do, We Do 1973 Computer Generation 1977 Color Fields 1978 Euclidean Illusions 1980 Mirrored Reason; Plato’s Cave Inn; Dreaming 1981 After Laughter Publications By VANDERBEEK: articles— ‘‘On Science Friction,’’ in Film Culture (New York), Summer 1961. ‘‘The Cinema Delimina: Films from the Underground,’’ in Film Quarterly (Berkeley), Summer 1961. ‘‘If the Actor Is the Audience,’’ in Film Culture (New York), Spring 1962. ‘‘Antidotes for Poisoned Movies,’’ in Film Culture (New York), Summer 1962. ‘‘Simple Syllogism,’’ in Film Culture (New York), no. 29, 1963. ‘‘Interview: Chapter One,’’ in Film Culture (New York), no. 35, 1964/65. VAN DORMAELDIRECTORS, 4 th EDITION 1011 ‘‘Compound Entendre,’’ in Film: A Montage of Theories, edited by Richard MacCann, New York, 1966. ‘‘Culture: Intercom and Expanded Cinema,’’ in Film Culture (New York), Spring 1966. ‘‘Re: Vision,’’ in American Scholar (Washington, D.C.), Spring 1966. ‘‘Disposable Art—Synthetic Media—and Artificial Intelligence,’’ in Take One (Montreal), January/February 1969. ‘‘Re Computerized Graphics,’’ in Film Culture (New York), no. 48–49, 1970. ‘‘Media (W)rap-around: Or a Man with No Close,’’ in Filmmakers Newsletter (Ward Hill, Massachusetts), March 1971. ‘‘Social-Imagistics: What the Future May Hold,’’ in American Film Institute Report (Washington, D.C.), May 1973. ‘‘Animation Retrospective,’’ in Film Comment (New York), Septem- ber/October 1977. On VANDERBEEK: book— Hanhardt, John, and others, A History of the American Avant-Garde, exhibition catalogue, The American Federation of Arts, New York, 1976. On VANDERBEEK: articles— Christgau, Robert, ‘‘Vanderbeek: Master of Animation,’’ in Popular Photography (Boulder, Colorado), September 1965. Manica, A., and W. Van Dyke, ‘‘Four Artists as Filmmakers,’’ in Art in America (New York), January 1967. ‘‘New Talent: the Computer,’’ in Art in America (New York), January 1970. Weiss, M.W., ‘‘VanDerBeek to Students: Take a High Risk,’’ in Journal of the University Film Association (Carbondale), Spring 1982. ‘‘Stan Vanderbeek Obituary,’’ in Film Comment (New York), Janu- ary/February 1985. *** As was typical with a great number of experimental filmmakers, Stan Vanderbeek studied painting before actually beginning his film production. Indeed, his earliest films are animated collage pieces which embody his background in graphics (e.g., Breathdeath). Vanderbeek’s career spanned about a third of a century, a period of almost constant creativity with extraordinary amalgamations of media. As such, it is a difficult career to summarize, especially in light of the fact that no definitive list of his truly countless productions seems to exist. Vanderbeek appeared to exude creations at a rate that escaped even his own cataloguing. Soon after Vanderbeek’s early animation work, he focused upon a unique multi-projection apparatus of his own design. This ‘‘Movie- Drome’’ (at Stony Point, New York) provided the presentation of a number of ‘‘Vortex-Concerts,’’ prototypes for a satellite-intercon- nected ‘‘Culture Intercom’’ that might allow better (and quicker) international communication. At the same time, he continued experi- ments with dance films, paintings, Polaroid photography, architec- ture, 195-degree cinematography, and intermedia events. Vanderbeek’s more recent explorations of computer-generated images and video graphics provide a clear contemporary perspective for his career. In addition, they signalled a technostructural metamor- phosis which marks the ongoing evolution of that major genre generally known as the ‘‘experimental film.’’ Experimental filmmakers of Vanderbeek’s prestige and prominence have, at times, found the fortune of industry support. In the late 1960s, Vanderbeek came to collaborate with such computer specialists as Ken Knowlton of New Jersey’s Bell Telephone Laboratories. The result was a number of cathode-ray-tube mosaics called Poem Fields. Today these early exercises with computer graphic possibilities still retain aesthetic power as transparent tapestries in electronic metamorphosis. Typi- cally brief, non-narrative and abstract, the various Poem Fields often reveal subtle, stunning mandala patterns, strikingly similar to classic Asian meditative devices with their symmetrical concentricity. Vanderbeek’s final projects also address electronically constructed imagery. Some of his work (such as Color Fields) employs the same interest in abstraction which characterized Poem Fields. Others (Mirrored Reason, made in video and released in film) are more representational and narrative. Still others (After Laughter) recall the rapidly paced irony that marked Breathdeath and other examples of Vanderbeek’s earliest animation. This noteworthy quantity, quality, and extraordinary technologi- cal diversity of output resulted in exceptional institutional support for Vanderbeek throughout the years. He was artist-in-residence at USC, Colgate, WGBH-TV, and NASA. His work was presented on CBS, ABC, and such CATV showcases as Night Flight. His performances outside the United States took him to such cities as Berlin, Vienna, Tokyo, Paris, and Toronto; he has been a U.S.I.A. speaker in nations like Israel, Iran, Turkey, Greece, and England. His grants and awards are equally numerous and prestigious, and his academic recognition provided Vanderbeek not only with guest lectures and screenings throughout the United States, but faculty appointments at such schools as Columbia, Washington, and M.I.T. —Edward S. Small VAN DORMAEL, Jaco Nationality: Belgian. Born: Ixelles, Belgium, 9 February 1957. Education: Studied film at I.N.S.A.S., Brussels, and Louis Lumière School, Paris. Family: Married Laurette Vankeerberghen; children: Alice, Juliette. Career: Worked as a mime and clown in Belgium’s ‘‘Big Flying Circus.’’ Awards: Student Academy Awards (USA), Honorary Foreign Film Award, for Maedeli la Breche, 1981; Camera d’Or and Young Cinema Award, Cannes Film Festival, Joseph Plateau Award for Best Belgian Director, Flanders International Film Festival, International Fantasy Film Awards for Best Film and Best Screenplay, Fantasporto, European Film Awards for Best Screenwriter and Best Young Film, Cesar Award (France) for Best Foreign Film, BAFTA (UK) Award for Best Film not in English language, all for Toto le Heros (Toto the Hero), 1991; Joseph Plateau Award, Flanders International Film Festival, for Le Huitieme Jour (The Eighth Day), 1996. Address: 1 Rue de l’Augette, 1330 Rixenart, Brussels, Belgium. Films as Director: 1980 Maedelia la Breche 1981 Stade 81 1982 L’Imitateur 1983 Sortie de Secours VAN SANT DIRECTORS, 4 th EDITION 1012 1984 E Pericoloso Sporgersi 1985 De Boot 1991 Toto le Heros (Toto the Hero) (+sc) 1995 Lumière and Company (contributing director in series of shorts) 1996 Le Huitieme Jour (The Eighth Day) (+sc) 1998 Spotlight on a Massacre: Ten Films against Land Mines (contributing director) Other Film: 1992 Sur la Terre Comme au Ciel (Between Heaven and Earth) (Hansel) (sc) Publications By VAN DOERMAL: books— The Eighth Day and Toto the Hero, New York, 1997. On VAN DOERMAL: articles— ‘‘Toto Adds up its Felix Victories,’’ in Hollywood Reporter, 5 January 1991 ‘‘Toto le Heros,’’ in Hollywood Reporter, 3 March 1992 ‘‘Getting It Half Right,’’ in Time, 3 June 1996 ‘‘The Eighth Day,’’ in Hollywood Reporter, 3 March 1997 *** There is an essence of joy in Belgian director Jaco Van Dormael’s films. His use of children and child-like characters is both skillful and subtle. The directorial talent displayed in his 1991 film Toto Le Heros brought abrupt international attention to his work. Van Dormael’s playfulness may relate to his experiences as a mime and clown for ‘‘The Big Flying Circus’’ in Belgium. Toto (who likens himself a hero, a savior of righteousness and a crusader for truth) is certain that he was switched at birth with the boy next door, Alfred. While young Toto suffers through a painful childhood, Alfred enjoys wealth, abundance, and happiness. The film moves effortlessly between the past (as Toto the Hero, a boyhood fantasy identity ) and present (as an elderly Toto, invoking this ‘‘secret agent’’ inside). Toto craves revenge and moves toward a resolution as he recounts the events of his miserable life. The film propelled Van Dormael into the international spotlight as both a writer and director. In the wake of this success, Van Dormael participated in the ambitious 1995 project Lumière and Company. This work is actually an anthology of very short works (on average 60–90 seconds) contributed by prominent film directors from all over the world. The magical element in this collection comes from the camera itself: each director used the original Lumière motion picture camera to make his film. At the same time, Van Dormael was at work writing his next major work. He wanted to make a more linear film than Toto le Heros, one which explored the world through the eyes of a man with Down’s syndrome. Le Huitieme Jour (The Eighth Day) accomplishes this with the chance meeting and bizarre interactions between Georges (played brilliantly by Pascal Duquenne)and Harry (an unhappy, divorced businessman portrayed by Daniel Auteuil). Van Dormael wanted to show those very human elements present in Georges which so-called ‘‘normal’’ people don’t have. Van Dormael’s interest in Mongols (as they are called throughout the film) stems from an interest in their ‘‘talent for life, for loving life, that we often lack.’’ He sought to explore the concept of two worlds (that of Georges and that of Harry) existing simultaneously and yet separately. Le Huitieme Jour begins with a delightfully surreal journey depicting God’s creation through the first seven days. We learn at the end of the film that the Eighth Day brought us Georges. What lies between is a well-photographed tale of friendship between two men who share adventures, joys, and sorrows over a period of several days. The film walks a fine line between poignant and parody. The film won several international awards, including dual Best Actor awards at the 1996 Cannes Film Festival for Daniel Auteuil and Pascal Duquenne. The two do share an amazing chemistry on screen, and while their performances merit recognition, Le Huitieme Jour relies heavily on conventions found in Hollywood films about the slow-witted. We see allusions to Rain Man, Of Mice and Men, and One Flew over the Cuckoo’s Nest used throughout; the images are charming, but they seem to detract from the originality of the story. Duquenne is a talented actor who has Down’s syndrome himself, and his charac- terization of Georges is stellar. Since Le Huitieme Jour, Van Dormael has participated in another collaborative piece in the style of Lumière and Company. Spotlight on a Massacre: Ten Films against Land Mines (1998) is a collection of short films that works as an anti-land mine campaign. Individual films in the piece focus on human suffering in the wake of such weapons and make a strong case against their perpetuation. Van Dormael has used his experiences as a clown to infuse his writing with a playful sensibility that is at once seductive and joyful. Yet his work as a director has continued to evolve in more serious ways as well. His work is of political and historical importance as much as it is a love poem to life. —Tammy Kinsey VAN SANT, Gus Nationality: American. Born: Louisville, Kentucky, 24 July 1952. Education: Studied painting, then switched emphasis to film, and graduated from the Rhode Island School of Design. Career: Began making films using a Super-8 camera, 1964; worked as an assistant to Roger Corman, and made commercials for a New York advertising agency, 1970s-80s; made numerous short films and his first indepen- dent feature, Mala Noche, mid-late 1980s; earned acclaim with the independent feature Drugstore Cowboy, 1989; worked on the pre- production of The Mayor of Castro Street, based on Randy Shilts’s book about the murdered gay rights activist/politician Harvey Milk, but left the project; directed video for the rock band Red Hot Chili Peppers. Awards: Berlin Film Festival Teddy-Best Short Film, for My New Friend, 1984; Los Angeles Film Critics Association Inde- pendent/Experimental Film or Video Award, for Mala Noche, 1985; Berlin Film Festival Teddy-Best Short Film, for Five Ways to Kill Yourself, 1987; Best Screenplay Independent Spirit Award, National VAN SANTDIRECTORS, 4 th EDITION 1013 Gus Van Sant Society of Film Critics Best Screenplay and Best Director, Los Angeles Film Critics Association Best Screenplay, New York Film Criticvs Circle Best Screenplay, Berlin Film Festival C.I.C.A.E. Award, for Drugstore Cowboy, 1989 Best Screenplay Independent Spirit Award, Deauville Film Festival Critics Award, for My Own Private Idaho, 1991; Oberhausen International Short Film Festival FICC Prize-Honorable Mention, Seattle International Film Festival Golden Space Needle Award, for Ballad of the Skeletons, 1996. Films as Director: 1984 My New Friend (short) 1985 Mala Noche (+ pr, sc, ed) 1986 Switzerland (short) 1987 Five Ways to Kill Yourself (short); Ken Gets out of Jail (short) 1988 Junior (short) 1989 Drugstore Cowboy (+ co-sc) 1991 My Own Private Idaho (+ sc) 1994 Even Cowgirls Get the Blues (+ sc, exec pr, ed) 1995 To Die For 1996 Ballad of the Skeletons (short) 1997 Good Will Hunting (+ sound re-recording mixer) 1998 Psycho (+ co-pr, ro) 2000 Finding Forrester; Don’t Worry, He Won’t Get Far on Foot; Brokeback Mountain (+ pr) Other Films: 1995 Kids (Clark) (co-exec-pr) 1999 Speedway Junkie (Perry) (exec pr) Publications By VAN SANT: books— Even Cowgirls Get the Blues/My Own Private Idaho/2 Screenplays in 1 Volume, New York, 1994. Pink: A Novel, New York, 1997. VAN SANT DIRECTORS, 4 th EDITION 1014 By VAN SANT: articles— Interview with River Phoenix in Interview (New York), March 1991. ‘‘Inside Outsider Gus Van Sant,’’ an interview with Adam Block and David Ehrenstein, in Advocate (Los Angeles), 24 September 1991. Interview in Film Threat (Beverly Hills), November 1991. ‘‘Gay Film Vagen,’’ an interview with P. Loewe, in Chaplin (Stock- holm), vol. 33, no. 6, 1991/92. ‘‘My Director and I,’’ interview with R. Phoenix and G. Fuller, in Projections (London), no. 1, 1992. ‘‘Falstaff a Portland,’’ an interview with J. Aghed, in Positif (Paris), February 1992. ‘‘My Own Private Cinema,’’ an interview with C. Nevers and T. Jousse, in Cahiers du Cinéma (Paris), December 1992. ‘‘Fornedrelsens estetikk,’’ interview with F. Johnsen, in Film & Kino (Oslo), no. 2, 1993. ‘‘Gus Van Sant,’’ an interview with Gary Indiana, in Bomb (New York), Fall 1993. ‘‘Mobile Home,’’ an interview with M. Dargis, in Artforum (New York), November 1993. ‘‘Larry Clark, Shockmaker,’’ in Interview (New York), July 1995. ‘‘How Gus Van Sant Cooked up the Dark Comedy To Die For,’’ an interview with Desmond Ryan, in Knight-Ridder/Tribune News Service, 5 October 1995. ‘‘Van Sant does ‘Hunting,’’ interview with D. Noh, in Film Journal (New York), December 1997. ‘‘Uncle Gus,’’ interview with P. Powell, in Interview (New York), January 1998. ‘‘Lights, Camera, Oscars!,’’ interview with D. Ansen and C. Brown, in Newsweek (New York), 26 January 1998. ‘‘Hitch Up,’’ interview with P. Powell, in Interview (New York), December 1998. ‘‘Return to Bates Motel,’’ interview with Stephen Rebello, in Movieline (Los Angeles), December 1998. On VAN SANT: articles— Meyer, Thomas J., ‘‘Dropping in on the down and Out,’’ in New York Times Magazine, 15 September 1991. Loud, Lance, ‘‘Shakespeare in Black Leather,’’ in American Film (Hollywood), September/October 1991. Lyons, Donald, ‘‘Gus Van Sant: Lawless as a Snowflake, Simple as Grass,’’ in Film Comment (New York), September/October 1991. Gallagher, Lawrence J., ‘‘Life after Drugstore,’’ in Esquire (New York), October 1991. Handelman, David, ‘‘Gus Van Sant’s Northwest Passage,’’ in Rolling Stone (New York), 31 October 1991. Signorile, Michelangelo, ‘‘Absolutely Queer,’’ in Advocate (Los Angeles), 19 November 1991. Ostria, V., ‘‘Gus Van Sant, un cineaste de Portland,’’ in Cahiers du Cinéma (Paris), January 1992. Roth-Bettoni, D., ‘‘My Own Private Idaho,’’ in Revue du Cinéma (Paris), January 1992. Reynaud, B., ‘‘Gus Van Sant,’’ in Cahiers du Cinéma (Paris), December 1992. Block, A., ‘‘Perchance to Dream,’’ in Filmmaker (Los Angeles), vol. 2, no. 1, 1993. Golebiewska, M., ‘‘Van Santa,’’ in Kino (Warsaw), February/ March 1993. Campbell, V., ‘‘The Times of Gus Van Sant,’’ in Movieline (Los Angeles), October 1993. Schwager, J., ‘‘Back in the Saddle,’’ in Boxoffice (Chicago), Febru- ary 1994. Taubin, Amy, ‘‘Trials and Tribulations,’’ in Village Voice (New York), 24 May 1994. Caruso, G., ‘‘Il rapsodo di Portland,’’ in Cineforum (Bergamo, Italy), May 1997. Smith, R.J., ‘‘Has Gus Van Sant Gone Psycho?,’’ in New York Times, 29 November 1998. Svetkey, Benjamin, ‘‘Shower Power,’’ in Entertainment Weekly (New York), 4 December 1998. *** In the late 1980s, Gus Van Sant commenced establishing himself as one of America’s leading and most influential independent filmmakers. His films, often peopled with characters scuffling along on the fringes of American society, explore human feelings and frailties in often-understated fashion, and for the most part, Van Sant has proven himself a filmmaker with a deft touch. However, after the success of Drugstore Cowboy and My Own Private Idaho, some observers were concerned that Van Sant’s apparent predilection for examining the lives of society’s outcasts might blunt and ultimately limit his vision. The release of To Die For in 1995, however, did much to silence such voices. The wicked black comedy—a skillfully rendered and executed study of a woman obsessed with stardom— indicated that Van Sant’s body of work is in no danger of degenerat- ing into formula. Van Sant’s first works, created in the mid-1980s, were a series of short and experimental films. His initial feature, shot on a shoestring, was Mala Noche, the story of a gay man’s infatuation with an illegal immigrant. While these early films brought him a degree of critical attention, it was Drugstore Cowboy that established him as one of independent filmmaking’s most authoritative new voices. The film’s low-key tale of a pack of 1970s-era junkies in perpetual pursuit of drugs won near-unanimous accolades. Two years later Van Sant released My Own Private Idaho, another story of American misfits on the margins of society. The quirky film concerns two male street hustlers, Mike and Scott (played by River Phoenix and Keanu Reeves), who embark on a journey to find Mike’s long-lost mother. Together, Van Sant and Phoenix create a memora- ble portrait of Mike, a narcoleptic who longs for love. My Own Private Idaho, a bold, sometimes dreamlike tale, further cemented Van Sant’s reputation. In 1994, Van Sant released Even Cowgirls Get the Blues, a film based on Tom Robbins’s cult-classic book. Cowgirls was a mess in nearly every respect. A poorly executed and disappointing endeavor, it quickly disappeared from the nation’s cinema houses. Van Sant recovered nicely, though, with To Die For, an adaptation of a novel by Joyce Maynard. Blessed with an inspired performance by Nicole Kidman in the lead role, the film is a withering black comedy that aims venomous barbs at America’s television media and star-ob- sessed culture with deadly accuracy. Van Sant then scored big with Good Will Hunting, one of the smash hits of 1997. This wildly popular story of a bunch of working- class Boston buddies, one of whom is a certifiable genius, earned accolades for the filmmaker, an overdue Oscar for Robin Williams (playing a psychologist), and fire-hot Hollywood commodity status for co-stars/co-scripters Matt Damon and Ben Affleck. Even though VARDADIRECTORS, 4 th EDITION 1015 the film’s title character, in his alienation and outsider status, is a typical Van Sant hero, the conventional tone of Good Will Hunting made it the director’s most mainstream film to date. Unfortunately, his follow-up was a film that rivaled Even Cowgirls Get the Blues for its mediocrity: a needless and ill-advised scene-by-scene remake of Hitchcock’s Psycho. —Kevin Hillstrom, updated by Rob Edelman VARDA, Agnès Nationality: Belgian. Born: Brussels, 30 May 1928. Education: Studied literature and psychology at the Sorbonne, Paris; studied art history at the Ecole du Louvre; studied photography at night school. Family: Married director Jacques Demy, one son, one daughter. Career: Stage photographer for Theatre Festival of Avignon, then for Theatre National Populaire, Paris, Jean Vilar; directed first film, 1954; accompanied Chris Marker to China as advisor for Dimanche à Pekin, 1955; directed two shorts in U.S., 1968; founded production company Ciné-Tamaris, 1977. Awards: Prix Méliès for Cléo de 5 à 7, 1961; Bronze Lion, Venice Festival, for Salut les Cubains, 1964; Prix Louis Delluc, David Selznick Award, and Silver Bear, Berlin Festi- val, for Le Bonheur, 1966; First Prize, Oberhausen, for Black Pan- thers, 1968; Grand Prix, Taormina, for L’Une chante, l’autre pas, 1977; Cesar Award, for Ulysse, 1984; Golden Lion, Venice Festival, Prix Melies, and Best Foreign Film, Los Angeles Film Critics Agnes Varda Association, for Vagabond, 1985; Commander des Arts et des Lettres, Chevalier Legion d’honneur. Address: c/o Cine-Tamaris, 86 rue Daguerre, 75014 Paris, France. Films as Director: 1954 La Pointe courte (+ pr, sc) 1957 O saisons, o chateaux (doc short) 1958 L’Opéra-Mouffe (short); Du c?té de la C?te (short) 1961 Cléo de cinq à sept (+ sc) 1963 Salut les Cubains (Salute to Cuba) (+ text) (doc short) 1965 Le Bonheur (+ sc) 1966 Les Créatures 1967 Uncle Yanco; episode of Loin du Vietnam (Far from Vietnam) 1968 Black Panthers (Huey) (doc) 1969 Lion’s Love (+ pr) 1970 Nausicaa (for TV) 1975 Daguerrotypes (+ pr); Réponses de femmes (8mm) 1977 L’Une chante l’autre pas (One Sings, the Other Doesn’t) 1980 Mur Murs (Wall Walls; Mural Murals) (+ pr) 1981 Documenteur: An Emotion Picture (+ pr) 1983 Ulysse 1984 Les Dites cariatides; Sept P., Cuis., S. de B., . . . a saisir 1986 Vagabonde (Sans Toit ni loi,; Vagabond) 1988 Kung Fu Master (Don’t Say It); Jane B. par Agnès V. (doc) (appearance) 1991 Jacquot de Nantes (+ pr, sc) 1993 Des demoiselles ont en 25 ans (The Young Girls Turn 25) (doc) 1995 Les cent et une nuits (A Hundred and One Nights) (+ sc); L’universe de Jacques Demy (The World of Jacques Demy) (doc) 2000 Les Glaneurs et la glaneuse (Gleaners and I) (+ sc, ed, role as herself) Other Films: 1971 Last Tango in Paris (Bertolucci) (co-dialogue) 1978 Lady Oscar (Demy) (pr) Publications By VARDA: book— Varda par Agnès, Paris, 1994. By VARDA: articles— ‘‘Cleo de cinq à sept: Script Extract,’’ in Films and Filming (Lon- don), December 1962. ‘‘Pasolini—Varda—Allio—Sarris—Michelson,’’ in Film Culture (New York), Fall 1966. ‘‘Le Bonheur,’’ in Cinema (Beverly Hills), December 1966. VARDA DIRECTORS, 4 th EDITION 1016 ‘‘The Underground River,’’ an interview with Gordon Gow, in Films and Filming (London), March 1970. ‘‘Mother of the New Wave,’’ an interview with J. Levitin, in Women and Film (Santa Monica), vol. 1, no. 5–6, 1974. ‘‘L’Une chante, l’autre pas,’’ an interview with J. Narboni and others, in Cahiers du Cinéma (Paris), May 1977. ‘‘One Sings, the Other Doesn’t,’’ an interview with R. McCormick, in Cineaste (New York), Winter 1977/78. ‘‘Un cinéma plus ‘partageable’: Agnès Varda,’’ an interview with A. Tournés, in Jeune Cinéma (Paris), February 1982. Interview with J. Sabine, in Cinema Papers (Melbourne), Octo- ber 1982. ‘‘Un jour sous le soleil,’’ in Monthly Film Bulletin (London), Decem- ber 1985. Interview with Rob Edelman, in Cineaste (New York), vol. 15, no. 1, 1986. Interview with Barbara Quart, in Film Quarterly (Berkeley), Winter 1986/1987. Interview with F. Audé, in Positif (Paris), March 1988. ‘‘Vers le visage de Jacques,’’ in Cahiers du Cinéma (Paris), Decem- ber 1990. ‘‘Jacquot de Nantes. évocation d’une enfance heureuse,’’ an inter- view with C. Pelvaux, in 24 Images (Montreal), no. 55, Sum- mer 1991. ‘‘Agnès Varda: les cartes buissonières,’’ an interview with Jean Darrigol, in Mensuel du Cinéma, May 1994. ‘‘Agnès Varda: une jeune femme très digne,’’ an interview with Mario Cloutier and Johanne Larue, in Séquences (Haute-Ville), March-April 1995. ‘‘Restoration of the Umbrellas of Cherbourg,’’ an interview with Eric Rudolph, in American Cinematographer (Hollywood), Septem- ber 1996. On VARDA: books— Armes, Roy, French Cinema since 1946: Vol.2—The Personal Style, New York, 1966. Flitterman-Lewis, Sandy, To Desire Differently: Feminism and the French Cinema, Urbana, Illinois, 1990. Acker, Ally, Reel Women: Pioneers of the Cinema, 1896 to the Present, New York, 1991. Smith, Alison, Agnes Varda, Manchester, 1998. On VARDA: articles— Strick, Philip, ‘‘Agnès Varda,’’ in Film (London), Spring 1963. Pyros, J., ‘‘Notes on Women Directors,’’ in Take One (Montreal), November/December 1970. Roud, Richard, ‘‘The Left Bank Revisited,’’ in Sight and Sound (London), Summer 1977. Beylie, Claude, ‘‘Les Chardons ardents d’Agnès Varda,’’ in Ecran (Paris), 15 April 1979. Ranvaud, Don, ‘‘Travellers Tales,’’ in Monthly Film Bulletin (Lon- don), May 1986. Durgnat, Raymond, ‘‘Resnais & Co.: Back to the Avant-Garde,’’ in Monthly Film Bulletin (London), May 1987. Prédal, René, ‘‘Agnès Varda, une certaine idée de la marginalité,’’ in Jeune Cinéma (Paris), October/November 1987. Forbes, Jill, ‘‘Agnès Varda—The Gaze of the Medusa?,’’ in Sight and Sound (London), Spring 1989. Furlan, S., ‘‘Jacques de Nantes,’’ in Ekran (Paris), vol. 16, no. 4/5, 1991. Floret, M., and others, ‘‘Agnes par Varda,’’ in Jeune Cinéma (Paris), April/May 1992. Kelleher, E., ‘‘Director Varda’s Jacquot Recalls Spouse Demy,’’ in Film Journal (New York), May 1993. Meredyth Talton, Jana, ‘‘Agnes Varda: Ahead of the Avant-Garde,’’ in Ms. (New York), May/June 1993. Taboulay, Camille, ‘‘Agnès Varda la mélangeuse,’’ in Cahiers du Cinéma (Paris), April 1994. Naddaf, Roswitha, ‘‘Varda von A bis Z,’’ in Film-Dienst (Cologne), 10 May 1994. Film en Televisie + Video (Brussels), February 1996. Biro, Y., ‘‘Caryatids of Time: Temporality in the Cinema of Agnès Varda,’’ in Performing Arts Journal, no. 57, 1997. *** Agnès Varda’s startlingly individualistic films have earned her the title ‘‘grandmother of the New Wave’’ of French filmmaking. Her statement that a filmmaker must exercise as much freedom as a novelist became a mandate for New Wave directors, especially Chris Marker and Alain Resnais. Varda’s first film, La Pointe courte, edited by Resnais, is regarded, as Georges Sadoul affirms, as ‘‘the first film of the French nouvelle vague. Its interplay between con- science, emotions, and the real world make it a direct antecedent of Hiroshima, mon amour.‘‘ The use of doubling, and twin story lines; the personification of objects; the artistic determination of cinematic composition, color, texture, form, and time; and the correlation of individual subjectivity to societal objectivity to depict socio-political issues are denomina- tors of Varda’s films, which she writes, produces, and directs. After La Pointe courte Varda made three documentaries in 1957–58. The best of these was L’Opéra-Mouffe, portraying the Mouffetard district of Paris. Segments of the film are prefaced by handwritten intertitles, a literary element Varda is fond of using. In 1961–62, Varda began but did not complete two film projects: La Cocotte d’azur and Melangite. Her next film, Cléo de cinq à sept, records the time a pop singer waits for results of her exam for cancer. Varda used physical time in Cleo: events happening at the same tempo as they would in actual life. The film is divided into chapters, using Tarot cards which symbolize fate. Varda next photographed 4,000 still photos of Castro’s revolution-in-progress, resulting in Salute to Cuba. Le Bonheur is considered Varda’s most stunning and controversial achievement. Critics were puzzled and pleased. Of her first color film, Varda says it was ‘‘essentially a pursuit of the palette.... Psychology takes first place.’’ A young carpenter lives with his wife and children. Then he takes a mistress; when his wife drowns, his mistress takes her place. The film was commended for its superb visual beauties, the use of narrative in le nouveau roman literary pattern, and its tonal contrasts and spatial configurations. Critics continue to debate the film’s theme. Elsa is an essay portraying authors Elsa Triolet and her husband Louis Aragon. Les Créatures uses a black and white with red color VERHOEVENDIRECTORS, 4 th EDITION 1017 scheme in a fantasy-thriller utilizing an inside-outside plot that mingles real and unreal events. As in La Pointe courte, a young couple retreat to a rural locale. The pregnant wife is mute, due to an accident. Her husband is writing a book. He meets a recluse who operates a machine forcing people to behave as his or her subcon- scious would dictate. The wife gives birth, regaining her speech. Visiting the United States, Varda and her husband Jacques Demy each made a film. Varda honored her Uncle Janco in the film so named. The Black Panthers (or Huey) followed. Both documentaries were shown at the London Film Festival in 1968. She next directed a segment of the antiwar short Far from Vietnam. Using an American setting and an English-speaking cast, including the co-authors of the musical Hair, Varda made Lions Love in Hollywood. This jigsaw- puzzle work includes a fake suicide and images of a TV set reporting Robert Kennedy’s assassination. G. Roy Levin declared that it was hard to distinguish between the actual and the invented film realities. Nausicaa deals with Greeks living in France. Made for television, it was not shown, Varda says, because it was against military- ruled Greece. In 1971, Varda helped write the script for Last Tango in Paris. Varda’s involvement in the women’s movement began about 1972; a film dealing with feminist issues, Réponses de femmes, has yet to be shown. Made for German television, Daguerreotypes has no cast. Varda filmed the residents and shops of the Rue Daguerre, a tribute to L. J. M. Daguerre. In 1977, Varda made One Sings, the Other Doesn’t and estab- lished her own company, Ciné-Tamaris, to finance it. This ‘‘family’’ of workers created the film. Chronicling the friendship of two women over fifteen years, it earned mixed reviews, some referring to it as feminist propaganda or as sentimental syrup. But Varda, narrating the film and writing the song lyrics, does not impose her views. In One Sings, she wanted to portray the happiness of being a woman, she says. Easily Varda’s most potent film of the 1980s, and one of the best of her career, is Vagabond, an evocative drama about the death and life of a young woman, Mona (Sandrine Bonnaire). She is an ex- secretary who has chosen to become a drifter, and her fate is apparent at the outset. As the film begins, Mona has died. Her frost-bitten corpse is seen in a ditch. Her body is claimed by no one, and she is laid to rest in a potter’s field. As Vagabond unfolds, Varda explores Mona’s identity as she wanders through the rural French countryside hitching rides and begging for the necessities that will sustain her. The scenario also spotlights the manner in which she impacts on those she meets: truck drivers; a gas station owner and his son; a vineyard worker; a professor-researcher; and other, fellow drifters. Varda constructs the film as a series of sequences, some comprised of a single shot lasting several seconds, in which Mona passes through the lives of these people. The result is an eloquent film about one average, ill-fated young woman and the choices she makes, as well as a meditation on chance meetings and missed opportunities. On a much broader level, the film serves as an allegory of the travails a woman must face if she desires to completely liberate herself from the shackles of society. Varda’s most notable recent films have been valentines to her late husband, filmmaker Jacques Demy. The Young Girls Turn 25 is a nostalgia piece about the filming of Demy’s The Young Girls of Rochefort; The World of Jacques Demy is an up-close-and-personal documentary-biography consisting of interviews and clips from Demy’s films. A third title, Jacquot de Nantes, was the most widely seen. It is an exquisite film: a penetrating, heart-rending account of the measure of a man’s life, with Varda moving between sequences of Demy in conversation, filmed in extreme close-up; clips from his films; and a re-creation of his childhood in Nantes and the manner in which he developed a passion for cinema. Varda illustrates how Demy’s life and world view impacted on his films; for example, his hatred of violence, which is ever so apparent in his films, was forged by his memories of Nantes being bombed during World War II. But Jacquot de Nantes (which was conceived prior to Demy’s death) is most effective as a tender love letter from one life partner to another. Varda visually evokes her feeling towards her departed mate in one of the film’s opening shots. She pans her camera across a watercolor, whose composition is that of a nude woman and man who are holding hands. With over three decades of filmmaking experience, Varda’s reputa- tion as a filmmaker dazzles and endures. —Louise Heck-Rabi, updated by Rob Edelman VERHOEVEN, Paul Nationality: Dutch. Born: Amsterdam, Netherlands, 1938. Educa- tion: Ph.D. in mathematics and physics, University of Leiden. Military Service: Royal Dutch Navy. Career: Documentary and feature film writer and director. Awards: Best Foreign Language Film, Los Angeles Film Critics Association, for Soldier of Orange, 1979; Best Foreign Language Film, Los Angeles Film Critics, Inter- national Award, Toronto Film Festival, and Jury Prize, Avoriaz, for The Fourth Man, 1979. Agent: Marion Rosenberg, 8428 Melrose Place, Los Angeles, CA 90069, U.S.A. Films as Director: 1960 A Lizard Too Much (Een Hagedis Teveel) 1963 Let’s Have a Party (Feest) 1966 The Dutch Marine Corps (Hets Korps Mariniers) 1971 Business Is Business (Wat Zein Ik) 1973 Turkish Delight 1975 Cathy Tippel (Keejte Tippel) 1979 The Fourth Man (De Vierde Man); Soldier of Orange (+ sc) 1980 Spetters 1985 Flesh and Blood (+ sc) 1987 Robocop 1990 Total Recall 1992 Basic Instinct 1995 Showgirls 1997 Starship Troopers 2000 Hollow Man Publications By VERHOEVEN: book— Showgirls: Portrait of a Film, New Market Press, 1995. VERHOEVEN DIRECTORS, 4 th EDITION 1018 Paul Verhoeven By VERHOEVEN: articles— ‘‘On Dangerous Ground,’’ an interview with M. Valen, in Films and Filming (London), July-August 1990. ‘‘Sex Crimes: Divide and Conquer,’’ an interview with Steve Grant and Alex McGregor, in Time Out (London), 22 April 1992. ‘‘It’s Life, Jim . . .’’ an interview with Dominic Wells, in Time Out (London), 17–31 December 1997. On VERHOEVEN: books— Cowie, Peter, Dutch Cinema, London, 1979. Van Scheers, Rob, Paul Verhoeven, New York, 1997. On VERHOEVEN: articles— Cronenworth, Brian, ‘‘Man of Iron,’’ in American Film (Washington, D.C.), October 1987. Baron, David, ‘‘Total Director Recalls His Troubles at Home,’’ in Times-Picayune, 9 June 1990. Welkos, Robert W., ‘‘Director Trims Basic Instinct to Get R Rating,’’ in Los Angeles Times, 11 February 1992. Harrington, Richard, ‘‘Director Verhoeven Standing by the Films That Gays Bash,’’ in Washington Post, 20 March 1992. Fleming, Charles, ‘‘No Hardcore Instinct, Says Verhoeven,’’ in Variety (New York), 13 April 1992. ‘‘Special Issue,’’ Post Script (Commerce), Summer 1993. Bond, J., ‘‘Basil’s Battle of the Bugs,’’ in Film Score Monthly, no. 8, 1997. Kelleher, E., ‘‘Insects in Space,’’ in Film Journal (New York), September 1997. Persons, D., in Cinefantastique (Forest Park), no. 8, 1997. Williamson, D., ‘‘Starship Troopers,’’ in Cinefantastique (Forest Park), no. 8, 1997. Williamson, K., ‘‘War Path,’’ in Boxoffice (Chicago), November 1997. *** Paul Verhoeven, a director of international acclaim who has achieved both critical and commercial success, is also one of Holly- wood’s most controversial. His films, characterized stylistically by VERTOVDIRECTORS, 4 th EDITION 1019 his use of deep focus, Christian iconography, and sensuous mise en scène, are perhaps better known for their graphic representations of violence and sexuality. Verhoeven began his filmmaking career as a director of short subjects and, while serving with the Royal Dutch Navy, documenta- ries. After returning to civilian life, he continued to work with both fiction and documentary forms, expanding his scope to television. Though his first feature-length motion picture, Business Is Business (1971), was a commercial success, Verhoeven did not receive interna- tional attention until the release of his second feature, Turkish Delight (1973). Nominated for an Oscar for Best Foreign-Language Film by the Academy of Motion Picture Arts and Sciences, Turkish Delight not only established Verhoeven as a skilled director, it also began his association with films of explicit sexual content. He continued to receive international critical acclaim with the release of Soldier of Orange (1979), which was nominated for a Golden Globe Award and was named Best Foreign-Language Film by the Los Angeles Film Critics Association. Graphic acts of sex and violence were also integral to his two subsequent films: Spetters (1980), a film about teenage alienation in Holland; and The Fourth Man (1984), winner of the Los Angeles Film Critics Award for Best Foreign-Language Film, the Toronto Film Festival’s International Award, and the Jury Prize at Avoriaz. Controversy surrounding Verhoeven’s work became more heated with his move to the United States in 1986. His first American feature, Flesh and Blood, started a long-running battle between the director and Jack Valenti’s Motion Picture Association of America (MPAA) rating authority. Flesh and Blood’s brutal depictions of sixteenth- century battles and candid sex scenes began a battle over ratings that would continue through Verhoeven’s next three features. Considered one of the most violent films of 1987, Robocop, a post-modernist blend of science fiction, action-adventure, and the Western, is often viewed as a critique of corporate and consumer capitalism. Verhoeven’s subsequent film, Total Recall (1990), star- ring Arnold Schwarzenegger, is one of the most expensive feature films ever produced. The negative cost and worldwide marketing budget has been estimated to be over $100 million. Both these films were given the highly restrictive rating of ‘‘X’’—prohibited to viewers under the age of seventeen—due to what was judged to be excessive violence. The films were then re-edited to meet the require- ments of the ‘‘R’’ rating—under seventeen admitted with the accom- paniment of an adult. Perhaps the most controversial film of Verhoeven’s career is Basic Instinct, released in 1992. The story, with a $3 million script written by Joe Eszterhas, concerned a bi-sexual woman suspected of several murders who engages in a sexual relationship with the male police detective investigating the crimes. The MPAA again found Verhoeven’s work problematic on the grounds of both sex and violence. Basic Instinct was only the second release from a major studio to receive a rating of ‘‘NC-17’’—no children under seventeen admitted (the first was Henry and June, directed by Philip Kaufman). Like the X, which was abolished in 1990, an NC-17 rating threatens the economic viability of a motion picture at the box office. Many theaters refuse to screen the films, community presses and television stations may reject advertisements, and some video rental outlets will not carry films thus rated. Again, the film was cut to meet the standards of an R rating. In addition to the ratings controversy, the film was protested by several national gay and lesbian organizations for its stereotypical representations of lesbians and bi-sexuals. The film was criticized because, like many films of the period, it depicted sexual relations outside of the traditional heterosexual marriage as excessive and dangerous, linking homosexuality with violence. Verhoeven was reunited with the creative team behind the com- mercially successful Basic Instinct in 1995 with the production of Showgirls. It was a landmark film, as Verhoeven became the first director in the United States hired by a major motion picture studio to deliver a film without the obligation of achieving an R rating. Showgirls was released with an NC-17 rating and generated consider- able interest, but generally negative reviews. —Frances Gateward VERTOV, Dziga Nationality: Russian. Born: Denis Arkadievitch Kaufman in Byalistok, Poland (then annexed to Russia), 2 January 1896. Education: Studied at the music academy in Byalistok, Poland, 1912–15; also attended medical school in St. Petersburg/Petrograd, 1916–17. Family: Mar- ried Elizoveta Svilova. Career: Set up a lab for the study of sound while a student, 1915–17; adopted pseudonym ‘‘Dziga Vertov’’ (translates as ‘‘spinning top’’), and became editor and writer for newsreel section of Moscow Cinema Committee, 1917; directed first personal film and published Kinoks-Revolution Manifesto, 1919; organized film activities on government agit-steamboats and agit- trains, 1921; began developing theory of ‘‘Kino-Glaz’’ (Kino-Eye), 1922; worked on Kino-Pravda and Goskinokalender newsreel series, 1922–25; directed newsreel series Novostidnia, from 1947. Died: 1954. Films as Director: 1918–19 Kino-Nedelia (Weekly Reels) series, no. 1–43 (co-d; ac- cording to Sadoul, he did not take part in the production of nos. 38–42) 1919 Godovshchina revoliutsiya (Anniversary of the Revolution) (+ ed); Protsess Mironova (The Trial of Mironov); Vskrytie moschei Sergeia Radonezhskogo (Exhumation of the Remains of Sergius of Radonezh) 1920 Boi pod Tsaritsinom (Battle for Tsaritsin) (+ ed); Vserusski starets Kalinin (All Russian Elder Kalinin); Instruktorii Parokhod ‘‘Krasnaia Zvezda’’ (Instructional Steamer ‘‘Red Star’) 1921 Agitpoezd VTsIK (The VTIK Train; Agit-Train of the Central Committee) 1922 Istoriia grazhdenskoi voini (History of the Civil War) (+ ed); Protsess Eserov (Trial of the Social Revolutionaries); Univermag (Department Store) 1922–23 Kino-Pravda (Cinema-Truth; Film-Truth) series, nos. 1–23 1923–25 Goskinokalender series, nos. 1–53; Sevodiva (Today) 1924 Sovetskie igrushki (Soviet Toys); Iumoreski (Humoresques); Daesh vozkukh (Give Us Air); Khronika-molniya (News- reel-Lightning); Kino-glaz (Kino-Eye) 1925 Zagranichnii pokhod sudov Baltiiskogo flota kreisere ‘‘Au- rora’’ i uchebnogo sudna ‘‘Komsomolts,’’ August 8, 1925 (The Seventh Anniversary of the Red Army) VERTOV DIRECTORS, 4 th EDITION 1020 Dziga Vertov 1926 Shagai, Soviet! (Stride, Soviet!); Shestaya chast’ mira (A Sixth of the World) 1928 Odinnadtsatii (The Eleventh Year) 1929 Chelovek s kinoapparatom (The Man with a Movie Camera) 1931 Entuziazm: Simfoniia Donbassa (Enthusiasm: Symphony of the Don Basin) 1934 Tri pensi o Lenine (Three Songs of Lenin) 1937 Kolibel ‘naya (Lullaby) (+ narration); Pamyati Sergo Ordzhonikidze (In Memory of Sergo Ordzhonikidze); Sergo Ordzhonikidze (co-d) 1938 Slava Sovetskim Geroiniam (Famous Soviet Heroes); Tri geroini (Three Heroines) (+ co-sc) 1941 Krov’za krov’, smert’za smert’: slodeianiya Nemetsko- Fashistkih zakhvatchikov na territorii C.C.C.P. me ne zabudem (Blood for Blood, Death for Death); Soiuzkinozhurnal No. 77; Soiuzkinozhurnal No. 87 1943 Tebe, Front: Kazakhstan Front (For You at the Front: The Kazakhstan Front) 1944 V gorakh Ala-Tau (In the Mountains of Ala-Tau); Kliatva molodikh (Youth’s Oath; The Oath of Youth) 1944–54 Novosti dnia series (contributed various issues through 1954) Publications By VERTOV: books— Statii, dnevniki, zamysly, edited by S. Drobashenko, Moscow, 1966. Dsiga Wertow: aus den Tagebüchern, edited by Peter Konlechner and Peter Kubelka, Vienna, 1967. Articles, Journaux, Projets, edited and translated by Sylviane and Andrée Robel, Paris, 1972. Kino-Eye: The Writings of Dziga Vertov, edited by Annette Michelson, Berkeley, 1984. By VERTOV: articles— ‘‘Iz rabochikh tetradei Dziga Vertov,’’ in Iskusstvo Kino (Moscow), no. 4, 1957. ‘‘Vespominaiia o s’emkakh V.I. Lenin,’’ in Iz Istorii Kino (Moscow), no. 2, 1959. ‘‘Manuscrit sans titre,’’ translated by J. Aumont, in Cahiers du Cinéma (Paris), May/June 1970. VERTOVDIRECTORS, 4 th EDITION 1021 ‘‘Doklad na pervoi vsesoyuznoi . . . ,’’ in Iz Istorii Kino (Moscow), no. 8, 1971. Various articles in Film Comment (New York), Spring 1972. ‘‘From the Notebooks of Dziga Vertov,’’ translated by Marco Carynnyk, in Artforum (New York), March 1972. ‘‘Dak rodilsja i rasvivalsfa Kinoglaz,’’ in Iskusstvo Kino (Moscow), February 1986. On VERTOV: books— Bryher, Winnifred, Film Problems of Soviet Russia, Terrutent, Swit- zerland, 1929. Lozowick, Louis, Joseph Freeman, and Joshua Kunitz, Voices of October: Art and Literature in Soviet Russia, New York, 1930. Marshall, Herbert, Soviet Cinema, London, 1945. Dickinson, Thorold, and Catherine De La Roche, Soviet Cinema, London, 1948. Eisenstein, Sergei, Film Form, edited and translated by Jay Leyda, New York, 1949. Pudovkin, V.I., G. Alexandrov, and I. Piryev, Soviet Films: Principle Stages of Development, Bombay, India, 1951. Babitsky, Paul, and John Rimberg, The Soviet Film Industry, New York, 1955. Abramov, N.P., Dziga Vertov, Moscow, 1962; Lyons, 1965. Borokov, V., Dziga Vertov, Moscow, 1967. Geduld, Harry, editor, Film Makers on Filmmaking, Bloomington, Indiana, 1967. Issari, M. Ali, Cinéma Vérité, East Lansing, Michigan, 1971. Sadoul, Georges, Dziga Vertov, Paris, 1971. Barnouw, Erik, Documentary: A History of the Non-Fiction Film, New York, 1974. Kuleshov, Lev, Kuleshov on Film, translated and edited by Ronald Levaco, Berkeley, California, 1974. Feldman, Seth, Evolution of Style in the Early Work of Dziga Vertov, New York, 1977. Feldman, Seth R., Dziga Vertov: A Guide to References and Resources, Boston, 1979. Marshall, Herbert, Masters of the Soviet Cinema: Crippled Creative Biographies, London, 1983. Waugh, Thomas, editor, ‘‘Show Us Life’’: Toward a History and Aesthetics of the Committed Documentary, Metuchen, New Jer- sey, 1984. Petric, Vlad, Constructivism in Film: The Man with the Movie Camera: A Cinematic Analysis, Cambridge, 1987. On VERTOV: articles— Lenauer, Jean, ‘‘Vertov, His Work, and His Future,’’ in Close-Up (London), December 1929. Hughes, Pennethorne, ‘‘Vertov ad Absurdum,’’ in Close-Up (Lon- don), September 1932. Koster, Simon, ‘‘Dziga Vertov,’’ in Experimental Cinema (New York), no. 5, 1934. Vaughan, Dai, ‘‘The Man with the Movie Camera,’’ in Films and Filming (London), November 1960. Sadoul, Georges, ‘‘Actualité de Dziga Vertov,’’ in Cahiers du Cinéma (Paris), June 1963. Weinberg, Herman G., ‘‘The Man with the Movie Camera,’’ in Film Comment (New York), Fall 1966. Abramov, Nikolai, ‘‘Dziga Vertov, Poet and Writer of the Cinema,’’ in Soviet Film (Moscow), no. 11, 1968. Rotha, Paul, and Richard Griffith, in Documentary Film, New York, 1968. Giercke, Christopher, ‘‘Dziga Vertov,’’ in Afterimage (Rochester), April 1970. Brik, Osip, ‘‘The So-called ‘Formal Method,’’’ translated by Richard Sherwood, in Screen (London), Winter 1971/72. Bordwell, David, ‘‘Dziga Vertov: An Introduction,’’ in Film Com- ment (New York), Spring 1972. Michelson, Annette, ‘‘The Man with the Movie Camera: From Magician to Entomologist,’’ in Artforum (New York), March 1972. Enzensberger, Marsha, ‘‘Dziga Vertov,’’ in Screen (London), Win- ter 1972/73. Feldman, Seth, ‘‘Cinema Weekly and Cinema Truth: Dziga Vertov and the Leninist Proportion,’’ in Sight and Sound (London), Winter 1973/74. Brik, Osip, ‘‘Mayakovsky and the Literary Movements of 1917–30,’’ translated by Diana Matias, in Screen (London), Autumn 1974. Mayne, J., ‘‘Kino-truth and Kino-praxis: Vertov’s Man with a Movie Camera,’’ in Ciné-Tracts (Montreal), Summer 1977. Denkin, H., ‘‘Linguistic Models in Early Soviet Cinema,’’ in Cinema Journal (Evanston), Fall 1977. Fischer, L., ‘‘Enthusiasm: from Kino-eye to Radio-eye,’’ in Film Quarterly (Berkeley), Winter 1977/78. ‘‘Dziga Vertov,’’ in Travelling (Lausanne), Summer 1979. Rouch, Jean, ‘‘Five Faces of Vertov,’’ in Framework (Norwich, England), Autumn 1979. ‘‘Vertov Issue’’ of October (Cambridge, Massachusetts), Winter 1979. Petric, Vlad, ‘‘The Difficult Years of Dziga Vertov: Excerpts from His Diaries,’’ in Quarterly Review of Film Studies (New York), Winter 1982. Tesson, C., ‘‘L’homme sans limites,’’ in Cahiers du Cinéma (Paris), July-August 1987. *** Dziga Vertov, pioneer Soviet documentarian, was born Denis Arkadievitch Kaufman. He and two younger brothers, Mikhail and Boris, were sons of a librarian in the Polish city of Byalistok, which at the time was within the Tsarist empire. When World War I broke out, the parents took the family to what seemed the comparative safety of Petrograd (St. Petersburg was renamed to expunge the Germanic link). When the Bolshevik revolution began, Denis, who was twenty- one, and Mikhail, who was nineteen, became involved. Denis volun- teered to the cinema committee and became a newsreel worker. Soon he was editing footage of revolutionary upheaval and the struggles against American, British, French, and Japanese intervention forces. His hastily assembled reels went out as war reports and morale boosters. He became known as Dziga Vertov, a name that suggested a spinning top and a choice that was perhaps meant to convey perpetual motion. The newsreel, titled Kino-Nedelia (Film Weekly), VIDOR DIRECTORS, 4 th EDITION 1022 continued until the end of the hostilities in 1920. Vertov also used selected footage for the multi-reel Godovshchina revoliutsiva (Anni- versary of the Civil War) and other compilations. Vertov hoped to launch a more ambitious series of film reports on the building of a new society, but a period of frustration followed. A new economic policy, introduced as a temporary measure, permit- ted limited private enterprise to stimulate the prostrate economy. Cinemas, which were allowed to import foreign features, were soon filled with old American, German, French, and English films. An outraged Vertov turned into a polemicist, a writer of fiery manifestos. Addressing the film world, he wrote: ‘‘‘Art’ works of pre-revolution- ary days surround you like icons and still command your prayerful emotions. Foreign lands abet you in your confusion, sending into the new Russia the living corpses of movie dramas garbed in splendid technological dressing.’’ He tended to look on these films, and even on fiction films in general, as dangerous corrupting influences, another ‘‘opium of the people.’’ He urged producers to ‘‘come to life.’’ His vitriol won Vertov enemies in the film world, but he also had support in high places. Early in 1922 Lenin is said to have told his Commissar of Education, Anatoli Lunacharsky, ‘‘Of all the arts, for us film is the most important.’’ Lenin emphasized newsreels and proclaimed a ‘‘Leninist film-proportion’’: along with fiction, film programs should include material reflecting ‘‘Soviet reality.’’ All this enabled Vertov to launch, in May 1922, the famous Kino-Pravda (Film-Truth), which continued as an official monthly release until 1925. His wife, Elizoveta Svilova, became film editor. Mikhail Kaufman gave up a planned law career to become his brother’s chief cameraman. The Kino-Pravda group scorned prepared scenarios. Vertov out- lined ideas, but left wide latitude to Mikhail and other cameramen. Sallying forth with cameras, they caught moments when a Moscow trolley line, long defunct in torn-up streets, was finally put back into action. Army tanks, used as tractors, were seen leveling an area for an airport. They shot footage of the staff of a children’s hospital as it tried to save war-starved waifs. A travelling film team was seen arriving in a town, unpacking gear, and preparing an outdoor showing—of Kino- Pravda. The reels were always composed of ‘‘fragments of actual- ity,’’ but Vertov also put emphasis on their provocative juxtaposition. Superimpositions, split screens, slowed or speeded motion could play a part in this. If the fragments were ‘‘truths,’’ the manipulations were intended to bring out other ‘‘truths’’—relationships and meanings. For a time the Kino-Pravda releases were virtually the only item in cinema programs that touched the historic movement, and they therefore had a wide impact. Footage was from time to time reused in combination with new footage in feature documentaries. Among the most successful was Shestaya chast’ mira (One Sixth of the World), in which Vertov made impressive use of subtitles. Short, intermittent subtitles formed a continuing apostrophe addressing the people of the Soviet Union. ‘‘You in the small villages . . . You in the tundra . . . You on the ocean.’’ Having established, via footage and words, a vast geographic dispersion, the catalog turned to nationalities, ‘‘You Uzbeks . . . You Kalmiks.’’ Then it addressed occupations, age groups, sexes. The continuing sentence went on for minutes, then ended with, ‘‘You are the owners of one sixth of the world.’’ The incantation style, reminiscent of Walt Whitman—who was much admired by Vertov—continued throughout the film, projecting the destiny foreseen for the ‘‘owners.’’ To men and women with only a dim awareness of the scope and resources of their land, the film must indeed have been a prideful pageant. Vertov’s career gradually became clouded, especially in the Stalin years. His aversion to detailed scenarios, which he said were inappli- cable to reportage documentaries, marked him as ‘‘antiplanning.’’ He agreed to write ‘‘analyses’’ of what he had in mind, but his proposals were often rejected. Articulated social doctrine was increasingly mandatory; experiments in form were decried. Ironically, Vertov remains best known for one of his most experimental films, Chelovek s kinoapparatom (Man with a Movie Camera). Featuring Mikhail in action, and intended to demonstrate the role of the cameraman in showing ‘‘Soviet reality,’’ it also became an anthology of film devices and tricks. Eisenstein, usually a Vertov supporter, criticized it for ‘‘unmotivated camera mischief’’ and even ‘‘formalism.’’ During the following years Vertov and Kaufman worked in the Ukraine studios, apparently a reflection of disfavor in Moscow. But in the Ukraine Vertov created one of the most inventive of early sound films, Entuziazm: Simfoniia Donbassa (Enthusiasm: Symphony of the Don Basin), a virtuoso exploration of the possibilities of nonsynchronous sound. Another such exploration was the moving Tri pesni O Lenine (Three Songs about Lenin), which utilized the precious fragments of Lenin footage. But Vertov had lost standing. In his final years he was again a newsreel worker, arriving and leaving the job on schedule, no longer writing manifestos. Vertov’s ideas were, however, echoed in later years in cinéma vérité, the movement of the 1960s named after Vertov’s Kino- Pravda. The 1960s and 1970s saw an international revival of interest in Vertov. This revival included rehabilitation of his reputation in the Soviet Union, with retrospectives of his films, biographical works, and publication of selections from Vertov’s journals, manifestos, and other writings. —Erik Barnouw VIDOR, King Nationality: American. Born: King Wallis Vidor in Galveston, Texas, 8 February 1894. Education: Attended Peacock Military Academy, San Antonio, Texas. Family: Married 1) actress Florence Arto, 1915 (divorced 1924), one daughter; 2) actress Eleanor Boardman, 1926 (divorced 1932); 3) Elizabeth Hall, 1932 (died 1973). Career: Ticket-taker and part-time projectionist in Galveston’s first movie house, 1909–10; amateur newsreel photographer, 1910–15; drove to Hollywood in Model T, financed trip by shooting footage for Ford’s advertising newsreel, 1915; worked at various jobs in film industry, then directed first feature, The Turn in the Road, 1919; hired by 1st National, built studio called Vidor Village, 1920 (shut down, 1922); director for Goldwyn Studios, 1923, later absorbed by MGM; taught graduate course in cinema, University of California, Los Angeles, 1960s. Awards: Best Direction, Venice Festival, for Wedding Night, 1935; Special Prize, Edinburgh Festival, 1964; Honorary Academy Award, 1978. Died: Of heart failure, in California, 1 November 1982. VIDORDIRECTORS, 4 th EDITION 1023 King Vidor Films as Director: 1919 The Turn in the Road (+ sc); Better Times (+ sc); The Other Half (+ sc); Poor Relations (+ sc) 1920 The Jack Knife Man (+ pr, co-sc); The Family Honor (+ co-pr); 1921 The Sky Pilot; Love Never Dies (+ co-pr) 1922 Conquering the Woman (+ pr); Woman, Wake Up (+ pr); The Real Adventure (+ pr); Dusk to Dawn (+ pr) 1923 Peg-o-My-Heart; The Woman of Bronze; Three Wise Fools (+ co-sc) 1924 Wild Oranges (+ co-sc); Happiness; Wine of Youth; His Hour 1925 Wife of the Centaur; Proud Flesh; The Big Parade 1926 La Bohème (+ pr); Bardelys, The Magnificent (+ pr) 1928 The Crowd (+ co-sc); The Patsy; Show People 1929 Hallelujah 1930 Not So Dumb; Billy the Kid 1931 Street Scene; The Champ 1932 Bird of Paradise; Cynara 1933 Stranger’s Return 1934 Our Daily Bread (+ pr, co-sc) 1935 Wedding Night; So Red the Rose 1936 The Texas Rangers (+ pr, co-sc) 1937 Stella Dallas 1938 The Citadel (+ pr) 1940 Northwest Passage (+ pr); Comrade X (+ pr) 1941 H.M. Pulham, Esq. (+ pr, co-sc) 1944 American Romance (+ pr, co-sc) 1946 Duel in the Sun 1949 The Fountainhead; Beyond the Forest 1951 Lightning Strikes Twice 1952 Ruby Gentry (+ co-pr) 1955 Man without a Star 1956 War and Peace (+ co-sc) 1959 Solomon and Sheba Publications By VIDOR: books— A Tree Is a Tree, New York, 1953; reprinted 1977. King Vidor on Filmmaking, New York, 1972. King Vidor, an interview by Nancy Dowd and David Shepard, Metuchen, New Jersey, 1988. By VIDOR: articles— ‘‘Easy Steps to Success,’’ in Motion Picture Classic (New York), August 1919. ‘‘Credo,’’ in Variety (New York), January 1920. Interview with M. Cheatham, in Motion Picture Classic (New York), June 1928. ‘‘The Story Conference,’’ in Films in Review (New York), June/ July 1952. ‘‘Lillian Gish in Opera,’’ in Films and Filming (London), Janu- ary 1955. ‘‘The End of an Era,’’ in Films and Filming (London), March 1955. ‘‘Me . . . and My Spectacle,’’ in Films and Filming (London), October 1959. Interview with V. F. Perkins and Mark Shivas, in Movie (London), July/August 1963. ‘‘King Vidor at N.Y.U.,’’ an interview in Cineaste (New York), Spring 1968. ‘‘War, Wheat, and Steel,’’ an interview with J. Greenburg, in Sight and Sound (London), Autumn 1968. ‘‘King Vidor,’’ an interview with D. Lyons and G. O’Brien, in Inter/ View (New York), October 1972. Arts in Society, vol. 10, no. 2, Summer-Autumn, 1973. ‘‘King Vidor on D.W. Griffith’s Influence,’’ an interview with A. Nash, in Films in Review (New York), November 1975. ‘‘Mes dix années avec Charlie,’’ interview in Positif (Paris), no. 405, November 1994. On VIDOR: books— Brownlow, Kevin, The Parade’s Gone By . . . , New York, 1968. Higham, Charles, and Joel Greenberg, editors, The Celluloid Muse: Hollywood Directors Speak, London, 1969. Baxter, John, King Vidor, New York, 1976. Comuzio, Ermanno, King Vidor, Florence, 1986. Durgnat, Raymond, and Scott Simmon, King Vidor—American, Berkeley, 1988. Lang, Robert, American Film Melodrama: Griffith, Vidor, Minnelli, Princeton, New Jersey, 1989. Mulvey, Laura, Visual and Other Pleasures, London, 1989. VIDOR DIRECTORS, 4 th EDITION 1024 On VIDOR: articles— Harrington, C., ‘‘King Vidor’s Hollywood Progress,’’ in Sight and Sound (London), April/June 1953. Brownlow, Kevin, ‘‘King Vidor,’’ in Film (London), Winter 1962. Sarris, Andrew, ‘‘Second Line,’’ in Film Culture (New York), Spring 1963. ‘‘The Directors Choose the Best Films,’’ in Cinema (Beverly Hills), August/September 1963. Mitchell, G.J., ‘‘King Vidor,’’ in Films in Review (New York), March 1964. Higham, C., ‘‘King Vidor,’’ in Film Heritage (Dayton, Ohio), Summer 1966. ‘‘King Vidor at NYU: Discussion,’’ in Cineaste (New York), Spring 1968. Barr, C., ‘‘King Vidor,’’ in Brighton (London), March 1970. Luft, H.G., ‘‘A Career That Spans Half a Century,’’ in Film Journal (New York), Summer 1971. Higham, C., ‘‘Long Live Vidor, a Hollywood King,’’ in The New York Times, 3 September 1972. Durgnat, Raymond, ‘‘King Vidor,’’ in two parts, in Film Comment (New York), July/August and September/October 1973. ‘‘Vidor Issues’’ of Positif (Paris), September and November 1974. ‘‘Notre pain quotidien Issue’’ of Avant-Scène du Cinema (Paris), 1 May 1977. Dover, B., ‘‘Tribute to King Vidor,’’ in Films in Review (New York), June/July 1978. Lang, J., ‘‘Hommage à King Vidor,’’ in Cinéma (Paris), Novem- ber 1981. Carbonner, A., ‘‘King Vidor ou l’ambivalence du désir,’’ in Cinéma (Paris) December 1982. Luft, H.G., ‘‘King Vidor,’’ in Films in Review (New York), Decem- ber 1982. Allen, W., ‘‘King Vidor and The Crowd,’’ in Stills (London), Win- ter 1982. Eyman, S., ‘‘Remembering King Vidor,’’ in Films and Filming (London), January 1983. Kirkpatrick, S.D., ‘‘Hollywood Whodunit,’’ in American Film (Wash- ington D.C.), June 1986. Special issue, in Castoro Cinema (Firenze), no.122, 1986. Gillett, John, and Richard Combs, ‘‘King Vidor—Worth Overdo- ing!’’ in National Film Theatre Booklet (London), May 1991. Zamour, Fran?oise, ‘‘L’omniprésence de l’architecture chez King Vidor,’’ in CinémAction (Conde-sur-Noireau), no. 75, April 1995. *** King Vidor began work in Hollywood as a company clerk for Universal, submitting original scripts under the pseudonym Charles K. Wallis. (Universal employees weren’t allowed to submit original work to the studio.) Vidor eventually confessed his wrongdoing and was fired as a clerk, only to be rehired as a comedy writer. Within days, he lost this job as well when Universal discontinued comedy production. Vidor next worked as the director of a series of short dramatic films detailing the reform work of Salt Lake City Judge Willis Brown, a Father Flanagan-type. Vidor tried to parlay this experience into a job as a feature director with a major studio but was unsuccessful. He did manage, however, to find financial backing from nine doctors for his first feature, a picture with a Christian Science theme titled The Turn in the Road. Vidor spent the next year working on three more features for the newly christened Brentwood Company, including the comedy Better Times, starring his own discovery, Zasu Pitts. In 1920 Vidor accepted an offer from First National and a check for $75,000. He persuaded his father to sell his business in order that he might build and manage ‘‘Vidor Village,’’ a small studio that mirrored similar projects by Chaplin, Sennett, Griffith, Ince, and others. Vidor directed eight pictures at Vidor Village, but was forced to close down in 1922. The following year, he was hired by Louis B. Mayer at Metro to direct aging stage star Laurette Taylor in Peg-o- My-Heart. Soon after, he went to work for Samuel Goldywn, attracted by Goldywn’s artistic and literary aspirations. In 1924 Vidor returned to Metro as a result of a studio merger that resulted in MGM. He would continue to work there for the next 20 years, initially entrusted with molding the careers of rising stars John Gilbert and Eleanor Boardman, soon to be Vidor’s second wife. The Big Parade changed Vidor’s status from contract director to courted screen artist. Produced by Irving Thalberg, the film grew from a minor studio production into one of MGM’s two biggest hits of 1926, grossing $18 million. The Big Parade satisfied Vidor’s desire to make a picture with lasting value and extended exhibition. It was the first of three films he wanted to make on the topics of ‘‘wheat, steel, and war.’’ Vidor went on to direct Gilbert and Lillian Gish, a new studio acquisition, in La Bohème. Encouraged by the popularity of German films of the period and their concern with urban life, Vidor made The Crowd, ‘‘The Big Parade of peace.’’ It starred unknown actor James Murray, whose life would end in an alcoholic suicide. (Murray inspired one of Vidor’s later projects, an unproduced picture titled The Actor.) Like The Big Parade, The Crowd presented the reactions of an everyman, this time to the anonymity of the city and the rigors of urban survival. Vidor’s silent career then continued with two of Marion Davies’ comedies, The Patsy and Show People. His career extended into ‘‘talkies’’ with a third comedy, Not So Dumb. Though only moderately successful, Vidor became a favorite in William Randolph Hearst’s entourage. Vidor was in Europe when the industry announced its conversion to sound. He quickly returned to propose Hallelujah, with an all-black cast. Although considered a politically astute director for Hollywood, the film exposes Vidor’s political shortcomings in its paternalistic attitude toward blacks. With similar political naiveté, Vidor’s next great film, the pseudo-socialist agricultural drama Our Daily Bread, was derived from a Reader’s Digest article. By this point in his career, Vidor’s thematics were fairly intact. Informing most of his lasting work is the struggle of Man against Destiny and Nature. In his great silent pictures, The Big Parade and The Crowd, the hero wanders through an anonymous and malevolent environment, war-torn Europe and the American city, respectively. In his later sound films, The Citadel, Northwest Passage, Duel in the Sun,, and The Fountainhead various forms of industry operate as a vehicle of Man’s battle to subdue Nature. Unlike the optimism in the films of Ford and Capra, Vidor’s films follow a Job-like pattern in which victory comes, if at all, with a great deal of personal sacrifice. Underlying all of Vidor’s great work are the biblical resonances of a Christian Scientist, where Nature is ultimately independent from VIGODIRECTORS, 4 th EDITION 1025 and disinterested in Man, who always remains subordinate in the struggle against its forces. Following Our Daily Bread, Vidor continued to alternate between films that explored this personal thematic and projects seemingly less suited to his interests. In more than 50 features, Vidor worked for several producers, directing Wedding Night and Stella Dallas for Samuel Goldwyn; The Citadel, Northwest Passage, and Comrade X for MGM; Bird of Paradise, where he met his third wife Elizabeth Hill, and Duel in the Sun for David O. Selznick; The Fountainhead, Beyond the Forest, and Lightning Strikes Twice for Warner Brothers; and late in his career, War and Peace for Dino De Laurentiis. Vidor exercised more control on his films after Our Daily Bread, often serving as producer, but his projects continued to fluctuate between intense metaphysical drama and lightweight comedy and romance. In the 1950s Vidor’s only notable film was Ruby Gentry, and his filmmaking career ended on a less-than-praiseworthy note with Solomon and Sheba. In the 1960s he made two short documentaries, Truth and Illusion and Metaphor, about his friend Andrew Wyeth. Vidor wrote a highly praised autobiography in 1953, A Tree Is a Tree. In 1979 he received an honorary Oscar (he was nominated as best director five times). In the last years of his life, he was honored in his hometown of Galveston with an annual King Vidor film festival. —Michael Selig VIGO, Jean Nationality: French. Born: Paris, 26 April 1905, son of anarchist Miguel Alemreyda (Eugène Bonaventure de Vigo). Education: Attended a number of schools, including the Boys School of St. Cloud, until 1917; following death of father, attended boarding school in Nimes, under the name Jean Sales. Family: Married Elizabeth Lozinska, 1929, child: Luce. Father found dead under mysterious circumstances in jail cell, 1917; mother confined to a hospital, 1923. Career: Experienced health problems, entered clinic in Montpellier, then moved to Nice because of his tuberculosis, 1929; directed first film, A propos de Nice, 1930, then returned to live in Paris, 1932; Zéro de conduite removed from circulation by censors because of per- ceived ‘‘anti-France’’ content; became seriously ill with leukemia, 1933. Died: 5 October 1934. Film as Director: 1930 à propos de Nice 1931 Taris (Taris roi de l’eau; Jean Taris champion de natation) 1933 Zéro de conduite 1934 L’Atalante Publications By VIGO: books— The Complete Jean Vigo, London, 1983. Oeuvres de cinéma: Films, scénarios, projets de films, texts sur le cinéma, edited by Pierre Lherminier, Paris, 1985. On VIGO: books— Kyrou, Ado, Amour, érotisme et cinéma, Paris, 1957. Salès-Gomès, P.E., Jean Vigo, Paris, 1957; Los Angeles, 1971. Agel, Henri, Miroirs de L’insolite dans le cinéma fran?ais, Paris, 1958. Pornon, Charles, Le Rêve et le fantastique dans le cinéma fran?ais, Paris, 1959. Buache, Freddy, and others, editors, Hommage à Jean Vigo, Lausanne 1962. Lherminier, Pierre, Jean Vigo, Paria, 1967. Lovell, Alan, Anarchist Cinema, London, 1967. Martin, Marcel, Jean Vigo, Anthologie du Cinéma, vol. 2, Paris, 1967. Smith, John, Jean Vigo, New York, 1971. Simon, William G., The Films of Jean Vigo, Ann Arbor, Michi- gan, 1981. Andrew, Dudley, Film in the Aura of Art, Princeton, New Jer- sey, 1984. On VIGO: articles— Cavalcanti, Alberto, ‘‘Jean Vigo,’’ in Cinema Quarterly (Edinburgh), Winter 1935. Kracauer, Siegfried, ‘‘Jean Vigo,’’ in Hollywood Quarterly, April 1947. Weinberg, Herman G., ‘‘The Films of Jean Vigo,’’ in Cinema (Beverly Hills), July 1947. Agee, James, ‘‘Life and Work of Jean Vigo,’’ in Nation (New York), 12 July 1947. Zilzer, G., ‘‘Remembrances of Jean Vigo,’’ in Hollywood Quarterly, Winter 1947/48. ‘‘Vigo Issue’’ of Ciné-Club (Paris), February 1949. ‘‘Vigo Issue’’ of Positif (Lyon), no. 7, 1953. De Laurot, Edouard, and Jonas Mekas, ‘‘An Interview with Boris Kaufman,’’ in Film Culture (New York), Summer 1955. Salès-Gomès, P.E., ‘‘Le Mort de Jean Vigo,’’ in Cahiers du Cinéma (Paris), August/September 1955. Ashton, D.S., ‘‘Portrait of Vigo,’’ in Film (London), December 1955. Tranchant, Fran?ois, ‘‘Dossier Jean Vigo,’’ in Image et Son (Paris), October 1958. ‘‘Vigo Issue’’ of Premier Plan (Lyon), no. 19, 1961. Chevassu, Fran?ois, ‘‘Jean Vigo,’’ in Image et Son (Paris), Febru- ary 1961. Ellerby, John, ‘‘The Anarchism of Jean Vigo,’’ in Anarchy 6 (Lon- don), August 1961. ‘‘Vigo Issue’’ of études Cinématographiques (Paris), no. 1–52, 1966. Mills, B., ‘‘Anarchy, Surrealism, and Optimism in Zéro de conduite,’’ in Cinema (London), no. 8, 1971. Teush, B., ‘‘The Playground of Jean Vigo,’’ in Film Heritage (New York), Fall 1973. Special issue, in Castoro Cinema (Firenze), no. 64, 1979. Baldwin, D., L’Atalante and the Maturing of Jean Vigo,’’ in Film Quarterly (Berkeley), Fall 1985. Wood, Robin, ‘‘L’Atalante: The Limits of Liberation,’’ in CineAction! (Toronto), no. 10, 1987. Bierinckx, C., ‘‘Pioniere des schwarza frikanischen films,’’ in Film und Fernsehen (Berlin), vol. 16, no. 5, May 1988. Painlevé, J., ‘‘Sur un point de détail curieux à l’usage exclusif de vigolatres érudits,’’ in Jeune Cinéma (Paris), October/Novem- ber 1989. VISCONTI DIRECTORS, 4 th EDITION 1026 Thompson, David J., ‘‘L’Atalante,’’ in Sight and Sound (London), Summer 1990. Conomos, John, ‘‘Voyaging with Vigo on L’Atalante,’’ in Filmnews, vol. 21, no. 4, May 1991. Traser, M., ‘‘Jean Vigo,’’ in Filmkultura (Budapest), vol. 31, no. 9, September 1995. Temple, Michael, ‘‘Dreaming of Vigo,’’ in Sight and Sound (Lon- don), vol. 8, no. 11, November 1998. *** It is difficult to think of another director who made so few films and yet had such a profound influence on other filmmakers. Jean Vigo’s à propos de Nice, his first film, is his contribution to the French surrealist movement. The film itself is a direct descendant of Vertov’s Man with a Movie Camera. Certainly, his films make political statements similar to those seen in Vertov’s work. Vertov’s documentary celebrates a people’s revolution, while Vigo’s chastises the bourgeois vacationers in a French resort town. Even more importantly, both films revel in the pyrotechnics of the camera and the editing room. They are filled with dizzying movement, fast cutting, and the juxtaposition, from frame to frame, of objects that normally have little relation to each other. In yet another link between the two directors, Vertov’s brother photographed à propos de Nice, as well as Vigo’s other three films. à propos de Nice provides a look at a reality beyond the prosaic, common variety that so many films give us. The movie attempts nothing less than the restructuring of our perception of the world by presenting it to us not so much through a seamless, logical narrative, but rather through a fast-paced collection of only tangentially re- lated shots. After à propos de Nice, Vigo began combining his brand of surrealism with the poetic realism that would later be so important to a generation of French directors, such as Jean Renoir and Marcel Carné. For his second film, he made another documentary, Taris, about France’s champion swimmer. Here Vigo takes his camera underwater as Taris clowns at the bottom of a pool and blows at the lens. Taris certainly has some striking images, but it is only eleven minutes long. Indeed, if Vigo had died in 1931, after finishing Taris, instead of in 1934 (and given the constantly precarious state of his health, this would not have been at all unlikely), he would have been remembered, if at all, as a director who had shown great potential, yet who could hardly be considered a major talent. Vigo’s third film, however, secured his place in film history. Zéro de conduite stands out as one of the cinema’s most influential works. Along with films such as Sagan’s M?dchen in Uniform and Wyler’s These Three, it forms one of the more interesting and least studied genres of the 1930s—the children’s boarding school film. Although it is Vigo’s first fiction film, it continues the work he began with à propos de Nice. That first movie good-naturedly condemns the bourgeoisie, showing the rich as absolutely useless, their primary sin being banality rather than greed or cruelty. In Zéro de conduite, teachers, and not tourists, are the representatives of the bourgeoisie. But like the Nice vacationers, they are not so much malicious as they are simply inadequate; they instruct their schoolboys in nothing important and prize the school’s suffocating regulations above all else. Vigo lets the schoolboys rebel against this sort of mindless monotony. They engage in an apocalyptic pillow fight, and then bombard their teachers with fruit during a stately school ceremony. The film’s anarchic spirit led to its being banned in France until 1945. But during the 1950s, it became one of the inspirations for the French New Wave directors. In subject matter, it somewhat resembles Truffaut’s 400 Blows. But it is the film’s style—the mixture of classical Hollywood visuals with the dreamlike illogic of slow motion, fast action, and quick cutting—that particularly influenced a new generation of filmmakers. Vigo’s last film, L’Atalante, is his masterpiece. It is a love story that takes place on a barge, with Vigo once again combining surreal- ism with poetic realism. The settings are naturalistic and the charac- ters lower-class, and so bring to mind Renoir’s poetic realist films such as Toni and Les Bas-Fonds. There is also an emphasis on the imagination and on the near-sacredness of banal objects that places the film strongly in the tradition of such surrealist classics as Un Chien andalou. After Juliette leaves Jean, the barge captain, Jean jumps into the river and sees his wife’s image everywhere around him. The underwater sequence not only makes the viewer think of Taris, but also makes us aware that we are sharing Jean’s obsession with him. This dreamy visualization of a character’s thoughts brings to mind the priority that the surrealists gave to all mental processes. The surrealists prized, too, some of the more mundane aspects of everyday life, and Vigo’s film is full of ordinary objects that take on (for Juliette) a magical status. They are only puppets, or fans, or gramophones piled in a heap in the room of Père Jules, Jean’s old assistant, but Juliette has spent her entire life in a small town, and for her, these trinkets represent the mysteries of faraway places. They take on a special status, the banal being raised to the level of the exotic. Despite the movie’s links to two film movements, L’Atalante defies categorization. It is a masterpiece of mood and characteriza- tion, and, along with Zéro de conduite, it guarantees Vigo’s status as a great director. But he was not granted that status by the critical community until years after his death. Because of the vagaries of film exhibition and censorship, Vigo was little known while he was making films. He received nowhere near the acclaim given to his contemporaries Jean Renoir and René Clair. —Eric Smoodin VISCONTI, Luchino Nationality: Italian. Born: Count Don Luchino Visconti di Modrone in Milan, 2 November 1906. Education: Educated at private schools in Milan and Como; also attended boarding school of the Calasanzian Order, 1924–36. Military Service: Served in Reggimento Savoia Cavalleria, 1926–28. Career: Stage actor and set designer, 1928–29; moved to Paris, assistant to Jean Renoir, 1936–37; returned to Italy to assist Renoir on La Tosca, 1939; directed first film, Ossessione, 1942; directed first play, Cocteau’s Parenti terrible, Rome, 1945; directed first opera, La vestale, Milan, 1954; also ballet director, 1956–57. Awards: International Prize, Venice Festival, for La terra trema, 1948; 25th Anniversary Award, Cannes Festival, 1971. Died: 17 March 1976. VISCONTIDIRECTORS, 4 th EDITION 1027 Luchino Visconti Films as Director: 1942 Ossessione (+ co-sc) 1947 La terra trema (+ sc) 1951 Bellissima (+ co-sc); Appunti su un fatto di cronaca (second in series Documento mensile) 1953 ‘‘We, the Women’’ episode of Siamo donne (+ co-sc) 1954 Senso (+ co-sc) 1957 Le notti bianche (White Nights) (+ co-sc) 1960 Rocco e i suoi fratelli (Rocco and His Brothers) (+ co-sc) 1962 ‘‘Il lavoro (The Job)’’ episode of Boccaccio ‘70 (+ co-sc) 1963 Il gattopardo (The Leopard) (+ co-sc) 1965 Vaghe stelle dell’orsa (Of a Thousand Delights; Sandra) (+ co-sc) 1967 ‘‘Le strega bruciata viva’’ episode of Le streghe; Lo straniero (L’Etranger) (+ co-sc) 1969 La caduta degli dei (The Damned; G?tterd?mmerung) (+ co-sc) 1970 Alla ricerca di Tadzio 1971 Morte a Venezia (Death in Venice) (+ pr, co-sc) 1973 Ludwig (+ co-sc) 1974 Gruppo di famiglia in un interno (+ co-sc) 1976 L’innocente (The Innocent) (+ co-sc) Other Films: 1936 Les Bas-fonds (Renoir) (asst d) 1937 Une Partie de campagne (Renoir) (asst d) (released 1946) 1940 La Tosca (Renoir) (asst d) 1945 Giorni di gloria (De Santis) (asst d) Publications By VISCONTI: books— Senso, Bologna, 1955. Le notti bianche, Bologna, 1957. Rocco e i suoi fratelli, Bologna, 1961. Il gattopardo, Bologna, 1963. Vaghe stelle dell’orsa (Sandra), Bologna, 1965. Three Screenplays, New York, 1970. Morte a Venezia, Bologna, 1971. Il mio teatro, in two volumes, Bologna, 1979. By VISCONTI: articles— ‘‘Il cinéma antropomorfico,’’ in Cinema (Rome), 25 September 1943. ‘‘La terra trema,’’ in Bianco e Nero (Rome), March 1951. ‘‘Marcia nuziale,’’ in Cinema Nuovo (Turin), 1 May 1953. Interview with Jacques Doniol-Valcroze and Jean Domarchi, in Cahiers du Cinéma (Paris), March 1959. ‘‘The Miracle That Gave Men Crumbs,’’ in Films and Filming (London), January 1961. ‘‘Drama of Non-Existence,’’ in Cahiers du Cinéma in English (New York), no. 2, 1966. ‘‘Violence et passion,’’ special Visconti issue of Avant-Scène du Cinéma (Paris), June 1975. Interview with Peter Brunette, in Sight and Sound (London), Win- ter 1986/87. On VISCONTI: books— Pellizzari, Lorenzo, Luchino Visconti, Milan, 1960. Baldelli, Pio, I film di Luchino Visconti, Manduria, Italy, 1965. Guillaume, Yves, Visconti, Paris, 1966. Nowell-Smith, Geoffrey, Luchino Visconti, New York, 1968. Ferrero, Adelio, editor, Visconti: Il cinema, Modena, 1977. Tornabuoni, Lietta, editor, Album Visconti, foreward by Michelan- gelo Antonioni, Milan, 1978. Stirling, Monica, A Screen of Time: A Study of Luchino Visconti, New York, 1979. Servadio, Gaia, Luchino Visconti: A Biography, London, 1981. Bencivenni, Alessandro, Luchino Visconti, Florence, 1982. Tonetti, Claretta, Luchino Visconti, Boston, 1983. Ishaghpour, Youssef, Luchino Visconti: Le sens de l’image, Paris, 1984. Sanzio, Alain, and Paul-Louis Thirard, Luchino Visconti: Cinéaste, Paris, 1984. De Giusti, Luciano, I film di Luchino Visconti, Rome, 1985. Mancini, Elaine, Luchino Visconti: A Guide to References and Resources, Boston, 1986. Villien, Bruno, Visconti, Paris, 1986. Schifano, Laurence, Luchino Visconti: Les feux de la passion, Paris, 1987; published as Luchino Visconti: The Flames of Passion, London, 1990. VISCONTI DIRECTORS, 4 th EDITION 1028 On VISCONTI: articles— Renzi, Renzo, ‘‘Mitologia e contemplasione in Visconti, Ford e Eisenstein,’’ in Bianco e Nero (Rome), February 1949. Demonsablon, Philippe, ‘‘Notes sur Visconti,’’ in Cahiers du Cinéma (Paris), March 1954. Lane, John Francis, ‘‘The Hurricane Visconti,’’ in Films and Filming (London), December 1954. Castello, Giulio, ‘‘Luchino Visconti,’’ in Sight and Sound (London), Spring 1956. Lane, John Francis, ‘‘Visconti—The Last Decadent,’’ in Films and Filming (London), July 1956. Dyer, Peter John, ‘‘The Vision of Visconti,’’ in Film (London), March/April 1957. Poggi, Gianfranco, ‘‘Luchino Visconti and the Italian Cinema,’’ in Film Quarterly (Berkeley), Spring 1960. ‘‘Visconti Issue’’ of Premier Plan (Paris), May 1961. ‘‘Visconti Issue’’ of Etudes Cinématographiques (Paris), no. 26–27, 1963. Elsaesser, Thomas, ‘‘Luchino Visconti,’’ in Brighton (London), February 1970. ‘‘Visconti Issue’’ of Cinema (Rome), April 1970. Aristarco, Guido, ‘‘The Earth Still Trembles,’’ in Films and Filming (London), January 1971. Korte, Walter, ‘‘Marxism and Formalism in the Films of Luchino Visconti,’’ in Cinema Journal (Evanston, Illinois), Fall 1971. Cabourg, J., ‘‘Luchino Visconti, 1906–1976,’’ in Avant-Scène du Cinéma (Paris), 1 and 15 March 1977. Sarris, Andrew, ‘‘Luchino Visconti’s Legacy,’’ in The Village Voice (New York), 15 January 1979. Rosi, Francesco, ‘‘En travaillant avec Visconti: sur le tournage de La Terra trema,’’ in Positif (Paris), February 1979. Lyons, D., ‘‘Visconti’s Magnificient Obsessions,’’ in Film Comment (New York), March/April 1979. Special issue of Castoro Cinema (Firenze), no. 98, 1982. Graham, A., ‘‘The Phantom Self,’’ in Film Criticism (New York), Fall 1984. Gerosa, M., ‘‘Visconti e i suoi attori,’’ in Cinema Nuovo (Rome), vol. 36, no. 308–309, August-October 1987. Aristarco, Guido, ‘‘Luchino Visconti: Critic or Poet of Decadence?,’’ in Film Criticism (Meadville, Pennsylvania), Spring 1988. Filmcritica (Montepoulciano), vol. 42, no. 419, November 1991. Aristarco, G., ‘‘Der sp?te Visconti zuischen Wagner und Mann,’’ in Film und Fernsehen (Berlin), vol. 20, no. 5, October 1992. Schleifer, E., ‘‘Das Ende des ‘Flickerlteppichs,’’’ in Film-Dienst (Cologne), vol. 46, no. 6, 16 March 1993. Schneider, Roland, ‘‘Visconti ou la déviation esthétique,’’ in CinémAction (Conde-sur-Noireau), no. 70, January 1994. Bertellini, Giorgio, ‘‘A Battle d’arrière-garde: Notes on Decadence in Luchino Visconti’s Death in Venice,’’ in Film Quarterly (Berke- ley), vol. 50, no. 4, Summer 1997. Liandrat-Guiges, Suzanne, ‘‘Le corps à corps des images dans l’oeuvre de Visconti,’’ in Cinémas (Montreal), vol. 8, no. 1–2, Autumn 1996. *** The films of Luchino Visconti are among the most stylistically and intellectually influential of postwar Italian cinema. Born a scion of ancient nobility, Visconti integrated the most heterogeneous elements of aristocratic sensibility, and taste with a committed Marxist political consciousness, backed by a firm knowledge of Italian class structure. Stylistically, his career follows a trajectory from a uniquely cinematic realism to an operatic theatricalism, from the simple quotidian eloquence of modeled actuality to the heightened effect of lavishly appointed historical melodramas. His career fuses these interests into a mode of expression uniquely Viscontian, prescribing a potent, double-headed realism. Visconti turned out films steadily but rather slowly from 1942 to 1976. His obsessive care with narrative and filmic materials is apparent in the majority of his films. Whether or not we choose to view the wartime Ossessione as a precursor or a determinant of neorealism, or merely as a continua- tion of elements already present in Fascist period cinema, it is clear that the film remarkably applies a realist mise-en-scène to the formu- laic constraints of the genre film. With major emendations, the film is, following a then-contemporary interest in American fiction of the 1930s, a treatment (the second and best) of James M. Cain’s The Postman Always Rings Twice. In it the director begins to explore the potential of a long-take style, undoubtedly influenced by Jean Renoir, for whom Visconti had worked as assistant. Having met with the disapproval of the Fascist censors for its depiction of the shabbiness and desperation of Italian provincial life, Ossessione was banned from exhibition. For La terra trema, Visconti further developed those documenta- ry-like attributes of story and style generally associated with neorealism. Taken from Verga’s late nineteenth-century masterpiece I malavoglia, the film was shot entirely on location in Sicily and employed the people of the locale, speaking in their native dialect, as actors. Through them, Visconti explores the problems of class exploitation and the tragedy of family dissolution under economic pressure. Again, a mature long-shot/long-take style is coupled with diverse, extensive camera movements and well-planned actor movements to enhance the sense of a world faithfully captured in the multiplicity of its activities. The extant film was to have become the first episode of a trilogy on peasant life, but the other two parts were never filmed. Rocco e i suoi fratelli, however, made over a dozen years later, continues the story of this Sicilian family, or at least one very much like it. Newly arrived in Milan from the South, the Parandis must deal with the economic realities of their poverty as well as survive the sexual rivalries threatening the solidarity of their family unit. The film is episodic in nature, affording time to each brother’s story (in the original version), but special attention is given to Rocco, the forebear- ing and protective brother who strives at all costs to keep the group together, and Simone, the physically powerful and crudely brutal one, who is unable to control his personal fears, insecurities, and moral weakness. Unable to find other work, they both drift into prize fighting, viewed here as class exploitation. Jealousy over the prosti- tute Nadia causes Simone to turn his fists against his brother, then to murder the woman. But Rocco, impelled by strong traditional ties, would still act to save Simone from the police. Finally, the latter is betrayed to the law by Ciro, the fourth youngest and a factory worker who has managed to transfer some of his familial loyalty to a social plane and the labor union. Coming full circle from La terra trema, Luca, the youngest, dreams of a day when he will be able to return to the Southern place of his birth. Rocco is perhaps Visconti’s greatest contribution to modern tragedy, crafted along the lines of Arthur Miller and Tennessee Williams (whose plays he directed in Italy). The Viscontian tragedy is saturated with melodramatic intensity, a stylization incurring more than a suggestion of decadent sexuality and misogyny. There is also, as in other Visconti works, a rather von STERNBERGDIRECTORS, 4 th EDITION 1029 ambiguous intimation of homosexuality (here between Simone and his manager.) By Senso Visconti had achieved the maturity of style that would characterize his subsequent work. With encompassing camera movements—like the opening shot, which moves from the stage of an opera house across the audience, taking in each tier of seats where the protest against the Austrians will soon erupt—and with a melodra- matic rendering of historical fact, Visconti begins to mix cinematic realism with compositional elegance and lavish romanticism. Against the colorful background of the Risorgimento, he paints the betrayal by an Austrian lieutenant of his aristocratic Italian mistress who, in order to save him, has compromised the partisans. The love story parallels the approaching betrayal of the revolution by the bourgeois politi- cal powers. Like Gramsci, who often returned to the contradictions of the Risorgimento as a key to the social problems of the modern Italian state, Visconti explores that period once more in Il gattopardo, from the Lampedusa novel. An aristocratic Sicilian family undergoes transformation as a result of intermarriage with the middle-class at the same time that the Mezzogiorno is undergoing unification with the North. The bourgeoisie, now ready and able to take over from the dying aristocracy, usurps Garibaldi’s revolution; in this period of transformismo, the revolutionary process will be assimilated into the dominant political structure and defused. Still another film that focuses on the family unit as a barometer of history and changing society is La caduta degli dei. This treatment of a German munitions industry family (much like Krupp) and its decline into betrayal and murder in the interests of personal gain and the Nazi state intensifies and brings up-to-date an examination of the social questions of the last mentioned films. Here again a meticulous, mobile camera technique sets forth and stylistically typifies a deca- dent, death-surfeited culture. Vaghe stelle dell’orsa removes the critique of the family from the social to the psychoanalytic plane. While death or absence of the father and the presence of an uprising surrogate is a thematic consideration in several Visconti films, he here explores it in conjunc- tion with Freudian theory in this deliberate yet entirely transmuted re- telling of the Elektra myth. We are never completely aware of the extent of the relationship between Sandra and her brother, and the possibility of past incest remains distinct. Both despise their stepfa- ther Gilardini, whom they accuse of having seduced their mother and having denounced their father, a Jew, to the Fascists. Sandra’s love for and sense of solidarity with her brother follows upon a racial solidarity with her father and race, but Gianni’s love, on the other hand, is underpinned by a desire for his mother, transferred to Sandra. Nevertheless, dramatic confrontation propels the dialectical investi- gations of the individual’s position with respect to the social even in this, Visconti’s most densely psychoanalytic film. Three films marking a further removal from social themes and observation of the individual, all literary adaptations, are generally felt to be his weakest: Le notte bianche from Dostoevski’s White Nights sets a rather fanciful tale of a lonely man’s hopes to win over a despairing woman’s love against a decor that refutes, in its obvious, studio-bound staginess, Visconti’s concern with realism and material verisimilitude. The clear inadequacy of this Livornian setting, domi- nated by a footbridge upon which the two meet and the unusually claustrophobic spatiality that results, locate the world of individual romance severed from large social and historical concerns in an inert, artificial perspective that borders on the hallucinatory. He achieves similar results with location shooting in Lo straniero, where—despite alterations of the original Camus—he perfectly captures the difficult tensions and tones of individual alienation by utilizing the telephoto lens pervasively. Rather than provide a suitable Viscontian dramatic space rendered in depth, it reduces Mersault to the status of a Kafka- esque insect-man observed under a microscope. Finally, Morte a Venezia, based on the fiction of Thomas Mann, while among Visconti’s most formally beautiful productions, is one of his least critically successful. The baroque elaboration of mise-en-scène and camera work does not rise above self-pity and self-indulgence, and is cut off from social context irretrievably. —Joel Kanoff von STERNBERG, Josef Nationality: Austrian. Born: Jonas Sternberg in Vienna, 19 May 1894. Education: Educated briefly at Jamaica High School, Queens, New York, returned to Vienna to finish education. Family: Married 1) Riza Royce, 1926 (divorced 1930); 2) Jeanne Annette McBride, 1943, two children. Career: Film patcher for World Film Co. in Fort Lee, New Jersey, 1911; joined U.S. Army Signal Corps to make training films, 1917; scenarist and assistant for several directors, 1918–24; attached ‘‘von’’ to his name at suggestion of actor Elliot Dexter, 1924; directed first film, The Salvation Hunters, then signed eight-picture contract with MGM (terminated after two abortive projects), 1925; directed The Sea Gull for Charlie Chaplin (Chaplin did not release it), 1926; director for Paramount, 1926–35; began collaboration with Marlene Dietrich on Der blaue Engel, made for UFA in Berlin, 1930; attempted to direct I, Claudius for Alexander Korda in England, 1937 (not completed); made documentary The Town for U.S. Office of War Information, 1941; taught class in film direction, University of Southern California, 1947. Awards: George Eastman House Medal of Honor, 1957; honorary member, Akademie der Künste, Berlin, 1960. Died: 22 December 1969. Films as Director: 1925 The Salvation Hunters (+ pr, sc); The Exquisite Sinner (+ co-sc) (remade by Phil Rosen); The Masked Bride (remade by Christy Cabanne) 1926 The Sea Gull (Woman of the Sea) (+ sc) 1927 Children of Divorce (d add’l scenes only); Underworld 1928 The Last Command (+ sc); The Drag Net; The Docks of New York 1929 The Case of Lena Smith; Thunderbolt 1930 Der blaue Engel (The Blue Angel); Morocco 1931 Dishonored; An American Tragedy 1932 Shanghai Express; Blonde Venus (+ co-sc); I Take This Woman 1934 The Scarlet Empress 1935 The Devil Is a Woman (+ co-ph); Crime and Punishment 1936 The King Steps Out 1939 Sergeant Madden; New York Cinderella (remade by Frank Borzage and W.S. Van Dyke) 1941 The Shanghai Gesture (+ co-sc) 1943–44 The Town 1946 Duel in the Sun (d several scenes only) von STERNBERG DIRECTORS, 4 th EDITION 1030 Josef von Sternberg and Marlene Dietrich on the set of Dishonored 1951 Macao (re-shot almost entirely by Nicholas Ray) 1953 Anatahan (The Saga of Anatahan) (+ sc, ph) 1957 Jet Pilot (completed 1950) Other Films: (partial list) 1919 The Mystery of the Yellow Room (asst d); By Divine Right (asst d, sc, ph); Vanity’s Price (asst d) Publications By von STERNBERG: books— Daughters of Vienna, free adaptation of stories by Karl Adolph, Vienna, 1922. Dokumentation, eine Darstellung, Mannheim, Germany, 1966. Fun in a Chinese Laundry, New York, 1965 The Blue Angel (screenplay), New York, 1968. By von STERNBERG: articles— Interview, in Motion Picture Classic (New York), May 1931. ‘‘On Life and Film,’’ in Films in Review (New York), October 1952. ‘‘More Light,’’ in Sight and Sound (London), Autumn 1955. ‘‘Acting in Film and Theater,’’ in Film Culture (New York), Win- ter 1955. Interview with D. Freppel and B. Tavernier, in Cinéma (Paris), March 1961. ‘‘A Taste for Celluloid,’’ in Films and Filming (London), July 1963. ‘‘The von Sternberg Principle,’’ in Esquire (New York), Octo- ber 1963. ‘‘Sternberg at 70,’’ with John Pankake, in Films in Review (New York), May 1964. Interview with Peter Bogdanovich, in Movie (London), Summer 1965. Interview with F. A. Macklin, in Film Heritage (Dayton, Ohio), Winter 1965–66. von STERNBERGDIRECTORS, 4 th EDITION 1031 ‘‘L’Ange bleu,’’ in Avant-Scène du Cinéma (Paris), March 1966. Interview with Kevin Brownlow, in Film (London), Spring 1966. On von STERNBERG: books— Harrington, Curtis, An Index to the Films of Josef von Sternberg, London, 1949. Sarris, Andrew, The Films of Josef von Sternberg, New York, 1966. Walker, Alexander, The Celluloid Sacrifice, New York, 1967. Weinberg, Herman G., Josef von Sternberg: A Critical Study, New York, 1967. Anthologie du cinéma, Vol. 6, Paris, 1971. Baxter, John, The Cinema of Josef von Sternberg, New York, 1971. Mérigeau, Pascal, Josef Von Sternberg, Paris, 1983. Studlar, Gaylyn, In the Realm of Pleasure: Von Sternberg, Dietrich, and the Masochistic Aesthetic, Urbana, Illinois, 1988. Zucker, Carole, The Idea of the Image: Josef von Sternberg’s Dietrich Films, Cranbury, New Jersey, 1988. Bowman, Barbara, Master Space: Film Images of Capra, Lubitsch, Sternberg, and Wyler, London, 1992. Baxter, Peter, Just Watch! Sternberg, Paramount, and America, London, 1993. Bogdanovich, Peter, interviewer, Who the Devil Made It, New York, 1997. On von STERNBERG: articles— Pringle, Henry, ‘‘Profile of Josef von Sternberg,’’ in the New Yorker, 28 March 1931. Harrington, Curtis, ‘‘Josef von Sternberg,’’ in Cahiers du Cinéma (Paris), October/November 1951. Labarthe, André, ‘‘Un metteur en scène baudelairien,’’ in Cahiers du Cinéma (Paris), April 1956. Weinberg, Herman G., ‘‘The Lost Films, Part 1,’’ in Sight and Sound (London), August 1962. Smith, Jack, ‘‘A Belated Appreciation of von Sternberg,’’ in Film Culture (New York), Winter 1963/64. Green, O.O., ‘‘Six Films of Josef von Sternberg,’’ in Movie (London), no. 13, 1965. Weinberg, Herman G., ‘‘Sternberg and Stroheim—Letter,’’ in Sight and Sound (London), Winter 1965/66. Kyrou, Ado, ‘‘Sternberg, avant, pendant, après Marlene,’’ in Positif (Paris), May 1966. Camper, Fred, ‘‘Essays on Film Style,’’ in Cinema (London), no. 8, 1971. Flinn, T., ‘‘Joe, Where Are You?,’’ in Velvet Light Trap (Madison, Wisconsin), Fall 1972. Rheuban, Joyce, ‘‘Josef von Sternberg: The Scientist and the Vamp,’’ in Sight and Sound (London), Autumn 1973. Gow, Gordon, ‘‘Alchemy: Dietrich and Sternberg,’’ in Films and Filming (London), June 1974. Wood, Robin, ‘‘Sternberg’s Empress: The Play of Light and Shade,’’ in Film Comment (New York), March/April 1975. Willis, D., ‘‘Sternberg: The Context of Passion,’’ in Sight and Sound (London), Spring 1978. Articles from Ciné-Magazine reprinted in Avant-Scène du Ciné (Paris), 15 March 1980. Luft, Herbert, ‘‘Josef von Sternberg,’’ in Films in Review (New York), January 1981. Magny, Joel, ‘‘Josef von Sternberg: la lumière du désir,’’ in Cinéma (Paris), December 1982. Von Sternberg Section of Skrien (Amsterdam), April/May 1985. Baxter, Peter, ‘‘Blonde Venus: Memory, Legend, and Desire,’’ and Florence Jacobowitz, ‘‘Power and the Masquerade: The Devil Is a Woman,’’ in CineAction! (Toronto), no. 8, 1987. Ciment, M. ‘‘Josef von Sternberg,’’ in Positif (Paris), January 1991. Sobchack, V., and L. Poague, in Film Quarterly (Berkeley), Spring 1990. Poague, Leland, in Hitchcock, 1993. Morgan, M., ‘‘Sternberg and Dietrich Revisited,’’ in Bright Lights (Cincinnati), no. 10, July 1993. Wilson, E., ‘‘Hats Off,’’ in Sight and Sound (London), vol. 3, no. 12, December 1993. Hall, K. E., ‘‘Von Sternberg, Lubitsch, and Lang in the Work of Manuel Puig,’’ in Literature/Film Quarterly (Salisbury, Mary- land), vol. 22, no. 3, July 1994. Von Stroheim, E., ‘‘Glamour et photographie,’’ in Positif (Paris), no. 403, September 1994. On von STERNBERG: film— The Epic That Never Was—‘‘I, Claudius,’’ directed by Bill Duncalf, for BBC-TV, London, 1966. *** There is a sense in which Josef von Sternberg never grew up. In his personality, the twin urges of the disturbed adolescent towards self- advertisement and self-effacement fuse with a brilliant visual imagi- nation to create an artistic vision unparalleled in the cinema. But von Sternberg lacked the cultivation of Murnau, the sophistication of his mentor von Stroheim, the humanity of Griffith, or the ruthlessness of Chaplin. His imagination remained immature, and his personality was malicious and obsessive. His films reflect a schoolboy’s fascination with sensuality and heroics. That they are sublime visual adventures from an artist who contributed substantially to the sum of cinema technique is one paradox to add to the stock that make up his career. Much of von Sternberg’s public utterance, and in particular his autobiography, was calculated to confuse; the disguise of his real Christian name under the diminutive ‘‘Jo’’ is typical. Despite his claims to have done so, he did not ‘‘write’’ all his films, though he did re-write the work of some skilled collaborators, notably Jules Furthman and Ben Hecht. While his eye for art and design was highly devel- oped, he never designed sets; he merely ‘‘improved’’ them with props, veils, nets, posters, scribbles, but above all with light. Of this last he was a natural master, the only director of his day to earn membership in the American Society of Cinematographers. Given a set, a face, a camera, and some lights, he could create a mobile portrait of breathtaking beauty. Marlene Dietrich was his greatest model. He dressed her like a doll, in a variety of costumes that included feathers and sequins, a gorilla suit, a tuxedo, and a succession of gowns by Paramount’s master of couture, Travis Banton. She submitted to his every demand with the skill and complaisance of a great courtesan. No other actress provided him with such malleable material. With Betty Compson, von STROHEIM DIRECTORS, 4 th EDITION 1032 Gene Tierney, and Akemi Negishi he fitfully achieved the same ‘‘spiritual power,’’ as he called the mood of yearning melancholy which was his ideal, but the effect never equalled that of the seven Dietrich melodramas. Von Sternberg was born too early for the movies. The studio system constrained his fractious temperament; the formula picture stifled his urge to primp and polish. He battled with MGM, which offered him a lucrative contract after the success of his von Stroheim- esque expressionist drama The Salvation Hunters, fell out with Chaplin, producer of the still-suppressed Woman of the Sea, and fought constantly with Paramount until Ernst Lubitsch, acting studio head, ‘‘liquidated’’ him for his intransigence; the later suppression of his last Paramount film, The Devil Is a Woman, in a political dispute with Spain merely served to increase von Sternberg’s alienation. For the rest of his career, von Sternberg wandered from studio to studio and country to country, always lacking the facilities he needed to achieve his best work. Even Korda’s lavish I Claudius, dogged by disaster and finally terminated in a cost-cutting exercise, shows in its surviving footage only occasional flashes of Sternbergian brilliance. By World War II, he had already achieved his best work, though he lived for another 30 years. Von Sternberg alarmed a studio establishment whose executives thought in terms of social and sexual stereotypes, formula plotting, and stock happy endings; their narrative ideal was a Saturday Evening Post novelette. No storyteller, von Sternberg derided plot; ‘‘the best source for a film is an anecdote,’’ he said. From a single coincidence and a handful of characters, edifices of visual poetry could be constructed. His films leap years in the telling to follow a moral decline or growth of an obsession. The most important film of von Sternberg’s life was one he never made. After the humiliation of the war years, when he produced only the propaganda short The Town, and the nadir of his career, as close- up advisor to King Vidor on Duel in the Sun, he wrote The Seven Bad Years, a script that would, he said, ‘‘demonstrate the adult insistence to follow the pattern inflicted on a child in its first seven helpless years, from which a man could extricate himself were he to realize that an irresponsible child was leading him into trouble.’’ He was never to make this work of self-analysis, nor any film which reflected a mature understanding of his contradictory personality. Von Sternberg’s theories of cinema were not especially profound, deriving largely from the work of Reinhardt, but they represented a quantum jump in an industry where questions of lighting and design were dealt with by experts who jealously guarded this prerogative. In planning his films not around dialogue but around the performers’ ‘‘dramatic encounter with light,’’ in insisting that the ‘‘dead space’’ between the camera and subject be filled and enlivened, and above all in seeing every story in terms of ‘‘spiritual power’’ rather than star quality, he established a concept of personal cinema which presaged the politique des auteurs and the Movie Brat generation. In retrospect, von Sternberg’s contentious personality—mani- fested in the self-conscious affecting of uniforms and costumes on the set and an epigrammatic style of communicating with performers that drove many of them to frenzy—all reveal themselves as reactions against the banality of his chosen profession. von Sternberg was asked late in life if he had a hobby. ‘‘Yes. Chinese philately.’’ Why that? ‘‘I wanted,’’ he replied in the familiar weary, uninflected voice, ‘‘a subject I could not exhaust.’’ —John Baxter von STROHEIM, Erich Nationality: Austrian. Born: Erich Oswald Stroheim in Vienna, 22 September 1885; became U.S. citizen, 1926. Education: According to von Stroheim he attended Mariahilfe Military Academy, though several biographers doubt this. Military Service: Served briefly in the Austro-Hungarian Army. Family: Married 1) Margaret Knox, 1914 (died 1915); 2) May Jones, 1916 (divorced 1918), one son; 3) Valerie Germonprez, 1918 (separated), one son. Career: Moved to America and worked as salesman, railroad worker, short story writer, and travel agent, 1909–14; actor, assistant and military adviser for D.W. Griffith, 1914–15; assistant director, military adviser, and set designer for director John Emerson, 1915–17; became known as ‘‘The Man You Love to Hate’’ after role as Prussian officer in For France, 1917; directed Blind Husbands for Carl Laemmle at Univer- sal, 1918 (terminated contract with Universal, 1922); directed Greed for Goldwyn Co., his version cut to ten reels by studio, 1924; moved to France, 1945. Died: 12 May 1957. Films as Director: 1918 Blind Husbands (+ sc, art d, role as Lieutenant von Steuben) 1919 The Devil’s Passkey (+ sc, art d) 1921 Foolish Wives (+ sc, co-art d, co-costume, role as Count Wladislas Serge Karamazin) 1922 Merry-Go-Round (+ sc, co-art d, co-costume) (completed by Rupert Julian) Erich von Stroheim von STROHEIMDIRECTORS, 4 th EDITION 1033 1924 Greed (+ sc, co-art d) 1925 The Merry Widow (+ sc, co-art d, co-costume) 1927 The Wedding March (+ sc, co-art d, co-costume, role as Prince Nicki) 1928 The Honeymoon (+ sc, role as Prince Nicki—part two of The Wedding March and not released in United States); Queen Kelly (+ sc, co-art d) (completed by others) 1933 Walking down Broadway (+ sc) (mostly reshot by Alfred Werker and Edwin Burke and released as Hello Sister) Other Films: 1914 Captain McLean (Conway) (role) 1915 Old Heidelberg (Emerson) (asst d, military advisor, role as Lutz); Ghosts (Emerson) (role); The Birth of a Nation (Griffith) (role) 1916 Intolerance (Griffith) (asst d, role as second Pharisee); The Social Secretary (Emerson) (asst d, role as a reporter); Macbeth (Emerson) (asst d, role); Less than the Dust (Emerson) (asst d, role); His Picture in the Papers (Emer- son) (asst d, role as the traitor) 1917 Panthea (Dwan) (asst d, role as Russian policeman); Sylvia of the Secret Service (Fitzmaurice) (asst d, role); In Again— Out Again (Emerson) (asst d, art d, role as Russian officer); For France (Ruggles) (role as Prussian officer) 1918 Hearts of the World (Griffith) (asst d, military advisor, role as German officer); The Unbeliever (Crosland) (role as Ger- man officer); The Hun Within (Cabanne) (role as German officer) 1927 The Tempest (sc) 1929 The Great Gabbo (Cruze) (role as Gabbo) 1930 Three Faces East (del Ruth) (role) 1931 Friends and Lovers (Schertzinger) (role) 1932 The Lost Squadron (Archimbaud and Sloane) (role); As You Desire Me (Fitzmaurice) (role) 1934 Crimson Romance (Howard) (military advisor, role as Ger- man pilot); Fugitive Road (sc/co-sc, military advisor) 1935 The Crime of Dr. Crespi (Auer) (role as Dr. Crespi); Anna Karenina (Brown) (military advisor) 1936 Devil Doll (Browning) (sc/co-sc); San Francisco (Van Dyke) (sc/co-sc); Marthe Richard (Bernard) (role as German officer) 1937 Between Two Women (sc/co-sc); La Grande Illusion (Renoir) (role as von Rauffenstein); Mademoiselle Docteur (Gréville) (role as Col. Mathesius); L’Alibi (Chenal) (role as Winkler) 1938 Les Pirates du rail (Christian-Jaque) (role as Tschou-Kin); L’Affaire Lafarge (Chenal) (role as Denis); Les Disparus de Saint-Agil (Christian-Jaque) (role as German professor); Ultimatum (Wiene and Siodmak) (role as Général Simovic); Gibraltar (role as Marson) (It Happened in Gibraltar); Derrière la fa?ade (Lacombe) (role as Eric) 1939 Menaces (Gréville) (role as Hoffman); Rappel immédiat (Mathot) (role as Stanley Wells); Pièges (Siodmak) (role as Pears); Tempète sur Paris (Bernard-Deschamps) (role as Kohrlick); La Révolte des vivants (Pottier) (role as Emile Lasser); Macao l’enfer (Delannoy) (role as Knall); Paris— New York (Heymann and Mirande) (role) 1940 I Was an Adventuress (Ratoff) (role); So Ends Our Night (Cromwell) (role) 1943 Five Graves to Cairo (Wilder) (role as Field Marshall Rommel); The North Star (Milestone) (role as German medic) 1944 The Lady and the Monster (Sherman) (role); Storm over Lisbon (Sherman) (role) 1945 The Great Flamarion (Mann) (role as Flamarion); Scotland Yard Investigation (Blair) (role); The Mask of Dijon (Landers) (role as Dijon) 1946 On ne meurt pas comme ?a (Boyer) (role as Eric von Berg) 1947 La Danse de mort (Cravenne) (co-adapt, co-dialogue, role as Edgar) 1948 Le Signal rouge (Neubach) (role) 1949 Portrait d’un assassin (Bernard-Roland) (role) 1950 Sunset Boulevard (Wilder) (role as Max) 1952 Minuit, quai de Bercy (Stengel) (role); Alraune (La Mandragore) (Rabenalt) (role) 1953 L’Envers du paradis (Gréville) (role as O’Hara); Alerte au sud (Devaivre) (role) 1954 Napoléon (Guitry) (role as Beethoven) 1955 Série noire (Foucaud) (role); La Madone des sleepings (Diamant-Berger) (role) Publications By von STROHEIM: books— Paprika, New York, 1935. Les Feux de la Saint-Jean: Veronica (Part 1), Givors, France, 1951. Les Feux de la Saint-Jean: Constanzia (Part 2), Givors, France, 1954; reissued 1967. Poto-Poto, Paris, 1956. Greed (full screenplay), Cinémathèque Royale de Belgique, Brus- sels, 1958. By von STROHEIM: articles— Interviews, in Motion Picture (New York), August 1920, October 1921, May 1922, September 1923, and April 1927. ‘‘Charges against Him and His Reply,’’ with C. Belfrage, in Motion Picture Classic (Brooklyn), June 1930. ‘‘My Own Story,’’ in Film Weekly (London), April/May 1935. ‘‘Stroheim in London,’’ with Karel Reisz, in Sight and Sound (London), April/June 1954. ‘‘Erich von Stroheim,’’ in Interviews with Film Directors, edited by Andrew Sarris, New York, 1967. ‘‘Citizen Kane,’’ in Positif (Paris), March 1968 (reprinted from 1941). ‘‘Les Rapaces (Greed),’’ (scenario), in Avant-Scène du Cinéma (Paris), September 1968. On von STROHEIM: books— Atasceva, P., and V. Korolevitch, Erich von Stroheim, Moscow, 1927. Drinkwater, John, The Life and Adventures of Carl Laemmle, New York, 1931. Fronval, Georges, Erich von Stroheim, sa vie, ses films, Paris, 1939. Noble, Peter, Hollywood Scapegoat: The Biography of Erich von Stroheim, London, 1951. von STROHEIM DIRECTORS, 4 th EDITION 1034 Bergut, Bob, Erich von Stroheim, Paris, 1960. Barna, Jan, Erich von Stroheim, Vienna, 1966. Gobeil, Charlotte, editor, Hommage à Erich von Stroheim, Ottawa, 1966. Ciment, Michel, Erich von Stroheim, Paris, 1967. Brownlow, Kevin, The Parade’s Gone By . . . , New York, 1968. Finler, Joel, Stroheim, Berkeley, 1968. Curtiss, Thomas Quinn, Erich von Stroheim, Paris, 1969. Buache, Freddy, Erich von Stroheim, Paris, 1972. Pratt, George C., Spellbound in Darkness, Greenwich, Connecti- cut, 1973. Weinberg, Herman G., Stroheim: A Pictorial Record of His Nine Films, New York, 1975. Bazin, André, The Cinema of Cruelty: From Bu?uel to Hitchcock, New York, 1982. Koszarski, Richard, The Man You Loved to Hate: Erich von Stroheim and Hollywood, New York, 1983. Bessy, Maurice, Erich von Stroheim, Paris, 1984. Lignon, Fanny, Erich von Stroheim: Du ghetto au Gotha, Paris, 1998. Lennig, Arthur, Stroheim, Lexington, 2000. On von STROHEIM: articles— Yost, Robert, ‘‘Gosh, How They Hate Him!,’’ in Photoplay (New York), December 1919. Weinberg, Herman G., ‘‘Erich von Stroheim,’’ in Film Art (London), Spring 1937. ‘‘Tribute to Stroheim,’’ in Film Quarterly (London), Spring 1947. ‘‘Von Stroheim Issue’’ of Ciné-club (Paris), April 1949. Schwerin, Jules, ‘‘The Resurgence of von Stroheim,’’ in Films in Review (New York), April 1950. Lambert, Gavin, ‘‘Stroheim Revisited: The Missing Third in Ameri- can Cinema,’’ in Sight and Sound (London), April/June 1955. Eisner, Lotte, ‘‘Notes sur le style de Stroheim,’’ in Cahiers du Cinéma (Paris), January 1957. ‘‘Von Stroheim Issue’’ of Cinéma (Paris), February 1957. Everson, William K., ‘‘The Career of Erich von Stroheim,’’ in Films in Review (New York), August/September 1957. ‘‘Von Stroheim Issue’’ of Film Culture (New York), April 1958. Marion, Denis, ‘‘Stroheim, the Legend and the Fact,’’ in Sight and Sound (London), Winter 1961/62. Weinberg, Herman G., ‘‘The Legion of Lost Films,’’ in Sight and Sound (London), Autumn 1962. Weinberg, Herman G., ‘‘Sternberg and Stroheim,’’ in Sight and Sound (London), Winter 1965/66. ‘‘Von Stroheim Issue’’ of Etudes Cinématographiques (Paris), no. 48/50, 1966. Gilliatt, Penelope, ‘‘The Scabrous Poet from the Estate Belonging to No One,’’ in the New Yorker, 3 June 1972. ‘‘Von Stroheim Issue’’ of Cinema (Zurich), December 1973. Rosenbaum, Jonathan, ‘‘Second Thoughts on Stroheim,’’ in Film Comment (New York), May/June 1974. Koszarski, Richard, and William K. Everson, ‘‘Stroheim’s Last ‘Lost’ Film: The Making and Remaking of Walking down Broad- way,’’ in Film Comment (New York), May/June 1975. Cappabianca, Alessandro, in Castoro Cinema (Milan), special issue, no. 63, 1979. Brownlow, Kevin, ‘‘The Merry Widow Affair,’’ in American Film (Washington, D.C.), July/August 1981. Wilder, Billy, ‘‘Stroheim, l’homme que vous aimerez,’’ in Positif (Paris), July/August 1983. Adrejkov, T., ‘‘Erih fon Strohajm—sto godini sled rozdenieto mu,’’ in Kinoizkustvo, July and August 1986. Grindon, Leger, ‘‘From Word to Image: Displacement and Meaning in Greed,’’ in Journal of Film and Video (Boston), vol. 41, no. 4, 1989. Bourget, J.-L., ‘‘Erich von Stroheim,’’ in Positif (Paris), Janu- ary 1991. Gauteur, C., ‘‘Stroheim, acteur fran?ais (1937–1939). L’inquiétant étranger,’’ in Revue du Cinema (Paris), no. 468, February 1991. Brun, D., ‘‘Cinémathèque fran?aise: Les documents de travail d’Er- ich von Stroheim,’’ in Cinémathèque (Paris), no. 1, May 1992. Amengual, B., and others, in Positif (Paris), special section, no. 385, March 1993. Habel, F.-B., ‘‘Der Mann, den man gernt hasst. Zur Erich von Stroheim Retrospektive,’’ in Film und Fernsehen (Berlin), vol. 22, no. 2, 1994. Wecker, C., in Filmfaust, vol. 18, no. 91–92, March-June 1994. Kothenschulte, D., ‘‘Geliebter haustyrann,’’ in Film-Dienst (Co- logne), vol. 47, no. 8, 12 April 1994. EPD Film (Frankfurt), special section, vol. 11, no. 8, August 1994. Narboni, J., ‘‘Pendant que l’herbe pousse,’’ in Cinémathèque (Paris), no. 6, Autumn 1994. Fisher, L., ‘‘Enemies, a Love Story: Von Stroheim, Women and World War I,’’ in Film History (London), vol. 6, no. 4, Win- ter 1994. Tournès, André, ‘‘éric von Stroheim. Personne et personnage: Les vases communicants,’’ in Jeune Cinéma (Paris), no. 230, January- February 1995. Reisz, Karel, ‘‘Stroheim revu par Karel Reisz,’’ in Positif (Paris), no. 411, May 1995. *** Erich von Stroheim had two complementary careers in cinema, that of actor-director, primarily during the silent period, and that of distinguished character actor when his career as a director was frustrated as a result of his inability to bring his genius to terms with the American film industry. After edging his way into the industry in the humblest capacities, von Stroheim’s lengthy experience as bit player and assistant to Griffith paid off. His acceptance during the pioneer period of Ameri- can cinema as Prussian ‘‘military adviser,’’ and his bullet-headed physical resemblance to the traditional monocled image of the tight- uniformed Hun officer, enabled him to create a more established acting career and star in his own films. With his first personal film, Blind Husbands, he became the prime creator in Hollywood of witty, risqué, European-like sex-triangle comedy-dramas. His initial suc- cesses in the early 1920s were characterized by subtle acting touches and a marked sophistication of subject that impressed American audiences of the period as essentially European and fascinatingly decadent. Blind Husbands was followed by other films in the same genre, the 12-reel The Devil’s Pass Key and the critically successful Foolish Wives. In all three works, women spectators could easily identify with the common character of the lonely wife, whose von TRIERDIRECTORS, 4 th EDITION 1035 seduction by attractively wicked Germanic officers and gentlemen (usually played by von Stroheim, now publicized as ‘‘the man you love to hate’’) provided the essential thrill. Von Stroheim also cunningly included beautiful but excitingly unprincipled women characters in both The Devil’s Pass Key and Foolish Wives, played by Maude George and Mae Busch. Details of bathing, dressing, and the ministration of servants in the preparation of masters or mistresses in boudoir or dressing room were recurrent, and the von Stroheim scene always included elaborate banquets, receptions, and social ceremonies. Von Stroheim’s losing battle with the film industry began in his clashes with Irving Thalberg at Universal. His obsessive perfection- ism over points of detail in setting and costume had pushed the budget for Foolish Wives to the million-dollar mark. Though the publicists boasted of von Stroheim’s extravagance, the front office preferred hard profits to such self-indulgent expenditures. Thalberg also re- fused von Stroheim’s demands that his films should be of any length he determined, and Foolish Wives (intended to be in two parts) was finally taken out of his hands and cut from 18–20 to some 12–14 reels. Although a critical success, the film lost money. Foolish Wives was von Stroheim’s most discussed film before Greed. In it he played a bogus aristocratic officer, in reality a swindler and multi-seducer. His brilliant, sardonic acting ‘‘touches’’ brought a similar psychological verisimilitude to this grimly satiric comedy of manners as Lubitsch was to establish in his Kammerspielfilme (inti- mate films). He also specialized in decor, photographic composition, and lighting. The latticed light and shadow in one sequence, when the seducer in full uniform visits the counterfeiter’s underworld den with hope of ravishing the old man’s mentally defective daughter, is unforgettable. Greed, von Stroheim’s most important film, was based meticu- lously on Norris’s Zolaesque novel, McTeague. Von Stroheim’s masterpiece, it was eventually mutilated by the studio because of its unwieldy length; it was reduced over its director’s protests from 42 reels to 24 (between 5 and 6 hours), and then finally cut to 10 reels by the studio. Von Stroheim’s emphasis on the ugly and bizarre in human nature emerged in this psychologically naturalistic study of avarice and degradation seen in a mismatched couple—McTeague, the im- pulsive, primitive (but bird-loving) lower-class dentist, and Trina, the pathologically avaricious spinster member of a German-Swiss immi- grant family and winner of a $5,000 lottery. After their marriage, Trina hoards her money as their circumstances decline to the point where the husband becomes drunk and brutal, and the wife mad. After he murders her and becomes a fugitive, McTeague ends up in the isolated wastes of Death Valley, handcuffed to Marcus, his former friend whom he has killed. Using the streets of San Francisco and the house where the actual murder that had inspired Norris had taken place, von Stroheim anticipated Rossellini in his use of such loca- tions. But his insistence on achieving an incongruous and stylized realism, which starts with McTeague’s courtship of Trina sitting on a sewerpipe and culminates in the macabre sequence in Death Valley, goes beyond that straight neorealism of the future. Joel W. Finler, in his book Stroheim, analyzes the wholesale cutting in the 10-reel version, exposing the grave losses that render the action and motiva- tion of the film unclear. But the superb performances of Zasu Pitts and Gibson Gowland compensate, and the grotesque Sieppe family pro- vide a macabre background, enhanced by von Stroheim’s constant reminder of San Francisco’s ‘‘mean streets.’’ The film was held to be his masterpiece by many, but also condemned as a ‘‘vile epic of the sewer.’’ Von Stroheim was to work as director on only five more films: the Ruritanian Merry Widow (adapted from the operetta), The Wedding March (in two parts, and again severely cut), the erotic Queen Kelly (directed for Gloria Swanson, but never completed by von Stroheim, though released by Swanson with her own additions), and the sound films Walking Down Broadway (released as Hello, Sister; it was never released in von Stroheim’s original version) and The Emperor’s Candlesticks, on which it appears he collaborated only in direction. The silent films portray the same degenerate Imperial Viennese society von Stroheim favored. Half-romantic and half-grotesque fantasy, the films once again presented von Stroheim’s meticulous attention to detail in decor and characterization. The Wedding March (in spite of studio intervention) is the high point in von Stroheim’s career as a director after Greed. Subsequently he remained content to star or appear in films made by others, making some 50 appearances between 1929 and 1955. His most notable acting performances during this period were in Renoir’s La Grande Illusion and Wilder’s Five Graves to Cairo and Sunset Boulevard, in which his past as a director is almost ghoulishly recalled. —Roger Manvell von TRIER, Lars Nationality: Danish. Born: Lars Trier, Lyngby, 30 April 1956. Education: Studied Film Science at the University of Copenhagen, 1976–1979; Danish Film School (director), 1979–82. Family: Mar- ried 1) C?cilia Holbek,1987 (divorced 1995); 2 children; 2) Bente Fr?ge (1997), twins. Career: With Niels V?rsel, established Element Film, 1986; established Element Film ApS, 1990; with Peter Aalb?k Jensen, established Zentropa Entertainments, 1992. Awards: Cannes International Film Festival Grand Prix de Technique, Danish Film Critics Award (Bodil) for Best Danish Feature Film, Danish Film Academy Award (Robert) for Best Danish Feature Film, and Mann- heim International Film Festival Joseph von Sternberg-Preis, for Element of Crime, 1984; Cannes International Film Festival Special Prize of the Jury and Prix de la Commission Supérieure Technique, Bodil Award for Best Danish Feature Film, Robert Award for Best Danish Feature Film, Ghent Flanders International Film Festival First Prize, and Sydney Film Festival Award for Best Film, for Europa, 1992; Kjell Abel Award (Denmark), 1993; Ingmar Bergman travel grant (Denmark), 1994; Bodil Award for Best Danish Feature Film, for The Kingdom, 1995; Arthur K?pckes honorary award (Denmark), 1995; Cannes International Film Festival Grand Prix, Bodil Award for Best Danish Feature Film, Robert Award for Best Danish Feature Film, Carl Th. Dreyer Award (Denmark), Berlin European Film Academy Award for European Film of the Year, FIPRESCI Award, International Critics Award, Edinburgh International Film Festival Critics Award, New York Film Critics Circle Award for Best Direc- tor, International Society of Film Critics Awards for Best Film and Best Director, all 1996, César Award for Best Foreign Film, and Swedis Film Institute (Guldbagge) Award for Best Foreign Film, both 1997, all for Breaking the Waves; London Film Festival Award, FIPRESCI Award, and International Critics Award, for The Idiots, 1998; Cannes Film Festival Palme d’Or, for Dancer in the Dark, von TRIER DIRECTORS, 4 th EDITION 1036 Lars von Trier 2000. Office: Zentropa Productions, Ryesgade 106 A, 4th Floor, 2100 Copenhagen OE, Denmark. Films as Director 1977 Orchidégartneren (+ ph, sc, ed, ro as Victor Morse) 1979 Menthe—la bienheureuse (Mynte—den lyksalige) (+ pr, sc, ph, ed, ro as the driver) 1980 Nocturne (+ sc) 1982 Befrielsesbilleder (afgangsfilm fra Filmskolen) (+ co-sc) 1984 Forbrydelsens element (The Element of Crime) (+ co-sc, ro as Schmuck of Ages) 1988 Medea (for TV) (+ co-sc); Epidemic (+ co-sc, co-ph, co-ed, ro) 1991 Europa (+ co-sc, ro as Jew) 1994 L?rerv?relset (for TV); Riget (The Kingdom 1–4) (mini- series—for TV) (+ co-sc, ro as himself) 1996 Breaking the Waves (+ sc) 1997 Riget II (The Kingdom 5–8) (mini-series—for TV) (+ co-sc, ro as himself) 1998 Idioterne (The Idiots) (+ sc, ph, ro as interviewer) 1999 D-dag (three parts—for TV) (co-d with Thomas Vinterberg, S?ren Kragh Jacobsen, and Christian Levring; ro as himself) 2000 Dancer in the Dark (+ sc, ph, lyrics) Other Films: 1980 Kaptajn Klyde og hans venner vender tilbage (Holst and Klein) (ro) 1989 En Verden til forskel (Magnusson) (ro as Taxachauffor) 2000 De Udstillede (Jargil) (co-sc) Publications By von TRIER: books— Riget (script), Aschehoug, 1995. Breaking the Waves (script and director’s note), Per Kofod, 1996. With Mogens Rukow, Idioterne (script and LvT diary), Gyldendal, 1999. von TRIERDIRECTORS, 4 th EDITION 1037 By von TRIER: articles— ‘‘Om Carl Th. Dreyer,’’ in Kosmorama, no. 187, Spring 1989. With Thomas Vinterberg, ‘‘The Vow of Chastity’’ (manifesto), Dogme 95, www.dogme95.dk, signed 13 March 1995.. On von TRIER: books— Jensen, Klaus Bruhn, Jan Stjerne, and Palle Schantz Lauridsen, editors, Lars von Trier: Sekvens—Filmvidenskabelig ?rbog, K?benhavn, 1991. Bono, Francesco, editor, Dansk Film, Rome, 1993. Schepelern, Peter, Lars von Triers elementer: en filminstrukt?rs arbejde, K?benhavn, 1997. Forst, Achim, Breaking the Dreams: Das Kino des Lars von Trier, Marburg, Germany, 1998. Bj?rkman, Stig, Trier om von Trier, Stockholm, 1999. On von TRIER: articles— Jousse, Thierry, and Fredéric Strauss, ‘‘Entretien avec Lars von Trier,’’ in Cahiers du Cinéma (Paris), no. 449, 1991. Trapper, Michael, ‘‘Den europeiske (mar)dr?mmen,’’ in Chaplin (Stockholm), no. 2, 1991. Kornum Larsen, Jan, ‘‘Samtale med Lars von Trier,’’ in Kosmorama (Copenhagen), no. 167, 1991. N?rgaard, Lene, ‘‘Lars von Trier: en europ?isk filmmager,’’ in Stil p? Strimler, edited by Lone Erritz?e, Amanda, 1992. Christensen, Ove, and Claus K. Christensen, ‘‘Porten til Riget,’’ in Ind i filmen, edited by Eva J?rholt, Medusa, 1995. Hampton, Howard, ‘‘Wetlands,’’ in Film Comment (New York), November-December 1995. Pryds, Henning, ‘‘Medea: et tv-?stetisk eksperiment,’’ in Sekvens: filmvidenskabelig ?rbog, 1995. Bouquet, Stéphane, and Vincent Ostria, ‘‘Les thérapies de Lars von Trier,’’ in Cahiers du Cinéma (Paris), no. 493, 1995. Schepelern, Peter, ‘‘Kunstens element,’’ in Dansk film 1972–97, edited by Ib Bondebjerg, Jesper Andersen, and Peter Schepelern, Stockholm, 1997. Andersen, Jesper, ‘‘I lommerne p? Europa,’’ In Dansk film 1972–97, edited by Ib Bondebjerg, Jesper Andersen, and Peter Schepelern, Stockholm, 1997. Schepelern, Peter, ‘‘?nden i myretuen and D Dag, dogme og d?dsforagt,’’ in FILM, no. 7, February 2000. On von TRIER: films— Kolodziejski, Kris M., director, Ennenstadt Europa: Om Lars von Trier og ‘‘Element of Crime,’’ 1984. Buchardt, Nikolaj, director, Triers element (doc—for TV), undated. Howitz, Frantz, director, Portr?t af Lars von Trier (doc—for TV), 1991. Binzer, Camilla Hammerich, director, I Lars von Triers Kingdom: en mand og hans tv-serie (doc—for TV), 1994. Bj?rkman, Stig, director, Tranceformer, an Obsession (doc) 1994. Jargil, Jesper, director, De ydmygede (The Making of The Idi- ots), 1998. Jargil, Jesper, director, De udstillede (doc) 1999. *** ‘‘My greatest problem in life is control contra chaos. I have an insane dread of not having control when I want it.’’ With these words Lars von Trier pinpoints a central dilemma in and behind his art. But, one must add, it is a dilemma that has proved particularly artistically fruitful for von Trier. If there is one recurrent feature characteristic of his wide range of productions, it is the consistency whereby they are directed by predefined rules within the governing framework of which chaos may be unleashed. The rules provide a sense of security and control and yet may be so open that chaos can be created. Just as typical are his deliberately serious, yet ironic references to the history of film and the arts. In a typical postmodernistic way, genres, stylistic features, and themes from this history are to be found repeatedly throughout his work, but in personal interpretations and variations where his ambition is not only to make reference, but also to extend the film language he regards as conservative and limited, governed by commercial interests. Von Trier has succeeded like few others in pursuing his experimental, avant-garde intentions for cinema as an art while reaching a wide audience and creating what certainly looks like commercial success. Von Trier has publicly stated what a shocking discovery it was for him when his mother told him on her deathbed that the man he had called his father all his life was not his biological father, but that his mother had deliberately chosen another donor presumed to possess artistic genes who could contribute to the production of the child she wanted. Since his adolescense Lars von Trier has been settling up with his middle-class home and its artistic and political pretensions. He benefited throughout childhood from his parents’ liberal approach to child raising, one result of which was that he left school in the 6th grade because he couldn’t accept discipline and already suffered from all kinds of phobias. Appointments with various psychologists re- sulted in his being taught at home, where from the age of ten he lived a life of his own, a life which included making 8 mm films. His settling of accounts also applied to the cultural values his home represented, and from childhood he cultivated everything his parents repudiated: the sentimental, the kitsch, bathetic children’s books, cartoon comics, etc. This culminated when he bought the rights to the collected works of Morten Korch via Zentropa—a series of low-brow novels which had been filmed between 1950 and the late 1960s to the unmitigated delight of Danish cinema-goers and the just as unmiti- gated disgust of the critics. The self-appointed arbiters of taste deemed Korch to be the ultimate in kitsch: sentimental, distorted art to seduce the masses, which Zentropa has so far turned into a twenty-six part television series and a feature film. Even in his graduation project for the National Film School of Denmark the director demonstrated his talent to provoke and go against the flow, by portraying a German Wehrmacht soldier with the pathos of martyrdom. It is a thoroughly politically incorrect film, but it was also noticed for its ambition and its artistic courage, with Andrei Tarkovsky as an obvious source of inspiration. Immediately after that, von Trier was able to embark on his first feature, Element of Crime, intended as the introduction to a Europa trilogy to be com- pleted with Epidemic and Europa. Each film has its set of rules— color scheme, budget and the metafilm element, and the use of front projection and black and white with a single color, respectively. von TROTTA DIRECTORS, 4 th EDITION 1038 Hypnosis plays a major role in portraying an apocalyptic Europe shown with the visual features and themes of fascism. The film drew critical acclaim and international attention, but the director only reached larger audiences with his television series, The Kingdom I and II, which Trier himself called his pot-boilers. This does not mean the surrender of artistic integrity. The series may have been inspired by the endless hospital soaps, but also by David Lynch’s Twin Peaks, with its similar degree of stylistic awareness. Von Trier went further; he not only shot the entire series with whatever light there was, hand-held cameras, and a mobility drawn from television series such as NYPD Blue and Homicide, but also broke a number of the fundamental principles of film narrative by editing without regard for the general rules for camera angles, optical axes, and the use of edits in otherwise continual shots. With Morten Arnfred as assistant director, more effort went into directing the cast than in previous Trier works. Before that, the director had launched yet another project with its own very special rules. Dimension is a film for which three minutes would be shot every year for thirty years (1991 to 2022), with its premiere on April 30, 2024, when von Trier will be 68. There is no script, but a synopsis mentions a poetic gangster story ‘‘which will take us around Europe and be acted out and among events and flash points.’’ Equally radical in its concept was the exhibition Psychomobile νmI: The World Clock, which took place in 1996 at the Art Society Building in Copenhagen. The exhibition was a mixture not only of genres but of art forms such as installation and performance. The concept was to have a number of fictitious characters develop by improvisation but according to a set of predetermined rules. Fifty- three people were put into play in the nineteen rooms of the Art Society. The fifty-three circulated among the rooms and not only entered into new groupings, but also new mental relationships and dramatic conflicts, all determined by the ants in an ant heap in New Mexico. The ant heap was monitored by video, the images transmitted to Copenhagen by satellite, and the movements of the ants from zone to zone sparked changes in each actor’s position in the rooms, signalled by colored lights, and changes to their mental states. Based on their predefined characteristics the actors improvised a story for three hours a day, for fifty days. An endless piece of fiction and a fascinating experience, it was documented in Jesper Jargil’s film The Exhibited. Another project conceived and carried out by the ‘‘Dogme brethren’’—a group of four directors whose manifest, ‘‘The Vow of Charity,’’ offered a radical approach to filmmaking—clearly bore von Trier’s imprint and seems to be an extension of the World Clock. It was performed live on New Year’s Eve 1999 in Copenha- gen. Four characters moved around the city, each under the remote control of the four Dogme directors, each followed by his own film unit, and each furnished with his own story, which comes together in a bank heist. The following day the four plots were transmitted on four different TV channels, with a fifth showing the directors at work in the remote control suite, and a sixth showing all screens simultane- ously. In true zapper style viewers could create their own versions of the story by changing channels at any time. It was more exciting as a concept and experiment than as a complete work, but it was imbued with von Trier’s sense of rules and the interplay between chaos and control. Before these projects, von Trier’s most convincing feature film appeared. Breaking the Waves continued the hand-held technique familiar from The Kingdom, but this time in feature film—and CinemaScope—format. It was a project conceived as a melodrama and clearly based on the most melodramatic foundations imaginable, a kind of primordial melodrama about true love and the self-sacrific- ing woman. In Dancer in the Dark love between man and woman gives way to love between mother and son, incorporated into a musi- cal in which the road to the scaffold is paved with musical numbers. The control and chaos syndrome clearly emerges in The Idiots, perhaps the director’s most radical, personal film to date, in which the rules not only determine the conception of the film but that of the characters. They, too, have drawn up rules to test their limits in a film shaped like a project that has gone off the rails, and in which the director, with von Trier’s own voice, attempts to bring order to the chaos by trying to uncover just what went wrong. But here, too, the director is in full control of the effects utilized in miming the dreaded chaos staged, as the credits say with an ironic tongue-in-cheek, by .... —Dan Nissen von TROTTA, Margarethe Nationality: German. Born: Berlin, 21 February, 1942. Education: Universities of Munich and Paris; studied acting in Munich. Family: Married director Volker Schl?ndorff. Career: Actress in theatres in Dinkelsbül, Stuttgart, and Frankfurt, 1960s; worked only in TV and film, from 1969; directed first film, Die verlorene Ehre der Katharina Blum, 1975. Awards: Golden Lion, Venice Festival, for Die Bleierne Zeit, 1981. Films as Director: 1975 Die verlorene Ehre der Katherina Blum (The Lost Honor of Katharina Blum) (co-d, co-sc) 1977 Das zweite Erwachen der Christa Klages (The Second Awak- ening of Christa Klages) (+ sc) 1979 Schwestern oder Die Balance des Glücks (Sisters, or The Balance of Happiness) (+ sc) 1981 Die Bleierne Zeit (Leaden Times; Marianne and Julianne; The German Sisters) (+ sc) 1983 Heller Wahn (Sheer Madness) (+ sc) 1986 Rosa Luxemburg 1987 episode of Felix 1988 Paura e amore (Three Sisters/Love and Fear) 1990 Die Rückkehr (Return; L’Africana) 1993 Il lungo silenzio (The Long Silence) 1994 Das versprechen (The Promise) (+ co-sc) 1997 Winterkind 1998 Mit fünfzig küssen M?nner anders 1999 Dunkle Tage (for TV) (+ sc) Other Films: 1968 Schr?ge V?gel (Ehmck) (role) 1969 Brandstifter (Lemke) (role); G?tter der Pest (Fassbinder) (role as Margarethe) von TROTTADIRECTORS, 4 th EDITION 1039 Margarethe von Trotta 1970 Baal (Schl?ndorff) (role as Sophie); Der amerikanische Soldat (Fassbinder) (role as maid) 1971 Der pl?tzliche Reichtum der armen Leute von Kombach (Schl?ndorff) (co-sc, role as Heinrich’s woman); Die Moral der Ruth Halbfass (Schl?ndorff) (role as Doris Vogelsang) 1972 Strohfeuer (Schl?ndorff) (role as Elisabeth, co-sc) 1973 Desaster (Hauff) (role); übernachtung in Tirol (Schl?ndorff) (role as Katja) 1974 Invitation à la chasse (Chabrol) (for TV) (role as Paulette); Georgina’s Gründe (Schl?ndorff) (for TV) (role as Kate Theory) 1975 Das andechser Gefühl (Achternbusch) (role as film actress) 1976 Der Fangschuss (Schl?ndorff) (co-sc, role as Sophie von Reval) 1984 Blaubart (Bluebeard) (Zanussi) (role); Unerreichbare Nahe (Hirtz) (sc) Publications By von TROTTA: books— Die Bleierne Zeit, Frankfurt, 1981. Heller Wahn, Frankfurt, 1983. Rosa Luxemburg, with Christiane Ensslin, Frankfurt, 1986. By von TROTTA: articles— ‘‘Die verlorene Ehre der Katharina Blum,’’ in Film and Fernsehen (Berlin), no. 8, 1976. ‘‘Gespr?ch zwischen Margarethe von Trotta und Christel Buschmann,’’ in Frauen und Film (Berlin), June 1976. ‘‘Frauen haben anderes zu sagen . . . ,’’ an interview with U. Schirmeyer-Klein, in Film und Fernsehen (Berlin), no. 4, 1979. Interview with Sheila Johnston in Stills (London), May/June 1986. Interview with Karen Jaehne and Lenny Rubenstein in Cineaste (New York), vol. 15, no. 4, 1987. ‘‘Rebell helt enkelt,’’ an interview with P. Loewe, in Chaplin (Stockholm), vol. 35, no. 6, 1993. ‘‘Lernprozesse,’’ an interview with Margret K?hler, in Film-Dienst (Cologne), 3 August 1993. On von TROTTA: books— Franklin, James, New German Cinema: From Oberhausen to Ham- burg, Boston, 1983. Phillips, Klaus, editor, New German Filmmakers: From Oberhausen through the 1970s, New York, 1984. von TROTTA DIRECTORS, 4 th EDITION 1040 Todd, Janet, editor, Women and Film: Women and Literature, New York, 1988. Elsaesser, Thomas, New German Cinema: A History, London, 1989. On von TROTTA: articles— ‘‘Le Coup de grace Issue’’ of Avant-Scène du Cinéma (Paris), 1 February 1977. Elsaesser, Thomas, ‘‘Mother Courage and Divided Daughter,’’ in Monthly Film Bulletin (London), July 1983. Dossier on von Trotta, in Revue du Cinéma (Paris), November 1983. Moeller, H.B., ‘‘West German Women’s Cinema: The Case of Margarethe von Trotta,’’ in Film Criticism (Meadville, Pennsyl- vania), Winter 1984/85; reprinted Fall-Winter 1986/87. Linville, Susan, and Kent Casper, ‘‘The Ambiguity of Margarethe von Trotta’s Sheer Madness,’’ in Film Criticism (Meadville, Pennsylvania), vol. 12, no. 1, 1987. Donough, Martin, ‘‘Margarethe von Trotta: Gynemegoguery and the Dilemmas of a Filmmaker,’’ in Literature/Film Quarterly (Salis- bury, Maryland), vol. 17, no. 3, 1989. Kauffman, Stanley, ‘‘The Long Silence,’’ in New Republic, 30 May 1994. Toiviainen, Sakari, in Filmihullu (Helsinki), no. 5, 1995. Martin, Michel, and Maurice Elia, ‘‘Margarethe von Trotta toujours présente,’’ in Séquences (Haute-Ville), November-December 1996. *** An important aspect of Margarethe von Trotta’s filmmaking, which affects not only the content but also the representation of that content, is her emphasis on women and the relationships that can develop between them. For example, von Trotta chose as the central theme in two of her films (Sisters, or The Balance of Happiness and Marianne and Juliane) one of the most intense and complex relation- ships that can exist between two women, that of sisters. Whether von Trotta is dealing with overtly political themes as in The Second Awakening of Christa Klages (based on the true story of a woman who robs a bank in order to subsidize a daycare center) and Marianne and Juliane (based on the experiences of Christine Ensslin and her ‘‘terrorist’’ sister) or with the lives of ordinary women as in Sisters or the Balance of Happiness or Sheer Madness, von Trotta shows the political nature of relationships between women. By paying close attention to these relationships, von Trotta brings into question the social and political systems which either sustain them or do not allow them to exist. Although the essence of von Trotta’s films is political and critical of the status quo, their structures are quite conventional. Her films are expensively made and highly subsidized by the film production company Bioskop, which was started by her husband Volker Schl?ndorff and Reinhard Hauff, both filmmakers. Von Trotta joined the company when she started making her own films. She did not go through the complicated system of incentives and grants available to independent filmmakers in Germany. Rather, she began working for Schl?ndorff as an actress and then as a scriptwriter, and finally on her own as a director and co-owner in the production company which subsidizes their films. Von Trotta has been criticized by some feminists for working too closely within the system and for creating characters and structures which are too conventional to be of any political value. Other critics find that a feminist aesthetic can be found in her choice of themes. For although von Trotta uses conventional women characters, she does not represent them in traditional fashion. Nor does she describe them with stereotyped, sexist clichés; instead, she allows her characters to develop on screen through gestures, glances, and nuances. Great importance is given to the psychological and subconscious delinea- tion of her characters, for von Trotta pays constant attention to dreams, visions, flashbacks, and personal obsessions. In this way, her work can be seen as inspired by the films of Bresson and Bergman, filmmakers who also use the film medium to portray psychologi- cal depth. ‘‘The unconscious and subconscious behavior of the characters is more important to me than what they do,’’ says von Trotta. For this reason, von Trotta spends a great deal of time with her actors and actresses to be sure that they really understand the emotions and motivations of the characters which they portray. This aspect of her filmmaking caused her to separate her work from that of her husband, Volker Schl?ndorff. During their joint direction of The Lost Honor of Katharina Blum, it became apparent that Schl?ndorff’s manner of directing, which focused on action shots, did not mix with his wife’s predilections for exploring the internal motivation of the characters. Her films are often criticized for paying too much attention to the psychological, and thus becoming too personal and inaccessible. Von Trotta has caused much controversy within the feminist movement and outside of it. Nevertheless, her films have won several awards not only in her native Germany but also internationally, drawing large, diverse audiences. Her importance cannot be mini- mized. Although she employs the commonly used and accepted structures of popular filmmakers, her message is quite different. Her main characters are women and her films treat them in a serious and innovative fashion. Such treatment of women within a traditional form has in the past been undervalued or ignored. Her presentation of women has opened up possibilities for the development of the image of women on screen and contributed to the development of film itself. Von Trotta’s films have continued to express other concerns that were central to her earlier work as well. These include examinations of German identity and the impact of recent German history on the present; the view of historical events through the perceptions of the individuals those events affect; the personal risks that individuals take when speaking the truth or exposing the hypocrisy of those in power; and, in particular, the strengths of women and the manner in which they relate to each other and evolve as their own individual selves. Rosa Luxemburg is a highly intelligent, multi-faceted biopic of the idealistic, politically committed, but ill-fated humanist and demo- cratic socialist who had such a high profile on the German political scene near the beginning of the twentieth century. Love and Fear, loosely based on Chekhov’s The Three Sisters, is an absorbing (if sometimes overdone) allegory about how life is forever in transition. It focuses on a trio of sisters, each with a different personality. The senior sibling is a scholarly type who is too cognizant of how quickly time goes by; the middle one lives an aimless life, and is ruled by her feelings; the junior in the group is a fervent, optimistic pre-med student. The Long Silence is the story of a judge whose life is in danger because of his prosecution of corrupt government officials. After his murder—an unavoidable occurrence, given the circumstances—his gynecologist wife perseveres in continuing his work. The Promise, von TROTTADIRECTORS, 4 th EDITION 1041 which reflects on the downfall of communism and the demise of the Berlin Wall, tells of two lovers who are separated in 1961 during a failed attempt to escape from East to West. With the exception of a brief reunion in Prague in 1968, they are held apart until 1989 and the fall of communism in East Germany. —Gretchen Elsner-Sommer, updated by Rob Edelman 1043 W WAJDA, Andrzej Nationality: Polish. Born: Suwa?ki, Poland, 6 March 1926. Educa- tion: Fine Arts Academy, Kraków, 1945–48; High School of Cinematography, Lodz, 1950–52. Military Service: Served in the A.K. (Home Army) of the Polish government in exile, from 1942. Family: Married 1) Beata Tyszkiewicz, 1967 (marriage dissolved), one daughter; 2) Krystyna Zachwatowicz, 1975. Career: Assistant to director Aleksandr Ford, 1953, then directed first feature, Pokolenie, 1955; directed first play, 1959; made first film outside Poland, Sibirska Ledi Magbet, for Avala Films, Belgrade, 1962; directed Pilatus und andere for West German TV, 1972; following imposition of martial law, concentrated on theatrical projects in Poland and film productions outside Poland; government dissolved Wajda’s Studio X film production group, 1983; managing director, Teatr Powszechny, Warsaw, from 1989; senator, Polish People’s Republic, 1989–91. Awards: Grand Prix, Moscow Film Festival, for The Promised Land, 1975; Palme d’Or, Cannes Festival, for Man of Iron, 1981; British Andrzej Wajda Academy Award for services to film, 1982; Officier, Legion d’Honneur, France, 1982. Films as Director and Scriptwriter: 1950 Kiedy ty ?pisz (While You Sleep); Z?y ch?opiec (The Bad Boy) 1951 Ceramika I??ecka (The Pottery of Ilzecka) 1955 Pokolenie (A Generation); Id? do s?o?ca (I Walk to the Sun) 1957 Kana? (They Loved Life; Sewer) 1958 Popió? i diament (Ashes and Diamonds) 1959 Lotna 1960 Niewinni czarodzieje (Innocent Sorcerers) 1961 Samson 1972 Sibirska Ledi Magbet (Lady Macbeth of Mtsensk; Fury Is a Woman; Siberian Lady Macbeth); ‘‘Warszawa’’ episode of L’Amour à Vingt Ans 1965 Popió?y (Ashes) 1967 Bramy raju (Gates to Paradise; The Gates of Heaven; The Holy Apes) 1968 Wszystko na sprzeda? (Everything for Sale); Przek?adaniec (Roly-Poly) 1969 Polowanie na muchy (Hunting Flies); Makbet (Macbeth) (for Polish TV) 1970 Krajobraz po bitwie (Landscape after the Battle); Brzezina (The Birchwood) 1972 Pilatus und andere—ein Film für Karfreitag (Pilate and Others); Wesele (The Wedding) 1974 Ziemia obiecana (Promised Land) (also as series on Polish TV) 1976 Smuga cienia (The Shadow Line) 1977 Cz?owiek z marmuru (Man of Marble); Bez znieczulenia (Without Anesthetic); Umar?a klasa (for TV) 1978 Zaproszenie do wn?trza (Invitation to the Inside) (doc) 1979 Dyrygent (The Conductor); Panny z Wilka (The Girls from Wilko) 1981 Cz?owiek z ?elaza (Man of Iron) 1982 Danton 1983 Eine Liebe in Deutschland (Un amour en Allemagne; A Love in Germany) 1985 Kronika wypadków mi?osnych (Chronicle of a Love Affair) 1987 Les Possédés (The Possessed) 1990 Korczak 1993 The Ring with the Crowned Eagle 1994 Natasha 1995 Wielki tydzien (Holy Week) (+ co-sc) 1996 Panna Nikt (Miss Nobody) 1999 Pan Tadeusz (Pan Tadeusz: The Last Foray in Lithuania) (+ co-sc) WAJDA DIRECTORS, 4 th EDITION 1044 Publications By WAJDA: books— Un Cinéma nommé désir, Paris, 1986. Double Vision: My Life in Film, New York, 1989; London, 1990. Wajda on Film: A Master’s Notes, Venice, 1992. By WAJDA: articles— ‘‘Destroying the Commonplace,’’ in Films and Filming (London), November 1961. ‘‘Andrzej Wajda Speaking,’’ in Kino (Warsaw), no. 1, 1968. ‘‘Living in Hope,’’ an interview with Gordon Gow, in Films and Filming (London), February 1973. ‘‘Filmer les noces,’’ in Positif (Paris), February 1974. Interview with K. K. Przybylska, in Literature/Film Quarterly (Salis- bury, Maryland), Winter 1977. ‘‘Between the Permissible and the Impermissible,’’ an interview with D. Bickley and L. Rubinstein, in Cineaste (New York), Win- ter 1980/81. ‘‘Wajda August ‘81,’’ an interview and article by G. Moszcz, in Sight and Sound (London), Winter 1982. Interview with Gideon Bachmann, in Film Quarterly (Berkeley), Winter 1982/83. Interview with Marcel Ophuls, in American Film (Washington, D.C.), October 1983. Interview with Dan Yakir, in Film Comment (New York), November/ December 1984. Interview with K. Farrington and L. Rubenstein, in Cineaste (New York), vol. 14, no. 2, 1985. Interview with W. Wertenstein, in Sight and Sound (London), Sum- mer 1985. Interview with T. Hubelski, in Kino (Warsaw), May 1990. Interview with J. J. Skreiberg, in Film and Kino (Oslo), no. 4, 1990. Interview with P. Dowell, in Cineaste (New York), vol. 19, no 4, 1993. ‘‘Wajdas ofullbordade,’’ in Chaplin (Stockholm), vol. 36, no. 2, 1994. Interview with wanda Wertenstein, in Kino (Warsaw), Novem- ber 1994. ‘‘Interview with Martti Puukko, in Filmihullu (Helsinki), no. 5–6, 1998. On WAJDA: books— McArthur, Colin, editor, Andrzej Wajda: Polish Cinema, London, 1970. Michalek, Boleslaw, The Cinema of Andrzej Wajda, translated by Edward Rothert, London, 1973. Curi, Giandomenico, Cenere e diamenti: il cinema di Andrzej Wajda, Rome, 1980. Douin, Jean-Luc, Wajda, Paris, 1981. Paul, David W., editor, Politics, Art, and Commitment in the Eastern European Cinema, New York, 1983. Karpinski, Maciej, The Theatre of Andrzej Wajda, Cambridge, 1989. Kakolewski, Krzysztof, Diament odnaleziony w popiele, Warsaw, 1995. Nurczy ’nska-Fidelska, Ewelina, Polska klasyka literacka wedlug Andrzeja Wajdy, Katowice, 1998. On WAJDA: articles— Szydlowski, Roman, ‘‘The Tragedy of a Generation,’’ in Film (Poland), no. 46, 1958. Michalek, Boleslaw, ‘‘Polish Notes,’’ in Sight and Sound (London), Winter 1958/59. Higham, Charles, ‘‘Grasping the Nettle: The Films of Andrzej Wajda,’’ in Hudson Review (Nutley, New Jersey), Autumn 1965. ‘‘Wajda Issue’’ of Etudes Cinématographiques (Paris), no. 69–72, 1968. Austen, David, ‘‘A Wajda Generation,’’ in Films and Filming (Lon- don), July 1968. Toeplitz, K., ‘‘Wajda Redivivus,’’ in Film Quarterly (Berkeley), Winter 1969/70. Cowie, Peter, ‘‘Wajda Redux,’’ in Sight and Sound (London), Win- ter 1979/80. ‘‘Wajda Issue’’ of Avant-Scène du Cinéma (Paris), 1 January 1980. Aufderheide, Pat, and others, ‘‘Solidarity and the Polish Cinema,’’ in Cineaste (New York), vol. 13, no. 3, 1984. Engelberg, S., ‘‘Wadja’s Korczak Sets Loose the Furies,’’ in New York Times, 14 April 1991. Ball, E., ‘‘Citizen Wadja,’’ in Village Voice (New York), 23 April 1991. Coates, Paul, ‘‘Revolutionary Spirits: the Wedding of Wajda and Wyspianki,’’ in Literature/Film Quarterly (Salisbury), April 1992. Dowell, Pat, ‘‘The Man Who Put Poland on the Postwar Map of Cinema,’’ in Cineaste (New York), vol. 19, no. 4, 1993. Falkowska, J., ‘‘‘The Political’ in the Films of Andrzej Wajda and Krzysztof Kieslowski,’’ in Cinema Journal (Austin), Winter 1995. Epstein, Jan, ‘‘Is Cinema Dead?’’ in Cinema Papers (Fitzroy), August 1997. Macnab, Geoffrey, in Sight and Sound (London), February 1998. Seberechts, Karin, ‘‘Andrzej Wajda Homage,’’ in Film en Televisie + Video (Brussels), January 1999. *** The history of Polish film is as old as the history of filmmaking in most European countries. For entire decades, however, its range was limited to Polish territory and a Polish audience. Only after the Second World War, at the end of the 1950s, did the phenomenon known as the ‘‘Polish school of filmmaking’’ make itself felt as a part of world cinema. The phenomenon went hand in hand with the appearance of a new generation of film artists who, despite differ- ences in their artistic proclivities, have a number of traits in common. They are approximately the same age, having been born in the 1920s. They spent their early youth in the shadow of the fascist occupation and shared more or less similar postwar experiences. This is also the first generation of cinematically accomplished artists with a complete grasp of both the theoretical and practical sides of filmmaking. Their debut was conditioned by the social climate, which was characterized by a desire to eliminate the negative aspects of postwar development labelled as the cult of personality. The basic theme of their work was the effort to come to grips with the painful experience of the war, the resistance to the occupation, and the struggle to put a new face on Polish society and the recent past. Temporal distance allowed them to take a sober look at all these experiences without schematic depictions, without illusions, and without pathetic cere- mony. They wanted to know the truth about those years, in which the foundations of their contemporary life were formed, and express it in the specific destinies of the individuals who lived, fought, and died in those crucial moments of history. And one of the most important traits WAJDADIRECTORS, 4 th EDITION 1045 uniting all the members of the ‘‘school’’ was the attempt to debunk the myths and legends about those times and the people who shaped them. The most prominent representative of the Polish school is Andrzej Wajda. In the span of a few short years he made three films, Pokolenie, Kana?, and Popió? i diament, which form a kind of loose trilogy and can be considered among the points of departure for the emergence of popular Poland. Pokolenie tells of a group of young men and women fighting in occupied Warsaw; Kana? is a tragic story of the 1944 Warsaw Uprising; Popió? i diament takes place at the watershed between war and peace. Crystallized in these three films are the fundamental themes of Wajda’s work, themes characteristic of some other adherents of the ‘‘school’’ as well. In these films we also see the formation of Wajda’s own artistic stamp, his creative method, which consists of an emotional approach to history, a romantic conception of human fate, a rich visual sense, and dense expression that is elaborate to the point of being baroque. In his debut, Pokolenie, he renounces the dramatic aspect of the battle against the occupation and concentrates on the inner world of people for whom discovering the truth about their struggle was the same as discovering the truth about love. In Kana? he expresses disagreement with a myth long ago rooted in the consciousness of the Polish people and propounded in portrayals of the Warsaw Uprising—that the greatest meaning of life is death on the barricades. In the film Popió? i diament we hear for the first time in clear tones the theme of the Pole at the crossroads of history and the tragedy of his choice. Wajda expresses this theme not in abstract constructions but in a concrete reality with concrete heroes. Wajda returns to the war experience several times. Lotna, in which the historical action precedes the above-mentioned trilogy, takes place in the tragic September of 1939, when Poland was overrun. Here Wajda continues to take a critical view of national tradition. Bitterness and derision toward the romanticization of the Polish struggle are blended here with sober judgment, and also with under- standing for the world and for the people playing out the last tragicomic act on the historical stage. In the film Samson, the hero, a Jewish youth, throws off his lifelong passivity and by this action steps into the struggle. Finally, there is the 1970 film Krajobraz po bitwie, which, however, differs sharply from Wajda’s early films. The director himself characterized this difference in the following way: ‘‘It’s not I who am drawing back [from the war]. It’s the war. It and I are growing old together, and therefore it is more and more difficult for me to discover anything in it that was close to me.’’ Krajobraz po bitwie has become Wajda’s farewell to the war for a long time. This does not mean, however, that the fundamental principles of the artistic method found in his early films have disappeared from his work, in spite of the fact that his work has developed in the most diverse directions over the course of forty years. The basic principles remain and, with time, develop, differenti- ate, and join with other motifs brought by personal and artistic experience. Some of the early motifs can be found in other contexts. Man’s dramatic attitude towards history, the Pole at the crossroads of history and his tragic choice—these we can find in the film Popió?y, in the image of the fate of Poland in the period of the Napoleonic Wars, when a new society was taking shape in the oppressive atmosphere of a defeated country divided up among three victorious powers. People living in a time of great changes are the main heroes of Ziemia obiecana, which portrays the precipitous, drastic, and ineluctable course of the transition from feudalism to the capitalist order. A man’s situation at dramatic historical moments is also the subject of the films Cz?owiek z marmuru, Cz?owiek z ?elaza, and Danton, which have met with more controversy than the preceding works. In Danton and similarly in Les Possédés another element is present: the description and criticism of destructive revolutionary forces, which lust for power and assert themselves brutally without regard for the rights of others. Wajda’s work reveals many forms and many layers. Over time, historical films alternate with films on contemporary subjects; films with a broad social sweep alternate with films that concentrate on intimate human experiences. Wajda is conscious of these alternations. From history he returns to contemporaneity, so as not to lose contact with the times and with his audience. After a series of war films, he made the picture Niewinni czarodzieje, whose young heroes search for meaning in their lives. In the film Wszystko na sprzeda?, following the tragic death of his friend, the actor Zbigniew Cybulski, he became absorbed in the traces a person leaves behind in the memories and hearts of friends; at the same time he told of the problems of artistic searching and creation. Wajda’s attitudes on these questions are revealed again in the next film, Polowanie na muchy, and even more emphatically in Dyrygent, where they are linked to the motif of faithfulness to one’s work and to oneself, to one’s ideals and convic- tions. The motif links Dyrygent with Popió? i diament. Another theme of Dyrygent—the inseparability of one’s personal, private life from one’s work life and the mutual influence of the two—is the basic problem treated in Bez znieczulenia. In Wajda there are many such examples of the migration of themes and motifs from one film to another. They affirm the unity of his work despite the fact that alongside great and powerful works there are lesser and weaker films. Such, for example, is Wajda’s sole attempt in the genre of comedy, Polowanie na muchy, or the adaptation of Joseph Conrad’s novel Heart of Darkness, which underwent a cinematic transformation. Another unifying element in Wajda’s oeuvre is his faithfulness to literary and artistic sources. A significant portion of his films come from literature, while the pictorial aspect finds its inspiration in the romantic artistic tradition. In addition to such broad historical fres- coes as Popió?y or Ziemia obiecana, these include, for example, Stanislaw Wyspianski’s drama of 1901, Wesele, important for its grasp of Poland at a bleak point in the country’s history. Wajda translated it to the screen in all the breadth of its meaning, with an accent on the impossibility of mutual understanding between dispa- rate cultural milieus. The director also selected from the literary heritage works that would allow him to address man’s existential questions, attitudes towards life and death. This theme resonates most fully in adaptations of two works by the writer Jaroslaw Iwaszkiewicz, Brzezina and Panny z Wilka, in which the heroes are found not in history but in life, where they are threatened not by war but by old age, illness, and death, and where they must struggle only with them- selves. To address such existential tension Wajda also developed a transcription of Mikhail Bulgakov’s prose work The Master and Margarita, filmed for television in the German Democratic Republic under the title Pilatus und andere-ein Film für Karfreitag. In the 1980s, after a number of years, Wajda goes back to the subject of war. It is in the nostalgic Kronika wypadków mi?osnych, which deals with young people into whose loves and disappointments creeps the premonition of a military catastrophe and death. Eine Liebe in Deutschland is about the tragic consequences of the love felt by a married German woman for a Polish prisoner. And it is also the subject of Korczak, the most important work of Wajda’s comeback. The director based Korczak on an authentic story, and the hero who gave the film its name is a portrait of a real person. After the arrival of the German occupying forces in Poland, Korczak followed his charges from an orphanage into the Jewish Ghetto, and in the end of WALSH DIRECTORS, 4 th EDITION 1046 his own free will into the extermination concentration camp of Treblinka. With this film about Korczak Wajda closed, for the time being, one of the great subjects of his life and work. He has done this by employing the simplest and therefore the most effective method: black-and-white photography, which renders a sober record of life in a sealed-off ghetto and at the same time pays homage to the unostentatious heroism of a man who, face to face with death, did not forget the moral code of the human race. Wajda’s oeuvre, encompassing artistic triumphs and failures, forms a unified but incomplete whole. The affinity among his films is determined by a choice of themes which enables him to depict great historical syntheses, metaphors, and symbols. He is constantly drawn to those moments in the destinies of individuals and groups that are crossroads of events with tragic consequences. In his films the main motifs of human existence are interwoven—death and life, love, defeat, and the tragic dilemma of having to choose, the impossibility of realizing great aspirations. All these motifs are subordinated to history, even a feeling as subjective as love. Wajda’s films have not been, and are not, uniformly received by audiences or critics. They have always provoked discussions in which enthusiasm has confronted condemnation and agreement has con- fronted disagreement and even hostility; despite some failures, how- ever, Wajda’s films have never been met with indifference. —Bla?ena Urgo?iková WALSH, Raoul Nationality: American. Born: New York City, 11 March 1887 (some sources say 1892). Education: Attended Public School 93, New York; also attended Seton Hall College. Family: Married 1) Miriam Cooper, 1916 (divorced 1927); 2) Mary Edna Simpson, 1941. Ca- reer: Sailed to Cuba on uncle’s trading ship, 1903; horse wrangler in Mexico, 1903–04; worked in variety of jobs in United States, includ- ing surgeon’s assistant and undertaker, 1904–10; cowboy actor in films for Pathé Studio, New Jersey, then for Biograph, from 1910; actor and assistant to D.W. Griffith, then director at Biograph, Hollywood, from 1912; director for William Fox, from 1916; lost eye in auto accident, 1928; introduced John Wayne as feature actor in The Big Trail, 1930; director for various studios, then retired to ranch, 1964. Died: In California, 31 December 1980. Films as Director: 1912 The Life of General Villa (co-d, role as young Villa); Outlaw’s Revenge 1913 The Double Knot (+ pr, sc, role); The Mystery of the Hindu Image (+ pr, sc); The Gunman (+ pr, sc; credit contested) 1914 The Final Verdict (+ pr, sc, role); The Bowery 1915 The Regeneration (+ co-sc); Carmen (+ pr, sc); The Death Dice (+ pr, sc; credit contested); His Return (+ pr); The Greaser (+ pr, sc, role); The Fencing Master (+ pr, sc); A Man for All That (+ pr, sc, role); 11:30 P.M. (+ pr, sc); The Buried Hand (+ pr, sc); The Celestial Code (+ pr, sc); A Bad Man and Others (+ pr, sc); Home from the Sea; The Lone Cowboy (+ co-sc) Raoul Walsh 1916 Blue Blood and Red (+ pr, sc); The Serpent (+ pr, sc); Pillars of Society 1917 The Honor System; The Silent Lie; The Innocent Sinner (+ sc); Betrayed (+ sc); The Conqueror (+ sc); This Is the Life 1918 Pride of New York (+ sc); The Woman and the Law (+ sc); The Prussian Cur (+ sc); On the Jump (+ sc); I’ll Say So 1919 Should a Husband Forgive (+ sc); Evangeline (+ sc); Every Mother’s Son (+ sc) 1920 The Strongest (+ sc); The Deep Purple; From Now On 1921 The Oath (+ pr, sc); Serenade (+ pr) 1923 Lost and Found on a South Sea Island (Passions of the Sea); Kindred of the Dust (+ pr, sc) 1924 The Thief of Bagdad 1925 East of Suez (+ pr); The Spaniard (+ co-pr); The Wanderer (+ co-pr) 1926 The Lucky Lady (+ co-pr); The Lady of the Harem; What Price Glory 1927 The Monkey Talks (+ pr); The Loves of Carmen (+ sc) 1928 Sadie Thompson (Rain) (+ co-sc, role); The Red Dance; Me Gangster (+ co-sc) 1929 In Old Arizona (co-d); The Cock-eyed World (+ co-sc); Hot for Paris (+ co-sc) 1930 The Big Trail 1931 The Man Who Came Back; Women of all Nations; The Yellow Ticket 1932 Wild Girl; Me and My Gal 1933 Sailor’s Luck; The Bowery; Going Hollywood 1935 Under Pressure; Baby Face Harrington; Every Night at Night WALSHDIRECTORS, 4 th EDITION 1047 1936 Klondike Annie; Big Brown Eyes (+ co-sc); Spendthrift 1937 O.H.M.S. (You’re in the Army Now); When Thief Meets Thief; Artists and Models; Hitting a New High 1938 College Swing 1939 St. Louis Blues; The Roaring Twenties 1940 The Dark Command (+ pr); They Drive by Night 1941 High Sierra; The Strawberry Blonde; Manpower; They Died with Their Boots On 1942 Desperate Journey; Gentleman Jim 1943 Background to Danger; Northern Pursuit 1944 Uncertain Glory; San Antonio (uncredited co-d); Salty O’Rourke; The Horn Blows at Midnight 1946 The Man I Love 1947 Pursued; Cheyenne; Stallion Road (uncredited co-d) 1948 Silver River; Fighter Squadron; One Sunday Afternoon 1949 Colorado Territory; White Heat 1950 The Enforcer (uncredited co-d); Montana (uncredited co-d) 1951 Along the Great Divide; Captain Horatio Hornblower; Dis- tant Drums 1952 The World in His Arms; The Lawless Breed; Blackbeard the Pirate 1953 Sea Devils; A Lion in the Streets; Gun Fury 1954 Saskatchewan 1955 Battle Cry; The Tall Men 1956 The Revolt of Mamie Stover; The King and Four Queens 1957 Band of Angels 1958 The Naked and the Dead; The Sheriff of Fractured Jaw 1959 A Private’s Affair 1960 Esther and the King (+ pr, sc) 1961 Marines, Let’s Go (+ pr, sc) 1964 A Distant Trumpet Other Films: 1910 The Banker’s Daughter (Griffith) (role as bank clerk); A Mother’s Love (role as young man); Paul Revere’s Ride (Emile Cocteau) (role as Paul Revere) 1915 Birth of a Nation (Griffith) (role as John Wilkes Booth) Publications By WALSH: books— Each Man in His Time, New York, 1974. Un Demi-siècle à Hollywood, Paris, 1976. By WALSH: articles— Interview with Jean-Louis Noames, in Cahiers du Cinéma (Paris), April 1964. Interview with Guy Braucourt, in Ecran (Paris), September/Octo- ber 1972. ‘‘Can You Ride the Horse?,’’ an interview with J. Childs, in Sight and Sound (London), Winter 1972/73. ‘‘Raoul Walsh Talks about D.W. Griffith,’’ with P. Montgomery, in Film Heritage (New York), Spring 1975. ‘‘Raoul Walsh Remembers Warners,’’ an interview with P. McGilligan and others, in Velvet Light Trap (Madison), Autumn 1975. On WALSH: books— Brownlow, Kevin, The Parade’s Gone By . . . , New York, 1968. Marmin, Michael, Raoul Walsh, Paris, 1970. Canham, Kingsley, The Hollywood Professionals, New York, 1973. Hardy, Phil, editor, Raoul Walsh, Edinburgh, 1974. Casas, Joaquín, Raoul Walsh, Madrid, 1982. Comizio, Ermanno, Raoul Walsh, Florence, 1982. Giluiani, Pierre, Raoul Walsh, Paris, 1986. On WALSH: articles— ‘‘Walsh Issue’’ of Présence du Cinéma (Paris), May 1962. ‘‘Walsh Issue’’ of Cahiers du Cinéma (Paris), April 1964. Dienstfrey, Harris, ‘‘Hitch Your Genre to a Star,’’ in Film Culture (New York), Fall 1964. Brownlow, Kevin, ‘‘Raoul Walsh,’’ in Film (London), Autumn 1967. Lloyd, R., ‘‘Raoul Walsh,’’ in Brighton (London), November, Decem- ber, and January 1970. Conley, W., ‘‘Raoul Walsh—His Silent Films,’’ in Silent Picture (London), Winter 1970/71. Fox, J., ‘‘Action All the Way,’’ ‘‘Going Hollywood,’’ and ‘‘Hollow Victories,’’ in Films and Filming (London), June, July, and August 1973. Farber, Manny, ‘‘Raoul Walsh: ‘He Used to Be a Big Shot,’’’ in Sight and Sound (London), Winter 1974/75. McNiven, R., ‘‘The Western Landscape of Raoul Walsh,’’ in Velvet Light Trap (Madison), Autumn 1975. Cocchi, J., and others, ‘‘Raoul Walsh filmographie: L’oeuvre ‘parlante’ 1929/1961,’’ in Avant-Scène du Cinéma (Paris), April 1976. Halliday, J., ‘‘Trying to Remember an Afternoon with Raoul Walsh,’’ in Framework (Norwich, England), Spring 1981. McNiven, R., ‘‘Raoul Walsh: 1887–1981,’’ in Film Comment (New York), July/August 1981. Comuzio, Ermanno, Castoro Cinema (Milan), special issue, no. 95, 1981. Bodeen, De Witt, ‘‘Raoul Walsh,’’ in Films in Review (New York), April 1982. Gallagher, John, ‘‘Raoul Walsh,’’ in Films in Review (New York), October 1987. *** Raoul Walsh’s extraordinary career spanned the history of the American motion picture industry from its emergence, through its glory years in the 1930s and 1940s, and into the television era. Like his colleagues Alan Dwan, King Vidor, John Ford, and Henry King, whose careers also covered 50 years, Walsh continuously turned out popular fare, including several extraordinary hits. Movie fans have long appreciated the work of this director’s director. But only when auteurists began to closely examine his films was Walsh ‘‘discov- ered,’’ first by the French (in the 1960s), and then by American and British critics (in the 1970s). To these critics Walsh’s action films come to represent a unified view, put forth by means of a simple, straightforward technique. Raoul Walsh is now accepted as an example of a master Hollywood craftsman who worked with naive WARD DIRECTORS, 4 th EDITION 1048 skill and an animal energy, a director who was both frustrated and buoyed by the studio system. Unfortunately, this view neglects Walsh’s important place in the silent cinema. Raoul Walsh began his career with an industry still centered in and around New York City, the director’s birthplace. He started as an actor in Pathé westerns filmed in New Jersey, and then journeyed to California to be with D.W. Griffith’s Fine Arts produc- tion company. Walsh apprenticed with Griffith as an actor, appearing in his most famous role as John Wilkes Booth in Birth of a Nation. Walsh then turned to directing, first for the fledgling Fox Film Company. For the next five years (interrupted by World War I service experience) Walsh would master the craft of filmmaking, absorbing lessons which would serve him for more than forty years. His apprenticeship led to major assignments, and his greatest financial successes came in the 1920s. Douglas Fairbanks’s The Thief of Bagdad was directed by Walsh at the height of that famous star’s career. Walsh took advantage of this acclaim by moving for a time to the top studio of that era, Paramount, and then signed a lucrative long- term contract with Fox. At that point Fox began expanding into a major studio. Walsh contributed to that success with hits like What Price Glory? and The Cock-eyed World. The introduction of new sound-on-film technology, through its Movietone newsreels, helped Fox’s ascent. Consequently, when Fox was about to convert to all- sound features, corporate chieftains turned to Walsh to direct In Old Arizona, in 1929. (It was on location for that film that Walsh lost his eye.) Because of its experience with newsreel shooting, Fox was the only studio at the time that could film and record quality sound on location. Walsh’s next film used the 70mm ‘‘Grandeur’’ process on a western, The Big Trail. The film did well but could not save the company from succumbing to the Great Depression. Walsh’s career stagnated during the 1930s. He and Fox never achieved the heights of the late 1920s. When Darryl F. Zanuck came aboard with the Twentieth Century merger in 1935, Walsh moved on, freelancing until he signed with Warners in 1939. For slightly more than a decade, Walsh functioned as a contract director at Warners, turning out two or three films a year. Walsh never established the degree of control he had enjoyed over the silent film projects, but he seemed to thrive in the restrictive Warners environment. Walsh’s first three films at Warners fit into that studio’s mode of crime melodra- mas: The Roaring Twenties, They Drive by Night, and High Sierra. The Roaring Twenties was not a classic gangster film, like Warners’ Little Caesar and Public Enemy, but was a realistic portrait of the socio-economic environment in the United States after World War I. High Sierra looked ahead to the film noir of the 1940s. In that film the gangster became a sympathetic character trapped by forces he did not understand. During the World War II era Walsh turned to war films with a textbook example of what a war action film ought to be. Walsh continued making crime melodramas and war films in the late 1940s and early 1950s. Battle Cry, The Naked and the Dead, and Marines, Let’s Go proved that he could adapt to changing tastes within familiar genres. Arguably Walsh’s best film of the post-war era was White Heat, made for Warners in 1949. The James Cagney character is portrayed against type: we see the gangster hiding and running, trying to escape his past and his social, economic, and psychological background. White Heat was the apex of Walsh’s work at Warners, for it simulta- neously fit into an accepted mode and transcended the formula. White Heat has come to symbolize the tough Raoul Walsh action film. Certainly that same sort of style can also be seen in his westerns at Warners, They Died with Their Boots On, Pursued, and a remake of High Sierra called Colorado Territory. But there are other sides of the Walsh oeuvre, usually overlooked by critics, or at most awkwardly positioned among the action films. The Strawberry Blonde is a warm, affectionate, turn-of-the-century tale of small town America. Gentle- man Jim of 1942 also swims in sentimentality. These films indicate that Walsh, though known as an action director, certainly had a soft touch when required. Indeed, when his works are closely examined, it is clear that Walsh had the ability to adapt to many different themes and points of view. The 1950s seemed to pass Walsh by. Freed from the confines of the rigid studio system, Walsh’s output became less interesting. But he was a survivor. He completed his final feature, a cavalry film for Warners called A Distant Trumpet, in 1964. By then Raoul Walsh had truly become a Hollywood legend, having reached two career peaks in a more than fifty-year career. To carefully examine the career of Raoul Walsh is to study the history of the American film in toto, for the two are nearly the same length and inexorably intertwined. —Douglas Gomery WARD, Vincent Nationality: New Zealander. Born: Greytown, New Zealand, 16 February 1956. Education: Attended the Ilam School of Art, Christchurch, New Zealand, where he intended to study painting but took up filmmaking instead. Career: Directed and co-wrote first films at age twenty-one, 1977–1978; directed first feature, Vigil, 1984; came to the United States to work on Alien3, 1992; currently based in Australia and the United States. Awards: Silver Hugo Award, Chicago Festival, 1978, for A State of Siege; Silver Hugo Award, Chicago Festival, 1980, for In Spring One Plants Alone; Grand Prix Award, Prades Festival, Grand Prix Award, Madrid Festival, and Best Film, Imag Fic Festival, all 1984, all for Vigil; Australian Film Awards, Best Picture and Best Director, 1988, for The Navigator: A Medieval Odyssey. Agent: CAA, 9830 Wilshire Blvd., Beverly Hills, CA 90212, U.S.A. Address: P.O. Box 423, Kings Cross, NSW 2011, Australia. Films as Director and Screenwriter: 1977 Ma Olsen (short) 1978 A State of Siege (short) 1980 In Spring One Plants Alone (short) 1984 Vigil 1988 The Navigator: A Medieval Odyssey 1992 Map of the Human Heart (+ pr) 1998 What Dreams May Come (+pr) Other Films: 1992 Alien3 (story) 1995 Leaving Las Vegas (ro of Businessman 1) WARHOLDIRECTORS, 4 th EDITION 1049 1996 The Shot (ro of Smith) 1997 One Night Stand (ro of Nathan) Publications By WARD: article— ‘‘Ward’s Way,’’ interview with Larry Buttrose in Interview (New York), March 1989. Interview with Jeff Laffel, in Films in Review (New York), May- June 1993. Johnston, Trevor, ‘‘Eskimo Hell,’’ in Time Out (London), 2 June 1993. ‘‘Never Say Die,’’ an interview with Kim Newman, in Sight and Sound (London), December 1998. On WARD: articles— Mitchell, Tony, ‘‘On the Edge,’’ in Cinema Papers (Fitzroy), Sep- tember 1985. Jackson, S., ‘‘New Zealand Film Bibliography,’’ in Filmviews (Vic- toria, Australia), Winter 1987. Nayman, M., ‘‘The Navigator—Vincent Ward’s Past Dreams of the Future,’’ in Cinema Papers (Melbourne), May 1988. Lewis, B., ‘‘The Navigator,’’ in Films & Filming (London), March 1989. Griffin, N., ‘‘Vincent Ward,’’ in Premiere (New York), April 1989. Insdorf, Annette, ‘‘His Vision Charted the Course of The Navigator,’’ in New York Times, 16 July 1989. Williamson, Lyn, ‘‘Vincent Charts Course for Cannes,’’ in Onfilm (Auckland), April 1992. Wilmington, Michael, ‘‘Firestorm and Dry Ice: The Cinema of Vincent Ward,’’ in Film Comment (New York), May/June 1993. *** After completing just three feature films, Vincent Ward has established himself as a filmmaker of great individuality, intensity, and creativity. His narrative technique is centered on the fundamental importance of the image; he has a painter’s eye for capturing arresting, eye-popping visuals. However, all of his films are united not only by their imagery. While he resists categorizing himself and his work, Ward did admit in an interview with this writer that ‘‘I like to make films that say something about people.’’ Ward’s characters are linked in that they consistently are isolated, trapped by the barren, desolate rural environments in which they have come of age. Ward is most interested in examining the manner in which they relate to their surroundings and, even more importantly, how they are touched by the outside world. Clearly, this theme is tied into the filmmaker’s own roots in New Zealand, a mostly rural country located at the very bottom of the world. Vigil is a fine debut feature, the deeply personal story of a young farmgirl, on the cusp of adolescence, who is growing up in an isolated locale in backwoods New Zealand. The outside world comes to her in the person of a hunter, who arrives on the scene upon the death of her father and whose presence impacts on her and her family. Ward manages to get inside the mind of this child as he depicts the world around her in all of its realities and contradictions. That world is seen through her perceptions, fantasies, and lack of life experience. There is a raw energy present in Vigil, an energy created by a filmmaker who has total admiration for the art of cinema and the power of the moving image. In Ward’s follow-ups, The Navigator: A Medieval Odyssey and Map of the Human Heart, he expands his characters’ horizons in that, near the beginning of each story, he has them leaving their homelands and entering the outside world. The Navigator is the stunningly visual account, set in the year 1348, of a group of townspeople in Cumbria who embark on the title journey in order to escape a plague. At the end of their trip, they come upon an ultra-modern, twentieth-century metropolis. Here, the film becomes a view of a contemporary, technological society as seen through the perceptions of medieval man. The special effects in The Navigator are especially impressive. Ward cleverly used small-scale cardboard and plywood miniatures to create his ‘‘futuristic’’ city; the film was shot on a modest budget, yet it has the look of a multi-million-dollar Hollywood epic. Ward’s third feature, Map of the Human Heart, is a heartrending drama, a thoughtful, emotionally involving film about clashing cul- tures and the corruption of innocence. Ward tells the story of Avik (Jason Scott Lee), an Eskimo who might easily be described as a child of fate. As a young boy in the early 1930s, Avik’s encounter with an Arctic mapmaker (Patrick Bergin) leads him into ‘‘civilization,’’ where he meets Albertine (Anne Parillaud), half-Indian and half- French Canadian, who is destined to be his true love. Also key to the story is Avik’s becoming a combat pilot, and his participation in World War II. Especially in The Navigator and Map of the Human Heart, Ward’s characters become convinced that by entering the outside world they can alter their lives and their fates. They share a faith in their futures, and it is this very faith that allows them—for better or for worse—to take action by moving out of their native environs and into the world at large. To date, Ward’s sole Hollywood credit is Alien3, for which he authored the story upon which the screenplay was based. It is a shame that, entering mid-career, this daringly original and always-interest- ing filmmaker has only three feature films to his credit. ‘‘It’s easy to get films made that are more generic,’’ Ward states. ‘‘I want my films to be accessible, though I also want to do them on my own terms, and to be about my own concerns as a filmmaker.’’ —Rob Edelman WARHOL, Andy Nationality: American. Born: Andrew Warhola in McKeesport, Pennsylvania, 6 August 1928. Education: Studied at Carnegie Insti- tute of Technology, Pittsburgh, B.F.A., 1949. Career: Illustrator for Glamour Magazine (New York), 1949–50; commercial artist, New York, 1950–57; independent artist, New York, 1957 until his death in 1987; first silk-screen paintings, 1962; began making films, mainly with Paul Morrissey, a member of his ‘‘Factory,’’ 1963; shot by former ‘‘Factory’’ regular Valerie Solanas, 1968; editor, Inter/View WARHOL DIRECTORS, 4 th EDITION 1050 Andy Warhol magazine, New York; made promo video for ‘‘Hello Again’’ by The Cars, 1984. Awards: 6th Film Culture Award, New York, 1964; Award, Los Angeles Film Festival, 1964. Died: Of cardiac arrest following routine gall bladder operation in New York, 22 Febru- ary 1987. Films as Director and Producer: 1963 Tarzan and Jane Regained . . . Sort Of; Sleep; Kiss; Andy Warhol Films Jack Smith Filming Normal Love; Dance Movie (Roller Skate); Salome and Delilah; Haircut; Blow Job 1964 Empire; Batman Dracula; The End of Dawn; Naomi and Rufus Kiss; Henry Geldzahler; The Lester Persky Story (Soap Opera); Couch; Shoulder; Mario Banana; Harlot; Taylor Mead’s Ass 1965 Thirteen Most Beautiful Women; Thirteen Most Beautiful Boys; Fifty Fantastics; Fifty Personalities; Ivy and John; Screen Test I; Screen Test II; The Life of Juanita Castro; Drunk; Suicide; Horse; Vinyl; Bitch; Poor Little Rich Girl; Face; Restaurant; Afternoon; Prison; Space; Outer and Inner Space; Camp; Paul Swan; Hedy (Hedy the Shoplifter or The Fourteen-Year-Old Girl); The Closet; Lupe; More Milk, Evette 1966 Kitchen; My Hustler; Bufferin (Gerard Malanga Reads Poetry); Eating Too Fast; The Velvet Underground; Chelsea Girls 1967 * * * * (Four Stars) [parts of * * * * include International Velvet; Alan and Dickin; Imitation of Christ; Coutroom; Gerard Has His Hair Removed with Nair; Katrina Dead; Sausalito; Alan and Apple; Group One; Sunset Beach on Long Island; High Ashbury; Tiger Morse]; I, a Man; Bike Boy; Nude Restaurant; The Loves of Ondine 1968 Lonesome Cowboys; Blue Movie (Fuck); Flesh (d Morrissey, pr Warhol) 1970 Trash (d Morrissey, pr Warhol) 1972 Women in Revolt (co-d with Morrissey); Heat (d Morrissey, pr Warhol) 1973 L’Amour (co-d, pr, co-sc with Morrissey) 1974 Andy Warhol’s Frankenstein (d Morrissey, pr Warhol); Andy Warhol’s Dracula (d Morrissey, pr Warhol) 1977 Andy Warhol’s Bad (d Morrissey, pr Warhol) WARHOLDIRECTORS, 4 th EDITION 1051 Other Films 1986 Vamp (Wenk) (contributing artist) Publications By WARHOL: books— Blue Movie, script, New York, 1970. The Philosophy of Andy Warhol (From A to B and Back Again), New York, 1975. The Andy Warhol Diaries, edited by Pat Hackett, New York, 1989. Andy Warhol: In His Own Words, London, 1991. Angels, angels, angels, London, 1994. Cats, cats, cats, London, 1994. By WARHOL: articles— Interview with David Ehrenstein, in Film Culture (New York), Spring 1966. ‘‘Nothing to Lose,’’ an interview with Gretchen Berg, in Cahiers du Cinéma in English (New York), May 1967. Numerous interviews conducted by Warhol, in Inter/View (New York). Interview in The Film Director as Superstar, by Joseph Gelmis, Garden City, New York, 1970. Interview with Tony Rayns, in Cinema (London), August 1970. Interview with Ralph Pomeroy, in Afterimage (Rochester), Autumn 1970. On WARHOL: books— Coplans, John, Andy Warhol, New York, 1970. Crone, Rainer, Andy Warhol, New York, 1970. Gidal, Peter, Andy Warhol, New York, 1970. Wilcox, John, The Autobiography and Sex Life of Andy Warhol, New York, 1971. Koch, Stephen, Stargazer: Andy Warhol’s World and His Films, New York, 1973; revised edition, 1985. Smith, Patrick S., Andy Warhol’s Art and Films, Ann Arbor, Michi- gan, 1986. Bourdon, David, Warhol, 1989. Finkelstein, Nat, Warhol: The Factory Years 1964–67, London, 1989. Gidal, Peter, Materialist Film, London, 1989. Guiles, Fred Lawrence, Loner at the Ball: The Life of Andy Warhol, New York, 1989. James, David E., Allegories of Cinema: American Film in the Sixties, Princeton, New Jersey, 1989. O’Pray, Michael, Andy Warhol: Film Factory, London, 1989. Colacello, Bob, Holy Terror: Andy Warhol Close Up, New York, 1990. Koch, Stephen, Stargazer: The Life, World, and Films of Andy Warhol, New York, 1991. Inboden, Gudrun, Andy Warhol: White Disaster I, 1963, Stuttgart, 1992. Kurtz, Bruce D., ed., Keith Haring, Andy Warhol, and Walt Disney, Munich and London, 1992. Geldzahler, Henry, Andy Warhol: Portraits of the Seventies and Eighties, London, 1993. Katz, Jonathan, Andy Warhol, New York, 1993. Alexander, Paul, Death and Disaster: The Rise of the Warhol Empire and the Race for Andy’s Millions, New York, 1994. Cagle, Van M., Reconstructing Pop/Subculture: Art, Rock, and Andy Warhol, Thousand Oaks, California, 1995. Tillman, Lynne; photographs by Stephen Shore, The Velvet Years: Warhol’s Factory, 1965–67, New York, 1995. Suárez, Juan Antonio, Bike Boys, Drag Queens, and Superstars: Avant-Garde, Mass Culture, and Gay Identities in the 1960s Underground Cinema, Bloomington, Indiana, 1996. Bockris, Victor, Warhol, New York, 1997. Pratt, Alan R., editor, The Critical Response to Andy Warhol, Westport, Connecticut, 1997. MacCabe, Colin, with Mark Francis and Peter Wollen, editors, Who Is Andy Warhol? London, 1997. Dalton, David, Andy Warhol: The Factory Years, 1964–1967, New York, 2000. On WARHOL: articles— Stoller, James, ‘‘Beyond Cinema: Notes on Some Films by Andy Warhol,’’ in Film Quarterly (Berkeley), Fall 1966. Tyler, Parker, ‘‘Dragtime and Drugtime: or Film à la Warhol,’’ in Evergreen Review (New York), April 1967. ‘‘Warhol,’’ in Film Culture (New York), Summer 1967. Lugg, Andrew, ‘‘On Andy Warhol,’’ in Cineaste (New York), Winter 1967/68 and Spring 1968. Rayns, Tony, ‘‘Andy Warhol’s Films Inc.: Communication in Action,’’ in Cinema (London), August 1970. Heflin, Lee, ‘‘Notes on Seeing the Films of Andy Warhol,’’ in Afterimage (Rochester), Autumn 1970. Bourdon, David, ‘‘Warhol as Filmmaker,’’ in Art in America (New York), May-June 1971. Cipnic, D.J., ‘‘Andy Warhol: Iconographer,’’ in Sight and Sound (London), Summer 1972. Larson, R., ‘‘A Retrospective Look at the Films of D. W. Griffith and Andy Warhol,’’ in Film Journal (New York), Fall-Winter 1972. James, David E., ‘‘The Producer as Author,’’ in Wide Angle (Balti- more, Maryland), vol. 7, no. 3, 1985. Cohn, L., obituary in Variety (New York), 25 February 1987. Babitz, E., ‘‘The Soup Can as Big as the Ritz,’’ in Movieline, November 1989. Currie, C., ‘‘Andy Warhol: Enigma, Icon, Master,’’ in Semiotica, vol. 80, no. 3–4, 1990. Huhtamo, E., ‘‘Valkokankaan suuri ei-kukaan. Andy Warhol elokuvantekijana,’’ Filmihullu (Helsinki), no. 5, 1990. Diana, M., ‘‘Blow Cinema,’’ in Segnocinema (Vicenza), vol. 10, no. 46, November 1990. Ulver, S., ‘‘Andy Warhol. Realita a mytus,’’ Film and Doba, vol. 37, no. 1 Spring 1991. Finnane, Gabrielle, Kosmorama (Copenhagen), vol. 37, no. 198, Winter 1991. Tully, Judd, ‘‘15 Minutes Later: Warhol Now,’’ in ARTnews, March 1992. Byron, Christopher, ‘‘Andy’s Magic Money Machine,’’ in New York, 30 November 1992. Dixon, W. W., ‘‘The Early Films of Andy Warhol,’’ in Classic Images (Muscatine, Iowa), no. 214, April 1993. Stevens, Mark, ‘‘Saint Andy,’’ in New York, 23 May 1994. Assayas, O., ‘‘Andy Warhol,’’ in Positif (Paris), no. 400, June 1994. Taubin, A., ‘‘My Time Is Not Your Time,’’ in Sight and Sound (London), vol. 4, no. 6, June 1994. WARHOL DIRECTORS, 4 th EDITION 1052 Long, Marion, ‘‘The Andy Warhol Museum,’’ in Omni, June 1994. Adams, Brooks, ‘‘Industrial-strength Warhol,’’ in Art in America, September 1994. James, D. E., ‘‘The Warhol Screenplays: Interview with Ronald Tavel,’’ in Persistence of Vision (Maspeth, New York), no. 11, 1995. Alexander, Paul, ‘‘Murky Image,’’ in ARTnews, February 1995. Bandy, Mary Lea, ‘‘Another Cinema Must Be Saved,’’ in Journal of Film Preservation (Brussels), no. 50, March 1995. Peck, Ron, and Stephen Thrower, ‘‘Directed by Paul Morrissey. An Interview with Paul Morrissey,’’ in Eyeball, no. 4, Winter 1996. On WARHOL: film— American Masters: Superstar—The Life of Andy Warhol, 1990. *** By the time he screened his first films in 1963, Andy Warhol was well on his way to becoming the most famous ‘‘pop’’ artist in the world, and his variations on the theme of Campbell’s soup cans had already assumed archetypal significance for art in the age of mechani- cal reproduction. Given Warhol’s penchant for the automatic and mass-produced, his movement from sculpture, canvas, and silk- screen into cinema seemed logical; and his films were as passive, as intentionally ‘‘empty’’, as significant of the artist’s absence as his previous work or as the image he projected of himself. One of his earliest films, Kiss, was no more nor less than a series of people kissing in closeup, each scene running the three-minute length of a 16mm daylight reel, complete with flash frames at both ends. But it was his 1963 film Sleep, a six-hour movie comprised of variously framed shots of a naked sleeping man, which made Warhol a star on the burgeoning New York underground film scene. As though to dispel any doubts that his message was the medium, Warhol followed Sleep with Empire, an eight-hour stationary view of the Empire State Building, creating a kind of cinematic limit case for the Bazinian integrity of the shot. It was a film of such conceptual significance that if it did not exist it would have to be invented; yet it was a film that was equally unwatchable (even Warhol refused to sit through it). During the period 1963 to 1967, Warhol made some fifty-five films, ranging in length from four minutes (Mario Banana, 1964) to twenty-five hours (* * * *, 1967). All were informed by the passive, mechanical aesthetic of simply turning on the camera to record what was in front of it. Generally, what was recorded were the antics of Warhol’s E. 47th Street ‘‘Factory’’ coterie—a host of friends, artists, junkies, transvestites, rock singers, hustlers, fugitives, and hangers- on. Ad-libbing, ‘‘camping,’’ being themselves (and often more than themselves) before the unblinking eye of Warhol’s camera, they became ‘‘superstars’’—underground celebrities epitomizing Warhol’s consumer-democratic ideal of fifteen minutes’ fame for everyone. Despite Warhol’s cultivated image as the ‘‘tycoon of passivity,’’ his films display a cool but very dry wit. Blow Job, for example, consisted of thirty minutes of a closeup of the expressionless face of a man being fellated outside the frame—a coyly humorous presenta- tion of a forbidden act in an image perversely composed as a denial of pleasure (for the actor and the audience). Mario Banana simply presented the spectacle of transvestite Mario Montez eating bananas while in drag. Harlot, Warhol’s first sound film, featured Mario (again eating bananas) sitting next to a woman in an evening dress, with the entirety of the virtually inaudible dialogue coming from three men positioned off-screen. In the course of his films, Warhol seemed to be retracing the history of the cinema, from silence to sound to color (Chelsea Girls); from a fascination with the camera’s ‘‘documentary’’ capabilities (Empire) to attempts at narrative by 1965. Vinyl, an adaption of Anthony Burgess’s A Clockwork Orange, involved a single high- angle camera position tightly framing a group of mostly uninvolved factory types, with protagonist Gerard Malanga sitting in a chair, reading his lines off a script on the floor, and being tortured with dripping candle wax and a ‘‘popper’’ overdose. When the camera accidently fell over in the middle of the proceedings, it was quickly returned to its original position without a break in the action. My Hustler offered a modicum of story, audible dialogue, and two shots—one of them a repetitive pan from a gay man talking to friends on the deck of a Fire Island beach house to his hired male prostitute sunning himself on the beach. The second shot, which fails to reveal the outcome of a wager made in the first section, shows the hustler and another man taking showers and grooming themselves in a crowded bathroom (a scene which made the pages of Life magazine for its brief male nudity). It was Chelsea Girls, however, which resulted in Warhol’s break- through to national and international exposure. A three-hour film in black-and-white and color, shown on two screens at once, it featured almost all the resident ‘‘superstars’’ in scenes supposedly taking place in various rooms of New York’s Chelsea Hotel. After Chelsea Girls’ financial success, subsequent Warhol films like I, a Man; Bike Boy; Nude Restaurant; and Lonesome Cowboys became a bit more technically astute and conventionally feature-length. Simultaneously, the scenes taking place in front of the camera in these films, while they maintained their bizarre, directionless, and ad-libbed quality, became more sensational in their presentation of nudity and sex. Warhol’s last hurrah, Lonesome Cowboys, was actually shot in Arizona. It featured a number of ‘‘superstars’’ dressing in western garb, posing and walking through a nearly non-existent story amongst western movie sets. It was the last film Warhol completed before he was seriously wounded in an assassination attempt by marginal factory character Valerie Solanas. Warhol’s shooting marked the beginning of a period of reclusiveness for the artist. Subsequent ‘‘Warhol’’ films were the product of cohort and collaborator Paul Morrissey, who has been credited with the increasing commercialism of the 1967 films (not to mention the decline of the factory ‘‘scene’’). While Warhol lay in the hospital recovering from gunshot wounds, Morrissey completed a film on his own titled Flesh—a series of episodes basically recounting a day in the life of Joe Dallesandro (who appears nude more often than not), featuring Warhol-like performances and camera work, but adding a discernible story line and even character motivations. From 1970 to 1974, Morrissey’s films under Warhol’s name quickly became not only more commercial, but more technically accomplished and traditionally plotted as well. After Trash, a kind of watershed film that featured Joe and Holly Woodlawn in a narrative comedy about some marginal New York junkies and low-lifes, Morrissey even began to tone down the nudity. Women in Revolt, which was virtually a full-fledged melodrama, featured three trans- vestites playing the women of the title. Heat, shot in Los Angeles, had Dallesandro and New York cult actress/screen personality Sylvia Miles playing out a sleazy remake of Sunset Boulevard. L’Amour took the whole Morrissey coterie to Paris. WATERSDIRECTORS, 4 th EDITION 1053 Morrissey’s big step into mainstream filmmaking came with the 1974 production of Andy Warhol’s Frankenstein, a preposterously gory, tongue-in-cheek horror film rendered in perfectly seamless, classical Hollywood style, and in a highly accomplished 3-D process. As outrageous as it was in its surrealistically bloody excess, and for all its ‘‘high-camp’’ attitude, the film bore almost no resemblance to the films of Andy Warhol; nor did Morrissey’s Blood for Dracula, made at the same time, with virtually the same cast, but without 3-D. Since that time, Morrissey has pursued a career apart from Warhol’s name as an independent commercial filmmaker. —Ed Lowry WATERS, John Nationality: American. Born: Baltimore, Maryland, April 29, 1946. Education: Attended University of Baltimore, 1965, and New York University, 1966; claims to have been thrown out of film school. Career: Made first short film with 8mm camera, 1964; directed first feature, Mondo Trasho (financed for $2,000 by father), and began collaboration with Divine, 1969; arrested on eve of premiere of Mondo Trasho and charged with ‘‘conspiracy to commit indecent John Waters exposure’’; directed first-ever scratch-and-sniff movie, Polyester, 1981; teacher at Baltimore Prison, 1980s. Films as Director, Producer, and Screenwriter: 1964 Hag in a Leather Jacket (short) 1966 Roman Candles (3 shorts) 1968 Eat Your Makeup (short) 1969 Mondo Trasho (+ ed, cin) 1970 Multiple Maniacs 1972 Pink Flamingoes (+ ed, cin) 1974 Female Trouble (+ cin) 1977 Desperate Living 1981 Polyester 1988 Hairspray (co-pr + role as Dr. Frederickson) 1990 Cry Baby 1994 Serial Mom (+ cameo role as Ted Bundy) 1999 Pecker (+ voice as Pervert on Phone) 2000 Cecil B. Demented Other Films: 1986 Something Wild (Demme) (as Used Car Guy) 1989 Homer and Eddie (Mikhalkov-Konchalovsky) (as Robber νm1) 1998 Home Movie on John Waters (Populin — short) (as Himself); Divine Trash (Yaeger —doc) (as Himself) 1999 In Bad Taste (Yaeger —doc) (as Himself); Forever Holly- wood (Glassman/McCarthy —doc) (as Himself); Sweet and Lowdown (Allen) (as Mr. Haynes) Publications By WATERS: books— Shock Value, New York, 1981. Crackpot: The Obsessions of John Waters, New York, 1986. Trash Trio: The Screenplays Pink Flamingoes, Desperate Living, Flamingoes Forever, New York, 1988. Director’s Cut, New York, 1997. By WATERS: articles— Interview, in Film Comment (New York), June 1981. ‘‘John Waters’ Guilty Pleasures,’’ in Film Comment (New York), July/August 1983. Interview with Karen Jaehne, in Stills (London), November/Decem- ber 1983. ‘‘Blackboard Jungle,’’ in American Film (Washington, D.C.), April 1985. ‘‘How Not to Make a Movie,’’ in American Film (Washington, D.C.), July/August 1986. ‘‘Hard Travelling,’’ in American Film (Washington, D.C.), Novem- ber 1986. Interview, in Interview (New York), December 1986. WATERS DIRECTORS, 4 th EDITION 1054 Interview, in A Critical Cinema: Interviews with Independent Filmmakers, by Scott MacDonald, Berkeley, 1988. Interview, with Jonathan Ross, in Time Out (London), 22 June 1988. ‘‘The National Enquirer,’’ in Time Out (London), 21 September 1988. ‘‘John Waters: From Sleaze to Tease,’’ an interview with K. Bail, in Cinema Papers (Melbourne), November 1988. ‘‘Walgelijk!,’’ an interview with K. Vandemaele, in Skoop (Amster- dam), July/August 1990. Interview with Robert Seidenberg, in Empire (London), August 1990. ‘‘Camping out in Holywood,’’ an interview with David Hockney, in Interview (New York), April 1994. ‘‘High Waters Marks,’’ an interview with Kate Meyers, in Entertain- ment Weekly (New York), 29 April 1994. On WATERS: books— Hoberman, Jim, and Jonathan Rosenbaum, editors, Midnight Movies, New York, 1983. Ives, John G., John Waters, New York, 1992. McCarty, John, The Sleaze Merchants: Adventures in Exploitation Filmmaking, New York, 1995. Stevenson, Jack, Desperate Visions: The Films of John Waters and the Kuchar Brothers, New York, 1996. On WATERS: articles— Spratt, M., ‘‘John Waters: Good Bad Taste,’’ in Cinema Papers (Melbourne), March 1983. Katsahnias, I., ‘‘John Waters,’’ in Cahiers du Cinéma (Paris), June 1990. Thompson, B., ‘‘The Filthiest Man in the World,’’ in New Statesman and Society (London), 13 July 1990. Mandelbaum, Paul, ‘‘Kink Meister: Filmmaker John Waters Is Liv- ing Proof That Nothing Exceeds like Excess,’’ in New York Times Magazine, 7 April 1991. Clark, John, ‘‘Cool Waters,’’ in Premiere (New York), April 1994. *** One of the major surprises of Hairspray is that, in addition to being quite charmingly benign, it exhibits a technical competence, even flair, totally unsuggested by John Waters’s earlier works. Between his seventeen-minute home movie Hag in a Black Leather Jacket and his semi-overground scratch-and-sniff feature Polyester, the Baltimore-based Waters’s films improve only insofar as their increasing—though still minuscule—budgets allow for such luxuries as colour, synchronised sound, and camera set-ups. His best-known early works, Pink Flamingoes, Female Trouble, and Desperate Living, manage to combine the conceptually outrageous with all the technical skills of the average home movie or hardcore porno quickie. Financing his first films through shoplifting and surrounding his habitual star—300-pound transvestite Divine—with various comi- cally depraved and/or hideous friends who are at once funnier, grosser, and more extreme than Warhol’s factory folk, Waters created in Mondo Trasho and Multiple Maniacs a self-contained world of the defiantly sick, where beauty and ugliness, good and bad, and restraint and excess are juggled to a surprisingly moral, endearing effect. His scatological obsessions are less Swiftian than pre-adolescent, and he always seems to view his movies as ratty fairy tales in the Saki or Disney manner, often poking fun at the very idea of something being offensive even while going as far as is possible on screen. Pink Flamingoes is Waters’s disposable masterpiece, in which Divine and entourage—including the horrifying Edy Massey—battle with a group of more uptight degenerates—including the talented Mink Stole, who has stuck with Waters throughout his career—for the title of ‘‘World’s Filthiest Person.’’ Waters simply uses the premise as an excuse for getting as much depravity on screen as possible, winding up with an unforgettable punchline as Divine outgrosses everyone by cheerfully eating dog shit. The rest of the picture matches the tone of this classic moment, with a DIY artificial insemination, a musical rectum, a half-naked egg-sucking grandmother, a touch of hardcore gay sex, a hokey cannibal orgy that satirises Night of the Living Dead, plentiful ranting (‘‘filth is my politics, filth is my life,’’ claims Divine), bad-taste Manson jokes, and a sexual act that involves killing chickens to add to the gross-out count. Typical of the film’s trashiness and compounding of illegality with the distasteful is the idea of Divine shoplifting a hunk of frozen meat by slipping it into her panties and then serving it to her family for dinner, claiming that it has been ‘‘warmed in her own oven.’’ Nevertheless, much of the funniest stuff in the movie is deadpanned, as when Divine’s loyal son staunchly reacts to an insult to his mother with ‘‘Mama, nobody sends you a turd and expects to live.’’ Waters has claimed that ‘‘I pride myself in the fact that my work has no socially redeeming value,’’ but underneath it all he is an All- American Boy seeing how far he can go before his parents send him up to his room, and his essays—collected in Shock Value and Crackpot—reveal that he is a witty moralist. At worst, his films are merely tedious, but at best they are life-affirming in the way that Tom Lehrer’s gleefully sick songs can be. Pink Flamingoes, no matter how difficult it might be to sit through, is a one-of-a-kind movie, disarming and necessary in the way that Wavelength and The Act of Seeing with One’s Own Eyes are, but it proved an almost impossible act to follow. Female Trouble and Desperate Living are more of the same—with Divine leading a glamorous life of crime in the former and dying beautifully in the electric chair, and Mink Stole running away to join a community of murderous lesbian outcasts in the latter—only not as effectively offensive. Both films have their moments, both of humour (Divine strangling a hare krishna) and sickness (Susan Lowe revers- ing her sex change by snipping off her new penis with a pair of scissors), but they do not have the demented charm of Pink Flamin- goes. Polyester, a nervous step towards the mainstream with less overt violence and one name actor (Tab Hunter), is a half-hearted picture, turning its back on sex and violence because Waters justifi- ably felt that other movies (Ilsa, She-Wolf of the SS, Thundercrack!, Cafe Flesh, Appointment with Agony) had gone further than he would care to, but finding little in its leftover soap-opera plot worth guying, although it has a priceless joke about a dive-in cinema advertising ‘‘three great Marguerite Duras hits’’ and offering champagne at its snack bar. With Polyester, it was also becoming notable that Waters’s mainly amateur casts had never been quite up to the demands of his acid, cleverly turned dialogue, and that Divine—as disastrously revealed in the Paul Bartel-directed but seemingly Waters-inspired ‘‘trash western’’ spoof Lust in the Dust (which also starred Tab Hunter) —was incapable of turning a drag act into an acting perform- ance worth building a film around. After Polyester, Waters spent seven years of relative inactivity away from the camera—teaching film courses in prisons and writing WEBERDIRECTORS, 4 th EDITION 1055 amusing essays for Film Comment and National Lampoon. Then, in 1988, Waters returned with Hairspray, a spoof of teen-oriented movies which retained Divine, albeit in a digestible secondary role, and a fascination with 1960s pop ephemera from Waters’s early movies (pirated pop had always been used on Waters’s soundtracks, and the plot of Female Trouble revolves around cha-cha heels), but which otherwise seems more like the sort of well-observed period picture one might have expected from Baltimore’s other resident local auteur, Barry Levinson. Like Diner and Tin Men, Hairspray is about a specific phenomenon of the place and period, in this case a televi- sion dance show a la Dick Clark’s ‘‘immortal’’ American Bandstand. Waters does not take his subject seriously, and enjoys the opportunity to guy more conventional nostalgia movies, but also shows that he was developing a grasp of the needs of real movie-making, including a flair for staging musical numbers that was carried over into Cry- Baby, a parody of 1950s juvenile delinquent movies that is very much in the vein of—and, indeed, is slightly overshadowed by—Hairspray. The untimely death of Divine forced Waters to cast a bonafide actress, Susan Tyrrell, in what would have been Divine’s role in Cry-Baby, with effective results. The period musicals Hairspray and Cry-Baby are further distinguished by Waters’s clever and fruitful use of kitsch casting—Pia Zadora, Deborah Harry, Troy Donahue, Patty Hearst, Traci Lords, Iggy Pop, Sonny Bono—to replace the bizarro hangers- on who used to exclusively populate his movies. Hairspray and Cry- Baby may be less repulsive than Pink Flamingoes, but much of the curiously innocent heart of the earlier film is carried over, along with the major contribution of art director Vincent Periano, as is Waters’s love of overheated B-movie melodrama. Waters’s next film, Serial Mom, harkened a semi-return, by the self-billed ‘‘Prince of Puke’’ and self-styled chronicler of his beloved city of Baltimore’s high and low life, to the warped world view of his earlier Female Trouble and Polyester, albeit with a much bigger budget, better production values, and an even more mainstream cast. An occasionally bloody satire on suburban rot, mass murder, and the media’s glorification of crime and criminals—familiar Waters obsessions—it starred Kathleen Turner as the title character, an average housewife with a not-so-average predilection for knocking off any and all who pose a threat to her neat and tidy world of domestic bliss. The film never quite jelled, never quite crossed over into Waters’s trademark territory of outright lunacy, however. Its twistedness and perversity seemed dulled, its outrageousness muted, as if Waters was pulling his punches in a conscious bid for mainstream critic and audience acceptance. In short, it was too tasteful; either that or the movies had finally caught up with Waters’s unique vision, and what once seemed in shocking bad taste had now become all too much a norm that even the redoubtable Waters could no longer top. That Waters seems fully aware of this is evidenced by his latest effort, the autobiographical Pecker. The title character is a fringe photographer (played by Edward Furlong) whose outrageous pictures catch on with a Baltimore gallery, catapulting him into the big leagues as a darling of the highbrow New York City art scene—a turnabout in his fortunes and in his low-rent career that costs him and his work its once- scandalous edge. To paraphrase John Huston’s character in Chinatown: ‘‘With time, even politicians and whores grow respectable.’’ This appears to go for the ‘‘prince of puke’’ too as the career of John Waters, which many early critics decried as evidence of the decline and fall of Western Civilization, seems a testament to Huston’s words. One wonders. Can a Life Achievement Award for Waters from the Academy of Motion Picture Arts and Sciences be far off? —Kim Newman, updated by John McCarty WEBER, Lois Nationality: American. Born: Allegheny City, Pennsylvania, 1882. Family: Married Phillips Smalley, 1906 (divorced 1922). Career: Touring concert pianist, then Church Home Missionary in Pittsburgh, 1890s; actress in touring melodrama Why Girls Leave Home for company managed by future husband Smalley, 1905; writer and director (then actor) for Gaumont Talking Pictures, from 1908; teamed up with Smalley, moved to Reliance, then Rex, working for Edwin S. Porter; the Smalleys (as they were known) took over Rex, a member of the Universal conglomerate, following Porter’s depar- ture, 1912; joined Hobart Bosworth’s company, 1914; Universal funded private studio for Weber at 4634 Sunset Boulevard, 1915; founded own studio, 1917; signed contract with Famous Players- Lasky for $50,000 per picture and a percentage of profits, 1920; dropped by company after three unprofitable films, 1921, subse- quently lost company, divorced husband, and suffered nervous col- lapse; briefly resumed directing, late 1920s; script-doctor for Univer- sal, 1930s. Died: In Hollywood, 13 November 1939. Films as Director: (partial list—directed between 200 and 400 films) 1912 The Troubadour’s Triumph 1913 The Eyes of God; The Jew’s Christmas (co-d, sc, role); The Female of the Species (+ role) 1914 The Merchant of Venice (co-d, role as Portia); Traitor; Like Most Wives; Hypocrites! (+ sc); False Colors (co-d, co-sc, role); It’s No Laughing Matter (+ sc); A Fool and His Money (+ role); Behind the Veil (co-d, sc, role) 1915 Sunshine Molly (co-d, role, sc); Scandal (co-d, sc, role) 1916 Discontent (short); Hop, the Devil’s Brew (co-d, sc, role); Where Are My Children? (co-d, sc); The French Down- stairs; Alone in the World (short); The People vs. John Doe (+ role); The Rock of Riches (short); John Needham’s Double; Saving the Family Name (co-d, role); Shoes; The Dumb Girl of Portici (co-d); The Flirt (co-d) 1917 The Hand That Rocks the Cradle (co-d, pr, role); Even as You and I; The Mysterious Mrs. M; The Price of a Good Time; The Man Who Dared God; There’s No Place like Home; For Husbands Only (+ pr) 1918 The Doctor and the Woman; Borrowed Clothes 1919 When a Girl Loves; Mary Regan; Midnight Romance (+ sc); Scandal Mongers; Home; Forbidden 1921 Too Wise Wives (+ pr, sc); What’s Worth While? (+ pr); To Please One Woman (+ sc); The Blot (+ pr, sc); What Do Men Want? (+ pr, sc) WEBER DIRECTORS, 4 th EDITION 1056 Lois Weber (left) with Billie Dove 1923 A Chapter in Her Life (+ co-sc) 1926 The Marriage Clause (+ sc) 1927 Sensation Seekers (+ sc); The Angel of Broadway 1934 White Heat Other Films: 1915 A Cigarette, That’s All (sc) Publications By WEBER: article— Interview with Aline Carter, in Motion Picture Magazine (New York), March 1921. On WEBER: book— Heck-Rabi, Louise, Women Filmmakers: A Critical Reception, Metuchen, New Jersey, 1984. On WEBER: articles— Pyros, J., ‘‘Notes on Women Directors,’’ in Take One (Montreal), November/December 1970. Koszarski, Richard, ‘‘The Years Have Not Been Kind to Lois Weber,’’ in Women and the Cinema, edited by Karyn Kay and Gerald Peary, New York, 1977. ‘‘Lois Weber—Whose Role Is It Anyway?’’ in Monthly Film Bulletin (London), May 1982. Ostria, V., ‘‘Lois Weber, cette inconnue,’’ in Cahiers du Cinéma (Paris), April 1985. ‘‘Lois Weber Issue’’ of Film History (Philadelphia), vol. 1, no. 4, 1987. *** Lois Weber was a unique silent film director. Not only was she a woman who was certainly the most important female director the American film industry has known, but unlike many of her colleagues up to the present, her work was regarded in its day as equal to, if not a little better than that of most male directors. She was a committed filmmaker in an era when commitment was virtually unknown, a filmmaker who was not afraid to make features with subject matter in which she devoutly believed, subjects as varied as Christian WEIRDIRECTORS, 4 th EDITION 1057 Science (Jewel and A Chapter in Her Life) or birth control (Where Are My Children). Hypocrites was an indictment of hypocrisy and corrup- tion in big business, politics, and religion, while The People vs. John Doe opposed capital punishment. At the same time, Lois Weber was quite capable of handling with ease a major spectacular feature such as the historical drama The Dumb Girl of Portici, which introduced Anna Pavlova to the screen. During the 1910s, Lois Weber was under contract to Universal. While at Universal, she appears to have been given total freedom as to the subject matter of her films, all of which where among the studio’s biggest moneymakers and highly regarded by the critics of the day. (The Weber films, however, did run into censorship problems, and the director was the subject of a vicious attack in a 1918 issue of Theatre Magazine over the ‘‘indecent and suggestive’’ nature of her titles.) Eventually the director felt the urge to move on to independent production, and during 1920 and 1921 she released a series of highly personal, intimate dramas dealing with married life and the types of problems which beset ordinary people. None of these films was particularly well received by the critics, who unanimously declared them dull, while the public displayed an equal lack of enthusiasm. Nonetheless, features such as Too Wise Wives and The Blot demon- strate Weber at her directorial best. In the former she presents a study of two married couples. Not very much happens, but in her characteri- zations and attention to detail (something for which Weber was always noted), the director is as contemporary as a Robert Altman or an Ingmar Bergman. The Blot is concerned with ‘‘genteel poverty’’ and is marked by the underplaying of its principals—Claire Windsor and Louis Calhern—and an enigmatic ending that leaves the viewer uninformed as to the characters’ future, an ending unlike any in the entire history of the American silent film. These films, as with virtually all of the director’s work, were also written by Lois Weber. Through the end of her independent productions in 1921, Lois Weber worked in association with her husband, Phillips Smalley, who usually received credit as associate or advisory director. After the two were divorced, Lois Weber’s career went to pieces. She directed one or two minor program features together with one talkie, but none equalled her work from the 1910s and early 1920s. She was a liber- ated filmmaker who seemed lost without the companionship, both at home and in the studio, of a husband. Her career and life were in many ways as enigmatic as the ending of The Blot. —Anthony Slide WEIR, Peter Nationality: Australian. Born: Peter Lindsay Weir in Sydney, 8 Au- gust 1944. Education: Arts/Law coursework at University of Syd- ney. Family: Married Wendy Stiles, 1966, two children. Career: Worked for family real estate business, then joined television station ATN 7, Sydney, 1967; worked as assistant cameraman and produc- tion assistant, Commonwealth Film Unit (now Film Australia), 1969; directed his first internationally distributed feature, The Cars That Ate Paris, 1974; had his first international success, Picnic at Hanging Rock, 1975; signed multi-film contract with Warner Bros., 1980; directed Witness, his first Hollywood film, 1985. Awards: Australian Film Institute Grand Prix, for Homesdale, 1971; Australian Film Institute Best Director, for Gallipoli, 1981; Neville Wran Award for excellence in filmmaking, 1988; Best Film British Academy Award, Best Foreign Film Cesar Award, for Dead Poets Society, 1989; Australian Film Institute Raymond Longford Award, 1990; British Academy Award David Lean Award for Best Director, London Critics Circle Director of the Year, European Film Award Five Continents Award, Robert Festival Best American Film, for The Truman Show, 1998; FilmFest Hamburg Douglas Sirk Award, 1998. Address: Post Office, Palm Beach 2108, Australia. Films as Director and Scriptwriter: 1967 Count Vim’s Last Exercise (short) 1968 The Life and Times of the Reverend Buck Shotte (short) 1970 ‘‘Michael’’ episode of Three to Go 1971 Homesdale (+ ro) 1972 Incredible Floridas (short) 1973 Whatever Happened to Green Valley? (short) 1974 The Cars That Ate Paris (The Cars That Ate People) 1975 Picnic at Hanging Rock (d only) 1977 The Last Wave 1978 The Plumber (for TV) 1981 Gallipoli 1982 The Year of Living Dangerously (+ co-pr) 1985 Witness (d only) 1986 The Mosquito Coast (d only) 1989 Dead Poets Society 1990 Green Card (+ pr) 1993 Fearless (d only) 1998 The Truman Show (co-sc, uncredited) Other Films: 1996 La Memoire retrouvée (Meny) (doc) (as himself) Publications By WEIR: articles— Interview with D. Castell, in Films Illustrated (London), Novem- ber 1976. Interviews with H. Béhar, in Image et Son (Paris), January and February 1978. Interview with P. Childs, in Millimeter (New York), March 1979. Interview with Brian McFarlane and T. Ryan, in Cinema Papers (Melbourne), September/October 1981. Interview with Michael Dempsey, in Film Quarterly (Berkeley), Summer 1982. Interview with M. Bygrave, in Stills (London), May 1985. ‘‘Dialogue on Film: Peter Weir,’’ in American Film (Washington, D.C.), March 1986. WEIR DIRECTORS, 4 th EDITION 1058 Peter Weir Interview with Patrick McGilligan, in Film Comment (New York), November/December 1986. Interview with C. Viviani and others, in Positif (Paris), April 1987. Interview, in Cinema Papers (Melbourne), August 1990. ‘‘L’aurore boreale,’’ interview with D. Parra and P. Ross, in Revue du Cinéma (Cretail Cedex, France), November 1991. ‘‘Love, fear and Peter Weir,’’ interview with Virginia Campbell, in Movieline (Los Angeles) September 1993. ‘‘The Filmmaker Series: Peter Weir,’’ interview with Christine Spines, in Premiere (New York), June 1998. ‘‘Weir’s World,’’ interview with Virginia Campbell, in Movieline (Los Angeles), June 1998. ‘‘Keeping a Sense of Wonder,’’ interview with Michael Bliss, in Film Quarterly (Berkeley), Fall 1999. On WEIR: books— Tulloch, John, Australian Cinema: Industry, Narrative, and Mean- ing, Sydney, 1982. Peeters, Theo, Peter Weir and His Films: A Critical Biography, Melbourne, 1983. Mathews, Sue, 35mm Dreams: Conversations with Five Directors about the Australian Film Revival, Ringwood, Victoria, 1984. Hall, Sandra, Critical Business: The New Australian Cinema in Review, Adelaide, 1985. Moran, Albert, and Tom O’Regan, editors, An Australian Film Reader, Sydney, 1985. McFarlane, Brian, Australian Cinema 1970–1985, London, 1987. On WEIR: articles— Nicholls, R., ‘‘Peter Weir,’’ in Lumière (Melbourne), March 1973. Brennan, R., ‘‘Peter Weir,’’ in Cinema Papers (Melbourne), Janu- ary 1974. ‘‘Director of the Year,’’ International Film Guide (London, New York), 1980. McFarlane, Brian, ‘‘The Films of Peter Weir,’’ in Cinema Papers (Melbourne), April/May 1980. Magill, M., ‘‘Peter Weir,’’ in Films in Review (New York), Octo- ber 1981. Poulle, F., ‘‘Bienvenu au héros conradien,’’ in Jeune Cinéma (Paris), October 1983. WEIRDIRECTORS, 4 th EDITION 1059 Sesti, M., ‘‘Peter Weir e il vuoto della ragione,’’ in Bianco e Nero (Rome), October/December 1985. Griffin, N., ‘‘Poetry Man,’’ in Premiere (New York), July 1989. Sesti, M., article, in Cineforum (Bergamo), July/August 1989. Hentzi, G., ‘‘Peter Weir and the Cinema of New Age Humanism,’’ in Film Quarterly (Berkeley), Winter 1990/91. Koetsenruijter, B., ‘‘Peter Weir,’’ in Skrien (Amsterdam), August/ September 1991. Giavarini, L., ‘‘Horreurs australes,’’ in Cahiers du Cinéma (Paris), September 1991. Alion, Y., ‘‘Peter Weir,’’ in Revue du Cinéma (Cretail Cedux, France), September 1991. Clark, John, ‘‘Peter Weir,’’ in Premiere (New York), February 1991. Giavarini, L., ‘‘Peter Weir,’’ in Cahiers du Cinéma (Paris), Decem- ber 1992. Mazierska, E., ‘‘Pitnik pod Wiszaca Skala,’’ in Filmowy Serwis Prasowy (Warsaw), no. 2, 1993. Smit, C., ‘‘Is There an Australian Look?,’’ in Metro Magazine (St. Kilda West, Victoria, Australia), Summer 1993. Weinraub, Bernard, ‘‘A Director Asks for Odd and Gets It,’’ in New York Times, 13 October 1993. Caruso, G., ‘‘Filmografie,’’ in Segnocinema (Vicenza, Italy), May/ June 1994. Golebiewska, M., ‘‘Smierc Wedlug Weira,’’ in Kino (Warsaw), July/ August 1995. *** If, as Yugoslav director Dusan Makavajev contends, ‘‘Australia is Switzerland, but it wants to be Texas,’’ then it’s to the Swiss side that Peter Weir belongs. Even his apprentice shorts show an attraction to international concerns and fantasy that is alien to Australia’s docu- mentary-based cinema. Incredible Floridas is a hommage to Rimbaud, Michael a vision of a future Australia gripped by revolution, while the macabre Homesdale evokes evil in the unlikely setting of an isolated retirement home. Weir dropped out of university to travel to Europe, an experience that profoundly affected him: ‘‘It struck me very strongly that I was a European, that this was where we had come from and where I belonged.’’ An ancient sculpture found on a Tunisian beach prompted The Last Wave, and he conceived The Cars That Ate Paris when a French autoroute detour triggered the idea of a tiny village where, he surmised, anything might happen—including local hoodlums customising cars into killing machines. The absurdist vision of The Cars That Ate Paris puzzled Austra- lian audiences but interested Hollywood. Roger Corman gave the film a small U.S. release while also borrowing some of its concepts for Paul Bartel’s Death Race 2000. Universal acclaim, however, greeted Picnic at Hanging Rock, a Victorian fantasy with drowsy, cryptic, and sensual qualities. Weir filmed Joan Lindsay’s novel with such skill that most audiences believe the feature’s tale of the disappearance of three schoolgirls on a rocky monolith on St. Valentine’s Day, 1900, to be based on fact. Weir chose Richard Chamberlain to star in The Last Wave as a lawyer who uncovers aboriginal cults which foretell the world’s end in a new flood, but Australian audiences greeted the film’s obscure theme and American star with suspicion. In reaction, Weir made The Plumber, a TV feature recognizable as his work only by its faintly surrealistic premise, in which an unsummoned tradesman invades a baffled housewife’s cosy suburban environment. With Gallipoli, which he calls his ‘‘graduation film,’’ Weir shook off his reputation as an occult specialist and a director of essentially local concerns. Though set against Australia’s first military adventure— the disastrous 1916 Dardenelles campaign—its scale, style, and outlook, all broadly international, won Gallipoli mass American release, and both director and star Mel Gibson were given Hollywood contracts. Weir’s first fully funded studio project, The Year of Living Dangerously, marked him as an artist capable of handling both big stars and bigger emergencies. When threats of violence from Muslim extremists drove the production out of Manila, he recreated Djakarta in Sydney suburbia. The film turned Mel Gibson into an international romantic lead, and also remade another career when Weir, unsatisfied with the actor playing dwarf Chinese cameraman Billy Kwan, recast the role with Linda Hunt, who delivered an Oscar-winning performance. When plans to film The Mosquito Coast with Jack Nicholson collapsed, Weir stepped up at short notice to direct a thriller that featured Harrison Ford as a city cop finding affinities with the Amish religious fundamentalists who hide him from danger. Witness, an unexpected hit, decisively freed Ford from his Indiana Jones image, and the revived The Mosquito Coast starred not Nicholson but Ford as Paul Theroux’s dizzy technocrat, a man who drags his family to South America in a doomed celebration of American mechanical genius. The film’s relative failure in no way harmed Weir’s reputation as a director who could change careers and remake images. He went on to direct Robin Williams in Dead Poets Society, a film wherein a schoolteacher bucks a version of McCarthyism in the 1950s. Its critical and financial success powered Weir into Green Card, his first original screenplay, about an emigre musician marrying an American girl to get a work permit. The story attracted Gérard Depardieu, anxious to penetrate the English-language market. ‘‘I have the impression of having discovered a brother,’’ the actor said, ‘‘like with Truffaut.’’ Such statements suggest that Weir, while mastering Holly- wood, has not lost touch with his early European concerns. Those same concerns were evidenced yet again in Fearless, an unusual film for the 1990s: a mainstream project with deeply serious and sobering overtones. Its scenario examines the after-effects of a deadly plane crash. Unlike other Hollywood films dealing with air crashes which might focus on the superficial fireworks involved in the accident—complete with eye-popping special effects—Fearless ex- plores the psychological impact the experience has on two of its survivors (played by Jeff Bridges and Rosie Perez). All too often, contemporary movies make no attempt to dramatize the effect of violence on its victims. Fearless, though dramatically flawed in its second half, is a refreshing change-of-pace in that it faces up to issues surrounding mortality and spirituality. After a five-year absence from the screen, Weir returned trium- phantly with yet another solemn exploration of contemporary life: The Truman Show, a keenly knowing expose of the all-encompassing power of modern technology. In particular, The Truman Show is an exploration of the ability of television to numb the brains of viewers and transform them into mindless robots who think, feel, and con- sume according to what they are told by their boob tubes. In this regard the film, like Fearless, is downright subversive for a contem- porary Hollywood film. The title character is Truman Burbank (Jim Carrey), a happy-go- lucky insurance salesman who resides in the idyllic, antiseptic town of Seahaven, a planned community on the Gulf Coast of Florida. Truman’s life is perfect. His always-chipper wife (Laura Linney) is perfect. His hometown (which he has never left) is perfect. And every WEISS DIRECTORS, 4 th EDITION 1060 day is a beautiful day. Yet little does Truman suspect that, since birth, he has been the star of his own television series. Wherever he goes, hidden cameras record his every movement. Everything in his life is artificial, from Seahaven (which is a massive set) to the weather, from his friends and neighbors to his family and wife (who all are actors). His entire existence is the creation of a fascist television director (Ed Harris) who has controlled all that happens around Truman since the day he was born. Indeed, for nearly three decades, billions of viewers have tuned in to catch each chronicle of the life and times of Truman Burbank (which airs 24 hours a day, seven days a week, even as Truman sleeps). At the core of the story is the manner in which Truman responds upon becoming aware of the sham that is his life, and his growing curiosity with regard to what exists beyond his made- up world. In The Truman Show, Weir deals with such heady subjects as philosophy, religion, principles and ethics, and, in particular, the manner in which technology and the media affect practically every- thing in our lives. In addition, Weir accomplishes for Jim Carrey what he did for Robin Williams a decade earlier in Dead Poets Society: take a wacky, wildly popular comedy star and reinvent him as a serious dramatic actor. —John Baxter, updated by Rob Edelman WEISS, Ji?i Nationality: Czech. Born: Prague, 29 March 1913. Education: Educated in law, Charles University, Prague. Career: Advertising writer, also made first film, 1935; director for Barrandov Studios, Prague, 1936; following Nazi invasion, escaped to London, 1939; worked with British documentarists for Crown Film Unit, World War II; returned to Prague, 1945; teacher at film school, West Berlin, 1963; at Venice Festival at time of Soviet invasion of Czechoslova- kia, sought political asylum in Italy, 1968. Awards: Artist of Merit, Czechoslovakia. Films as Director: 1935 People in the Sun 1936 Give Us Wings 1937 Song of a Sad Country 1938 Journey from the Shadows 1939 The Rape of Czechoslovakia 1941 Eternal Prague 1943 Before the Raid 1945 Věrni zustaneme (Interim Balance) (+ sc) 1947 Uloupená hranice (The Stolen Frontier) (+ co-sc) 1948 Dravci (Wild Beasts; Beast of Prey) (+ co-sc); Ves v pohrani?i (The Village on the Frontier) 1949 Píseň o sletu I, II (Song of the Meet, I and II; High Flies the Hawk, I and II) 1950 Vstanou noví bojovníci (New Warriors Will Arise); Poslední vyst?el (The Last Shot) 1953 Muj p?ítel Fabián (My Friend Fabian; My Friend the Gypsy) (+ co-sc) 1954 Punt’a a ?ty?lístek (Punta and the Four-Leaf Clover; Doggy and the Four) (+ co-sc) 1956 Hra o ?ivot (Life at Stake; Life Was at Stake) (+ co-sc) 1957 Vl?í jáma (Wolf Trap) (+ co-sc) 1959 Taková láska (Appassionata; That Kind of Love) (+ co-sc) 1960 Romeo, Julie a tma (Romeo, Juliet and the Darkness; Sweet Light in the Dark Window) (+ co-sc) 1962 Zbabělec (Coward) (+ co-sc) 1963 Zlaté kapradí (The Golden Fern) (+ co-sc) 1965 T?icet jedna ve stínu (Ninety in the Shade) (+ co-sc) 1966 Vra?da po na?em (Murder Czech Style) (+ co-sc) 1968 Prípad pro Selwyn (Justice for Selwyn) (for Czech TV) 1970 Wie man seinen Gatten los wird (for TV) 1990 Martha und Ich (+ sc) Publications By WEISS: articles— ‘‘Czech Cinema Has Arrived,’’ in Films and Filming (London), March 1959. ‘‘Mixing It,’’ in Films and Filming (London), June 1965. Interview in Closely Watched Films, by Antonin Liehm, White Plains, New York, 1974. On WEISS: books— Bo?ek, Jaroslav, Modern Czechoslovak Film, Prague, 1965. Pitera, Zbigniew, Leksykon rezyserow filmowych, Warsaw, 1978. Liehm, Mira, and Antonín, The Most Important Art: East European Film after 1945, Berkeley, 1977. Habova, Milada, and Jitka Vysekalova, editors, Czechoslovak Cin- ema, Prague, 1982. On WEISS, articles— Mariani, P., ‘‘Il ritorno di Weiss,’’ in Cinema Nuovo (Bari), Novem- ber-December 1990. ‘‘Martha und ich,’’ in Kino (Filme der Bundesrepublik Deutschland), no. 3, 1990. Variety (New York), 17 September 1990. Cahiers du Cinéma (Paris), September 1991. Strusková, Eva, ‘‘Marta a ja,’’ in Film a Doba (Prague), Winter 1992. Zeman, Pavel, in Iluminace (Prague), vol. 8, no. 3, 1996. *** Ji?i Weiss is one of the most significant and certainly most interesting Czech directors of the twentieth century. He studied at Jura and had worked as a journalist before making his first film in 1934, a documentary which received a prize at Venice that year. Until the outbreak of war he continued to work on documentaries. In 1939 Weiss fled the Nazis to England, befriended an English documentarist, and made several films, including Before the Raid. Later, as a film specialist, he took part in the battles of the Czech exile army. He returned to his homeland in 1945. His first theatrical film, Uloupená hranice, dealt with the Munich accord of 1938, shortly before the fascist occupation of his country. A subsequent film, WELLESDIRECTORS, 4 th EDITION 1061 Vstanou noví bojovníci, depicted the establishment of the worker’s movement in Czechoslovakia, and brought the director not only official recognition at home but also attention abroad. Afterward Weiss made films dealing with contemporary problems and people’s everyday life. In the 1953 film My Friend Fabian he described how the gypsies adjusted, with many difficulties, to a new life in socialist Czechoslovakia. Hra o ?ivot appeared in 1956, a critical film about the destruction of a bourgeois family in the period of the German occupation. Taková láska, a dramatic psychological work, displayed the director’s ability to develop richly human characterization. Vl?í jama impressed further through the deep psychological treatment of the characters and the careful attention to cultural surroundings by which he delineated the zeitgeist, the atmosphere and the milieu of the petit bourgeoisie prior to World War I. An honorable mayor of a small city, who feels a devotion for his ageing wife, nevertheless falls in love with a young girl who lives in the same house. This film revealed the full range of Ji?i Weiss’s style. It is based in a solid critical realism, rooted in the epic novels of the nineteenth century. This approach sets out fully realized and many-sided human figures within an accurately described milieu. The cinema of Weiss draws on Czech cultural tradition, and at the same time strives toward broader European dimensions. In this way his works attain a certain cosmopolitanism. On the one hand, Weiss was strongly influenced by neorealism, as were all the other filmmakers of his generation. Although not so pathetically inclined as, for example, Andrzej Wajda, Weiss showed in his masterpiece Romeo, Julie a tma the influences of the neorealist aesthetic, especially in the case of the theme, again broadly European, of the tragic fate of two young lovers in Prague in 1942. The Jewish schoolgirl Hanna is hidden by young Pavel, a tender love develops and is cut short by Hanna’s death. Weiss had created a tragic and poetic work, without filmic innovation, but nevertheless a serious, noble film. In the 1960s Weiss made Zlaté kapradí, Trícet jedna ve stínu, and Vra?da po na?em, which attained a high standard in terms of craft, but broke no new ground formally or thematically. Living since 1968 in the West, he has made the occasional film for television. —Maria Racheva WELLES, Orson Nationality: American. Born: Kenosha, Wisconsin, 6 May 1916. Education: Attended Todd School in Woodstock, Illinois, 1926–31. Family: Married 1) Virginia Nicholson, 1934 (divorced 1939), one son; 2) Rita Hayworth, 1943 (divorced 1947), one daughter; 3) Paola Mori, 1955, one daughter. Career: Actor and director at the Gate Theatre, Dublin, 1931–34; debut on Broadway with Katherine Cor- nell’s road company, also co-directed first film, 1934; collaborated with John Houseman for the Phoenix Theatre Group, 1935, later producer and director for Federal Theater Project; co-founder, with Houseman, Mercury Theatre Group, 1937; moved into radio with Mercury Theatre on the Air, 1938, including famous dramatization of H. G. Wells’s War of the Worlds, Halloween, 1938; given contract by RKO, 1939; directed feature debut, Citizen Kane, 1941; began Orson Welles documentary It’s All True, 1942, then Welles and his staff were removed from RKO; directed The Lady from Shanghai for Columbia Studios, 1947; directed Macbeth for Republic Pictures, 1948; moved to Europe, 1949; completed only one more film in United States, Touch of Evil, 1958; appeared in advertisements, and continued to act, from 1960s. Awards: 20th Anniversary Tribute, Cannes Festival, 1966; Honorary Academy Award, for ‘‘Superlative artistry and versatility in the creation of motion pictures,’’ 1970; Life Achieve- ment Award, American Film Institute, 1975; Fellowship of the British Film Institute, 1983. Died: In Hollywood, 10 October 1985. Films as Director: 1934 The Hearts of Age (16mm short) (co-d) 1938 Too Much Johnson (+ co-pr, sc) (unedited, not shown pub- licly, destroyed in 1970 fire) 1941 Citizen Kane (+ pr, co-sc, role as Charles Foster Kane) 1942 The Magnificent Ambersons (+ pr, sc); It’s All True (+ pr, co-sc) (not completed and never shown) 1943 Journey into Fear (co-d, uncredited, pr, co-sc, role as Colo- nel Haki) 1946 The Stranger (+ co-sc, uncredited, role as Franz Kindler, alias Professor Charles Rankin) 1948 The Lady from Shanghai (+ sc, role as Michael O’Hara) (produced in 1946); Macbeth (+ pr, sc, co-costumes, role as Macbeth) 1952 Othello (+ pr, sc, role as Othello and narration) WELLES DIRECTORS, 4 th EDITION 1062 1955 Mr. Arkadin (Confidential Report) (+ sc, art d, costumes, role as Gregory Arkadin and narration); Don Quixote (+ co-pr, sc, asst ph, role as himself and narration) (not completed) 1958 Touch of Evil (+ sc, role as Hank Quinlan) 1962 Le Procès (The Trial) (+ sc, role as Hastler and narration) 1966 Chimes at Midnight (Falstaff) (+ sc, costumes, role as Sir John Falstaff) 1968 The Immortal Story (+ sc, role as Mr. Clay) 1970 The Deep (+ sc, role as Russ Brewer) 1972 The Other Side of the Wind (+ sc) (filming begun in 1972, uncompleted) 1975 F for Fake (+ sc) Other Films: 1937 The Spanish Earth (Ivens) (original narration) 1940 Swiss Family Robinson (Ludwig) (off-screen narration) 1943 Jane Eyre (R. Stevenson) (role as Edward Rochester) 1944 Follow the Boys (Sutherland) (revue appearance with Marlene Dietrich) 1945 Tomorrow Is Forever (Pichel) (role as John McDonald) 1946 Duel in the Sun (Vidor) (off-screen narration) 1947 Black Magic (Ratoff) (role as Cagliostro) 1948 Prince of Foxes (role as Cesare Borgia) 1949 The Third Man (Reed) (role as Harry Lime) 1950 The Black Rose (Hathaway) (role as General Bayan) 1951 Return to Glennascaul (Edwards) (role as himself) 1953 Trent’s Last Case (Wilcox) (role as Sigsbee Manderson); Si Versailles m’était conté (Guitry) (role as Benjamin Frank- lin); L’uomo, la bestia e la virtu (Steno) (role as the beast) 1954 Napoléon (Guitry) (role as Hudson Lowe); ‘‘Lord Mountdrago’’ segment of Three Cases of Murder (O’Ferrall) (role as Lord Mountdrago) 1955 Trouble in the Glen (Wilcox) (role as Samin Cejador y Mengues); Out of Darkness (documentary) (narrator) 1956 Moby Dick (Huston) (role as Father Mapple) 1957 Pay the Devil (Arnold) (role as Virgil Renckler); The Long Hot Summer (Ritt) (role as Will Varner) 1958 The Roots of Heaven (Huston) (role as Cy Sedgwick); Les Seigneurs de la forêt (Sielman and Brandt) (off-screen narration); The Vikings (Fleischer) (narration) 1959 David e Golia (Pottier and Baldi) (role as Saul); Compulsion (Fleischer) (role as Jonathan Wilk); Ferry to Hong Kong (Gilbert) (role as Captain Hart); High Journey (Baylis) (off- screen narration); South Sea Adventure (Dudley) (off- screen narration) 1960 Austerlitz (Gance) (role as Fulton); Crack in the Mirror (Fleischer) (role as Hagolin/Lamorcière); I tartari (Thorpe) (role as Barundai) 1961 Lafayette (Dréville) (role as Benjamin Franklin); King of Kings (Ray) (off-screen narration); Désordre (short) (role) 1962 Der grosse Atlantik (documentary) (narrator) 1963 The V.I.P.s (Asquith) (role as Max Buda); Rogopag (Pasolini) (role as the film director) 1964 L’Echiquier de Dieu (La Fabuleuse Aventure de Marco Polo) (de la Patellière) (role as Ackermann); The Finest Hours (Baylis) (narrator) 1965 The Island of Treasure (J. Franco) (role); A King’s Story (Booth) (narrator) 1966 Is Paris Burning? (Clément) (role); A Man for All Seasons (Zinnemann) (role as Cardinal Wolsey) 1967 Casino Royale (Huston and others) (role); The Sailor from Gibralter (Richardson) (role); I’ll Never Forget Whatshisname (Winner) (role) 1968 Oedipus the King (Saville) (role as Tiresias); Kampf um Rom (role as Emperor Justinian); The Southern Star (Hayers) (role) 1969 Tepepa (role); Barbed Water (documentary) (narrator); Una su 13 (role); Michael the Brave (role); House of Cards (Guillermin) (role) 1970 Catch-22 (Nichols) (role as General Dweedle); Battle of Neretva (Bulajia) (role); Start the Revolution without Me (Yorkin) (narrator); The Kremlin Letter (Huston) (role); Waterloo (Bondarchuk) (role as King Louis XVIII) 1971 Directed by John Ford (Bogdanovich) (narrator); Sentinels of Silence (narrator); A Safe Place (Jaglom) (role) 1972 La Decade prodigieuse (role); Malpertius (role); I racconti di Canterbury (Pasolini) (role); Treasure Island (Hough) (role as Long John Silver); Get to Know Your Rabbit (De Palma) (role) 1973 Necromancy (Gordon) (role) 1975 Bugs Bunny Superstar (Jones) (narrator) 1976 Challenge of Greatness (documentary) (narrator); Voyage of the Damned (Rosenberg) (role) 1977 It Happened One Christmas (Thomas) (for TV) (role) 1979 The Late Great Planet Earth (on-camera narrator); The Muppet Movie (Frawley) (role as J. P. Morgan); Tesla (role as Yug) 1981 Butterfly (Cimber) (role as the judge); The Man Who Saw Tomorrow (Guenette) (role) 1984 Where Is Parsifal? (Helman) (role); Almonds and Raisins (Karel) (narrator) 1985 Genocide (Schwartzman) (narrator) 1987 Someone to Love (Jaglom) (role) Publications By WELLES: books— Everybody’s Shakespeare, New York, 1933; revised as The Mercury Shakespeare, 1939. The Trial (script), New York, 1970. The Films of Orson Welles, by Charles Higham, Berkeley, 1970. Citizen Kane, script, in The Citizen Kane Book, by Pauline Kael, New York, 1971. This Is Orson Welles, with Peter Bogdanovich, New York, 1972. Touch of Evil, edited by Terry Comito, New Brunswick, New Jersey, 1985. The Big Brass Ring: An Original Screenplay, with Oja Kodar, Santa Barbara, California, 1987. Chimes at Midnight, New Brunswick, New Jersey, 1988. By WELLES: articles— Preface to He That Plays the King, by Kenneth Tynan, New York, 1950. Interview with Francis Koval, in Sight and Sound (London), Decem- ber 1950. ‘‘The Third Audience,’’ in Sight and Sound (London), January- March 1954. WELLESDIRECTORS, 4 th EDITION 1063 ‘‘For a Universal Cinema,’’ in Film Culture (New York), Janu- ary 1955. Interviews with André Bazin and Charles Bitsch, in Cahiers du Cinéma (Paris), June and September 1958. ‘‘Conversation at Oxford,’’ with Derrick Griggs, in Sight and Sound (London), Spring 1960. ‘‘Citizen Kane,’’ in Avant-Scène du Cinéma (Paris), January 1962. ‘‘Le Procès,’’ in Avant-Scène du Cinéma (Paris), February 1963. Interview with Everett Sloane, in Film (London), no. 37, 1965. ‘‘A Trip to Don Quixoteland: Conversations with Orson Welles,’’ with Juan Cobos and others, in Cahiers du Cinéma in English (New York), June 1966. Interview with Kenneth Tynan, in Playboy (Chicago), March 1967. ‘‘First Person Singular,’’ with Joseph McBride, in Sight and Sound (London), Winter 1971–72. ‘‘Heart of Darkness,’’ in Film Comment (New York), November- December 1972. ‘‘Orson Welles par Orson Welles,’’ in Positif (Paris), no. 418, December 1995. ‘‘Le metteur en scène de thèatre aujourd’hui,’’ in Positif (Paris), no. 439, September 1997. On WELLES: books— Fowler, Roy A., Orson Welles, A First Biography, London, 1946. Bazin, André, Orson Welles, Paris, 1950. MacLiammóir, Micheál, Put Money in Thy Purse, London, 1952. Noble, Peter, The Fabulous Orson Welles, London, 1956. Bogdanovich, Peter, The Cinema of Orson Welles, New York, 1961. Cowie, Peter, The Cinema of Orson Welles, London, 1965. Bessy, Maurice, Orson Welles, New York, 1971. Higham, Charles, The Films of Orson Welles, Berkeley, 1971. Kael, Pauline, The Citizen Kane Book, New York, 1971. Houseman, John, Run Through: A Memoir, New York, 1972. McBride, Joseph, Orson Welles, London, 1972. Bazin, André, Orson Welles: A Critical View, translated by Jonathan Rosenbaum, New York, 1978. Naremore, J., The Magic World of Orson Welles, New York, 1978. Valentinetti, Claudio M., Orson Welles, Florence, 1981. Bergala, Alain, and Jean Narboni, editors, Orson Welles, Paris, 1982. Andrew, Dudley, Film in the Aura of Art, Princeton, New Jer- sey, 1984. Carringer, Robert L., The Making of Citizen Kane, Los Ange- les, 1985. Higham, Charles, Orson Welles: The Rise and Fall of an American Genius, New York, 1985. Leaming, Barbara, Orson Welles: A Biography, New York, 1985. Parra, Danièle, and Jacques Zimmer, Orson Welles, Paris, 1985. Taylor, John Russell, Orson Welles: A Celebration, London, 1986. Brady, Frank, Citizen Welles: A Biography of Orson Welles, New York, 1989. Wood, Bret, Orson Welles: A Bio-Bibliography, Westport, Connecti- cut, 1990. Howard, James, The Complete Films of Orson Welles, Secaucus, New Jersey, 1991. Callow, Simon, Orson Welles: The Road to Xanadu, New York, 1995. Caccia, Riccardo, Invito al cinema di Orson Welles, Milan, 1997. Anderegg, Michael A., Orson Welles, Shakespeare, and Popular Culture, New York, 1999. On WELLES: articles— Cocteau, Jean, profile of Welles, in Cinémonde (Paris), 6 March 1950. MacLiammóir, Micheál, ‘‘Orson Welles,’’ in Sight and Sound (Lon- don), July-September 1954. ‘‘L’Oeuvre d’Orson Welles,’’ in Cahiers du Cinéma (Paris), Septem- ber 1958. Gerasimov, Sergei, ‘‘All Is Not Welles,’’ in Films and Filming (London), September 1959. Stanbrook, Alan, ‘‘The Heroes of Welles,’’ in Film (London), no. 28, 1961. ‘‘Welles Issue’’ of Image et Son (Paris), no. 139, 1961. Weinberg, Herman G., ‘‘The Legion of Lost Films,’’ in Sight and Sound (London), Autumn 1962. Tyler, Parker, ‘‘Orson Welles and the Big Experimental Film Cult,’’ in Film Culture (New York), Summer 1963. Pechter, William, ‘‘Trials,’’ in Sight and Sound (London), Winter 1963–64. Johnson, William, ‘‘Orson Welles: Of Time and Loss,’’ in Film Quarterly (Berkeley), Fall 1967. Daney, Serge, ‘‘Welles in Power,’’ in Cahiers du Cinéma in English (New York), September 1967. ‘‘Special Report: Orson Welles,’’ in Action (Los Angeles), May- June 1969. McBride, Joseph, ‘‘Welles before Kane,’’ in Film Quarterly (Berke- ley), Spring 1970. Wilson, Richard, ‘‘It’s Not Quite All True,’’ in Sight and Sound (London), Autumn 1970. Henderson, Brian, ‘‘The Long Take,’’ in Film Comment (New York), Summer 1971. Prokosch, Mike, ‘‘Orson Welles,’’ in Film Comment (New York), Summer 1971. Goldfarb, Phyllis, ‘‘Orson Welles’ Use of Sound,’’ in Take One (Montreal), July-August 1971. Coulouris, George, and Bernard Herrmann, ‘‘‘The Citizen Kane Book,’’’ in Sight and Sound (London), Spring 1972. Cohen, H., ‘‘The Heart of Darkness in Citizen Kane,’’ in Cinema Journal (Evanston), Fall 1972. Goldfarb, Phyllis, ‘‘Heston on Welles,’’ in Take One (Montreal), October 1972. Hale, N., ‘‘Welles and the Logic of Death,’’ in Film Heritage (New York), Fall 1974. Gow, Gordon, ‘‘A Touch of Orson,’’ in Films and Filming (London), December 1974. ‘‘Hollywood Salutes its ‘Maverick’ Genius Orson Welles,’’ special issue of American Cinematographer (Los Angeles), April 1975. Brady, Frank, ‘‘The Lost Film of Orson Welles,’’ in American Film (Washington, D.C.), November 1978. McBride, Joseph, ‘‘All’s Welles,’’ in Film Comment (New York), November-December 1978. Poague, Lee, ‘‘The Great God Orson: Chabrol’s ‘Ten Days’ Won- der,’’ in Film Criticism (Edinboro, Pennsylvania), no. 3, 1979. Valentinetti, Claudio M., ‘‘Orson Welles,’’ in Castoro Cinema (Milan), no. 83, 1980. Neale, Steve, ‘‘Re-viewing Welles,’’ in Screen (London), May- June 1982. Houston, Beverle, ‘‘Power and Dis-integration in the Films of Orson Welles,’’ in Film Quarterly (Berkeley), Summer 1982. Weber, A., ‘‘Du citizen Welles au cinéma direct,’’ in CinémAction (Conde-sur-Noireau), no. 23, November 1982. WELLES DIRECTORS, 4 th EDITION 1064 McLean, A. M., ‘‘Orson Welles and Shakespeare: History and Consciousness in Chimes at Midnight,’’ in Literature/Film Quar- terly (Salisbury, Maryland), no. 3, 1983. Beja, M., ‘‘Where You Can’t Get at Him: Orson Welles and the Attempt to Escape from Father,’’ in Literature/Film Quarterly (Salisbury, Maryland), January 1985. Strick, Philip, ‘‘Orson Welles,’’ in Films and Filming (London), July 1985. McCarthy, Todd, obituary, in Variety (London), 16 October 1985. Kauffmann, Stanley, obituary, in New Republic (New York), 11 November 1985. Stubbs, J. C., ‘‘The Evolution of Orson Welles’s Touch of Evil from Novel to Film,’’ in Cinema Journal (Champaign, Illinois), Win- ter 1985. ‘‘Orson Welles Sections’’ of Cahiers du Cinéma (Paris), November and December 1985. Wood, Michael, ‘‘The Magnificent Orson,’’ in American Film (New York), December 1985. Maxfield, J., ‘‘A Man like Ourselves,’’ in Literature/Film Quarterly (Salisbury, Maryland), no. 3, 1986. Harper, W. R., ‘‘Polanski v. Welles on Macbeth: Character or Fat?,’’ in Literature/Film Quarterly (Salisbury, Maryland), no. 4, 1986. ‘‘Welles Issue’’ of Avant-Scène du Cinéma (Paris), January-Febru- ary 1986. Kehr, Dave, obituary, in Film Comment (New York), January- February 1986. Traubery, L., ‘‘Celovek pervoj veliciny,’’ in Iskusstvo Kino (Mos- cow), no. 4, April 1986. Rosenbaum, Jonathan, ‘‘The Invisible Orson Welles,’’ in Sight and Sound (London), Summer 1986. Gehler, F., ‘‘Orson Welles: Das Trauma von Rosebud,’’ in Film und Fernsehen (Berlin), vol. 14, no. 8, August 1986. Bates, Robin, ‘‘Fiery Speech in a World of Shadows: Rosebud’s Impact on Early Audiences,’’ in Cinema Journal (Champaign, Illinois), vol. 26, no. 2, 1987. Sartre, Jean-Paul, ‘‘Citizen Kane,’’ in Post Script (Jacksonville, Florida), vol. 7, no. 1, 1987. Anderegg, Michael, ‘‘Every Third Word a Lie: Rhetoric and History in Orson Welles’ Chimes at Midnight,’’ in Film Quarterly (Berke- ley), Spring 1987. Rodman, Howard A., ‘‘The Last Days of Orson Welles,’’ in Ameri- can Film (Washington, D.C.), June 1987. France, Richard, ‘‘Orson Welles’ First Film,’’ in Films in Review (New York), August-September 1987. Bywater, William, ‘‘The Desire for Embodiment in Orson Welles’s Citizen Kane,’’ in Post Script (Jacksonville, Florida), vol. 7, no. 2, 1988. Jewell, Richard B., ‘‘Orson Welles, George Schaefer and It’s All True,’’ in Film History (Philadelphia), vol. 2, no. 4, 1988. Kalinak, Kathryn, ‘‘The Text of Music: A Study of The Magnificent Ambersons,’’ in Cinema Journal (Champaign, Illinois), vol. 27, no. 4, 1988. Perlmutter, Ruth, ‘‘Working with Welles: an Interview with Henry Jaglom,’’ in Film Quarterly (Berkeley), Spring 1988. Stainton, A., ‘‘Don Quixote: Orson Welles’ Secret,’’ in Sight and Sound (London), Autumn 1988. White, Armond, ‘‘Wishing Welles,’’ in Film Comment (New York), October 1988. ‘‘Orson Welles Issue’’ of Persistence of Vision (Maspeth, New York), no. 7, 1989. Norcen, L., ‘‘Orson Welles e la scena della negazione,’’ in Cinema Nuovo (Rome), vol. 38, no. 319, May-June 1989. Vidal, Gore, ‘‘Remembering Orson Welles,’’ in New York Review of Books, 1 June 1989. Nielsen, N. A., ‘‘Et allerhelvedes perspektiv,’’ in Kosmorama (Co- penhagen), vol. 35, no. 189, Autumn 1989. Bywater, W., ‘‘The Visual Pleasure of Patriarchal Cinema: Welles’ ‘Touch of Evil,’’’ Film Criticism, vol. 14, no. 3, 1990. Lezcano, A., ‘‘Un genio llamando Orson Welles,’’ in Cine Cubano (Havana), no. 130, 1990. Simon, W. G. ‘‘Welles: Baktin: Parody,’’ in Quarterly Review of Film and Video (Langhorne, PA), vol. 12, no. 1–2, May 1990. Thomas, F. ‘‘Orson Welles,’’ in Positif (Paris), January 1991. Naremore, James, ‘‘The Trial: The FBI vs. Orson Welles,’’ in Film Comment (New York), January-February 1991. Andrew, G., ‘‘Reel Life,’’ in Time Out (London), no. 1089, 3 July 1991. Saada, N. ‘‘Les trésors de Welles,’’ in Cahiers du Cinéma (Paris), no. 447, September 1991. Hogue, Peter, ‘‘The Friends of Kane,’’ in Film Comment (New York), November-December 1991. Jameson, Richard T., ‘‘Cries and Whispers,’’ in Film Comment (New York), January-February 1992. Rosenbaum, Jonathan, ‘‘The Seven Arkadins,’’ in Film Comment (New York), January-February 1992. Berthome, J.-P., and others, in Positif (Paris), special section, no. 378, July-August 1992. Cramer, B., ‘‘The Restored ‘Othello,’’’ Films in Review, July- August 1992. McBride, Joseph, ‘‘The Last Kingdom of Orson Welles,’’ in New York Review of Books, 13 May 1993. Niogret, H. ‘‘Du pirate au vampire. Orson Welles,’’ in Positif (Paris), no. 379, September 1992. Rosenbaum, J. and Philip Kemp, ‘‘Improving Mr. Welles. Perplexed in the Extreme,’’ in Sight and Sound (London), vol. 2, no. 6, October 1992. Timm, M., ‘‘Orson Welles van ingen martyr!,’’ in Chaplin (Stock- holm), vol. 35, no. 3, 1993. Timm, M., T. Hansen, and P. Bogdanovich, in Chaplin (Stockholm), vol. 35, no. 3, Summer 1993. Purtell, Tim, ‘‘The Genius Nobody Wanted,’’ in Entertainment Weekly, 8 October 1993. Cahiers du Cinéma (Paris), special section, no. 475, January 1994. Combs, Richard, ‘‘Burning Masterworks,’’ in Film Comment (New York), January-February 1994. Aumont, Jacques, ‘‘L’ombre et la couleur: Une histoire immortelle,’’ in Cinémathèque (Paris), no. 5, Spring 1994. DeBona, G., ‘‘Into Africa: Orson Welles and Heart of Darkness,’’ in Cinema Journal (Austin), vol. 33, no. 3, Spring 1994. Garcia, Maria, ‘‘Re-inventing Orson Welles,’’ in Films in Review (New York), vol. 45, no. 5–6, May-June 1994. Lapinski, Stan, ‘‘Contouren van het Welles-universum,’’ in Skrien (Amsterdam), no. 196, June-July 1994. La Rochelle, Réal, ‘‘Welles/Herrmann. Passage de la radio au cinéma,’’ in 24 Images (Montreal), no. 73–74, September-October 1994. Hall, John W. ‘‘Touch of Psycho? Hitchcock’s Debt to Welles,’’ in Bright Lights (Cincinnati), no. 14, 1995. WELLESDIRECTORS, 4 th EDITION 1065 Rosenbaum, Jonathan, and Bill Krohn, ‘‘Orson Welles in the U.S.: An Exchange,’’ in Persistence of Vision (Maspeth, New York), no. 11, 1995. Brandlmeier, Thomas, ‘‘Die Vertreibung aus dem Paradies,’’ in EPD Film (Frankfurt), vol. 12, no. 3, March 1995. Lapinski, Stan, ‘‘Kroniek. De mist verdrijven,’’ in Skrien (Amster- dam), no. 206, February-March 1996. Scorsese, Martin, ‘‘Ma cinéphilie,’’ in Cahiers du Cinéma (Paris), no. 500, March 1996. On WELLES: films— Citizen Kane: The Fiftieth Anniversary, 1991. Orson Welles: What Went Wrong?, 1992. *** References to Orson Welles as one of America’s most influential directors and Citizen Kane as one of the great American films have become a simplistic way to encapsulate Welles’s unique contribution to cinema. It is a contribution that seems obvious but is difficult to adequately summarize without examining his complex career. Welles began as an actor in Ireland at Dublin’s famous Gate Theater, bluffing his way into the theater’s acting troupe by claiming to be well-known on the Broadway stage. He began directing plays in New York, and worked with John Houseman in various theatrical groups. At one point they attempted to stage Marc Blitzstein’s leftist, pro-labor The Cradle Will Rock for the Federal Theatre Project, but government agents blocked the opening night’s production. Perform- ers and audience subsequently moved to another theater, and the events surrounding the performance became one of Broadway’s most famous episodes. The incident led to Houseman being fired and Welles’s resignation from the Project. Houseman and Welles then formed the Mercury Theatre Group, armed with a manifesto written by Houseman declaring their inten- tion to foster new talent, experiment with new types of plays, and appeal to the same audiences that frequented the Federal Theater plays. Welles’s work on the New York stage was generally leftist in its political orientation, and, inspired by the expressionist theater of the 1920s, prefigured the look of his films. Welles and his Mercury Theater Group expanded into radio as the Mercury Theater on the Air. In contrast to most theater-oriented shows on radio, which consisted merely of plays read aloud, the Mercury group adapted their works in a more natural, personal manner: most of the plays were narrated in the first person. Shrewd imitations of news announcements and technical breakdowns height- ened the realism of his 1938 Halloween War of the Worlds broadcast to such a degree that the show has become famous for the panic it caused among its American listeners, a number of which thought that New Jersey was actually being invaded by Martians. This event itself has become a pop culture legend, shrouded in exaggeration and half-truths. RKO studios hired Welles in 1939, hoping he could repeat the success on film for them that he had enjoyed on stage and in radio. Welles, according to most sources, accepted the job because his Mercury Theater needed money to produce an elaborate production called 5 Kings, an anthology of several of Shakespeare’s plays. Whatever the reason, his contract with RKO began an erratic and rocky relationship with the Hollywood industry that would, time and again, end in bitter disappointment for Welles. The situation eventu- ally led him to begin a self-imposed exile in Europe. The film on which Welles enjoyed the most creative freedom was his first and most famous, Citizen Kane. At the time the film created a controversy over both its subject matter and style. Loosely based on the life of newspaper magnate William Randolph Hearst, the film supposedly upset Hearst to such a degree that he attempted to stop the production, and then the distribution and exhibition. In the end, his anger was manifested in the scathing reviews critics gave the film in all his newspapers. The film’s innovative structure, which included flashbacks from the differing points-of-view of the various charac- ters, in addition to other formal devices so different from the classic Hollywood cinema, also contributed to Kane’s financial failure and commercial downfall, though critics other than those employed at Hearst’s papers generally gave the film positive reviews. Other controversies surrounded the film as well, including one over scriptwriting credit. Originally, Welles claimed solo credit for writing the film, but the Writer’s Guild forced him to acknowledge Herman Mankiewicz as co-author. Each writer’s exact contributions remain unknown, but the controversy was revived during the early 1970s by critic Pauline Kael, who attempted to prove that Mankiewicz was most responsible for the script. Whatever the case, the argument becomes unimportant and even ludicrous given the unique direction which shapes the material, and which is undeniably Welles’s. Due to the failure of Kane, Welles was supervised quite closely on his next film, The Magnificent Ambersons. After shooting was completed, Welles went to South America to begin work on a docu- mentary, It’s All True, designed to help dispel Nazi propaganda in Latin America. He took a rough cut of Ambersons with him, hoping to coordinate cutting with editor Robert Wise. A sneak preview of Welles’s Ambersons proved disastrous, however, and the studio cut his 140-minute-plus version to eighty-eight minutes and added a ‘‘happy ending.’’ The film was a critical and commercial failure, and the entire Mercury staff was removed from the RKO lot. Welles spent the remainder of his Hollywood career sparring with various producers or studios over the completed versions of his films and his uncredited direction on films in which he starred. For example, Journey into Fear was begun by Welles but finished by Norman Foster, though Welles claims he made contributions and suggestions throughout. Jane Eyre, which made Welles a popular star, was directed by Robert Stevenson, but the gothic overtones, the mise-en-scène, and other stylistic devices suggest a Wellesian contri- bution. With The Stranger, directed for Sam Spiegel, he adhered closely to the script and a preplanned editing schedule, evidently determined to prove that he could turn out a Hollywood product on time and on budget. Welles, though, subsequently referred to The Stranger as ‘‘the worst of my films,’’ and several Welles schol- ars agree. Welles directed one of his best films, The Lady from Shanghai, for Harry Cohn of Columbia. The film, a loose, confusing, noirish tale of double-crosses and corrupted innocence, starred Welles’s wife at the time, Rita Hayworth. Cohn, who was supposedly already dissatisfied with their marriage because he felt it would reduce Hayworth’s box- office value, was furious at Welles for the image she presented in WELLES DIRECTORS, 4 th EDITION 1066 Shanghai. The film, shot mostly on location, was made under stressful circumstances, with Welles often re-writing during the shooting. It was edited several times and finally released two years after its completion, but failed commercially and critically. His final Hollywood project, a version of Macbeth for Republic Studios, was also considered a commercial flop. Disenchanted with Hollywood, Welles left for Europe, where he began the practice of acting in other directors’ films in order to finance his own projects. His portrayal of Harry Lime in Carol Reed’s The Third Man is considered his finest work from this period, and Welles continued to create villainous antagonists who are often more interesting, complex, or exciting than the protagonists of the films. In the roles of Col. Haki in Journey into Fear, Will Varner in Martin Ritt’s The Long Hot Summer, Quinlan in Touch of Evil, and in Mr. Arkadin, Welles created a sinister persona for which he has become as famous as for his direction of Citizen Kane. His last roles were often caricatures of that persona, as in Marlo Thomas’s It Happened One Christmas, or parodies as in The Muppet Movie. Welles’s European ventures include his Othello, shot over a period of years between acting assignments, often under chaotic circumstances. The difficul- ties of the film’s production are often described as though they were the madcap adventures of a roguish artist, but in reality it must have been an extreme hardship to assemble and reassemble the cast over the course of the film’s shooting. At one point, he ‘‘borrowed’’ equipment under cover of night from the set of Henry King’s The Black Rose (in which Welles was starring) to quickly shoot a few scenes. Welles later obtained enough financial backing to make Mr. Arkadin, a Kane-like story of a powerful man who made his fortune as a white slaver, and Chimes at Midnight. Welles returned to America in the late 1950s to direct Touch of Evil, starring Charlton Heston. Originally approached only to star in the film, Welles mistakenly thought he was also to direct. Heston intervened and insisted he be allowed to do so. Welles immediately threw out the original script, rewriting it without reading the book, Badge of Evil, upon which the script was based. Welles’s last works include The Immortal Story, a one-hour film made for French television, and F for Fake, a strange combination of documentary footage shot by another director, some Welles footage from earlier ventures, and Welles’s own narration. Welles’s outsider status in connection with the American film industry is an interesting part of cinema history in itself, but his importance as a director is due to the innovations he introduced through his films and the influence they have had on filmmaking and film theory. Considering the turbulent relationship Welles experi- enced with Hollywood and the circumstances under which his films were made in Europe, it is surprising there is any thematic and stylistic consistency in his work at all. The central character in many of his films is often a powerful, egotistical man who lives outside or above the law and society. Kane, Arkadin, and Mr. Clay (The Immortal Story) are enabled to do so by their wealth and position; Quinlan (Touch of Evil) by his job as a law enforcer, which allows him to commit injustices to suit his own purposes. Even George Minafer (Ambersons) becomes an outsider as a modern, industrialized society supersedes his aristocratic, nine- teenth-century way of life. These characters are never innocent, but seem to be haunted by an innocence they have lost. Kane’s ‘‘Rose- bud,’’ the emblem of childhood that he clings to, is the classic example, but this theme can also be found in Mr. Arkadin, where Arkadin is desperate to keep his daughter from discovering his sordid past. Many parallels between the two films have been drawn, includ- ing the fact that the title characters are both wealthy and powerful men whose past lives are being investigated by a stranger. Interestingly, just as Kane whispers ‘‘rosebud’’ on his deathbed, Arkadin speaks his daughter’s name at the moment of his death. Quinlan, in Touch of Evil, is confronted with his memories and his past when he runs into Tanya, now a prostitute in a whorehouse. The ornaments and memen- toes in her room (some of them from Welles’s personal collection), seem to jog his memory of a time when he was not a corrupt law official. In Shanghai, it is interesting to note that Welles does not portray the egotist, Bannister, but instead the ‘‘innocent’’ Michael O’Hara, who is soiled by his dealings with Bannister’s wife. That the corrupt antagonist is doomed is often indicated by a prologue or introductory sequence which foreshadows his destruction—the news- reel sequence in Kane; the pening montage of Ambersons, which condenses eighteen years of George Minafer’s life into ten minutes to hint that George will get his ‘‘comeuppance’’ in the end; the opening funeral scene of Othello; and the detailing of Mr. Clay’s sordid past in The Immortal Story. The themes of lost innocence and inescapable fate often shroud Welles’s films with a sense of melancholy, which serves to make these characters worthy of sympathy. Much has been made of Welles’s use of deep-focus photography, particularly in Kane and Ambersons. Though a directorial presence is often suggested in the cinema through the use of editing, with Welles it is through mise-en-scène, particularly in these two films. Many Welles scholars discuss the ambiguous nature of long-shot/deep- focus photography, where the viewer is allowed to sift through the details of a scene and make some of his own choices about what is important to the narrative, plot development, and so on. However, Welles’s arrangement of actors in specific patterns; his practice of shooting from unusual angles; and his use of wide-angle lenses, which distort the figures closest to them, are all intended to convey meaning. For example, the exaggerated perspective of the scene where Thatcher gives young Charles Kane a sled makes Thatcher appear to tower over the boy, visually suggesting his unnatural and menacing hold on him (at least from young Kane’s point of view). Welles also employed rather complex sound tracks in Kane and Ambersons, perhaps a result of his radio experience. The party sequence of Ambersons, for example, makes use of overlapping dialogue as the camera tracks along the ballroom, as though one were passing by, catching bits of conversation. Welles’s visual style becomes less outrageous and less concerned with effects as his career continued. There seems to be an increasing concentration on the acting in his latter works, particularly in the Shakespeare films. Welles had a lifelong interest in Shakespeare and his plays, and is well known for his unique handling and interpreta- tions of the material. Macbeth, for example, was greatly simplified, with much dialogue omitted and scenes shifted around. A primitive feel is reflected by badly synchronized sound, and much of the impact of the spoken word is lost. Othello, shot in Italy and Morocco, makes use of outdoor locations in contrast to the staginess of Macbeth. Again, Welles was quite free with interpretation: Iago’s motives, for example, are suggested to be the result of sexual impotency. His most successful adaptation of Shakespeare is Chimes at Midnight, an interpretation of the Falstaff story with parts taken from Henry IV, parts one and two, Henry V, Merry Wives of Windsor, and Richard II. In Chimes, Falstaff, as with many of Welles’s central characters, is imprisoned by the past. Like George Minafer, he straddles two ages, one medieval and the other modern. Falstaff is destroyed not only by the aging process but also by the problems of being forced into a new world, as is Minafer (and perhaps Kane). Again Welles is quite individualistic in his presentation of the material, making Falstaff WELLMANDIRECTORS, 4 th EDITION 1067 a true friend to the king and an innocent, almost childlike, victim of a new order. In the years before he died, Welles became known for his appearances in television commercials and on talk shows, playing the part of the celebrity to its maximum. His last role was as a narrator on an innovative episode of the television detective series Moonlighting, starring Bruce Willis and Cybill Shepherd. It is unfortunate that his latter-day persona as a bon vivant often overshadows his contribu- tions to the cinema. —Susan Doll WELLMAN, William Nationality: American. Born: William Augustus Wellman in Brookline, Massachusetts, 29 February 1896. Education: Attended Newton High School, Newton Highlands, Massachusetts, 1910–14. Military Service: Joined volunteer ambulance corps destined for France, 1917, then joined French Foreign Legion, where he learnt to fly planes; when United States entered World War I, became part of Lafayette Flying Corps, an arm of the Lafayette Escadrille. Family: Married 1) Helene Chadwick, 1918 (divorced 1920); three other marriages 1920–33; 5) Dorothy Coonan, 1933, seven children. Ca- reer: Professional ice hockey player for minor league team, 1914; film actor, United States, from 1919; messenger for Goldwyn Pic- tures, then directed first film, 1920; director for 20th Century-Fox, William Wellman 1923; signed by Paramount, 1927. Awards: Oscar for Wings, 1927; Oscar for Best Writing (Original Story) for A Star Is Born (shared with Robert Carson), 1937. Died: 9 December 1975. Films as Director: 1920 The Twins from Suffering Creek 1923 The Man Who Won; 2nd Hand Love; Big Dan; Cupid’s Fireman 1924 The Vagabond Trail; Not a Drum Was Heard; The Circus Cowboy 1925 When Husbands Flirt 1926 The Boob; The Cat’s Pajamas; You Never Know Women 1927 Wings 1928 The Legion of the Condemned; Ladies of the Mob; Beggars of Life 1929 Chinatown Nights; The Man I Love; Woman Trap 1930 Dangerous Paradise; Young Eagles; Maybe It’s Love 1931 Other Men’s Women; The Public Enemy; Night Nurse; Star Witness; Safe in Hell 1932 The Hatchet Man; So Big; Love Is a Racket; The Purchase Price; The Conquerors 1933 Frisco Jenny; Central Airport; Lily Turner; Midnight Mary; Heroes for Sale; Wild Boys of the Road; College Coach 1934 Looking for Trouble; Stingaree; The President Vanishes 1935 The Call of the Wild 1936 The Robin Hood of Eldorado (+ co-sc); Small Town Girl 1937 A Star Is Born (+ co-sc); Nothing Sacred 1938 Men with Wings (+ pr) 1939 Beau Geste (+ pr); The Light That Failed (+ pr) 1941 Reaching for the Sun (+ pr) 1942 Roxie Hart; The Great Man’s Lady (+ pr); Thunder Birds 1943 The Ox-Bow Incident; The Lady of Burlesque 1944 Buffalo Bill 1945 This Man’s Navy; The Story of G.I. Joe 1946 Gallant Journey (+ pr, co-sc) 1947 Magic Town 1948 Iron Curtain 1949 Yellow Sky; Battleground 1950 The Next Voice You Hear 1951 Across the Wide Missouri 1952 Westward the Women; It’s a Big Country (co-d); My Man and I 1953 Island in the Sky 1954 The High and the Mighty; Track of the Cat 1955 Blood Alley 1958 Darby’s Rangers; Lafayette Escadrille (+ pr, co-sc) Other Film: 1919 Knickerbocker Buckaroo (Parker) (role) Publications By WELLMAN: book— A Short Time for Insanity: An Autobiography, New York, 1974. WENDERS DIRECTORS, 4 th EDITION 1068 By WELLMAN: articles— ‘‘Director’s Notebook—Why Teach Cinema?,’’ in Cinema Progress (Los Angeles), June/July 1939. Interview, in Cinema (Beverly Hills), July 1966. On WELLMAN: books— Brownlow, Kevin, The Parade’s Gone By . . . , New York, 1968. Thompson, Frank T., William A. Wellman, Metuchen, New Jer- sey, 1983. On WELLMAN: articles— Pringle, H.F., ‘‘Screwball Bill,’’ in Collier’s (New York), 26 Febru- ary 1938. Griffith, Richard, ‘‘Wyler, Wellman, and Huston,’’ in Films in Review (New York), February 1950. Sarris, Andrew, ‘‘Fallen Idols,’’ in Film Culture (New York), Spring 1963. Brownlow, Kevin, ‘‘William Wellman,’’ in Film (London), Win- ter 1965/66. Smith, J.M., ‘‘The Essential Wellman,’’ in Brighton (London), January 1970. Wellman, William, Jr., ‘‘William Wellman: Director Rebel,’’ in Action (Los Angeles), March/April 1970. Brooks, Louise, ‘‘On Location with Billy Wellman,’’ in Film Culture (New York), Spring 1972. Fox, J., ‘‘A Man’s World,’’ in Films and Filming (London), March 1973. Eyman, S., and Allen Eyles, ‘‘‘Wild Bill’ William A. Wellman,’’ in Focus on Film (London), no. 29, 1978. Langlois, Gerard, ‘‘William Wellman 1896–1975,’’ in Avant-Scène du Cinéma (Paris), 1 March 1978. Gallagher, John, ‘‘William Wellman,’’ in Films in Review (New York), May, June/July, and October 1982. Youngerman, Joseph C., ‘‘The Olden Days according to Youngerman,’’ in DGA (Los Angeles), vol. 20, no. 3, July-August 1995. Hanisch, Michael, ‘‘Tough Guy—Fieger—Hollywood Professional,’’ in Film-Dienst (Cologne), vol. 44, no. 5, 27 February 1996. *** William Wellman’s critical reputation is in many respects still in a state of flux long after re-evaluations and recent screenings of his major films should have established some consensus of opinion regarding his place in the pantheon of film directors. While there is some tentative agreement that he is, if nothing else, a competent journeyman director capable of producing entertaining male-domi- nated action films, other opinions reflect a wide range of artistic evaluations, ranging from comparisons to D.W. Griffith to outright condemnations of his films as clumsy and uninspired. His own preferred niche, as indicated by his flamboyant personality and his predilection for browbeating and intimidating his performers, would probably be in the same general class as highly masculine filmmakers like Howard Hawks, John Ford, and Raoul Walsh. While those three enjoy a distinct auteur status, a similar designation for Wellman is not so easily arrived at since much of his early work for Warner Bros. in the late 1930s is, at first glance, not easily distinguishable from the rest of the studio’s output of sociological problem films and exposés of organized crime. In addition, his later films do not compare favorably, in many scholars’ opinions, to treatments of similar themes (often employing the same actors and locales) by both Ford and Hawks. It might be argued, however, that Wellman actually developed what has come to be regarded as the Warner Bros. style to a greater degree than did the studio’s other directors. His 1931 The Public Enemy, for example, stands above most of the other gangster films of the era in its creative blend of highly vivid images and in the subtle manner in which it created a heightened impression of violence and brutality by giving only hints of it on the screen. Exhibiting similar subtlety, Wellman’s depiction of a gangster, beginning with his childhood, graphically alluded to the sociological roots of organized crime. While many of his more typical treatments of men in adversity, like 1927’s Academy Award-winning Wings, were sometimes artifi- cial, everything worked in Public Enemy. In Wellman’s later films like The Ox-Bow Incident, The Story of G.I. Joe, and Battleground, the interactions of men in various groupings are shaped in such a way as to determine the direction and thematic force of each story. In others, like Track of the Cat, the emphasis shifts instead to one individual and his battle with forces of nature beyond his control. Yet in all cases, the issue is one of survival, a concept that manifests itself in some manner in all of Wellman’s films. It is overt and recognizable in war dramas like Battleground or in a disaster film like The High and the Mighty, but it is reflected at least as much in the psychological tensions of Public Enemy as it is in the violence. It becomes even more abstract in a complex picture like Track of the Cat when the issue concerns the family unit and the insecurity of its internal relationships. In the more heavy-handed propaganda films such as The Iron Curtain and Blood Alley, the theme centers on the threat to democratic forms of government, and finally, in the Ox-Bow Incident, the issue is the very fragility of society itself in the hands of a mob. Wellman’s supporters feel that these concerns arise from the latent cynicism of a disappointed romantic but are expressed by an instinc- tive artist with a keen awareness of the intellectual force of images conveyed with the raw power of many of those in Public Enemy. Yet it is the inconsistency of these images and a corresponding lack of inspiration in his work overall that clouds his stature as an auteur of the first rank. While, ultimately, it is true that Wellman’s films cannot be easily separated from the man behind them, his best works are those that sprang from his emotional and psychological experiences. His lesser ones have been overshadowed by the cult of his personality and are best remembered for the behind-the-scenes fistfights, parties, and wild stunts, all of which detracted from the production. Perhaps he never got the chance to make the one indisputable masterpiece that would thematically support all of the seemingly irreconcilable aspects of his personality and firmly establish him as a director of the first magnitude. —Stephen L. Hanson WENDERS, Wim Nationality: German. Born: Wilhelm Wenders in Düsseldorf, 14 August 1945. Education: Studied medicine and philosophy; studied at Hochschule für Fernsehen und Film, Munich, 1967–70. Career: Film critic in Munich for Süddeutsche Zeitung and Filmkritik, late WENDERSDIRECTORS, 4 th EDITION 1069 Wim Wenders 1960s; professional filmmaker, from 1971. Awards: Golden Lion, Venice Festival, for The State of Things, 1982; Best Director, Cannes Festival, for Wings of Desire, 1987. Agent: c/o Gary Salt, The Paul Kohner Agency, 9169 Sunset Blvd., Los Angeles, CA 90069, U.S.A. Films as Director: 1967 Schaupl?tze (Locations) (short); Same Player Shoots Again (short) 1968 Silver City (short); Victor I (short) 1969 Alabama—2,000 Light Years (short); Drei amerikanische LPs (Three American LPs) (short) 1970 Polizeifilm (Police Film) (short); Summer in the City (Dedi- cated to the Kinks) (diploma film) 1971 Die Angst des Tormanns beim Elfmeter (The Goalie’s Anxiety at the Penalty Kick) 1972 Der scharlachrote Buchstabe (The Scarlet Letter) 1973 Alice in den St?dten (Alice in the Cities) 1974 Aus der Familie der Panzerechsen (From the Family of the Crocodilia) (short, for TV); Die Insel (The Island) (short, for TV); Falsche Bewegung (Wrong Movement) 1976 Im Lauf der Zeit (Kings of the Road; In the Course of Time) 1977 Der amerikanische Freund (The American Friend) 1981 Lightning over Water (Nick’s Film) 1982 Hammett; Der Stand der Dinge (The State of Things) 1984 Paris, Texas; Room 666 (doc) 1985 Tokyo-Ga (doc) 1987 Der Himmel über Berlin (Wings of Desire) 1989 Aufzeichnungen zu Kleidern und St?dten (Notebook on Cities and Clothes) (doc) 1991 Until the End of the World 1993 In weiter Ferne, so nah! (Faraway, So Close) 1995 Lisbon Story; Beyond the Clouds (co-d with Antonioni) 1997 The End of Violence (+ pr) 1999 Buena Vista Social Club (doc) (+ sc) 2000 The Million Dollar Hotel (+ pr) Other Films: 1985 I Played It for You (Blakley) (role) 1987 Helsinki Napoli: All Night Long (Mika Kaurismaki); Yer Demir, Gok Bakir (Livaneli) (pr) 1990 Isabelle Eberhardt (Pringle) (pr) 2000 Delivering Milo (Castle) (pr) Publications By WENDERS: books— The Film by Wim Wenders: Kings of the Road (In the Course of Time), with Fritz Müller-Scherz, Munich, 1976. Nick’s Film—Lightning over Water, with Chris Sievernich, Frank- furt, 1981. Paris, Texas, with Sam Shepard, Berlin, 1984. Written in the West: Photographien aus dem amerikanische Western, Munich, 1987. Emotion Pictures: Reflections on the Cinema, London, 1989. The Logic of Images: Essays and Conversations, London, 1992. My Time with Antonioni, translated by Michael Hofmann, New York, 2000. Signs and Relics, with Sylvia Plachy, New York, 2000. By WENDERS: articles— ‘‘Alice in den St?dten,’’ an interview with W. E. Bühler and P. B. Kleiser, in Filmkritik (Munich), March 1974. ‘‘Wim Wenders über Im Lauf der Zeit,’’ an interview with H. Wiedemann and F. Müller-Scherz, in Film und Ton (Munich), May 1976. ‘‘Wenders on Kings of the Road,’’ in Monthly Film Bulletin (Lon- don), July 1977. ‘‘King of the Road,’’ an interview with Carlos Clarens, in Film Comment (New York), September/October 1977. ‘‘Filming Highsmith,’’ an interview with Jan Dawson, in Sight and Sound (London), Winter 1977/78. Interview with P. Lehman and others, in Wide Angle (Athens, Ohio), vol. 2, no. 4, 1978. Interviews with Serge Daney, in Cahiers du Cinéma (Paris), Decem- ber 1980 and June 1982. Interview with Richard Combs, in Monthly Film Bulletin (London), March 1983. Interview with John Gallagher, in Films in Review (New York), June/ July 1983. Interview with Michel Ciment and Hubert Niogret, in Positif (Paris), September 1984. WENDERS DIRECTORS, 4 th EDITION 1070 Interview with K. Dieckman, in Film Quarterly (Berkeley), Win- ter 1984/85. Interview with Coco Fusco, in Cineaste (New York), vol. 16, no. 4, 1988. Interview with Robert Seidenberg, in American Film (Washington, D.C.), vol. 13, no. 8, 1988. Interview with L. Antoccia, in Films and Filming (London), August 1988. Interview with Sean Penn, in Interview (New York), January 1992. ‘‘Wenders’s Wanderlust,’’ an interview with James Greenberg, in Connoisseur (New York), January 1992. ‘‘Wim Wenders’s Guilty Pleasures,’’ in Film Comment (New York), January/February 1992. ‘‘Until the End of the World,’’ an interview with A.M. Bahiana, in Cinema Papers (Fitzroy), May-June 1992. ‘‘Sleeping with Guns,’’ an interview with Manohla Dargis, in Sight and Sound (London), May 1997. ‘‘Crime Scene,’’ an interview with S. Macaulay, in Filmmaker: The Magazine of Independent Film (Los Angeles), no. 1, 1997. ‘‘Wim’s of Desire,’’ an interview with David Eimer, in Time Out (London), 7 January 1998. On WENDERS: books— Dawson, Jan, Wim Wenders: Cinema as Vision and Desire, New York, 1976. Geist, Kathe, The Cinema of Wim Wenders 1967–77, Ann Arbor, Michigan, 1981. Johnston, Sheila, Wim Wenders, London, 1981. Buchka, Peter, Augen Kann man nicht Kaufen: Wim Wenders und seine Filme, Munich, 1983. Franklin, James, New German Cinema from Oberhausen to Ham- burg, Boston, 1983. Grob, Norbert, Die Formen des filmische Blicks: Wenders: Die fruhen Filmwe, Munich, 1984. Phillips, Klaus, editor, New German Filmmakers: From Oberhausen through the 1970s, New York, 1984. Devillers, Jean-Pierre, Berlin, L.A., Berlin: Wim Wenders, Paris, 1985. Geist, Kathe, The Cinema of Wim Wenders: From Paris, France, to Paris, Texas, Ann Arbor, Michigan, 1988. Rentschler, Eric, editor, West German Filmmakers on Film: Visions and Voices, New York, 1988. Boujut, Michel, Wim Wenders: Un Voyage dans ses films, Paris, 1989. Elsaesser, Thomas, New German Cinema: A History, London, 1989. Estève, Michel, Wim Wenders, Paris, 1989. Joyce, Paul, Motion and Emotion: The Films of Wim Wenders, London, 1989. Künzel, Uwe, Wim Wenders: Ein Filmbuch, 3rd edition, Freiburg, 1989. Grob, Norbert, Wenders, Berlin, 1991. Kolker, Robert Phillip, and Peter Beiken, The Films of Wim Wenders, New York, 1993. On WENDERS: articles— Rayns, Tony, ‘‘Forms of Address,’’ in Sight and Sound (London), Winter 1974/75. Ghali, N., ‘‘Dossier-auteur: Wim Wenders,’’ in Cinéma (Paris), December 1976. Covino, M., ‘‘Wim Wenders: A Worldwide Homesickness,’’ in Film Quarterly (Berkeley), Winter 1977/78. Stamelman, P., ‘‘Wenders at Warners,’’ in Sight and Sound (Lon- don), Autumn 1978. Corrigan, Timothy J., ‘‘The Realist Gesture in the Films of Wim Wenders: Hollywood and the New German Cinema,’’ in Quar- terly Review of Film Studies (Pleasantville, New York), Spring 1980. ‘‘Wenders Issue’’ of Caméra/Stylo (Paris), January 1981. ‘‘Alice dans les villes Issue’’ of Avant-Scène du Cinéma (Paris), 1 May 1981. Bishop, R., and T. Ryan, ‘‘Wim Wenders: An American Saga,’’ in Cinema Papers (Melbourne), August 1984. Wim Wenders Section of Cinéma (Paris), September 1984. Wim Wenders Section of Positif (Paris), September 1984. Ranvaud, Don, ‘‘Paris, Texas to Sydney,’’ and John Pym, ‘‘The Road from Wuppertal,’’ in Sight and Sound (London), Autumn 1984. Combs, Richard, ‘‘Ich Bin Ein Englander or Show Me the Way to Go Home,’’ in Monthly Film Bulletin (London), May 1985. Corrigan, Timothy, ‘‘Cinematic Snuff: German Friends and Narra- tive Murders,’’ in Cinema Journal (Champaign, Illinois), Win- ter 1985. Geist, Kathe, ‘‘Filmmaking as Research: Wim Wenders’s The State of Things,’’ in Post Script (Jacksonville, Florida), Winter 1986. Snyder, Stephen, ‘‘Wim Wenders: The Hunger Artist in America,’’ in Post Script (Jacksonville, Florida), Winter 1987. American Friends Section of Literature/Film Quarterly (Salisbury, Maryland), vol. 16, no. 3, 1988. Paneth, Ira, ‘‘Wim and His Wings,’’ in Film Quarterly (Berkeley), vol. 42, no. 1, 1988. Green, Peter, ‘‘Germans Abroad,’’ in Sight and Sound (London), Spring 1988. Riley, Vikki, ‘‘From Dusseldorf to Los Angeles and the Journey Back,’’ in Filmnews, July 1991. Levy, Sean, ‘‘Until the End of the World: Wim Wenders’s Dance around the Planet,’’ in American Film (Washington, D.C.), Janu- ary/February 1992. Andrew, Geoff, ‘‘Wenders Way,’’ in Time Out (London), 29 June 1994. Falkowska, J., ‘‘American and European Voices in the Films of European Filmmakers Wim Wenders, Percy Adlon, and Aki Kaurismaki,’’ in Canadian Journal of Film Studies (Ottawa), no. 1, 1997. Horton, Robert, ‘‘Wim Wenders On the Road Again,’’ in Film Comment (New York), March-April 1997. *** Of the three young German filmmakers who achieved the greatest international fame in the 1970s as the vanguard of a German New Wave, Wim Wenders had perhaps a less radical though no less distinctive film style than his compatriots R. W. Fassbinder and Werner Herzog. Though critics typically cite American influences upon Wenders’s ‘‘road trilogy’’ of the mid-1970s, there is a greater affinity with the modernist tradition of the European ‘‘art film’’ exemplified by the Antonioni of L’avventura and Red Desert— dramas of alienation in which restless, unrooted individuals wander through haunted, sterile, but bleakly beautiful landscapes within a free-floating narrative structure. (It is most appropriate that Wenders has directed the ‘‘frame’’ sections for some short pieces by the aged Italian master.) True, the ennui in these films shades into angst and American Beat gestures, and the alienation has strong roots in the spiritual yearning, the love of loneliness and wandering, of German Romanticism. Romanticism seems too to be at the root of Wenders’s WENDERSDIRECTORS, 4 th EDITION 1071 conception of himself (well articulated in numerous interviews) as an artist: one who evolves spiritually with each work, or reaches dead ends (as he has called The State of Things) from which he must break out; and who sees each new work as an adventure, not to be mapped out too much in advance. A crucial observation about Wenders’s art is found in cinematographer Ed Lachman’s remark that ‘‘light and landscape are actors’’ in his films. Wenders’s characters are typically revealed against urban or rural landscapes, upon which the camera frequently lingers as the actors pass from the frame. Most of the films take place predominantly out-of-doors (the studio sets of Hammett making that film all the more of an anomaly), or offer striking views from high- rise windows and moving vehicles. The urban views most often suggest sterility but have a certain grandeur, sharing with his views of desert (Paris, Texas) or sea (The State of Things) that vastness the Romantics called ‘‘sublime.’’ The climactic scene in the peep-show booth in Paris, Texas is all the more powerful and inventive in the context of the epic vistas of the rest of the film. And the urban scene finally becomes the central ‘‘actor’’ in Wings of Desire/Himmel über Berlin, indeed a ‘‘Symphony of a Great City,’’ in which the Wall is no barrier to the gliding camera or the angelic inhabitants. Wenders’s films are dialectical: they structure contrasts not as simple polarities but as rich ongoing dialogue, and the later films seem to be in dialogue with the earlier ones. Among the central concerns from film to film are American versus European culture, the creation of mood versus tight narrative, a sense of ‘‘home’’ ver- sus rootless ‘‘freedom’’, and even black-and-white versus color photography. Wenders’s ambivalent fascination with America has been a favor- ite topic for critics. None of his films is without interest in this regard, but Alice in the Cities is the first to be shot partially in America—a world of boardwalks, motels, neon, and skyscrapers, though still not so different from the urban, industrial Europe of the second half; it is also his first feature to make extensive use of American music, including the Chuck Berry concert in Wuppertal. The American Friend is a dizzying vortex of allusiveness, with its gangsters and cowboys, iconographic presences of Nicholas Ray and Dennis Hop- per, miniature Statue of Liberty in Paris, Ripley’s digs in Hamburg, hints of an allegory of the American film industry in Germany (the pornographers seducing the hapless framemaker), and a narrative derived from a novel by an expatriate American and strongly echoing Strangers on a Train. Wenders’s ‘‘American period’’ from Hammett through Paris, Texas is of course of central interest here, with a whimsically mystical and lyrical embracing of humanity and the particulars of physical life that recalls Walt Whitman. Wenders still calls his production company ‘‘Road Movies’’ (in English). The mid-1970s films may owe much to the American ‘‘road movie’’ of a few years earlier (themselves echoing Kerouac’s On the Road), but the classical Hollywood cinema is defined by its tight narrative structures, and Wenders can be felt to be wrestling with such a structure in The American Friend. He has said of Paris, Texas, in a Film Quarterly interview, ‘‘For once I was making a movie that wasn’t meandering all over the place. That’s what Sam [Shepard] brought to this movie of mine as an American writer: forward movement, which is very American in a way.’’ Still, Paris, Texas is very unlike a classical Hollywood film, though the problematic Hammett, ironically enough, is like one; and the later Wings of Desire is much more a fantasia upon a great city than a classical symphony. (Tokyo-Ga too meanders through a great city rather than being a tight documentary on Yasujiro Ozu.) Also explored dialectically are the concepts of home and homelessness, omni-present concerns in Wenders’s films. Alice in the Cities, Kings of the Road, and Until the End of the World could all have as epigraph a Barbara Stanwyck line from Clash by Night quoted by Wenders in a piece on Fritz Lang: ‘‘Home is where you get when you run out of places.’’ The State of Things is perhaps Wenders’s most bleak portrayal of homelessness, while Paris, Texas expresses the greatest yearning for home, and Until the End of the World portrays home as a trap (both womblike and filled with scientific gadgetry) of obligations to parents—a place the viewers too are trapped for the second half of a long film. Wings of Desire features an angel wishing he could ‘‘come home like Philip Marlowe and feed the cat;’’ an acrobat who has always felt ‘‘alone’’ and unattached, but now, in love, can feel ‘‘loneliness,’’ which means ‘‘I am finally whole;’’ and a conclusion in which the former angel muses, ‘‘I found Home . . . instead of forever hovering above’’—like Wenders’s camera in this film. Obviously the issues of home/homelessness shade into the other prominent Wenders theme of aloneness versus tentative human bonds, explored especially in terms of adult-child friendships, unstable male bondings (see Faraway, So Close for its treatments of both of these), and in Wings, the angelic/mortal possi- bilities of adult heterosexual love. Until the End of the World, Wenders’s most ambitious project to date, indeed a would-be magnum opus, is quintessentially Wenders in its fascination with home and the road, memory and dream, the mundane and the sublime; yet it disappoints, despite its fine moments. Its early scenes splendidly evoke a future world through decor, a few striking process shots, and multiple uses of video and computer screens; yet the film is flawed in its vague and inconsistent notions of science in the second half, the amateurish handling of the few action scenes, the implausibility of some of the heroine’s motives, and above all in the lack of enough meaningful connections between the ‘‘dance around the world’’ of the first half and the Australian home-as- science-lab second half. The Australian landscapes, and the European ones of the very beginning, are hauntingly resonant, like so many in other Wenders films, though the hopscotch around the continents in the first half seems to turn the beauties of Lisbon and rural Japan into mere postcards, an effect seemingly unintended. Perhaps the film succeeds best in its use of various video or computer-generated images to suggest the working—and inseparability—of dreams, memories, and desires. Faraway, So Close, the sequel to Wings of Desire in which Damiel’s angel partner Cassiel too becomes a mortal but finds it much harder to adjust to a world of time, suffers artistically from an attempt to include too many plot strands, to work farcical gangsters and daring rescue attempts into an otherwise private, meditative film. Wenders seems at his best when his stories are starkly simple, with complexity coming from the textures of the films’ environments. Wenders once claimed, with some relish of paradox, or perhaps recollection of The Wizard of Oz, that black-and-white was suited to realism, color to fantasy. Hence those stylized tales of murder The Goalie’s Anxiety and The American Friend, as well as the science- fiction Until the End of the World, were in color, and the ‘‘road trilogy’’ not, with Kings of the Road immediately declaring itself ‘‘a Wim Wenders film in black/white.’’ He further claimed himself to be incapable of making a documentary in color—though he was soon to make more than one. Once again Wings of Desire seems a synthesis of previous concerns, if not a downright reversal, with the angels seeing the spiritual essence of things in black-and-white but humans perceiv- ing the particularities of mortal life in color. Such inconsistency—or WERTMULLER DIRECTORS, 4 th EDITION 1072 rather, willingness to change perspective—may be taken as repre- sentative of the exploratory nature of Wenders’s film work as a whole. —Joseph Milicia WERTMULLER, Lina Nationality: Italian. Born: Arcangela Felice Assunta Wertmuller von Elgg Spanol von Braueich in Rome, 14 August 1928. Family: Married to the artist Enrico Job (1968). Education: Attended several Catholic schools, and the Academy of Theatre in Rome. Career: Worked with Maria Signorelli’s puppet troupe, 1951–52; worked as an actress, stage manager, set designer, publicist, and writer for theater, radio, and television; from 1952; worked as an assistant to Fellini on 8 1/2, 1962; directed first feature, I basilischi, 1963; Film d’amore e d’anarchia her first film released in the United States; signed by Warner Bros. to direct four films, 1973. Awards: Silver Sail, Locarno Film Festival, for I basilischi, 1963. Address: Piazza Clotilde 5, 00196 Rome, Italy. Films as Director and Writer: 1963 I basilischi (The Lizards) 1965 Questa volta parliamo di uomini (Now, Let’s Talk about Men; This Time Let’s Talk about Men) Lina Wertmuller 1967 Non stuzzicate la zanzara (Don’t Tease the Mosquito) 1972 Mimi metallurgio ferito nell’onore (The Seducation of Mimi; Mimi the Metalworker; Wounded in Honour) 1973 Film d’amore e d’anarchia, ovvero stamattina alle 10 in Via dei fiori nella nota casa di toleranza (Film of Love and Anarchy, or This Morning at Ten in the Via dei fiori at the Well-known House of Tolerance) 1974 Tutto a posto e niente in ordine (Everything’s in Order But Nothing Works; All Screwed Up); Travolti da un insolito destino nell’azzurro mare d’agosto (Swept Away. . . by an Unusual Destiny in the Blue Sea of August; Swept Away. . . ) 1976 Pasqualino settebellezze (Pasqualino; Seven Beauties) 1978 La Fine del mondo in una notte piena di poggia (The End of the World in Our Usual Bed in a Night Full of Rain; A Night Full of Rain); Shimmy lagarno tarantelle e vino; Fatto di sangue fra due uomini per causa di una vedova (Blood Feud; Revenge) 1979 Belle Starr (as ‘‘Nathan Wich’’ (for TV) 1981 E una Domenica sera di novembre (for TV) 1983 Scherzo del destinoin aqquato dietro l’angelo come un brigante di strada (A Joke of Destiny, Lying in Wait around the Corner Kike a Street Bandit) (co-sc) 1984 Sotto, Sotto (co-sc) 1986 Camorra (Vicoli e delitti; Un complicato intrigo di donne, vicoli e delitti; The Naples Connection) (co-sc); Notte d’estate, con profilo Greco, occhi amandorla e odore di basilico (Summer Night with Greek Profile, Almond Eyes, and Scent of Basil) 1989 In una notte di chiaro luna (In a Full Moon Night); Il Decimo clandestino 1990 Saturday, Sunday, Monday 1994 Io speriamo che me la cavo (Ciao, Professore!) (co-sc) 1996 Ninfa plebea (The Nymph); Metal neccanico e parrucchiera in un turbine di sesso e di politica (The Worker and the Hairdresser; The Blue Collar Worker and the Hairdresser in a Whirl of Sex and Politics) (+ co-story) 1999 An Interesting State; Fernando e Carolina (co-sc) Other Films: 1963 Otto e mezzo (8 1/2) (Fellini) (asst d) 1966 Rita la zanzara (Rita the Mosquito) (d musical numbers only, sc) 1970 Quando de donne avevano la coda (When Women Had Tails) (Festa Campanile) (co-sc); Citta violenta (Violent City; The Family) (Sollima) (co-sc) 1972 Fratelli sole, sorella luna (Brother Sun, Sister Moon) (Zeffirelli) (co-sc) 1999 Un Amico magico: il maestro Nino Rota (Monicelli) (doc) (as Herself) Publications By WERTMULLER: books— The Screenplays of Lina Wertmuller, translated by Steven Wagner, New York, 1977. The Head of Alvise, London, 1983. WERTMULLERDIRECTORS, 4 th EDITION 1073 By WERTMULLER: articles— Interview in Woman and Film (Santa Monica, California), no. 5–6, 1974. Interview in Interview (New York), March 1975. ‘‘Look, Gideon—Gideon Bachman Talks with Lina Wertmuller,’’ in Film Quarterly (Berkeley), Spring 1977. ‘‘Lina Sweeps In,’’ interview with G. Ott, in Cinema Canada (Montreal), March 1978. Interview with C. J. Rotondi, in Films in Review (New York), November 1984. Interview with B. Steinborn, in Filmfaust (Frankfort), April-May 1986. On WERTMULLER: books— Dokumentation: Lina Wertmuller/Martin Scorsese, Zurich, 1986. Michalczyk, John J., The Italian Political Filmmakers, Cranbury, New Jersey, 1986. Bruno, Giuliana, and Maria Nadotti, editors, Off Screen: Women and Film in Italy, London, 1988. Jacobsen, Wolfgang, and others, Lina Wertmuller, Munich, 1988. On WERTMULLER: articles— Durgnat, Raymond, in Films and Filming (London), October 1964. Biskind, Peter, ‘‘Lina Wertmuller: The Politics of Private Life,’’ in Film Quarterly (Berkeley), Winter 1974–75. Willis, Ellen, ‘‘Is Lina Wertmuller Just One of the Boys?’’ in Rolling Stone (New York), 25 March 1976. Quacinella, L., ‘‘How Left Is Lina?,’’ in Cineaste (New York), Fall 1976. Jacobs, Diane, ‘‘Lina Wertmuller,’’ in International Film Guide 1978 (London), 1978. Tutt, Ralph, ‘‘Seven Beauties and the Beast: Bettelheim, Wertmuller, and the Uses of Enchantment,’’ in Literature Film Quarterly (Salisbury, Maryland), no. 3, 1989. ‘‘Missing Persons Corner,’’ in Variety (New York), 29 July 1991. Manera, P., in Cineforum (Bergamo, Italy), December 1991. Samueli, A., ‘‘Fellini au travail,’’ in Cahiers du Cinéma (Paris), December 1993. ‘‘Lina Wertmuller una mujer inolvidable,’’ in Sin Cortes (Buenos Aires), January 1997. *** By the mid-1970s, Lina Wertmuller had directed a series of sharply observed (though, in retrospect, markedly uneven) features which brought her international fame and made her one of the shining lights of European cinema. At their best, her films were crammed with pointed humor, astute social commentary, and outrageous sexuality. In 1976, she even became the first woman to win a Best Director Academy Award nomination, for Seven Beauties. In recent years, Wertmuller’s critical reputation has been tar- nished. For one thing, the quality of her work has sharply deteriorated. For another, her detractors have dubbed her a reactionary, labeling her films as grotesque and self-absorbed, with little love for humanity. Meanwhile, her champions hail her as a defender of the downtrodden, an idealistic anarchist who realizes anarchy is impractical yet still cherishes the notion of total individual freedom. Upon examining her films, one might decide that most of her characters are caricatures, or might consider them sympathetic human beings. It all depends on the interpretation. Wertmuller’s films most characteristically focus on the eternal battle between the sexes, fought with noisy screaming matches and comical seductions in a class warfare setting. Her most typical features—those which cemented her reputation—may be found in the middle of her career, from The Seduction of Mimi through Swept Away. . . All are imperfect: for every inspired sequence—most notably, in The Seduction of Mimi, Giancarlo Giannini’s antics between the sheets with a ridiculously obese woman—there are long stretches of repetitious ax-grinding on sex, love, anarchy, fascism, and the class struggle. In the battles of the sexes, Wertmuller’s films are relatively consistent with regard to the portrayal of men and women. Wertmuller’s favorite actor is All Screwed Up star Giancarlo Giannini. His charac- ters think they are suave, but they really are stubborn and stupid, in constant trouble both politically and sexually. In Love and Anarchy, set in 1932, for example, Giannini plays an anarchist, hiding in a brothel, who plans to assassinate Mussolini but instead falls for a prostitute. Wertmuller’s women, on the other hand, are not politi- cally aware, and are uninterested in struggling for self-sufficiency. Seven Beauties, filled with stunning images, is Wertmuller’s penulti- mate feature: a searing drama about survival in a surreal, insane world. It chronicles the odyssey of a Don Juan (Giannini) through the horrors of World War II. The highlight of the film is a typically gruesome Wertmullian seduction sequence in which the ‘‘hero’’ entices a piggish female concentration-camp commandant. Over the decades, the reputation of Seven Beauties has suffered because of the declining quality of Wertmuller’s subsequent films. The End of the World in Our Usual Bed in a Night Full of Rain, her first English-language effort, is a verbose marital boxing match pitting journalist/communist Giannini and photographer/feminist Candice Bergen. Revenge, also known as Blood Feud, is the exagger- ated tale of a radical lawyer (Marcello Mastroianni) and a gangster (Giannini) who love the beautiful widow Sophia Loren during the early years of fascist rule in Italy. Both films were released in the late 1970s, and were followed by over a dozen forgettable films made over the next two decades. Easily Wertmuller’s most accessible later-career films are Sotto, Sotto and Ciao, Professore! Thematically speaking, Sotto, Sotto is related to her earlier work in that it is a tale of sexual combat, but with a twist. It is the story of a married woman who becomes romantically attracted to her best (female) friend, which predictably piques her brutally sexist husband. Ciao, Professore! is a social comedy about a Northern Italian grade school teacher accustomed to working with affluent children, who is mistakenly assigned to an impoverished village near Naples. The film comically details the interactions and developing relationships between the teacher and the students. While not as disappointing as her other post-Seven Beauties features, Sotto, Sotto and Ciao, Professore! are formulaic stories whose high points do not compare to their counterparts in Love and Anarchy, Swept Away. . . and, most certainly, Seven Beauties. —Rob Edelman WHALE DIRECTORS, 4 th EDITION 1074 WHALE, James Nationality: British. Born: Dudley, England, 22 July 1889 (some sources state 1896). Military Service: Held in prisoner-of-war camp, World War I. Career: Cartoonist for The Bystander, from 1910; actor and set designer for Birmingham Repertory Theatre, 1917–25; actor on London stage, from 1925; directed Journey’s End on London stage, 1929; moved to Hollywood to direct film version, 1930; director for Universal, mostly of horror films, 1931–41; retired from film to pursue painting, 1941; attempted comeback Hello out There failed, 1949; occasional stage director, from 1949. Died: 30 May 1957. Films as Director: 1930 Journey’s End 1931 Waterloo Bridge; Frankenstein 1932 The Impatient Maiden; The Old Dark House 1933 The Kiss before the Mirror; The Invisible Man 1934 By Candlelight; One More River 1935 The Bride of Frankenstein; Remember Last Night 1936 Showboat 1937 The Road Back; The Great Garrick 1938 The Port of Seven Seas; Sinners in Paradise; Wives under Suspicion 1939 The Man in the Iron Mask 1940 Green Hell 1941 They Dare Not Love James Whale Publications On WHALE: books— Clarens, Carlos, An Illustrated History of the Horror Film, New York, 1968. Baxter, John, Hollywood in the Thirties, New York, 1970. Butler, Ivan, Horror in the Cinema, 2nd revised edition, New York, 1970. Anobile, Richard, James Whale’s ‘‘Frankenstein,’’ New York, 1974. Everson, William, Classics of the Horror Film, Secaucus, New Jersey, 1974. Tropp, Martin, Mary Shelley’s Monster: The Story of Frankenstein, Boston, 1976. Derry, Charles, Dark Dreams: A Psychological History of the Mod- ern Horror Film, New York, 1977. Ellis, Reed, Journey into Darkness: The Art of James Whale’s Horror Films, New York, 1980. Curtis, James, James Whale, Metuchen, New Jersey, 1983. Gatiss, Mark, James Whale: or the Would-be Gentleman, Lon- don, 1995. Curtis, James, James Whale: A New World of Gods and Monsters, London, 1999. On WHALE: articles— Obituary, in the New York Times, 30 May 1957. Edwards, Roy, ‘‘Movie Gothick: A Tribute to James Whale,’’ in Sight and Sound (London), Autumn 1957. Durgnat, Raymond, ‘‘The Subconscious: From Pleasure Castle to Libido Motel,’’ in Films and Filming (London), January 1962. Fink, Robert, and William Thomaier, ‘‘James Whale,’’ in Films in Review (New York), May 1962. Jensen, Paul, ‘‘James Whale,’’ in Film Comment (New York), Spring 1971. Milne, Tom, ‘‘One Man Crazy: James Whale,’’ in Sight and Sound (London), Summer 1973. Evans, Walter, ‘‘Monster Movies: A Sexual Theory,’’ in Journal of Popular Film (Bowling Green, Ohio), Fall 1973. Evans, Walter, ‘‘Monster Movies and Rites of Initiation,’’ in Journal of Popular Film (Bowling Green, Ohio), Spring 1975. White, D.L., ‘‘The Poetics of Horror: More than Meets the Eye,’’ in Film Genre: Theory and Criticism, edited by Barry Grant, Metuchen, New Jersey, 1977. Clarens, Carlos, and Mary Corliss, ‘‘Designed for Film: The Holly- wood Art Director,’’ in Film Comment (New York), May/June 1978. Taylor, John Russell, ‘‘Tales of the Hollywood Raj,’’ in Films and Filming (London), June 1983. Mank, G., ‘‘Mae Clarke Remembers James Whale,’’ in Films in Review (New York), May 1985. *** Although he is primarily remembered as the director of the cult horror films Frankenstein, The Old Dark House, The Invisible Man, and The Bride of Frankenstein, James Whale contributed much more to the cinema. He also handled such stylish and elegant productions as Waterloo Bridge and One More River, which had little critical impact when they were first released and are, unfortunately, largely un- known today. WIENEDIRECTORS, 4 th EDITION 1075 A quite, introspective man, James Whale’s background was the stage, notably the original London and New York productions of R.C. Sheriff’s pacifist play Journey’s End. Aside from some work assist- ing Howard Hughes with the direction of Hell’s Angels (work which is both negligible and best forgotten), James Whale made his directo- rial debut with Journey’s End, a film which illustrates many of the qualities which were to mark Whale’s later work: close attention to acting and dialogue, a striving for authenticity in settings, and a thoughtful use of camera (here somewhat hampered by the limits imposed on early talkies). From 1930 through 1937, while Whale was under contract to Universal and under the patronage of studio production head Carl Laemmle Jr., the director was able to turn out a group of literate and accomplished features. Among his varied productions was the First World War melodrama Waterloo Bridge, later remade in a gaudy Hollywood fashion by Mervyn LeRoy, but in this version noteworthy for its honest approach to its leading character’s prostitution and a stunning performance by Mae Clarke (a favorite Whale actress). Both The Invisible Man and The Bride of Frankenstein are influenced by the director’s earlier Frankenstein, but both contain an element of black humor which lifts them above the common horror film genre. The Kiss before the Mirror and By Candlelight possess an intangible charm, while One More River is simply one of Hollywood’s best depictions of upper-class British life, memorable for the ensemble playing of its cast, headed by Diana Wynyard, and the one-liners from Mrs. Patrick Campbell. Show Boat demonstrates that Whale could handle a musical as easily as a romantic drama and is, without question, the finest screen version of the Jerome Kern-Oscar Hammerstein hit. All of Whale’s Universal features were well received with the exception of his last, The Road Back, based on an Erich Maria Remarque novel and intended as a sequel to All Quiet on the Western Front. The Road Back today appears badly constructed, a problem created in part by the studio’s interference with the production out of concern that the German government might find the film unacceptable. Whale’s final films after leaving Universal are uniformly without interest, and contemporary response to them was lukewarm at best. The director simply grew tired of the hassles of filmmaking and retired. It has been suggested that Whale’s homosexuality may have been unacceptable in Hollywood and helped to end his career, but he was a very private man who kept his personal life to himself, and it seems unlikely that his sexual preference created any problem for him or his employees; certainly Whale’s homosexuality is not evident from his films, unless it be in the casting of the delightfully ‘‘camp’’ Ernest Thesiger in The Old Dark House and The Bride of Frankenstein. —Anthony Slide WIENE, Robert Nationality: German. Born: Dresden, 1881. Career: Actor, writer, and director, Lessing-Theater, Berlin, until 1913; offered film direct- ing debut by producer Kolowrat, 1913; collaborated with Walter Turszinsky on several comic films, 1915; directed a number of Henny Porten films, 1916; worked in Austria, 1924–26; left Nazi Germany, 1934. Died: In Paris, 17 July 1938. Films as Director: 1912 Die Waffen der Jugend (d: Wiene or Friedrich Müller, + sc) 1915 Frau Eva (Arme Eva) (+ co-sc): Die Konservanbraut; Der springende Hirsch (Die Diebe von Günsterburg) (co-d?) 1916 Der Sekret?r der K?nigen (+ sc); Der Liebesbrief der K?nigin (+ sc); Das wandernde Licht; Die R?uberbraut; Der Mann Spiegel (+ sc) 1917 Der standhafte Benjamin (+ sc): Das Leben—ein Traum (+ co-sc) 1918 Der Umweg zur Ehe (d: Wiene or Fritz Freisler, + co-sc); Die Million?rin 1919 Die verführte Heilige (+ sc); Ein gef?hrliche Spiel (+ sc); Um das L?cheln einer Frau 1920 Die Drei T?nze der Mary Wilford (+ co-sc); Das Kabinett des Dr. Caligari (The Cabinet of Dr. Caligari); Genuine; Die Nacht der Konigin Isabeau (+ sc) 1921 Die Rache einer Frau; Das Spiel mit den Feuer (+ co-sc) 1922 Die h?llische Macht 1923 Raskolnikow (Schuld und Sühne) (+ sc); Der Puppenmacher von Kiang-Ning; I.N.R.I. (Ein Film der Menschlichkeit) (+ sc) 1924 Orlacs H?nde; Pension Groonen 1925 Der Leibgardist (Der Gardeoffizier); Der Rosenkavalier (+ co-sc); Die K?nigin vom Moulin-Rouge 1927 Die Geliebte; Die berühmte Frau; Le Tombeau sous L’Arc de Triomphe 1928 Die Frau auf der Folter; Die grosse Abenteuerin; Leontines Ehem?nner; Unfug der Liebe 1930 Der Andere (French version: Le Procureur Hallers) 1931 Der Liebesexpress (Acht Tage Gluck) (French version: Huit Jours de bonheur); Panik in Chicago 1933 Polizeiakte 909 (Der Fall Tokeramo) (+ sc) 1934 Eine Nacht in Venedig (+ sc) 1938 Ultimatum (completed by Robert Siodmak) Other Films: 1915 Fr?ulein Barbier (Albes) (co-sc); Arme Marie (Zeyn and Mack) (sc); Flucht der Sch?nheit (Seine sch?ne Mama) (Rector, i.e. Zeiske) (co-sc); Die büssende Magdalena (Albes) (co-sc); Lottekens Feldzug (Ziener) (co-sc); Der Schirm mit dem Schwan (Froelich) (sc) 1916 Gel?ste Ketten (Biebrach) (sc) 1917 Frank Hansens Glück (Larsen) (sc); Die Prinzessin von Neutralien (Biebach) (sc) 1918 Die Heimkehr des Odysseus (Biebrach) (sc); Das Geschlecht derer von Rinwall (Biebrach) (sc); Opfer der Gesellschaft (Grunwald) (sc); Die Dame, der Teufel und die Probiermamsell (Biebrach) (sc); Am Tor des Lebens (Am Tor des Todes) (Conrad Wiene) (sc) 1919 Satanas (Murnau) (artistic spvr); Ihr Sport (Biebrach) (sc); Die lebende Tote (Biebrach) (sc) 1920 Das Blut der Ahnen (Gerhardt) (co-sc); Die Jagd nach dem Tode (Gerhardt) (co-sc); Die verbotene Stadt (Gerhardt) (co-sc); Die Abenteuer des Dr. Kircheisen (Biebrach) (sc) 1923 Die Macht der Finsternis (Conrad Wiene) (sc) 1924 Das Wachsfigurenkabinett (Waxworks) (Leni) (artistic spvr) WILDER DIRECTORS, 4 th EDITION 1076 1928 Heut Spielt der Strauss (Der Walzerk?nig) (Conrad Wiene) (sc) 1936 The Robber Symphony (Feher) (artistic spvr) Publications By WIENE: book— The Cabinet of Dr. Caligari, New York, 1972. On WIENE: books— Kracauer, Siegfried, From Caligari to Hitler: A Psychological His- tory of the German Film, Princeton, New Jersey, 1947. Eisner, Lotte, The Haunted Screen, Berkeley, 1969. Manvell, Roger, and Heinrich Fraenkel, The German Cinema, New York, 1971. Laqueur, Walter, Weimar: A Cultural History 1918–1933, New York, 1974. Barton, John D., German Expressionist Film, Boston, 1982. On WIENE: article— Mayer, Carl, ‘‘Le Cabinet du Docteur Caligari,’’ in Avant-Scène du Cinéma (Paris), July/September 1975. *** Robert Wiene’s name will ever be associated with Das Kabinett des Dr. Caligari (The Cabinet of Dr. Caligari), his most famous film, although there are critics who would minimize his responsibility for this masterpiece of the cinema. His work is uneven and often blatantly commercial, but in spite of this many of his films show some originality of theme and distinguished performances by actors who worked under him. Das Kabinett des Dr. Caligari, originally intended for Fritz Lang, put Wiene’s name on the map. It is the most important of the expressionist films and today its power seems undiminished and its daring timeless. It ran continuously in Paris for seven years, thereby creating a record, and at the Brussels World’s Fair of 1958 it was chosen by 117 film historians from 26 countries as one of the top twelve most important films of all time. In Genuine, Wiene failed to repeat his success in the same genre, although the film was also scripted by the talented Carl Mayer. Three 1923 Wiene films show an interesting range of subject matter. I.N.R.I. dealt with the death of Christ and was mounted on a grand scale; it boasted the cream of German acting in the leading roles, and featured settings by the promising young Hungarian designer, Ern? Metzner. Der Puppenmacher von Kiang-Ning, a tragic-comedy with a script by Carl Mayer, and Raskolnikow, with fantastic sets by the Russian designer Andreiv, completed an interesting trilogy. The latter used emigré actors in an adaptation of Dostoievsky’s Crime and Punish- ment. From 1924 to 1926 Wiene worked in Austria, where he made other distinguished films. Orlacs H?nde was a horror film that starred Conrad Viedt as a sensitive musician who has the hands of a murderer grafted on to him. Der Rosenkavalier, meanwhile, a film adaptation of the Strauss opera, was co-scripted by Hugo von Hoff-manstahl. It included a special score arranged by the composer, who personally conducted the orchestra when it had its premiere at the Dresden State Opera House and at the Tivoli Cinema in London. The leading roles were taken by the French stars Huguette Duflos and Jacque Catelain. Wiene returned to Germany, but his later work showed no special qualities and consisted of lightweight comedies with artists like Lily Damita, Dina Gralla, and Maria Jacobini. He also directed Mady Christians and Andre Roanne in a French production, La Duchesee de Les Folies. In 1935 he went to England and supervised The Robber Symphony, directed by his former actor from Caligari, Friedrich Feher. Of his sound films the Johann Strauss operetta Eine Nacht in Venedig merits attention. Wiene died in Paris in 1938 while directing Erich von Stroheim and Dita Parlo in Ultimatum, which was completed by Robert Siodmak. While he covered a wide range of material in his films he never developed a personal style. His merit lay in encouraging many diverse talents and his ability to securing often outstanding contribu- tions from them. He controlled his productions, in most cases writing the scripts himself. Wiene lived in a great period of cinema, which he served in his fashion. —Liam O’Leary WILDER, Billy Nationality: Born Samuel Wilder in Sucha, Austria (now part of Poland), 22 June 1906; became U.S. citizen, 1934. Family: Married Audrey Young. Military Service: Served in U.S. Army as colonel in Psychological Warfare Division of the Occupational Government, Berlin, 1945. Career: Journalist in Vienna, then in Berlin, from 1926; collaborated with Robert and Kurt Siodmak, Edgar Ulmer, Fred Zinnemann, and Eugen Schüfftan on Menschen am Sonntag, 1929; scriptwriter, mainly for UFA studios, 1929–33; moved to Paris, co-directed Mauvaise graine, first directorial effort, then moved to Hollywood, 1933; hired by script department at Columbia, then Twentieth Century-Fox; hired by Paramount, began collaboration with Charles Brackett on Bluebeard’s Eighth Wife, 1937; directed first American film, The Major and the Minor, 1942; began making films as independent producer/director with The Seven Year Itch, 1955; began collaboration with writer I. A. L. Diamond on Love in the Afternoon, 1957; directed The Front Page for Universal, 1974. Awards: Oscars for Best Direction and Best Screenplay (with Charles Brackett), and Best Direction Award, New York Film Critics, for The Lost Weekend, 1945; Oscar for Best Story and Screenplay (with Charles Brackett), for Sunset Boulevard, 1950; Oscars for Best Direction and Best Screenplay (with I. A. L. Diamond), Best Direc- tion Award and Best Writing Award (with Diamond), New York Film Critics, for The Apartment, 1960; American Film Institute Lifetime Achievement Award, 1985; Irving G. Thalberg Award, 1988; Ken- nedy Center Award, 1990; National Medal of Arts, 1993. Address: c/o Equitable Investment Corporation, P.O. Box 93877, Hollywood, CA 90093, U.S.A. WILDERDIRECTORS, 4 th EDITION 1077 Billy Wilder Films as Director: 1933 Mauvaise graine (co-d) 1942 The Major and the Minor (+ co-sc) 1943 Five Graves to Cairo (+ co-sc) 1944 Double Indemnity (+ co-sc) 1945 The Lost Weekend (+ co-sc) 1948 The Emperor Waltz (+ co-sc); Foreign Affair (+ co-sc) 1950 Sunset Boulevard (+ co-sc) 1951 Ace in the Hole (The Big Carnival) (+ co-pr, co-sc) 1953 Stalag 17 (+ pr, co-sc) 1954 Sabrina (+ pr, co-sc) 1955 The Seven Year Itch (+ co-pr, co-sc) 1957 The Spirit of St. Louis (+ co-sc); Love in the Afternoon (+ co-sc, pr) 1958 Witness for the Prosecution (+ co-sc) 1959 Some Like It Hot (+ co-sc, pr) 1960 The Apartment (+ co-sc, pr) 1961 One, Two, Three (+ co-sc, pr) 1963 Irma La Douce (+ co-sc, pr) 1964 Kiss Me, Stupid (+ co-sc, pr) 1966 The Fortune Cookie (+ co-sc, pr) 1970 The Private Life of Sherlock Holmes (+ co-sc, pr) 1972 Avanti! (+ co-sc, pr) 1974 The Front Page (+ co-sc) 1978 Fedora (+ co-pr, co-sc) 1981 Buddy Buddy (+ co-sc) Other Films: (in Germany) 1929 Menschen am Sonntag (People on Sunday) (Siodmak) (co-sc); Der Teufelsreporter (co-sc) 1930 Seitensprünge (story) 1931 Ihre Hoheit befiehlt (co-sc); Der falsche Ehemann (co-sc); Emil und die Detektive (Emil and the Detectives) (sc); Der Mann der seinen M?rder sucht (Looking for His Murderer) (Siodmak) (co-sc) 1932 Es war einmal ein Walzer (co-sc); Ein blonder Traum (co-sc); Scampolo, ein Kind der Strasse (co-sc); Das Blaue von Himmel (co-sc) 1933 Madame wünscht keine Kinder (co-sc); Was Frauen tr?umen (co-sc) (in the United States) 1933 Adorable (Dieterle) (co-story, based on Ihre Hoheit befiehlt) 1934 Music in the Air (co-sc); One Exciting Adventure (co-story) 1935 Lottery Lover (co-sc) 1937 Champagne Waltz (Sutherland) (co-story) 1938 Bluebeard’s Eighth Wife (Lubitsch) (co-sc) 1939 Midnight (Leisen) (co-sc); What a Life (co-sc); Ninotchka (Lubitsch) (co-sc) 1940 Arise My Love (Leisen) (co-sc) 1941 Hold Back the Dawn (Leisen) (co-sc); Ball of Fire (Hawks) (co-sc) Publications By WILDER: book— Conversations with Wilder, with Cameron Crowe, New York, 1999. By WILDER: articles— ‘‘Wilder in Paris,’’ with John Gillett, in Sight and Sound (London), Winter 1956. ‘‘One Head Is Better than Two,’’ in Films and Filming (London), February 1957. ‘‘The Old Dependables,’’ with Colin Young, in Film Quarterly (Berkeley), Fall 1959. Interview with Jean Domarchi and Jean Douchet in Cahiers du Cinéma (Paris), August 1962. ‘‘Meet Whiplash Wilder,’’ with Charles Higham, in Sight and Sound (London), Winter 1967. Interview with Robert Mundy and Michael Wallington in Cinema (London), October 1969. ‘‘Billy Wilder: Broadcast to Kuala Lampur,’’ with Vanessa Brown, in Action (Los Angeles), November/December 1970. Interview with Michel Ciment in Positif (Paris), January 1974. ‘‘In the Picture: The Front Page,’’ with Joseph McBride, in Sight and Sound (London), Autumn 1974. Interview with Gene Phillips in Film/Literature Quarterly (Salisbury, Maryland), Winter 1975. WILDER DIRECTORS, 4 th EDITION 1078 ‘‘Wilder Bewildered,’’ an interview with Gilbert Adair, in Sight and Sound (London), Winter 1976/77. ‘‘Going for Extra Innings,’’ an interview with J. McBride and T. McCarthy, in Film Comment (New York), January/February 1979. Interview with C. Columbus in American Film (Washington D.C.), March 1986. ‘‘Billy Wilder: Sunset Boulevard’s Creator Talks of the Town,’’ in Architectural Digest (Los Angeles), April 1994. ‘‘Saul Bass and Billy Wilder: in Conversation,’’ with Pat Kirkham, in Sight and Sound (London), June 1995. ‘‘Irony,’’ an interview with Film Comment (New York), November- December 1995. ‘‘Billy’s Excellent Adventure,’’ an interview with Paul Diamond, in Fade In (Beverly Hills), vol. 2, no. 1, 1996. ‘‘El cine de los noventa,’’ an interview with Fernando Trueba, in El Amante Cine, June 1996. On WILDER: books— Madsen, Axel, Billy Wilder, Bloomington, Indiana, 1969. Wood, Tom, The Bright Side of Billy Wilder, Primarily, New York, 1970. Corliss, Richard, Talking Pictures: Screenwriters in the American Cinema, New York, 1975. Seidman, Steve, The Film Career of Billy Wilder, Boston, 1977. Zolotow, Maurice, Billy Wilder in Hollywood, New York, 1977. Dick, Bernard F., Billy Wilder, Boston, 1980. Giannetti, Louis, Masters of the American Cinema, Englewood Cliffs, New Jersey, 1981. Jacob, Jerome, Billy Wilder, Paris, 1988. Seidl, Claudius, Billy Wilder: Seine Filme, sein Leben, Munich, 1988. Sikov, Ed, On Sunset Boulevard: The Life and Times of Billy Wilder, New York, 1999. On WILDER: articles— Lightman, Herb, ‘‘Old Master, New Tricks,’’ in American Cinema- tographer (Los Angeles), September 1950. McVay, Douglas, ‘‘The Eye of the Cynic,’’ in Films and Filming (London), January 1960. Higham, Charles, ‘‘Cast a Cold Eye: The Films of Billy Wilder,’’ in Sight and Sound (London), Spring 1963. Sarris, Andrew, ‘‘Fallen Idols,’’ in Film Culture (New York), Spring 1963. ‘‘The Films of Billy Wilder,’’ in Film Comment (New York), Summer 1965. Mundy, Robert, ‘‘Wilder Reappraised,’’ in Cinema (London), Octo- ber 1969. McBride, Joseph, and Michael Wilmington, ‘‘The Private Life of Billy Wilder,’’ in Film Quarterly (Berkeley), Summer 1970. Ciment, Michel, ‘‘Sept Réflexions sur Billy Wilder,’’ in Positif (Paris), May 1971. Farber, Stephen, ‘‘The Films of Billy Wilder,’’ in Film Comment (New York), Winter 1971. Onosko, Tom, ‘‘Billy Wilder,’’ in Velvet Light Trap (Madison, Wisconsin), Winter 1971. ‘‘Dialogue on Film: Billy Wilder and I. A. L. Diamond,’’ in American Film (Washington, D.C.), July/August 1976. Sarris, Andrew, ‘‘Billy Wilder: Closet Romanticist,’’ in Film Com- ment (New York), July/August 1976. Fedora Issue of Avant-Scène du Cinéma (Paris), 15 November 1978. Poague, Lee, ‘‘Some Versions of Billy Wilder,’’ in Cinemonkey (Portland), no. 1, 1979. Morris, G., ‘‘The Private Films of Billy Wilder,’’ in Film Comment (New York), January/February 1979. Allen, T., ‘‘Bracketting Wilder,’’ in Film Comment (New York), May/June 1982. Billy Wilder Issue of Filmcritica (Florence), November/Decem- ber 1982. ‘‘Dossier Billy Wilder,’’ in Positif (Paris), July/August 1983. Billy Wilder Section of Positif (Paris), September 1983. Gallagher, Brian, ‘‘Sexual Warfare and Homoeroticism in Billy Wilder’s Double Indemnity,’’ in Literature/Film Quarterly (Salis- bury, Maryland), vol. 15, no. 4, 1987. Willett, R., ‘‘Billy Wilder’s A Foreign Affair (1945–1948): ‘The Trials and Tribulations of Berlin,’’’ in Historical Journal of Film, Radio and Television (Abingdon, Oxon), March 1987. Canby, V., ‘‘Critic’s Notebook: The Wonders of Wilder, the Movies’ Master Wit,’’ in New York Times, 10 May 1991. Brown, G., ‘‘Something Wilder,’’ in Village Voice, 14 May 1991. Sarris, Andrew, ‘‘Why Billy Wilder Belongs in the Pantheon,’’ in Film Comment, July/August 1991. Freeman, David, ‘‘Sunset Boulevard Revisited: Annals of Holly- wood,’’ in New Yorker, 21 June 1993. Sragow, Michael, ‘‘The Wilder Bunch,’’ in Gentleman’s Quarterly, October 1994. Naremore, James, ‘‘Making and Remaking Double Indemnity,’’ in Film Comment (New York), January-February 1996. Silverman, Stephen M., ‘‘Billy Wilder and Stanley Donen,’’ in Films in Review (New York), March-April 1996. Bart, P., ‘‘Hollywood’s Wilder Moments,’’ in Variety (New York), 22/28 April 1996. Wenk, Michael, ‘‘Some Like It Wilder,’’ in Film-Dienst (Cologne), 18 June 1996. Roberts, J., ‘‘Billy Wilder’s Double Indemnities,’’ in Variety’s On Production (Los Angeles), no. 3, 1997. *** During the course of his directorial career, Billy Wilder succeeded in offending just about everybody. He offended the public, who shunned several of his movies as decisively as they flocked to others; he offended the press with Ace in the Hole, the U.S. Congress with A Foreign Affair, the Hollywood establishment with Sunset Boulevard (‘‘This Wilder should be horsewhipped!’’ fumed Louis B. Mayer), and religious leaders with Kiss Me, Stupid; he offended the critics, both those who found him too cynical and those who found him not cynical enough. And he himself, in the end, seems to have taken offence at the lukewarm reception of his last two films, and retired into morose silence. Still, if Wilder gave offence, it was never less than intentional. ‘‘Bad taste,’’ the tweaking or flouting of social taboos, is a key tactic throughout his work. His first film as director, The Major and the Minor, hints slyly at paedophilia, and several other Wilder movies toy with offbeat sexual permutations: transvestism in Some Like It Hot, spouse-swapping in Kiss Me, Stupid, an ageing woman buying herself a young man in Sunset Boulevard, the reverse in Love in the Afternoon. Even when depicting straightforward romantic love, as in WISEDIRECTORS, 4 th EDITION 1079 The Emperor Waltz, Wilder cannot resist counterpointing it with the eager ruttings of a pair of dogs. He also relishes emphasising the more squalid of human motives. Stalag 17 mocks prison-camp mythology by making a mercenary fixer the only hero on offer, and Double Indemnity replays The Postman Always Rings Twice with greed replacing honest lust. In The Apartment Jack Lemmon avidly demeans himself to achieve profes- sional advancement (symbolised by the key to a lavatory door), and virtually everybody in Ace in the Hole, perhaps the most acerbic film ever made in Hollywood, furthers personal ends at the expense of a poor dupe dying trapped in an underground crevice. Wilder presents a disillusioned world, one (as Joan Didion put it) ‘‘seen at dawn through a hangover, a world of cheap double entendres and stale smoke . . . the true country of despair.’’ Themes of impersonation and deception, especially emotional deception, pervade Wilder’s work. People disguise themselves as others, or feign passions they do not feel, to gain some ulterior end. Frequently, though—all too frequently, perhaps—the counterfeit turns genuine, masquerade love conveniently developing into the real thing. For all his much-flaunted cynicism, Wilder often seems to lose the courage of his own disenchantment, resorting to unconvincing changes of heart to bring about a slick last-reel resolution. Some critics have seen this as blatant opportunism. ‘‘Billy Wilder,’’ Andrew Sarris remarked, ‘‘is too cynical to believe even his own cynicism.’’ Others have detected a sentimental undertow, one which surfaces in the unexpectedly mellow, almost benign late films like Avanti! and The Private Life of Sherlock Holmes. But although, by comparison with a true moral subversive like Bu?uel, Wilder can seem shallow and even facile, the best of his work retains a wit and astringent bite that sets it refreshingly off from the pieties of the Hollywood mainstream. When it comes to black comedy, he ranks at least the equal of his mentor, Lubitsch, whose audacity in wringing laughs out of concentration camps (To Be or Not to Be) is matched by Wilder’s in pivoting Some Like It Hot around the St. Valentine’s Day Massacre. The consistency of Wilder’s sardonic vision allows him to operate with assurance across genre boundaries. Sunset Boulevard—‘‘full of exactness, cleverness, mastery and pleasure, a gnawing, haunting and ruthless film with a dank smell of corrosive delusion hanging over it,’’ wrote Axel Madsen—has yet to be surpassed among Hollywood- on-Hollywood movies. In its cold fatality, Double Indemnity qualifies as archetypal noir, yet the same sense of characters trapped helplessly in the rat-runs of their own nature underlies both the erotic farce of The Seven Year Itch and the autumnal melancholy of Sherlock Holmes. Acclamation, though, falls beyond Wilder’s scope: his Lindbergh film, The Spirit of St. Louis, is respectful, impersonal, and dull. By his own admission, Wilder became a director only to protect his scripts, and his shooting style is essentially functional. But though short on intricate camerawork and stunning compositions, his films are by no means visually drab. Several of them contain scenes that lodge indelibly in the mind: Swanson as the deranged Norma Desmond, regally descending her final staircase; Jack Lemmon dwarfed by the monstrous perspectives of a vast open-plan office; Ray Milland (The Lost Weekend) trudging the parched length of Third Avenue in search of an open pawn-shop; Lemmon again, tangoing deliriously with Joe E. Brown, in full drag with a rose between his teeth. No filmmaker capable of creating images as potent—and as cinematic—as these can readily be written off. —Philip Kemp WISE, Robert Nationality: American. Born: Winchester, Indiana, 19 September 1914. Education: Studied journalism at Franklin College. Family: Married 1) Patricia Doyle, 1942, one son; 2) Millicent Franklin, 1977. Career: Hired as assistant editor at RKO, where brother was em- ployed, 1933; editor, from 1939; took over direction of The Curse of the Cat People, 1944; independent producer for Mirisch Corporation, 1959, and for Fox, 1963. Awards: Oscar for Best Direction (with Jerome Robbins), for West Side Story, 1961; Oscar for Best Direction, and Directors Award, Directors Guild of America, for The Sound of Music, 1965; Irving G. Thalberg Memorial Academy Award, 1966. Films as Director: 1944 The Curse of the Cat People (co-d); Mademoiselle Fifi 1945 The Body Snatchers 1946 A Game of Death; Criminal Court 1947 Born to Kill 1948 Mystery in Mexico; Blood on the Moon 1949 The Set-Up 1950 Three Secrets; Two Flags West 1951 The House on Telegraph Hill; The Day the Earth Stood Still 1952 Destination Gobi; Something for the Birds 1953 The Desert Rats; So Big 1954 Executive Suite 1955 Helen of Troy; Tribute to a Bad Man Robert Wise WISE DIRECTORS, 4 th EDITION 1080 1956 Somebody up There Likes Me 1957 This Could Be the Night; Until They Sail 1958 Run Silent, Run Deep; I Want to Live 1959 Odds against Tomorrow (+ pr) 1961 West Side Story (co-d) 1962 Two for the Seesaw 1963 The Haunting (+ pr) 1965 The Sound of Music (+ pr) 1966 The Sand Pebbles (+ pr) 1968 Star! 1970 The Andromeda Strain (+ pr) 1971 Two People (+ pr) 1975 The Hindenburg 1977 Audrey Rose 1979 Star Trek: The Motion Picture 1987 I, Zorba 1989 Rooftops 2000 A Storm in Summer (for TV) Other Films: (partial list) 1940 Dance, Girl, Dance (Arzner) (ed) 1941 Citizen Kane (Welles) (ed) 1942 The Magnificent Ambersons (Welles) (ed) Publications By WISE: books— The Film Director: A Practical Guide to Motion Picture and Tele- vision Techniques, with Richard L. Bare, IDG Worldwide Books, 1973. The Sound of Music: The Making of America’s Favorite Movie, with Julia Antopol Hirsch, Lincolnwood, 1995. By WISE: articles— Interview in Directors at Work, edited by Bernard Kantor and others, New York, 1970. ‘‘Impressions of Russia,’’ in Action (Los Angeles), July/August 1971. ‘‘Robert Wise at RKO,’’ an interview with Ruy Nogueira, in Focus on Film (London), Winter 1972. ‘‘Robert Wise at Fox,’’ an interview with Ruy Nogueira, in Focus on Film (London), Spring 1973. ‘‘Robert Wise Continued,’’ an interview with Ruy Nogueira and Allen Eyles, in Focus on Film (London), Autumn 1973. ‘‘Robert Wise to Date,’’ an interview with Ruy Nogueira, in Focus on Film (London), Autumn 1974. ‘‘The Production of The Hindenburg,’’ in American Cinematographer (Los Angeles), January 1976. ‘‘Robert Wise Talks about ‘The New Hollywood,’’’ in American Cinematographer (Los Angeles), July 1976. ‘‘Audrey Rose: In Search of a Soul,’’ an interview with R. Appelbaum, in Films and Filming (London), November 1977. ‘‘Time and Again,’’ an interview in Monthly Film Bulletin (London), November 1979. ‘‘An AFI Seminar with Robert Wise and Milton Krasner ASC,’’ in American Cinematographer (Los Angeles), March 1980. ‘‘Robert Wise,’’ an interview with L. Vincenzi, in Millimeter, March 1989. ‘‘Robert Wise. Part One: The Noir Years,’’ an interview with C.J. Kutner, in Bright Lights, July 1993. ‘‘Robert Wise. Part Two: Life at the Top,’’ an interview with C.J. Kutner, in Bright Lights, Fall 1993. ‘‘The Past Pays Off,’’ an interview with Filmnews, July 1995. Interview with K.G. Shinnick, in Scarlet Street (Glen Rock), no. 25, 1997. On WISE: books— Grivel, Danièle, and Roland Lacourbe, Robert Wise, Paris, 1985. Leemann, Sergio, Robert Wise on His Films: From Editing Room to Director’s Chair, Los Angeles, 1995. Carr, Charmian, and Jean A. Strauss, Forever Liesl: A Memoir of The Sound of Music, New York, 2000. On WISE: articles— Stark, Samuel, ‘‘Robert Wise,’’ in Films in Review (New York), January 1963. ‘‘Wise Issue’’ of Dialogue on Film (Washington, D.C.), vol. 2, no. 1, 1972. Stamelman, P., ‘‘Robert Wise and The Hindenburg,’’ in Millimeter (New York), November 1975. Guérif, F., ‘‘Nous avons gagné ce soir,’’ in Avant-Scène du Cinéma (Paris), 1 March 1980. ‘‘Robert Wise,’’ in CinemAction! (Toronto), January 1992. Johnson, S.R., ‘‘Epilogue:. . . and One Dead Woman,’’ in Delirious, no. 2, 1992. Szebin, F.C., ‘‘The Sound of Screaming,’’ in Cinefantastique (Forest Park), no. 4/5, 1997. *** In the early 1940s there were two young men in the editorial department at RKO who worked as editors on Val Lewton pictures: Robert Wise and Mark Robson. The latter was promoted to a full directorship of Lewton’s Seventh Victim, a moody script by DeWitt Bodeen and Charles O’Neal about a cult of devil worshippers in modern Manhattan. Meanwhile, Robson’s immediate superior in the editorial depart- ment, Robert Wise, got his first directorial opportunity when the front office grew displeased with Gunther von Fritsch, who was halfway through Curse of the Cat People, and dismissed him because he was behind schedule—a cardinal sin in the days of the studios. It was natural that Robert Wise, being the editor of Curse of the Cat People, should take over and complete the film, for only he knew the continuity of what had already been shot. Wise did so admirable a job that Lewton immediately got him assigned to his unit as full director for Mademoiselle Fifi with Simone Simon and The Body Snatcher with Boris Karloff. Wise had edited two Orson Welles films for RKO—two that became classics, Citizen Kane and The Magnificent Ambersons. After WISEMANDIRECTORS, 4 th EDITION 1081 now being made a full director, he diligently went into an acting class because he felt that actors had a special knowledge and language of their own; it was the ideal way of seeing film from the actor’s point of view. It paid off almost immediately; he got an assignment as director for The Set-Up, a realistic picture of the prize ring that made a top star of Robert Ryan and a top director of Wise as well. The Set-Up won him the Critics Prize at the Cannes Film Festival. In 1950 Wise was at Warner Bros., where he directed a distin- guished mood film, Three Secrets, and went on to direct a remake of Edna Ferber’s So Big with Jane Wyman, and The Desert Rats at Twentieth Century-Fox with Richard Burton. Executive Suite at MGM raised his status a notch higher, as did Tribute to a Bad Man with James Cagney. Somebody up There Likes Me was an excellent prize-ring picture starring Paul Newman, while Run Silent, Run Deep was a splendid submarine thriller for Gable and Lancaster. I Want to Live at long last won Susan Hayward an Academy Award as Best Actress for 1958. A couple of years later Wise shared an Academy Award as Best Director with Jerome Robbins for West Side Story. He returned to the moody horror film to make one of the most memorable of all time, The Haunting, which he also produced. He was director/ producer again for The Sound of Music, a top box-office winner which won him once more the Academy’s Oscar as Best Director, while The Sand Pebbles, with the late Steve McQueen, also earned him admira- tion. Through the wide range of his work, Wise proved himself to be a highly versatile director. —DeWitt Bodeen WISEMAN, Frederick Nationality: American. Born: Boston, 1 January 1930. Education: Williams College, B.A., 1951; Yale Law School, L.L.B., 1954; Harvard University. Family: Married Zipporah Batshaw, 29 May 1955, two sons. Military Service: Served in U.S. Army, 1954–56. Career: Practiced law in Paris, and began experimental filmmaking, 1956–58; taught at Boston University Law School, 1958–61; bought rights to The Cool World by Warren Miller, and produced documen- tary version directed by Shirley Clarke; directed first film, Titicut Follies, 1966; received foundation grant to do High School, 1967; directed three films funded in part by PBS and WNET Channel 13 in New York, 1968–71; contracted to make documentaries for WNET, 1971–81; continued to make films for PBS, through 1980s; also theatre director, late 1980s. Awards: Emmy Award, Best Documen- tary Direction, for Hospital, 1970; Peabody Award; Career Achieve- ment Award, International Documentary Association. Address: Zipporah Films, Inc., 1 Richdale Avenue, Suite 4, Cambridge, MA 02140, U.S.A. Films as Director, Producer, and Editor: 1967 Titicut Follies 1968 High School 1969 Law and Order 1970 Hospital 1971 Basic Training Frederick Wiseman 1972 Essene 1973 Juvenile Court 1974 Primate 1975 Welfare; Meat 1977 Canal Zone 1979 Sinai Field Mission 1980 Manoeuvre 1981 Model 1982 Seraphita’s Diary (+ sc) 1983 The Store 1985 Racetrack 1986 Deaf; Blind; Multi-Handicapped; Adjustment and Work 1988 Missile 1989 Near Death 1990 Central Park 1991 Aspen 1993 Zoo 1994 High School II 1995 Ballet 1996 La Comédie Fran?aise ou l’amour joue (+ sound) 1997 Public Housing 1999 Belfast, Maine Other Films: 1964 The Cool World (Clarke) (pr) 1968 The Thomas Crown Affair (Jewison) (sc, uncredited) WISEMAN DIRECTORS, 4 th EDITION 1082 Publications By WISEMAN: articles— ‘‘The Talk of the Town: New Producer,’’ in New Yorker, 14 Septem- ber 1963. Interview with Janet Handelman, in Film Library Quarterly (New York), Summer 1970. Interview with Ira Halberstadt, in Filmmaker’s Newsletter (Ward Hill, Massachusetts), February 1974. ‘‘Vérités et mensonges du cinéma américain,’’ an interview with M. Martin and others, in Ecran (Paris), September 1976. ‘‘Wiseman on Polemic,’’ an interview with A. T. Sutherland, in Sight and Sound (London), Spring 1978. ‘‘Fictions and Other Realities,’’ an interview with J. Gianvito, in International Documentary (Los Angeles), Winter 1990/91. ‘‘Dialogue on Film: Frederick Wiseman,’’ an interview with F. Spotnitz, in American Film, May 1991. ‘‘The Unflinching Eye of Frederick Wiseman,’’ an interview with G. Ferguson, in American Cinematographer (Hollywood), Janu- ary 1994. ‘‘Revisiting High School: An Interview with Frederick Wiseman,’’ in Cineaste (New York), vol. 20, no. 4, 1994. On WISEMAN: books— Issari, M. Ali, Cinema Verité, Ann Arbor, Michigan, 1971. Maynard, Richard A., The Celluloid Curriculum: How to Use Movies in the Classroom, New York, 1971. Barsam, Richard, Nonfiction Film: A Critical History, New York, 1973. Atkins, Thomas, editor, Frederick Wiseman, New York, 1976. Ellsworth, Liz, Frederick Wiseman: A Guide to References and Resources, Boston, 1979. Nichols, Bill, Ideology and the Image: Social Representation in the Cinema and Other Media, Bloomington, Indiana, 1981. Benson, Thomas W., and Carolyn Anderson, Reality Fictions: The Films of Frederick Wiseman, Carbondale, Illinois, 1989. Grant, Barry Keith, Voyages of Discovery: The Cinema of Frederick Wiseman, Urbana, Illinois, 1992. On WISEMAN: articles— Dowd, Nancy, ‘‘Popular Conventions,’’ in Film Quarterly (Berke- ley), Spring 1969. Schickel, Richard, ‘‘A Verité View of High School,’’ in Life (New York), 12 September 1969. Denby, David, ‘‘Documentary America,’’ in Atlantic Monthly (Green- wich, Connecticut), March 1970. Mamber, Stephen, ‘‘The New Documentaries of Frederick Wiseman,’’ in Cinema (Beverly Hills), Summer 1970. Williams, Donald, ‘‘Frederick Wiseman,’’ in Film Quarterly (Berke- ley), Fall 1970. ‘‘Frederick Wiseman,’’ in Documentary Explorations, edited by G. Roy Levin, New York, 1971. Atkins, Thomas, ‘‘Frederick Wiseman Documents the Dilemmas of Our Institutions,’’ in Film News (New York), October 1971. ‘‘Frederick Wiseman,’’ in Cinema Verité in America: Studies in Uncontrolled Documentary, by Stephen Mamber, Cambridge, Massachusetts, 1974. Atkins, Thomas, ‘‘American Institutions: The Films of Frederick Wiseman,’’ in Sight and Sound (London), Autumn 1974. Tuch, R., ‘‘Frederick Wiseman’s Cinema of Alienation,’’ in Film Library Quarterly (New York), vol. 11, no. 3, 1978. Nichols, Bill, ‘‘Fred Wiseman’s Documentaries: Theory and Struc- ture,’’ in Film Quarterly (Berkeley), Spring 1978. Le Peron, S., ‘‘Fred Wiseman,’’ in Cahiers du Cinéma (Paris), September 1979. Armstrong, D., ‘‘Wiseman’s Model and the Documentary Project: Toward a Radical Film Practice,’’ in Film Quarterly (Berkeley), Winter 1983/84. Benson, T. W., and C. Anderson, ‘‘The Rhetorical Structure of Frederick Wiseman’s Model,’’ in Journal of Film and Video (Los Angeles), vol. 36, no. 4, 1984. Barsam, R. M., ‘‘American Direct Cinema: The Re-presentation of Reality,’’ in Persistence of Vision (Maspeth, New York), Sum- mer 1986. ‘‘Homage,’’ in New Yorker, 20 January 1992. Pierson, Melissa, ‘‘Fly on the Wall,’’ in Vogue (New York), June 1993. Espen, Hal, ‘‘The Documentarians,’’ in New Yorker, 21 March 1994. Bird, Lance, ‘‘Talking Heads: Frederick Wiseman,’’ an interview with Lance Bird, in International Documentary, September 1996. *** In the context of their times, Wiseman’s classic documentaries of the 1960s and 1970s are comprehensively anti-traditional. They feature no commentary and no music; their soundtracks carry no more than the sounds Wiseman’s recorder encounters; they are long, in some cases over three hours; and, until recent years, they were monochrome. Following the Drew/Leacock ‘‘direct cinema’’ filmmakers, Wiseman developed a shooting technique using light- weight equipment and high-speed film to explore worlds previously inaccessible. In direct cinema the aim was to achieve what they considered to be more honest reportage. Wiseman’s insight, however, was to recognise that there is no pure documentary, and that all filmmaking is a process of imposing order on the filmed materials. For this reason he prefers to call his films ‘‘reality fictions.’’ Though he shoots in direct cinema fashion (operating the sound system, in his finest achievements in tandem with cameraman Wil- liam Brayne), the crucial stage is the imposition of structure during editing. As much as forty hours of film may be reduced to one hour of finished product, an activity he has likened to that of a writer structuring a book. This does not mean that Wiseman’s films ‘‘tell a story’’ in any conventional sense. The pattern and meaning of Wiseman’s movies seem slowly to emerge from events as if somehow contained within them. Only after seeing the film, perhaps more than once, do the pieces fall into place, their significance becoming clear as part of the whole system of relations that forms the movie. Thus, to take a simple example, the opening shots of the school building in High School make it look like a factory, yet it is only at the end when the school’s principal reads out a letter from a former pupil in Vietnam that the significance of the image becomes clear. The soldier is, he says, ‘‘only a body doing a job,’’ and the school a factory for producing just such expendable bodies. WOODIRECTORS, 4 th EDITION 1083 Wiseman is not an open polemicist; his films do not appear didactic. But as we are taken from one social encounter to the next, as we are caught up in the leisurely rhythms of public ritual, we steadily become aware of the theme uniting all the films. In exploring American institutions, at home and abroad, Wiseman shows us social order rendered precarious. As he has put it, he demonstrates that ‘‘there is a gap between formal and actual practice, between the rules and the way they are applied.’’ What emerges is a powerful vision of people trapped by the ramifications and unanticipated consequences of their own social institutions. Some critics, while recognising Wiseman’s undoubted skill and intelligence, attack him for lack of passion, for not propagandising more overtly. They argue that when he shows us police violence (Law and Order), army indoctrination (Basic Training), collapsing welfare services (Welfare), or animal experiments (Primate) he should be more willing to apportion blame and make his commitments clear. But this is to misunderstand his project. Wiseman avoids the easy taking of sides for he is committed to the view that our institutions over-run us in more complex ways than we might imagine. By forcing us to piece together the jigsaw that he offers, he ensures that we understand more profoundly how it is that our institutions can go so terribly wrong. To do that at all is a remarkable achievement. To do it so uncompromisingly over so many years is quite unique. In the 1980s he sought to broaden his enterprise somewhat. In 1982, for instance, he turned briefly to ‘‘fiction,’’ though Seraphita’s Diary is hardly orthodox and it is an intelligible extension of his interests. The subsequent documentaries, still produced at regular intervals, have perhaps not had quite the same force as his 1970s work. Central Park, for instance, is hypnotic in the rhythms of daily life that it invokes, but lacks the sheer power of the earlier films, which focused on the often ferocious tensions found in the collision between social institutions and people at the end of their tethers. Nevertheless, he has had a huge influence on the shape of modern documentary filmmaking, and, with Welfare his most compelling achievement, he remains the most sophisticated and intelligent documentarist of postwar cinema. —Andrew Tudor WOO, John Nationality: Chinese. Born: Guangzhou, China, 1 May 1946. Edu- cation: Matteo Ricci College, Hong Kong, 1967. Career: Started making experimental 16mm films in college; joined film industry as production assistant for Cathay Film Company, 1969; joined Shaw Brothers as assistant director to Zhang Che, 1971; made directorial debut with The Young Dragons, 1973. Agent: Hanson, Jacobson, Keller & Hoberman, 450 N. Roxbury Drive, Beverly Hills, CA 90210, U.S.A. Films as Director: 1973 The Young Dragon 1974 The Dragon Tamers 1975 Princess Chang Ping; Hand of Death; Countdown in Kung Fu ( + sc, role as Scholar Cheng) 1977 Money Crazy; Follow the Star 1978 Last Hurrah for Chivalry 1979 From Rags to Riches 1981 To Hell with the Devil; Laughing Times 1982 Plain Jane to the Rescue 1983 The Sunset Warrior 1984 The Time You Need a Friend 1985 Run Tiger Run 1986 Heroes Shed No Tears (+ co-sc); A Better Tomorrow (+ co-sc, role as Inspector Wu) 1987 A Better Tomorrow II (+ co-sc); Just Heroes 1989 The Killer (+ co-sc) 1990 Bullet in the Head (+ co-sc, ed, role as Police Inspector) 1991 Once a Thief (+ co-sc, role as Stanley Wu) 1992 Hard-Boiled (+ co-sc, ed, role as Night Club Owner) 1993 Hard Target 1996 Broken Arrow; Once a Thief (for TV) (+ exec pr) 1998 John Woo’s Blackjack (for TV) (+ pr); Face-Off 2000 Mission Impossible II 2001 Windtalkers; King’s Ransom Other Films: 1989 Starry Is the Night (Hui) (role) 1994 Cinema of Vengeance (Russell—doc) (as Himself) 1997 Hot Blood is the Strongest (Leung) (role as Police Chief) 1998 The Big Hit (Wong) (exec pr); The Replacement Killers (Fuqua) (exec pr) 1999 Kurosawa: The Last Emperor (Cox—doc) (as Himself) 2000 The Devil’s Pale Moonlit Kiss (Spottiswoode) (pr) Publications By WOO: articles— ‘‘John Woo: I Hate Violence,’’ Interview, August 1993. ‘‘Things I Felt Were Being Lost: John Woo,’’ Film Comment, September-October 1993. On WOO: books — Heard, Christopher, Ten Thousand Bullets: The Cinematic Journey of John Woo, Lone Eagle Publishing, 1999. Hall, Kenneth E., John Woo: The Films, McFarland and Com- pany, 1999. On WOO: articles— Segers, Frank, ‘‘A Trans-Pacific Crossover: Woo at the Helm at U,’’ Variety, August 1992. Uszynski, J., ‘‘John Woo: Chopstick Gangster,’’ Kino, October 1992. WOO DIRECTORS, 4 th EDITION 1084 John Woo Wice, Nathaniel, ‘‘Wooing Hollywood,’’ Esquire, January 1993. Allen, H., ‘‘Guncrazy in the Bayou,’’ Village Voice, May 1993. Corliss, Richard, ‘‘John Woo: The First Action Hero,’’ Time, August 1993. Howe, Desson, ‘‘Target: America—Director John Woo Brings His Ballets of Bloodletting to the States, with an Unlikely Star,’’ Washington Post, August 1993. Kenny, Glenn, ‘‘Master Blaster: John Woo, Cult Favorite,’’ Enter- tainment Weekly, August 1993. Jonascu, Michael, ‘‘Biting the Bullet,’’ Film Threat, August 1993. Wolcott, James, ‘‘Blood Test,’’ New Yorker, August 1993. Penner, Jonathan, ‘‘Wooing America: China’s Premier Action Direc- tor, John Woo, Comes to the United States, with a Vengeance,’’ Harper’s Bazaar, October 1993. *** For sheer visceral excitement and over-the-top graphic violence, few action films made today, either in the United States or abroad, come close to the work of transplanted Hong Kong writer-director John Woo—a twenty-year veteran of Oriental action cinema who began his career making martial arts movies with kung fu superstar Jackie Chan. With these and several costume epics to his credit, Woo shifted to bloody melodramas about his country’s pervasive problems of crime and gangsterism with A Better Tomorrow (1986). The film tells the story of an ace counterfeiter gone straight who runs into brutal conflict with his ex-cronies in the mob and his younger brother, an ambitious cop on the Hong Kong police force whose career rise is threatened because of his brother’s past reputation and criminal associations. One of the biggest box-office successes in Hong Kong movie history, A Better Tomorrow made a major star out of a charismatic actor in the Cagney/Bogart mold named Chow Yun-Fat, who plays a crippled hit man and confidante of the film’s protagonist. John Woo and Chow Yun-Fat quickly became the Robert DeNiro and Martin Scorsese of Hong Kong cinema. They teamed for an equally success- ful sequel, A Better Tomorrow II, in 1987, and continued on an action- filled roll, turning out one gangster film after another—with such titles as Bullet in the Head (1990), a grueling saga of revenge and high crime with the Vietnam War serving as a backdrop, Once a Thief (1991), and Hard-Boiled (1992), a noirish urban melodrama with WOODDIRECTORS, 4 th EDITION 1085 a thirty-minute finale of gunplay set in a hospital that remains one of the most mesmerizing action sequences in the history of cinema. The duo’s most widely released collaboration stateside was The Killer (1990), the story of a world-weary mob hitman who suffers a crisis of conscience when he accidentally blinds a nightclub singer during a ferocious gangland shoot-out and—in the manner of Bogart’s Roy Earle in High Sierra—undertakes one last job to pay for an operation to restore her eyesight. Woo’s Hollywood-gangster-film-inspired plots are a mixture of ripe sentimentality and macho romance with a moral grounding in such virtues as friendship, loyalty, and duty to God and country. Like the Italian action specialist Sergio Leone, dean of the ‘‘spaghetti Western,’’ Woo treats the clichés of the genre as grand myths. But his most talked-about trademark is his balletic choreographing of violent set-pieces (often in slow motion) in the manner of the late Sam Peckinpah, the director Woo seems to have been most influenced by. The climax of Peckinpah’s landmark Western The Wild Bunch (1969) erupted with what is still one of the most gut-wrenching, pyrotechnical displays of firepower and bloodletting ever put on the screen. Imagine if you will a director who stages all the action sequences in his films— and they are virtually non-stop—in the same over-the-top style and you have a good idea of what the action films of John Woo are like. There is a chasm of difference though between the disquieting, raw- nerve power of Peckinpah’s scenes of violence (particularly in The Wild Bunch) and Woo’s montages of mayhem, which function (and engage us) on the same level as video games. Woo’s growing worldwide reputation as an action specialist prompted Hollywood to import him in 1993 to try to breathe some new ‘‘life’’ into the tired action genre here as well with Hard Target, a Woo-style updating of Richard Connell’s classic tale of bloodsport, The Most Dangerous Game, which marked the Hong Kong action wiz’s American film debut. Woo had to do some careful trimming to avoid an NC-17 rating for the film, which Entertainment Weekly critic Owen Gleiberman hailed as ‘‘an incendiary action orgy, as joyously excessive as the grand finale in a fireworks show.’’ Woo followed Hard Target three years later with Broken Arrow, a thriller about a bad-guy Air Force pilot who crash lands his stealth fighter in order to steal the nuclear missiles on board and sell them to the highest bidder. Cast against type as the bad guy, John Travolta gives a broad, scenery-chewing performance that, much like the film itself, grows tiresome and eventually loses all credibility as the plot swings into high-tech gear and total improbability. The film was a hit, and Travolta and Woo enjoyed working together so much that they teamed again for Face/Off. This time around, Travolta plays the hero—a federal agent who, in order to get the goods on a contract terrorist’s (Nicolas Cage) next job, switches faces with Cage through high-tech surgery and gets close to Cage’s brother by pretending to be Cage. Complications mount when Cage pulls the same charade by having Travolta’s face grafted on to his own kisser and pretending to be Travolta—and the two adversaries square off for a series of bloody confrontations to resolve their respective identity crises. Because of his concern about the fate of his native Hong Kong (and, one assumes, its movie industry) now that the country has returned to Chinese hands, Woo has taken up permanent residence in Hollywood. The greater opportunities (and bigger bucks) Hollywood offers to filmmakers with his special skills were undoubtedly a big inducement to expatriate as well. His reputation as the action movie genre’s premier maestro now as assured here as it was in Asia, Woo has parlayed his success by producing TV movies, helping his former star Chow Yun-Fat launch a Hollywood career (in The Replacement Killers, which Woo executive-produced), and landing the highest profile blockbuster assignments (like the Tom Cruise-starring Mis- sion Impossible II) on which to put his distinctive bullets-and- balletics stamp. —John McCarty WOOD, Edward D., Jr. Nationality: American. Born: Edward Davis Wood, Poughkeepsie, NY, 10 October 1924. Education: Poughkeepsie High School, 1941; Kings School of Dramatic Art, Frank Lloyd Wright Institute, Wash- ington D.C., 1946. Military Service: U.S. Marine Corps, 1942–46. Family: Married to Kathy O’Hara Everett. Career: Wrote, produced, directed and starred in the play The Casual Company at the Village Playhouse, Hollywood, 1948; wrote and directed first film, Cross- roads of Laredo, 1948; wrote, directed, and starred in first Hollywood feature, Glen or Glenda, 1953; wrote and directed several short films for the U.S. government, 1960; published first novel, Black Lace Drag, 1963. Died: 10 December 1978, of a heart attack. Films as Director and Screenwriter: 1948 The Streets of Laredo 1951 The Sun Was Setting (+ pr) 1953 Glen or Glenda; Crossroad Avenger: The Adventures of the Tucson Kid; Boots 1954 Jailbait (d only, + pr) 1955 Bride of the Monster (+ pr) 1956 Plan Nine from Outer Space (+ pr) 1957 Final Curtain (+ pr); The Night the Banshee Cried (+ pr) 1958 Night of the Ghouls (+ pr) 1960 The Sinister Urge (d only, + story) 1970 Take It out in Trade 1971 Necromania; The Only House Films as Screenwriter: 1952 The Lawless Rider 1956 The Violent Years 1963 Shotgun Wedding 1965 Orgy of the Dead 1969 For Love or Money; One Million AC/DC; Operation Redlight; Gun Runners 1971 The Undergraduate 1972 Class Reunion (co-sc); The Cocktail Hostesses (co-sc); Drop- out Wife (co-sc) 1974 Fugitive Girls 1976 The Beach Bunnies (co-sc) WOOD DIRECTORS, 4 th EDITION 1086 Publications By WOOD: books— Black Lace Drag, Raven Books, 1973. Orgy of the Dead, Greenleaf Classics, 1966. Parisian Passions, Corinth Publications, 1966. WATTS—The Difference, Pad Library, 1966. Side-Show Siren, Sundown Reader, 1966. Drag Trade, Triumph News, 1967. Bloodiest Sex Crimes of History, Pad Library, 1967. Security Risk, Pad Library, 1967. WATTS. . . After, Pad Library, 1967. Devil Girls, Pad Library, 1967. It Takes One to Know One, Pad Library, 1967. Death of a Transvestite, Pad Library, 1967. Suburbia Confidential, Triumph News, 1967. Night Time Lez, Columbia, 1968. Bye Bye Broadie, Pendulum Pictorial, 1968. Raped in the Grass, Pendulum Pictorial, 1968. The Perverts, Viceroy Books, 1968. The Gay Underworld, Viceroy Books, 1968. Sex, Shrouds, and Caskets, Viceroy Books, 1968. The Sexecutives, Private Edition Books, 1968. Sex Museum, Viceroy Books, 1968. The Love of the Dead, Viceroy Books, 1968. One, Two, Three, Viceroy Books, 1968. Young, Black, and Gay, French Line Books, 1968. Hell Chicks, Private Edition Books, 1968. Purple Thighs, Private Edition Books, 1968. Carnival Piece, Private Edition Books, 1969. Toni: Black Tigress, Private Edition Books, 1969. Mama’s Diary, Toger Books, 1969. To Make a Homo, Little Library Press, 1971. A Study of the Sons and Daughters of Erotica, Secs Press, 1971. Sexual Practices in Witchcraft and Black Magic, Secs Press, 1971. Black Myth, Secs Press, 1971. The Sexual Woman, Book Two, Secs Press, 1971. The Sexual Man, Book Two, Secs Press, 1971. Mary-Go-Round, Little Library Press, 1972. The Only House, Little Library Press, 1972. Forced Entry, Eros Goldstripe, 1974. TV Lust, Eros Goldstripe, 1974. On WOOD: books— Grey, Rudolph, Nightmare of Ecstasy, Los Angeles, 1992. McCarty, John, The Sleaze Merchants, New York, 1995. On WOOD: articles— Hoberman, J., ‘‘Bad Movies,’’ Film Comment, July-August 1980. Lucas, Tim, ‘‘Glen or Glenda,’’ Cinefantastique, 1982. Grey, Rudolph, ‘‘Hollywood Underground,’’ Filmfax, March- April 1987. Okuda, Ted, ‘‘Remembering Ed D. Wood Jr., a Moviemaker,’’ Filmfax, March-April 1987. Corliss, Richard, ‘‘The World’s Worst Director,’’ Time, January 1992. Henderson, J. A., ‘‘Plan Nine from Outer Space,’’ Filmfax, June- July 1992. Snead, Elizabeth, ‘‘Oddball Director Ed Wood Gains Fame, if Not Respect,’’ USA Today, July 1993. Rose, Lloyd, ‘‘The World’s Worst Filmmaker—and Why We Love Him,’’ Washington Post, August 1993. Gliatto, Tom, ‘‘Master Ed,’’ People Weekly, October 1994. Foss, Kim, ‘‘Kultfilm af verdens v?rste instruktr,’’ in Kosmorama (Copenhagen), vol. 40, no. 209, Autumn 1994. Gendron, Sylvie, and Alain Dubeau, ‘‘Ed Wood: appelez-le Ann Gora,’’ in Séquences (Montreal), no. 175, November-Decem- ber 1994. Sch?nherr, Johannes, ‘‘Ed Wood: verdans v?rste instruktr,’’ Kosmorama (Copenhagen), vol. 40, no. 210, Winter 1994. Baecque, Antoine de, ‘‘L’étrange Monsieur Ed Wood,’’ in Cahiers du Cinema (Paris), no. 487, January 1995. Andrew, Geoff, ‘‘Hopeless Pocus,’’ in Time Out (London), no. 1292, 24 May 1995. Thoret, Jean-Baptiste, Alain Schlockoff, and Cathy Karani, ‘‘Ed Wood: écran fant,’’ no. 142, May-June 1995. Baecque, Antoine de, and Bill Krohn, ‘‘Wonder Wood. La cas Wood. Entretien avec Martin Landau,’’ in Cahiers du Cinéma (Paris), no. 492, June 1995. Marsilius, Hans J?rg, ‘‘Ein Skurriles Idol,’’ in Film-Dienst (Co- logne), vol. 48, no. 14, 4 July 1995. Sesslen, Georg, ‘‘Ed Wood-die Originale,’’ in EPD Film (Frankfurt), vol. 12, no. 9, September 1995. Birchard, Robert, ‘‘Edward D. Wood Jr.—Some Notes on a Subject for Further Research,’’ in Film History (London), vol. 7, no. 4, Winter 1995. On WOOD: film— Ed Wood, 1994. *** Ed Wood typifies the ultimate in filmmaking independence. His approach to filmmaking was that if no studio would hire him or finance his projects (which they wouldn’t and didn’t), he would make them himself, scrounging money from any available source. Wood fell in love with the movies at a very young age; he never wanted to be anything but a moviemaker, although he had little or no talent for the job. He began films in 8-millimeter even before he had reached his teens. Following a stint in the U.S. Marine Corps during World War II—where, according to legend, he stormed the beaches at Tarawa wearing ladies’ underwear beneath his battle dress—he journeyed to Hollywood to realize his boyhood dream of making it big in the movie business. His ‘‘breakthrough’’ came in 1953, with the George Weiss- produced exploitation feature on sex-change operations first known as Behind Locked Doors, then as Transvestite, and finally as Glen or Glenda. The film was originally intended to be a documentary on the life of transsexual Christine Jorgensen; ultimately it became a kind of self-portrait of Ed Wood himself, a classic apology for cross-dressing, and an obsessive ode to the delights of wearing angora sweaters. Wood then made Jailbait (1954), which is about a gangster (Timothy Farrell) who undergoes plastic surgery to escape the law. Armed with a broken-down rubber octopus previously seen in a Re- public Pictures John Wayne movie called Wake of the Red Witch (1948), a leading man (Tom McCoy) who couldn’t act (but whose father provided some of the financing), as well as Bela Lugosi, Tor WYLERDIRECTORS, 4 th EDITION 1087 Johnson, and a somewhat better-than-usual script, Wood next created Bride of the Monster, an attempt at a horror picture in the style of the classic Universal films Wood had grown up on. What he achieved was closer in spirit to the low-rent series of horror flicks turned out by Monogram in the 1940s. Wood always cited his masterpiece as Plan Nine from Outer Space, the film most closely associated with him. It has earned the reputation over the years as the worst movie ever made, which it isn’t, although its shortcomings are enormous. The title (Wood originally wanted to call the film Grave Robbers from Outer Space) refers to an alien plot to resurrect the earth’s dead. Said aliens arrive in flying saucers made out of Cadillac hubcaps suspended on visible wires. Wood’s spaceship interior is a lamely disguised soundstage decked out with a shower curtain and some other ‘‘futuristic’’ touches. These boldly executed shortcomings, however, may be why Plan Nine has outlasted many better-made films of the era in the public’s mind. To finance Plan Nine, Wood turned to a Baptist minister named J. Edward Reynolds, who saw the film as an opportunity to get into the movie business and use the profits to finance a series of religious films. In return, Wood agreed to have the cast and crew baptized by Reynolds prior to production. Soon he found his alcoholic/cross- dressing personal life under fire. Reynolds used this as a wedge to get control of the finished film, then let it sit on a shelf for three years, unable to find a distributor. Wood penned the screenplay for The Bride and the Beast (1958), about the attraction of a young wife (Charlotte Austin) to her husband’s (Lance Fuller) pet gorilla, named ‘‘Spanky.’’ But the next feature he directed was Night of the Ghouls (1958). Once again, Wood thought he was in Universal’s classic monster territory, and once again he fell well shy of his intended mark. Forced to shoot in a severely cramped studio, he hastened to complete the film before the electric bill (which he couldn’t pay) came due. From Night of the Ghouls Wood plunged into The Sinister Urge (1960), billed as a ‘‘smut picture’’ and ‘‘portrait of a psycho killer.’’ It was released as a double feature with a reissue of The Violent Years (1956), a film Wood had written. He also wrote the script for a sleazy ‘‘white trash’’ exploitation opus called Shotgun Wedding (1963) and for a combination horror-porno flick Orgy of the Dead (1965). In 1970, he directed his first ‘‘nudie’’ feature, Take It out in Trade, in which he once again donned an angora sweater to star. He followed it up with the harder-core Necromania (1971), from which it was only a small step to porno ‘‘loops’’ and a steady downslide to an untimely death in dire poverty in 1978 at the age of fifty-four. Wood’s saga was subsequently made into a film by Tim Burton, Ed Wood (1994), starring Johnny Depp as Wood and Martin Landau (who won an Oscar for his performance) as Bela Lugosi. —John McCarty WYLER, William Nationality: American. Born: Willy Wyler in Mulhouse (Mülhausen), Alsace-Lorraine, 1 July 1902; became U.S. citizen, 1928. Family: Married 1) Margaret Sullavan, 1934 (divorced 1936); 2) Margaret Tallichet, 1938, four children. Military Service: U.S. Army Air Corps, 1942–45; major. Career: Travelled to America at invitation of cousin Carl Laemmle, 1920; worked in publicity department for William Wyler Universal in New York, then transferred to Universal City, Holly- wood, 1921; assistant director at Universal, from 1924; directed first film, Crook Buster, 1925, and first feature, Lazy Lightning, 1926; signed contract with Samuel Goldwyn, 1936; helped to found Com- mittee for the First Amendment to counteract Hollywood investiga- tions by House Un-American Activities Committee, 1947; ‘‘Hommage à William Wyler’’ organized by Henri Langlois at the Cinémathèque fran?aise, 1966; retired from directing, 1972. Awards: Oscar for Best Direction, for Mrs. Miniver, 1942; Oscar for Best Direction and New York Film Critics Award for Best Direction, for The Best Years of Our Lives, 1946; Oscar for Best Direction, for Ben Hur, 1959; Irving G. Thalberg Award, 1965; American Film Institute Lifetime Achieve- ment Award, 1976. Died: 29 July 1981. Films as Director: 1925 Crook Buster 1926 The Gunless Bad Man; Ridin’ for Love; Fire Barrier; Don’t Shoot; The Pinnacle Rider; Martin of the Mounted; Lazy Lightning; Stolen Ranch 1927 Two Fister; Kelly Gets His Man; Tenderfoot Courage; The Silent Partner; Galloping Justice; The Haunted Home- stead; The Lone Star; The Ore Riders; The Home Trail; WYLER DIRECTORS, 4 th EDITION 1088 Gun Justice; Phantom Outlaw; Square Shooter; The Horse Trader; Daze in the West; Blazing Days; Hard Fists; The Border Cavalier; Straight Shootin’; Desert Dust 1928 Thunder Riders; Anybody Here Seen Kelly 1929 The Shakedown; The Love Trap 1930 Hell’s Heroes; The Storm 1931 A House Divided 1932 Tom Brown of Culver 1933 Her First Mate; Counselor at Law 1934 Glamour; The Gay Deception 1936 These Three; Dodsworth; Come and Get It 1937 Dead End 1938 Jezebel 1939 Wuthering Heights 1940 The Westerner; The Letter 1941 The Little Foxes 1942 Mrs. Miniver 1944 Memphis Belle 1946 The Best Years of Our Lives 1947 Thunder-Bolt 1949 The Heiress 1951 Detective Story 1952 Carrie 1953 Roman Holiday 1955 The Desperate Hours 1956 Friendly Persuasion 1958 The Big Country 1959 Ben-Hur 1962 The Children’s Hour 1965 The Collector 1966 How to Steal a Million 1968 Funny Girl 1970 The Liberation of L.B. Jones Publications By WYLER: articles— ‘‘William Wyler: Director with a Passion and a Craft,’’ with Hermine Isaacs, in Theater Arts (New York), February 1947. ‘‘Interview at Cannes,’’ in Cinema (Beverly Hills), July/August 1965. Interview with Charles Higham, in Action (Los Angeles), September/ October 1973. ‘‘Wyler on Wyler,’’ with Alan Cartnel, in Inter/View (New York), March 1974. ‘‘Dialogue on Film,’’ in American Film (Washington, D.C.), April 1976. ‘‘No Magic Wand,’’ in Hollywood Directors: 1941–76, edited by Richard Koszarski, New York, 1977. Interview with P. Carcassonne and J. Fieschi, in Cinématographe (Paris), March/April 1981. Lecture excerpts in Films and Filming (London), October 1981. On WYLER: books— Drinkwater, John, The Life and Adventures of Carl Laemmle, New York, 1930. Griffith, Richard, Samuel Goldwyn: The Producer and His Films, New York, 1956. Reisz, Karel, editor, William Wyler, an Index, London, 1958. Madsen, Axel, William Wyler, New York, 1973. Kolodiazhnaia, V., Uil’iam Uailer, Moscow, 1975. Anderegg, Michael A., William Wyler, Boston, 1979. Kern, Sharon, William Wyler: A Guide to References and Resources, Boston, 1984. Fink, Guido, William Wyler, Florence, 1989. On WYLER: articles— Griffith, Richard, ‘‘Wyler, Wellman, and Huston,’’ in Films in Review (New York), February 1950. Reisz, Karel, ‘‘The Later Films of William Wyler,’’ in Sequence (London), no. 13, 1951. ‘‘Personality of the Month,’’ in Films and Filming (London), July 1957. Heston, Charlton, ‘‘The Questions No One Asks about Willy,’’ in Films and Filming (London), August 1958. Reid, John Howard, ‘‘A Little Larger than Life,’’ in Films and Filming (London), February 1960. Reid, John Howard, ‘‘A Comparison of Size,’’ in Films and Filming (London), March 1960. Sarris, Andrew, ‘‘Fallen Idols,’’ in Film Culture (New York), Spring 1963. Brownlow, Kevin, ‘‘The Early Days of William Wyler,’’ in Film (London), Autumn 1963. Heston, Charlton, ‘‘Working with William Wyler,’’ in Action (Los Angeles), January/February 1967. Hanson, Curtis, ‘‘William Wyler,’’ in Cinema (Beverly Hills), Sum- mer 1967. Carey, Gary, ‘‘The Lady and the Director: Bette Davis and William Wyler,’’ in Film Comment (New York), Fall 1970. Doeckel, Ken, ‘‘William Wyler,’’ in Films in Review (New York), October 1971. Higham, Charles, ‘‘William Wyler,’’ in Action (Los Angeles), Sep- tember/October 1973. Phillips, Gene, ‘‘William Wyler,’’ in Focus on Film (London), Spring 1976. Heston, Charlton, ‘‘The Ben-Hur Journal,’’ in American Film (Wash- ington, D.C.), April 1976. Swindell, Larry, ‘‘A Life in Film,’’ in American Film (Washington, D.C.), April 1976. Renaud, T., ‘‘William Wyler: ‘L’Homme qui ne fit pas jamais un mauvais film,’’’ in Cinéma (Paris), September 1981. On WYLER: film— Directed by William Wyler (Slesin), 1986. *** William Wyler’s career is an excellent argument for nepotism. Wyler went to work for ‘‘Uncle’’ Carl Laemmle, the head of Universal, and learned the movie business as assistant director and then director of programmers, mainly westerns. One of his first important features, A House Divided, demonstrates many of the qualities that mark his films through the next decades. A transparent imitation of Eugene O’Neill’s Desire under the Elms, it contains evidence of the staging strategies that identify Wyler’s distinctive mise-en-scène. The film’s premise holds particular appeal for a direc- tor who sees drama in claustrophobic interiors, the actors held in expressive tension by their shifting spatial relationships to each other, WYLERDIRECTORS, 4 th EDITION 1089 the decor, and the camera. In A House Divided Wyler extracts that tension from the dynamics implicit in the film’s principal set: the downstairs room that confines the crippled father (Walter Huston) and the stairs leading to the landing between the rooms of the son (Kent Douglass) and the young stepmother (Helen Chandler). The stairway configuration is favored by Wyler for the opportunity it gives him to stack the agents of the drama and to fill the frame both vertically and in depth. When he later collaborates with cinematographer Gregg Toland, the potential of that depth and height is enhanced through the use of varying degrees of hard and soft focus. (Many critics, who are certainly unfamiliar with Wyler’s early work, have unjustly credited Toland for the depth of staging that characterizes the partnership.) The implications of focus in Wyler’s stylistics go far beyond lighting procedures, lenses, or even staging itself. Focus directs the viewer’s attention to varieties of information within the field, what- ever its shape or extent. Focus gives simultaneous access to discor- dant planes, characters, and objects that challenge us to achieve a full, fluctuating reading of phenomena. André Bazin, in his important essay on Wyler in the French edition of What Is Cinema?, speaks of the director’s ‘‘democratic’’ vision, his way of taking in the whole- ness of a field in the unbroken time and space of the ‘‘plan- séquence,’’ a shot whose duration and complexity of staging goes far beyond the measure of the conventional shot. Bazin opposes this to the analytic montage of Soviet editing. In doing so he perhaps underestimates the kind of control that Wyler’s deep field staging exerts upon the viewer, but he does suggest the richness of the visual text in Wyler’s major films. Counselor at Law is a significant test of Wyler’s staging. The Broadway origins of the property are not disguised in the film; instead, they are made into a virtue. The movement through the law firm’s outer office, reception room, and private spaces reflects a fluidity that is a function of the camera’s mobility and a challenge to the fixed frame of the proscenium. Wyler’s tour de force rivals that of the film’s star, John Barrymore. Director and actor animate the attorney’s personal and professional activities in a hectic, ongoing present, sweeping freely through the sharply delineated (and there- fore sharply perceived) vectors of the cinematic/theatrical space. Wyler’s meticulousness and Samuel Goldwyn’s insistence on quality productions resulted in the series of films, often adaptations of prestigious plays, that most fully represent the director’s method. In Dodsworth, the erosion of a marriage is captured in the opening of the bedroom door that separates husband and wife; the staircase of These Three delimits the public and private spaces of a film about rumor and intimacy; the elaborate street set of Dead End is examined from a dizzying variety of camera angles that create a geometry of urban life; the intensity of The Little Foxes is sustained through the focal distances that chart the shape of family ties and hatreds. After the war, the partnership of Wyler and Toland is crowned by The Best Years of Our Lives, a film whose subject (the situation of returning servicemen) is particularly pertinent, and whose structure and staging are the most personal in the director’s canon. In his tireless search for the perfect shot, Wyler was known as the scourge of performers, pushing them through countless retakes and repetitions of the same gesture. Since performance in his films is not pieced together in the editing room but is developed in complex blockings and shots of long duration, Wyler required a high degree of concentration on the part of the actors. Laurence Olivier, who was disdainful of the medium prior to his work in Wuthering Heights, credits Wyler for having revealed to him the possibilities of the movies. But it is Bette Davis who defines the place of the star actor in a Wyler film. The three projects she did with Wyler demonstrate how her particular energies both organize the highly controlled mise-en- scène and are contained within it. For Jezebel she won her second Academy Award. In The Letter, an exercise in directorial tyranny over the placement of seemingly every element in its highly charged frames, the viewer senses a total correspondence between the focus exercised by director and performer. During the last decades of Wyler’s career, many of the director’s gifts, which flourished in contexts of extreme dramatic tension and the exigencies of studio shooting, were dissipated in excessively grandiose properties and ‘‘locations.’’ There were, however, excep- tions. Wyler’s presence is strongly felt in the narrow staircase of The Heiress and the dingy station house of Detective Story. He even manages to make the final shootout of The Big Country adhere to the narrowest of gulches, thereby reducing the dimensions of the title to his familiar focal points. But the epic scope of Ben Hur and the ego of Barbra Streisand (in Funny Girl) escape the compact economies of the director’s boxed-in stackings and plane juxtapositions. Only in The Collector, a film that seems to define enclosure (a woman is kept prisoner in a cellar for most of its duration) does Wyler find a congenial property. In it he proves again that the real expanse of cinema is measured by its frames. —Charles Affron 1091 X-Y XIE Jin Nationality: Chinese. Born: Shaoxing (province of Zhejiang), China, 1923. Education: Studied at School of Dramatic Art, Jiang’an, 1946–48; graduated from Political Institute of the People’s Revolu- tionary University, 1953. Career: Assistant to directors Wu Renzhi, 1948, and Zheng Xiaoqui, 1949, Datong Film Studio, Shanghai; directed first film, A Crisis, 1954; criticized during Cultural Revolu- tion and forced to do manual labor in the countryside, 1966, rehabili- tated, c. 1978; vice-chairman of Disabled Persons’ Federation, from 1988; member of standing committee, Association for the Promotion of the Peaceful Reunification of China, from 1988; executive vice- chairman of Federation of Literary and Art Circles, from 1988. Awards: Veteran Artist Award, First Chinese Film Festival, 1989; five-time winner of Best Film Award, Hundred Flowers Awards Competition. Address: c/o Shanghai Film Studio, 595 Caoxi Beilu, Shanghai, People’s Republic of China. Films as Director: 1954 A Crisis; A Wave of Unrest; Rendezvous at Orchard Bridge 1955 Spring in the Land of Waters 1957 Woman Basketball Player Number Five 1958 episodes of Small Leaders of the ‘‘Big Leap’’ and Small Stories of a Big Storm; Huang Baomei 1960 The Women’s Red Army Detachment 1962 Big Li, Young Li, and Old Li 1964 Wutai Jiemei (Two Stage Sisters) 1972 The Door 1975 Chunmiao 1976 The Bay of Rocks 1977 Youth 1980 Ah, Cradle 1981 The Legend of Tianyun Mountain 1982 The Herdsman 1983 Qiu Jin (+ sc) 1984 Garlands at the Foot of the Mountain 1986 Fu-Zung Cen 1987 Hibiscus Town 1989 The Last Aristocrats 1993 Lao ren he gou (An Old Man and His Dog) 1996 Behind the Wall of Shame 1997 Yapian zhanzheng (The Opium War) Other Films: 1948 The Silent Wife (Wu Renzhi) (asst d) 1949 The Martyr of the Garden of the Pear Trees (Zheng Xiaoqiu) (asst d) 1953 The Feather Letter (Shi Hui) (asst d) Publications On XIE JIN: books— Leyda, Jay, Dianying: An Account of Films and the Film Audience in China, Cambridge, Massachusetts, 1972. L?sel, J?rg, Die Politische Funktion des Spielfilms in der Volksrepublic China Zwischen 1949 and 1965, Munich, 1980. Rayns, Tony, and Scott Meek, Electric Shadows: 45 Years of Chinese Cinema, London, 1980. Bergeron, Regis, Le Cinéma chinois 1949–1983, 3 vols., Paris, 1983–84. Jenkins, Alan, and Cathy Grant, A Teaching Guide to the Films of the People’s Republic of China, Oxford, 1984. Berry, Chris, editor, Perspectives on Chinese Cinema, New York, 1985; revised edition, 1991. Quiquemelle, Marie-Claire, and Jean-Loup Passek, editors, Le Cinéma chinois, Paris, 1985. Armes, Roy, Third-World Filmmaking and the West, Berkeley, 1987. Clark, Paul, Chinese Cinema: Culture and Politics since 1949, Cambridge, 1987. Semsel, George Stephen, editor, Chinese Film: The State of the Art in the People’s Republic, New York, 1987. On XIE JIN: articles— Jin Xie Section of Positif (Paris), March 1985. Manceau, J. L., ‘‘Portrait de Xie Jin dans le panorama chinois,’’ in Cinéma (Paris), 5 March 1986. Rayns, Tony, ‘‘Let a Hundred Flowers. . . ,’’ in Monthly Film Bulletin (London), July 1988. Kaplan, E. A., ‘‘Melodrama/Subjectivity/Ideology: Western Melo- drama Theories and Their Relevance to Recent Chinese Cinema,’’ in East-West Film Journal (Honolulu, Hawaii), vol. 5, no. 1, 1991. Luo, J., ‘‘One with People: Xie Jin,’’ in China Screen (Beijing), no. 1, 1992. ‘‘Xie Jin’s Films: A Retrospective,’’ in China Screen (Beijing), no. 1, 1992. YANG DIRECTORS, 4 th EDITION 1092 ‘‘The Opium War (Yapian Zhanzheng),’’ in Variety (New York), 2 June 1997. Kipnis, Andrew, ‘‘Anti-Maoist Gender: Hibiscus Town’s Naturaliza- tion of a Dengist Sex/Gender/Kinship System,’’ in Asian Cinema, Winter 1996–1997. *** Because of the length of his career, his ability to dramatize popular political sentiments, and his commitment to the melodrama as a vehi- cle for the expression of his aesthetic vision, Chinese filmmaker Xie Jin has been compared to Douglas Sirk and Frank Capra. Since his career spans over four decades, with contributions to every stage of the development of filmmaking from the earliest days of the post- Revolutionary period, Xie Jin must be counted as one of the most significant filmmaking veterans still making features today in the People’s Republic of China. He has not become a mere ‘‘fossil’’ tolerated by an industry grateful for his contributions in the 1950s and early 1960s. Rather, Xie continues to be controversial and exception- ally popular with Chinese audiences both inside and outside of China. Trained in the theatre, Xie came to the Shanghai studios in the early 1950s and was soon promoted from assistant to full director. His name rather rapidly became associated with the political melodramas he is still known for today. His 1957 film Woman Basketball Player Number Five, for example, helped to establish his reputation as a ‘‘woman’s director.’’ Unlike the maligned ‘‘woman’s film’’ genre in Hollywood, melodramas featuring strong female leads became the favored vehicle for the dramatic examination of the role the Revolu- tion was playing in reshaping both men’s and women’s lifestyles and attitudes toward gender in the People’s Republic. Blending Soviet socialist realism with the aesthetic directives of Mao and the popular- ity of classical Hollywood tear-jerkers, Xie was creating a peculiarly Chinese political aesthetic. This aesthetic can still be appreciated today for the ways in which it stretched beyond the modes of representation usually reserved for women at that time in both Asian and Western film cultures. Before the onset of the Cultural Revolution in the mid-1960s, Xie Jin perfected his revolutionary woman’s films in The Women’s Red Army Detachment and Two Stage Sisters. Although The Women’s Red Army Detachment won the first One Hundred Flowers Award (the PRC equivalent of the Oscar still coveted today), Two Stage Sisters was doomed by a storm of criticism unleased by the Cultural Revolution. Two Stage Sisters features the story of the relationship between two Shaoxing opera performers from their beginnings as itinerant entertainers in the feudal countryside of 1930s China through success in Shanghai during the Japanese occupation, eventual separa- tion, and reunion during the post-Revolutionary period. Changes in the style of the operas presented in the film (for example, folk opera, Western-influenced critical realist operas, Mao’s favored ‘‘revolu- tionary romanticism’’ in opera form) also parallel broader social and political changes. Although probably the pinnacle of his career and the most complete flowering of his political aesthetic, Two Stage Sisters was only fully appreciated after the Cultural Revolution ended. During the Cultural Revolution, Xie suffered much the same fate as most of his generation. At times under house arrest, he was still enlisted to help direct Jiang Qing’s ‘‘model opera’’ films during that period. These films, in fact, are aesthetically and politically at odds with his earlier work. After the Cultural Revolution, Xie Jin went back to making political melodramas featuring female protagonists. The Legend of Tianyun Mountain, in fact, was one of the first films made after the Cultural Revolution to condemn not only its political excesses but also the strains the Anti-Rightist Campaign of the 1950s had placed on Chinese society. He has continued in this socially critical vein with The Herdsman and Hibiscus Town (both dealing with the Cultural Revolution), while also making patriotic dramas like Qiu Jin (based on the life of the well-known Qing Dynasty female revolutionist) and Garlands at the Foot of the Mountain (on the recent Sino-Vietnamese war). Xie’s The Last Aristocrats deals with the lives of four young Chinese women living abroad and was partially shot in the United States. Ironically, even though Xie Jin has devoted virtually his entire life’s work to films about politically active, modern Chinese heroines, he is most often criticized today for his supposed ‘‘feudal’’ depiction of women as ‘‘good’’ wives and mothers. He has also been con- demned for his ‘‘old-fashioned’’ style of filmmaking. However, while some younger filmmakers tend to disregard audience tastes, hoping for an art house following in Europe and the United States, Xie Jin, despite his critics, has continued to please Chinese audiences. In the 1990s, Xie continued to work in the Shanghai film industry, increasingly as a producer rather than director. His influence can be felt as an often unacknowledged, but clearly present indebtedness many younger filmmakers have to his seminal contributions to Chinese film culture. It is difficult, for example, to look at Chen Kaige’s critically celebrated Farewell My Concubine without seeing Two Stage Sisters remade as ‘‘Two Stage Brothers,’’ with the same epic sweep and use of Chinese opera to stand as a metaphor for the history of China in the twentieth century. Huang Shuqin’s Woman Demon Human also covers similar ground, using an opera actress’s life on and off the stage as an allegory for China in the post-war era. Although some critics have remarked on the number of recent Chinese films with male-centered narratives, the female-centered melodramas that Xie championed continue to be an important staple of the rapidly changing film culture of the People’s Republic. —Gina Marchetti YANG, Edward Nationality: Chinese. Born: Yang Dechang, Shanghai, China, 1947; moved to Taiwan with family, 1949. Education: Graduated with a degree in engineering, 1969; earned master’s degree in computer science, University of Florida, 1972. Career: Returned to Taiwan, 1981; worked in television before making his directorial debut, 1982. Films as Director: 1982 ‘‘Expectations’’ episode in the omnibus film In Our Time 1983 That Day, on the Beach 1985 Taipei Story 1986 The Terrorizer 1991 Guling Jie Shaonian Sha Ren Shijian (A Brighter Summer Day) 1994 A Confucian Confusion (+ sc, production designer) 1996 Mahjong 2000 Yi yi (A One and a Two) (+ sc) YANGDIRECTORS, 4 th EDITION 1093 Edward Yang Publications By YANG: articles— Interview with Jonathan Romney, in Time Out (London), 3 March 1993. ‘‘Edward Yang à Paris,’’ an interview with Serge Grünberg, in Cahiers du Cinéma (Paris), February 1996. On YANG: books— Berry, Chris, editor, Perspectives on Chinese Cinema, London, 1991. Jameson, Fredric, The Geopolitical Aesthetic: Cinema and Space in the World System, Bloomington, Indiana, 1992. Browne, Nick, Paul G. Pickowicz, Vivian Sobchack, and Esther Yau, editors, New Chinese Cinemas: Forms, Identities, Politics, Bos- ton, 1994. On YANG: articles— Rayns, Tony, ‘‘The Position of Women in New Chinese Cinema,’’ in East-West Film Journal (Honolulu, Hawaii), June 1987. Nornes, Markus, ‘‘The Terrorizer,’’ in Film Quarterly (Berkeley), Spring 1989. Chuah, T., in Illusions (Wellington), no. 19, Winter 1992. Rayns, Tony, ‘‘Lonesome Tonight,’’ in Sight and Sound (London), March 1993. Rayns, Tony, ‘‘Yang’s Comedy: On the Set of a Confucian Confu- sion,’’ in Sight and Sound (London), July 1994. Horguelin, Thierry, ‘‘Ta?wan années 90,’’ in 24 Images (Montreal), September-October 1994. Guérin, Marie-Anne, ‘‘Berlin Express,’’ in Cahiers du Cinéma (Paris), May 1996. Chiao, P.H., ‘‘‘Mahjong’: Urban Travails,’’ in Cinemaya (New Delhi), Summer 1996. *** Along with Hou Hsiao-hsien and Wan Jen, Edward Yang stands as one of the most recognized of Taiwan’s ‘‘New Wave’’ directors. Part of a torrent of talent that flooded international screens with innovative Chinese-language features from Hong Kong, Taiwan, and the Peo- ple’s Republic of China in the 1980s, Yang’s work is New Wave in a number of different interpretations of that term. Yang’s films resemble European New Wave directors’ work because of his com- mitment to formal experimentation within fiction narratives. This is coupled with an interest in the use of film as social commentary and cultural critique. The films Yang directed in the 1980s, in particular, have been favorably compared to the work of Antonio Antonioni because of their ‘‘high modernist’’ exploration of the barren, urban landscape, and the alienation of the individual in contemporary, bourgeois society, as well as their focus on psychologically complex, female protagonists to investigate these themes dramatically. Also, as was the case with the French New Wave, the Taiwanese New Wave (and, more recently, contemporary Chinese-language cinema generally) benefitted from very fruitful collaborations among a coterie of talented directors, scriptwriters, producers, and actors/ actresses. Perhaps the most striking collaboration in Yang’s oeuvre, for example, occurred when the noted director Hou Hsiao-hsien took the lead role in Taipei Story. Hou’s portrayal of Lon, a failed businessman, obsessive baseball fan, and perpetual fiance of the film’s female protagonist, embodies many of the uncertainties and contradictions of contemporary Taiwanese society: a nostalgia for a past shaped by Japan and America, an ambivalence toward tradi- tional gender and family roles, and an alienation from the political and economic vicissitudes of urban Taipei. Certainly, film director Hou’s reputation for films about rural youth and changes in traditional Chinese culture and society in the postwar, post-Japanese era brings a resonance to the character of Lon that other actors could not hope to convey. Like members of the European New Wave of the 1960s, Yang has a love/hate relationship with American culture, using it for complex intertextual textures (for example, the use of Elvis Presley as a musi- cal and visual presence in A Brighter Summer Day), and aesthetically working against Hollywood through the use of ‘‘dead,’’ ‘‘negative’’ space in which ‘‘nothing happens’’ in empty urban landscapes and aggressively long takes. However, despite these similarities, Yang is also a decidedly Taiwanese director, with a commitment to docu- menting the peculiarities of contemporary Taiwan and situating its society within a global economy and culture. In this respect, Yang’s cinema operates as a bridge between Taiwan and the rest of the world. Because of the director’s commitment to formal experimentation and interest in finding a niche within a global film culture of festivals and art cinemas, many of his films have done poorly domestically, although they have been lauded internationally. Ironically, as he brings a critical eye to contemporary Taiwan for audiences abroad, that sharp vision has often gone unappreciated at home. Yang’s attempt to visualize alienation succeeds all too well and tends to YOSHIMURA DIRECTORS, 4 th EDITION 1094 alienate the uninitiated viewer, while winning the praise of intellectu- als educated to appreciate a modernist sensibility. Although Yang now has his own production company, several of his earlier, more challenging films were financed by the government-operated Central Motion Picture Corporation, allowing for a freedom of experimenta- tion without the pressing demands of the domestic marketplace. In most of Yang’s oeuvre, women embody the key tensions of modern Taiwan. That Day, on the Beach uses an elaborate narrative structure composed of a frustrated, inconclusive murder investigation and a series of flashbacks to paint a portrait of Lin Chia-li, a woman who escaped the pressures of a traditional, patriarchal household only to find herself again trapped by an empty marriage. Although a corpse that may or may not be her husband prompts her interior investiga- tion, the real substance of the film goes beyond a simple critique of Chinese patriarchy. It looks at contemporary Taiwan, its own uncer- tain national identity, precarious place in the global economy, and divided political culture through the life of a woman who is both the victim and beneficiary of these monumental social changes. Taipei Story continues in the same vein. Chin, an unemployed mid-level administrator who has moved into her own apartment against the wishes of her traditional father, must decide whether to marry her fiance, Lon, or move on with her upwardly mobile, female boss, leaving the ‘‘old’’ Taiwan of Lon and her family behind. The final scene, in which Chin is framed against the massive picture window of her boss’s new headquarters in an eerily empty office building—a signifier of modernity—as Lon lies bleeding to death in another part of the city, again dramatically portrays the emergence of a new Taiwan in the character of a woman freed by the death of her more traditional lover. This same theme has an even more bloody enactment in The Terrorizer. Chou Yufen, a writer married to a doctor, Li Li-chung, is cured of her writer’s block by the anonymous phone calls of a young Eurasian girl, bored during her recovery from a wound sustained during a youth gang street battle, who tells her that her husband is having an affair. Armed with this lie, Chou Yufen writes a story about her plight and leaves her husband. Passed over at the hospital and misunderstood by his estranged wife, Li Li-chung commits suicide (perhaps after killing his new boss and his wife’s lover). In New Wave fashion, the details of his death (or even the fact of his death) remain indeterminate. However, as in Yang’s earlier films, as the central, male character fades away, the female characters emerge. However, Lin Chia-li, Chin, Chou Yufen, and even the marginal ‘‘White Chick,’’ as the Eurasian girl is called, represent a new world tainted by a vacuous modernity, stripped of affect, and literally deadening. In his work on The Terrorizer, Fredric Jameson sees the film as combining a modernist and postmodernist sensibility to explore the interpenetration of traditional, national, multinational, and transnational spaces, and thus the hybrid identity that marks contemporary Taipei. It is debatable whether this film marks a significant break with Yang’s earlier, ‘‘modernist’’ work or not. However, it is useful to look at Yang’s more recent A Brighter Summer Day and A Confucian Confusion as moving in a different direction from the director’s work in the 1980s. Keeping Yang’s characteristically complex and convo- luted narrative structure, the former explores youth gangs in postwar Taiwan and the later looks at contemporary ‘‘yuppies’’ in modern Taipei. Unlike his earlier efforts, A Confucian Confusion is a comedy (albeit a very dark one). Despite the move away from the serious, woman-centered dramas of the 1980s, however, Yang maintains his commitment to examining carefully Taiwan’s experience of moder- nity, taking Taipei from the margins of the globe and putting it within an international framework that makes local issues poignant for a world audience. —Gina Marchetti YOSHIMURA, Kozaburo Nationality: Japanese. Born: Shiga Prefecture, 9 September 1911; also known as Kimisaburo Yoshimura. Education: Nihon High School, Tokyo, graduated 1929. Family: Married Tomoko Oouchi, 1940. Career: Assistant director to Yasujiro Shimazu at Shochiku- Kamata Studio, 1929; drafted into military, 1932; after return from service, directed first film, Sneaking, 1934; assistant director to Shimazu, Heinosuke Gosho, Dhiro Toyota, and Mikio Naruse, 1934–39; moved to newly established Shochiku-Ofuna studios, 1936; resumed directing, 1939; served in machine gun unit, then as information officer on general staff, 1944; repatriated, spent year in prison and repatriation camp, 1945; began collaboration with scriptwriter Kaneto Shindo, 1947; founded independent production company Kindai Eiga Kyokai (Society of Modern Film), with Shindo, producer Hisao Itoya, director Tengo Yamada, and actor Taiji Tonoyama, 1950; contracted by Daiei Studio, 1956; TV director, 1960. Awards: Eiga Seikai-sha New Director’s Prize, for Danryo, 1939; Kinema Jumpo Number One Film, for Anjo-ke no bukokai, 1947; Mainichi Director’s Prize, for Itsureru seiso, 1951; Shiju-Hosho Decoration, Japanese Government, 1976. Address: 4–3-37 Zushi, Zushi City, Kanagawa, Japan. Films as Director: 1934 Nukiashi sashiashi (Sneaking) 1939 Onna koso ie o momore (Women Defend the Home!; Women Should Stay at Home); Yokina uramachi (Cheerful Alley; Gay Back Alley); Asu no odoriko (Dancers of Tomorrow); Gonin no kyodai (Five Brothers and Sisters); Danryu (Warm Current) 1940 Nishizumi sanshacho den (The Story of Tank Commander Nishizumi) 1941 Hana (Flower) 1942 Kancho mada shinazu (The Spy Has Not Yet Died) (+ story); Minami ni kaze (South Wind); Zoko minami no kaze (South Wind: Sequel) 1943 Laisen no zenya (The Night before the War Begins); Tekki kushu (Enemy Air Attack) 1944 Kessen (A Decisive Battle) 1947 Zo o kutta renchu (The Fellows Who Ate the Elephant); Anjo- ke no butokai (The Ball of the Anjo Family) 1948 Yuwaku (Temptation; Seduction); Waga shogai no kagayakeru hi (The Bright Day of My Life) 1949 Shitto (Jealousy); Mori no Ishimatsu (Ishimatsu of the Forest; Ishimatsu of Mori); Mahiru no enbukyoku (Waltz at Noon) 1950 Shunsetsu (Spring Snow); Senka no hate (The Height of Battle; The End of Battle Fire) 1951 Itsuwareru seiso (Deceiving Costume); Jiyu gakko (Free School); Genji monogatari (A Tale of Genji) 1952 Nishijin no shimai (Sisters of Nishijin); Boryoku (Violence) 1953 Senba-zuru (A Thousand Cranes); Yokubo (Desire); Yoake mae (Before the Dawn) YOSHIMURADIRECTORS, 4 th EDITION 1095 1954 Ashizuri misaki (Cape Ashizuri); Wakai hitotachi (Young People) 1955 ‘‘Hanauri musume’’ (The Flower Girl, The Girl Who Sells Flowers), episode of Aisureba koso (If You Love Me; Because I Love); Ginza no onna (Women of the Ginza); Bijo to kairyu (The Beauty and the Dragon) 1956 Totsugu hi (Day of Marriage; The Day to Wed); Yoru no kawa (Night River; Undercurrent); Yonjuhassai no teiko (48- Year-Old Rebel; Protest at 48 Years Old) 1957 Osaka monogatari (An Osaka Story); Yoru no cho (Night Butterfly); Chijo (On the Earth) 1958 Hitotsubu no mugi (One Grain of Barley); Yoru no sugao (The Naked Face of Night) 1959 Denwa wa yugata ni naru (Telephone Rings in the Evening); Kizoku no kaidan (Aristocrat’s Stairs) 1960 ‘‘Koi o wasureta onna’’ (A Woman’s Testament, The Woman Who Forgot Love), episode of Jokei (Women’s Scroll); Onna no saka (Woman’s Descent) 1961 Konki (Marriage Time); Onna no kunsho (Woman’s Decoration) 1962 Kazoku no jijo (A Night to Remember; Family’s Situation); Sono yo wa wasurenai (I Won’t Forget That Night) 1963 ‘‘Shayo nigo’’ (Company’s Business), episode of Echizen take ningyo (Bamboo Doll of Echizen) 1966 Kokoro no sanmyaku (The Heart of the Mountains) 1967 Daraku suru onna (A Fallen Woman) 1968 Nemureru bijo (Sleeping Beauty; The House of the Sleeping Virgins); Atsui yoru (A Hot Night) 1971 Amai himitsu (Sweet Secret) 1973 Konketsuji Rika (Rika, the Mixed-Blood Girl); Hamagure no komoriuta (Lullaby of Hamagure) 1974 Ranru no hata (Ragged Flag) Publications By YOSHIMURA: book— Eiga no gijutsu to mikata [Film Technique and How to Look at Films], 1952. On YOSHIMURA: books— Mellen, Joan, Voices from the Japanese Cinema, New York, 1975. Mellen, Joan, The Waves at Genji’s Door, New York, 1976. Anderson, Joseph, and Donald Richie, The Japanese Film, expanded edition, Princeton, 1982. *** Although Kozaburo Yoshimura’s early work followed the drama and comedy conventions of the Shochiku Studio productions of the 1930s, he gradually proved himself an ambitious artist who broke away from these conventions through his varied selections of themes and subjects, and his bold exploration of styles. His technical maturity has been consistent over the years and through all genres, from the melodramatic Warm Current, which first brought Yoshimura recog- nition, through the wartime production The Story of Tank Com- mander Nishizumi, which successfully portrayed the decent, human side of the war hero with exciting action scenes, to the patriotic spy film The Night before the War Begins, which stylistically resembles an American suspense film. The postwar liberation allowed him to employ more freely his favorite American film styles and techniques. Typical of this period is The Ball of the Anjo Family, which surprised the Japanese postwar audience not only with its fresh techniques, but also with its striking theme of the contrasts between the falling and emerging social classes of the time. The challenges of the varied subjects of Yoshimura’s subsequent films confirmed his energy and versatility, as in The Bright Day of My Life, which illustrated a flamingly passionate love unusual to Japa- nese films, between a couple who had belonged to opposing political groups before the war. Ishimatsu of Mori is regarded as one of the first successful postwar period films. From the familiar legend, Yoshimura made a satirical comedy which alludes critically to the contemporary gangster’s mentality. Deceiving Costume, a postwar adaption of Mizogushi’s prewar masterpiece Sisters of the Gion, demonstrated a similar emotional intensity and powerful social criticism through its story of the life of geisha sisters. The Beauty and the Dragon is a new adaptation of a popular Kabuki play, made with the assistance of the innovative theater troupe Zenshin-za. Scenario writer Kaneto Shindo’s collaboration with Yoshimura was indispensable to Yoshimura’s success, from The Ball of the Anjo Family to The Day to Wed, during which time they produced twenty- two films together. When in 1950 Shochiku Studio subjected the pair to commercial pressures, they decided to establish an independent production company, Kindai Eiga Kyokai, or Society of Modern Film. It enabled the two to pursue their artistic experimentation and thus produce many masterpieces which attracted critical attention. Yoshimura became well known for literary adaptations—A Tale of Genji, A Thousand Cranes, Before the Dawn, Sleeping Beauty, and Cape Ashizuri—as well as for light comedy—Free School, about contemporary social life, Desire, Young People, and One Grain of Barley, among others. Particularly noteworthy is a series of films on the life of contemporary women using many of Daiei Studio’s prime actresses, Night River, Night Butterfly, Naked Face of Night, and others. He has continued his independent efforts, notably with Heart of the Mountains and Ragged Flag, which powerfully depicts the life of a pioneering opponent of pollution in Japan in the early years of this century. Yoshimura has consistently shown excellent story-developing skill, which has won popular support for his films. His best films often contain social criticism, but at the same time do not preach, relying instead on the depiction of heightened emotions among the characters to successfully appeal to the audience. —Kyoko Hirano 1097 Z ZANUSSI, Krzysztof Nationality: Polish. Born: Warsaw, 17 June 1939. Education: Educated in physics, Warsaw University, 1955–59; faculty of phi- losophy, University of Cracow, 1959–62; directing course, State Film school, Lodz, graduated 1966. Career: Director, from 1966; ap- pointed to faculty of Lodz film school, and named vice president of Association of Polish Filmmakers, 1973; chosen by Pope John Paul II to make his film biography, From a Far Country, 1980; during suppression of Solidarity movement, directed mainly in Western Europe, 1980s; elected president of FERA (Fédération européenne des réalisateurs de l’audiovisuel), 1990. Awards: Venice Festival prizewinner for The Death of a Provincial, 1966; Best Film, Polish film critics, for The Structure of Crystals, 1970; State Award, Polish Minister of Culture and Arts, 1973; Special Prize, VII Polish Film Festival, 1980; Donatello Prize, for From a Far Country, 1980; Special Jury Prize, Venice Film Festival, 1982; State Prize 1st Class, 1984; Vittorio De Sica International Film Award, Sorrento, 1990. Krzysztof Zanussi Films as Director: 1958 Droga do nieba (The Way to the Skies) (amateur film in collaboration with Wincenty Ronisz) 1966 Smierc prowincjala (The Death of a Provincial) (short, di- ploma film); Przemysl; Maria Dabrowska 1967 Komputery (Computers) 1968 Twarza w twarz (Face to Face) (+ co-sc) (for TV); Krzysztof Penderecki (for TV) 1969 Zaliczenie (An Examination, Pass Mark) (+ co-sc) (for TV); Struktura krsztalu (The Structure of Crystals) (+ co-sc) 1970 Gory o zmierzchu (Mountains at Dusk) (for TV); Zycie rodzinne (Family Life) (+ sc) 1971 Rola (Die Rolle) (+ sc) (for West German TV); Za sciana (Behind the Wall) (+ co-sc) (for TV) 1972 Hipoteza (Hypothesis) (+ sc) (for TV) 1973 Illuminacja (Illumination) (+ sc) 1974 The Catamount Killing 1975 Milosierdzie platne z gory (Nachtdienst; Night Duty) (for TV); Bilans kwartalny (A Woman’s Decision) (+ sc) 1976 Barwy ochronne (Camouflage) (+ sc) 1977 Anatomie stunde (Lekcja anatomii; Anatomy Lesson) (for TV); Haus der Frauen (House of Women); Penderecki, Lutoslawa; Brigitte Horney 1978 Spirala (Spiral) (+ sc) 1979 Wagen in der Nacht (Ways in the Night; Paths into the Night) (+ sc) 1980 Constans (The Constant Factor) 1981 Kontract (The Contract); From a Far Country; Versuchung (for TV) 1982 Uerreichbare (Imperative) 1984 Blaubart (Bluebeard); Rok spokojnego slonca (The Year of the Quiet Sun) 1985 Le Pouvoir du mal (The Power of Evil; Paradigme) 1987 Wherever We Are 1989 Stan Posiadania (Inventory) (+ sc) 1990 Dotkniecie (Touch) 1991 The Last Dance; Wittold Lutoslawski (doc); Zycie Za Zycie (A Life for a Life) 1992 The Silent Touch (+ co-pr); Lang Gespr?ch mit dem Vogel (for TV) (+ sc) 1996 Cwal (At Full Gallop) (+ sc, pr) 1997 Our God’s Brother 2000 Zycie jako smiertelna choroba przenoszona droga plciowa Other Films: 1978 Amator (Camera Bluff) (Kie?lowski) (role as himself) 1993 Kolejnosc uczuc (Sequence of Feelings) (Piwowarski) (pr) 1995 ‘‘Steps’’ (Olszewski) and ‘‘Pigs and Pearls’’ (Nikolic), epi- sodes in Love & Hate (co-pr) ZANUSSI DIRECTORS, 4 th EDITION 1098 Publications By ZANUSSI: articles— ‘‘The Ethics of Being Krzysztof Zanussi,’’ an interview with S. Murray, in Cinema Papers (Melbourne), September/October 1976. ‘‘Opcja przekorna: za ?wiadomo?cia,’’ an interview with T. Krzemień, in Kino (Warsaw), February 1977. ‘‘L’Oeuvre de Zanussi: le refus de la compromission,’’ an interview with René Prédal, in Jeune Cinéma (Paris), November 1980. ‘‘The Workings of a Pure Heart,’’ an interview with Jiri Weiss, in Cineaste (New York), vol. 11, no. 2, 1981. Interview with P. Pawlikowski, in Stills (London), Winter 1982. Interview, in La Revue du Cinéma (Paris), April 1983. Interview, in Interview (New York), December 1984. ‘‘Tightrope,’’ an interview with Marcia Pally, in Film Comment (New York), January/February 1986. Interview, in Etudes Cinématographiques (Paris), no. 156/158, 1987. Interview with T. Sobolewski, in Kino (Warsaw), June 1988. ‘‘An International Pole,’’ an interview with Ania Witkowska, in Film (London), January 1989. ‘‘Applause for a Donkey,’’ an interview with Z. Pietrasik, in Per- forming Arts Journal (New York), vol. 12, no. 2/3, 1990. ‘‘Ma premiere visite au cinéma,’’ in Positif (Paris), June 1994. Interview with Wanda Wertenstein, in Kino (Warsaw), Novem- ber 1995. Interview with Rafal Stec, in Kino (Warsaw), December 1997. On ZANUSSI: books— D’Agostino, Paolo, Krzysztof Zanussi, Florence, 1980. Pezzali, Giacomo, Polonia ultimo ciak: l’avventura del film ‘‘Da un paese lontano’’ di Krzysztof Zanussi, Milan, 1982. Paul, David W., editor, Politics, Art and Commitment in the Eastern European Cinema, New York, 1983. Estève, Michel, Krzysztof Zanussi, Paris, 1987. On ZANUSSI: articles— Hopfinger, M., ‘‘Zanussiego ?wiczenia z ?ycia,’’ in Kino (Warsaw), January 1973. Boleslaw, M., ‘‘The Cinema of Krzysztof Zanussi,’’ in Film Quar- terly (Berkeley), Spring 1973. ‘‘Krzysztof Zanussi,’’ in International Film Guide 1976, London, 1975. ‘‘Director of the Year,’’ International Film Guide (London, New York), 1976. Tassone, A., and others, special Zanussi section of Positif (Paris), December 1979. Martin, Marcel, and others, ‘‘Les Constantes de Krzysztof Zanussi,’’ special section of Image et Son (Paris), September 1980. Cowie, Peter, ‘‘Made in Poland: The Metaphysical Cinema of Krzysztof Zanussi,’’ in Film Comment (New York), September/October 1980. Paul, David, and S. Glover, ‘‘The Difficulty of Moral Choice: Zanussi’s Contract and The Constant Factor,’’ in Film Quarterly (Berkeley), Winter 1983/84. Josephson, E., article in Chaplin (Stockholm), vol. 33, no. 1, 1991. Filmowy Servis Prasowy (Warsaw), March 1991. M?ller, Olaf, ‘‘Die ruhende Sonne oder ein Mann bleibt sich treu,’’ in Film-Dienst (Cologne), 28 April 1992. Iskusstvo Kino (Moscow), no. 6, 1994. Iskusstvo Kino (Moscow), no. 2, 1996. Rehlin, Gunnar, ‘‘Danish Girls Show Everything (Danske piger viser alt),’’ in Variety (New York), 30 March 1998. *** The cinema of Krzysztof Zanussi explores a continuum of conflict ranging from the individual and interpersonal to the larger social order. He explores the relationship of the individual’s conscience to society’s norms of morality. Appearing as himself in Krzysztof Kieslowski’s Camera Buff, Zanussi says that he feels an obligation to question why the corrupt manipulators are the survivors. His is a provocative, cerebral cinema, objectifying its characters through both attention to detail and cool observation of the stages of conflict. During this process Zanussi demands the intellectual participation of his audience, and ultimately its response. The spectator should attain the level of self-awareness that his protagonists reach. Zanussi has worked chiefly under a system of government subsidy in his native Poland. He has headed one of the three Polish film units. Yet while West German television has produced many of his recent, non-Polish films, they are still subject to Polish government approval. His films have therefore occupied a space between individual self- expression and government tolerance. Prior self-censorship has been a factor in both his message and the discourse which conveys it. No clear separation exists between the private world of Zanussi the artist- intellectual and the public realm in which he operates. Three major types of conflicts permeate the films. The first is between determinism and free will (often clouded by chance). He elaborates this as the bridgeable gap between empiricism (rational analysis) and Catholicism (grace) in, for example, Illumination, The Constant Factor, and Imperative. Zanussi’s background in physics and philosophy strongly influences these films. Conflict between the individual and the corruption of (contemporary Polish) society is explored in Camouflage, The Constant Factor, and Contract. Zanussi masks the conflict in Ways in the Night, which presents the dilemma of an intelligent, sensitive young German officer who must uphold the policies of the National Socialists. The third major opposition is between the individual’s self-awareness and the invisible (yet perva- sive) pressures of the immediate social milieu; this is presented most strongly in Spiral and The Contract. From a Far Country, Zanussi’s biography of the Polish Pope John Paul II, is an important key to understanding Zanussi’s world view. In this film, no separation exists between the actions of the individual and the larger network of social forces in which he moves. The dichotomy of free will and determin- ism underlies the entire project. Although Zanussi sets his films in a precise historical context, he does explore some of the issues that have been universally debated by artists and intellectuals for many centuries. What distinguishes him as a filmmaker is his particular deployment of the technology of the cinema as a vehicle for his thematic concerns. His orchestration is meticulous. Spiral exemplifies the plight of the solitary individual living disharmoniously with himself and those around him. Zanussi follows the tortured protagonist with a jerky handheld camera through the maze of rooms and characters in a ski resort. In Family Life an individual in conflict with his family must resolve his dilemma, which will otherwise haunt him in his interaction with the larger social order. The director introduces the protagonist through a carefully plotted series of zooms, pans, and tilts, contextualizing the different spheres of conflict. In Contract Zanussi adds both an aural and a visual ZEFFIRELLIDIRECTORS, 4 th EDITION 1099 dimension to the conflict between a son and his family. The handheld camera follows his attempt to burn down the family home. Zanussi intercuts this obsessive behavior with the repetitive sound of bells from a sleigh which carries his family. At the end of The Constant Factor, a stone falls in slow motion from where the protagonist, who has fallen from occupational grace because of his incorruptibility, is cleaning windows. It strikes a child playing below; chance plays a hand in a universe beyond the individual’s control. Zanussi then cuts to the majestic, desolate mountains, as if to say there is no rational method for solving the existential dilemma. In all of Zanussi’s films these moments of cinematic self-con- sciousness alternate with long takes of intellectual debate and ques- tioning. During these probing conversations Zanussi is least obtrusive in the application of cinematic techniques. The irony, however, is that the ideological imprint of the director is most overt in the depiction of these verbal conflicts. Zanussi’s later films continue to examine human emotions and the difficulties of human relations as they exist within the context of historical events and cultural and political differences. Inventory is a subtle, reflective allegory whose characters mirror the downfall of Communism and the resulting political upheaval in Eastern Europe. Zanussi tells the story of two women: Julia, an ex-government censor who had rebelled against an oppressive system and whose spirit has been crushed; and an older woman, a devout Catholic whose church had played a key role in the resistance against Communist authority. The faith of the latter is tested when her idealistic son falls in love with Julia. Other Zanussi films deal with the issues of sacrifice and survival as they specifically relate to World War II. The Year of the Quiet Sun is a poignant drama set immediately after the end of the war in an area abandoned by the Germans and in the process of being resettled by Poland. While one small town begins to be revived, an American soldier and Polish refugee fall in love. ‘‘This is meant to be a film of gentle emotion,’’ explained the director. ‘‘The story I wish to tell is a love story, whose protagonists don’t speak a common language and can understand each other only by gestures, facial expressions, laughter, and a few isolated words.’’ A Life for a Life actually is set during the war. In reprisal for the escape of a young Silesian from Auschwitz in 1941, the Nazis condemn ten prisoners to starvation. A Franciscan priest eventually offers his life to save that of one of the prisoners, who has collapsed. Finally, The Silent Touch features Max von Sydow as a classical composer who survived the Holocaust. Now in retirement, he has turned to drink in his solitude. The scenario charts how he is induced back into creativity upon the arrival of a young music student who acts as his ‘‘guardian angel.’’ —Howard Feinstein, updated by Rob Edelman ZEFFIRELLI, Franco Nationality: Italian. Born: Gianfranco Corsi in Florence, 12 Febru- ary 1923. Education: Studied architecture at University of Florence, and at Accademia di Belle Arti, Florence. Family: One son, one daughter. Career: Theatre director, from 1945; designer for opera, from 1946; made only acting appearance in Zampa’s Angelina, 1947; assistant director to Visconti, for films and theatre, from 1947, working on La Terra trema, Bellissima, Senso; opera director, from 1953; directed first film, 1957; made Jesus of Nazareth for TV, 1977. Awards: Academy Award nomination, Best Director, for Romeo and Juliet, 1968. Films as Director: 1957 Camping (+ co-sc) 1965 La Boheme 1966 The Taming of the Shrew (+ co-sc); Florence—Days of Destruction (doc) 1968 Romeo and Juliet (+ co-sc) 1972 Fratelli sole sorella luna (Brother Sun, Sister Moon) (+ co-sc) 1977 Gesu di Nazareth (Jesus of Nazareth) (for TV) (+ co-sc) 1979 The Champ 1981 Endless Love 1982 La Traviata (+ sc); La Bohème (for TV) 1983 Strasphere (doc) 1986 Otello (Othello) (+ sc) 1988 Il Giovane Toscanini (Young Toscanini) 1990 Hamlet (+ co-sc) 1992 Storia di una Capinera (The Story of a Blackcap) (+ sc) 1993 Sparrow (+ sc) 1996 Jane Eyre (+ sc) 1999 Tea with Mussolini (+ sc) Other Films: 1947 Angelina (Zampa) (role) 1948 La terra trema (Visconti) (asst d) 1951 Bellissima (Visconti) (asst d) 1954 Senso (Visconti) (asst d) 1995 Placido Domingo: A Musical Life (role) Publications By ZEFFIRELLI: books— Franco Zeffirelli’s Jesus: A Spiritual Diary, San Francisco, 1984. Zeffirelli: The Autobiography of Franco Zeffirelli, London, 1986. By ZEFFIRELLI: articles— ‘‘Versatility,’’ an interview with Gordon Gow, in Films and Filming (London), April 1973. Interview with B. J. Demby in Filmmakers Newsletter (Ward Hill, Massachusetts), September 1973. ‘‘Knowing, Feeling, Understanding, Then Expression,’’ an interview with A. Stuart, in Films and Filming (London), August 1979. ‘‘A Dialogue with Franco Zeffirelli,’’ in American Cinematographer (Los Angeles), October 1981. Interview, in La Revue du Cinéma (Paris), May 1986. Interview by Jean-Michel Breque, in L’avant Scene Cinéma (Paris), May 1987. ZEFFIRELLI DIRECTORS, 4 th EDITION 1100 Franco Zeffirelli ‘‘Une aventure esaltante mais risquée,’’ an interview with J. M. Brèque, in Avant-Scène du Cinéma (Paris), July/August 1988. Interview with Steve Grant, in Time Out (London), 17 April 1991. ‘‘Breaking the Classical Barrier: Franco Zeffirelli Interviewed by John Tibbets,’’ in Literature-Film Quarterly (Salisbury, Mary- land), April 1994. ‘‘A Beachhead of Anti-Politics,’’ an interview with Nathan Gardels, in Los Angeles Times, 6 April 1994. ‘‘Anti-Politics of the Image,’’ an interview with Nathan Gardels, in New Perspectives Quarterly (Los Angeles), Summer 1994. On ZEFFIRELLI: articles— Lane, John, ‘‘The Taming of the Shrew,’’ in Films and Filming (London), October 1966. Chase, D., ‘‘The Champ: Round Two,’’ in American Film (Washing- ton, D.C.), July/August 1978. Pursell, M., ‘‘Artifice and Authenticity in Zeffirelli’s Romeo and Juliet,’’ in Literature/Film Quarterly (Salisbury, Maryland), Octo- ber 1986. Stivers, Cyndi, ‘‘Hamlet Revisited,’’ Premiere, February 1991. ‘‘Alas, Poor Mel,’’ in The Economist (London), 27 April 1991. Van Watson, William, ‘‘Shakespeare, Zeffirelli, and the Homosexual Gaze,’’ in Literature-Film Quarterly (Salisbury, Maryland), Octo- ber 1992. Rooney, D., ‘‘Zeffirelli Suffers the Unkindest Cut,’’ in Variety (New York), 11/17 March 1996. Lee, A., ‘‘Zeffirelli’s Revenge,’’ in New Yorker, 22 April 1996. Calderale, M., in Segnocinema (Vicenza), May/June 1996. Simmons, James R. Jr., and Philip Weller, ‘‘‘In the Rank Sweat of an Enseamed Bed,’: Sexual Abberation and the Paradigmatic Screen Hamlets: Freud’s Footprints in Films of Hamlet,’’ in Literature/ Film Quarterly (Salisbury), April 1997. *** Franco Zeffirelli imbues his theater, opera, and film productions with a dazzling array of baroque imagery, visual pyrotechnics, sumptuous sets and costumes, and overt eroticism. Of his major motion pictures, nearly all are adaptations of classical derivation set in another era. To many viewers, his films are hollow, banal, and superfluous romantic exercises, but Zeffirelli defends his love of the ZEMECKISDIRECTORS, 4 th EDITION 1101 past and tradition by saying: ‘‘We have no guarantee for the present or the future. Therefore the only choice is to go back to the past and respect traditions. I have been a pioneer in this line of thinking, and the results have proven me right.... The reason I am box-office everywhere is that I am an enlightened conservative continuing the discourse of our grandfathers and fathers, renovating texts but never betraying them.’’ After studying architecture at the University of Florence, Zeffirelli took up acting. Luchino Visconti saw him in a production of Jean Cocteau’s Les Parents terribles and hired him to act in stage produc- tions of two works—Eurydice, by Jean Anouilh, and Crime and Punishment, by Dostoevsky. Zeffirelli also involved himself in designing sets and costumes for Visconti’s stage presentations, and appeared in the film L’onorevole Angelina, directed by Luigi Zampa and starring Anna Magnani. As a result of that film, he was offered a seven-year acting contract at RKO-Radio by screenwriter Helen Deutsch. Zeffirelli turned the offer down, however, to become Visconti’s assistant on three films—La terra trema, Bellissima, and Senso. Zeffirelli’s natural talent in the realms of set and costume design and his love of opera provided an obvious segue into staging opera productions. These productions gained a reputation for opu- lence and for the focusing of attention on the lead female singers. Zeffirelli, who says he ‘‘adores fun, fantasy, and women,’’ empha- sized these elements in his operas. His most famous and successful association in opera was with the volatile Maria Callas, for whom he staged productions of La Traviata, Lucia de Lammermoor, Norma, and Tosca. His lengthy apprenticeship in the various theatrical arts earned Zeffirelli a reputation as a Renaissance man of sorts. He turned to feature film directing in 1967, bringing his romanticized tradition- alism to The Taming of the Shrew, which starred Elizabeth Taylor and Richard Burton. While unarguably a bowdlerization of Shakespeare, its slapstick and boisterous merriment was engaging. Romeo and Juliet was another matter entirely. Here the very heart of Shakespeare was replaced with Romeo and Juliet as flower children. It was an unabashed combination of theatricality, nude love scenes, and a Mercutio which Zeffirelli describes as ‘‘a self-portrait of Shakespeare himself as a homosexual.’’ The film was tremen- dously popular with the young movie-going audience and received Academy Awards for cinematography and costume design. Fratello sole sorella lune (Brother Sun, Sister Moon) was also aimed at the young, this time the ‘‘Jesus freaks,’’ members of a fundamentalist religious group, but this outrageous portrait of St. Francis of Assisi was a complete flop. Zeffirelli’s 1978 Easter television presentation, Jesus of Nazareth, employed a star-studded cast and surprised many serious critics with its sensitivity and restraint. This was not the case, however, with his syrupy diminishing of The Champ, a sentimental classic that should never have been updated. Zeffirelli disavows the explicitly erotic Endless Love, a vehicle for Brooke Shields, which, he says, was a beautiful story of the tragedy of two families in its original three-hour-version. He labeled the trun- cated version ‘‘trash’’ and vowed to stop with his attempts to capture the young audience. Appropriately, his next picture was the opulent and admirably cinematic presentation of La Traviata. For his Hamlet, however, he courted controversy with his casting of heartthrob Mel Gibson in the title role. Zeffirelli’s Hamlet was similar to his earlier The Taming of the Shrew in that both attempted to bring Shakespeare to the masses by casting bankable Hollywood names—Mel Gibson, Glenn Close— alongside classically trained Britons—Paul Scofield, Alan Bates, Ian Holm. Zeffirelli defends his extravagant approach to filmmaking by saying, ‘‘I am a flag-bearer of the crusade against boredom, bad taste, and stupidity in the theater,’’ but he is still the target of critical barbs such as those from a Time magazine reviewer who stated he was ‘‘a director in need of a director.’’ Zeffirelli’s other recent films of note include Tea with Mussolini and Sparrow, a typically ornate but otherwise ponderous account of a young novice nun in 1850s Sicily who is forced out of her convent because of a cholera epidemic. She returns to her hometown and promptly falls in love, but rejects her suitor to return to the nunnery. Once there, she is conflicted by her feelings for her beloved and her religious commitment. Almost driven to insanity, she eventually garners the fortitude to persevere in her religious calling. In recent years, Zeffirelli primarily has concentrated on directing opera productions in Europe and the United States, including a stint at New York’s Metropolitan Opera, where he directed a 1995 produc- tion of La Traviata. —Ronald Bowers, updated by Rob Edelman ZEMECKIS, Robert Nationality: American. Born: Chicago, Illinois, 14 May 1951. Education: Attended Northern Illinois University; University of Southern California School of Cinema, graduated 1973. Family: Married Mary Ellen Trainor. Career: Following graduation, with Bob Gale, asked to develop material for Steven Spielberg and John Milius; also worked as cutter of advertisements, 1970s; directed his first feature, I Wanna Hold Your Hand, 1978; also worked as a writer for TV. Awards: Special Jury Award Student Academy Award, for Field of Honor, 1973; Los Angeles Film Critics Association Special Award, for Who Framed Roger Rabbit?, 1988; Best Director Acad- emy Award, Directors Guild of America Outstanding Directorial Achievement in Motion Pictures, Best Director-Motion Pictures Golden Globe, for Forrest Gump, 1994. Address: 1880 Century Park E., #900, Los Angeles CA 90067, U.S.A. Films as Director: 1973 Field of Honor (short) (+ sc) 1978 I Wanna Hold Your Hand (+ co-sc) 1980 Used Cars (+ co-sc) 1984 Romancing the Stone 1985 Back to the Future (+ co-sc) 1988 Who Framed Roger Rabbit? 1989 Back to the Future II ZEMECKIS DIRECTORS, 4 th EDITION 1102 Robert Zemeckis 1990 Back to the Future III 1992 Death Becomes Her (+ co-pr) 1994 Forrest Gump 1997 Contact(+ pr) 1999 The 20th Century: The Pursuit of Happiness (doc) (for TV) 2000 What Lies Beneath; Cast Away Other Films: 1979 1941 (Spielberg) (co-sc) 1992 Trespass (Hill) (co-sc, co-exec pr); The Public Eye (Franklin) (exec pr) 1993 Johnny Bago (series for TV) (pr) 1995 Demon Knight (Demon Keeper, Tales from the Crypt Pre- sents: Demon Knight) (exec pr); W.E.I.R.D. World (for TV) (exec pr) 1996 The Frighteners (Robert Zemeckis Presents: The Frighteners) (exec pr); Bordello of Blood (Tales from the Crypt Pre- sents: Bordello of Blood) (exec pr) 1997 Perversions of Science (series for TV) (exec pr) 1999 House on Haunted Hill (Haunted Hill) (pr) Publications By ZEMECKIS: articles— Interview, in Filmmakers Newsletter (Ward Hill, Massachusetts), June 1978. Interview with A. Crystal, in Films and Filming (London), Decem- ber 1985. Interview with A. Garel, in Revue du Cinéma (Paris), Novem- ber 1985. ‘‘Back with a Future,’’ an interview with Mark Horowitz in American Film (Los Angeles), July/August 1988. Interview, in Time Out (London), 23 November 1988. ‘‘Gump Becomes Him,’’ interview with Ted Elrick in DGA Maga- zine (Los Angeles), February/March 1995. ZEMECKISDIRECTORS, 4 th EDITION 1103 On ZEMECKIS: articles— Richardson, E. A., article in Extrapolation, vol. 29, no. 2, 1988. Ruud, J., ‘‘Back to the Future as Quintessential Comedy,’’ Literature Film Quarterly, vol. 19, no. 2, 1991. Weinraub, Bernard, ‘‘A Director Examines Hollywood’s Reshaping,’’ in New York Times, 14 July 1992. Carpenter, T., ‘‘Hope I Die before I Get Old,’’ in Premiere (New York), September 1992. Kehr, Dave, ‘‘Who Framed ‘Forrest Gump,’’’ in Film Comment (New York), March/April 1995. Morgenstern, Joe, ‘‘Bob Z Can Read Your Mind,’’ in Playboy (Chicago), August 1995. *** Did Robert Zemeckis ‘‘out-Spielberg’’ early-career Spielberg? As it stands now Zemeckis seems close to beating his closest mentor at his own game. Still, there has been a catch to all this: Zemeckis’s work has been much celebrated for its dazzling technological inven- tiveness, and then pretty much left at that. While his films are technically impressive, they are also more than that. Who Framed Roger Rabbit? does indeed blend animation with live action bril- liantly, but that observation does not exhaust the film. Zemeckis, in all his work, also chooses narratives that work out conflicts arising from a complex dual structure, elicits a fondness for injecting his films with both a serious moral undertone and black comedy, and puts forth a carefully controlled kinetic sense that works both to hold these movies together and to keep them extraordinarily dynamic. All Zemeckis’s films present narratives in which different worlds are at odds with each other, starting with his celebrated short Field of Honor. Continuing the line, I Wanna Hold Your Hand contrasts the frustrating glimpses that the Beatle-crazed protagonists get of the group with the satisfying television representation of them on the Ed Sullivan Show. Zemeckis repeatedly returns to this narrative tension as characters’ lives interact with highly mediated visions in Used Cars (politics clashes with and merges with advertising), Romancing the Stone (Kathleen Turner’s onscreen adventures contrast with her romance novel ideals), Roger Rabbit (humans interact uneasily with ‘toons), and Contact (which deals with issues of rationalism versus faith, and science versus religion). In the Back to the Future trilogy, the present (1985 suburban California) is contrasted to both the past and the future. Zemeckis’s characters generally find the less medi- ated, more ‘‘real’’ world to be lacking but ultimately acceptable. For instance, in Romancing the Stone Michael Douglas does not meet Kathleen Turner’s expectations for Jess, her ideal man, but she pines for him anyway, and in the end goes to him. Only Roger Rabbit suggests that some sort of happy compromise is possible as both types of characters walk off together toward ‘Toontown at closure, though a case could be made for Future III, which combines the vistas of Ford with the optimism of Hawks. These films also ponder serious questions in an entertaining way. Used Cars, as it explores the commercialization of American politics, itself can be seen as an extended form of the joke often told in reference to Nixon: ‘‘Would you buy a used car from this man?’’ Even more directly, the Future films, and to a lesser extent Roger Rabbit, overtly address questions concerning the impact that the present has on the future and our responsibilities to history. While bringing up such questions so directly in genre film is fairly rare, the unsystematic treatment such issues get here is not. Christopher Lloyd in the Future trilogy illustrates this cavalier treatment well. When faced with a question of how he could risk the space-time continuum so blithely, he responds, ‘‘Oh, what the hell.’’ Also, while he repeatedly stresses the risks to the universe occasioned by his inventions, he always fixes his time machine ‘‘one last time’’ and even fashions an entirely new one at the end of Future III. Zemeckis combines this interest in moral questions with an almost Bu?uelian sense of humor. His use of black comedy is evident most obviously in Used Cars, which, among other things, uses a corpse as a comedy prop. Romancing the Stone, meanwhile, contains the following ex- change: ‘‘Have they found her husband’s body yet?’’ ‘‘Just the one piece.’’ Further, the dark vision of 1985 in Future II is there at the edges of the other films in the trilogy. The porno theaters and winos that sprout in the middle film are present in the other installments in smaller numbers, often used for comedic effect, as when the same homeless person reappears again and again at different times. Even in Roger Rabbit some representations of the victims of World War II can be seen in the Terminal Bar. Zemeckis makes use of a consistent spatial design to keep these disparate elements together. His spaces often take on readily discern- ible circular shapes. Chases are almost always chases around things: around the New Deal Used Car Lot, around the kitchen during the ‘‘Something’s Cookin’’’ segment of Roger Rabbit, around the court- house square in the Future films. Fights also usually move around objects: around a broken stick in Romancing the Stone, around a cartoon mallet in Roger Rabbit, around Biff’s speeding car in Future II. These broad movements are mirrored by characters and objects in a number of other ways (Roger Rabbit’s movements after taking a drink, the looping take-offs of the flying time machines). On a different level this kinetic concern mirrors the circular narrative elements mentioned above, as the characters explore other worlds and typically settle for the one with which they started. Zemeckis blends these elements to form extremely vital, extremely satisfying wholes. Since the conclusion of the Back to the Future trilogy, Zemeckis’s film output has been limited. The overall slightness of Death Becomes Her, a black comedy made memorable only by some eye-popping visual effects (and, to a lesser extent, the always watchable Meryl Streep, playing an egocentric actress), makes this film a minor credit on Zemeckis’s filmography. This is especially so when contrasted to his follow-up: Forrest Gump, which upon its release was christened one of the defining movies of the baby boom generation. The film made ‘‘stupid is as stupid does’’ a national catchphrase, and critics and audiences raved about the film, which went on to win six Academy Awards—including one for Zemeckis as Best Director. To be sure, Forrest Gump is an appealing film. But it also is deeply flawed. Its scenario mirrors the tumultuous events of American history from the 1960s through 1980s as reflected through the experiences of the title character (Tom Hanks). There are the assassi- nations of John and Robert Kennedy, and the murder of John Lennon; the unwinnable and mismanaged Vietnam War; anti-war protests and the 1960s counterculture; and, finally and tragically, the AIDS plague. The point of the film is that, truly, the baby boom generation is a Lost Generation. Every generation may have its own set of prob- lems: The parents of baby boomers, for instance, contended with the Great Depression and World War II. But for those coming of age during the 1930s and 1940s, problems were clearly defined. There was no debate regarding America’s declaration of war against Ger- many and Japan. To its credit, Forrest Gump does get the Vietnam war right. For too long, Vietnam vets in movies were depicted as stereotypical ZETTERLING DIRECTORS, 4 th EDITION 1104 sadists, drug abusers, and Charles Manson clones, all scapegoats for the folly of Vietnam. However, in such films as Born on the Fourth of July, Jacknife, and Forrest Gump, Vietnam vets finally were rendered with compassion and thoughtfulness. Yet Forrest Gump remains in many ways a simplistic film. Anti-war activists are depicted as one- dimensional, amoral twits, and many viewers found the film to be reactionary in its political overview. The Vietnam era was a complex time. Surely those millions who came to be against the war deserve far more thoughtful and three-dimensional depictions than may be found in Forrest Gump. Zemeckis’s first post-Forrest Gump project was Contact, based on a Carl Sagan novel about a scientist-astronomer (Jody Foster) who is obsessively dedicated to the field of SETI (Search in Extra- Terrestrial Intelligence). With this choice, and the manner in which Zemeckis explores the possibility that otherworldly life may indeed exist, it might be said that the Zemeckis-Spielberg ‘‘link’’ has come full-circle. —Mark Walker, updated by Rob Edelman ZETTERLING, Mai Nationality: Swedish. Born: V?steras, 24 May 1925. Education: Royal Dramatic Theatre School, Stockholm, 1942–45. Family: Mar- ried 1) actor Tutte Lemkow (divorced), two children; 2) writer David Hughes (divorced). Career: Stage debut and film debut, 1941; in company of Royal Dramatic Theatre, Stockholm, 1945–47; began Mai Zetterling collaborating on TV documentaries with husband Hughes, 1960s; directed episode of Mistress of Suspense for TV, 1990. Awards: Golden Lion, Venice Festival, for The War Game, 1963. Died: March 1994. Films as Director: 1960 The Polite Invasion (short, for BBC TV) 1961 Lords of Little Egypt (short, for BBC TV); The War Game (short) (+ pr) 1962 The Prosperity Race (short, for BBC TV) 1963 The Do-It-Yourself Democracy (short, for BBC TV) 1964 Alskande par (Loving Couples) (co-d with David Hughes) 1966 Nattlek (Night Games) (co-d with Hughes) 1967 Doktor Glas (co-d with Hughes) 1968 Flickorna (The Girls) (co-d with Hughes) 1971 Vincent the Dutchman (co-d with Hughes, pr) (doc) 1973 ‘‘The Strongest,’’ episode of Visions of Eight (co-d with Hughes) 1976 We har manje namn (We Have Many Names) (+ ed, role) 1977 Stockholm (+ role) (for Canadian TV) 1978 The Rain’s Hat (+ ed) (for TV) 1982 Love (for TV) 1983 Scrubbers 1986 Amorosa (+ sc, ed) 1990 Sunday Pursuit Other Films: 1941 Lasse-Maja (Olsson) (role) 1943 Jag drapte (Molander) (role) 1944 Hets (Torment; Frenzy) (Sj?berg) (role); Prins Gustaf (Bauman) (role) 1946 Iris och Lojtnantshjarta (Iris and the Lieutenant) (Sj?berg) (role); Frieda (Relph) (role); Driver dagg faller Regn (Sunshine Follows Rain) (role) 1948 Musik i morker (Bergman) (role); Nu borjar livet (Molander) (role); Quartet (Smart and others) (role); The Bad Lord Byron (MacDonald) (role); Hildegard (role) 1949 Portrait from Life (The Girl in the Painting) (Fisher) (role); The Romantic Age (Gréville) (role); The Lost People (Knowless) (role) 1950 Blackmailed (Marc Allégret) (role); The Ringer (Hamil- ton) (role) 1952 The Tall Headlines (The Frightened Bride) (Young) (role) 1953 The Desperate Moment (Bennett) (role); Knock on Wood (Frank and Panama) (role) 1954 Prize of Gold (Robson) (role); Dance Little Lady (Guest) (role) 1956 ‘‘Ett dockhem’’ (A Doll’s House), episode of Giftas (Henriksson) (role); Abandon Ship (Seven Waves Away) (Sale) (role) 1957 The Truth about Women (Box) (role) 1958 Lek pa regnbagen (Kjellgren) (role) 1959 Jet Storm (Endfield); Faces in the Dark (Eady) (role) 1960 Piccadilly Third Stop (Rilla) (role); Offbeat (Owen) (role) 1961 Only Two Can Play (Gilliat) (role) 1962 The Main Attraction (Petrie) (role); The Man Who Finally Died (Lawrence) (role) ZETTERLINGDIRECTORS, 4 th EDITION 1105 1963 The Bay of St. Michel (Ainsworth) (role) 1965 The Vine Bridge (Nykvist) (role) 1988 Calling the Shots (doc) (Cole) (appearance) 1989 The Witches (Roeg) (role) 1990 Hidden Agenda (Loach) (role) Publications By ZETTERLING: books— Bird of Passage, New York, 1976. All Those Tomorrows, London, 1985. By ZETTERLING: articles— ‘‘Some Notes on Acting,’’ in Sight and Sound (London), October/ December 1951. ‘‘Mai Zetterling at the Olympic Games,’’ an interview in American Cinematographer (Los Angeles), November 1972. ‘‘Mai Zetterling,’’ an interview with A. Jordahl and H. Lahger, in Chaplin, vol. 34, no. 3, 1992. On ZETTERLING: books— Bjorkman, Stig, Film in Sweden, the New Directors, London, 1979. Heck-Rabi, Louise, Women Filmmakers: A Critical Reception, Metuchen, New Jersey, 1984. On ZETTERLING: articles— ‘‘Meeting with Mai Zetterling,’’ in Cahiers du Cinéma in English (New York), December 1966. Pyros, J., ‘‘Notes on Women Directors,’’ in Take One (Montreal), November/December 1970. McGregor, C., ‘‘Mai Is behind the Camera Now,’’ in New York Times, 30 April 1972. Elley, Derek, ‘‘Hiding It under a Bushel: Free Fall,’’ in Films and Filming (London), April 1974. Modrzejewska, E. ‘‘Wiedzmy,’’ in Filmowy Serwis Prasowy, vol. 37, no. 11/12, 1991. *** Mai Zetterling’s career as a filmmaker stemmed from her disillu- sionment with acting. Trained at Stockholm’s Royal Dramatic Thea- ter, Zetterling debuted on stage and screen in 1941. She considered the film Torment her best acting achievement. She worked in British theatre, enacting roles in Chekhov, Anouilh, and Ibsen plays, and in British films. After one part in a Hollywood film, Knock on Wood with Danny Kaye, she spurned contract offers and returned home. With her husband, David Hughes, she made several documenta- ries in the 1960s dealing with political issues. Zetterling’s feature films depict the social status and psyche of women, reflecting her feminist concerns. The uncompromising honesty of perception and technical virtuosity in her films correspond to the pervasive and dominant themes of loneliness and obsession. Zetterling says: ‘‘I want very strongly to do things I believe in. I can’t do jobs for the money. I just can’t do it.’’ In 1960, Roger Moorfoot of the BBC financed her idea for a film on the immigration of Swedes to Lapland, The Polite Invasion. Three more followed: The Lords of Little Egypt depicted the gypsies at Saintes-Maries-de-la-Mer; her view of Swedish affluence in The Prosperity Race was not appreciated in Stockholm; and Do-It- Yourself Democracy commented on Icelandic society and govern- ment. Her first independent effort was the fifteen-minute anti-war film The War Game, in which two boys tussle for possession of a toy gun. Zetterling’s first feature film, Loving Couples, was based on the fifth volume of Swedish author Agnes von Krusenstjerna’s seven- volume novel, The Misses von Pahlen. Zetterling wrote the script in one year, with sketches of each shot to indicate camera positions. In it, three expectant mothers in a Stockholm hospital recall their lives in the moment of, and then beyond, the births of their babies. Critic Derek Elley suggests that Zetterling developed her theories and themes of film in Loving Couples and rarely deviated from them in later works. She employs elaborate timelines as well as flashbacks, which she uses often and well, intertwining them one within another. Her films peak emotionally in scenes of parties and social gatherings. Her films are cohesive compositions, with a literary base, filmed in the stark contrasts of black to white, with a range of grays intervening. Zetterling’s scenes of sexual behavior are integral to her themes of loneliness and obsession. Loving Couples exemplifies these characteristics. Night Games, derived from Zetterling’s novel with the same title, was banned from the Venice Film Festival. The critics who saw it were angered by the Marxist and Freudian elements in it; shocked by scenes of vomiting, masturbation, and childbirth. Based on Hjalmar Soderberg’s 1905 novel, her next film, Doktor Glas, records the haunted love of a young physician for a pastor’s wife. Even though the wife does not respond to the physician’s erotic overtures, he administers a lethal drug to the pastor. It is Zetterling’s grimmest study of loneliness, as Derek Elley observes, and her most pessimistic film, told in one extended flashback, ‘‘a far cry from Night Games.‘‘ She returned to a strongly feminist story in Flickorna and, as in Loving Couples, it contains three female roles of equal weight. In Flickorna three actresses perform Lysistrata on tour, acting out the views of the play in their private lives. Some critics reacted nega- tively, finding it self-indulgent, a mix of Greek comedy and soap opera, with heavy symbolism and confusing time structures. Other critics liked the various forms of humor effectively employed, and the arresting imagery. In 1971, Zetterling filmed a documentary in color about Vincent Van Gogh. Titled Vincent the Dutchman, it was shown on American and British television. David Wolper then asked her to film any phase of the 1972 Olympics she chose; she filmed the weightlifting se- quence, ‘‘The Strongest,’’ for Visions of Eight. In the 1970s, Zetterling published three novels, pursuing creative directions other than filmmaking. She also continued making documentaries (one on tennis champion Stan Smith, one dealing with Stockholm, another on marriage customs), along with a seven-hour adaptation for French television of Simone de Beauvoir’s The Second Sex. Zetterling asserted that whatever she filmed, it would be ‘‘something I be- lieve in.’’ —Louise Heck-Rabi ZHANG YIMOU DIRECTORS, 4 th EDITION 1106 ZHANG YIMOU Nationality: Chinese. Born: Xi’an, Shaanxi, China, 14 November 1950. Education: High School in Xi’an until interrupted by the Cultural Revolution, 1966; Beijing Film Academy, 1978–1982. Family: Married Xiao Hua (divorced), relationship with actress Gong Li, 1987 to 1995. Awards: Best Actor, Tokyo International Film Festival, for The Old Well, 1987, Golden Bear Award, Berlin Film Festival, and New York Film Festival Best Film Award, for Red Sorghum, 1988; Best Film Not in the English Language, BAFTA, Best Foreign Language Film, New York Film Critics, Best Foreign-Language Film, National Society of Film Critics, and Silver Lion, Venice Film Festival, all for Raise the Red Lantern, 1992; Best Foreign-Language Film, National Society of Film Critics, and Golden Lion, Venice Film Festival, both for The Story of Qiu Ju, 1993; Best Film Not in the English Language, BAFTA, and Grand Prize, Cannes Film Festival, both for To Live, 1995; Technical Grand Prize, Cannes Film Festival, 1995, and Golden Globe for Best Foreign Language Film, 1996, for Shanghai Triad. Films as Director: 1988 Hong gao liang (Red Sorghum) (+ ro) 1989 Daihao meizhoubao (Operation Cougar; The Puma Action) 1990 Ju Dou Zhang Yimou 1991 Da hong deng long gao gao gua (Raise the Red Lantern) 1992 Qiu Ju da guan si (The Story of Qiu Ju) 1994 Huozhe (To Live) 1995 Yao a yao yao dao waipo qiao (Shanghai Triad); episode in Lumière et compagnie (Lumière and Company) 1997 You hua hao hao shuo (Keep Cool) (+ ro) 1999 Yi ge dou bu neng shao (Not One Less); Wo de fu qin mu qin (The Road Home); Turandot—At the Forbidden City of Bejing (for TV) Films as Cinematographer: 1983 Yi ge he ba ge (One and Eight) (Zhang Junzhao) 1984 Huang tu di (Yellow Earth) (Chen Kaige) 1986 Da yue bing (The Big Parade) (Wu Tianming) 1987 Lao jing (The Old Well) (Wu Tianming) (+ ro) Other Films: 1989 Qin yong (A Terracotta Warrior) (Siu-Tung Ching) (ro) 1993 Hua hun (Soul of a Painter) (sc) 1997 Lung sing jing yuet (Dragon Town Story) (pr) Publications By ZHANG YIMOU: article— Ye, Tan, ‘‘From the Fifth to the Sixth Generation’’ interview in Film Quarterly, Winter 1999. On ZHANG YIMOU: book— Wang, Pin, Chang I-mou che ko jen, Beijing, 1998. On ZHANG YIMOU: articles— Chute, David, ‘‘Golden Hours (on the Set of Raise the Red Lantern),’’ in Film Comment, March-April 1991. Chua, Lawrence, ‘‘Making Movies (or Trying To) in China,’’ in Premiere, March 1992. Pan, Lynn, ‘‘A Chinese Master,’’ in The New York Times Magazine, 1 March 1992. ‘‘Zhang Yimou,’’ in Current Biography, August 1992. Hoberman, J., ‘‘China’s Revolutionary Director,’’ in Vogue, April 1993. Sutton, D.S., ‘‘Ritual, History, and the Films of Zhang Yimou,’’ in East-West (Honolulu), no. 1295, 14 June 1995. ‘‘In the Censors’ Toils,’’ in The Economist, 12 November 1994. Zha, J., ‘‘Killing Chickens to Show the Monkey,’’ in Sight and Sound (London), vol. 5, January 1995. Klawans, Stuart, ‘‘Zhang Yimou: Local Hero,’’ in Film Comment, September-October 1995. ‘‘Special Section,’’ in Cinemaya (New Delhi), no. 30, Autumn 1995. ZINNEMANNDIRECTORS, 4 th EDITION 1107 Article in Transnational Chinese Cinemas: Identity, Nationhood, Gender, edited by Sheldon Hsiao-Peng Lu, Honolulu, 1997. Wei, Y., ‘‘Music and Femininity in Zhang Yimou’s Family Melo- drama,’’ in CineAction (Toronto), no. 42, 1997. *** Born in the thick of revolution, prolific Chinese filmmaker Zhang Yimou learned early about cataclysmic social change and deep personal secrets. The son of an officer of the Kuomintang, Zhang was born a suspicious character to his new government. Like many other children of privileged families swept up in the Cultural Revolution, his higher education was factory labor, and his entertainment con- sisted of government sponsored films and theatrical productions, usually simplistic, moralistic, and patriotic. Though Zhang was fascinated by film, and managed to buy his first camera while working in a textile factory, he would be forever influenced by his disgust with the overtly propagandistic films of his youth. Later he would recall, ‘‘When we were in film school, we swore to each other we would never make films like that.’’ By 1982, the Beijing Film Academy, which had been closed during the Cultural Revolution, was reopened, and Zhang was part of the first post-Mao graduating class. It was the fifth class to ever graduate the Academy, giving Zhang and his classmates their sobri- quet, the ‘‘fifth generation’’ of Chinese filmmakers. The fifth genera- tion were not establishment filmmakers, but they gained international notice because of the moral complexity and gritty realism of their films. Though he was designated a cinematographer, Zhang soon began directing his own films, which would be characterized by their stark humanity and stunning visual imagery. Through 1995, they would also be characterized by the powerful performances of Gong Li, one of China’s most famous actors and Zhang’s longtime lover. Zhang’s first film was Red Sorghum, a lyrical folk tale of a film that presented viewers with a strong, even ruthless, heroine to challenge the traditional Chinese subjugation of women. Mostly set in the 1920s in the harsh countryside of rural China, Red Sorghum was at the forefront of a new breed of Chinese film that was beginning to express moral ambiguity and chafing under authority. Zhang’s next film, Codename Cougar, was fairly noncontroversial, a political action/thriller about an airplane hijacking, but he soon returned to the themes of societal repression and rebellion that would cause many of his films to be banned by the Chinese government. In Ju Dou, Zhang revisits his rural roots for a story of brutality and starvation, both literal and figurative, about the passion between a poor mill worker and the abused wife of the mill owner. Ju Dou was the first of Zhang’s films to be banned. Zhang’s next films, Raise the Red Lantern, The Story of Qiu Ju, and To Live, were all banned by the government of his homeland, and were all visually remarkable films of the passion and drama in simple country life and the struggle of the common people (often women) against a brutal power system. Raise the Red Lantern illustrates the position of concubines as property, The Story of Qiu Ju follows a young woman’s struggle to gain justice from an unfeeling bureau- cracy, and To Life documents the turbulent times of the Cultural Revolution. Audiences around the world flocked to peek through this keyhole into the emerging Chinese sensibility. Zhang stayed on safer ground in his next film. Shanghai Triad is a lush gangster movie set in 1930s Shanghai that was widely admired, even by the Chinese government. Shanghai Triad was selected for the honor of opening the New York Film Festival, but politics prevailed. Even though Chinese authorities approved of Zhang’s film, they did not approve of another documentary about China slated for the festival, and Zhang was virtually forbidden to attend his film’s triumph. Following his split with Gong Li, Zhang’s films became less star- driven. Not One Less is the story of a substitute teacher in a remote village who becomes obsessed with preventing one of her students from dropping out of school. Zhang filmed the movie on location in a tiny rural village, using villagers as his cast. The result here, and in his subsequent films such as The Road Home, is a direct film that expresses, without grandiosity, the endless contradictions that com- prise human life. While many of Zhang’s films offer a bleak picture of Chinese life, but they are never hopeless. Rather they reveal a sensual zest for life that survives the harshest conditions, and an underlying humor that sweetens despair. Audiences in China were hungry for the triumphant spirit of rebellion that pervades Zhang’s films, and audiences around the world soon found that China was not so far removed from them after all. —Tina Gianoulis ZINNEMANN, Fred Nationality: Austrian/American. Born: Vienna, 29 April 1907. Education: Educated in law, University of Vienna, degree 1927; studied one year at the Ecole Technique de Photographie et Cinématographie, Paris. Family: Married Renée Bartlett, 1936, one son. Career: Assistant cameraman in Paris and Berlin, then with Billy Wilder, Eugen Schüfftan, and Robert Siodmak, made Menschen am Sonntag, 1928; moved to Hollywood, became assistant camera- man and cutter for Berthold Viertel, 1929; worked with Robert Flaherty on unrealized documentary project, Berlin, 1931; worked in Mexico with Paul Strand on Los Redes, 1934–35; hired by MGM to direct short subjects, 1937; directed first feature, 1942; vice president, Directors Guild of America, 1961–64. Awards: Oscars for Best Short Subject, for That Mothers Might Live, 1938, and Benjy, 1951; Best Direction, New York Film Critics, for High Noon, 1952; Oscar for Best Director, and Director Award, Directors Guild of America, for From Here to Eternity, 1953; Best Direction, New York Film Critics, for The Nun’s Story, 1959; Oscar for Best Director, Best Direction, New York Film Critics, and Director Award, Directors Guild of America, for A Man for All Seasons, 1966; D. W. Griffith Award, 1971; Order of Arts and Letters, France, 1982; U.S. Congressional Lifetime Achievement Award, 1987; John Huston Award, Artists Rights Foundation, 1994. Died: 14 March 1997, in London, England, of heart attack. Films as Director: 1934/35 Los Redes (The Wave) 1938 A Friend Indeed (short for MGM); The Story of Dr. Carver (short for MGM); That Mothers Might Live (short for ZINNEMANN DIRECTORS, 4 th EDITION 1108 Fred Zinnemann on the set of The Day of the Jackal MGM); Tracking the Sleeping Death (short for MGM); They Live Again (short for MGM) 1939 Weather Wizards (short for MGM); While America Sleeps (short for MGM); Help Wanted! (short for MGM); One against the World (short for MGM); The Ash Can Fleet (short for MGM); Forgotten Victory (short for MGM) 1940 The Old South (short for MGM); Stuffie (short for MGM); The Way in the Wilderness (short for MGM); The Great Med- dler (short for MGM) 1941 Forbidden Passage (short for MGM); Your Last Act (short for MGM) 1942 The Lady or the Tiger? (short for MGM); The Kid Glove Killer; Eyes in the Night 1944 The Seventh Cross 1945 Little Mr. Jim 1946 My Brother Talks to Horses 1947 The Search 1948 Act of Violence 1950 The Men 1951 Teresa; Benjy (short) 1952 High Noon; The Member of the Wedding 1953 From Here to Eternity 1955 Oklahoma 1957 A Hatful of Rain 1958 The Nun’s Story 1960 The Sundowners (+ pr) 1963 Behold a Pale Horse (+ pr) 1966 A Man for All Seasons (+ pr) 1973 The Day of the Jackal (+ pr) 1977 Julia (+ pr) 1982 Five Days One Summer (+ pr) (re-edited version released 1988) Other Films: 1927 La Marche des machines (Deslaw) (asst cameraman) 1929 Ich Küsse Ihre Hand, Madame (Land) (asst cameraman); Sprengbagger 1010 (Achaz-Duisberg) (asst cameraman); Menschen am Sonntag (People on Sunday) (Siodmak) (asst cameraman) 1930 Man Trouble (asst d to Berthold Viertel); All Quiet on the Western Front (Milestone) (bit role) ZINNEMANNDIRECTORS, 4 th EDITION 1109 1931 The Spy (asst d to Viertel) 1932 The Wiser Sex (asst d to Viertel); The Man from Yesterday (asst d to Viertel); The Kid from Spain (asst to Busby Berkeley) 1989 Stand under the Dark Clock (doc) (Walker) (role) Publications By ZINNEMANN: book— Fred Zinnemann: My Life in the Movies, New York, 1990. By ZINNEMANN: articles— ‘‘Different Perspective,’’ in Sight and Sound (London), Autumn 1948. ‘‘Choreography of a Gunfight,’’ in Sight and Sound (London), July/ September 1952. ‘‘The Impact of Television on Motion Pictures,’’ an interview with Gideon Bachmann, in Film Culture (New York), no. 2, 1957. ‘‘A Conflict of Conscience,’’ in Films and Filming (London), Decem- ber 1959. Interview with John Russell Taylor, in Sight and Sound (London), Winter 1960/61. ‘‘A Discussion: Personal Creation in Hollywood: Can It Be Done?,’’ in Film Quarterly (Berkeley), Spring 1962. ‘‘Zinnemann—True or False?,’’ in Cinema (Beverly Hills), Febru- ary/March 1964. ‘‘Revelations,’’ in Films and Filming (London), September 1964. ‘‘Zinnemann Talks Back,’’ an interview in Cinema (Beverly Hills), October/November 1964. ‘‘Montgomery Clift,’’ in Sight and Sound (London), Autumn 1966. ‘‘Some Questions Answered,’’ in Action (Los Angeles), May/ June 1967. Interview with Gene D. Phillips, in Focus on Film (London), Spring 1973. ‘‘Fred Zinnemann and Julia,’’ an interview with Cecile Starr, in Filmmakers Newsletter (Ward Hill, Massachusetts), Novem- ber 1977. ‘‘Individualism against Machinery,’’ an interview with Gordon Gow, in Films and Filming (London), February 1978. Interview with M. Buckley in Films in Review (New York), Janu- ary 1983. ‘‘Dialogue on Film: Fred Zinnemann,’’ in American Film (Washing- ton D.C.), January/February 1986. ‘‘From Here to Eternity,’’ in Sight and Sound (London), Winter 1987/1988. Correspondence, in Film Criticism (Meadville), Winter 1994–1995. ‘‘Letter to Amos Vogel from Fred Zinnemann,’’ in Wide Angle (Baltimore), no. 2, 1997. ‘‘A Past Master of His Craft,’’ an interview with Brian Neve, in Cineaste (New York), vol. 23, no. 1, 1997. On ZINNEMANN: books— Griffith, Richard, Fred Zinnemann, New York, 1958. Foreman, Carl, High Noon, New York, 1971. Phillips, Gene D., The Movie Makers: Artists in an Industry, Chi- cago, 1973. Nolletti, Arthur, editor, The Films of Fred Zinnemann: Critical Perspectives, State University of New York, 1999. On ZINNEMANN: articles— Knight, Arthur, ‘‘Fred Zinnemann,’’ in Films in Review (New York), January 1951. Hart, Henry, ‘‘Zinnemann on the Verge,’’ in Films in Review (New York), February 1953. Schickel, Richard, ‘‘Fred Zinnemann: Quiet Man on the Set,’’ in Show (Hollywood), August 1964. Stanbrook, Alan, ‘‘A Man for All Movies: The Films of Fred Zinnemann,’’ in Films and Filming (London), June 1967. Adler, D., ‘‘Zinnemann’s Fate,’’ in Show (Hollywood), May 1970. ‘‘High Noon,’’ in Values in Conflict, edited by Richard Maynard, New York, 1974. Lueken, V., ‘‘Daempfen in aussichtslosen Situationene,’’ in EPD Film, September 1992. Obituary, in Variety (New York), 17 March 1997. Nolletti, A., Jr. and others, in Film Criticism (Meadville), Spring 1994. Caparros-Lera, J.M., ‘‘Cinematic Contextual History of High Noon,’’ in Film-Historia, no. 1, 1996. Obituary, in DGA Magazine (Los Angeles), May-June 1997. Obituary, in EPD Film (Frankfurt), May 1997. Obituary, in Film und Fernsehen (Berlin), vol. 25, no. 2, 1997. Horton, Robert, ‘‘Day of the Craftsman,’’ in Film Comment (New York), September-October 1997. Obituary, in Positif (Paris), June 1997. *** In 1928 Fred Zinnemann worked as assistant to cinematographer Eugene Schüfftan on Robert Siodmak’s Menschen am Sonntag (Peo- ple on Sunday), along with Edgar Ulmer and Billy Wilder, who wrote the scenario for this semi-documentary silent feature made in the tradition of Flaherty and Vertov. Having been strongly influenced by realistic filmmaking, particularly the work of Erich von Stroheim, King Vidor, and Robert Flaherty, Zinnemann immigrated to the United States in 1930 and worked with Berthold Viertel, Flaherty (‘‘probably the greatest single influence on my work as a filmmaker,’’ he later stated), and the New York photographer-documentarist Paul Strand on Los Redes, the first of a proposed series intended to document everyday Mexican life. Los Redes told the story of the struggle of impoverished fishermen to organize themselves against economic exploitation. The film was shot in Vera Cruz, and Zinnemann was responsible for directing the actors. Zinnemann’s documentary training and background developed his style as a ‘‘social realist’’ in a number of early pictures (several shorts he directed, for example, in MGM’s Crime Does Not Pay and The Passing Parade series) during the years 1937–1942. His medical short That Mother Might Live won an Academy Award and enabled Zinnemann to direct feature films. His first feature at MGM was a thriller, The Kid Glove Killer, with Van Heflin and Marsha Hunt. The Seventh Cross was adapted from Anna Segher’s anti-fascist World War II novel. Starring Spencer Tracy, the film was notable for its atmosphere and documentary style. The Search, shot on location in Europe in 1948, with Montgomery Clift, gave a realistic portrayal of ZINNEMANN DIRECTORS, 4 th EDITION 1110 children who had been displaced by the turmoil of World War II and was a critical as well as a commercial success. The Men was the first of a three-picture contract Zinnemann signed with Stanley Kramer and dealt with the problem of paraplegic war veterans, marking Marlon Brando’s debut as a film actor. Zinnemann filmed The Men on location at the Birmingham Veteran’s Hospital and used a number of patients there as actors. Zinnemann’s next film for Kramer, High Noon, was significant because of the way Zinnemann’s realistic style turned the genre of the Western upside down. It featured Gary Cooper in an Oscar-winning performance as Will Kane, a retired marshal who has taken a Quaker bride (Grace Kelly), but whose marriage is complicated by the anticipated return of paroled desperado Frank Miller, expected on the noon train. Zinnemann treated his ‘‘hero’’ as an ordinary man beset with doubts and fears in an existential struggle to protect himself and the community of Haddleyville, a town that proves to be undeserving of his heroism and bravery. Zinnemann created a tense drama by coordinating screen time to approximate real time, which is extended only when the fateful train arrives, bearing its dangerous passenger. Working against the stylized and mythic traditions that had come to dominate the genre, High Noon established the trend of the ‘‘psy- chological’’ Western and represents one of Zinnemann’s finest accomplishments. Zinnemann’s last Kramer picture was The Member of the Wed- ding, a Carson McCullers novel that had been adapted to a popular Broadway production by McCullers herself. The film utilized the same cast that had made the stage production successful (Julie Harris, Brandon de Wilde, and Ethel Waters) but created cinematically an effective atmosphere of entrapment. Member of the Wedding is a model of effective theatrical adaption. Zinnemann went on to adapt the 1955 movie version of the Rodgers and Hammerstein classic Oklahoma!, removing the exclamation point, as one wit noted, in a spacious and lyrical, but also rather perfunctory, effort. In 1953 Zinnemann moved to Columbia Pictures to direct the adaption of the popular James Jones novel From Here to Eternity, a huge popular success starring Montgomery Clift, Frank Sinatra, and Ernest Borgnine that won Zinnemann an Academy Award for Best Director. Zinnemann’s approach effectively utilized newsreel foot- age of the Japanese attack on Pearl Harbor and his realistic style both tightened and dramatized the narrative. A Hatful of Rain applied Zinnemann’s documentary approach to the problem of drug addiction in New York. The Nun’s Story (with Audrey Hepburn and Peter Finch) has been linked to A Man for All Seasons in that both reflect conflicts of conscience, a recurring motif in Zinnemann’s films. A Man for All Seasons, adapted from Robert Bolt’s play, won Paul Scofield an Academy Award for his portrayal of St. Thomas More. Among Zinnemann’s political films are Behold a Pale Horse, starring Gregory Peck and set during the Spanish Civil War, a picture that also incorporated newsreel authenticity, and The Day of the Jackal, a story about an assassin’s attempt on the life of Charles de Gaulle, shot on location ‘‘like a newsreel.’’ A later and in many ways impressive political film involving a conflict of conscience was Zinnemann’s Julia, adapted by Alvin Sargent from Lillian Hellman’s Pentimento, concerning Hellman’s love affair with the writer Dashiell Hammett (Jason Robards) and her long-standing friendship with the mysterious Julia (Vanessa Redgrave), the daughter of a wealthy family who becomes a socialist-intellectual politicized by events in Germany under the Nazi regime. Julia is a perfect Zinnemann vehicle, impressive in its authenticity and historical reconstruction, and also psychologically tense, particularly in the way Zinnemann films Hellman’s suspense-laden journey from Paris to Moscow via Berlin. It demonstrates the director’s sense of psychological realism and his apparent determination to make worthwhile pictures that are nevertheless highly entertaining. —James M. Welsh PICTURE ACKNOWLEDGMENTS 1113 The editors wish to thank the copyright holders of the photographs included in this volume and the permissions managers of many book and magazine publishing companies for assisting us in securing reproduction rights. We are also grateful to the staffs of the Detroit Public Library, the Library of Congress, the University of Detroit Mercy Library, Wayne State University Purdy/Kresge Library Complex, and the University of Michigan Libraries for making their resources available to us. Every effort has been made to trace copyright, but if omissions have been made, please bring them to the attention of the editors. The following is a list of the copyright holders who have granted us permission to reproduce material in the International Dictionary of Films and Filmmakers as well as from where said resources were received: AP/Wide World Photos. Souleymane Cisse, photograph by Laurent Rebours; George Cukor; Cecil B. De Mille; Federico Fellini; Emilio Fernandez; Ron Howard; George Lucas; Gordon Parks; Otto Preminger; Roberto Rossellini, photograph by Walter Attenni. Archive Photos, Inc. Kenneth Branagh; Sergei Eisenstein; Robert Flaherty; Jean Luc Godard; D.W. Grif?th; Stanley Kubrick; Spike Lee; Mack Sennett; John Waters/Nancy Rica. Schiff/SAGA. CORBIS. Ousmane Sembene/Caroline Penn. All remaining images were provided courtesy of the Kobal Collection. NOTES ON ADVISERS AND CONTRIBUTORS 1117 AFFRON, Charles. Essayist. Professor of French, New York Uni- versity, since 1965. Author of Star Acting: Gish, Garbo, Davis, 1977; Cinema and Sentiment, 1982; Divine Garbo, 1985; and Fellini’s 8?, 1987. General editor of Rutgers Film in Print Series. Essays: Capra; Goulding; Lean; LeRoy; Wyler. AFFRON, Mirella Jona. Essayist. Professor, Program in Cinema Studies, since 1985, and Dean of Humanities and Social Sciences, since 1987, College of Staten Island, City University of New York. Former member of the executive council, Society for Cinema Studies. Essay: Castellani. ANDREW, Dudley. Adviser and essayist. Angelo Bertocci Profes- sor of Critical Studies and director of the Institute for Cinema and Culture, University of Iowa (joined faculty, 1969). Author of Major Film Theories, 1976; André Bazin, 1978; Kenji Mizoguchi: A Guide to References and Resources (co-author), 1981; Concepts in Film Theory, 1984; and Film in the Aura of Art, 1984. Essays: Astruc; Becker; Clément; Clouzot; Delannoy; Duvivier; Grémillion; Mizoguchi. ARMES, Roy. Essayist. Reader in ?lm and television, Middlesex Polytechnic, London. Author of French Cinema since 1946, 1966, 1970; The Cinema of Alain Resnais, 1968; French Film, 1970; Patterns of Realism, 1972, 1983; Film and Reality, 1974; The Ambiguous Image, 1976; A Critical History of British Cinema, 1978; The Films of Alain Robbe-Grillet, 1981; French Cinema, 1985; Third World Filmmaking and the West, 1987; On Video, 1988; and Studies in Arab and African Film, 1991. Essays: Benegal; Carné; Chahine; Cocteau; Epstein; Feuillade; Gance; Güney; L’Herbier; Melville; Sautet; Torre Nilsson. ARROYO, José. Essayist. Lecturer in ?lm studies, University of Warwick, Coventry; formerly lecturer in communications, Simon Fraser University, Vancouver. Essay: Almodóvar. BARNOUW, Erik. Essayist. Essay: Vertov. BASINGER, Jeanine. Adviser and essayist. Professor of ?lm, Wesleyan University, Middletown, Connecticut, since 1969. Trustee, American Film Institute, National Center for Film and Video Preser- vation. Member of Advisory Board, Foundation for Independent Video and Film. Author of Working with Kazan, 1973; Shirley Temple, 1975; Gene Kelly, 1976; Lana Turner, 1977; Anthony Mann: A Critical Analysis, 1979; The World War II Combat Book: Anatomy of a Genre, 1986; The ‘‘It’s a Wonderful Life’’ Book, 1986; and numerous articles. Essays: Fleming; Siodmak. BAXTER, John. Essayist. Novelist, screenwriter, TV producer, and ?lm historian. Visiting lecturer, Hollins College, Virginia, 1974–75; broadcaster with BBC Radio and Television, 1976–91. Author of six novels, two anthologies of science ?ction (editor), various screen- plays for documentary ?lms and features, and works of ?lm criticism including: Hollywood in the Thirties, 1968; The Australian Cinema, 1970; Science Fiction in the Cinema, 1970; The Gangster Film, 1970; The Cinema of Josef von Sternberg, 1971; The Cinema of John Ford, 1971; Hollywood in the Sixties, 1972; Sixty Years of Hollywood, 1973; An Appalling Talent: Ken Russell, 1973; Stunt, 1974; The Hollywood Exiles, 1976; King Vidor, 1976; with Brian Norris, The Video Handbook, 1982; and Filmstruck, 1989. Essays: Bogdanovich; Ford; Frankenheimer; Jewison; Malle; Schepisi; Vadim; von Sternberg; Weir. BERGAN, Ronald. Adviser. Regular contributor, The Guardian (London); consultant and writer for several TV documentaries; lectured on literature, theatre, and ?lm during ten years in France; author of numerous books on the cinema, including biographies of the Coen Brothers, Sergei Eisenstein, Jean Renoir, Anthony Perkins, and Dustin Hoffman, as well as The United Artists Story and The Great Theatres of London. BEUMERS, Birgit. Essayist. Lecturer in Russian, University of Bristol; author of Yury Lyubimov at the Taganka Theatr, 1997; editor of Russia on Reels, 1999; author of articles on twentieth-century Russian theatre and contemporary cinema. Essay: Rogozhkin. BOCK, Audie. Essayist. Free-lance author and lecturer. Visiting lecturer at Harvard, Yale, University of California, and others, 1975–83. Assistant producer of the international version of Kurosawa’s Kagermusha, 1980. Author of Japanese Film Directors, 1978, 1985; and Mikio Naruse: un maitre du cinéma japonais, 1983; translator of Something Like an Autobiography by Kurosawa, 1982. Essay: Kurosawa. BODEEN, DeWitt. Essayist. Screenwriter and ?lm critic. Author of screenplays for Cat People, 1942; Seventh Victim, 1943; Curse of the Cat People, 1944; The Yellow Canary, 1944; The Enchanted Cottage, 1945; Night Song, 1947; I Remember Mama, 1948; Mrs. Mike, 1959; Billy Budd, 1962; and numerous teleplays, 1950–68. Also author of Ladies in the Footlights; The Films of Cecil B. DeMille; Chevalier; From Hollywood; More from Hollywood; 13 Castle Walk (novel); editor of Who Wrote the Movie and What Else Did He Write? Died 1988. Essays: Borzage; Cromwell; Korda; Murnau; Stevens; Jacques Tourneur; Wise. BORDWELL, David. Essayist. Professor of ?lm, University of Wisconsin—Madison, since 1973. Author of Filmguide to La Pas- sion de Jeanne d’Arc, 1973; Film Art: An Introduction, with Kristin Thompson, 1979; French Impressionist Cinema, 1980; The Films of Carl-Theodor Dreyer, 1981; The Classical Hollywood Cinema: Film Style and Mode of Production to 1960, with Janet Staiger and Kristin Thompson, 1984; Narration in the Fiction Film, 1985; Ozu and the Poetics of Cinema, 1988; and Making Meaning: Inference and Rhetoric in the Interpretation of Cinema, 1990. Essay: Ozu. BOWERS, Ronald. Essayist. Financial editor, E. F. Hutton and Company, since 1982. Editor, Films in Review, 1979–81. Author of The MGM Stock Company, with James Robert Parish, 1973; and The Selznick Papers, 1976. Essays: Dwan; Zef?relli. BOWLES, Stephen E. Essayist. Associate professor of ?lm, Univer- sity of Miami, since 1976. Author of An Approach to Film Study, 1974; Index to Critical Reviews from British and American Film Periodicals 1930–71, 3 volumes, 1974–75; Sidney Lumet: A Guide to References and Resources, 1979; and Index to Critical Film Reviews: Supplement I, 1971–76, 1983. Essay: Lumet. BROPHY, Stephen. Essayist. Freelance writer and ?lm critic, Boston, Massachusetts. Essay: Guittérez Alea. BROWN, Geoff. Essayist. Chief ?lm critic of The Times, London. Author of Launder and Gilliat, 1977; Walter Forde, 1977; Der Produzent: Michael Balcon und der englische Film, 1981; and The Common Touch: The Films of John Baxter, 1989. Essay: Launder and Gilliat. NOTES ON ADVISERS AND CONTRIBUTORS DIRECTORS, 4 th EDITION 1118 BURGOYNE, Robert. Essayist. Professor and chair of the English Department, Wayne State University; author of Film Nation: Holly- wood Looks at U.S. History and other books. Essay: Bertolucci. BURTON, Julianne. Essayist. Associate professor, Merrill College, and Board of Studies in Literature, University of California at Santa Cruz, since 1982 (Assistant Professor, 1974–82). Author of more than forty publications on Latin American Cinema. Essay: Birri. CAMPER, Fred. Essayist. Independent ?lmmaker and writer and lecturer on ?lm, since 1965. Has taught at various American colleges and universities. Essay: Baillie. CARE, Ross. Essayist. Composer/arranger for the ?lms Otto Messmer and Felix the Cat, The Wizard’s Son, General Sutter (orch. only), and other ?lm and theater scores; author of ?lm music column, ‘‘The Record Rack,’’ for Scarlet Street magazine, 1993—; contributor to the Library of Congress ‘‘Performing Arts’’ book series (1986, 2001), the St. James Encyclopedia of Popular Culture, Film Quarterly, Sight and Sound, Quarterly Journal of the Library of Congress, Millimeter, and other periodicals. Essay: Dante. CIMENT, Michel. Essayist. Associate professor in American Stud- ies, University of Paris. Member of the editorial board of Positif. Author of Erich von Stroheim, 1967; Kazan by Kazan, 1973; Le Dossier Rosi, 1976; Le Livre de Losey, 1979; Kubrick, 1980; Les Conquérants d’un nouveau monde, 1981; Elia Kazan: An Outsider, 1982; All about Mankiewicz, 1983; Boorman, 1985; Francesco Rosi: Chronique d’un ?lm annoncé, 1987; and Passport pour Hollywood, 1987. Essays: Angelopoulos; Guerra; Ioseliani; Skolimowski. CLINE, Elizabeth. Essayist. Completing a Ph.D. dissertation on documentary ?lm, Northwestern University. Has taught ?lm and television at Northwestern University and DePaul University. Es- say: Morris. CLOSE, Cynthia. Essayist. Executive director, Documentary Edu- cational Resources (DER), a producer and distributor of documentary ?lm about people and culture from around the world; formerly Dean of Admissions, The Art Institute of Boston; has worked in Europe and New England as a curator, visual artist, teacher, and activist for artist’s rights. Essays: Asch; Marshall. COLE, Lewis. Adviser. Professor of screenwriting, Columbia Uni- versity, co-founder Meditteranean Film Institute, Chair of Film Division, Columbia University, 1996–2000. Television critic, Nation Magazine, 1994–1997. Author of A Loose Game, 1978; Dream Team, 1982; Never Too Young to Die, 1990; and This Side of Glory, 1996. Also author of numerous screenplays and articles. CONLEY, Tom. Essayist. Professor of French and comparative literature, University of Minnesota. Former editor, Enclitic; and contributor to Theater Journal, MLN, Hors Cadre, Revue des Lettres Modernes, and Littérature. Essay: Renoir. COOK, Samantha. Essayist. Free-lance editor, researcher, and writer, London. Essay: Bemberg. COSTA, Kevin J. Essayist. B.A. in English and Film Studies and M.A. in English, Rhode Island College. Adjunct instructor of writing, Rhode Island College. Pursuing graduate studies in English at State University of New York at Buffalo. Essays: Kluge; Sautet. COUSINS, R. F. Essayist. Senior lecturer in French studies, Univer- sity of Birmingham, UK; responsible for French ?lm courses. Publi- cations include Zola’s Thérèse Raquin, 1992. Author of ?lm essays in French Cinema in the 1990s, 1999; The Emile Zola Centenary Colloquium, 1995; and The Encyclopedia of Stage Plays on Film, forthcoming. Contributor to Literature/Film Quarterly, Les Annales de l’Université de Besan?on, Excavatio, Les Cahiers Naturalistes, and The Bulletin of the Emile Zola Society. Essays: Eustache; Lumière; C. Miller; Rouch. CROWDUS, Gary. Adviser. Founder and editor-in-chief, Cineaste magazine; editor of A Political Companion to American Film (Lake View Press). D’ARPINO, Tony. Essayist. Free-lance writer. Author of The Tree Worshipper, 1983; and Untitled Zodial, 1984. Essay: Pasolini. DASSANOWSKY, Robert von. Adviser. Associate professor of languages and cultures, director, ?lm studies, and head of German studies, University of Colorado, Colorado Springs; vice president, Austrian American Film Association; actor, television writer and independent ?lm producer; author of Phantom Empires: The Novels of Alexander Lernet-Holenia, 1996; and Cinema: From Vienna to Hollywood and Back, forthcoming; contributing editor, ‘‘Austria’s Hollywood/Hollywood’s Austria,’’ special issue of Filmkunst, 1997; contributing editor, Gale Encyclopedia of Multicultural America, 2000. DAVIAU, Gertraud Steiner. Essayist. Lecturer at the Universities of Vienna and Klagenfurt, Austria; visiting scholar, University of California, Riverside, and University of California, Los Angeles; civil servant, Austrian Federal Chancellery/ Federal Press Service, Austria; working on a research project and screenplay for the docu- mentary Austria’s Hollywood—Hollywood’s Austria; author of Die Heimat-Macher. Kino in ?sterreich 1946–1966, 1987; Filmbook Austria, 2nd edition, 1997; and Traumfabrik Rosenhügel (The Dream Factory of Rosenhügel), 1997. Essay: Forst. DEANE, Pamala S. Essayist. Independent writer and media histo- rian; M.A. in Radio/TV/Film, University of Maryland, College Park; author of ?ction and screenplays for documentary programming. Essays: Gerima; Palcy. DERRY, Charles. Essayist. Professor and coordinator of Film Studies, Wright State University, Dayton, Ohio, from 1978; author of Dark Dreams: A Psychological History of the Modern Horror Film, 1977; and The Suspense Thriller: Films in the Shadow of Alfred Hitchcock, 1988; co-author, with Jack Ellis and Sharon Kern, of the reference work The Film Book Bibliography: 1940–1975, 1979; director of the short ?lms Cerebral Accident and Joan Crawford Died For Your Sins; author of the play ‘‘Ten Memories of My Mother, in the Order I Think of Them’’; ?ction has appeared in a variety of periodicals and anthologies, including Reclaiming the Heartland: Gay and Lesbian Voices from the Midwest, Contra/Dictions, The Chattahoochee Review, and The Portland Literary Review. Essays: Altman; Chabrol; S. Lee; Jerry Lewis; Mulligan; Preminger; Reiner; Spielberg. DIXON, Wheeler Winston. Essayist. Director, Film Studies Pro- gram, University of Nebraska, Lincoln. Filmmaker and author of The ‘‘B’’ Directors: A Biographical Dictionary, 1985; The Cinematic Vision of F. Scott Fitzgerald, 1986; and Terence Fisher: The Critical Reception, 1991. Essay: Frears. NOTES ON ADVISERS AND CONTRIBUTORSDIRECTORS, 4 th EDITION 1119 DOLL, Susan M. Essayist. Instructor in ?lm at Oakton Community College and at the School of the Art Institute of Chicago. Author of Marilyn: Her Life and Legend, 1990, and The Films of Elvis Presley, 1991. Essays: Scott; Welles. DUNBAR, Robert. Essayist. Free-lance ?lm critic and historian; held various visiting professorships and lectureships, from 1975. Worked for Gainsborough and Gaumont-British Studios, 1933–38, 1948–49; director of Public and Cultural Relations, British Embassy, Moscow, 1944–47; general manager, Imperadio Pictures, 1949–51; independent producer of feature ?lms and documentaries, 1952–63; chairman, London School of Film Technique, 1963–74. Died 1988. Essays: Gerasimov; Kozintsev. DURGNAT, Raymond. Essayist. Visiting professor of ?lm, Wright State University, Dayton, Ohio. Author of numerous publications on ?lm, including Durgnat on Film, 1975; King Vidor—American, 1988; and Michael Powell and the English Genius, 1991. Essays: Boultings; Clayton; Makavejev. EDELMAN, Rob. Essayist. Author of Great Baseball Films, 1994; and Baseball on the Web, 1998. Co-author of Angela Lansbury: A Life on Stage and Screen, 1996; The John Travolta Scrapbook, 1997; and Meet the Mertzes, 1999. Contributing editor of Leonard Maltin’s Movie & Video Guide; Leonard Maltin’s Movie Encyclopedia; and Leonard Maltin’s Family Film Guide. Director of programming of Home Film Festival. Contributor to The Political Companion to American Film; Women Filmmakers & Their Films; Total Baseball; The Total Baseball Catalog; International Film Guide; and The Whole Film Sourcebook. Film critic/commentator, WAMC (North- east) Public Radio. Lecturer, University at Albany. Former ?lm critic/ columnist, New Haven Register and Gazette Newspapers. Former adjunct instructor, The School of Visual Arts, Iona College, Sacred Heart University. Essays: Armstrong; August; Bemberg; Benton; Bergman; Berri; Besson; Blier; Breillat; Burnett; Campion; Chen Kaige; Coolidge; Costa-Gavras; Dassin; De Broca; Demme; Demy; Donskoi; D?rrie; Dovzhenko; Fellini; Forman; Forsyth; Frankenheimer; S. Franklin; Fridrikson; Gilliam; Godard; Greenaway; Haynes; Hol- land; Ivory; Jarman; Jarmusch; Jewison; Jordan; Kaurismaki; Kurosawa; Kusturica; Leconte; Lelouch; Leni; Loach; Albert and David Paul Maysles; Micheaux; Mikhalkov; Moretti; Morrissey; Nair; Niblo; Oliveira; Polonsky; Pontecorvo; Pudovkin; Resnais; Riefenstahl; Ritt; Roeg; Rohmer; Rudolph; Ruttmann; Suara; Schepisi; Schl?ndorff; Schrader; Schumacher; Seidelman; Shepitko; Sheridan; Silver; Smith; Spheeris; Jean-Marie Straub and Danièle Huillet; Syberberg; Tavernier; Paolo and Vittorio Taviani; Van Sant; Varda; von Trotta; Ward; Weir; Wertmüller; Zanussi; Zef?relli; Zemeckis. EDMONDS, Robert. Essayist. Professor-at-large, Columbia Col- lege, Chicago, since 1975. Author of About Documentary: Anthro- pology on Film, 1974; and The Sights and Sounds of Cinema and Television, 1982. Editor of the English translation of The Aesthetics and Psychology of the Cinema, by Jean Mitry, 1976. Essay: Storck. ELLIS, Jack C. Adviser and essayist. Professor of ?lm and former chair of the Department of Radio/Television/Film at Northwestern University, Evanston, Illinois. Also taught at UCLA, New York University, and the University of Texas at Austin. Author of A History of Film, 1979, third edition 1990; John Grierson: A Guide to References and Resources, 1986; and The Documentary Idea, 1989. Founding member and past president of Society for Cinema Studies; editor of society’s journal, Cinema Journal, 1976–82. Essays: Cavalcanti; Grierson; Jennings; Lorentz; Marker; Rotha. ELSNER-SOMMER, Gretchen. Essayist. Film critic and director of Foreign Images distribution company. Formerly asssociate editor of Jump Cut. Essay: von Trotta. ERENS, Patricia. Essayist. Associate professor, Rosary College, River Forest, Illinois, since 1977. Author of Akira Kurosawa: A Guide to References and Resources, 1979; and The Jew in American Cinema, 1984; editor of Sexual Stratagems: The World of Women in Film, 1979. Essays: Hani; Ichikawa; Němec; Pollack. ESTRIN, Mark W. Essayist. Professor of English and ?lm studies, Rhode Island College, Providence, since 1966. Has published widely on ?lm, dramatic literature, and theatre. Author of books including Conversations with Eugene O’Neill, 1990, and Critical Essays on Lillian Hellman, 1989. Essays: Allen; Branagh; Nichols. FALK, Quentin. Essayist. Founding editor of Flicks magazine, and regular contributor to national newspapers. Formerly editor of Screen International, London, and author of books on Graham Greene, Anthony Hopkins, the Rank Organisation, and Albert Finney. Es- say: Parker. FALLER, Greg S. Essayist. Associate professor in ?lm, Towson State University, Baltimore, since 1986. Taught at Northwestern University, 1984–86. Assistant/associate editor of The International Dictionary of Films and Filmmakers, ?rst edition, volumes 3, 4, and 5; and of Journal of Film and Video, 1985–87. Editor of Film Reader 6, 1985. Essays: Donen; Fosse; Lubitsch. FARNSWORTH, Rodney. Essayist. Ph.D., Indiana University, 1980. Associate professor of comparative studies, Indiana Universi- ty-Purdue University, Fort Wayne. Has published internationally in scholarly publications, including Literature/Film Quarterly. Essays: Herzog; Rafelson. FEINSTEIN, Howard. Essayist. Film editor, The Village Voice, New York. Essay: Zanussi. FELLEMAN, Susan. Adviser and essayist. Assistant professor of cinema studies, Southern Illinois University, Carbondale; author of Botticelli in Hollywood: The Films of Albert Lewin, 1997; and many articles on art and ?lm. Essay: Lewin. FELPERIN, Leslie. Essayist. Graduate student in ?lm, University of Kent, Canterbury. Essay: Armstrong. FERRARI, Lilie. Essayist. Writer and researcher, London. Es- say: Arzner. FITZGERALD, Theresa. Essayist. Managing director and writer/ producer/director, Camden Productions Ltd., London, since 1982. Secretary, London Screenwriters Workshop, since 1983. Essay: Dearden. FONSECA, Manuel Dos Santos. Essayist. Researcher, Program- ming Department, Cinemateca Portuguesa, since 1981. Film critic for Expresso newspaper, London. Author of Panorama do Cinema Dinamarqués, 1983; Cinema Novo Potugués, 1985; and others. Essay: Oliveira. NOTES ON ADVISERS AND CONTRIBUTORS DIRECTORS, 4 th EDITION 1120 FOREMAN, Alexa. Essayist. Account executive, Video Duplica- tions, Atlanta, since 1986. Formerly theatre manager, American Film Institute. Author of Women in Motion, 1983. Essay: Malick. FRAMPTON, Saul. Essayist. Graduate student at the University of Oxford. Contributor to Time Out and 20/20. Essays: Greenaway; Littin. GATEWARD, Frances. Essayist. Film scholar and independent ?lmmaker; assistant professor, Program for Film Studies and the Center for Afro-American and African Studies, University of Michi- gan; co-editor, Sugar, Spice, and Everything Nice: Cinemas of Girlhood; and author of essays on cinema and popular culture. Essays: Riggs; Verhoeven. GIANOULIS, Tina. Essayist. Freelance writer; contributor to St. James Encyclopedia of Popular Culture, 1999; Gay and Lesbian Literature, 1997; www.mystories.com (daytime drama website), 1997–98; Common Lives, Lesbian Lives, Sinister Wisdom, and others. Essays: Angelopoulos; Kaplan; Mészáros; Zhang Yimou. GIBSON, Ben. Adviser. Head of production, British Film Institute, since 1990. Partner in Metro Pictures (formerly The Other Cinema), 1981–87. Writer on cinema for numerous magazines. Co-editor of Framework ?lm magazine. Co-founder of the London International Festival of Theatre. Member of executive committee, European Film Distribution Of?ce. Member of advisory board, Merseyside Film Fund. Producer or executive producer of features, including Out of Order, 1987; Silent Scream, 1990; Young Soul Rebels, 1991; The Long Day Closes, 1992; Anchoress, 1992; Wittgenstein, 1993; Lon- don, 1994; Don’t Get Me Started, 1994; Loaded, 1994; Three Steps to Heaven, 1995; and Madagascar Skin, 1995. GILLESPIE, Jill. Essayist. Doctoral candidate, Department of Ger- man Studies, Cornell University. Essay: Lanzmann. GLAESSNER, Verina. Essayist. Free-lance critic and lecturer, London. Contributor to Sight and Sound. Essays: Chen Kaige; Chytilová; Rosi. GOMERY, Douglas. Adviser and essayist. Professor of media history, University of Maryland; author of ten books including Media in America, 1998; and Shared Pleasures: A History of Movie Presen- tation in the United States, 1992. Essays: Bacon; Benton; Curtiz; George Miller; Walsh. GRLIC, Rajko. Adviser. Eminent scholar, School of Film, Ohio University, Athens, Ohio, since 1993; visiting professor, Tisch School of the Arts, New York University, 1992–93; professor of ?lm directing, the Academy of Dramatic Arts, Zagreb, Croatia, 1972–74, 1989–91. Director and screenwriter of numerous ?lms, including: Pass (short), 1966; If It Kills Me, 1974; Bravo Maestro, 1978; You Love Only Once, 1981; In the Jaws of Life, 1985; Three for Happiness, 1987; That Summer of White Roses, 1989; and Charuga, 1991. Producer of ?lms, including: Consecration (short), 1990; and Virdzina, 1991. GUSTAINIS, Justin. Essayist. Professor of communication at Plattsburgh State University, Plattsburgh, New York. Essays: Bartel; Borden; Branagh; E. Morris. HANSON, Patricia King. Essayist. Executive editor, American Film Institute, Los Angeles, since 1983. Film critic, Screen Interna- tional, since 1986. Associate editor, Salem Press, 1978–83. Editor of American Film Institute Catalog of Feature Films 1911–1920 and 1931–1940. Co-editor of Film Review Index, vols. 1 and 2, 1986–87; and of Source Book for the Performing Arts, 1988. Essays: Daves; Mamoulian; Sirk. HANSON, Stephen L. Essayist. Humanities biographer, University of Southern California, Los Angeles, since 1969. Film critic, Screen International, since 1986. Associate editor, Salem Press, 1978–83. Co-editor of Film Review Index, vols. 1 and 2, 1986–87, and of Source Book for the Performing Arts, 1988. Essays: Fellini; Germi; La Cava; Milestone; Powell and Pressburger; Rossellini; Wellman. HARRIS, Ann. Essayist. Doctoral student in cinema studies, New York University. Essay: Pick. HECK-RABI, Louise. Essayist. Formerly free-lance writer, author of Women Filmmakers: A Critical Reception, 1984; and producer and co-writer of Video Slow Reader, 1991. Died 1995. Essays: Deren; Guy; Mészáros; Riefenstahl; Varda; Zetterling. HIGGINS, Ellie. Essayist. Doctoral candidate in comparative litera- ture, University of Texas at Austin; specializes in African literatures and cinemas. Essays: Kabore; Mambety; Ouedraogo. HILLSTROM, Kevin. Essayist. Free-lance writer and editor. Co- founder of Northern Lights Writers Group, an editorial services company. Co-author of Returning to Vietnam: An Encyclopedia of American Literature and Film Relating to the Vietnam Experience, 1997. Essays: Ang Lee; Van Sant. HIRANO, Kyoko. Essayist. Film program coordinator, Japan Soci- ety, New York, since 1986. Editor, Cinéma Gras, Tokyo, 1977–79; and contributor to Cineaste and Theater Craft. Essays: Gosho; Imai; Kinoshita; Shindo; Shinoda; Yoshimura. HOFFMAN, Judy. Essayist. Acting director of Documentary Film Center, Columbia College. Co-founder of Kartemquin Films and contributor to most of their ?lm productions, including as associate producer of Golub. Active in alternative media movement of the 1970s; became one of the ?rst women to work professionally as a ?lm technician in Chicago, apprenticing with IATSE Camera Local 666. Camera assistant on numerous independent documentary ?lms, in- cluding Family Business; Seeing Red; American Dream; and Daley: The Last Boss. Researcher for PBS series On the Waterways. Associ- ate Producer of ?lm Box of Treasures. Video instructor and media consultant for Kwakiut’l Indians for ten years. Director and editor of museum video on Kwakiut’l salmon ?shing for Chicago’s Shedd Aquarium. Teacher of video with Community Television Network. Producer and editor of student production Time to Make That Change. Recipient of VOICE Award from Chicago’s Center for Community and Media, 1994. Essay: Kopple. HOLDSTEIN, Deborah. Essayist. Assistant professor of English, Illinois Institute of Technology, Chicago, since 1980. Essay: Pakula. HONG, Guo-Juin. Essayist. M.A. in Cinema Studies, San Francisco State University. Teacher of courses in Chinese cinema, Third World cinema, and Asian American cinema at San Francisco State Univer- sity and the University of California, Santa Cruz. Independent docu- mentary ?lmmaker of projects in af?liation with the Oral History Project of the Gay and Lesbian Historical Society of Northern California. Essays: Besson; Chahine; Joffé; Leduc; Marker; Oshima; Ripstein. NOTES ON ADVISERS AND CONTRIBUTORSDIRECTORS, 4 th EDITION 1121 HORTON, Robert. Essayist. Film critic, The Herald (Everett, Washington), KUOW-FM (Seattle), and Film.com; frequent con- tributor to Film Comment magazine; contributor to Seattle magazine, Seattle Times, American Film, Amazon.com, Microsoft Cinemania, and others; former director of Seattle Film Society (now defunct); editor of ?lm magazine The Informer, 1980–86. Essays: Carax; Kiarostami; Makhmalbaf; Stillman. HUANG, Vivian. Essayist. Film critic for Centre Daily News, New York; and contributor to Cinevue, The New Asian American Times, Transpaci?c, and other periodicals. Essays: Hou Hsiao-Hsien; King Hu. KAMINSKY, Stuart M. Essayist. Professor of ?lm, Northwestern University, Evanston, Illinois. Author of Don Siegel, Director, 1973; Clint Eastwood, 1974; American Film Genres, 1977; John Huston, Maker of Magic, 1978; Coop: The Life and Legend of Gary Cooper, 1980; Basic Filmmaking (co-author), 1981; American Television Genres, 1985; and Writing for Television, 1988. Editor of Ingmar Bergman: Essays in Criticism, 1975. Also a novelist; works include Murder on the Yellow Brick Road, 1978; He Done Her Wrong, 1983; A Cold, Red Sunrise, 1988; and Buried Caesars, 1989. Essays: Mel Brooks; Huston; Leone. KANOFF, Joel. Essayist. Lecturer in the visual arts, Princeton University, New Jersey, since 1983. Essays: de Sica; Visconti. KARNEY, Robyn. Adviser and essayist. London-based freelance writer, critic, and editor specializing in ?lm subjects; editor-in-chief of The Chronicle of the Cinema, 1995, 1998; co-author, The Faber Foreign Film Guide, 1993. Author of A Star Danced: The Life of Audrey Hepburn, 1995; A Singular Man: Burt Lancaster, 1998; and numerous other publications. Essays: Allen; Ang Lee; Leigh; Levinson; Nichols. KEHR, Dave. Essayist. Film critic, Chicago Tribune, since 1986. Essay: Tati. KEMP, Philip. Adviser and essayist. London-based freelance re- viewer and ?lm historian; contributor to Sight and Sound, Variety, and Film Comment; author of Lethal Innocence: The Cinema of Alexander Mackendrick, 1991; and of a forthcoming biography of Michael Balcon. Essays: Arcand; Bigelow; Clair; Crichton; Egoyan; Fincher; Jackson; Kobayashi; Mackendrick; Penn; Ray; Sayles; Solondz; Wilder. KHANNA, Satti. Essayist. Research associate, Center for South and Southeast Asia Studies, University of California, Berkeley, since 1976. Author of Indian Cinema and Indian Life, 1980. Essays: Kapoor; Satyajit Ray; Sen. KINSEY, Tammy. Essayist. Assistant professor of ?lm, University of Toledo, Ohio, since 1997; made her ?rst ?lm at the age of eight; M.F.A. in ?lmmaking, Virginia Commonwealth University, 1996. Essay: van Dormael. KOVáCS, Katherine Singer. Essayist. Formerly assistant profes- sor, Department of Comparative Literature, University of Southern California, Los Angeles; editor of Humanities in Society, and member of the executive committee, Quarterly Review of Film Studies. Died 1989. Essays: Bardem; García Berlanga; Saura. KUPFERBERG, Audrey E. Essayist. Film historian, appraiser, and archivist. Co-author of Angela Lansbury: A Life on Stage and Screen, 1996; The John Travolta Scrapbook, 1997; and Meet the Mertzes, 1999. Lecturer, University at Albany. Contributing editor of Leonard Maltin’s Family Film Guide. Contributor to Women Filmmakers & Their Films and The Whole Film Sourcebook. Film consultant to the Peary-MacMillan Arctic Museum at Bowdoin College. Former direc- tor, Yale University Film Study Center. Former assistant director, the National Center for Film and Video Preservation at the American Film Institute. Former project director, the American Film Institute Catalog. Essays: M. Brooks; Petersen; Sanders-Brahms; Sandrich; Schumacher. LANZA, Joseph. Essayist. Free-lance writer. Author of Fragile Geometry: The Films, Philosophy and Misadventures of Nicolas Roeg, 1989. Contributor to Kirkus Reviews, Performing Arts Journal, ReSearch, and Forum. Essay: Roeg. LARSEN, Susan K. Adviser. Assistant professor of Russian litera- ture, University of California, San Diego. Author of Reading and Writing Girlhood in Late Imperial Russia (forthcoming) and many articles on Russian ?lm and popular culture; former chair of the Working Group on Cinema and Television in Eastern Europe and the Former Soviet Union. LELIEVRE, Samuel. Essayist. Ph.D. candidate, Université des Sciences Humaines de Strasbourg, France. Essay: Cissé. LIMBACHER, James L. Essayist. Audio-visual librarian, Depart- ment of Public Libraries, Dearborn, Michigan, 1955–83. National president, American Federation of Film Societies, 1962–65, and Educational Film Library Association, 1966–70. Host of the TV series Shadows on the Wall and The Screening Room. Author of Four Aspects of the Film, 1968; Film Music: From Violins to Video, 1974; Haven’t I Seen You Somewhere Before? 1979; Sexuality in World Cinema, 1983; and Feature Films on 8mm, 16mm, and Video, 7 editions. Essay: Markopoulos. LIPPE, Richard. Essayist. Lecturer in ?lm at Atkinson College, York University, Ontario; on the editorial board of CineAction. Essays: Scorsese; Silver. LOCKHART, Kimball. Essayist. Member of the faculty, Depart- ment of Romance Studies, Cornell University, Ithaca, New York. Founding editor, Enclitic, 1977–80, and member of editorial board, Diacritics, since 1978. Essay: Antonioni. LORENZ, Janet E. Essayist. Associate editor and ?lm critic, Z Channel Magazine, since 1984. Assistant supervisor, University of Southern California Cinema Research Library, Los Angeles, 1979–82; and ?lm critic, SelecTV Magazine, 1980–84. Essay: Losey. LOVELL, Glenn. Essayist. Recent National Arts Journalism Fel- low; ?lm critic, San Jose Mercury News and Knight-Ridder Newspa- pers; teaches ?lm history and esthetics at universities throughout the Bay Area, and does weekly ?lm commentary for KGO-radio in San Francisco; contributed articles on ?lm to the Los Angeles Times, Variety, Washington Post, and other papers; contributor to Tender Comrades: A Backstory of the Hollywood Blacklist, 1997. Essay: Parks. LOWRY, Ed. Essayist. Formerly assistant professor of ?lm studies, Southern Illinois University at Carbondale. Contributor to various ?lm periodicals. Died 1987. Essays: Aldrich; Anger; Corman; Minnelli; Stahl; Warhol. MACNAB, G. C. Essayist. Free-lance writer, researcher, and ?lmmaker, London. Author of J. Arthur Rank and the British Film NOTES ON ADVISERS AND CONTRIBUTORS DIRECTORS, 4 th EDITION 1122 Industry. Essays: De Antonio; Oshima; Rivette; Rudolph; Schrader; Tarkovsky. MANCINI, Elaine. Essayist. Has taught ?lm at the College of Staten Island, and at St. John’s University, New York. Author of The Films of Luchino Visconti: A Reference Guide; and The Struggles of the Italian Film Industry during Fascism. Essays: Lattuada; Petri. MANVELL, Roger. Essayist. Formerly professor of ?lm, Boston University. Director, British Film Academy, London, 1947–59; gov- ernor and head of Department of Film History, London Film School, until 1974; Bingham Professor of the Humanities, University of Louisville, 1973. Author of numerous novels, biographies, and books on ?lm, including: Film, 1944; The Animated Film, 1954; The Living Screen, 1961; New Cinema in Britain, 1969; Films and the Second World War, 1975; Ingmar Bergman, 1980; and Images of Madness: The Portrayal of Insanity in the Feature Film, with Michael Fleming, 1985. Died 1987. Essays: Bergman; Sj?str?m; Stiller; von Stroheim. MARCHETTI, Gina. Essayist. Associate professor, Comparative Literature Program, University of Maryland, College Park. Author of Romance and the ‘‘Yellow Peril’’: Race, Sex, and Discursive Strate- gies in Hollywood Fiction. Essays: Makavejev; Tian Zuangzuang; Xie Jin; Yang. MAST, Gerald. Essayist. Formerly professor of English and general studies in the Humanities, University of Chicago. Author of numer- ous books on ?lm, including: A Short History of the Movies, 1971, third edition, 1981; The Comic Mind: Comedy and the Movies, 1974, 1979; Film/Cinema/Movie: A Theory of Experience, 1977, 1982; and Howard Hawks: Storyteller, 1982. Died 1987. Essays: Chaplin; Hawks; Keaton; Sennett; Truffaut. McCARTY, John. Essayist. Supervising writer and co-director of The Fearmakers: Screen Masters of Suspense and Terror, a video documentary series based on his 1994 book of the same name; author of numerous books on ?lm, including Splatter Movies: Breaking the Last Taboo of the Screen, 1984; The Modern Horror Film: 50 Contemporary Classics, 1990; John McCarty’s Of?cial Splatter Movie Guide, Vols. 1 and 2, 1989, 1992; and Hollywood Gangland, 1993. Essays: Carpenter; Craven; Cronenberg; Ferrara; Frears; Lumet; Lynch; Mann; Polanski; Pollack; Waters; Woo; Edward D. Wood, Jr. McCLUSKEY, Audrey T. Adviser. Director of the Black Film Center/Archive and associate professor of Afro-American Studies, Indiana University-Bloomington; specializes in education, gender, and cultural studies; co-editor, with Elaine M. Smith, Mary McLeod Bethune: Building a Better World, 2000. MERHAUT, Vacláv. Essayist. Film historian and member of staff, Film Archives of Czechoslovakia, Prague. Author of Actors and Actresses of the Italian Cinema. Essays: Cacoyannis; Gaál; Kachyňa; Kawalerowicz; Szabó. MERRITT, Russell. Essayist. Professor, University of Wisconsin— Madison. Essay: Grif?th. MICHAELS, Lloyd. Essayist. Professor of English, Allegheny College, Meadville, Pennsylvania. Editor of Film Criticism since 1977. Author of Elia Kazan: A Guide to References and Resources, 1983. Essay: Kazan. MILICIA, Joseph. Essayist. Professor of English, University of Wisconsin, Sheboygan; writes about ?lm and literature for such periodicals as Multicultural Review and the New York Review of Science Fiction. Essays: Adlon; De Palma; Hartley; Kasdan; Kurys; Nava; Scott; Serreau; Soderbergh; Téchiné; Wenders. MILLER, Norman. Essayist. Journalist and author, London. Author of Toontown: Cartoons, Comedy, and Creativity; and contributor to a variety of periodicals. Essays: Demme; Gilliam. MONTY, Ib. Adviser and essayist. Director of Det Danske Filmmuseum, Copenhagen, since 1960. Literary and ?lm critic for newspaper Morgenavisen Jyllands-Posten, since 1958. Editor in chief of the ?lm periodical Kosmorama, 1960–67. Author of Leonardo da Vinci, 1953. Editor of Se-det-er ?lm I-III (anthology of articles on ?lm), with Morten Piil, 1964–66; and of TV Broadcasts on Films and Filmmakers, 1972. Essays: Blom; Christensen; Dreyer; Henning- Jensen; Holger-Madsen; Roos. MORRIS, Gary. Adviser. Editor and publisher, Bright Lights ?lm journal, formerly print, now online as brightlights?lm.com. Author of Roger Corman, 1985. Regular ?lm critic for Bay Area Reporter and San Francisco Weekly and author of numerous articles for various American and Italian newspapers, magazines, ?lm festival catalogs, and online journals. MORRISON, James E. Essayist. Lecturer, English Department, North Carolina State University, Raleigh. Contributor to New Orle- ans Review, Centennial Review, and Film Criticism. Essay: Ivory. MRAZ, John. Essayist. Researcher, Center for the Study of Contem- porary History, University of Puebla, Mexico, since 1984. Distin- guished visiting professor, Art and Latin American Studies, Univer- sity of Connecticut, 1990; visiting professor of history, University of California, Santa Cruz, 1988. Coordinator of graphic history, Center for the Historical Study of the Mexican Labor Movement, 1981–83. Contributor to Jump Cut. Essays: Alvarez; De Fuentes; Diegues; Fernández; Sara Gómez; Leduc; Pereira dos Santos; Rocha; Solanas and Getino; Solas. MURPHY, William T. Essayist. Chief, Motion Picture, Sound, and Video Branch, National Archives, Washington, D.C., since 1976. Author of Robert Flaherty: A Guide to References and Resources, 1978. Essay: Flaherty. NARDUCY, Ray. Essayist. Film critic and historian, Chicago. Essay: Ashby. NASTAV, Dennis. Essayist. Critic and documentary ?lmmaker. Essays: Pagnol; Rohmer; Tanner. NEWMAN, Kim. Essayist. Free-lance writer and broadcaster. Author of Nightmare Movies, 1988, and Wild West Movies, 1990. Contributor to Sight and Sound, Empire, New Musical Express, and other periodi- cals. Film critic for Box Of?ce, Channel 4, London. Essays: Carpen- ter; Craven; Cronenberg; Lynch; Waters. NICHOLS, Bill. Essayist. Professor and head of Department of Film Studies, Queen’s University, Kingston, Ontario, since 1976. Author of Ideology and the Image, 1981; and Newsreel: Documentary Filmmaking on the American Left, 1981. Editor of Movies and Methods, 1976. Essays: Dmytryk; Stanley Kramer. NISSEN, Dan. Adviser and essayist. Deputy curator, 1988–1998, head of Department Archive & Cinematheque, 1998—, Danish Film Institute. Teacher of ?lm and literature, 1978–88; ?lm critic for the NOTES ON ADVISERS AND CONTRIBUTORSDIRECTORS, 4 th EDITION 1123 daily newspaper Information, since 1976; editor of the ?lm periodical Kosmorama, since 1988; contributor to several books and dictionar- ies on ?lm. Essays: Malmros; Von Trier. NOTAR, Clea H. Essayist. Free-lance writer and lecturer. Contribu- tor to Cinema Canada and other periodicals; and broadcaster for the Canadian Broadcasting Corporation. Essay: Lefebvre. OBALIL, Linda J. Essayist. Assistant, Special Effects Unit, Dream- scape, Bruce Cohn Cutris Productions/Bella Productions, since 1983. Essays: Porter; Schoedsack; Ulmer. O’BRIEN, Daniel. Essayist. Free-lance writer, London. B.A. in Film Studies and Theology, 1988, and M.A. in Film Studies, 1990, University of Kent. Author of The Hutchinson Encyclopedia, ninth edition. Contributor to Robert Altman—Hollywood Survivor, 1995, and Clint Eastwood—Filmmaker, 1996. Essay: Lester. O’KANE, John. Essayist. Film critic and historian, Minneapolis. Essay: Fassbinder. O’LEARY, Liam. Essayist. Film viewer, Radio Tele?s Eireann, Dublin, 1966–86. Director, Liam O’Leary Film Archives, Dublin, since 1976. Producer, Abbey Theatre, 1944. Director of the Film History Cycle at the National Film Archive, London, 1953–66; co- founder, 1936, and honorary secretary, 1936–44, Irish Film Society. Director of the ?lms Our Country, 1948; Mr. Careless, 1950; and Portrait of Dublin, 1951. Author of Invitation to the Film, 1945; The Silent Cinema, 1965; and Rex Ingram, Master of the Silent Cinema, 1980. Essays: Dupont; Feyder; Ingram; Pabst; Paradzhanov; Pastrone; Protazanov; Maurice Tourneur; Wiene. OPěLA, Vladimír. Essayist. Film historian, Czechoslovakian Film Archives, Prague. Essays: Fri?; Jire?. OSCHERWITZ, Dayna. Essayist. Doctoral candidate in French and Francophone studies, University of Texas at Austin; specializes in twentieth-century French and Francophone literature and French cinema; author of articles on Calixthe Beyala, Gisèle Pineau, and Patrick Chamoiseau; writing a disseration entitled ‘‘Representing the Nation: Literature, Cinema and the Struggle for National Identity in Late Twentieth-Century France.’’ Essay: Man Ray. PALMER, R. Barton. Essayist. Calhoun Lemon Professor of Litera- ture and Director of the South Carolina Film Institute, Clemson University; books include Hollywood’s Dark Cinema, Perspectives on Film Noir, and Joseph Mankiewicz: A Bibliographical and Criti- cal Study. Essays: Apted; Bogdanovich; Coen; Z. Korda; Malick; Pakula; Singleton; Stone; Tarantino. PARDI, Robert J. Essayist. Formerly managing editor and chief ?lm critic of four editions of Movies on TV; author of Movie Blockbusters; and Who’s Who in Cable and TV; co-author of The Complete Guide to Videocassette Movies; staff reviewer for TV Guide. Essays: Almodóvar; Corman; Scola. PE?A, Richard. Essayist. Director, New York Film Festival. For- merly director, Film Centre at the School of the Art Institute of Chicago. Essays: Bellochio; Imamura. PETLEY, Julian. Adviser and essayist. Lecturer in communications at Brunel University. Contributor to Sight and Sound, Monthly Film Bulletin, and Broadcast. Essays: Ferrara; Hei?tz; Kadár; K?utner; Leigh; Loach; Sj?berg. PETRIE, Duncan J. Essayist. Research of?cer at the British Film Institute, London. Author of Creativity and Constraint in the British Film Industry, 1991. Essays: Forsyth; Jarman; Jordan. PFAFF, Fran?oise. Essayist. Professor, Howard University, Wash- ington, D.C.; teaches courses on literature and ?lm from France, West Africa, and the Caribbean; author of The Cinema of Ousmane Sembene: A Pioneer of African Film, 1984; Twenty-?ve Black African Filmmakers, 1988; Entretiens avec Maryse Condé, 1993, translated as Interviews with Maryse Condé, 1996; and more than 40 scholarly articles. Essay: Faye. PHILLIPS, Gene D. Essayist. Professor, Loyola University, Chi- cago; author of more than ninety articles and several books, including full-length studies of Alfred Hitchcock and Stanley Kubrick; contrib- uting editor, Literature/Film Quarterly; has served on special juries at Cannes, Berlin, and Chicago International Film Festivals. Essays: Coppola; Cukor; Kubrick; Reed; Schlesinger. PICK, Zuzana Mirjam. Essayist. Assistant professor, Film Studies Department, Carleton University, Ottawa, since 1976. Editor of Latin American Filmmakers and the Third Cinema, 1978. Essay: Ruiz. PICKARD, Christopher. Adviser. Latin American bureau chief, Moving Pictures International. Author of Rio: The Insider’s Guide and Sao Paolo: The Insider’s Guide. Editor of Riohfe, Brazil Travel Update. POLAN, Dana B. Adviser and essayist. Professor of critical studies, School of Cinema-TV, University of Southern California. Author of Pulp Fiction, In a Lonely Place, two other books, and numerous essays on ?lm and cultural studies; former president of the Society for Cinema Studies. Essays: Fuller; Tashlin. PORTON, Richard. Essayist. Graduate student in ?lm studies, New York University. Essay: Goretta. PRICE, Victoria. Essayist. Writer for A&E’s Biography series; author of Vincent Price: A Daughter’s Biography, 1999; currently working on a biography of actress Dorothy McGuire for the Univer- sity Press of Mississippi; completing her doctorate in American Studies at the University of New Mexico. Essay: Howard. RABINOVITZ, Lauren. Essayist. Associate professor of American studies and communication studies, University of Iowa, since 1986. Essay: Clarke. RACHEVA, Maria. Essayist. Selector of ?lms for the International Film Festival, Munich, since 1983. Teacher of ?lm history, High School for Cinema, So?a, Bulgaria, 1974–81. Author of Present Day Bulgarian Cinema, 1970; Andrzej Wajda, with Klaus Eder, 1980; and Kino: For and Against, 1986. Essays: Kluge; Staudte; Weiss. REYNOLDS, Herbert. Essayist. Historian and project coordinator, Museum of Modern Art Department of Film, New York City, since 1981. Consultant, American Federation of Arts Film Program, since 1982. Essay: Schl?ndorff. ROUTLEDGE, Chris. Essayist. Freelance writer and lecturer in literature and ?lm; published essays on detective ?ction, popular culture, and poetics; co-editor of Mystery in Children’s Literature, forthcoming. Essays: Attenborough; Badham; Beineix; Cameron; Forman; Lucas. NOTES ON ADVISERS AND CONTRIBUTORS DIRECTORS, 4 th EDITION 1124 RUBENSTEIN, E. Essayist. Formerly coordinator of the Program in Cinema Studies, College of Staten Island, City University of New York. Author of Filmguide to ‘‘The General,’’ 1973. Died 1988. Essay: Bu?uel. SAELI, Marie. Essayist. Adjunct faculty in English and the Humani- ties, Triton Community College, River Grove, Illinois, since 1983. Free-lance ?lm reviewer. Essays: Anderson; Friedkin; Lucas. SCHADE, Curtis. Essayist. Director for Admissions, Westover School, Connecticut. Essay: Sembene. SCHIFF, Lillian. Essayist. Free-lance ?lm critic and consultant, New York. Author of Getting Started in Filmmaking, 1978. Essays: Akerman; Leacock; Maysles; Scola; Paolo and Vittorio Taviani. SCHNEIDER, Steven. Essayist. Ph.D. student in philosophy at Harvard University, and in cinema studies at New York University; has written on horror ?lms for Post Script, CineAction, Paradoxa, and Other Voices; contributed to Drive-In Horrors, Violated Bodies: Extreme Film, Horror Film Reader, and Autogedden; editing a collection of essays on psychoanalysis and the horror ?lm, entitled Freud’s Worst Nightmares. Essays: Bava; Hooper; Meyer; Raimi. SCHUTH, H. Wayne. Essayist. Professor in the Department of Drama and Communications at the University of New Orleans. B.S. and M.A. degrees in Radio, Television, and Film from Northwestern University, Evanston, Illinois; Ph.D. in Communications from the Ohio State University. Author of Mike Nichols, 1978. Contributor of numerous articles to scholarly journals and ?lm books. Member of board of trustees, University Film and Video Foundation, since 1988. Essay: Nichols. SELIG, Michael. Essayist. Assistant professor, University of Ver- mont, since 1983. Contributor to Film Reader, Jump Cut, and Journal of Popular Film and Television. Essay: King Vidor. SHIELDS, Paul. Adviser. Director of The Box Of?ce, a London- based ?lm and TV consultancy with clients including Bravo. SHIPMAN, David. Essayist. Film historian and critic, London. Author of many books, including Brando, 1974; The Story of Cinema: From the Beginnings to Gone with the Wind, 1982; The Story of Cinema: From Citizen Kane to the Present Day, 1984; A Pictorial History of Science Fiction Films, 1985; Marlon Brando, 1989; and The Great Movie Stars: The Independent Years, 1991. Essays: Bauer; Kinugasa. SIEGLOHR, Ulrike. Essayist. Film lecturer and free-lance writer. Essay: Schroeter. SILET, Charles L. P. Essayist. Teacher of ?lm and contemporary culture and literature at Iowa State University. Has written widely on a variety of authors and directors, as well as on topics in ?lm and television. Essays: Beresford; Janscó; Lang. SIMMON, Scott. Essayist. Film programmer, Mary Pickford Thea- tre, Library of Congress, Washington, D.C., since 1983. Contributor to Film Comment, Journal of Popular Film and Video, and Literature/ Film Quarterly; and co-author of King Vidor—American, 1989. Essay: Boetticher. SITNEY, P. Adams. Essayist. Lecturer, Princeton University. For- mer director of Library and Publications, Anthology Film Archives. Author of Film Culture Reader, Essential Cinema, The Avant-Garde Film, and Visionary Film. Essays: Brakhage; Bresson; Mekas; Olmi. SKVORECKY, Josef. Essayist. Professor of English and Film, University of Toronto, Canada, since 1969. Author of All the Bright Young Men and Women: A Personal History of the Czech Cinema, 1972; and Jiri Menzel and the History of ‘‘Closely Watched Trains,’’ 1982. Works as novelist include Miss Silver’s Past, 1975; The Bass Saxophone, 1977; The Engineer of Human Souls, 1984; and The Miracle Game, 1990. Essays: Chytilová; Forman; Menzel. SLIDE, Anthony. Essayist. Free-lance writer. Associate ?lm archivist, American Film Institute, 1972–75; resident ?lm historian, Academy of Motion Picture Arts and Sciences, 1975–80. Author of many books, including Early American Cinema, 1970; The Grif?th Actresses, 1973; The Idols of Silence, 1976; The Big V: A History of the Vitagraph Company, 1976; Early Woman Directors, 1977; Aspects of American Film History Prior to 1920, 1978; Fifty Great American Silent Films 1912–20, with Edward Wagenknecht, 1980; The Vaudevillians, 1981; A Collector’s Guide to Movie Memorabilia, 1983; Fifty Classic British Films 1932–1982, 1985; The American Film Industry: A Historical Dictionary, 1986; and The International Film Industry: A Historical Dictionary, 1989. Editor of seven- volume Selected Film Criticism, 1896–1950, and Scarecrow Press Filmmakers Series. Essays: Browning; Fej?s; Florey; Hepworth; Reisz; Weber; Whale. SMALL, Edward S. Essayist. Director of ?lm studies, University of Missouri—Columbia, since 1983. Executive vice-president, Univer- sity Film and Video Association, 1983–86. Essay: Vanderbeek. SMOODIN, Eric. Essayist. Lecturer, Department of Literature, American University, Washington, D.C. Contributor to Film Studies Annual and Journal of the University Film and Video Association. Essays: De Mille; Mankiewicz; Sturges; Vigo. STARR, Cecile. Essayist. Free-lance writer, lecturer, and ?lmmaker. Film critic, The Saturday Review, 1949–59. Author of Discovering the Movies, 1972; and Experimental Animation, with Robert Russell, 1976. Essay: Dulac. SULLIVAN, Bob. Essayist. Writer; received a Bachelor of Arts in creative writing from Purdue University and attended the University of Southern California graduate ?lm school; postgraduate work at the Actors and Directors Lab under Jack Garfein; formerly ?lm reviewer for the Los Angeles Free Press; author of the B-movie sci-? classic Clonus; contributor, St. James Encyclopedia of Popular Culture. Essays: A. Brooks; Landis. TABERY, Karel. Essayist. Film researcher and historian, France. Historian/archivist, Czechoslovakian Film Archives, Prague, 1974–82. Essay: Fábri. TAYLOR, Richard. Essayist. Senior lecturer in politics and Russian studies at the University College of Swansea. Author of The Politics of Soviet Cinema, 1917–29, 1979; Film Propaganda: Soviet Russia and Nazi Germany, 1979; The Film Factory: Russian and Soviet Cinema in Documents, 1896–1939 (co-editor), 1988; and editor of English-language edition of Eisenstein’s Selected Works, 1988 on- wards. Essays: Barnet; Eisenstein; Kuleshov. TELOTTE, J. P. Essayist. Associate professor of English, Georgia Institute of Technology. Author of Dreams of Darkness: Fantasy and NOTES ON ADVISERS AND CONTRIBUTORSDIRECTORS, 4 th EDITION 1125 the Films of Val Lewton and Voices in the Dark: The Narrative Patterns of Film Noir. Member of Film Criticism and Literature/Film Quarterly editorial boards; and co-editor, Post Script. Essay: Polanski. TIBBETTS, John C. Essayist. Ph.D. in Multi-Disciplinary Studies— Art History, Theater, Photography, and Film, University of Kansas. Assistant professor of ?lm, University of Kansas. Has hosted own television show in Kansas City, Missouri; worked as a news reporter/ commentator for CBS Television and CNN; produced Fine Arts programming for KXTR-FM Radio; written and illustrated four books, more than two hundred articles, and several short stories. Editor of the bi-monthly magazine American Classic Screen (publica- tion of the National Film Society), 1976–85. Contributor to the Christian Science Monitor newspaper and radio network. Senior editor for the annual Movie/Video Guides from Ballantine Books. Senior consultant and contributor to reference works, including The New Film Index, The Encyclopedia of the Twentieth Century, The Oxford Companion to Mystery and Crime Writing, and American Cultural Biography. Author of Dvorak in America, 1993. Essay: Troell. TOMASULO, Frank P. Adviser. Professor of Film, Georgia State University; editor, Journal of Film and Video, 1992–97, and Cinema Journal, 1998–2003; author of over 50 scholarly articles and 100 conference papers. TOMLINSON, Doug. Essayist. Associate professor of ?lm studies, Montclair State College, New Jersey. Principal researcher for Voices of Film Experience, edited by Jay Leyda, 1977; and editor of Actors on Acting for the Screen, 1989. Essays: Berkeley; Rossen. TSAO, Leonardo Garcia. Adviser. Editor of Dicine, the longest- running ?lm magazine in Mexico; ?lm critic for Mexico City newspapers, including Unomásuno, La Jornada, and El Nacional, since 1977; contributor of articles to Film Comment, Sight and Sound, Variety, Moving Pictures, Cine, and Imágenes, among other periodi- cals. Author of books on Orson Welles, Fran?ois Truffaut, Andrei Tarkovski, and Sam Peckinpah, as well as a book of interviews with Mexican director Felipe Cazals; author of screenplay for feature ?lm Intimidad (Intimacy), directed by Dana Rotberg. Member of FIPRESCI jury. Teacher of ?lm courses at the Centro de Capacitación Cinematográ?ca and the Universidad Iberoamericana. Creator of TV programs of ?lm criticism in Mexico City. TUDOR, Andrew. Essayist. Reader in sociology at the University of York; has written widely on ?lm and cultural studies, most recently in Decoding Culture: Theory and Method in Cultural Studies, 1999. Essays: Boorman; Eastwood; Hill; Peckinpah; Siegel; Wiseman. URGO?íKOVá, Bla?ena. Essayist. Film historian, Czechoslova- kian Film Archives, Prague. Author of History of Science Fiction Films. Essays: Kie?lowski; Wajda. VASUDEVAN, Aruna. Adviser. Editor of Cinemaya: The Asian Film Quarterly. Head of FIPRESCI, India. VASUDEVAN, Ravi. Essayist. Free-lance ?lm critic. Former ?lm critic of The Sunday Observer, Delhi. Essays: Mehboob Khan; Phalke. VERDAASDONK, Dorothee. Essayist. Secretary, Department of Film, Dutch National Arts Council, 1975–82. Lecturer in ?lm and television, Utrecht University, since 1982. Author of The First Wave, 1983; editor of Bert Haanstra, 1983. Essays: Haanstra; Ivens. VINCENDEAU, Ginette. Essayist. Lecturer in ?lm studies, Univer- sity of Warwick. Co-editor of French Film: Texts and Contexts, 1989. Essay: Pialat. WALKER, Mark. Essayist. Teacher and free-lance writer. Author of Writing for Television, 1988. Essay: Zemeckis. WELSH, James M. Essayist. Associate professor of English, Salis- bury State University, Maryland. Editor, Literature/Film Quarterly. Author of His Majesty the American: The Films of Douglas Fair- banks Sr., 1977; Abel Gance, 1978; Peter Watkins: A Guide to References and Resources, 1986; and Abel Gance and the Seventh Art. Essays: Kaufman; Levinson; Richardson; Zinnemann. WEST, Dennis. Essayist. Associate professor, University of Idaho, Moscow, since 1981. Contributing editor, Cineaste. Director, Indiana University Film Studies Program, 1976–77. Contributor on Latin American and Spanish cinema to Latin American Research Review, Cineaste, New Scholar, and other periodicals. Essay: Guzmán. WHITE, M. B. Essayist. Assistant professor, Department of Radio/ TV/Film, Northwestern University, Evanston, Illinois. Contributor to Enclitic; and other periodicals. Essays: Autant-Lara; Duras; Resnais; Straub and Huillet. WILLIAMS, Colin. Essayist. Researcher and writer, London. Es- say: Schaffner. WINE, Bill. Essayist. Assistant professor of communications, LaSalle College, Philadelphia, since 1981. Film, theatre, and television critic, Camden Courier-Post, 1974–81. Essay: Cassavetes. WINNING, Rob. Essayist. Author and ?lm scholar, Pittsburgh. Essay: Jarmusch. WOLFF, Jessica R. Essayist. Free-lance researcher, writer, and editor. Essay: Rainer. WOOD, Robin. Essayist. Retired; taught Film Studies at Queen’s University, Kingston, Canada, University of Warwick, England, and York University, Toronto, Canada; author of twelve books on ?lm, most recently Hollywood from Vietnam to Reagan, Hitchcock’s Films Revisited, and Sexual Politics and Narrative Film, all published by Columbia University Press, and a monograph on The Wings of the Dove for the British Film Institute; editor of, and regular contributor to, CineAction magazine. Essays: Araki; Burton; Cimino; Demy; De Palma; Godard; Hallstrom; Hitchcock; Hou Hsiao-Hsien; Itami; Linklater; A. Mann; McCarey; Ophüls; Romero; Scorsese; Stone; Tavernier. NATIONALITY INDEX 1129 American Robert Aldrich Woody Allen Robert Altman Kenneth Anger Gregg Araki Dorothy Arzner Timothy Asch Hal Ashby Lloyd Bacon John Badham Bruce Baillie Paul Bartel Robert Benton Busby Berkeley Kathryn Bigelow Budd Boetticher Peter Bogdanovich Lizzie Borden Frank Borzage Stan Brakhage Albert Brooks Mel Brooks Tod Browning Charles Burnett Tim Burton Frank Capra John Carpenter John Cassavetes Michael Cimino Shirley Clarke Joel Coen Martha Coolidge Francis Ford Coppola Roger Corman Wes Craven John Cromwell George Cukor Joe Dante Jules Dassin Delmer Daves Emile De Antonio Cecil B. De Mille Brian De Palma Jonathan Demme Edward Dmytryk Stanley Donen Allan Dwan Clint Eastwood Abel Ferrara David Fincher Robert Flaherty Victor Fleming John Ford Bob Fosse John Frankenheimer Sidney Franklin William Friedkin Samuel Fuller Terry Gilliam D.W Grif?th Hal Hartley Howard Hawks Walter Hill Tobe Hooper Ron Howard James Ivory Jim Jarmusch Lawrence Kasdan Philip Kaufman Elia Kazan Buster Keaton Barbara Kopple Stanley Kramer Stanley Kubrick Gregory La Cava John Landis Spike Lee Mervyn Leroy Richard Lester Barry Levinson Albert Lewin Jerry Lewis Richard Linklater Pare Lorentz Joseph Losey George Lucas Sidney Lumet David Lynch Terrence Malick Rouben Mamoulian Joseph L. Mankiewicz Anthony Mann Michael Mann Gregory Markopoulos John Kennedy Marshall Albert Maysles David Paul Maysles Leo McCarey Russ Meyer Oscar Micheaux Lewis Milestone Vincente Minnelli Errol Morris Paul Morrissey Robert Mulligan Gregory Nava Fred Niblo Mike Nichols Alan J. Pakula Gordon Parks Sam Peckinpah Arthur Penn Sydney Pollack Abraham Polonsky Edwin S. Porter Otto Preminger Bob Rafelson Sam Raimi Yvonne Rainer Man Ray Nicholas Ray Rob Reiner Marlon Riggs Martin Ritt George A. Romero Robert Rossen Alan Rudolph Mark Sandrich John Sayles Franklin J. Schaffner Ernest B. Schoedsack Paul Schrader Joel Schumacher Martin Scorsese Susan Seidelman Don Siegel Joan Micklin Silver John Singleton Kevin Smith Steven Soderbergh Todd Solondz Penelope Spheeris Steven Spielberg John M. Stahl George Stevens Whit Stillman Oliver Stone Preston Sturges Quentin Tarantino Frank Tashlin Gus Van Sant Stan Vanderbeek King Vidor Raoul Walsh Andy Warhol John Waters Lois Weber Orson Welles William Wellman Robert Wise Frederick Wiseman Edward D. Wood, Jr. William Wyler Robert Zemeckis Argentinian Maria Luisa Bemberg Fernando Birri Octavio Getino Nelly Kaplan Fernando E. Solanas Leopoldo Torre Nilsson Australian Gillian Armstrong Bruce Beresford George Miller Fred Schepisi Peter Weir NATIONALITY INDEX DIRECTORS, 4 th EDITION 1130 Austrian Willi Forst G.W. Pabst Edgar Ulmer Josef von Sternberg Erich von Stroheim Belgian Chantal Akerman Jacques Feyder Henri Storck Jaco van Dormael Agnès Varda Bolivian Jorge Sanjinés Brazilian Alberto Cavalcanti Carlos Diegues Nelson Pereira Dos Santos Glauber Rocha British Lindsay Anderson Michael Apted Richard Attenborough John Boorman John Boulting Roy Boulting Kenneth Branagh Charles Chaplin Jack Clayton Charles Crichton Basil Dearden Stephen Frears Sidney Gilliat Edmund Goulding Peter Greenaway Cecil Hepworth Alfred Hitchcock Derek Jarman Humphrey Jennings Roland Joffé Frank Launder Richard Leacock David Lean Mike Leigh Ken Loach Alan Parker Michael Powell Emeric Pressburger Carol Reed Tony Richardson Nicolas Roeg Paul Rotha John Schlesinger James Whale Burkinabe Jean-Marie Gaston Kaboré Idrissa Ouedraogo Canadian Denys Arcand James Cameron David Cronenberg Atom Egoyan Norman Jewison Jean-Pierre Lefebvre Mack Sennett Chilean Patricio Guzmán Miguel Littin Raúl Ruiz Chinese Chen Kaige Hu King Tian Zhuangzhuang John Woo Xie Jin Edward Yang Zhang Yimou Cuban Santiago Alvarez Sara Gómez Tomás Gutiérrez Alea Humberto Solas Czech Věra Chytilová Milos Forman Martin Fri? Jaromil Jire? Karel Kachyňa Ján Kadár Jirí Menzel Jan Nemec Ji?i Weiss Danish Bille August August Blom Benjamin Christensen Carl Theodor Dreyer Astrid Henning-Jensen Bjarne Henning-Jensen Holger-Madsen Nils Malmros J?rgen Roos Lars von Trier Dutch Bert Haanstra Joris Ivens Paul Verhoeven Egyptian Youssef Chahine Ethiopian Haile Gerima Finnish Aki Kaurismaki French Alexandre Astruc Claude Autant-Lara Jacques Becker Jean-Jacques Beineix Claude Berri Luc Besson Bertrand Blier Catherine Breillat Robert Bresson Léos Carax Marcel Carné Claude Chabrol René Clair René Clément Henri-Georges Clouzot Jean Cocteau Constantin Costa-Gavras Philippe De Broca Jean Delannoy Jacques Demy Germaine Dulac Marguerite Duras Julien Duvivier Jean Epstein Jean Eustache Louis Feuillade Robert Florey Abel Gance Jean-Luc Godard Jean Grémillon Alice Guy Danièle Huillet Diane Kurys Marcel L’Herbier Claude Lanzmann Claude Lelouch Louis Lumière Louis Malle Chris Marker Jean-Pierre Melville Claude Miller Marcel Pagnol Maurice Pialat Alain Resnais Jacques Rivette Eric Rohmer Jean Rouch Claude Sautet Jean-Marie Straub Jacques Tati Bertrand Tavernier Andre Téchiné Fran?ois Truffaut Roger Vadim Jean Vigo French West Indian Euzhan Palcy NATIONALITY INDEXDIRECTORS, 4 th EDITION 1131 German Percy Adlon Doris D?rrie E.A. Dupont Rainer Werner Fassbinder Werner Herzog Helmut K?utner Alexander Kluge Paul Leni F.W. Murnau Wolfgang Petersen Leni Riefenstahl Walter Ruttmann Helma Sanders-Brahms Volker Schl?ndorff Werner Schroeter Wolfgang Staudte Hans-Jurgen Syberberg Margarethe von Trotta Wim Wenders Robert Wiene Greek Theodoros Angelopoulos Michael Cacoyannis Hungarian Michael Curtiz Zoltán Fábri Paul Fej?s István Gaál Miklós Jancsó Zoltan Korda Márta Mészáros Istvan Szabó Icelandic Fridrik Thor Fridriksson Indian Shyam Benegal Raj Kapoor Mehboob Khan Mira Nair Dadasaheb Phalke Satyajit Ray Mrinal Sen Iranian Abbas Kiarostami Mohsen Makhmalbaf Irish Neil Jordan Jim Sheridan Italian Michelangelo Antonioni Mario Bava Marco Bellocchio Bernardo Bertolucci Renato Castellani Federico Fellini Pietro Germi Alberto Lattuada Sergio Leone Nanni Moretti Ermanno Olmi Pier Paolo Pasolini Elio Petri Gillo Pontecorvo Francesco Rosi Roberto Rossellini Ettore Scola Paolo Taviani Vittorio Taviani Luchino Visconti Lina Wertmuller Franco Zef?relli Japanese Heinosuke Gosho Susumu Hani Kon Ichikawa Tadashi Imai Shohei Imamura Juzo Itami Keisuke Kinoshita Teinosuke Kinugasa Masaki Kobayashi Akira Kurosawa Kenji Mizoguchi Nagisa Oshima Yasujiro Ozu Kaneto Shindo Masahiro Shinoda Kozaburo Yoshimura Lithuanian Jonas Mekas Malian Souleymane Cissé Mexican Fernando De Fuentes Emilio Fernández Paul Leduc Arturo Ripstein Mozambiquian Ruy Guerra New Zealander Jane Campion Peter Jackson Vincent Ward Polish Agnieszka Holland Jerzy Kawalerowicz Krzysztof Kie?lowski Roman Polanski Jerzy Skolimowski Andrzej Wajda Krzysztof Zanussi Portuguese Manoel de Oliveira Russian Boris Barnet Evgeni Bauer Mark Donskoi Sergei Eisenstein Iosif Hei?tz Grigori Kozintsev Nikita Mikhalkov Yakov Protazanov Vsevolod Pudovkin Alexander Rogozhkin Larisa Shepitko Dziga Vertov Scottish Bill Forsyth John Grierson Alexander Mackendrick Senegalese Sa? Faye Djibril Diop Mambety Ousmane Sembene Soviet Sergei Gerasimov Lev Kuleshov Soviet Georgian Otar Ioseliani Sergei Paradzhanov Soviet Russian Andrei Tarkovsky Spanish Pedro Almodóvar Juan Antonio Bardem Luis Bu?uel Luis García Berlanga Carlos Saura Swedish Ingmar Bergman Lasse Hallstrom Alf Sj?berg Victor Sj?str?m Jan Troell Mai Zetterling Swiss Claude Goretta Alain Tanner Taiwanese Hou Hsiao-Hsien Ang Lee Turkish Yilmaz Güney Ukrainian Alexander Dovzhenko Yugoslavian Du?an Makavejev FILM TITLE INDEX 1135 The following list of titles cites all ?lms included in the Directors volume of this series, including cross-references for alternative or English-language titles. The name(s) in parentheses following the title and date refer the reader to the appropriate entry or entries where full information is given. Titles appearing in bold are covered in the Films volume. * * * *, 1967 (Warhol) ... à Valparaiso, 1963 (Ivens) ... reitet für Deutschland, 1950 (Staudte) ... Veda silahlara veda ..., 1966 (Güney) ... y la noche se hizo arcoiris, 1978 (Alvarez) 1 Berlin-Harlem, 1974 (Fassbinder) 1-100, 1978 (Greenaway) 1.42.08, 1965-67 (Lucas) 2 Friends, 1985 (Campion) 2 ou 3 Choses que je sais d’elle, 1967 (Miller) 2nd Hand Love, 1923 (Wellman) 3 A.M., 2001 (Lee) 3 ans 5 mois, 1983 (Faye) 3:10 to Yuma, 1957 (Daves) 3rd Time Lucky, 1931 (Launder, Frank, and Sidney Gilliat) 4 Little Girls, 1997 (Lee) 4th, 5th, & Exclusionary Rule, 1973 (Marshall) 5 Day Lovers. See Amant de cinq jours, 1961 6.18.67, 1965-67 (Lucas) 6-dagesl?bet, 1958 (Roos) 6 x 2: sur et sous la communication, 1977 (Godard) 7-9-13, 1934 (Holger-Madsen) 7 Deadly Sins. See Sept Peches capitaux, 1962 7 Dias de enero, 1979 (Bardem) 7 Péchés capitaux, 1952 (Autant-Lara) 7 up in America. See Age 7 in America, 1992 8 1/2. See Otto e mezzo, 1963 8 1/2 Women, 1999 (Greenaway) 8 Million Ways to Die, 1986 (Stone) 8MM, 1999 (Schumacher) 8-Tomb Village. See Yatsuhaka-mura, 1996 8 x 8, 1952 (Cocteau) 10 Korkusuz adam, 1964 (Güney) 10 Modern Commandments, 1927 (Arzner) 10:30 p.m. Summer, 1966 (Dassin; Duras) 10th American Film Institute Life Achievement Award: A Salute to Frank Capra, 1982 (Capra) 11:30 P.M., 1915 (Walsh) 12 + 1. See Su tredici, 1969 12 dicembre, 1972 (Pasolini) 13.jul, 1982 (Kusturica) 13. revír, 1945 (Fri?) 14 dage i jernalderen, 1977 (Roos) 14 Up in America, 1998 (Apted) 15 Maiden Lane, 1936 (Dwan) 15 Moments. See Stardom, 2000 15 perc 15 évr?l, 1965 (Mészáros) 15 Song Traits, 1969 (Brakhage) 15/18, 1973 (Akerman) 17 minutter Gr?nland, 1967 (Roos) 20th Century: The Pursuit of Happiness, 1999 (Zemeckis) 21, 1976 (Apted) $21 or 21 Days, 1973 (Marshall) 23rd Psalm Branch: Part I, 1969 (Brakhage) 25 Fireman’s Street. See Tüzoltó utca 25, 1973 26 es también 19, 1981 (Alvarez) 28 Up, 1984 (Apted) 30 Door Key, 1992 (Skolimowski) 35 Boulevard General Koenig, 1971 (Markopoulos) 35 minutes, 1972 (Marshall) 35 Up, 1991 (Apted) 36 ?llette, 1988 (Breillat) 37.2 Degrees in the Morning. See 37°2 le matin, 1986 37°2 le matin, 1986 (Beineix) $40 Misunderstanding, 1973 (Marshall) 40 Pounds of Trouble, 1962 (Jewison) 41st. See Sorok pervyi, 1927 42: Forty Two Up, 1998 (Apted) 42nd Street, 1933 (Bacon; Berkeley) 47 Ronin, 1994 (Ichikawa) 48 Hours. See Went the Day Well?, 1942 48 Hrs., 1982 (Hill) 48-Year-Old Rebel. See Yonjuhassai no teiko, 1956 49th Parallel, 1941 (Powell and Pressburger; Lean) 50-50, 1916 (Fleming) 50-50, 1923 (Florey) 52 Pick-Up, 1986 (Frankenheimer) 54, 1998 (Bogdanovich) 55 Days at Peking, 1963 (Itami; Ray) 60 Minutos con el primer mundial de boxeo amateur, 1974 (Alvarez) 79 Primaveras, 1969 (Alvarez) 79 Springtimes of Ho Chi Minh. See 79 Primaveras, 1969 84 Charing Cross Road, 1987 (Brooks) 92,8Mhz-dr?mmar: s?der, 2000 (Troell) 99. See Kilencvenkilenc, 1918 99 44/100 Dead, 1974 (Frankenheimer) 141 Minutes from the Un?nished Sentence. See 141 perc a Befejezetlen mondatból, 1974 141 perc a Befejezetlen mondatból, 1974 (Fábri) 365 Nights. See Sanbyaku rokujugo-ya, 1948 400 Blows. See Quatre Cents Coups, 1959 504 et les foudroyers, 1974 (Rouch) 800 Leagues down the Amazon, 1993 (Corman) 813, 1923 (Mizoguchi) 813: The Adventures of Arsene Lupin. See 813, 1923 901/904, 1972 (Marshall) 1001 Nights with Toho. See Toho senichi-ya, 1947 1001 nuits, 1990 (de Broca) 1492: The Conquest of Paradise, 1992 (Scott) 1776, 1909 (Grif?th) 1900, 1976 (Bertolucci) 1941, 1979 (Fuller; Landis; Spielberg; Zemeckis) 1952 Május 1, 1952 (Jancsó) 1963.julius 27.szombat, 1963 (Mészáros) 2001: A Space Odyssey, 1968 (Kubrick) 2084, 1984 (Marker) $5,000 Reward—Dead or Alive, 1911 (Dwan) 90215, 1986 (Soderbergh) 40,000 Years of Dreaming, 1996 (Miller) $500,000 Reward, 1911 (Sennett) 660214, the Story of an IBM Card, 1961 (de Palma) A 111-es, 1919 (Korda) A 8a. Bienal de S?o Paulo, 1965 (Diegues) A Bandeira Nacional, 1988 (Oliveira) A becsapott újságíró, 1914 (Korda) A béke ut ja, 1917 (Curtiz) A bient?t j’espère, 1969 (Marker) A bout de souf?e, 1959 (Chabrol; de Broca; Godard; Melville) A ca?a, 1963 (Oliveira) FILM TITLE INDEX DIRECTORS, 4 th EDITION 1136 A Caixa, 1994 (Oliveira) A Can??o de Lisboa, 1933 (Oliveira) A can?ao do ber?o, 1930 (Cavalcanti) A Carta, 1999 (Oliveira) A Casa, 1997 (Carax) A ciascuno il suo, 1967 (Petri) A cruz na pra?a, 1958 (Rocha) A Csodagyerek, 1920 (Korda) A csunya ?u, 1918 (Curtiz) A divina comedia, 1991 (Oliveira) A double tour, 1959 (Chabrol) A fekete szivarvany, 1916 (Curtiz) A f?ld embere, 1917 (Curtiz) A galope sobre la historia, 1982 (Alvarez) A gauche en sortant de l’ascenseur, 1988 (Berri) A gólyakalifa, 1917 (Korda) A grande cidade, 1966 (Diegues; Rocha) A grande feira, 1965 (Rocha) A harangok R?mába mentek, 1958 (Jancsó) A hercegn? Pongyolaban, 1914 (Curtiz) A “holdudvar’’, 1968 (Mészáros) A idade da terra, 1980 (Rocha) A it, 1971 (Güney) A Karim na Sala, 1991 (Ouedraogo) A kétszívü fér?, 1916 (Korda) A K?lcs?nkért csecsem?k, 1914 (Curtiz) A koldum klaka, 1994 (Fridriksson) A kuruzslo, 1917 (Curtiz) A la Cabaret, 1916 (Sennett) à la folie, 1994 (Kurys) A la recherche du soleil, 1985 (Schroeter) A la recherche d’un appartement, 1906 (Guy) A labda varásza, 1962 (Mészáros) A las cinco de la tarde, 1960 (Bardem) A l’aube d’un monde, 1956 (Cocteau) A l?rinci fonóban, 1971 (Mészáros) A Magyar f?ld ereje, 1916 (Curtiz) A Magzat, 1993 (Mészáros) A Maksimenko brigád, 1950 (Jancsó) A medikus, 1916 (Curtiz) A michemin du ciel, 1929 (Cavalcanti) A nagymama, 1916 (Korda) A napraforgós h?lgy, 1918 (Curtiz) A nevet? Szaszkia, 1916 (Korda) A nos amours, 1983 (Pialat) à nous deux, 1979 (Berri; Lelouch) A Nous la liberté, 1931 (Clair) A Pál utcai ?úk, 1968 (Fábri; Jancsó) A pozdravuji vla?tovky, 1972 (Jire?) à propos de Nice, 1930 (Vigo) à propos de Nice, la suite, 1995 (Breillat; Costa-Gavras; Kiarostami; Ruiz) A proposito Lucky Luciano, 1973 (Rosi) A queda, 1978 (Guerra) à quoi rêvent les jeunes ?lms, 1924 (Ray) A senki ?a, 1917 (Curtiz) A skorpió, 1918 (Curtiz) A szár és a gy?kér fejl?dése, 1961 (Mészáros) A Szentjóbi erd? titka, 1917 (Curtiz) A Szerencse Lányai, 1998 (Mészáros) A Terceira margem do rio, 1994 (Pereira Dos Santos) A tiszti kardbojt, 1915 (Korda) A tolonc, 1914 (Curtiz) A város peremén, 1957 (Jancsó) A Varsoí vit, 1955 (Jancsó) A v?r?s Sámson, 1917 (Curtiz) A Wellingtoni rejtély, 1918 (Curtiz) A zsranok szíve avagy Boccaccio Magyarországon, 1981 (Jancsó) Aa furusato, 1938 (Mizoguchi) Aa koe naki tomo, 1972 (Imai) Aag, 1948 (Kapoor) Aah, 1953 (Kapoor) Aan, 1952 (Mehboob Khan) Aanasi yi it do urmus, 1966 (Güney) Aashik, 1962 (Kapoor) Aashiyana, 1952 (Kapoor) Ab Dilli Dur Nahin, 1957 (Kapoor) Abalone Industry, 1913 (Sennett) Abandon Ship, 1956 (Zetterling) Abandonadas, 1944 (Fernández) Abasheshey, 1962 (Sen) Abastecimiento, 1973 (Ruiz) Abastecimento, nova política, 1968 (Pereira Dos Santos) ABBA—The Movie, 1977 (Hallstrom) Abbasso la ricchezza!, 1946 (de Sica) Abbé Constantin, 1925 (Duvivier) Abbott and Costello Meet Captain Kidd, 1952 (Aldrich) ABC do amor, 1966 (Littin) ABC of Love. See ABC do amor, 1966 Abdullah, 1981 (Kapoor) Abe Gets Even with Father, 1911 (Sennett) Abe Lincoln in Illinois, 1940 (Cromwell) Abel Gance et Son Demain, 1963 (Kaplan) Abel Gance et son Napoleon, 1983 (Kaplan) Abel Gance—The Charm of Dynamite, 1968 (Anderson) Abend ... Nacht ... Morgen, 1920 (Murnau) Abenteuer des Dr. Kircheisen, 1920 (Wiene) Abenteuer des Prinzen Achmed, 1923-26 (Ruttmann) Abenteuer des Till Ulenspiegel, 1957 (Ivens) Abhijan, 1962 (Ray) Abidjan, port de pêche, 1962 (Rouch) Abie’s Irish Rose, 1929 (Fleming) Abigail’s Party, 1977 (Leigh) Abismos de pasión, 1953 (Bu?uel) Abominable Snowman. See Ostroznie yeti, 1960 Abortion: Desperate Choices, 1993 (Maysles) About Argentina. See De l’Argentine, 1985 About Jaroslav Havlí?ek, 1992 (Jire?) About “The White Bus’’, 1967 (Anderson) Abraham Lincoln, 1930 (Grif?th) Abraham Valley. See Vale Abraao, 1993 Abrégeons les formalités!, 1917 (Feyder) Abril de Giron, 1966 (Alvarez) Abril de Vietnam en el a?o del gato, 1975 (Alvarez) Abroad with Two Yanks, 1944 (Dwan) Abschied, 1930 (Siodmak) Abschied von gestern, 1966 (Kluge) Absence, 1976 (Brakhage) Absence of Malice, 1981 (Pollack) Absent-minded Bootblack, 1903 (Hepworth) Absolute Power, 1997 (Eastwood) Abul Hasan, 1931 (Mehboob Khan) Abwege, 1928 (Pabst) Abyss, 1989 (Cameron) Ac kurtlar, 1969 (Güney) Acapulco, 1951 (Fernández) Accattone, 1961 (Bertolucci; Pasolini) Acciaio, 1932-33 (Ruttmann) Accident, 1967 (Losey) Accident d’auto, 1907 (Feuillade) Accident, Les braves gens, Le nain, Le pont sur l’Abime, 1911/13 (Feuillade) FILM TITLE INDEXDIRECTORS, 4 th EDITION 1137 Accidental Accidents, 1924 (McCarey) Accidental Tourist, 1988 (Kasdan) Acción mutante, 1993 (Almodóvar) Accompagnatrice, 1992 (Miller) Accompagnement , 1967 (Eustache) Accompanist. See Accompagnatrice, 1992 Accord?nal, 1939 (Sirk) Accused. See Ob?alovany, 1964 Accused. See Podsudimy, 1985 Accusée, levez-vous, 1930 (Tourneur) Ace Eli and Rodger of the Skies, 1973 (Spielberg) Ace in the Hole, 1951 (Wilder) Ace of the Saddle, 1919 (Ford) Achoo Mr. Keroochev, 1959 (Vanderbeek) Achraroumès, 1978 (Paradzhanov) Acht Stunden sind kein Tag, 1972 (Fassbinder) Acht Tage Gluck. See Liebesexpress, 1931 Achte Gebot, 1915 (Leni) Aci, 1971 (Güney) Aciéries de la marine et d’Homécourt, 1925 (Grémillon) Acoso, 1964 (Solas) Acostates f?rste Offer. See Krigens Fjende, 1915 Acquitted. See Af Elskovs Naade, 1913 Acres of Alfalfa, 1914 (Sennett) Across the Alley, 1913 (Sennett) Across the Hall, 1914 (Sennett) Across the Mexican Line, 1911 (Guy) Across the Paci?c, 1942 (Huston) Across the River and into the Trees, 1987 (Frankenheimer) Across the Wide Missouri, 1951 (Wellman) Act Five, Scene Seven. Fritz Kortner Rehearses Kabale und Liebe. See Fünfter Akt, siebte Szene. Fritz Kortner probt Kabale und Liebe, 1965 Act of God, 1981 (Greenaway) Act of Love, 1980 (Howard) Act of Seeing with One’s Own Eyes, 1971 (Brakhage) Act of Violence, 1948 (Zinnemann) Acta General de Chile, 1986 (Littin) Actas de Marusia, 1985 (Littin) Acteurs, 2000 (Blier) Acting on Impulse, 1993 (Bartel) Action, 1921 (Ford) Action B. See Akce B, 1951 Action in the North Atlantic, 1943 (Bacon) Action Man. See Soleil des voyous, 1967 Action Stations!. See Branle-Bas de combat, 1943 Acto da primavera, 1963 (Oliveira) Actor. See Honarpisheh, 1993 Actor’s Revenge. See Yukinojo henge, 1963 Actors. See Acteurs, 2000 Actress, 1928 (Franklin; Lewin) Actress, 1953 (Cukor) Actress. See Eiga Joyu, 1987 Actress. See Joyu, 1947 Actress. See Joyu, 1956 Actress and the Cowboys and The Sky Pilot’s Intemperance, 1911 (Dwan) Acts of Love, 1978 (Kazan) Acusation, 1965 (Solas) Adam’s Rib, 1923 (de Mille) Adam’s Rib, 1949 (Cukor) Adams’s Apple, 1928 (Launder and Gilliat) Adauchi, 1964 (Imai) Addiction, 1995 (Ferrara) Adieu Bonaparte. See Al Wedaa ya Bonaparte, 1984 Adieu, plancher des vaches!, 1997 (Ioseliani) Adiós Nicanor, 1937 (Fernández) Adiós peque?a, 1986 (Bardem) Adjuster, 1991 (Egoyan) Adjustment and Work, 1986 (Wiseman) Adjutant to His Highness. See Pobo?ník Jeho Vysosti, 1933 Admirable Crichton. See Male and Female, 1919 Admiral Nakhimov. See Amiral Nakhimov, 1946 Adolescents. See Veuves de quinze ans, 1964 Adoption. See ?r?kbefogadás, 1975 Adorable, 1933 (Wilder) Adrienne Lecouvreur, 1938 (L’herbier) Adrift. See Touha zvaná Anada, 1971 Adua e le compagne, 1960 (Scola) Adulteress. See Thérèse Raquin, 1953 Adulteress. See Yoru no tsuzumi, 1958 Adventure, 1925 (Fleming) Adventure, 1945 (Fleming) Adventure for Two. See à nous deux, 1979 Adventure in a Harem. See Et Haremseventyr, 1914 Adventure in Sahara, 1938 (Fuller) Adventure in the Autumn Woods, 1912 (Grif?th) Adventurer, 1917 (Chaplin; Guy) Adventures of a Brown Man in Search of Civilization, 1971 (Ivory) Adventures of a Millionaire’s Son. See Millionaerdrengen, 1913 Adventures of a Young Man, 1962 (Ritt) Adventures of an Old Flirt, 1909 (Porter) Adventures of Arsène Lupin. See Aventures d’Arsène Lupin, 1956 Adventures of Baron Munchausen, 1989 (Gilliam) Adventures of Barry MacKenzie, 1972 (Beresford) Adventures of Billy, 1911 (Grif?th) Adventures of Dolly, 1908 (Grif?th) Adventures of Don Juan, 1948 (Florey) Adventures of Gerard, 1970 (Skolimowski) Adventures of Goopy and Bagha. See Goopy Gyne Bagha Byne, 1969 Adventures of Huckleberry Finn, 1939 (Mankiewicz) Adventures of Huckleberry Finn, 1960 (Curtiz; Keaton) Adventures of Mark Twain, 1944 (Siegel) Adventures of Mr. West in the Land of the Bolsheviks. See Neobychainiye priklucheniya Mistera Vesta v stranye Bolshevikov, 1924 Adventures of Octyabrina. See Pokhozdeniya Oktyabrini, 1924 Adventures of Prince Achmed. See Abenteuer des Prinzen Achmed, 1923-26 Adventures of Robin Hood, 1938 (Curtiz) Adventures of Robinson Crusoe. See Aventuras de Robinson Crusoe, 1952 Adventures of Till Eulenspiegel. See Abenteuer des Till Ulenspiegel, 1957 Adversary. See Pratidwandi, 1970 Advise and Consent, 1962 (Preminger) Adwa: An African Victory, 1999 (Gerima) Aegteskab og Pigesjov, 1914 (Blom) Aelita, 1924 (Protazanov) Aero-Engine, 1933 (Grierson) Aerodyne. See Caswallan Trilogy, 1986 Aerograd, 1935 (Dovzhenko) Aeroplane Inventor. See En Op?nders Skaebne, 1911 Aeventyrersken, 1914 (Blom) Af Elskovs Naade, 1913 (Blom) Affair. See There’s Always Vanilla, 1972 Affair of Hearts, 1910 (Grif?th; Sennett) Affair of the Heart. See Ljubavni Slu?aj, tragedija sluzbenice PTT, 1967 Affair to Remember, 1957 (McCarey) Affaire Clemenceau. See Processo Clémenceau, 1918 Affaire des femmes, 1989 (Chabrol) Affaire du collier de la Reine, 1946 (L’herbier) Affaire du courrier de Lyon, 1937 (Autant-Lara) FILM TITLE INDEX DIRECTORS, 4 th EDITION 1138 Affaire Lafarge, 1938 (von Stroheim) Affaire Manet, 1950 (Astruc) Affaire Maurizius, 1954 (Duvivier) Affaire Nina B, 1962 (Siodmak) Affaires publiques, 1934 (Bresson) Affairs of a Rogue. See First Gentleman, 1948 Affairs of Anatol, 1921 (de Mille) Affairs of Cellini, 1934 (La Cava) Affairs of Dobie Gillis, 1953 (Fosse) Affairs of Martha, 1942 (Dassin) Affairs of Sally. See Fuller Brush Girl, 1950 Affectionately Yours, 1941 (Bacon) Af?che, 1924 (Epstein) Af?nità elettive, 1996 (Taviani) Af?rmations, 1990 (Riggs) Af?iction, 1997 (Schrader) Africa, My Africa. See Afrique, mon Afrique, 1995 Africain, 1983 (Berri; de Broca) African Fury. See Cry, the Beloved Country, 1951 African Queen, 1952 (Huston) African. See Africain, 1983 Africana. See Rückkehr, 1990 Afrique et la recherche scienti?que, 1965 (Rouch) Afrique, mon Afrique, 1995 (Ouedraogo) After a Lifetime, 1971 (Loach) After Grad with Dad, 1980 (Egoyan) After Hours, 1984 (Campion) After Hours, 1985 (Scorsese) After Laughter, 1981 (Vanderbeek) After Many Years, 1908 (Grif?th) After My Last Move. See Nach Meinem letzten Umzug, 1970 After Of?ce Hours, 1932 (Launder, Frank, and Sidney Gilliat) After School, 1912 (Dwan) After Sunset: The Life & Times of the Drive-in Theater, 1995 (Carpenter) After the Fox. See Caccia alla volpe, 1966 After the Game, 1973 (Marshall) After the Rain. See Ame agaru, 1999 After the Rehearsal. See Efter Repetitioner, 1983 After Tomorrow, 1932 (Borzage) After Winter: Sterling Brown, 1985 (Gerima) Afterglow, 1997 (Altman; Rudolph) Aftermath, 1980 (Brakhage) Afternoon, 1965 (Warhol) Afternoon, 1975 (Leigh) Afternoon in the Village. See Egy délután Koppánymonostorban, 1955 Afternoon Off, 1979 (Frears) Afurika monogatari, 1981 (Hani) Again One Night. See Aruyo futatabi, 1956 Against Oblivion. See Contre l’oubli, 1991 Against the Wall, 1994 (Frankenheimer) Against the Wind, 1948 (Crichton) Agantuk, 1991 (Ray) Agatha, 1978 (Apted) Agatha. See Agatha et les lectures illimitées, 1981 Agatha et les lectures illimitées, 1981 (Duras) Age 7 in America, 1992 (Apted) A-Ge-Man, 1990 (Itami) A-Ge-Man—Tales of a Golden Geisha. See A-Ge-Man, 1990 Age d’or, 1930 (Bu?uel) Age of Bamboo at Mentawei. See Bambu? p?ldern p? Mentawei, 1937/38 Age of Consent, 1932 (La Cava) Age of Consent, 1969 (Powell, Michael, And Emeric Pressburger) Age of Daydreaming. See álmodozások kora, 1964 Age of Desire, 1923 (Borzage) Age of In?delity. See Muerte de un ciclista, 1955 Age of Innocence, 1993 (Scorsese) Age of the Earth. See A idade da terra, 1980 Agee, 1980 (Huston) Agents tels qu’on nous les présente, 1908 (Feuillade) Aggie Appleby, Maker of Men, 1933 (Sandrich) Aggressionen, 1968 (Schroeter) Aggrippès à la terre, 1968 (Ivens) Agi Murad il diavolo bianco, 1959 (Bava) Agit-Train of the Central Committee. See Agitpoezd VTsIK, 1921 Agitpoezd VTsIK, 1921 (Vertov) Agkadyanchi Mouj, 1914/15 (Phalke) Agnes Brown, 1999 (Sheridan) Agnes of God, 1985 (Jewison) Agnese Visconti, 1910 (Pastrone) Agnus Dei. See égi bárány, 1970 Agnus Dei Kinder Synapse, 1991 (Brakhage) Agonie de Byzance, 1913 (Feuillade) Agonie de Jerusalem, 1926 (Duvivier) Agonie des aigles, 1920 (Duvivier) Agonie des aigles, 1933 (Pagnol) Agony and the Ecstasy, 1965 (Reed) Agostino di Ippona, 1972 (Rossellini) Aguirre, der Zorn G?ttes, 1972 (Guerra; Herzog) Aguirre, the Wrath of God. See Aguirre, der Zorn G?ttes, 1972 Agulha no palheiro, 1952 (Pereira Dos Santos) Ah, Cradle, 1980 (Xie Jin) Ah Fei. See Yu Ma Ts’ai Tzu, 1984 Ah! My Friends without Voice. See Aa koe naki tomo, 1972 Ah, My Home Town. See Aa furusato, 1938 Ahor te vamos a llamar hermano, 1971 (Ruiz) Ahora mis pistolas hablan, 1980 (Fernández) A. I., 2001 (Spielberg) Ai futatabi, 1972 (Ichikawa) Ai ni yomigaeru hi, 1923 (Mizoguchi) Ai no borei, 1978 (Oshima) Ai no corrida, 1976 (Oshima) Ai to chikai, 1945 (Imai) Ai to kibo no machi, 1959 (Oshima) Ai to nikushimi no kanata e, 1951 (Kurosawa) Ai to shi no tanima, 1954 (Gosho) Ai vostri ordini, signora!, 1938 (de Sica) Ai Yu Ming T’ien, 1976 (Hou Hsiao-Hsien) Aid to the Nation, 1947 (de Mille) Aide-toi, 1918 (Feuillade) Aido, 1969 (Hani) Aido, Slave of Love. See Aido, 1969 Aienkyo, 1937 (Mizoguchi) Aigle à deux têtes, 1947 (Cocteau) Ai-jin, 1953 (Ichikawa) Aijo no keifu, 1961 (Gosho) Aile ou la cuisse, 1976 (Beineix) Aimé Céaire: A Voice for History. See Aimé Céaire: un voix pour l’histoire, 1994 Aimé Céaire: un voix pour l’histoire, 1994 (Palcy) Ainé des Ferchaux, 1963 (Melville) Air Circus, 1928 (Hawks) Air City. See Aerograd, 1935 Air de Paris, 1954 (Carné) Air Force, 1943 (Hawks) Air Force One, 1997 (Petersen) Air pur, 1939 (Clair) Aires de renovación en el meridiano 37, 1986 (Alvarez) Airman’s Letter to His Mother, 1941 (Powell, Michael, And Emeric Pressburger) Airs, 1976 (Brakhage) Aisai monogatari, 1951 (Shindo) Aisureba koso, 1955 (Imai; Yoshimura) FILM TITLE INDEXDIRECTORS, 4 th EDITION 1139 Aiyoku no ki, 1930 (Gosho) Aizo toge, 1934 (Mizoguchi) A.K., 1985 (Marker) A.K.: The Making of Kurosawa’s Ran. See A.K., 1985 Akahige, 1965 (Kurosawa) Akai satsui, 1964 (Imamura) Akai yuhi ni terasarete, 1925 (Mizoguchi) Akaler Sandhane, 1980 (Sen) Akanegumo, 1967 (Shinoda) Akasen chitai, 1956 (Mizoguchi) Akash Kusum, 1965 (Sen) Akatsuki no dasso, 1950 (Kurosawa) Akatsuki no shi, 1924 (Mizoguchi) Akatsuki no tsuiseki, 1950 (Ichikawa) Akatsuki no yushi, 1926 (Kinugasa) Akce B, 1951 (Fri?) Akhar. See L’Autre, 1999 Akibiyori, 1960 (Ozu) Akira Kurosawa’s Dreams. See Dreams, 1990 Akit ketten szeretnek, 1915 (Curtiz) Akogare, 1935 (Gosho) Akrobat sch?-?-?n, 1943 (Staudte) Akt, 1961 (Skolimowski) ?ktenskapsbryd?n, 1913 (Sj?str?m) Aktorzy prowincjonalni, 1979 (Holland) Aku Ryoto, 1980 (Shinoda) Akuma no temari-uta, 1977 (Ichikawa) Akuto, 1965 (Shindo) Akvarel, 1958 (Ioseliani) Al Asfour, 1973 (Chahine) Al Capone im deutschen Wald, 1969 (Fassbinder) Al Ekhtiar, 1970 (Chahine) Al-Massir, 1997 (Chahine) Al Wedaa ya Bonaparte, 1984 (Chahine) Ala Mode, 1958 (Vanderbeek) Alabama—2,000 Light Years, 1969 (Wenders) Aladdin and the Wonderful Lamp, 1917 (Franklin) Alageyik, 1958 (Güney) Alamo Bay, 1985 (Malle) Alan and Apple, 1967 (Warhol) Alan and Dickin, 1967 (Warhol) Alan Smithee Film: Burn Hollywood Burn, 1997 (Jewison) Alarm, 1914 (Sennett) Alarm, 1969 (Fassbinder) Alarm. See Nabat, 1917 Alarme!, 1943 (Ivens) Alaska Love, 1932 (Sennett) Albany Bunch, 1931 (Sennett) Albero degli zoccoli, 1978 (Olmi) Albertfalvai t?rténet, 1955 (Mészáros) Alcool tue, 1947 (Resnais) Aleksandr Nevskii, 1938 (Eisenstein) Alerte au sud, 1953 (von Stroheim) Alex in Wonderland, 1970 (Fellini) Alexander den Store, 1917 (Stiller) Alexander Nevsky. See Aleksandr Nevskii, 1938 Alexander Parkhomenko, 1942 (Dovzhenko) Alexander the Great, 1956 (Rossen) Alexander the Great. See Alexander den Store, 1917 Alexander the Great. See O Megalexandros, 1980 Alexandria Again and Forever. See Iskindiriah Kaman Oue Kaman, 1990 Alexandria ... Why?. See Iskindria ... Leh?, 1978 Alfabeto notturno, 1951 (Birri) Alfred Lalibereté, sculpteur. See Laliberté, 1987 Alfredo, Alfredo, 1972 (Germi) Alf’s Button, 1920 (Hepworth) Alf’s Button A?oat, 1938 (Launder, Frank, and Sidney Gilliat) Alger—Le Cap, 1953 (Rouch) Algie on the Force, 1913 (Sennett) Algiers, 1938 (Cromwell) Algy, the Watchman, 1911 (Sennett) Alhilal. See Judgement of Allah, 1935 Ali Baba. See Ali Baba et les quarante voleurs, 1954 Ali Baba and the Forty, 1918 (Franklin) Ali Baba et les quarante voleurs, 1954 (Becker) Alias Bulldog Drummond. See Bulldog Jack, 1935 Alias Jimmy Valentine, 1915 (Tourneur) Alias the Doctor, 1932 (Bacon; Curtiz) Alibaba, 1940 (Mehboob Khan) Alibaba and Forty Thieves, 1927 (Mehboob Khan) Alibi, 1937 (von Stroheim) Alice, 1990 (Allen) Alice Adams, 1935 (Stevens) Alice and Elsa. See à la folie, 1994 Alice and Martin. See Alice et Martin, 1998 Alice Be Good, 1926 (Sennett) Alice Doesn’t Live Here Anymore, 1975 (Scorsese) Alice et Martin, 1998 (Téchiné) Alice in den St?dten, 1973 (Wenders) Alice in Switzerland, 1939 (Cavalcanti) Alice in the Cities. See Alice in den St?dten, 1973 Alice in Wonderland, 1903 (Hepworth) Alice in Wonderland, 1933 (Mankiewicz) Alice or the Last Escapade. See Alice ou La Dernière Fugue, 1977 Alice ou La Dernière Fugue, 1977 (Chabrol) Alice’s Restaurant, 1969 (Penn) Alien, 1979 (Hill; Scott) Alien 3, 1992 (Fincher; Hill; Ward) Alien Avengers, 1996 (Corman) Alien Avengers II, 1997 (Corman) Alien’s Invasion, 1905 (Hepworth) Alieniste. See Azyllo muito louco, 1969 Aliens, 1986 (Cameron; Hill) Alitet Leaves for the Hills. See Alitet ukhodit v gory, 1949 Alitet ukhodit v gory, 1949 (Donskoi) Alkony, 1971 (Szabó) Alkonyok és hajnalok, 1961 (Jancsó) All about Eve, 1950 (Mankiewicz) All about My Mother. See Todo sobre mi madre, 1999 All American Kickback, 1931 (Sennett) All at Sea, 1914 (Sennett) All Fall Down, 1962 (Frankenheimer) All for Love. See V?e pro lásku, 1930 All I Desire, 1953 (Sirk) All My Life, 1966 (Baillie) All Night Long, 1924 (Capra; Sennett) All Night Long, 1961 (Attenborough; Dearden) All Night Long. See Toute une nuit, 1982 All of Myself. See Watashi no subete o, 1954 All on Account of a Laundry Mark, 1910 (Porter) All on Account of the Milk, 1910 (Sennett) All Quiet on the Western Front, 1930 (Cukor; Milestone; Zinnemann) All Russian Elder Kalinin. See Vserusski starets Kalinin, 1920 All Screwed Up. See Tutto a posto e niente in ordine, 1974 All That ... for This?!. See Tout ca ... pour ca!, 1993 All That Heaven Allows, 1955 (Sirk) All That Jazz, 1979 (Fosse) All the King’s Men, 1949 (Rossen) All the Marbles, 1981 (Aldrich) All the President’s Men, 1976 (Pakula) All These Women. See F?r att inte tala om alla dessa kvinnor, 1964 All Things Flow. See Panta Rhei, 1951 FILM TITLE INDEX DIRECTORS, 4 th EDITION 1140 All Wet, 1924 (McCarey) Allá en el Rancho Grande, 1936 (de Fuentes; Fernández) Allá en el tropico, 1940 (de Fuentes) Alla ricerca di Tadzio, 1970 (Visconti) Alle kann ich nicht heiraten, 1952 (Forst) Allegory, 1989 (Ruiz) Allegro barbaro: Magyar rapsz?dia 2, 1978 (Jancsó) Allegro Squadrone, 1954 (de Sica) Allemagne Neuf Zero, 1991 (Godard) Alleman, 1963 (Haanstra) Aller et retour, 1948 (Astruc) Aller-retour. See Aller et retour, 1948 Allez Oop, 1934 (Keaton) Alligator, 1980 (Sayles) Allo Berlin? Ici Paris!, 1931 (Duvivier) Allonsanfan, 1974 (Taviani) Allotria, 1936 (Forst) álmodozások kora, 1964 (Szabó) Almonds and Raisins, 1984 (Welles) Almost a Hero, 1910 (Porter) Aloise, 1974 (Téchiné) Alom a házr?l, 1971 (Szabó) Aloma of the South Seas, 1926 (Tourneur) Alone. See Odna, 1931 Alone at Last. See Endelig Alene, 1914 Alone in the World, 1916 (Weber) Alone on the Paci?c. See Taiheiyo hitoribotchi, 1963 Along the Galgu River. See Galga mentén, 1954 Along the Great Divide, 1951 (Walsh) Along the River. See Lungo il ?ume, 1992 Alpha noir, 1965 (Rouch) Alphabet, 1968 (Lynch) Alphabet Murders, 1965 (Tashlin) Alphaville, 1965 (Godard) Alraune, 1918 (Curtiz) Alraune, 1952 (von Stroheim) Alsino and the Condor. See Alsino y el cóndor, 1982 Alsino y el cóndor, 1982 (Littin) Alskande par, 1964 (Zetterling) Alt paa ét Kort, 1912 (Blom) Alt werden in der Fremde, 1978 (D?rrie) Alta infedeltà, 1964 (Petri; Scola) Altars of Desire, 1927 (Lewin) Alte Gesetz, 1923 (Dupont) Alte Herzen, neue Zeiten, 1926 (Pick) Altered Message, 1911 (Guy) Altgermanische Bauernkultur, 1934 (Ruttmann) Altri, gli altri e noi, 1967 (de Sica) Altri tempi, 1951 (de Sica) Aluminité, 1910 (Gance) Alvarez Kelly, 1966 (Dmytryk) Always, 1990 (Spielberg) Always Outnumbered, 1998 (Apted) Always Tell Your Wife, 1923 (Hitchcock) Alyonka, 1961 (Barnet) Am I Beautiful?. See Bin ich schün?, 1998 Am seidenen Faden, 1950 (Staudte) Am Tor des Lebens, 1918 (Wiene) Am Tor des Todes. See Am Tor des Lebens, 1918 Am Webstuhl der Zeit, 1921 (Holger-Madsen) Amada, 1983 (Solas) Amadeus, 1983 (Forman) Amai himitsu, 1971 (Yoshimura) Amakusa shiro tokisada, 1962 (Oshima) Amant, 1991 (Berri; Duras) Amant de cinq jours, 1961 (de Broca) Amantes, 1983 (Fernández) Amanti, 1968 (de Sica) Amants, 1958 (Malle) Amants du Pont-Neuf, 1991 (Carax) Amar, 1954 (Mehboob Khan) Amarcord, 1974 (Fellini) Amarrando el Cordon, 1968 (Alvarez) Amateur, 1994 (Hartley) Amateur Night at the Dixie Bar and Grill, 1979 (Schumacher) Amator, 1979 (Kie?lowski; Zanussi) Amazing Dr. Clitterhouse, 1938 (Huston) Amazing Stories, 1985 (Dante) Amazing Transparent Man, 1960 (Ulmer) Amazon Women on the Moon, 1987 (Bartel; Dante; Landis; Meyer) Amazonas Amazonas, 1965 (Rocha) Amazone, 2000 (de Broca) Amazons, 1987 (Corman) Amazonus de pueblo embravecido, 1980 (Alvarez) Ambar, 1952 (Kapoor) Ambara Dama, 1974 (Rouch) Ambassades nourricières, 1984 (Faye) Ambiciosos. See Fièvre monte à El Pao, 1959 Ambition, 1991 (Hartley) Ambitious Butler, 1912 (Sennett) Amblin’, 1969 (Spielberg) Ambrose’s Cup of Woe, 1916 (Sennett) Ambrose’s First Falsehood, 1914 (Sennett) Ambrose’s Fury, 1915 (Sennett) Ambrose’s Little Hatchet, 1915 (Sennett) Ambrose’s Lofty Perch, 1915 (Sennett) Ambrose’s Nasty Temper, 1915 (Sennett) Ambrose’s Rapid Rise, 1916 (Sennett) Ambrose’s Sour Grapes, 1915 (Sennett) Ambush at Cimarron Pass, 1958 (Eastwood) Ame agaru, 1999 (Kurosawa) Ame d’artiste, 1925 (Dulac) America, America, 1964 (Kazan) America Is Hard to See, 1969 (de Antonio) America: Isn’t Life Wonderful, 1924 (Grif?th) America’s Cup Race, 1899 (Porter) American 30’s Song, 1969 (Brakhage) American Aristocracy, 1916 (Fleming) American Autobahn, 1984 (Jarmusch) American Beauty, 1999 (Spielberg) American Boy, 1979 (Scorsese) American Cinema, 1994 (Bigelow) American Cinema, 1995 (Tavernier) American Dream, 1991 (Kopple) American Dreamers, 1992 (Lewis) American Flyers, 1985 (Badham) American Friend. See Amerikanische Freund, 1977 American Gigolo, 1979 (Schrader) American Graf?ti, 1973 (Coppola; Howard; Lucas) American Guerrilla in the Philippines, 1950 (Lang) American Heiress, 1917 (Hepworth) American in Paris, 1951 (Minnelli) American Madness, 1932 (Capra) American Matchmaker. See Americaner Schadchen, 1939 American President, 1995 (Reiner) American Romance, 1944 (Vidor) American Soldier. See Amerikanische Soldat, 1970 American Tail, 1986 (Spielberg) American Tail: Fievel Goes West, 1991 (Spielberg) American Tragedy, 1931 (von Sternberg) American Werewolf in London, 1981 (Landis) Americaner Schadchen, 1939 (Ulmer) FILM TITLE INDEXDIRECTORS, 4 th EDITION 1141 Americano, 1916 (Fleming) Americano a Roma, 1954 (Scola) Amerikanische Freund, 1977 (Eustache; Fuller; Ray; Wenders) Amerikanische Soldat, 1970 (Fassbinder; Von Trotta) ames au soleil, 1981 (Faye) Ames de fous, 1917 (Dulac) Ami de mon amie, 1987 (Rohmer) Amica, 1969 (Lattuada) Amiche, 1955 (Antonioni) Amici miei, 1975 (Germi) Amico magico: il maestro Nino Rota, 1999 (Wertmuller) Amiga, 1988 (Holland) Amiral Nakhimov, 1946 (Pudovkin) Amistad, 1997 (Spielberg) Amitie noire, 1946 (Cocteau) Amitiés particulières, 1964 (Delannoy) Amo te sola, 1935 (de Sica) Among People. See Vlyudyakh, 1939 Among the Mourners, 1914 (Sennett) Among Those Present, 1919 (Sennett) Amor auf Ski, 1928 (Forst) Amor brujo, 1985 (Saura) Amór de Don Juan, 1956 (Bardem) Amor de perdic?o, 1978 (Oliveira) Amor non ho...pero...pero, 1951 (Bava) Amore, 1947 (Rossellini) Amore, 1948 (Fellini) Amore a Roma, 1960 (de Sica) Amore dif?cile, 1960 (Scola) Amore e chiacchiere, 1957 (de Sica) Amore e rabbia, 1969 (Bertolucci; Godard; Pasolini) Amore in città, 1953 (Antonioni; Fellini; Lattuada) Amori di mezzo secolo, 1954 (Germi; Rossellini) Amorosa, 1986 (Zetterling) Amorosa menzogna, 1949 (Antonioni) Amorous Adventures of Moll Flanders, 1965 (de Sica) Amos and Andrew, 1993 (Demme) Amour, 1972 (Morrissey) Amour, 1973 (Warhol) Amour. See Lamuru, 1933 Amour a l’américaine, 1931 (Fej?s) Amour à mort, 1984 (Resnais) Amour a vingt ans, 1962 (Truffaut) Amour à Vingt Ans, 1972 (Wajda) Amour blessé, 1975 (Lefebvre) Amour chante, 1930 (Florey) Amour d’automne, 1912 (Feuillade) Amour de poche, 1957 (Melville) Amour de Swann. See Swann in Love, 1984 Amour d’une femme, 1954 (Grémillon) Amour en Allemagne. See Liebe in Deutschland, 1983 Amour en fuite, 1979 (Truffaut) Amour et la loi, 1920/23 (Protazanov) Amour et restes humains. See Love & Human Remains, 1993 Amour existe, 1960 (Pialat) Amour fou, 1968 (Rivette) Amour l’après-midi, 1972 (Rohmer) Amour par terre, 1984 (Rivette) Amoureuses , 1993 (Arcand) Amoureux. See Epervier, 1933 Amours de Toni. See Toni, 1935 Amours, délices et orgues. See Collège swing, 1946 Amulet of Ogum. See O Amuleta de Ogum, 1974 Ana, 1957 (Ichikawa) Ana and the Wolves. See Ana y los lobos, 1973 Ana y los lobos, 1973 (Saura) Anadi, 1959 (Kapoor) Anaparastassi, 1970 (Angelopoulos) Anata kaimasu, 1956 (Kobayashi) Anata no biru, 1954 (Hani) Anatahan, 1953 (von Sternberg) Anatolian, 1982 (Kazan) Anatomie stunde, 1977 (Zanussi) Anatomy Lesson. See Anatomie stunde, 1977 Anatomy of a Murder, 1959 (Preminger) Anatomy of Cindy Fink, 1965 (Leacock) Anchors Aweigh, 1945 (Donen) Ancient City. See Koto, 1980 Ancient Law. See Alte Gesetz, 1923 And a Little Child Shall Lead Them, 1909 (Grif?th) And at Last. See Abasheshey, 1962 And God Created Woman, 1987 (Vadim) And ... God Created Woman. See Et ... Dieu créa la femme, 1956 And Hope to Die. See Course du lièvre à travers les champs, 1972 And Justice for All, 1979 (Jewison; Levinson) And Life Goes On.... See Zendegi Edame Darad, 1991 And Now for Something Completely Different, 1971 (Gilliam) And Now My Love. See Toute une vie, 1974 And Quiet Flows the Don. See Tikhy Don, 1957/58 And Quiet Rolls the Dawn. See Ek Din Pratidin, 1979 And the Pursuit of Happiness, 1986 (Malle) And the Ship Sails On. See E la nave va, 1983 And the Wild, Wild Women. See Nella città l’inferno, 1959 And Then There Was Light. See Et la lumière fut, 1989 And Then There Were None, 1945 (Clair) And Then There Were None, 1974 (Attenborough) And There Came a Man. See e venne un uomo, 1965 And There Was No More Sea. See En de zee was niet meer, 1955 And What Now, Gentlemen?. See Kam pánové, kam jdete?, 1987 And Yet They Go. See Shikamo karera wa yuku, 1931 And You Act like One, 1976-77 (Seidelman) Andalusian Dog. See Chien andalou, 1929 Andaz, 1949 (Kapoor; Mehboob Khan) Andechser Gefühl, 1975 (Von Trotta) Andere, 1930 (Wiene) Andersen hos fotografen, 1975 (Roos) Andersens hemmelighed, 1971 (Roos) Anderson Tapes, 1971 (Lumet) Andersonville, 1996 (Frankenheimer) Andesu no hanayome, 1966 (Hani) André Masson et les quatre éléments, 1958 (Grémillon) Andrei Kozhukhov, 1917 (Protazanov) Andrei Rublev, 1969 (Tarkovsky) Andrew Jackson, 1913 (Dwan) Andrew Logan Kisses the Glitterati, 1972 (Jarman) Andriesh, 1954 (Paradzhanov) Androclès, 1912 (Feuillade) Andromeda Strain, 1970 (Wise) Andy Makes a Movie, 1968 (Morrissey) Andy Warhol Films Jack Smith Filming Normal Love, 1963 (Warhol) Andy Warhol’s Bad, 1977 (Corman; Warhol) Andy Warhol’s Dracula, 1974 (de Sica; Warhol) Andy Warhol’s Dracula. See Blood for Dracula, 1974 Andy Warhol’s Flesh. See Flesh, 1968 Andy Warhol’s Frankenstein, 1974 (Warhol) Andy Warhol’s Frankenstein. See Flesh for Frankenstein, 1974 Andy Warhol’s Heat. See Heat, 1972 Andy Warhol’s Lonesome Cowboys,. See Lonesome Cowboys, 1968 Andy Warhol’s Women. See Women in Revolt, 1971 Anémic cinéma, 1926 (Ray) Anemic Cinema. See Anémic cinéma, 1926 Anemone Me, 1990 (Haynes) FILM TITLE INDEX DIRECTORS, 4 th EDITION 1142 An?sa, 1912 (Protazanov) An?teatro Flavio, 1947 (Bava) Ange de minuit. See Bouclette, 1917 Angel, 1937 (Lubitsch) Angel, 1982 (Jordan) Angel,, 1987 (Shepitko) Angel at My Table, 1990 (Campion) Angel Child, 1908 (Porter) ángel exterminador, 1962 (Bu?uel) Angel Face, 1952 (Preminger) Angel Heart, 1987 (Parker) Angel in Exile, 1948 (Dwan) Angel Levine, 1970 (Kadár) Angel of Broadway, 1927 (Weber) Angel of Paradise Ranch, 1911 (Dwan) Angel of the Canyons, 1913 (Dwan) Angel of Vengeance. See Ms.45, 1981 Angel Wore Red, 1960 (de Sica) Angela, 1977 (Huston) Angela’s Ashes, 1999 (Parker) Angèle, 1934 (Pagnol) Angeles Harbour, 1913 (Sennett) Angelic Conversation, 1985 (Jarman) Angelika Urban, Salesgirl, Engaged. See Angelika Urban, verkauferin, verlobt, 1970 Angelika Urban, verkauferin, verlobt, 1970 (Sanders-Brahms) Angelina, 1947 (Zef?relli) Angels Die Hard!, 1970 (Corman) Angels’ Door, 1971 (Brakhage) Angels Hard as They Come, 1971 (Corman; Demme) Angels of the Streets. See Anges du péché, 1943 Angels of the Universe. See Englar alheimsins, 2000 Angels with Dirty Faces, 1938 (Curtiz) Angélus, 1899/1900 (Guy) Anges du péché, 1943 (Bresson) Angestellte, 1972 (Sanders-Brahms) Angie, 1994 (Coolidge) Anglaise et le duc, 2000 (Rohmer) Anglers, 1914 (Sennett) Anglia, 1970 (Schroeter) Angoissante aventure, 1920/23 (Protazanov) Angoisse, 1913 (Feuillade) Angoisse au foyer, 1915 (Feuillade) Angriff der Gegenwart auf die Ubrige Zeit, 1985 (Kluge) Angriffsschlachter. See Wir verbauen 3 x 27 Milliarden Dollar in einen Angriffs-schlachter, 1971 Angry Harvest. See Bittere ernte, 1984 Angry Hills, 1959 (Aldrich) Angry Sea. See Ikari no umi, 1944 Angry Silence, 1960 (Attenborough) Angst, 1954 (Rossellini) Angst des Tormanns beim Elfmeter, 1971 (Wenders) Angst essen Seele auf, 1973 (Fassbinder) Angst vor der Angst, 1975 (Fassbinder) Angyalf?ldi ?atalok, 1955 (Jancsó) Anhonee, 1952 (Kapoor) Ani imoto, 1976 (Imai) Aniki-Bóbó, 1942 (Oliveira) Anima nera, 1962 (Rossellini) Animal, 1913 (Dwan) Animal, 1977 (Beineix) Animal House, 1978 (Landis) Animal Kingdom, 1932 (Cukor) Animal Within, 1912 (Dwan) Animales 1850-1950, 1995 (Leduc) Animals of Eden and After, 1970 (Brakhage) Animated Coins, 1914/15 (Phalke) Animated Luncheon, 1900 (Porter) Animated Poster, 1903 (Porter) Anjo-ke no butokai, 1947 (Shindo; Yoshimura) Anjuta, the Dancer. See Balettprimadonnan, 1916 Ankur, 1974 (Benegal) Anmol Ghadi, 1946 (Mehboob Khan) Anna, 1952 (Lattuada) Anna, 1987 (Holland) Anna: 6-18, 1993 (Mikhalkov) Anna and the King of Siam, 1946 (Cromwell) Anna Ascends, 1922 (Fleming) Anna Boleyn, 1920 (Lubitsch) Anna Christie, 1930 (Feyder; Florey) Anna di Brooklyn, 1958 (de Sica) Anna Karenina, 1935 (von Stroheim) Anna Karenina, 1948 (Duvivier) Anna Karenina. See Love, 1927 Anna la bonne, 1963 (Cocteau) Anna, Schuldig?. See èdes Anna, 1957 Anna the Adventuress, 1920 (Hepworth) Annapolis Story, 1955 (Siegel) Anne Frank: The Whole Story, 2001 (Spielberg) Anne Frank Remembered, 1995 (Branagh) Anne of the Indies, 1951 (Tourneur) Anneau fatal, 1912 (Feuillade) Année dernière à Marienbad, 1961 (Resnais) Années 25, 1966 (Kaplan) Années 80, 1983 (Akerman) Années lumière, 1981 (Tanner) Anni ruggenti, 1962 (Scola) Annie, 1982 (Huston) Annie Bell. See Det m?rke Punkt, 1911 Annie Hall, 1977 (Allen) Annie Laurie, 1916 (Hepworth) Annie Oakley, 1935 (Stevens) Annihilation of Fish, 1999 (Burnett) Anniversary of the Revolution. See Godovshchina revoliutsiya, 1919 Anno uno, 1975 (Rossellini) Annushka, 1959 (Barnet) A?o de libertad, 1960 (Alvarez) A?o Siete, 1966 (Alvarez) Ano te kono te, 1952 (Ichikawa) Ano uno, 1972 (Gómez) Anokhi Ada, 1948 (Mehboob Khan) Anonimo, 1932 (de Fuentes) A?os Arruza, 1996 (Boetticher) Another 48 Hrs., 1990 (Hill) Another City, Not My Own, 1999 (Altman) Another Man, Another Chance, 1977 (Lelouch) Another Man’s Wife, 1913 (Dwan) Another Shore, 1948 (Crichton) Another Stakeout, 1993 (Badham) Another Sunday and Sweet F.A., 1972 (Apted) Another to Conquer, 1941 (Ulmer) Another Way of Life. See O ně?em jiném, 1963 Another Woman, 1988 (Allen) Ansatsu, 1964 (Shinoda) Ansikte mot ansikte, 1976 (Bergman) Ansiktet, 1958 (Bergman) Answer, 1980 (Lee) Anthem, 1991 (Riggs) Anthony Adverse, 1936 (Leroy) Anthony of Padua. See Antonio di Padova, 1949 Anthony’s Broken Mirror. See Antonijevo razbijeno ogledalo, 1957 Anti-Extortion Woman. See Minbo No Onna, 1991 FILM TITLE INDEXDIRECTORS, 4 th EDITION 1143 Anticipation of the Night, 1958 (Brakhage) Antigone, 1992 (Straub, Jean-Marie, And Danièle Huillet) Antinea, L’amante della città Sepolta. See Atlantide, 1960 Antípodas de la victoria, 1986 (Alvarez) Antoine et Antoinette, 1947 (Becker) Antoinette Sabrier, 1926 (Dulac) Antonieta, 1982 (Saura) Antonijevo razbijeno ogledalo, 1957 (Makavejev) Antonín Dvo?ák, 1990 (Jire?) Ant?nio das Mortes, 1969 (Rocha) Antonio di Padova, 1949 (Bava) Antz, 1998 (Allen; Spielberg) Anuschka, 1942 (K?utner) Anxiety. See Endise, 1974 Anxiety. See Inquietude, 1998 Any Given Sunday, 1999 (Stone) Any Number Can Play, 1949 (Leroy) Any Which Way You Can, 1980 (Eastwood) Anya és leánya, 1981 (Mészáros) Anyád! A szúnyogok, 1999 (Jancsó) Anybody Here Seen Kelly, 1928 (Wyler) Anybody’s Woman, 1930 (Arzner) Anyone Can Play. See Dolci signore, 1967 Anyone Lived in a Pretty How Town, 1965-67 (Lucas) Anything Goes, 1936 (Milestone) Anywhere but Here, 1994 (Tavernier) Anzio. See Sbarco di Anzio, 1968 Aoi sanmyaku, 1949 (Imai) Aoiro kakumei, 1953 (Ichikawa) Apa, 1966 (Szabó) Apache, 1954 (Aldrich) Apache Woman, 1955 (Corman) Apachen, 1919 (Dupont) Apaches pas veinards, 1903 (Guy) Aparajito, 1956 (Ray) Apartment, 1960 (Wilder) Apartment Complex, 1998 (Hooper) Ape and Super Ape. See Bij de beesten af, 1972 Apfel ist ab, 1948 (K?utner) Apfelbaume, 1992 (Sanders-Brahms) Apocalypse Now, 1979 (Coppola) Apollo 13, 1995 (Corman; Howard; Sayles) Apostasy. See Hakai, 1948 Apothecary. See A medikus, 1916 Appaloosa, 1966 (Fernández) Appare Isshin Tasuke, 1945 (Kurosawa) Apparizione, 1943 (Fellini) Appassionata. See Taková láska, 1959 Appat, 1995 (Tavernier) Appearances, 1921 (Hitchcock) Appitsch and the Drunk, 1973 (Marshall) Applause, 1929 (Mamoulian) Apple. See Sib, 1998 Apple Game, 1977 (Chytilová; Menzel) Apple Trees. See Apfelbaume, 1992 Appointment, 1970 (Lumet) Appointment in Honduras, 1953 (Tourneur) Apprenticeship of a Mahatma, 1995 (Benegal) Apprentis, 1964 (Tanner) Appunti per un ?lm indiano, 1969 (Pasolini) Appunti per una Orestiade africana, 1969 (Pasolini) Appunti su un fatto di cronaca, 1951 (Visconti) Après l’amour, 1947 (Tourneur) Après l’amour, 1992 (Kurys) April, 1961 (Ioseliani) April, April, 1935 (Sirk) Aprile, 1998 (Moretti) Apunte sobre Ana, 1971 (García Berlanga) Apur Sansar, 1959 (Ray) Aquarien, 1974 (Brakhage) Aquarium, 1895 (Lumière) Aquasex. See Mermaids of Tiburon, 1961 Aquí llego el valentón, 1938 (Fernández) Arab, 1915 (de Mille) Arab, 1924 (Ingram) Arabe. See Arab, 1924 Arabeski na temu Pirosmani, 1986 (Paradzhanov) Arabesque, 1966 (Donen) Arabian Jewish Dance, 1903 (Porter) Arabics, 1982 (Brakhage) Arabie interdite, 1937 (Clément) Arachnophobia, 1990 (Spielberg) Aranyáso, 1914 (Curtiz) Aranyer Din Ratri, 1970 (Ray) Arat az Orosházi D?zsa, 1953 (Jancsó) Arbejdet kalder, 1941 (Henning-Jensen) Arboles de Buenos-Aires, 1957 (Torre Nilsson) Arbre, le maire et la Mediatheque, 1993 (Rohmer) Arbres aux champignons, 1951 (Markopoulos) Arcadian Maid, 1910 (Grif?th; Sennett) Arch of Triumph, 1948 (Aldrich; Milestone) Architectes Ayorou, 1971 (Rouch) Arcidiavolo, 1966 (Scola) Ard, 1969 (Chahine) Are ga minato no hikari da, 1961 (Imai) Are Waitresses Safe, 1917 (Sennett) Are You Afraid. See Er i bange, 1971 Arena, 1973 (Corman; Dante) Arendás zsidó, 1917 (Curtiz) Argent, 1929 (L’herbier) Argent, 1983 (Bresson) Argent de poche, 1976 (Truffaut) Argentine Love, 1924 (Dwan) Argila, 1968 (Schroeter) Argument about a Marriage, 1969 (Marshall) ?rhus by Night, 1989 (Malmros) Ari no Machi no Maria, 1958 (Gosho) Aria, 1987 (Altman; Beresford; Godard; Jarman; Roeg) Ariel, 1988 (Kaurismaki) Arise My Love, 1940 (Wilder) Aristocrat’s Stairs. See Kizoku no kaidan, 1959 Arizona Bill. See Strada per Fort Alamo, 1964 Arizona Dream, 1993 (Kusturica; Lewis) Arkadas, 1974 (Güney) Arlésienne, 1922 (Duvivier) Arlette, 1997 (Berri) Arm Drenthe, 1929/30 (Ivens) Arme à gauche, 1965 (Sautet) Arme Eva. See Frau Eva, 1915 Arme Marie, 1915 (Lubitsch; Wiene) Armed and Dangerous, 1987 (Carpenter) Armed Nation. See Pueblos en armas, 1961 Armée des ombres, 1969 (Melville) Armée populaire arme le peuple, 1969 (Ivens) Armored Vault. See Panzergew?lbe, 1926 Arms and the Man, 1932 (Launder, Frank, and Sidney Gilliat) Army. See Rikugun, 1944 Army of Darkness, 1993 (Raimi) Arohan, 1982 (Benegal) Around the World, 1943 (Dwan) Around the World, 1967 (Kapoor) Around the World in Eighty Days, 1956 (Keaton) FILM TITLE INDEX DIRECTORS, 4 th EDITION 1144 Around the World in Eighty Minutes with Douglas Fairbanks. See Around the World with Douglas Fairbanks, 1931 Around the World with Douglas Fairbanks, 1931 (Fleming) Arousi-ye Khouban, 1989 (Makhmalbaf) Arrangement, 1969 (Kazan) Arrivée des congressistes à Neuville-sur-Sa?ne. See Débarquement, 1895 Arrivée d’un bateau à vapeur, 1896-97 (Lumière) Arrivée d’un train à La Ciotat, 1895 (Lumière) Arrivée d’un train en gare de La Ciotat, 1936 (Lumière) Arroseur arrosé, 1895 (Lumière) Arroseur arrosé, 1897/98 (Guy) Arrow Game, 1974 (Asch) Arrowsmith, 1931 (Ford) Arruza, 1971 (Boetticher) Ars, 1959 (Demy) Arsén Lupin utolsó kalandja, 1921 (Fej?s) Arsenal, 1929 (Dovzhenko) Arsène Lupin joue et perd, 1980 (Astruc) Arsenic and Old Lace, 1944 (Capra) Art of Deceit, 1981 (Vadim) Art of Love, 1965 (Jewison) Art of Mirrors, 1973 (Jarman) Art of Revival. See Az eladás müvészete, 1960 Art of Salesmanship. See Az eladás müvészete, 1960 Art of the English Craftsman, 1933 (Flaherty) Art of Vision, 1965 (Brakhage) Arte del tabaco, 1974 (Gutiérrez Alea) Arteres de France, 1939 (Epstein) Artesania popular, 1966 (Guzmán) Arthur Honegger, 1955 (Demy) Article 330, 1934 (Pagnol) Artisten in der Zirkuskuppel: ratlos, 1967 (Kluge) Artistes at the Top of the Big Top—Disoriented. See Artisten in der Zirkuskuppel: ratlos, 1967 Artists and Models, 1937 (Walsh) Artists and Models, 1955 (Lewis; Tashlin) Artist’s Dream, 1900 (Porter) Artist’s Great Madonna, 1913 (Ingram) Aru eiga-kantoku no shogai: Mizoguchi Kenji no kiroku, 1975 (Shindo) Aru yo no tonosama, 1946 (Kinugasa) Aruyo futatabi, 1956 (Gosho) Arvottomat, 1982 (Kaurismaki) Arzt aus Halberstadt, 1969 (Kluge) As Good as It Gets, 1997 (Kasdan; Solondz) As in a Looking Glass, 1911 (Grif?th) As It Is in Life, 1910 (Grif?th) As pinturas de meu irm?o Júlio, 1965 (Oliveira) As the Bells Rang Out, 1910 (Grif?th) As the Clouds Scatter. See Kumo ga chigireru toki, 1961 As You Desire Me, 1932 (von Stroheim) As You Like It, 1936 (Lean) Asa no hamon, 1952 (Gosho) Asahi wa kagayaku, 1929 (Mizoguchi) Asamblea general, 1960 (Gutiérrez Alea) Asani Sanket, 1973 (Ray) Ascending Scale. See Arohan, 1982 Ascenseur pour l’échafaud, 1958 (Malle) Ascent. See Voshojdenie, 1977 Ash Can, or Little Dick’s First Adventure, 1915 (Franklin) Ash Can Fleet, 1939 (Zinnemann) Ashes. See Popió?y, 1965 Ashes and Ambers, 1982 (Gerima) Ashes and Diamonds. See Popió? i diament, 1958 Ashes of Desire, 1919 (Borzage) Ashes of Three, 1913 (Dwan) Ashi ni sawatta koun, 1930 (Ozu) Ashi ni sawatta onna, 1952 (Ichikawa) Ashik kerib, 1988 (Paradzhanov) Ashizuri misaki, 1954 (Yoshimura) Así es la vida, 2000 (Ripstein) Asi se quiere en Jalisco, 1942 (de Fuentes) Ask a Policeman, 1939 (Launder, Frank, and Sidney Gilliat) Aslan bey, 1968 (Güney) Aslanlarin d?nüsü, 1966 (Güney) Asleep at the Switch, 1923 (Sennett) Aspen, 1991 (Wiseman) Asphalt Jungle, 1950 (Huston) Assassin. See Point of No Return, 1993 Assassin a peur la nuit, 1942 (Delannoy) Assassin habite au vingt-et-un, 1942 (Clouzot) Assassin, The Emperor and the Assassin. See Jing ke ci qin wang, 1999 Assassinat de la rue du Temple, 1904 (Guy) Assassinat du Courrier de Lyon, 1904 (Guy) Assassination. See Ansatsu, 1964 Assassination Bureau, 1968 (Dearden) Assassination Game, 1992 (Corman) Assassination of Trotsky, 1972 (Losey) Assassino, 1961 (Petri) Assassins: A Film concerning Rimbaud, 1985 (Haynes) Assassins de l’ordre, 1971 (Carné) Assault on Paradise. See Maniac, 1977 Assault on Precinct 13, 1977 (Carpenter) Assiettes tournantes, 1895 (Lumière) Assigned to Danger, 1948 (Boetticher) Assisted Elopement, 1912 (Dwan) Asterix and Obelix Take on Caesar. See Asterix et Obelix contre Cesar, 1999 Asterix et Obelix contre Cesar, 1999 (Berri) Astral Man, 1957 (Vanderbeek) Astray from the Steerage. See Away from the Steerage, 1921 Astrologie ou Le Miroir de la vie, 1952 (Grémillon) Astronautes, 1960 (Marker) Asu no odoriko, 1939 (Yoshimura) Asu no taiyo, 1959 (Oshima) Asu o tsukuru hitobito, 1946 (Kurosawa) Asya, 1977 (Hei?tz) At avrat silah, 1966 (Güney) At Coney Island, 1912 (Sennett) At First Sight. See Between Us, 1983 At Full Gallop. See Cwal, 1996 At Great Cost. See Dorogoi tsenoi, 1957 At hirsizi banus, 1967 (Güney) At Home among Strangers. See Svoi sriedi chougikh, 1974 At It Again, 1912 (Sennett) At It Again. See Caught in the Rain, 1914 At Land, 1944 (Deren) At Long Last Love, 1975 (Bogdanovich) At the Altar, 1909 (Grif?th) At the Circus, 1938 (Leroy) At the Eleventh Hour. See Hvem var Forbryderen?, 1912 At the L?rinc Spinnery. See A l?rinci fonóban, 1971 At the Phone, 1912 (Guy) At the Risk of My Life. See Inochi bo ni furo, 1971 At Twelve O’Clock, 1913 (Sennett) At War with the Army, 1951 (Lewis) At ?ije republika, 1965 (Kachyňa) A? ?ije nebo?tik, 1935 (Fri?) Atalante, 1934 (Vigo) Atame!, 1990 (Almodóvar) Atelier, 1984 (Téchiné) Atelier du diable, 1982 (Palcy) Ateliers de La Ciotat, 1895 (Lumière) FILM TITLE INDEXDIRECTORS, 4 th EDITION 1145 Atencion prenatal, 1972 (Gómez) Athens, 1982 (Angelopoulos) Athlète incomplet, 1932 (Autant-Lara) Atilla 74, 1975 (Cacoyannis) Atividades politicas em Sao Paolo, 1950 (Pereira Dos Santos) Atlantic, 1929 (Dupont; Forst) Atlantic City, 1980 (Malle) Atlantide, 1921 (Feyder) Atlantide, 1932 (Pabst) Atlantide, 1960 (Ulmer) Atlantik, 1929 (Dupont) Atlantis, 1913 (Blom; Curtiz) Atlantis, 1930 (Dupont) Atlantis, 1991 (Besson) Atlas, 1960 (Corman) Atom, 1918 (Borzage) Atom Age Vampire. See Seddok, l’erede di Satana, 1960 Atonement of G?sta Berling. See G?sta Berlings saga, 1923 Atre, 1920 (Gance) Atsui yoru, 1968 (Yoshimura) Att Segla ?r N?dv?ndigt, 1937/38 (Fej?s) Atta Boy’s Last Race, 1916 (Browning) Attack!, 1956 (Aldrich) Attack of the Crab Monsters, 1957 (Corman) Attack of the Giant Leeches, 1959 (Corman) Attaque du feu, 1895 (Lumière) Attaque d’un diligence, 1904 (Guy) Attempt at Simulating Cinematographic Delirium. See Essai de simulation de délire cinématographique, 1935 Attendenti, 1961 (de Sica) Attention Bandits, 1987 (Lelouch) Atti degli apostoli, 1968 (Rossellini) Attrait du bouge, 1912 (Feuillade) Au Bal de Flore, 1900 (Guy) Au bonheur des dames, 1929 (Duvivier) Au cabaret, 1899/1900 (Guy) Au carrefour de la vie, 1949 (Storck) Au coeur du mensonge, 1999 (Chabrol) Au c?ur de l’Ile de France, 1954 (Grémillon) Au gré des ?ots, 1913 (Feuillade) Au harem d’Archimede, 1985 (Costa-Gavras) Au hasard Balthazar, 1966 (Bresson; Miller) Au nom de la loi, 1932 (Tourneur) Au pays de George Sand, 1926 (Epstein) Au pays des lions, 1912 (Feuillade) Au pays des mages noirs, 1947 (Rouch) Au pays du Roi Lépreux, 1927 (Feyder) Au pays du scalp, 1931 (Cavalcanti) Au petit bonheur, 1945 (L’herbier) Au Poulailler!, 1905 (Guy) Au réfectoire, 1897/98 (Guy) Au Revoir les enfants, 1987 (Malle) Au royaume des cieux, 1949 (Duvivier) Au Rythme de mon coeur, 1983 (Lefebvre) Au secours!, 1923 (Gance) Aube, 1986 (Jancsó) Auberge rouge, 1910 (Gance) Auberge rouge, 1923 (Epstein) Auberge rouge, 1951 (Autant-Lara) Auch Zwerge haben klein angefangen, 1970 (Herzog) Audaces du c?ur, 1913 (Feuillade) Au-delà des grilles, 1948 (Clément) Audition, 1989 (Campion) Auditions, 1980 (Loach) Audrey Rose, 1977 (Wise) Auf Wiedersehen, Franziska!, 1941 (K?utner) Auf Wiedersehen, Franziska. See Franziska, 1957 Auf’s kreuz gelegt, 1974 (Petersen) Auferstehung. See Resurrezione, 1958 Aufs Eis geführt, 1914 (Lubitsch) Aufzeichnungen zu Kleidern und St?dten, 1989 (Wenders) Augen aus einem anderen Land, 1975 (Kluge) Augen der Mumie Ma, 1918 (Lubitsch) Augen wollen sich nicht zu jeder Zeit schliessen oder Vielleicht eines Tages wird Rom sich erlauben, seinerseits zu w?hlen. See Othon, 1969 Augenblick des Friedens, 1965 (Duras) Aujourd’hui ou jamais, 1998 (Lefebvre) Aunt’s in the Pants, 1930 (Sandrich) Auntie and the Cowboys, 1911 (Dwan) Aurat, 1940 (Mehboob Khan) Aurelia Steiner—Melbourne, 1978/79 (Duras) Aurelia Steiner—Vancouver, 1978/79 (Duras) Aurora. See Pod severnym siyaniyem, 1990 Aus dem Leben der Marionetten, 1980 (Bergman) Aus den Erinnerungen eines Frauenarztes, 1921 (Pick) Aus der Familie der Panzerechsen, 1974 (Wenders) Aus erster Ehe, 1950 (Staudte) Aussi loin que l’amour, 1971 (Chabrol) Aussi loin que mon enfance, 1968 (Eustache) Aussi longue absence, 1961 (Duras) Austeria, 1982 (Kawalerowicz) Austerlitz, 1960 (Gance; Kaplan; Welles; de Sica) Austreibung, 1923 (Murnau) Auto chiese, 1959 (Olmi) Autobiogra?a, 1971 (Ripstein) Autobiography of a Princess, 1975 (Ivory) Auto-stoppeuses, 1997 (Pialat) Autour de minuit. See Round Midnight, 1986 Autour d’une bague, 1915 (Feyder) Autre, 1917 (Feuillade) Autumn Afternoon. See Samma no aji, 1962 Autumn in Badacsony. See ?sz Badacsonyban, 1954 Autumn Leaves, 1956 (Aldrich) Autumn Lotus. See Ch’iu Lien, 1979 Autumn Sonata. See Herbstsonate, 1978 Autumn Tale, A Tale of Autumn. See Conte d’automne, 1998 Autumnal, 1993 (Brakhage) Auvergne, 1925 (Grémillon) Aux lions les chrétiens, 1911 (Feuillade) Aux Quatre Coins, 1950 (Rivette) Aux yeux du souvenir, 1948 (Delannoy) Avait dans Le coeur des jardins introuvables, 2000 (Tavernier) Avalanche, 1978 (Corman) Avalanche. See Lawine, 1923 Avalanche. See Nadare, 1952 Avalanche Express, 1979 (Polonsky) Avaliha, 1984 (Kiarostami) Avalon, 1990 (Levinson) Avant dernier, 1983 (Besson) Avanti!, 1972 (Wilder) Avanti, c’e posto, 1942 (Fellini) Ave Caesar!, 1919 (Korda) Ave Maria, 1936 (Ophüls) Avec le sourire, 1936 (Tourneur) Avec passion Bosch, ou Le Jardin des délices de Jér?me Bosch, 1980 (Eustache) Avenger. See H?mnaren, 1915 Avenging Conscience, 1914 (Grif?th) Avenir d’Emilie. See Flugel und fesseln, 1984 Aventuras de Robinson Crusoe, 1952 (Bu?uel) Aventure c’est l’aventure, 1972 (Lelouch) FILM TITLE INDEX DIRECTORS, 4 th EDITION 1146 Aventure de Billy le Kid, 1970 (Eustache) Aventure de Catherine C., 1990 (Breillat) Aventure des millions, 1916 (Feuillade) Aventure Malgache, 1944 (Hitchcock) Aventures d’Arsène Lupin, 1956 (Becker) Aventures de Robert Macaire, 1925 (Epstein) Aventures du roi Pausole, 1933 (Delannoy) Aventures d’un voyageur trop pressé, 1903 (Guy) Aventurier, 1934 (L’herbier) Aventurière, 1912 (Feuillade) Aventurière, dame de compagnie, 1911 (Feuillade) Avenue de l’Opéra, 1900 (Guy) Average Husband, 1929 (Sennett) Aveu, 1970 (Costa-Gavras; Marker) Aveugle, 1897 (Guy) Aveugle, 1899/1900 (Guy) Aveugle de Jerusalem, 1909 (Feuillade) Aviatikeren og Journalistens Hustru. See En Lektion, 1911 Aviator and the Journalist’s Wife. See En Lektion, 1911 Aviator’s Wife. See Femme de l’aviateur, 1980 Avisen, 1954 (Roos) Avoir 16 ans, 1978 (Lefebvre) Avventura, 1959 (Antonioni) Avventura di Annabella, 1943 (Bava) Avventura di Salvator Rosa, 1939 (Castellani) Avventure di Giacomo Casanova, 1954 (Bava) Avventuriera del piano di sopra, 1941 (de Sica) Awakening, 1909 (Grif?th) Awakening, 1928 (Fleming) Awara, 1951 (Kapoor) Award Presentation to Andy Warhol, 1964 (Mekas) Away from the Steerage, 1921 (Sennett) Awaz, 1956 (Mehboob Khan) Awdat al Ibn al Dal, 1976 (Chahine) Awful Moment, 1908 (Grif?th) Awful Truth, 1937 (McCarey) Ax Fight, 1975 (Asch) Ay! Carmela, 1990 (Saura) Aysa, 1965 (Sanjinés) Az aranyember, 1918 (Korda) Az egymillió fontos bankó, 1916 (Korda) Az éjszaka rabjai, 1914 (Curtiz) Az eladás müvészete, 1960 (Jancsó; Mészáros) Az élet megy tovább, 1959 (Mészáros) Az ezredes, 1917 (Curtiz) Az ezust kecske, 1916 (Curtiz) Az id? kereke, 1961 (Jancsó) Az Oghat-e Faraghat-e Khod Chegouneh Estefadeh Konim?, 1977 (Kiarostami) Az ?rd?g, 1918 (Curtiz) Az ?t?dik pecsét, 1976 (Fábri) Az utolsó bohém, 1912 (Curtiz) Az utolsó hajnal, 1917 (Curtiz) Azrail benim, 1968 (Güney) Azyllo muito louco, 1969 (Pereira Dos Santos) B2 Tape/Film, 1983 (Jarman) Ba wang bie ji, 1993 (Chen Kaige) Baal, 1970 (Fassbinder; Schl?ndorff; Von Trotta) Baara, 1977 (Cissé) Bab el Hadid, 1958 (Chahine) Baba, 1971 (Güney) Baba Amine, 1950 (Chahine) Babatou ou les trois conseils, 1976 (Rouch) Babe, 1995 (Miller) Babe: Pig in the City, 1998 (Miller) Babes in Arms, 1939 (Berkeley) Babes in Bagdad, 1952 (Ulmer) Babes in the Woods, 1917 (Franklin) Babes on Broadway, 1941 (Berkeley) Baby, 1915 (Franklin) Baby and the Battleship, 1956 (Attenborough) Baby and the Stork, 1911 (Grif?th) Baby Carriage. See Barnvagnen, 1963 Baby Day, 1913 (Sennett) Baby Doll, 1956 (Kazan) Baby Face Harrington, 1935 (Walsh) Baby Face Nelson, 1957 (Siegel) Baby Ghana, 1957 (Rouch) Baby, It’s You, 1983 (Sayles) Baby of Macon, 1993 (Greenaway) Baby on the Barge, 1915 (Hepworth) Baby Review, 1903 (Porter) Baby the Rain Must Fall, 1965 (Mulligan; Pakula) Babyface, 1998 (Egoyan) Babylon Series, 1989 (Brakhage) Babylon Series No. 2, 1990 (Brakhage) Baby’s Birthday, 1929 (Sennett) Baby’s Pets, 1926 (Sennett) Baby’s Shoe, 1909 (Grif?th) Babysitter, 1995 (Schumacher) Babysitters. See Twin Sitters, 1994 Bach Cello Suite νm4: Sarabande, 1997 (Egoyan) Bach y sus intérpretes, 1975 (Leduc) Bachelor Bait, 1934 (Stevens) Bachelor Butt-in, 1926 (Sennett) Bachelor Flat, 1962 (Tashlin) Bachelors Beware. See Dokushinsha goyojin, 1930 Baciodell’Aurora, 1953 (Bava) Back in the USSR, 1991 (Polanski) Back Pay, 1922 (Borzage) Back Roads, 1981 (Ritt) Back Stage, 1919 (Keaton) Back Street, 1932 (Stahl) Back Streets of Paris. See Macadam, 1946 Back to Back, 1990 (Corman) Back to Bataan, 1945 (Dmytryk) Back to Life, 1913 (Dwan) Back to the Future, 1985 (Spielberg; Zemeckis) Back to the Future II, 1989 (Spielberg; Zemeckis) Back to the Future III, 1990 (Spielberg; Zemeckis) Back to the Kitchen, 1919 (Sennett) Back Yard Theater, 1914 (Sennett) Backbiters. See Catherine, 1927 Backdraft, 1991 (Howard) Background to Danger, 1943 (Walsh) Backstairs. See Hintertreppe, 1921 Bad and the Beautiful, 1953 (Minnelli) Bad Blood. See Mauvais Sang, 1986 Bad Boy, 1925 (McCarey) Bad Boy. See Z?y ch?opiec, 1950 Bad Boy. See Badou Boy, 1969 Bad Boys. See Furyo shonen, 1960 Bad Boyz, Rebel Dreams. See Valley Girl, 1983 Bad Company. See Mauvaises fréquentations, 1966 Bad Company, 1972 (Benton) Bad Game, 1913 (Sennett) Bad Girl, 1931 (Borzage) Bad Girl. See Palomilla brava, 1973 Bad Girls. See Biches, 1968 Bad Good Man. See Plokhoy khoroshyi chelovek, 1973 Bad Investment, 1912 (Dwan) FILM TITLE INDEXDIRECTORS, 4 th EDITION 1147 Bad Lieutenant, 1992 (Ferrara) Bad Lord Byron, 1948 (Zetterling) Bad Luck. See Zezowate szczescie, 1960 Bad ma ra khabad bord, 1999 (Kiarostami) Bad Man and Others, 1915 (Walsh) Bad Man and the Ranger, 1912 (Dwan) Bad One. See Sorority Girl, 1957 Bad Seed, 1956 (Leroy) Bad Son. See Mauvais Fils, 1980 Bad Taste, 1987 (Jackson) Bad Timing, 1980 (Roeg) Bad Trip. See Iron Horsemen, 1994 Badkonake se?d, 1995 (Kiarostami) Badlanders, 1958 (Daves) Badlands, 1973 (Malick) Badou Boy, 1969 (Mambety) Bag of Fleas. See Pytel blech, 1962 Bagdad Café. See Out of Rosenheim, 1987 Baggage Smasher, 1914 (Sennett) Bague, 1947 (Resnais) Bague qui tue, 1915/16 (Feuillade) Bahen, 1941 (Mehboob Khan) Baie des Anges, 1963 (Demy) Baignade dans le torrent, 1897 (Guy) Baignade en mer, 1895 (Lumière) Baignade en mer, 1896-97 (Lumière) Bains en mer, 1896-97 (Lumière) Baisers, 1963 (Berri; Tavernier) Baisers volés, 1968 (Miller; Truffaut) Baishey Shravana, 1960 (Sen) Bait, 1921 (Tourneur) Bajaderens Haevn. See Tempeldanserindens Elskov, 1914 Bajazzo. See Sehnsucht, 1920 Báje?ni mu?i s klikou, 1979 (Menzel) Bajo el cielo de Mexico, 1937 (de Fuentes) Bakumatsu Taiyoden, 1958 (Imamura) Bakushu, 1951 (Imamura; Ozu) Bal, 1984 (Scola) Bal d’enfants, 1896-97 (Lumière) Bala, 1976 (Ray) Balan?a mas nao caid, 1953 (Pereira Dos Santos) Balatli arif, 1967 (Güney) Balettprimadonnan, 1916 (Stiller) Bali, 1984 (Szabó) Balia, 1999 (Bellocchio) Balinese Trance Seance, 1979 (Asch) Balint Fabian Meets God. See Fábián Bálint találkozása Istennel, 1979 Balked at the Altar, 1908 (Grif?th; Sennett) Ball of Fire, 1941 (Hawks; Wilder) Ball of the Anjo Family. See Anjo-ke no butokai, 1947 Ballad. See Dumka, 1964 Ballad of Cable Hogue, 1970 (Peckinpah) Ballad of Narayama. See Narayama bushi-ko, 1983 Ballad of Orin. See Hanare goze Orin, 1977 Ballad of the Little Soldier. See Ballade vom Kleinen Soldaten, 1984 Ballad of the Narayama. See Narayama bushi-ko, 1958 Ballad of the Skeletons, 1996 (van Sant) Ballade vom Kleinen Soldaten, 1984 (Herzog) Ballata de un milliardo, 1966/67 (Bertolucci) Ballerina e buon Dio, 1958 (de Sica) Ballet, 1995 (Wiseman) Ballet Dancer. See Balletdanserinden, 1911 Ballet de Singe. See Vérité sur l’homme-singe, 1907 Ballet do Brasil, 1962 (Pereira Dos Santos) Ballet Girl. See Ballettens b?rn, 1954 Ballet Japonais, 1900 (Guy) Ballet Libella, 1897 (Guy) Ballet mécanique, 1924 (Ray) Balletdanserinden, 1911 (Blom) Ballets de Niger, 1961 (Rouch) Ballettens b?rn, 1954 (Henning-Jensen) Ballettens Datter, 1913 (Holger-Madsen) Balloneksplosionen, 1913 (Dreyer) Balloon. See Fusen, 1956 Balloon, 1959 (Leacock) Balloon Explosion. See Balloneksplosionen, 1913 Balloonatic, 1923 (Keaton) Balocchi e profumi, 1953 (Bava) Balthazar. See Au hasard Balthazar, 1966 Baltic Deputy. See Deputat Baltiki, 1936 Baltic Express. See Pociag, 1959 Balto, 1995 (Spielberg) Bambi, 1942 (Franklin) Bambina. See Farò da padre ..., 1974 Bambini di Praga, 1993 (Jire?) Bamboo Blonde, 1946 (Mann) Bamboo Doll of Echizen. See Echizen take ningyo, 1963 Bamboo Leaf Flute of No Return. See Kaeranu sasabue, 1926 Bamboozled, 2000 (Lee) Bambu? p?ldern p? Mentawei, 1937/38 (Fej?s) Bana kursun islemez, 1967 (Güney) Banana Monster. See Schlock, 1971 Bananas, 1971 (Allen) Band of Angels, 1957 (Walsh) Band of Brothers, 2001 (Spielberg) Band of Ninja. See Ninja bugeicho, 1967 Band of the Hand, 1986 (Mann) Band Wagon, 1953 (Minnelli) Bande à part, 1964 (Godard) Bande des quatre, 1989 (Rivette) Bande von Hoheneck, 1950 (Staudte) Bandeau sur les yeux, 1917 (Feuillade) Bandera, 1935 (Duvivier) Banderas del amanecer, 1983 (Sanjinés) Bandit, 1913 (Sennett) Bandida, 1962 (Fernández) Bandit Island of Karabei. See Return to Treasure Island, 1954 Bandit of Point Loma, 1912 (Dwan) Bandito, 1946 (Lattuada) Bandits. See Attention Bandits, 1987 Bandits in Rome. See Roma coma Chicago, 1969 Bandit’s Wager, 1916 (Ford) Bandit’s Waterloo, 1908 (Grif?th) Bang!, 1977 (Troell) Bangville Police, 1913 (Sennett) Banjo on My Knee, 1936 (Cromwell) Bank, 1915 (Bacon; Chaplin) Bánk bán, 1914 (Curtiz) Bank Book. See Vildledt Elskov, 1911 Bank Director, Carnival. See Karneval, 1908 Bank Holiday, 1937 (Launder, Frank, and Sidney Gilliat; Reed) Bank of Departure. See Ruri no kishi, 1956 Banka, 1957 (Gosho) Banker’s Daughter, 1910 (Walsh) Banker’s Daughters, 1910 (Grif?th) Banquet des fraudeurs, 1951 (Storck) Banshun, 1949 (Ozu) Banwara, 1950 (Kapoor) Banware Nayan, 1950 (Kapoor) Banzai, 1982 (Berri) Baobab Play, 1974 (Marshall) Bara en mor, 1949 (Sj?berg) FILM TITLE INDEX DIRECTORS, 4 th EDITION 1148 Bara ikutabi, 1955 (Kinugasa) Barabbas, 1953 (Sj?berg) Barajas, aeropuerto internacional, 1950 (Bardem) Barbara, 1997 (Malmros) Barbara Frietchie, 1915 (Guy) Barbarella, 1968 (Vadim) Barbarian and the Geisha, 1958 (Huston) Barbarian, Ingomar, 1908 (Grif?th) Barbarian Queen, 1985 (Corman) Barbaro del Ritmo, 1963 (Alvarez) Barbarosa, 1981 (Schepisi) Barbary Coast, 1935 (Hawks) Barbary Sheep, 1917 (Tourneur) Barbe-Bleue, 1972 (Dmytryk) Barbed Water, 1969 (Welles) Barbed Wire, 1927 (Stiller) Barber of Siberia. See Sibirskij tsiryulnik, 1998 Barber Shop, 1933 (Sennett) Barberousse, 1916 (Gance) Barber’s Daughter, 1929 (Sennett) Barbora Hlavsová, 1942 (Fri?) Barcelona, 1994 (Stillman) Bardelys the Magni?cent, 1926 (Florey; Vidor) Bare Essentials, 1991 (Coolidge) Bare Fists, 1919 (Ford) Barefoot Contessa, 1954 (Mankiewicz) Barefoot Executive, 1995 (Seidelman) Bargain Hunt, 1928 (Sennett) Bariera, 1966 (Skolimowski) Bariri, 1958 (Olmi) Barn of the Naked Dead, Nightmare Circus. See Terror Circus, 1973 Barndommens gade, 1986 (Henning-Jensen) Barnet, 1909 (Blom) Barnet, 1913 (Sj?str?m; Stiller) Barnet, 1940 (Christensen) Barnets Magt, 1914 (Holger-Madsen) Barney Old?eld’s Race for a Life, 1913 (Sennett) Barnum Was Wrong, 1930 (Sandrich) Barnvagnen, 1963 (Troell) Barnyard Flirtations, 1914 (Sennett) Barocco, 1976 (Téchiné) Baron, 1911 (Sennett) Baron Blood. See Orrori del castello di Norimberga, 1972 Baron de l’Ecluse, 1959 (Delannoy) Baron fant?me, 1942 (Cocteau) Baron Munchhausen. See Baron Prá?il, 1940 Baron of Arizona, 1950 (Fuller) Baron Prá?il, 1940 (Fri?) Baroque. See Barroco, 1989 Baroque Diet, 1992 (Maysles) Baroud, 1931 (Ingram) Barque en mer, 1896-97 (Lumière) Barque sortant du port, 1895 (Lumière) Barrabas, 1919 (Feuillade) Barrage contre le Paci?que, 1958 (Clément) Barravento, 1962 (Pereira Dos Santos; Rocha) Barren Lives. See Vidas secas, 1963 Barretts of Wimpole Street, 1934 (Franklin) Barretts of Wimpole Street, 1957 (Franklin) Barrier. See Bariera, 1966 Barrière, 1915 (Feuillade) Barroco, 1989 (Leduc) Barry Lyndon, 1975 (Kubrick) Barry MacKenzie Holds His Own, 1974 (Beresford) Barsaat, 1949 (Kapoor) Bartered Bride. See Verkaufte Braut, 1932 Bartók Béla: az éjszaka zenéje, 1970 (Gaál) Barton Fink, 1991 (Coen) Baruch. See Alte Gesetz, 1923 Barwy ochronne, 1976 (Zanussi) Bas de laine [Le Trésor], 1911/13 (Feuillade) Bas-Fonds, 1936 (Becker; Renoir; Visconti) Bashful Jim, 1925 (Sennett) Basic Instinct, 1992 (Verhoeven) Basic Training, 1971 (Wiseman) Basilisk, 1914 (Hepworth) Basquiat, 1996 (Bartel) Bassae, 1964 (Astruc) Bataille, 1933 (L’herbier) Bataille de boules de neige, 1899/1900 (Guy) Bataille de l’eau lourde, 1948 (Epstein) Bataille des dix millions, 1970 (Marker) Bataille d’oreillers, 1899/1900 (Guy) Bataille du rail, 1945 (Clément) Bataille sur le grand ?euve, 1951 (Rouch) Batalla de Chile, 1975/76 (Marker) Batalla de Chile: La lucha de un pueblo sin armas, 1974 (Guzmán) Bateau sur l’herbe, 1971 (Beineix) Baten, 1961 (Troell) Bath Harem. See Ukiyo-buro, 1929 Bathers, 1900 (Hepworth) Bathhouse Beauty. See A Bathing Beauty, 1914 Bathhouse Blunder, 1916 (Sennett) Bathing Beauty, 1914 (Sennett) Bathtub Perils, 1916 (Sennett) Batisseurs, 1938 (Epstein) Batman, 1989 (Burton) Batman & Robin, 1997 (Schumacher) Batman Dracula, 1964 (Warhol) Batman Forever, 1995 (Burton; Schumacher) Batman Returns, 1992 (Burton) Battaglia di Algeri, 1966 (Pontecorvo) Battaglia di Maratona, 1959 (Bava; Tourneur) Battaglia di Mareth. See Grande attacco, 1977 Batteries Dogon—éléments pour une étude des rythmes, 1966 (Rouch) *batteries not included, 1986 (Spielberg) Batteur du bolero , 1992 (Leconte) Batticuore, 1938 (Castellani) Battle, 1911 (Grif?th) Battle at Elderbush Gulch, 1913 (Grif?th) Battle beyond the Stars, 1980 (Cameron; Corman; Sayles) Battle beyond the Sun, 1962 (Coppola; Corman) Battle Cry, 1955 (Walsh) Battle for Anzio. See Sbarco di Anzio, 1968 Battle for Our Soviet Ukraine. See Bytva za nashu Radyansku Ukrayinu, 1943 Battle for the Planet of the Apes, 1973 (Landis; Huston) Battle for Tsaritsin. See Boi pod Tsaritsinom, 1920 Battle Hymn, 1957 (Sirk) Battle of Algiers. See Battaglia di Algeri, 1966 Battle of Ambrose and Walrus, 1915 (Sennett) Battle of Austerlitz. See Austerlitz, 1960 Battle of Blood Island, 1959 (Corman) Battle of Chile. See Batalla de Chile, 1975/76 Battle of Chile: The Struggle of an Unarmed People. See Batalla de Chile: La lucha de un pueblo sin armas, 1974 Battle of Kawanakajima. See Kawanakajima kassen, 1941 Battle of Marathon. See Battaglia di Maratona, 1959 Battle of Midway, 1942 (Ford) Battle of Neretva, 1970 (Welles) Battle of Paris, 1929 (Florey) Battle of San Pietro. See San Pietro, 1945 FILM TITLE INDEXDIRECTORS, 4 th EDITION 1149 Battle of the Century, 1927 (Stevens) Battle of the Rails. See Bataille du rail, 1945 Battle of the River Plate, 1956 (Powell, Michael, And Emeric Pressburger; Schlesinger) Battle of the Sexes, 1914 (Grif?th) Battle of the Sexes, 1928 (Grif?th) Battle of the Sexes, 1959 (Crichton) Battle of the Villa Fiorita, 1965 (Daves) Battle of Who Run, 1913 (Sennett) Battle of Wills, 1913 (Dwan) Battle over Citizen Kane, 1996 (Bogdanovich) Battle Royal, 1918 (Sennett) Battleground, 1912 (Dwan) Battleground, 1949 (Wellman) Battleship Potemkin. See Bronenosets Potemkin, 1925 Battleships, 1911 (Dwan) Battling Butler, 1926 (Keaton) Battling Charlie. See Champion, 1915 Battling Oriole, 1924 (Stevens) Baule-les-Pins, 1990 (Kurys) Baxter, Vera Baxter, 1977 (Duras) Bay of Blood. See Reazione a catena, 1971 Bay of Rocks, 1976 (Xie Jin) Bay of St. Michel, 1963 (Zetterling) Bay of the Angels. See Baie des Anges, 1963 Baya el Khawatim, 1965 (Chahine) Bayadere’s Revenge. See Tempeldanserindens Elskov, 1914 Baycot, 1985 (Makhmalbaf) Bayn Ideak, 1960 (Chahine) BBC: Droitwich, 1934 (Grierson) BBC: The Voice of Britain, 1935 (Grierson) Be Careful. See Hansom Cabman, 1924 Be Reasonable, 1922 (Sennett) Be Tartib ya Bedoun-e Tartib, 1981 (Kiarostami) Be Your Age, 1926 (McCarey) Beach. See Spiaggia, 1954 Beach Ball, 1965 (Corman) Beach Blanket Bingo, 1965 (Keaton) Beach Bunnies, 1976 (Wood, Edward D., Jr.) Beach Club, 1928 (Sennett) Beach Comber. See Under Crimson Skies, 1920 Bear. See Ours, 1988 Bear Affair, 1915 (Sennett) Bear Escape, 1912 (Sennett) Bear Knees, 1928 (Sandrich) Bearded Youth, 1911 (Sennett) Beast at Bay, 1912 (Grif?th) Beast from a Haunted Cave, 1959 (Corman) Beast of Prey. See Dravci, 1948 Beast with 1,000,000 Eyes, 1955 (Corman) Beast with Five Fingers, 1945 (Florey) Beasts of the Jungle, 1913 (Guy) Beat 13. See 13. revír, 1945 Beat of the Live Drum, 1985 (Fincher) Beat the Devil, 1953 (Clayton; Huston) Beating He Needed, 1912 (Sennett) Beating Hearts and Carpets, 1915 (Sennett) Beau Brummel, 1913 (Ingram) Beau Geste, 1939 (Wellman) Beau Mariage, 1982 (Rohmer) Beau Serge, 1958 (Chabrol; de Broca) Beau-père, 1981 (Blier) Beauté du diable, 1949 (Clair) Beautiful Blonde from Bashful Bend, 1949 (Sturges) Beautiful but Dangerous. See Donna piu bella del mondo, 1955 Beautiful City, 1925 (Goulding) Beautiful Days. See Uruwashiki saigetsu, 1955 Beautiful Story. See Belle histoire, 1992 Beautiful Swindlers. See Plus Belles Escroqueries du monde, 1964 Beautiful Voice, 1911 (Sennett) Beauty and the Beast. See Sk?nheden og udyret, 1983 Beauty and the Dragon. See Bijo to kairyu, 1955 Beauty and the Old Man. See Tao Hua Neu Tou Chao Kung, 1975 Beauty Bunglers, 1915 (Sennett) Beauty Care in the Jungle. See Sk?nhetsv?rd i djungeln, 1935/36 Beauty’s Sorrows. See Bijin aishu, 1931 Bébé embarrassant, 1905 (Guy) Bébé en vacances, 1910/13 (Feuillade) Bébé fume, 1910/13 (Feuillade) Because He Loved Her, 1916 (Sennett) Because I Love. See Sukinareba koso, 1928 Because I Love. See Aisureba koso, 1955 Becky Sharp, 1935 (Mamoulian) Bed and Board. See Domicile conjugal, 1970 Bed Sitting Room, 1969 (Lester) Bedazzled, 1967 (Donen) Bedingung—Kein Anhang!, 1914 (Lubitsch) Bedlam, 1994 (Sayles) Bedroom Blunder, 1917 (Sennett) Bed’s Breakfast, 1930 (Launder, Frank, and Sidney Gilliat) Bedside, 1933 (Florey) Bedstemoders Vuggevise. See Operabranden, 1912 Beed-o Baad, 1999 (Kiarostami) Beekeeper. See O Melissokomos, 1986 Beekeeper’s Scrapbook. See Slikovnica p?elara, 1958 Bees, 1978 (Corman) Bee’s Buzz, 1929 (Sennett) Beethoven’s Nephew. See Neveu de Beethoven, 1985 Beetlejuice, 1988 (Burton) Before Dawn. See Reimei izen, 1931 Before Election. See Választás elótt, 1953 Before Spring, 1958 (Ivens) Before Sunrise, 1995 (Linklater) Before the Dawn. See Yoake mae, 1953 Before the Raid, 1943 (Weiss) Before the Rally. See Przed rajdem, 1970 Before the Revolution. See Prima della rivoluzione, 1964 Befrielsesbilleder, 1982 (Von Trier) Begegnung mit Fritz Lang, 1963 (Godard) Beggar Man of Paris. See Smil, 1916 Beggar Princess. See Grevinde Hjertel?s, 1915 Beggar’s Deceit, 1900 (Hepworth) Beggars of Life, 1928 (Wellman) Beggar’s Opera. See Opera Zebracka, 1991 Begierde. See Abwege, 1928 Beginning and the End. See Principio y ?n, 1993 Beginning of an Unknown Century. See Angel,, 1987 Beguiled, 1971 (Eastwood; Siegel) Behdasht-e Dandan, 1980 (Kiarostami) Behind Closed Doors, 1988 (Jarman) Behind Locked Doors, 1948 (Boetticher) Behind the Makeup, 1930 (Arzner) Behind the Mask, 1917 (Guy) Behind the Rising Sun, 1943 (Dmytryk) Behind the Scenes, 1908 (Grif?th) Behind the Screen, 1916 (Bacon; Chaplin) Behind the Shutters, 1973 (Bardem) Behind the Veil, 1914 (Weber) Behind the Wall. See Za sciana, 1971 Behind the Wall of Shame, 1996 (Xie Jin) Behinderte Zukunft, 1970 (Herzog) Behold a Pale Horse, 1963 (Zinnemann) FILM TITLE INDEX DIRECTORS, 4 th EDITION 1150 Behold a Pale Horse, 1964 (Berri) Behold Thy Son. See Kiiroi karasu, 1957 Bei Dir war es immer so sch?n, 1952 (Forst) Beil von Wandsbek, 1949 (Staudte) Being Human, 1994 (Forsyth) Being John Malkovich, 1999 (Fincher) Being There, 1979 (Ashby) Being Two Isn’t Easy. See Watashi wa nisai, 1962 Beispiellose Verteidigung der Festung Deutschkreuz, 1966 (Herzog) Bekenntnis der Ina Kahr, 1954 (Pabst) Bel Ami, 1939 (Forst) Bel Indifférent, 1957 (Cocteau; Demy) Béla Bartók: The Music of the Night. See Bartók Béla: az éjszaka zenéje, 1970 Belanin yedi türlüsü, 1969 (Güney) Belfast, Maine, 1999 (Wiseman) Belges et la mer, 1954 (Storck) Belgian Grand Prix, 1955 (Haanstra) Belgique nouvelle, 1937 (Storck) Believers, 1987 (Schlesinger) Belinski, 1953 (Kozintsev) Bell’ Antonio, 1960 (Pasolini) Bell Boy, 1918 (Keaton) Bella Donna, 1915 (Porter) Bella Ma?a, 1997 (Bogdanovich) Bella mugnaia, 1955 (de Sica) Bella, My Bella, 1995 (Henning-Jensen) Bellboy, 1960 (Lewis) Belle Dame sans merci, 1920 (Dulac) Belle de jour, 1966 (Bu?uel) Belle équipe, 1936 (Duvivier) Belle et la bête, 1946 (Cocteau) Belle ?lle comme moi, 1972 (Miller; Truffaut) Belle histoire, 1992 (Lelouch) Belle le Grand, 1951 (Dwan) Belle Marinière, 1932 (Delannoy) Belle Meunière, 1948 (Pagnol) Belle Nivernaise, 1923 (Epstein) Belle Noiseuse, 1991 (Rivette) Belle of the Nineties, 1934 (Dmytryk; McCarey) Belle Starr, 1979 (Wertmuller) Belle verte, 1996 (Serreau) Belles-de-nuit, 1952 (Clair) Belles of St. Trinian’s, 1954 (Launder, Frank, and Sidney Gilliat) Bellezza del mondo, 1926 (de Sica) Bellissima, 1951 (Rosi; Visconti; Zef?relli) Bells Are Ringing, 1960 (Minnelli) Bells from the Deep, 1993 (Herzog) Bells Go Down, 1943 (Dearden) Bells Have Gone to Rome. See A harangok R?mába mentek, 1958 Bells of Saint Mary’s, 1945 (McCarey) Belly of an Architect, 1987 (Greenaway) Belmondo, le magni?que, 1996 (de Broca) Beloved. See Del odio nació el amor, 1949 Beloved, 1998 (Demme) Beloved Bozo, 1925 (Sennett) Ben Bolt, 1913 (Guy) Ben-Hur, 1926 (Niblo) Ben-Hur, 1959 (Wyler) Ben Johnson: Third Cowboy on the Right, 1996 (Bogdanovich) Ben ?ldükce yasarim, 1965 (Güney) Bend of the River, 1952 (Mann) Beneath the Czar, 1914 (Guy) Beneath the Valley of the Ultra-Vixens, 1979 (Meyer) Beni komori, 1951 (Kinugasa) Benilde ou a Virgem M?e, 1975 (Oliveira) Benilde: Virgin and Mother. See Benilde ou a Virgem M?e, 1975 Benim adim Kerim, 1967 (Güney) Benito Cereno, 1969 (Guerra) Benito Mussolini, 1961 (Rossellini) Benjy, 1951 (Zinnemann) Benten Kozo, 1928 (Kinugasa) Benvenuto Cellini, 1910 (Feuillade) Bercail, 1919 (L’herbier) Berceaux, 1932 (Epstein) Bérénice, 1954 (Rohmer) Bérénice, 1983 (Ruiz) Berg-Ejvind och hans hustru, 1918 (Sj?str?m) Bergadler. See Mountain Eagle, 1926 Bergkatze, 1921 (Lubitsch) Bergmans r?st, 1997 (Bergman) Berlin Alexanderplatz, 1980 (Fassbinder) Berlin Conference, 1945 (Gerasimov) Berlin Conspiracy, 1992 (Corman) Berlin Diaries 1940-45, 2001 (Lee) Berlin, die Sinfonie der Grossstadt, 1926-27 (Ruttmann) Berlin Express, 1948 (Tourneur) Berlin, Symphony of a Great City. See Berlin, die Sinfonie der Grossstadt, 1926-27 Bernadette, 1988 (Delannoy) Bernhardt. See Con?ict, 1945 Bernice Bobs Her Hair, 1976 (Silver) Bernstein in Israel, 1958 (Leacock) Bernstein in Moscow, 1959 (Leacock) Ber?ringen, 1971 (Bergman) Bertolucci secondo il cinema, 1975 (Bertolucci) Berühmte Frau, 1927 (Wiene) Beruhrte, 1981 (Sanders-Brahms) Bes svideteley, 1983 (Mikhalkov) Beside the Bonnie Brier Bush, 1921 (Hitchcock) Besieged, 1998 (Bertolucci) Besitzbürgerin, Jahrgang 1908, 1972 (Kluge) Bespoke Overcoat, 1955 (Clayton) Bespridannitsa, 1937 (Protazanov) Besserer Herr, 1928 (Forst) Best Foot Forward, 1943 (Donen) Best Friends, 1982 (Jewison; Levinson) Best Intentions. See Den Goda viljan, 1991 Best Intentions. See Den goda viljan, 1992 Best Intentions: The Education and Killing of Edmund Perry. See Murder without Motive: The Edmund Perry Story, 1992 Best Man, 1928 (Sennett) Best Man, 1964 (Ashby; Schaffner) Best Man, 1999 (Lee) Best Man Wins, 1912 (Dwan) Best of Enemies, 1915 (Sennett) Best Policy, 1912 (Dwan) Best Things in Life Are Free, 1956 (Curtiz) Best Way of Walking. See Meilleure fa?on de marcher, 1976 Best Woman of My Life. See Nejlep?í ?enská mého ?ivota, 1968 Best Years of Our Lives, 1946 (Wyler) Bête humaine, 1938 (Becker; Renoir) Béton dans la ville, 1964-69 (Rohmer) Betrayal, 1929 (Milestone) Betrayal, 1948 (Micheaux) Betrayal of Maggie, 1917 (Sennett) Betrayed, 1917 (Walsh) Betrayed, 1988 (Costa-Gavras) Betrayed by a Hand Print, 1908 (Grif?th) Betrayer. See Vanina Vanini, 1961 Bette, 1993 (Chabrol) Better Chance. See Chin shui Lou Tai, 1974 FILM TITLE INDEXDIRECTORS, 4 th EDITION 1151 Better Late than Never, 1916 (Sennett) Better Place, 1997 (Smith) Better Times, 1919 (Vidor) Better Tomorrow, 1986 (Woo) Better Tomorrow II, 1987 (Woo) Better Way, 1909 (Grif?th) Bettler GmbH, 1918 (Lang) Betty Blue. See 37°2 le matin, 1986 Betty of Greystone, 1916 (Dwan; Fleming) Betty Schimmel Story, 1999 (Branagh) Betty to the Rescue, 1917 (de Mille) Between Showers, 1914 (Chaplin; Sennett) Between the Lines, 1977 (Silver) Between Three and Five Minutes, 1972 (Nemec) Between Two Women, 1937 (von Stroheim) Between Two Worlds. See Müde Tod: Ein Deutsches Volkslied in Sechs Versen, 1921 Between Us, 1983 (Kurys) Between Women and Wives. See Tsuma to onna no aida, 1976 Between Wroclaw and Zielona Gora. See Miedzy Wroc?awiem a Zielona Góra, 1972 Between Your Hands. See Bayn Ideak, 1960 Betwixt Love and Fire, 1913 (Sennett) Beverly Hillbillies, 1993 (Spheeris) Beverly Hills Cop III, 1994 (Coolidge; Dante; Landis; Singleton) Beverly of Graustark, 1926 (Franklin) Bewafa, 1952 (Kapoor) Beware of a Holy Whore. See Warnung vor einer heiligen Nutte, 1970 Beware of the Dog, 1923 (La Cava) Beware the Boarders, 1918 (Sennett) Beyaz atli adam, 1965 (Güney) Beyo lu canavari, 1968 (Güney) Beyond a Reasonable Doubt, 1956 (Lang) Beyond Decay. See Choraku no kanata, 1924 Beyond Fear, 1997 (Frears) Beyond JFK: The Question of Conspiracy, 1992 (Kopple) Beyond Love and Hate. See Ai to nikushimi no kanata e, 1951 Beyond Rangoon, 1995 (Boorman) Beyond the Aegean, 1989 (Kazan) Beyond the Barricade. See Har jeg Ret til at tage mit eget Liv, 1919 Beyond the Clouds, 1995 (Antonioni; Wenders) Beyond the Forest, 1949 (Vidor) Beyond the Forest. See Tam za lesem, 1962 Beyond the Mat, 1999 (Howard) Beyond the Square. See Tul a Kálvin-téren, 1955 Beyond the Time Barrier, 1960 (Ulmer) Beyond the Valley of the Dolls, 1970 (Meyer) Beyond the Wall. See Müde Tod: Ein Deutsches Volkslied in Sechs Versen, 1921 Beyond Therapy, 1987 (Altman) Bez końca, 1984 (Kie?lowski) Bez znieczulenia, 1979 (Holland; Wajda) Bezhin Lug, 1966 (Eisenstein) Bezhin Meadow. See Bezhin Lug, 1966 Bharat Mata, 1957 (Mehboob Khan) Bhowani Junction, 1956 (Cukor) Bhumika, 1977 (Benegal) Bhuvan Shome, 1969 (Sen) Bian zou bian chang, 1991 (Chen Kaige) Bianca, 1984 (Moretti) Bianco, rosso e ..., 1971 (Lattuada) Bibbia, 1965 (Huston) Bible. See Bibbia, 1965 Bible, 1975 (Jarman) Bible, 1976 (Carné) Biches, 1968 (Chabrol) Bicycle Flirt, 1928 (Sennett) Bicycle Thief. See Ladri di biciclette, 1948 Bicycleran, 1988 (Makhmalbaf) Bid of Roses, 1933 (La Cava) Bidone, 1955 (Fellini) Bien amada, 1951 (Fernández) Bienfaits du cinématographe, 1904 (Guy) ?Bienvenido, Mr. Marshall!, 1952 (Barlem; García Berlanga) Bière, 1924 (Grémillon) Bièvre, ?lle perdue, 1939 (Clément) Bife Titanic, 1980 (Kusturica) Big Bad Mama, 1974 (Corman) Big Bad Mama II, 1986 (Corman) Big Bird Cage, 1972 (Corman) Big Blockade, 1941 (Cavalcanti; Crichton) Big Blue. See Grand bleu, 1988 Big Breadwinner Hog, 1968 (Apted) Big Brother, 1923 (Dwan) Big Brown Eyes, 1936 (Walsh) Big Business, 1929 (Stevens) Big Carnival, 1951 (Wilder) Big Chill, 1983 (Kasdan) Big City, 1928 (Browning) Big City, 1937 (Borzage) Big City, 1948 (Donen) Big City. See Mahanagar, 1963 Big City. See A grande cidade, 1966 Big City Blues, 1932 (Leroy) Big Country, 1958 (Ashby; Wyler) Big Dan, 1923 (Wellman) Big Doll House, 1971 (Corman) Big Dust-up. See Grosse Verhau, 1970 Big Family. See Bolshaya semya, 1954 Big Fibber, 1933 (Sennett) Big Fisherman, 1959 (Borzage) Big Flame, 1969 (Loach) Big Gamble, 1931 (Niblo) Big Girls Don’t Cry ... They Get Even, 1992 (Silver) Big Guns Talk: The Story of the Westerns, 1997 (Boetticher) Big Heat, 1953 (Lang) Big Helium Dog, 1999 (Smith) Big Hit, 1998 (Woo) Big Joys, Small Sorrows. See Yorokobi mo kanashima mo ikutoshitsuki, 1986 Big Knife, 1955 (Aldrich) Big Leaguer, 1953 (Aldrich) Big Lebowski, 1998 (Coen) Big Li, Young Li, and Old Li, 1962 (Xie Jin) Big Money, 1935 (Cavalcanti) Big Mouth, 1967 (Lewis) Big News, 1929 (La Cava) Big Night, 1951 (Losey) Big Noise, 1928 (Dwan) Big Palooka, 1929 (Sennett) Big Parade, 1925 (Vidor) Big Parade. See Da yue bing, 1986 Big Pond, 1930 (Sturges) Big Punch, 1920 (Ford) Big Red One, 1980 (Fuller) Big Red Riding Hood, 1925 (McCarey) Big Risk. See Classe tous risques, 1960 Big Shave, 1967 (Scorsese) Big Shots, 1987 (Skolimowski) Big Six. See Common Law Cabin, 1967 Big Sky, 1952 (Hawks) Big Sleep, 1946 (Hawks) FILM TITLE INDEX DIRECTORS, 4 th EDITION 1152 Big Soft Nellie, 1971 (Apted) Big Steal, 1949 (Siegel) Big Time, 1929 (Ford) Big Trail, 1930 (Walsh) Big Trouble, 1986 (Cassavetes) Big Trouble in Little China, 1986 (Carpenter) Bigamo, 1955 (de Sica; Rosi) Bigger than Life, 1956 (Ray) Biggest Battle. See Grande attacco, 1977 Biggest Bundle of Them All, 1967 (de Sica) Bij de beesten af, 1972 (Haanstra) Bijin aishu, 1931 (Ozu) Bijo to kairyu, 1955 (Shindo; Yoshimura) Bijoutiers du clair de lune, 1958 (Vadim) Bike. See Rower, 1955/57 Bike Boy, 1967 (Morrissey; Warhol) Bilá spona, 1960 (Fri?) Bilans kwartalny, 1975 (Zanussi) Bild der Zeit, 1921/22 (Lang) Bildnis einer Unbekannten, 1954 (K?utner) Bilitis, 1977 (Breillat) Bill of Divorcement, 1932 (Cukor) Billard a l’etage, 1996 (Berri) Billard cassé, 1917 (Feyder) Billboard Girl, 1932 (Sennett) Billet de banque, 1906 (Feuillade) Billionaire. See Okuman choja, 1954 Billy Bathgate, 1991 (Benton) Billy Dodges Bills, 1913 (Sennett) Billy How Did You Do It?. See Billy Wilder, wie haben Sie’s gemacht?, 1992 Billy Jim, 1922 (Borzage) Billy Liar, 1963 (Schlesinger) Billy the Kid, 1930 (Vidor) Billy Two Hats, 1973 (Jewison) Billy Wilder, wie haben Sie’s gemacht?, 1992 (Schl?ndorff) Billy’s Hollywood Screen Kiss, 1998 (Bartel) Billy’s Strategem, 1911 (Grif?th) Biloxi Blues, 1988 (Nichols) Bimbo, 1978 (Coolidge) Bin defa ?lürüm, 1969 (Güney) Bin ich schün?, 1998 (D?rrie) Binding Sentiments. See A “holdudvar’’, 1968 Bing Presents Oreste, 1955 (Dmytryk) Bingo, Bridesmaids, and Braces, 1988 (Armstrong) Bingo Long Travelling All-Stars and Motor Kings, 1976 (Badham) Bio-Tech Warrior, 1996 (Corman) Biodagar, 1994 (Fridriksson) Biografía de un carnaval, 1983 (Alvarez) Bip Goes to Town, 1941 (Ivens) Bir cirkin adam, 1969 (Güney) Bir gün mutlaka, 1975 (Güney) Birchwood. See Brzezina, 1970 Bird, 1978 (Brakhage) Bird, 1987 (Eastwood) Bird of Paradise, 1932 (Berkeley; Vidor) Bird of Paradise, 1951 (Daves) Bird of Prey. See Epervier, 1933 Bird of Springs Past. See Sekishun-cho, 1959 Bird on a Wire, 1990 (Badham) Birdcage, 1996 (Nichols) Birdman of Alcatraz, 1962 (Frankenheimer) Birds, 1963 (Hitchcock) Bird’s a Bird, 1915 (Sennett) Birds and the Bees, 1956 (Sturges) Bird’s Eye View of Budh Gaya, 1914/15 (Phalke) Birds, the Bees, and the Italians. See Signore e signori, 1965 Birdy, 1985 (Parker) Birth of a Nation, 1915 (Ford; Grif?th; von Stroheim; Walsh) Birth of a Robot, 1936 (Jennings) Birth of the 2001 FA Cup Final Goalie, 1975 (Leigh) Birthday Gift. See Fodselsdagsgaven, 1912 Birthday Party, 1968 (Friedkin) Birthright, 1924 (Micheaux) Birthright, 1939 (Micheaux) Biruma no tategoto, 1956 (Ichikawa) Biruma no tategoto, 1985 (Ichikawa) Bishop Misbehaves, 1935 (Dupont) Bishop Murder Case, 1930 (Daves) Bishop’s Misadventures. See Bishop Misbehaves, 1935 Bitch, 1965 (Warhol) Bite to Eat. See Sousto, 1960 Bitter Harvest, 1981 (Howard) Bitter Melons, 1971 (Marshall) Bitter Moon, 1992 (Polanski) Bitter Reunion. See Beau Serge, 1958 Bitter Spirit. See Eien no hito, 1961 Bitter Tea of General Yen, 1933 (Capra) Bitter Tears of Petra von Kant. See Bitteren Tr?nen der Petra von Kant, 1972 Bitter Victory, 1957 (Ray) Bittere ernte, 1984 (Holland) Bitteren Tr?nen der Petra von Kant, 1972 (Fassbinder) Biwi O Biwi, 1981 (Kapoor) Bizalom, 1979 (Szabó) Bizarre Bizarre. See Dr?le de drame, 1937 Bizet’s Carmen. See Carmen, 1984 Black and White like Day and Night. See Schwarz und Weiss wie Tage und Nachte, 1978 Black Angel. See Schwarze Engel, 1974 Black Bird, 1926 (Browning) Black Book. See Reign of Terror, 1949 Black Captain. See Fekete Kapitany, 1921 Black Cat, 1934 (Ulmer) Black Cat in the Bush. See Yabu no naka no kuroneko, 1968 Black Cat, White Cat. See Crna macka, beli macor, 1998 Black Chancellor. See Den sorte Kansler, 1912 Black Christmas. See I Tre volti della paura, 1963 Black Cyclone, 1925 (Stevens) Black Fury, 1935 (Curtiz) Black Girl from.... See Noire de..., 1966 Black God, White Devil. See Deus e o diablo na terra do sol, 1964 Black Ice, 1994 (Brakhage) Black Is...Black Ain’t, 1994 (Riggs) Black Jack, 1950 (Duvivier) Black Jack, 1979 (Loach) Black King. See Chernaya lyubov, 1917 Black Magic, 1947 (Welles) Black Mama, White Mama, 1973 (Demme) Black Masks. See De svarta makerna, 1912 Black Midnight, 1949 (Boetticher) Black Milan. See Milan noir, 1987 Black Moon, 1975 (Malle) Black Moon Rising, 1986 (Carpenter) Black Narcissus, 1947 (Powell, Michael, And Emeric Pressburger) Black Oak Conspiracy, 1977 (Corman) Black Orchid, 1959 (Ritt) Black Orchids, 1916 (Ingram) Black Orchids, 1922 (Ingram) Black Oxfords, 1924 (Sennett) Black Panthers, 1968 (Varda) Black Peter. See Cerny Petr, 1963 FILM TITLE INDEXDIRECTORS, 4 th EDITION 1153 Black Rain. See Kuroi Ame, 1988 Black Rain, 1989 (Scott) Black Rainbow. See A fekete szivarvany, 1916 Black River. See Kuroi kawa, 1957 Black Robe, 1992 (Beresford) Black Roots. See Racines noires, 1985 Black Rose, 1950 (Welles) Black Rose of Harlem, 1996 (Corman) Black Sabbath. See I Tre volti della paura, 1963 Black Scorpion II: Aftershock, 1996 (Corman) Black Sheep, 1912 (Grif?th) Black Sheep, 1935 (Dwan) Black Sheep, 1995 (Spheeris) Black Sheep of Whitehall, 1941 (Dearden) Black Sin. See Schwarze Sunde, 1989 Black Stallion, 1979 (Coppola) Black Stallion Returns, 1983 (Coppola) Black Sunday. See Maschera del demonio, 1960 Black Sunday, 1976 (Frankenheimer) Black Thunder, 1997 (Corman) Black Tide. See Kuroi ushio, 1954 Black Vision, 1965 (Brakhage) Black Watch, 1929 (Ford) Black Widow. See Viuda negra, 1977 Black Widow, 1987 (Rafelson) Black Windmill, 1974 (Siegel) Blackbeard the Pirate, 1952 (Walsh) Blackbelt, 1992 (Corman) Blackboard. See Takhte Siah, 2000 Blackened Hills, 1912 (Dwan) Blackguard, 1925 (Hitchcock) Blackmail, 1929 (Hitchcock) Blackmailed, 1950 (Zetterling) Blackout. See Contraband, 1940 Blackout, 1997 (Ferrara) Blacks and Whites in Days and Nights, 1960 (Vanderbeek) Blacksmith, 1922 (Keaton) Blacksmith. See Eldsmiourinn, 1981 Blacksnake!, 1973 (Meyer) Blade af Satans Bog, 1921 (Dreyer) Blade Runner, 1982 (Scott) Bladestorm. See I Coltelli del vendicatore, 1965 Blaise Pascal, 1975 (Rossellini) Blame It on Rio, 1984 (Donen) Blame It on the Bellboy, 1992 (Anderson) Blame the Woman, 1932 (Niblo) Blanc et le noir, 1932 (Florey) Blarney, 1926 (Lewin) Blasco Ibá?ez, 1997 (García Berlanga) Blason, 1915 (Feuillade) Blaubart, 1984 (Von Trotta; Zanussi) Blaue Engel, 1930 (Dmytryk; von Sternberg) Blaue Licht, 1932 (Riefenstahl) Blaue Maus, 1928 (Forst) Blaue von Himmel, 1932 (Wilder) Blazing Days, 1927 (Wyler) Blazing Saddles, 1974 (Brooks) Blázni a devcátka, 1989 (Kachyňa) Blé en herbe, 1953 (Autant-Lara; Berri) Bleak Moments, 1971 (Leigh) Blechtrommel, 1979 (Schl?ndorff) Bled, 1929 (Becker; Renoir) Bleierne Zeit, 1981 (Von Trotta) Bless the Beasts and Children, 1971 (Kramer) Bless Their Little Hearts, 1983 (Burnett) Blick zurück, 1944 (Forst) Blind, 1986 (Wiseman) Blind Adventure, 1933 (Schoedsack) Blind Chance. See Przypadek, 1981 Blind Cook, 1961 (Shepitko) Blind Date, 1959 (Losey) Blind Desire. See Part de l’ombre, 1945 Blind Director. See Angriff der Gegenwart auf die Ubrige Zeit, 1985 Blind Fate, 1914 (Hepworth) Blind Fate. See Lotteriseddel No. 22152, 1915 Blind Goddess, 1926 (Fleming) Blind Husbands, 1918 (von Stroheim) Blind Justice. See Haevnens Nat, 1915 Blind Man’s Bluff. See A Caixa, 1994 Blind Princess and the Poet, 1911 (Grif?th) Blindfold. See Ojos vendados, 1978 Blindkuh, 1914 (Lubitsch) Blindness of Devotion, 1915 (Ingram) Blindness of Fortune, 1918 (Hepworth) Blink, 1994 (Apted) Bliss, 1967 (Markopoulos) Bliss of Mrs. Blossom, 1968 (Attenborough) Blithe Spirit, 1945 (Lean) Blizna, 1976 (Holland; Kie?lowski) Block-notes di un regista, 1969 (Fellini) Blodets r?st, 1913 (Sj?str?m) Blokpost. See Checkpoint, 1998 Blond Bombshell. See Bombshell, 1933 Blonde Dream. See Blonder Traum, 1932 Blonde from Singapore, 1941 (Dmytryk) Blonde Inspiration, 1941 (Berkeley) Blonde Venus, 1932 (von Sternberg) Blonder Traum, 1932 (Forst; Wilder) Blonde’s Revenge, 1926 (Sennett) Blondie of the Follies, 1932 (Goulding) Blood Alley, 1955 (Wellman) Blood and Black Lace. See Sei donne per l’assassino, 1964 Blood and Roses. See Et mourir de plaisir, 1960 Blood and Sand, 1922 (Arzner; Niblo) Blood and Sand, 1941 (Mamoulian) Blood and Soul. See Chi to rei, 1923 Blood and Water, 1913 (Guy) Blood and Wine, 1997 (Rafelson) Blood Bath, 1965 (Corman) Blood Brothers, 1978 (Mulligan) Blood Feast. See Fin de ?esta, 1959 Blood Feud. See Fatto di sangue fra due uomini per causa di una vedova, 1978 Blood for Blood, Death for Death. See Krov’za krov’, smert’za smert’: slodeianiya Nemetsko-Fashistkih zakhvatchikov na territorii C.C.C.P. me ne zabudem, 1941 Blood for Dracula, 1974 (Morrissey; Polanski) Blood Kin, 1969 (Lumet) Blood Need Not Be Spilled. See Ne nado krovi, 1917 Blood of Others. See Sang des autres, 1983 Blood of the Condor. See Yawar mallku, 1969 Blood of the Pomegranates. See Sayat nova, 1969 Blood on the Balcony. See Benito Mussolini, 1961 Blood on the Moon, 1948 (Wise) Blood Relatives, 1978 (Chabrol) Blood River, 1991 (Carpenter) Blood Simple, 1984 (Coen) Blood Sisters. See Sisters, 1973 Blood Wedding. See Bodas de sangre, 1981 Blood?st, 1989 (Corman) Blood?st 3, 1992 (Corman) Blood?st II, 1990 (Corman; Craven) FILM TITLE INDEX DIRECTORS, 4 th EDITION 1154 Blood?st 4, 1992 (Corman) Blood?st VIII: Trained to Kill, 1996 (Corman) Bloodhounds of the North, 1913 (Dwan) Blood’s Tone. See Three Films, 1965 Bloodstain, 1912 (Guy) Bloody Kids, 1979 (Frears) Blossi/810551, 1997 (Fridriksson) Blossom Gift Favor, 1993 (Brakhage) Blossom Time. See Den blomstertid, 1940 Blossoming Port. See Hanasaku minato, 1943 Blossoms in the Dust, 1941 (Leroy) Blot, 1921 (Weber) Blot on the ‘Scutcheon, 1911 (Grif?th) Blow-Ball. See Bóbita, 1964 Blotted Brand, 1911 (Dwan) Blow By Blow, 1928 (McCarey) Blow Job, 1963 (Warhol) Blow Out, 1981 (de Palma) Blow-Up, 1966 (Antonioni) Blue, 1992 (Cronenberg) Blue, 1993 (Jarman) Blue and the Gold. See Annapolis Story, 1955 Blue Angel. See Blaue Engel, 1930 Blue Bird, 1918 (Tourneur) Blue Blazes, 1936 (Keaton) Blue Blood and Red, 1916 (Walsh) Blue Chips, 1994 (Friedkin) Blue City, 1986 (Hill) Blue Collar, 1977 (Schrader) Blue Collar Worker and the Hairdresser in a Whirl of Sex and Politics. See Metal neccanico e parrucchiera in un turbine di sesso e di politica, 1996 Blue Danube Waltz. See Kék Duna kering?, 1992 Blue Eagle, 1926 (Ford) Blue Gardenia, 1953 (Lang) Blue in the Face, 1995 (Jarmusch) Blue Kite. See Lan Fengzheng, 1993 Blue Lagoon, 1948 (Launder, Frank, and Sidney Gilliat) Blue Lamp, 1950 (Dearden; Mackendrick) Blue Light. See Blaue Licht, 1932 Blue Manhattan; Confessions of a Peeping Tom; Son of Greetings. See Hi, Mom!, 1970 Blue Moon, 1920 (Franklin) Blue Moon Murder Case, 1932 (Florey) Blue Moses, 1962 (Brakhage) Blue Mountains. See Sinegoriya, 1946 Blue Mouse. See Blaue Maus, 1928 Blue Movie, 1968 (Morrissey; Warhol) Blue Murder at St. Trinian’s, 1957 (Launder, Frank, and Sidney Gilliat) Blue of the Night, 1933 (Sennett) Blue Revolution. See Aoiro kakumei, 1953 Blue Sky, 1990 (Richardson) Blue Steel, 1990 (Bigelow) Blue Thunder, 1983 (Badham) Blue Velvet, 1986 (Lynch) Blue White. See Three Films, 1965 Bluebeard, 1944 (Ulmer) Bluebeard. See Landru, 1963 Bluebeard. See Barbe-Bleue, 1972 Bluebeard. See Blaubart, 1984 Bluebeard’s Castle, 1964 (Powell, Michael, And Emeric Pressburger) Bluebeard’s Eighth Wife, 1938 (Lubitsch; Wilder) Bluebird, 1976 (Cukor) Blues Brothers, 1980 (Landis; Spielberg) Blues Brothers 2000, 1998 (Landis) Blues in the Night, 1941 (Kazan; Rossen; Siegel) Bluff, 1916 (Feyder) Bluffer, 1929 (Sennett) Blume in Love, 1973 (Schumacher) Blundering Boob. See New Janitor, 1914 Blusenk?nig, 1917 (Lubitsch) Blut der Ahnen, 1920 (Wiene) Blut und Boden, 1933 (Ruttmann) Blutsbrüderschaft, 1950 (Staudte) Boat, 1921 (Keaton) Boat. See Boot, 1981 Boat on the Grass. See Bateau sur l’herbe, 1971 Bob le ?ambeur, 1956 (Melville) Bobby, 1974 (Kapoor) Bobby Deer?eld, 1976 (Pollack) Bóbita, 1964 (Mészáros) Bobs, 1928 (Grémillon) Bocal aux poissons-rouges, 1895 (Lumière) Boccaccio, 1920 (Curtiz) Boccaccio ‘70, 1962 (de Sica; Fellini; Visconti) Boccaccio in Hungary. See A zsranok szíve avagy Boccaccio Magyarországon, 1981 Bodas de sangre, 1981 (Saura) Body and Soul, 1925 (Micheaux) Body and Soul, 1947 (Aldrich; Polonsky; Rossen) Body Bags, 1993 (Carpenter; Raimi; Hooper) Body Beautiful. See Nikutai bi, 1928 Body Chemistry II: The Voice of a Stranger, 1992 (Corman; Landis) Body Double, 1984 (de Palma) Body Heat, 1981 (Kasdan; Lucas) Body Snatchers, 1945 (Wise) Body Snatchers, 1993 (Ferrara) Bodyguard, 1948 (Altman) Bodyguard. See Yojimbo, 1960 Bodyguard (Jackson), 1992 (Kasdan) Bodywaves, 1992 (Corman) Boefje, 1939 (Sirk) Boeing Boeing, 1965 (Lewis) Boer Pietersen schiet in de roos, 1949 (Haanstra) Boevi kinosbornik, 1942 (Donskoi) Bogus, 1995 (Jewison) Bohdan Khmelnytsky, 1941 (Dovzhenko) Boheme, 1925 (Florey) Bohème, 1926 (Vidor) Boheme, 1965 (Zef?relli) Bohème, 1982 (Zef?relli) Bohemia Docta, 2000 (Nemec) Bohemian Life. See Vie de Boheme, 1992 Bohuslav Martinü, 1980 (Jire?) Boi pod Tsaritsinom, 1920 (Vertov) Bois des amants, 1960 (Autant-Lara) Bo?te à soleil, 1988 (Lefebvre) Boje sanjaju, 1958 (Makavejev) Boks, 1961 (Skolimowski) Bokuto Kidan, 1993 (Shindo) Bold Seven. See Semero smelykh, 1936 Bolero, 1982 (Lelouch) Bolond április, 1957 (Fábri) Bolshaya semya, 1954 (Hei?tz) Bolwieser, 1977 (Fassbinder) Bomarzo; Superstizione; Ragazze in bianco, 1949 (Antonioni) Bomba Kemal, 1967 (Güney) Bombay Talkie, 1970 (Ivory) Bomber-pilot, 1970 (Schroeter) Bomber’s Moon, 1943 (Florey) Bombs, 1916 (Sennett) Bombs and Bangs, 1914 (Sennett) FILM TITLE INDEXDIRECTORS, 4 th EDITION 1155 Bombshell, 1933 (Fleming) Bon Allumeur. See Saturnin, 1921 Bon Dieu sans confession, 1953 (Autant-Lara; Berri) Bon et les méchants, 1975 (Lelouch) Bon propriétaire, 1913 (Feuillade) Bon Voyage, 1944 (Hitchcock) Bonaparte et la révolution, 1971 (Gance) Bonchi, 1960 (Ichikawa) Bond, 1918 (Chaplin) Bond Street, 1948 (Clayton) Bonds of Hate. See Prometheus I-II, 1919 Bonds That Chafe. See Erotikon, 1920 Bonehead. See His Favorite Pastime, 1914 Bon?re of the Vanities, 1990 (de Palma) Bonheur, 1934 (L’herbier) Bonheur, 1965 (Varda) Bonheur des autres, 1918 (Dulac) Bonheur d’être aimée, 1962 (Storck) Bonheur toi-même, 1980 (Goretta) Bonita of El Cajon, 1911 (Dwan) Bonjour Mr. Lewis, 1982 (Scorsese) Bonjour sourire, 1956 (Sautet) Bonjour Tristesse, 1957 (Preminger) Bonjour, New York!, 1928 (Florey) Bonne Absinthe, 1899/1900 (Guy) Bonne année, 1913 (Feuillade) Bonne année, 1972 (Lelouch) Bonnes Femmes, 1960 (Berri; Chabrol) Bonnie and Clyde, 1967 (Benton; Penn) Bonnie, Bonnie Lassie, 1919 (Browning) Bonnie Brier Bush. See Beside the Bonnie Brier Bush, 1921 Boob, 1926 (Wellman) Boobs and Bricks, 1913 (Dwan) Boobs in the Woods, 1925 (Capra; Sennett) Book Bargain, 1935 (Cavalcanti) Book of Life, 1998 (Hartley) Boom, 1963 (de Sica) Boom!, 1968 (Losey) Boomerang, 1947 (Kazan) Boon. See Kondura/Anugrahan, 1977 Boot, 1981 (Petersen) Boot Polish, 1954 (Kapoor) Boots, 1953 (Wood, Edward D., Jr.) Boozecan, 1994 (Cronenberg) Boquitas pintadas, 1974 (Torre Nilsson) Bordello of Blood, 1996 (Zemeckis) Border, 1982 (Richardson) Border Cavalier, 1927 (Wyler) Border Feud. See Gr?nsfolken, 1913 Border Incident, 1949 (Mann) Borderline, 1999 (Hou Hsiao-Hsien) Borets i kloun, 1957 (Barnet) Borgne, 1981 (Ruiz) Borinage. See Misére au Borinage, 1934 Born Bad, 1997 (Corman) Born in Flames, 1983 (Bigelow; Borden) Born Lucky, 1932 (Powell, Michael, And Emeric Pressburger) Born natturunnar, 1991 (Fridriksson) Born on the Fourth of July, 1989 (Stone) Born Reckless, 1930 (Ford) Born to Be Bad, 1950 (Ray) Born to Kill, 1947 (Wise) Born to Kill. See Cock?ghter, 1974 Born to Sing, 1941 (Berkeley) Born Yesterday, 1950 (Cukor) B?rnenes Synd, 1916 (Holger-Madsen) B?rnevennerne, 1914 (Holger-Madsen) Boro no kesshitai, 1943 (Imai) Borom Sarret, 1963 (Sembene) Borrowed Babies. See A K?lcs?nkért csecsem?k, 1914 Borrowed Clothes, 1918 (Weber) Borrowed Finery, 1914 (Ingram) Borsós Miklós, 1966 (Mészáros) Borstal Boy, 2000 (Sheridan) Boryoku, 1952 (Yoshimura) Bossu, 1944 (Delannoy) Bossu, 1997 (de Broca) Boston Tea Party, 1908 (Porter) Bostonians, 1984 (Ivory) Both Ends of the Candle. See Helen Morgan Story, 1957 Bottle, 1915 (Hepworth) Boucher, 1970 (Chabrol) Bouclette, 1917 (L’herbier) Boudoir Brothers, 1932 (Sennett) Boudu sauvée des eaux, 1932 (Becker; Renoir) Boudu Saved from Drowning. See Boudu sauvée des eaux, 1932 Boukoki, 1973 (Rouch) Boulangerie de Monceau, 1963 (Rohmer) Boulder Blues and Pearls and, 1992 (Brakhage) Boulevard, 1960 (Duvivier) Boulevard Slush. See Slyakot’ bulvarnaya, 1918 Boulevards d’Afrique—bac ou mariage, 1988 (Rouch) Bound for Glory, 1976 (Ashby) Bound in Morocco, 1918 (Dwan) Boundary House, 1918 (Hepworth) Bounteous Summer. See Schedroe leto, 1950 Bourbon Street Blues, 1978 (Fassbinder; Sirk) Bourgogne, 1936 (Epstein) Bourse ou la vie. See Piednadze albo zycie, 1961 Bout-de-Zan et la torpille, 1912/16 (Feuillade) Bout-de-Zan revient du cirque, 1912/16 (Feuillade) Bow Wow, 1922 (Sennett) Bowery, 1914 (Walsh) Bowery, 1933 (Walsh) Bowery Boy, 1940 (Fuller) Bowery Boys, 1914 (Sennett) Bowling Match, 1913 (Sennett) Box of Sun. See Bo?te à soleil, 1988 Boxcar Bertha, 1972 (Corman; Scorsese) Boxer, 1997 (Sheridan) Boxing. See Boks, 1961 Boy. See Shonen, 1969 Boy and His Kite. See Pojken och draken, 1962 Boy and the Law, 1914 (Stahl) Boy and the Sea, 1953 (Brakhage) Boy Called Nuthin’, 1967 (Howard) Boy Friend, 1928 (McCarey) Boy from Oklahoma, 1954 (Curtiz) Boy in Blue. See Knabe in Blau, 1919 Boy Meets Girl, 1938 (Bacon) Boy Meets Girl, 1984 (Carax) Boy of the Sea. See Kaikoku danji, 1926 Boy of Two Worlds. See Paw, 1959 Boy Ten Feet Tall, 1963 (Mackendrick) Boy Who Stole a Million, 1960 (Crichton) Boy Who Turned Yellow, 1972 (Powell, Michael, And Emeric Pressburger) Boy with Green Hair, 1949 (Losey) Boycott. See Baycot, 1985 Boyevoy kinosbornik no. 3, 1941 (Barnet) Boyevoy kinosbornik no. 10, 1942 (Barnet) Boyfriends and Girlfriends. See Ami de mon amie, 1987 FILM TITLE INDEX DIRECTORS, 4 th EDITION 1156 Boys. See Drenge, 1977 Boys from Brazil, 1978 (Schaffner) Boys from Fengkuei. See Fêng Kuei Lai Tê Jen, 1984 Boys from the West Coast. See Vesterhavsdrenge, 1950 Boys in Brown, 1949 (Attenborough) Boys in the Band, 1970 (Friedkin) Boys in the Hood. See Boyz N the Hood, 1991 Boys Next Door, 1985 (Spheeris) Boys of Paul Street. See A Pál utcai ?úk, 1968 Boy’s Shorts: The New Queer Cinema, 1993 (Riggs) Boys Will Be Boys, 1932 (Stevens) Boyz N the Hood, 1991 (Singleton) Bozorgdasht-e mo’Allem, 1977 (Kiarostami) Bra ?icka reder sig sj?lv, 1914 (Sj?str?m) Braconniers, 1903 (Guy) Brahma Diamond, 1909 (Grif?th) Brain Eaters, 1958 (Corman) Braindead, 1992 (Jackson) Brakhage, 1998 (Brakhage) Bram Stoker’s Dracula, 1992 (Apted; Coppola) Bramy raju, 1967 (Wajda) Branches of the Tree. See Shakha Proshakha, 1990 Brand, 1912 (Dwan) Brand im Ozean, 1950 (Staudte) Brand New Hero, 1914 (Sennett) Brand of Fear, 1911 (Dwan) Branding, 1929 (Ivens) Branding a Bad Man and A Western Dreamer, 1911 (Dwan) Brandstifter, 1969 (Von Trotta) Brandy for the Parson, 1951 (Grierson) Branle-Bas de combat, 1943 (Ivens) Brannigan, 1975 (Attenborough) Brascuba, 1987 (Alvarez) Brass, 1923 (Franklin) Brass Bottle, 1923 (Tourneur) Brass Knuckles, 1927 (Bacon) Brat, 1919 (Guy) Brat, 1931 (Ford) Brat geroya, 1940 (Donskoi) Brat priekhal. See Brother has Come, 1979 Bratichka, 1926 (Gerasimov; Kozintsev) Br?utigam, die Kom?diantin und der Zuh?lter, 1968 (Fassbinder; Straub, Jean-Marie, And Danièle Huillet) Brave and Bold, 1911 (Sennett) Brave Bulls, 1951 (Rossen) Brave Cowards, 1927 (Sandrich) Brave Don’t Cry, 1952 (Grierson) Brave Hunter, 1912 (Sennett) Brave Soldier at Dawn. See Akatsuki no yushi, 1926 Bravo, Tasuke Isshin!. See Appare Isshin Tasuke, 1945 Brazen Beauty, 1918 (Browning) Brazil, 1985 (Gilliam) Bread, 1924 (Lewin) Bread. See Roti, 1942 Bread. See O p?o, 1959 Bread and Alley. See Nan va Koutcheh, 1970 Bread and Roses, 2000 (Loach) Bread of the Border, 1924 (Arzner) Break the News, 1937 (Clair) Break up the Dance. See Rozbijemy zabawe, 1958 Breakdown. See Si j’etais un espion, 1967 Breakdown. See Loveless, 1983 Breaker Morant, 1980 (Beresford) Breakers. See Branding, 1929 Breakfast of Champions, 1999 (Rudolph) Breaking In, 1989 (Forsyth; Sayles) Breaking Point, 1950 (Curtiz) Breaking the Ice, 1925 (Sennett) Breaking the Sound Barrier. See Sound Barrier, 1952 Breaking the Waves, 1996 (Von Trier) Breakout. See Danger Within, 1959 Breakout, 1975 (Huston) Breaktime. See Zang-e Tafrih, 1972 Breakup. See Rupture, 1970 Breath of Scandal, 1960 (Curtiz) Breathdeath, 1964 (Vanderbeek) Breathless. See A bout de souf?e, 1959 Breezes of Love. See Fukeyo koikaze, 1935 Breezy, 1973 (Eastwood) Bremen Freedom. See Bremer Freiheit, 1972 Bremer Freiheit, 1972 (Fassbinder) Brennende Acker, 1922 (Murnau) Brennende Geheimnis, 1933 (Siodmak) Brennendes Geheimnis, 1932 (Forst) Bretagne, 1936 (Epstein) Breve stagione, 1969 (Castellani) Breve vacanza, 1973 (de Sica) Brewer’s Daughter. See Bryggerens Datter, 1912 Brewster McCloud, 1970 (Altman) Brewster’s Millions, 1914 (de Mille) Brewster’s Millions, 1945 (Dwan) Brewster’s Millions, 1985 (Hill) Bricklayer. See Murarz, 1973 Bridal Bail, 1934 (Stevens) Bridal Path, 1959 (Launder, Frank, and Sidney Gilliat) Bride of Death. See D?dens Brud Gadeoriginalen, 1911 Bride of Fear, 1918 (Franklin) Bride of Frankenstein, 1935 (Whale) Bride of Glomdal. See Glomdalsbruden, 1926 Bride of the Andes. See Andesu no hanayome, 1966 Bride of the Monster, 1955 (Wood, Edward D., Jr.) Bride Service, 1975 (Asch) Bride sur le cou, 1961 (Berri; Vadim) Bride Talks in Her Sleep. See Hanayome no negoto, 1933 Bride Wore Black. See Mariée était en noir, 1967 Bride Wore Red, 1937 (Arzner; Mankiewicz) Bridegroom Talks in His Sleep. See Hanamuko no negoto, 1935 Bridegroom, the Comedienne, and the Pimp. See Br?utigam, die Kom?diantin und der Zuh?lter, 1968 Bridenapping. See Hua T’ien-T’so, 1961 Brides Are Coming. See Nevjeste dolaze, 1978 Bride’s Mistake, 1931 (Sennett) Bride’s Relation, 1929 (Sennett) Bridge. See De Brug, 1928 Bridge, 1997 (Greenaway) Bridge in the Jungle, 1971 (Huston) Bridge of Japan. See Nihonbashi, 1956 Bridge of Storstr?m. See Storstr?msbroen, 1950 Bridge on the River Kwai, 1957 (Lean) Bridge That Gap, 1965 (de Palma) Bridge Too Far, 1977 (Attenborough) Bridges-Go-Round, 1959 (Clarke) Bridges of Madison County, 1995 (Eastwood) Brief Encounter, 1945 (Lean) Brief History of Time, 1992 (Morris) Brief Vacation. See Breve vacanza, 1973 Brig, 1964 (Mekas) Brigade sauvage, 1938 (L’herbier) Brigaden i Sverige, 1945 (Henning-Jensen) Brigadoon, 1954 (Minnelli) Brigands, chapitre VII, 1996 (Ioseliani) Brigante, 1961 (Castellani) FILM TITLE INDEXDIRECTORS, 4 th EDITION 1157 Brigante di Tacca del Lupo, 1952 (Fellini; Germi) Bright Day of My Life. See Waga shogai no kagayakeru hi, 1948 Bright Eyes, 1922 (Sennett) Bright Leaf, 1950 (Curtiz) Bright Lights, 1916 (Sennett) Bright Lights, 1930 (Curtiz) Bright Lights, 1935 (Berkeley) Bright Lights and Shadows. See Bright Lights of Broadway, 1923 Bright Lights, Big City, 1988 (Pollack) Bright Lights of Broadway, 1923 (Goulding) Bright Shawl, 1923 (Goulding) Brighter Summer Day. See Guling Jie Shaonian Sha Ren Shijian, 1991 Brighton Rock, 1947 (Attenborough; Boulting) Brigitte et Brigitte, 1965 (Chabrol; Fuller) Brigitte Horney, 1977 (Zanussi) Brillantenschiff, 1920 (Lang) Brillantstjernen, 1912 (Blom) Brimade dans une caserne. See Saut à la couverture, 1895 Bring Back ‘em Sober, 1932 (Sennett) Bring Me the Head of Alfredo Garcia, 1973 (Fernández; Peckinpah) Bring on the Dancing Girls, 1965 (Scorsese) Bring on the Night, 1985 (Apted) Bringing out the Dead, 1999 (Schrader; Scorsese) Bringing up Baby, 1938 (Hawks) Brink of Hell. See Toward the Unknown, 1956 Brink of Life. See N?ra livet, 1958 Brinks Job, 1978 (Friedkin) Brise-Glace, 1988 (Rouch; Ruiz) Bristet Lykke, 1913 (Blom) Britannia Hospital, 1982 (Anderson) British Agent, 1934 (Curtiz) British Sounds, 1969 (Godard) Broad-Minded, 1930 (Leroy) Broadcast. See Ekpombi, 1968 Broadcast News, 1987 (Brooks) Broadway, 1929 (Fej?s) Broadway after Dark, 1924 (Leroy) Broadway Ahead. See Sweetheart of the Campus, 1941 Broadway Babies, 1929 (Leroy) Broadway Bill, 1934 (Capra) Broadway Blues, 1929 (Sennett) Broadway by Light, 1957 (Resnais) Broadway Daddies. See Broadway Babies, 1929 Broadway Danny Rose, 1984 (Allen) Broadway Gondolier, 1935 (Bacon) Broadway Melody, 1929 (Goulding) Broadway Melody, 1940 (Goulding) Broadway Rose, 1922 (Goulding) Broadway Serenade, 1939 (Berkeley) Br?derna, 1913 (Stiller) Brodyachij avtobus, 1989 (Hei?tz) Broke in China, 1927 (Sennett) Brokeback Mountain, 2000 (van Sant) Broken Arrow, 1950 (Daves) Broken Arrow, 1996 (Woo) Broken Blossoms, 1919 (Grif?th) Broken Butter?y, 1919 (Tourneur) Broken Chains. See Yevo prizyv, 1925 Broken Coin, 1915 (Ford) Broken Commandment. See Hakai, 1962 Broken Cross, 1911 (Grif?th) Broken Doll, 1910 (Grif?th) Broken Doll, 1921 (Dwan) Broken Dreams. See Sogni infranti, 1995 Broken Drum. See Yabure daiko, 1949 Broken English, 1979 (Jarman) Broken Fetters, 1916 (Ingram) Broken Hearts of Hollywood, 1926 (Bacon) Broken in the Wars, 1918 (Hepworth) Broken Lance, 1954 (Dmytryk) Broken Locket, 1909 (Grif?th) Broken Lullaby. See Man I Killed, 1932 Broken Ties, 1912 (Dwan) Broken Ways, 1913 (Grif?th) Bromo and Juliet, 1926 (McCarey) Bronco Billy, 1980 (Eastwood) Bronco Buster, 1952 (Boetticher) Bronco Busting for Flying A Pictures, 1912 (Dwan) Bronenosets Potemkin, 1925 (Eisenstein) Bronsteins Kinder, 1991 (Kawalerowicz) Bront? Sisters. See Soeurs Bront?, 1979 Bronx County, 1998 (Pollack) Bronzes, 1978 (Leconte) Brood, 1978 (Cronenberg) Brook?eld Recreation Center, 1964 (Baillie) Brother from Another Planet, 1984 (Sayles) Brother has Come, 1979 (Rogozhkin) Brother of a Hero. See Brat geroya, 1940 Brother Orchid, 1940 (Bacon) Brother Sun, Sister Moon. See Fratelli sole sorella luna, 1972 Brotherhood, 1968 (Ritt) Brotherhood of the Yakuza. See Yakuza, 1975 Brothers, 1912 (Grif?th) Brothers, 1913 (Dwan) Brothers. See Br?derna, 1913 Brothers and Sisters of the Toda Family. See Toda-ke no kyodai, 1941 Brothers in Law, 1957 (Attenborough; Boulting; Schlesinger) Brothers-in-Law, 1985 (Boulting) Brouillard sur la ville. See Gaz mortels, 1916 Brown Wallet, 1936 (Powell, Michael, And Emeric Pressburger) Browning, 1913 (Feuillade) Browning Version, 1994 (Scott) Brown’s Seance, 1912 (Sennett) Brubaker, 1980 (Rafelson) Bruciati da cocente passione, 1976 (Lattuada) Bruiser, 2000 (Romero) Brunkul, 1941 (Henning-Jensen) Brussels “Loops’’, 1958 (Clarke) Brutalit?t in Stein, 1960 (Kluge) Brutality, 1912 (Grif?th) Brutality in Stone. See Brutalit?t in Stein, 1960 Brute. See Dùvad, 1959 Brute Force. See In Prehistoric Days, 1913 Brute Force, 1947 (Dassin) Bruto, 1952 (Bu?uel) Brutti, sporchi e cattivi, 1976 (Scola) Bruyère, 1964-69 (Rohmer) Bryggerens Datter, 1912 (Dreyer) Brzezina, 1970 (Wajda) Bu vatanin cocuklari, 1958 (Güney) Buccaneer, 1938 (de Mille) Buccaneer, 1958 (de Mille) Buchanan Rides Alone, 1958 (Boetticher) Buchhalterin, 1918 (Dupont) Büchse der Pandora, 1928 (Pabst) Buck Benny Rides Again, 1940 (Sandrich) Bucket of Blood, 1959 (Corman) Bucket of Blood, 1995 (Bartel) Bucking Broadway, 1917 (Ford) Bucking Society, 1916 (Sennett) Bucklige und die Tanzerin, 1920 (Murnau) Bucovina-Ukrainian Land. See Bukovyna-Zemlya Ukrayinska, 1940 FILM TITLE INDEX DIRECTORS, 4 th EDITION 1158 Budapest, amiért szeretem, 1971 (Szabó) Budapest Tales. See Budapesti mesék, 1976 Budapest, Why I Love It. See Budapest, amiért szeretem, 1971 Budapesti mesék, 1976 (Szabó) Buddy, 1997 (Coppola) Buddy Buddy, 1981 (Wilder) Buena Vista Social Club, 1999 (Wenders) Buenos dias, Buenos Aires, 1960 (Birri) Buffalo Bill, 1944 (Wellman) Buffalo Bill and the Indians, or Sitting Bull’s History Lesson, 1976 (Altman; Rudolph) Buffer Zone. See Cserepek, 1981 Bufferin, 1966 (Warhol) Buffet froid, 1979 (Blier) Bugambilia, 1944 (Fernández) Buggins’ Ermine, 1972 (Apted) Bugs Bunny Superstar, 1975 (Welles) Bugsy, 1991 (Levinson) Bugsy Malone, 1976 (Parker) Build My Gallows High. See Out of the Past, 1947 Builders, 1954 (Altman) Building the Great Los Angeles Aqueduct, 1913 (Dwan) Building the Pyramids, 1973 (Jarman) Bukovyna-Zemlya Ukrayinska, 1940 (Dovzhenko) Bulbule Baghdad, 1933 (Mehboob Khan) Bull. See Toro, 1994 Bull and Sand, 1924 (Sennett) Bull Fighter, 1927 (Sennett) Bulldog Drummond’s Peril, 1938 (Dmytryk) Bulldog Jack, 1935 (Launder, Frank, and Sidney Gilliat) Bullet in the Head, 1990 (Woo) Bullets Cannot Pierce Me. See Bana kursun islemez, 1967 Bullets over Broadway, 1994 (Allen; Reiner) Bull?ght, 1955 (Clarke) Bull?ght at Málaga, 1958 (Leacock) Bull?ghter and the Lady, 1951 (Boetticher) Bulls and Bears, 1929 (Sennett) Bull’s Eye for Farmer Pietersen. See Boer Pietersen schiet in de roos, 1949 Bungalow Boobs, 1924 (McCarey) Bungalow Troubles, 1920 (Sennett) Bungawan Solo, 1951 (Ichikawa) Bunny Lake Is Missing, 1965 (Preminger) Buonanotte... avvocato!, 1955 (Bava) Buone notizie, 1979 (Petri) Buongiorno elefante!, 1952 (de Sica) Buongiorno natura, 1955 (Olmi) Buono, il brutto, il cattivo, 1966 (Eastwood; Leone) Buraikan, 1970 (Shinoda) ‘Burbs, 1989 (Dante) Burcak tarlasi, 1966 (Güney) Burden of Life. See Jinsei no onimotsu, 1935 Burglar, 1928 (Capra; Sennett) Burglar’s Dilemma, 1912 (Grif?th) Burgtheater, 1936 (Forst) Burial Path, 1978 (Brakhage) Buried Hand, 1915 (Walsh) Buried Secret. See Det unge Blod, 1915 Burlesque Suicide, 1902 (Porter) Burma Victory, 1945 (Boulting) Burmese Harp. See Biruma no tategoto, 1956 Burmese Harp. See Biruma no tategoto, 1985 Burn!. See Queimada, 1969 Burned Hand, 1915 (Browning) Burning, 1967 (Frears) Burning Season, 1994 (Frankenheimer) Burning Secret. See Brennende Geheimnis, 1933 Burning Soil. See Brennende Acker, 1922 Burning Stable, 1900 (Hepworth) Burning the Pyramids. See Garden of Luxor, 1972 Burnt by the Sun. See Outomlionnye solntsem, 1994 Burroughs, 1982 (Jarmusch) Burschenlied aus Heidelberg, 1930 (Forst) Bus Driver’s Tale, 1990 (Baillie) Busby Berkeley: Going through the Roof, 1998 (Anger) Bush Mama, 1976 (Gerima) Bushido: Samurai Saga. See Bushido zankoku monogatari, 1963 Bushido zankoku monogatari, 1963 (Imai) Bushmen of the Kalahari, 1974 (Marshall) Bushmen Tug of War, 1974 (Marshall) Business Is Business, 1971 (Verhoeven) Büssende Magdalena, 1915 (Wiene) Busted Hearts. See Those Love Pangs, 1914 Busted Johnny. See Making a Living, 1914 Buster Keaton: A Hard Act to Follow, 1987 (Autant-Lara) Buster Keaton Rides Again, 1965 (Keaton) Buster Keaton Story, 1956 (de Mille) Buster se marie, 1930 (Autant-Lara) Busters verden, 1984 (August) Busy Day, 1914 (Chaplin; Sennett) Busybody, 1923 (La Cava) But What Do Women Want?. See Mais qu’est-ce qu’elles veulent?, 1976 Buta to gunkan, 1961 (Imamura) Butch and Sundance: The Early Days, 1979 (Lester) Butcher Boy, 1917 (Keaton) Butcher Boy, 1997 (Jordan) Butter Fingers, 1925 (Sennett) Butter?y, 1981 (Welles) Butter?y Girl. See Ch’iao Ju Ts’ai Tieh Fei Fei Fei, 1981 Butter?y on the Wheel, 1915 (Tourneur) Butter?y Revolution. See Summer Camp Nightmare, 1987 Button My Back, 1929 (Sennett) Buud Yam, 1997 (Kaboré) Büyük cellatlar, 1967 (Güney) Bwana Toshi no uta, 1965 (Hani) By Candlelight, 1934 (Whale) By Divine Right, 1919 (von Sternberg) By Golly, 1920 (Sennett) By Heck, 1922 (Sennett) By Hook or by Crook. See I Dood It, 1943 By Indian Post, 1919 (Ford) By Rocket to the Moon. See Frau im Mond, 1929 By Stork Delivery, 1916 (Sennett) By the Blood of Others. See Par le sang des autres, 1973 By the Deep Blue Sea. See U samogo sinego morya, 1935 By the Lake. See U ozera, 1969 By the Law. See Po zakonu, 1926 By the Light of the Moon, 1911 (Porter) By the Sea, 1915 (Chaplin) Bye Bye Brasil, 1980 (Diegues) Bye Bye Braverman, 1968 (Lumet) Bye Bye, Love, 1995 (Reiner) Bye-Bye Red Riding Hood. See Piroska és a farkas, 1988 Byelyi orel, 1928 (Protazanov) By?em ?o?nierzem, 1970 (Kie?lowski) Byn vid den Trivsamma Brunnen, 1937/38 (Fej?s) Bytva za nashu Radyansku Ukrayinu, 1943 (Dovzhenko) ?a commence aujourd’hui, 1999 (Tavernier) Cab No. 519. See Droske 519, 1909 Cabaret, 1972 (Fosse) Cabaret. See Dieses Lied bleibt bei Dir, 1954 FILM TITLE INDEXDIRECTORS, 4 th EDITION 1159 Cabareteras, 1980 (Fernández) Cabbage Fairy. See Fée aux choux, 1896 Cabeza de la hidra, 1981 (Leduc) Cabezas cortadas, 1970 (Rocha) Cabin Boy, 1994 (Burton) Cabin in the Cotton, 1932 (Curtiz) Cabin in the Sky, 1942 (Minnelli) Cabinet of Dr. Caligari. See Kabinett des Dr. Caligari, 1920 Cabinet of Dr. Ramirez, 1991 (Lynch) Cabinets de physique au XVIIIème siècle, 1964-69 (Rohmer) Cabiria, 1914 (Pastrone) Caccia alla volpe, 1966 (de Sica) Cactus Land, 1988 (Jarman) Cactus Nell, 1917 (Sennett) Cadaveri eccelenti, 1976 (Rosi) Caddy, 1953 (Lewis) Caddyshack II, 1988 (Bartel) Cadena Perpetua, 1978 (Ripstein) Caduta degli dei, 1969 (Visconti) Caduta di Troia, 1910 (Pastrone) Café Electric, 1927 (Forst) Cage of Gold, 1950 (Dearden) Caged, 1950 (Cromwell) Caged Heat, 1974 (Corman; Demme) Caicara, 1950 (Cavalcanti) Cáida, 1959 (Torre Nilsson) Caida de Sodoma, 1974 (Almodóvar) Cain and Mabel, 1936 (Bacon) Caine, 1967 (Fuller) Caine Mutiny, 1954 (Dmytryk; Kramer) Caine Mutiny Court-Martial, 1988 (Altman) Cairo, 1942 (Mankiewicz) Cairo as Told by Youssef Chahine, 1991 (Chahine) Cairo Station. See Bab el Hadid, 1958 Caissounbouw Rotterdam, 1929 (Ivens) Cake-Walk de la pendule, 1903 (Guy) Calabuch, 1956 (García Berlanga) Calamitous Elopement, 1908 (Grif?th) Calamity. See Kalamita, 1980 Calamity Anne, Detective, 1913 (Dwan) Calamity Anne Parcel Post, 1913 (Dwan) Calamity Anne’s Beauty, 1913 (Dwan) Calamity Anne’s Inheritance, 1913 (Dwan) Calamity Anne’s Trust, 1913 (Dwan) Calamity Anne’s Vanity, 1913 (Dwan) Calamity Anne’s Ward, 1912 (Dwan) Calandria, 1933 (de Fuentes) Calcutta, 1969 (Malle) Calcutta 71, 1972 (Sen) Calcutta, My El Dorado, 1990 (Sen) Calendar, 1993 (Egoyan) Calendar Girl, 1947 (Dwan) Calendar of the Year, 1936 (Cavalcanti) Calendar of the Year, 1937 (Grierson) Caliente Love, 1933 (Sennett) California, 1996 (Ferrara) California Dolls. See All the Marbles, 1981 California Split, 1974 (Altman; Rudolph) Calimari Union, 1985 (Kaurismaki) Call, 1909 (Grif?th) Call a Cop, 1921 (Sennett) Call a Cop!, 1931 (Stevens) Call Harry Crown. See 99 44/100 Dead, 1974 Call Me Mister, 1951 (Bacon; Berkeley) Call of the Canyon, 1923 (Fleming; Leroy) Call of the North, 1914 (de Mille) Call of the Open Range, 1911 (Dwan) Call of the Wild, 1908 (Grif?th) Call of the Wild, 1935 (Wellman) Call of Youth, 1920 (Hitchcock) Call to Arms, 1902 (Hepworth) Call to Arms, 1910 (Grif?th; Sennett) Call to Arms, 1913 (Dwan) Callas text mit doppel-beleuchtung, 1968 (Schroeter) Callas Walking Lucia, 1968 (Schroeter) Callboy. See Herr auf Bestellung, 1930 Calle Mayor, 1956 (Bardem) Callejón sin salida, 1964 (Fernández) Calling Hubby’s Bluff, 1929 (Sennett) Calling the Shots, 1988 (Zetterling) Calmos, 1975 (Blier) Caltiki, the Immortal Monster. See Caltiki—il mostro immortale, 1959 Caltiki—il mostro immortale, 1959 (Bava) Calvaire, 1914 (Feuillade) Cambrioleurs, 1897/98 (Guy) Cambrioleur et agent, 1904 (Guy) Cambrioleurs de Paris, 1904 (Guy) Came the Dawn, 1928 (McCarey) Camée, 1913 (Tourneur) Cameo Kirby, 1914 (de Mille) Cameo Kirby, 1923 (Ford) Camera Buff. See Amator, 1979 Camera d’Afrique, 1983 (Sembene) Cameraman, 1928 (Keaton) Cameriera bella presenza offresi, 1951 (Fellini; de Sica) Camicie Rosse, 1952 (Rosi) Camila, 1984 (Bemberg) Camilla, 1994 (Egoyan) Camille, 1927 (Niblo) Camille, 1937 (Cukor) Camille ou la Comédie catastrophique, 1971 (Miller) Camille without Camelias. See Signora senza camelie, 1953 Camino de la mirra y el incienso, 1975 (Gutiérrez Alea) Camion, 1977 (Duras) Cammina, cammina, 1983 (Olmi) Cammino della speranza, 1950 (Fellini; Germi) Camorra, 1986 (Wertmuller) Camou?age. See Barwy ochronne, 1976 Camp, 1965 (Warhol) Camp de Thiaroye, 1987 (Sembene) Campanas tambien pueden doblar ma?ana, 1983 (Alvarez) Campi sperimentali, 1957 (Olmi) Camping, 1957 (Zef?relli) Campo dei ?ori, 1943 (Fellini) Campus Carmen, 1928 (Sennett) Campus Crushes, 1929 (Sennett) Campus Vamp, 1928 (Sennett) Canadian Paci?c, 1949 (Jewison) Canal Zone, 1977 (Wiseman) Canale, 1965/66 (Bertolucci) Canary Bananas, 1935 (Leacock) Cancer, 1968 (Rocha) Cancion de cuna, 1952 (de Fuentes) Candid Camera, 1932 (Sennett) Candidate. See Kandidat, 1980 Candle and the Moth. See Evangeliemandens Liv, 1914 Candle in the Wind. See Fuzen no tomoshibi, 1957 Candy, 1968 (Huston) Candy Mountain, 1987 (Jarmusch) Candy Stripe Nurses, 1974 (Corman) Cani arrabbiati, 1974 (Bava) Canker of Jealousy, 1915 (Hepworth) FILM TITLE INDEX DIRECTORS, 4 th EDITION 1160 Cannery Row, 1982 (Huston) Cannes...les 400 coups, 1997 (Beineix) Cannes Man, 1996 (Jarmusch) Cannesples 400 coups, 1997 (Chabrol; Forman) Cannesyles 400 coups, 1997 (Allen) Cannibal! The Musical, 1996 (Brakhage) Cannibals. See Os Canibais, 1988 Cannon Ball, 1915 (Sennett) Cannon Ball Express, 1924 (Sennett) Cannonball, 1931 (Sennett) Cannonball, 1976 (Bartel; Corman; Dante; Scorsese) Cannot Exist, 1995 (Brakhage) Cannot Not Exist, 1995 (Brakhage) Canpazari, 1968 (Güney) Canta delle marane, 1960 (Pasolini) Cantata. See Oldás és k?tés, 1963 Cantata de Chile, 1975 (Solas) Cantate pour deux généraux, 1990 (Rouch) Canterbury Tale, 1944 (Powell, Michael, And Emeric Pressburger) Canterbury Tales. See I racconti di Canterbury, 1972 Canterville Ghost, 1944 (Dassin) Cantiere d’inverno, 1955 (Olmi) Canyon Dweller, 1912 (Dwan) Canyon Passage, 1946 (Tourneur) Canzone del sole, 1933 (de Sica) Cap du sud, 1935 (Storck) Cap perdu, 1930 (Dupont) Cape Ashizuri. See Ashizuri misaki, 1954 Cape Fear, 1991 (Scorsese; Spielberg) Cape Forlorn, 1930 (Dupont) Cape Town Affair, 1953 (Fuller) Caperucita roja, 1947 (Gutiérrez Alea) Capitaine Conan, 1996 (Tavernier) Capitaine Fracasse, 1928 (Cavalcanti) Capitaine Fracasse, 1942 (Gance) Capitaine Singrid, 1968 (Tavernier) Capital versus Labor, 1909 (Porter) Capitano, 1991 (Troell) Capitu, 1968 (Diegues) Capkovy povídky, 1947 (Fri?) Capone, 1975 (Corman) Caporal épinglé, 1962 (Renoir) Cappotto, 1952 (Lattuada) Cappriccio all‘italiana, 1967 (Pasolini) Caprice, 1966 (Tashlin) Caprice de princesse, 1933 (Clouzot) Caprices de Marie, 1969 (de Broca) Capricious Summer. See Rozmarné leto, 1968 Capriolen, 1937 (Forst) Captain Blood, 1935 (Curtiz) Captain Boycott, 1947 (Launder and Gilliat) Captain Conan. See Capitaine Conan, 1996 Captain Courageous, 1937 (Hawks) Captain Eddie, 1945 (Bacon) Captain EO, 1986 (Lucas) Captain Hates the Sea, 1934 (Milestone) Captain Horatio Hornblower, 1951 (Walsh) Captain Lightfoot, 1954 (Sirk) Captain McLean, 1914 (von Stroheim) Captain of the Guard, 1930 (Fej?s) Captains Courageous, 1937 (Fleming) Captains of the Clouds, 1942 (Curtiz) Captive, 1915 (de Mille) Captive, 2000 (Akerman) Captive Heart, 1946 (Dearden) Captive Soul. See Rablélek, 1913 Captive Wild Woman, 1943 (Dmytryk) Captive’s Island. See Shokei no shima, 1966 Capture of the Biddle Brothers, 1902 (Porter) Capture of Yegg Bank Burglars, 1904 (Porter) Car Wash, 1976 (Schumacher) Carabiniers, 1963 (Godard; Rossellini) Caravaggio, 1986 (Jarman) Carbunara, 1955-59 (Taviani) Cardinal, 1963 (Huston; Preminger) Cardinal’s Conspiracy, 1909 (Grif?th) Cardinal’s Visit, 1981-present (Baillie) Care and Affection. See Szeretet, 1963 Career Girls, 1997 (Leigh) Career of Dima. See Dimy Gorina, 1961 Carefree, 1938 (Sandrich) Careless Hubby, 1927 (Sandrich) Caretaker, 1963 (Roeg) Caretaker’s Daughter, 1925 (McCarey) Cargaison blanche, 1937 (Siodmak) Cargaison blanche, 1957 (de Broca) Cargo from Jamaica, 1933 (Grierson) Carillons, 1936 (Storck) Carl Dreyer, Le Celluloid et la marbre, 1965 (Rohmer) Carl Nielsen 1865-1931, 1978 (Roos) Carl Th. Dreyer, 1966 (Roos) Carla’s Song, 1996 (Loach) Carlito’s Way, 1993 (de Palma) Carlo Pisacane, 1955-59 (Taviani) Carlton-Browne of the F.O., 1959 (Boulting) Carmen, 1900/07 (Guy) Carmen, 1915 (Walsh; de Mille) Carmen, 1916 (Chaplin) Carmen, 1918 (Lubitsch) Carmen, 1926 (Feyder) Carmen, 1983 (Saura) Carmen, 1984 (Rosi) Carmen Comes Home. See Karumen kokyo ni kaeru, 1951 Carmen Jones, 1954 (Preminger) Carmen’s Pure Love. See Karumen junjo su, 1952 Carnal Knowledge, 1971 (Nichols) Carnaval, 1953 (Pagnol) Carnaval des vérités, 1919 (Autant-Lara; L’herbier) Carnavals, 1950 (Storck) Carne trémula, 1997 (Almodóvar) Carnegie Hall, 1947 (Ulmer) Carnet de bal, 1937 (Duvivier) Carnet de viaje, 1961 (Ivens) Carnets du Major Thompson, 1957 (Sturges) Carnival in Flanders. See Kermesse héro?que, 1935 Carnival of Souls, 1998 (Craven) Carnival Rock, 1957 (Corman) Carnosaur, 1993 (Corman) Carnosaur 2, 1995 (Corman) Carnosaur 3: Primal Species, 1996 (Corman) Caro Diario, 1994 (Moretti) Caroline Cherie, 1967 (de Sica) Carosello Napoletano, 1954 (Rosi) Carpetbaggers, 1963 (Dmytryk) Carquake. See Cannonball, 1976 Carriage to Vienna. See Ko?ár do Vídně, 1966 Carrie, 1952 (Wyler) Carrie, 1976 (de Palma) Carrière de Suzanne, 1963 (Rohmer) Carro armato dell ‘8 settembre, 1960 (Pasolini) Carrosse d’or, 1953 (Renoir) Carrot Top. See Poil de carotte, 1972 FILM TITLE INDEXDIRECTORS, 4 th EDITION 1161 Cars That Ate Paris, 1974 (Weir) Cars That Ate People. See Cars That Ate Paris, 1974 Carta al mundo. See Rte.: Nicaragua, 1984 Cartas del parque, 1988 (Gutiérrez Alea) Carte a Sara, 1956 (Bardem) Carthusian. See Karthauzi, 1916 Cartographer’s Girlfriend, 1987 (Hartley) Cartouche, 1962 (de Broca) Casa del ángel, 1957 (Torre Nilsson) Casa del ogro, 1938 (de Fuentes) Casa dell’esorcismo, 1974 (Bava) Casablanca, 1942 (Curtiz; Siegel) Casablanca, 1961 (Solas) Casanova, 1927 (Delannoy) Casanova, 1976 (Fellini) Casanova di Federico Fellini. See Casanova, 1976 Case Is Closed. See Kharij, 1982 Case of Jonathan Drew. See A Story of the London Fog, 1926 Case of Lena Smith, 1929 (von Sternberg) Case of the Curious Bride, 1935 (Curtiz) Casey and His Neighbor’s Goat, 1903 (Porter) Casey’s Frightful Dream, 1904 (Porter) Casey’s Shadow, 1978 (Ritt) Casey’s Vendetta, 1914 (Browning) Cash, 1933 (Crichton; Korda) Casino, 1995 (Scorsese) Casino de Paris, 1957 (de Sica) Casino Royale, 1967 (Allen; Huston; Roeg; Welles) Casket for Living. See Tosei tamatebako, 1925 Caso Mattei, 1972 (Rosi) Casper, 1995 (Spielberg) Casque d’Or, 1952 (Becker) Cassette de l’emigrée, 1912 (Feuillade) Cassis, 1966 (Mekas) Cassowary. See Hikuidori, 1926 Cast Away, 2000 (Zemeckis) Cast-Iron. See Tudzi, 1964 Castagne sono buone, 1970 (Germi) Castagnino, diario romano, 1966 (Birri) Castaway, 1986 (Roeg) Castelli in aria, 1938 (Castellani; de Sica) Castillo de la Pureza, 1972 (Ripstein) Castle Keep, 1969 (Pollack) Castle of Purity. See Castillo de la Pureza, 1972 Castle of the Spider’s Web. See Kumonosu-jo, 1957 Castle within a Castle. See Et Slot I Et Slot, 1954 Castles in the Sky and Rhinestones. See Wolkenbau und Flimmerstern, 1919 Castro Street, 1966 (Baillie) Casualties of War, 1989 (de Palma) Caswallan Trilogy, 1986 (Brakhage) Cat and Mouse, 1958 (Rotha) Cat and Mouse. See Chat et la souris, 1975 Cat and the Canary, 1927 (Leni) Cat Chaser, 1989 (Ferrara) Cat of the Night. See Yoru no mesuneko, 1929 Cat People, 1942 (Tourneur) Cat People, 1981 (Schrader) Cat’s Cradle, 1959 (Brakhage) Cat’s Meow, 1924 (Capra; Sennett) Cat’s Pajamas, 1926 (Wellman) Catacombs. See Katakomby, 1940 Catalan, 1984 (Jarman) Catalina, Here I Come, 1927 (Sennett) Catalina Rowboat Race. See Smith’s Catalina Rowboat Race, 1928 Catamount Killing, 1974 (Zanussi) Catapult. See Katapult, 1983 Catch. See Shiiku, 1961 Catch-22, 1970 (Nichols; Welles) Catch the Sun, 2000 (Sheridan) Catch Us If You Can, 1965 (Boorman) Cate naria, 1969 (Ruiz) Cathédrale de Chartres. See Chartres, 1923 Catherine, 1927 (Renoir) Catherine, 1964 (Loach) Catherine & Company. See Catherine et Cie, 1975 Catherine et Cie, 1975 (Breillat) Cathy Come Home, 1966 (Loach) Cathy Tippel, 1975 (Verhoeven) Cattivo soggetto, 1933 (de Sica) Cattle, Gold, and Oil, 1911 (Dwan) Cattle Queen of Montana, 1954 (Dwan) Cattle Rustler’s End, 1911 (Dwan) Cattle Thief’s Brand, 1911 (Dwan) Caudillo, 1967 (Fernández) Caught, 1949 (Ophüls) Caught in a Cabaret, 1914 (Chaplin; Sennett) Caught in a Flue, 1914 (Sennett) Caught in a Taxi, 1929 (Sennett) Caught in His Own Net. See Medbejlerens Haevn, 1910 Caught in His Own Trap. See Direkt?rens Datter, 1912 Caught in the Act, 1915 (Sennett) Caught in the Kitchen, 1928 (Sennett) Caught in the Park, 1915 (Sennett) Caught in the Rain, 1914 (Chaplin; Sennett) Caught in the Toils. See Den hvide Djaevel, 1915 Caught in Tights, 1914 (Sennett) Caught with the Goods, 1911 (Sennett) Causa králík, 1979 (Jire?) Cause and Effect, 1988 (Haynes) Cause commune, 1940 (Cavalcanti) Cavaleur, 1978 (de Broca) Cavar un foso, 1966 (Torre Nilsson) Caveman, 1926 (Milestone) Caveman. See His Prehistoric Past, 1914 Cavern, 1965 (Ulmer) Cavo olio ?udio 220.000 volt, 1959 (Olmi) Caza, 1966 (Saura) Ce que les ?ots racontent, 1916 (Gance) Ce siècle a cinquante ans, 1950 (Cocteau) Cecil B. Demented, 2000 (Waters) Cecile est morte, 1943 (Tourneur) Cecilia Valdés, 1982 (Solas) Ceddo, 1977 (Sembene) Ceiling. See Strop, 1962 Ceiling Zero, 1935 (Hawks) Cekání na dé?t, 1978 (Kachyňa) Cela s’appelle l’Aurore, 1955 (Bu?uel) Celebration of Origins, 1992 (Asch) Celebrity, 1998 (Allen; Branagh) Celeste, 1980 (Adlon) Celestial Code, 1915 (Walsh) Celia, imagen del pueblo, 1980 (Alvarez) Celimene, Poupee de Montmartre, 1925 (Curtiz) Céline and Julie Go Boating. See Céline et Julie vont en bateau, 1974 Céline et Julie vont en bateau, 1974 (Eustache; Rivette) Cellulose. See Celuloza, 1954 Celos, 1935 (Fernández) Celui qui doit mourir, 1958 (Dassin) Celui qui reste, 1915 (Feuillade) Celuloza, 1954 (Kawalerowicz) Cena, 1998 (Scola) FILM TITLE INDEX DIRECTORS, 4 th EDITION 1162 Cena della beffe, 1941 (Castellani) Cent et une nuits, 1995 (Varda) Centennial Summer, 1946 (Preminger) Centinela alerta!, 1936 (Bu?uel; Grémillon) Cento anni d’amore, 1953 (de Sica) Centomila dollari, 1940 (Castellani) Central Airport, 1933 (Wellman) Central Park, 1990 (Wiseman) Centre, 1978 (Brakhage) Centuries of June, 1955 (Brakhage) Century of Cinema, 1994 (Burton; Dante; Jewison) Century of Women, 1994 (Kopple) C’era una volta il West, 1969 (Bertolucci; Leone) C’era una volta, 1967 (Rosi) Ceramika I??ecka, 1951 (Wajda) C’eravamo tanto amati, 1974 (Fellini; Scola; de Sica) Cercle rouge, 1972 (Melville) Ceremonie, 1995 (Chabrol) Ceremony. See Ceremonie, 1995 Ceremony. See Gishiki, 1971 Cerny Petr, 1963 (Forman) Cerro Pelado, 1966 (Alvarez) Certo giorno, 1968 (Olmi) César, 1936 (Pagnol) Cesarée, 1978/79 (Duras) Cesar and Rosalie. See César et Rosalie, 1972 César et Rosalie, 1972 (Sautet) C’est la vie. See Baule-les-Pins, 1990 C’est le printemps, 1916 (Feuillade) C’est Papa qui prend la purge, 1906 (Feuillade) Cesta do Prahy Vincence Mo?teka a Simona Pe?la z Vl?nova l.p. 1969, 1969 (Jire?) Cesta duga godinu dana, 1958 (Petri) Cet obscur objet du desir, 1977 (Bu?uel) C’était un musicien, 1933 (Bresson) Ceux du rail, 1942 (Clément) Cézanne, 1989 (Straub and Huillet) Chacal de Nahueltoro, 1969 (Littin) Chain Reaction, 1980 (Miller) Chains, 1999 (Stone) Chair, 1962 (Leacock) Chair de poule, 1963 (Duvivier) Chalachitra, 1981 (Sen) Chaliapin, 1972 (Donskoi) Chalice of Sorrow, 1916 (Ingram) Chaliya, 1960 (Kapoor) Challenge, 1982 (Frankenheimer; Sayles) Challenge. See S?da, 1958 Challenge of Greatness, 1976 (Welles) Chamber, 1996 (Howard) Chambre, 1972 (Akerman) Chambre 666, 1982 (Antonioni; Morrissey; Seidelman) Chambre ardente, 1962 (Duvivier) Chambre blanche, 1969 (Lefebvre) Chambre des magiciennes, 2000 (Miller) Chambre en ville, 1982 (Demy) Chambre obscure. See Laughter in the Dark, 1969 Chambre verte, 1978 (Truffaut) Champ, 1931 (Vidor) Champ, 1979 (Zef?relli) Champagne, 1928 (Hitchcock; Launder and Gilliat) Champagne Charlie, 1944 (Cavalcanti) Champagne Charlie. See A Night Out, 1915 Champagne Murders. See Scandale, 1967 Champagne Waltz, 1937 (Wilder) Champion, 1913 (Sennett) Champion, 1915 (Bacon; Chaplin) Champion, 1949 (Kramer) Champlain, 1964 (Arcand) Chance Deception, 1912 (Grif?th) Chance et l’amour, 1964 (Berri; Chabrol; Tavernier) Chance Meeting. See Blind Date, 1959 Chance sur deux, 1998 (Leconte) Chances, 1931 (Dwan) Chances and Coincidences. See Hasards ou coincidences, 1998 Chandi Sona, 1977 (Kapoor) Chang, 1927 (Schoedsack) Change of Heart, 1909 (Grif?th) Change of Spirit, 1912 (Grif?th) Changing Earth. See Ont staan en vergaan, 1954 Chanson d’armor, 1934 (Epstein) Chanson des peupliers, 1931 (Epstein) Chanson du souvenir, 1936 (Sirk) Chanson d’une nuit, 1932 (Clouzot) Chant de Styrène, 1958 (Resnais) Chant of Jimmie Blacksmith, 1978 (Schepisi) Chantal Akerman by Chantal Akerman, 1996 (Akerman) Chanteur inconnu, 1931 (Clouzot) Chanteurs traditionnels des ?les Seychelles, 1978 (Cissé) Chantons sous l’occupation, 1976 (Rouch) Chapayev Is with Us, 1939 (Gerasimov) Chapeau. See Coup de vent, 1905 Chapeau de paille d’Italie, 1927 (Clair) Chapeaux à transformations, 1895 (Lumière) Chaplin, 1992 (Attenborough) Chaplin Revue, 1959 (Chaplin) Chapman Report, 1962 (Cukor) Chapter in Her Life, 1923 (Weber) Char Dil Char Rahen, 1959 (Kapoor) Charade, 1963 (Donen) Charandas Chor, 1975 (Benegal) Charandas the Thief. See Charandas Chor, 1975 Charcuterie mécanique, 1895 (Lumière) Charge of the Light Brigade, 1936 (Curtiz) Charge of the Light Brigade, 1968 (Richardson) Chariots of Fire, 1981 (Anderson) Charité du prestidigitateur, 1905 (Guy) Charlatan. See A kuruzslo, 1917 Charles, Dead or Alive. See Charles, mort ou vif, 1969 Charles et Lucie, 1979 (Kaplan) Charles, mort ou vif, 1969 (Tanner) Charleston Chain Gang, 1902 (Porter) Charleston-Parade. See Sur un air de Charleston, 1927 Charley My Boy, 1926 (McCarey) Charley Varrick, 1973 (Siegel) Charlie and the Sausages. See Mabel’s Busy Day, 1914 Charlie and the Umbrella. See Between Showers, 1914 Charlie at the Races. See Gentlemen of Nerve, 1914 Charlie at the Studio. See A Film Johnnie, 1914 Charlie Bubbles, 1967 (Frears) Charlie Chaplin’s Burlesque on Carmen. See Carmen, 1916 Charlie on the Ocean. See Shanghaied, 1915 Charlie on the Spree. See In the Park, 1915 Charlie the Burglar. See Police!, 1916 Charlie the Hobo. See Tramp, 1915 Charlie the Sailor. See Shanghaied, 1915 Charlie’s Day Out. See By the Sea, 1915 Charlie’s Recreation. See Tango Tangles, 1914 Charlotte. See Jeune Fille assassinée, 1974 Charlotte and Her Steak. See Présentation ou Charlotte et son steak, 1951 Charlotte et son Jules, 1959 (Cocteau; Godard) FILM TITLE INDEXDIRECTORS, 4 th EDITION 1163 Charlotte et Véronique ou Tous les gar?ons s’appellent Patrick, 1957 (Godard) Charmant FrouFrou, 1901 (Guy) Charmants garcons, 1957 (de Broca) Charme discret de la bourgeoisie, 1972 (Bu?uel) Charmes de l’existence, 1949 (Grémillon) Charmides, 1947 (Markopoulos) Charming Sinners, 1930 (Arzner) Charrette fant?me, 1939 (Duvivier; Epstein) Charro Negro, 1940 (Fernández) Chartres, 1923 (Grémillon) Chartres Series, 1994 (Brakhage) Charulata, 1964 (Ray) Chase, 1913 (Dwan) Chase, 1966 (Penn) Chase. See Caza, 1966 Chasing Amy, 1997 (Smith) Chasing Butter?ies. See Chasse aux papillons, 1992 Chasse à l’hippopotame, 1950 (Rouch) Chasse au cambrioleur, 1903/04 (Guy) Chasse au lion à l’arc, 1965 (Rouch) Chasse aux papillons, 1992 (Ioseliani) Chasseurs de lions, 1913 (Feuillade) Chat et la souris, 1975 (Lelouch) Chateau de la peur, 1912 (Feuillade) Chateau de rêve, 1933 (Clouzot) Chateau de verre, 1950 (Clément) Chateau en Suede, 1963 (Vadim) Chateaux de France, 1948 (Resnais) Chatelaine du Liban, 1933 (Epstein) Chatollets Hemmelighed, eller Det gamle chatol, 1913 (Dreyer) Chatte métamorphosée en femme, 1909 (Feuillade) Chaussette, 1906 (Guy) Che?. See What?, 1973 Che, Buenos Aires, 1962 (Birri) Che gioia vivere, 1961 (Clément) Che ora e, 1990 (Scola) Che si dice a Roma, 1979 (Scola) Cheap, 1974 (Corman) Cheat, 1915 (de Mille) Cheaters. See Tricheurs, 1958 Cheating Cheaters, 1919 (Dwan) Checkmate, 1912 (Dwan) Checkpoint, 1998 (Rogozhkin) Cheerful Alley. See Yokina uramachi, 1939 Cheerful Canary. See Vessiolaia kanareika, 1929 Cheerful Wind. See Feng Erh T’i T’a Ts’ai, 1980 Cheering Town. See Kanko no machi, 1944 Cheeseburger Film Sandwich. See Amazon Women on the Moon, 1987 Chef-lieu de Canton, 1911/13 (Feuillade) Chefs de demain, 1944 (Clément) Chekist, 1991 (Rogozhkin) Chelovek s kinoapparatom, 1929 (Vertov) Chelsea Girls, 1966 (Morrissey; Warhol) Chemin de Rio. See Cargaison blanche, 1937 Chemin du paradis, 1956 (Forst) Chemines de l’Exile ou Les Dernières Années de Jean-Jacques Rousseau, 1978 (Goretta) Chemist, 1936 (Keaton) Chêne et le roseau, 1994 (Téchiné) Cherchez la femme, 1921 (Curtiz) Chere Louise, 1972 (de Broca) Chernaya lyubov, 1917 (Kuleshov) Cherry, Harry, and Raquel!, 1969 (Meyer) Chess Fever. See Shakhmatnaya goryachka, 1925 Chess Players. See Shatranj Ke Khiladi, 1977 Chesty: A Tribute to a Legend, 1970 (Ford) Cheval d’Orgueil, 1980 (Chabrol) Cheyenne, 1947 (Walsh) Cheyenne Autumn, 1964 (Ford) Cheyenne Warrior, 1994 (Corman) Cheyenne’s Pal, 1917 (Ford) Chez la concierge, 1907 (Feuillade) Chez le magnétiseur, 1897/98 (Guy) Chez le Maréchal-Ferrant, 1899/1900 (Guy) Chez le photographe, 1900 (Guy) Chi l’ha vistro?, 1942 (Fellini) Chi to rei, 1923 (Mizoguchi) Chiameremo Andrea, 1972 (de Sica) Ch’iao Ju Ts’ai Tieh Fei Fei Fei, 1981 (Hou Hsiao-Hsien) Chica del lunes, 1966 (Torre Nilsson) Chicago, Chicago. See Gaily, Gaily, 1969 Chichi ariki, 1942 (Ozu) Chicken, 1928 (Sennett) Chicken. See Poulet, 1963 Chicken Chaser, 1914 (Sennett) Chicken-hearted Jim, 1916 (Ford) Chicken Run, 2000 (Spielberg) Chief’s Daughter, 1911 (Grif?th) Chief’s Predicament, 1913 (Sennett) Chief’s Son Is Dead. See H?vdingens Son ?r d?d, 1937/38 Chiefs, 1969 (Leacock) Chien andalou, 1929 (Bu?uel) Chien jouant á la balle, 1905 (Guy) Chienne, 1931 (Renoir) Chiens perdus sans collier, 1955 (Delannoy; Guerra) Chiens savants, 1902 (Guy) Chiffonier, 1899/1900 (Guy) Chiheisen, 1984 (Shindo) Chiisana boken ryoko, 1964 (Oshima) Chiisana tobosha, 1967 (Kinugasa) Chijo, 1957 (Yoshimura) Chikagai nijuyo-jikan, 1947 (Imai) Chikamatsu monogatari, 1954 (Mizoguchi) Chikuzan hitori-tabi, 1977 (Shindo) Child. See Barnet, 1912 Child. See Barnets Magt, 1914 Child. See Dziecko, 1973 Child and the Killer, 1959 (Roeg) Child Is Born, 1940 (Bacon; Rossen) Child Is Waiting, 1962 (Cassavetes) Child Is Waiting, 1963 (Kramer) Child of Manhattan, 1933 (Sturges) Child of Resistance, 1972 (Gerima) Child of the Big City. See Ditya Bol’shogo Goroda, 1914 Child of the Ghetto, 1910 (Grif?th) Child of the Streets, 1967 (Benegal) Child Thou Gavest Me, 1920 (Stahl) Child Went Forth, 1941 (Losey) Child’s Faith, 1910 (Grif?th) Child’s First Adventure. See Chiisana boken ryoko, 1964 Child’s Garden and the Serious Sea, 1991 (Brakhage) Child’s Impulse, 1910 (Grif?th) Child’s Love. See Barnet, 1909 Child’s Play, 1972 (Lumet) Child’s Remorse, 1912 (Grif?th) Child’s Sacri?ce, 1910 (Guy) Child’s Strategem, 1910 (Grif?th) Childhood. See A Great Day for Bonzo, 1974 Childhood of Gorky. See Detstvo Gorkovo, 1938 Childhood of Maxim Gorki. See Detstvo Gorkovo, 1938 Children. See Enfants, 1985 FILM TITLE INDEX DIRECTORS, 4 th EDITION 1164 Children at School, 1937 (Grierson) Children, Books. See Gyermekek, k?nyvek, 1962 Children Hand in Hand. See Te o tsunagu kora, 1962 Children in the Classroom. See Kyoshitsu no kodomotachi, 1954 Children of a Desired Sex, 1987 (Nair) Children of Angyalfold. See Angyalf?ldi ?atalok, 1955 Children of Bullerby Village, 1986 (Hallstrom) Children of Change, 1930 (Launder and Gilliat) Children of Darkness. See Kinder der Finsternis, 1922 Children of Divorce, 1927 (von Sternberg) Children of Lumière. See Enfants de Lumière, 1995 Children of Nagasaki. See Kono ko o nokoshite, 1983 Children of Nature. See Born natturunnar, 1991 Children of Paradise. See Enfants du paradis, 1945 Children of the Age. See Deti Veka, 1915 Children of the Atomic Bomb. See Genbakuno-ko, 1952 Children of the Century. See Enfants du siècle, 1999 Children of the Dust, 1923 (Borzage) Children of the Good Earth. See Ta Ti Erh Nü, 1964 Children of the Soviet Arctic. See Romantiki, 1941 Children of the Street. See Gatans barn, 1914 Children of This Country. See Bu vatanin cocuklari, 1958 Children Throw Toy Assegais, 1974 (Marshall) Children Upstairs, 1955 (Anderson) Children Were Watching, 1961 (Leacock) Children Who Draw. See Eo kaku kodomotachi, 1955 Children’s Corner, 1939 (L’herbier) Children’s Friend, 1909 (Grif?th) Children’s Hour, 1962 (Ashby; Wyler) Children’s Magical Death, 1974 (Asch) Chile, la memoria obstinada, 1997 (Guzmán) Chile, the Obstinate Memory. See Chile, la memoria obstinada, 1997 Chiller, 1985 (Craven) Chilly Green Lake. See Ts’ui Hu Han, 1977 Chilly Scenes of Winter, 1979 (Silver) Chiltern Country, 1938 (Cavalcanti) Chimes at Midnight, 1966 (Welles) Chimmie Fadden, 1915 (de Mille) Chimmie Fadden out West, 1915 (de Mille) Chin shui Lou Tai, 1974 (Hou Hsiao-Hsien) China 9 Liberty 37, 1978 (Peckinpah) China Doll, 1958 (Borzage) China Gate, 1957 (Fuller) China Girl, 1987 (Ferrara) China Is Near. See Cina è vicina, 1967 China Seas, 1935 (Lewin) China Story. See Satan Never Sleeps, 1961 China Venture, 1953 (Siegel) China’s Four Hundred Million. See Four Hundred Million, 1939 Chinatown, 1974 (Huston; Polanski) Chinatown Nights, 1929 (Wellman) Chinese Parrot, 1927 (Leni) Chinese Roulette. See Chinesisches Roulette, 1976 Chinese Shadows. See Ombres chinoise, 1982 Chinese Vase. See Vasens Hemmelighed, 1913 Chinesisches Roulette, 1976 (Fassbinder) Ching Lin Foo Outdone, 1900 (Porter) Ch’ing Mei Chu Ma, 1984 (Hou Hsiao-Hsien) Ch’ing Mei Chu Ma. See Taipei Story, 1985 Chinmoku, 1971 (Shinoda) Chinoise ou Plut?t à la chinoise, 1967 (Godard; Miller) Chiny i liudi, 1929 (Protazanov) Chip off the Old Block, 1913 (Sennett) Chips Are Down. See Jeux sont faits, 1947 Chiriakhana, 1967 (Ray) Chirurgie ?n de siècle, 1900 (Guy) Chiseler, 1931 (Sennett) Chithod Vijay, 1947 (Kapoor) Ch’iu Lien, 1979 (Hou Hsiao-Hsien) Chiu Shih Liu Liu Tê T’a, 1979 (Hou Hsiao-Hsien) Chlen pravitelstva, 1940 (Hei?tz) Chloe in the Afternoon. See Amour l’après-midi, 1972 Choca, 1973 (Fernández) Chocolat, 2000 (Hallstrom) Choice. See Al Ekhtiar, 1970 Choice. See Yam Daabo, 1986 Choirboys, 1977 (Aldrich) Chokon yasha, 1928 (Kinugasa) Choose Me, 1984 (Rudolph) Choose Your Partner. See Two Girls on Broadway, 1940 Choosing a Husband, 1909 (Grif?th) Chopping Mall, 1986 (Bartel) Choraku no kanata, 1924 (Kinugasa) Choral von Leuthen, 1950 (Staudte) Chori Chori, 1956 (Kapoor) Chorus, 1974 (Sen) Chorus. See Hamsarayan, 1982 Chorus Lady, 1924 (Leroy) Chorus Line, 1985 (Attenborough) Choses de la vie, 1970 (Sautet) Chotard & Compagnie, 1933 (Becker) Chotard et cie, 1933 (Renoir) Chouans!, 1988 (de Broca) Chouette aveugle, 1987 (Ruiz) Chr. IV som Bygherre, 1941 (Henning-Jensen) Chr. IV—Tegselver icke mig, 1988 (Roos) Christ en croix, 1910 (Feuillade) Christ Mass Sex Dance, 1991 (Brakhage) Christ Stopped at Eboli. See Cristo si è fermato a Eboli, 1979 Christening Party. See Keresztel?, 1967 Christian, 1923 (Tourneur) Christian. See Kristián, 1939 Christian IV: Master Builder. See Chr. IV som Bygherre, 1941 Christian Licorice Store, 1971 (Renoir) Christine, 1983 (Carpenter) Christmas at Camp 119. See Natale al campo 119, 1948 Christmas Burglars, 1908 (Grif?th) Christmas Carol, 1938 (Mankiewicz) Christmas Holiday, 1944 (Siodmak) Christmas in July, 1940 (Sturges) Christmas Memories, 1915 (Daves) Christmas with Elizabeth. See Vánoce s Al?bětou, 1968 Christo in Paris, 1991 (Maysles) Christo’s Valley Curtain, 1972 (Maysles) Christopher Columbus. See Cristoforo Colombo, 1983 Christopher Strong, 1933 (Arzner) Chronicle. See Krónika, 1967 Chronicle of a Death Foretold. See Cronaca di una morte annunciata, 1988 Chronicle of a Love Affair. See Kronika wypadków mi?osnych, 1985 Chronicle of a Summer. See Chronique d’un été, 1961 Chronicle of a Woman. See Cronica de una Se?ora, 1971 Chronicle of Anna Magdalena Bach. See Chronik der Anna Magdalena Bach, 1968 Chronicle of Flaming Years. See Povest plamennykh let, 1961 Chronicle of May Rain. See Samidare zoshi, 1924 Chronik der Anna Magdalena Bach, 1968 (Straub and Huillet) Chronique d’un été, 1961 (Rivette; Rouch) Chu-Chin-Chow, 1934 (Launder and Gilliat) Chuck Jones: Extremes and In-Betweens, a Life in Animation, 2000 (Howard) Chudá holka, 1929 (Fri?) FILM TITLE INDEXDIRECTORS, 4 th EDITION 1165 Chumps, 1929 (Sennett) Chung Kuo, 1972 (Antonioni) Chung Lieh T’u, 1974 (King) Chung Shên Ta Shih, 1981 (King) Chunmiao, 1975 (Xie Jin) Church of the Dead Girls, 2001 (Schumacher) Churning. See Manthan, 1976 Chushingura, 1932 (Kinugasa) Chute de la maison Usher, 1928 (Bu?uel; Epstein) Chute de la maison Usher, 1981 (Astruc) Chute d’un corps, 1973 (Bu?uel) Chuvas de verao, 1977 (Diegues) Chuzoi bereg, 1930 (Donskoi) Chyortovo koleso, 1926 (Gerasimov; Kozintsev) Chytilova versus Forman, 1981 (Chytilová) Ciao, Professore!. See Io speriamo che me la cavo, 1994 Cible humaine, 1904 (Guy) Ciboulette, 1933 (Autant-Lara) Cicala, 1980 (Lattuada) Ciclon, 1963 (Alvarez) Cid, 1961 (Mann) Cider House Rules, 1999 (Hallstrom) Ciel est à vous, 1944 (Grémillon) Ciel, la terre, 1965 (Anderson; Ivens) Cién, 1956 (Kawalerowicz) Cien Metros con Charlot, 1967 (Guzmán) Cifte tabancali kabadayi, 1969 (Güney) Cifte yürekli, 1970 (Güney) Cigale et la fourmi, 1909 (Feuillade) Cigalon, 1935 (Pagnol) Cigányok, 1962 (Gaál) Cigaretpigen, 1915 (Holger-Madsen) Cigarette, 1919 (Dulac) Cigarette Maker. See Cigaretpigen, 1915 Cigarette, That’s All, 1915 (Weber) Ciklámen, 1916 (Korda) Cimarron, 1961 (Mann) Cimarron Kid, 1951 (Boetticher) Cimego. See San Massenza, 1955 Cimetière dans la falaise, 1951 (Rouch) Cina. See Chung Kuo, 1972 Cina è vicina, 1967 (Bellocchio) Cincinnati Kid, 1965 (Ashby; Jewison) Cinco vêzes Favela, 1962 (Diegues) Cinderella Jones, 1946 (Berkeley) Cinderfella, 1960 (Lewis; Tashlin) Cinders of Love, 1916 (Sennett) Cine-Concert Dedicated to the Twenty-?fth Anniversary of the Red Army. See Film-Concert Dedicated to the Twenty-?fth Anniversary of the Red Army, 1943 Ciné-Portrait de Margaret Head, 1977 (Rouch) Cinema according to Bertolucci. See Bertolucci secondo il cinema, 1975 Cinéma au service de l’histoire, 1927 (Dulac) Cinema de lágrimas, 1995 (Pereira Dos Santos) Cinema de papa, 1970 (Berri; de Broca) Cinéma du diable, 1967 (L’herbier) Cinema Europe: The Other Hollywood, 1995 (Branagh) Cinema of Vengeance, 1994 (Woo) Cinema-Truth. See Kino-Pravda, 1922-23 Cinéma Vérité: De?ning the Moment, 1999 (Leacock) Cinétracts, 1968 (Godard) Cinq Gentlemen maudits, 1931 (Duvivier) Cinq jours d’une vie, 1972 (Cissé) Cinque bambole per la luna d’agosto, 1970 (Bava) Ciociara, 1960 (de Sica) Circle, 1925 (Borzage) Circle, 1985 (Fridriksson) Circle of Danger, 1951 (Tourneur) Circle of Deceit, 1981 (Schl?ndorff) Circle of Love. See Ronde, 1964 Circle of Two, 1980 (Dassin) Circo, 1948/49 (García Berlanga) Circo mas peque?o, 1963 (Ivens) Circoncision, 1949 (Rouch) Circostanza, 1974 (Olmi) Circuit Breaker, 1997 (Corman) Circular Fence, 1911 (Dwan) Circular Panorama of the Electric Tower, 1901 (Porter) Circulez y a rien a voir, 1983 (Leconte) Circumstance. See Circostanza, 1974 Circumstantial Evidence, 1919 (Micheaux) Circus, 1927 (Chaplin) Circus and the Boy, 1914 (Ingram) Circus Arrives. See Danserindens Haevn, 1915 Circus Cowboy, 1924 (Wellman) Circus Man, 1914 (de Mille) Circus of Sin. See Salto Mortale, 1931 Circus Today, 1926 (Sennett) Cirkin kiral, 1966 (Güney) Cirkin kiral affetmez, 1967 (Güney) Cirkin ve cesur, 1971 (Güney) Cirque de la mort, 1918 (Florey) Císa?v peka? a Peka?uv peka?, 1951 (Fri?) Ciske—A Child Wants Love. See Ciske—Ein Kind braucht Liebe, 1955 Ciske—Ein Kind braucht Liebe, 1955 (Staudte) Cita de amor, 1956 (Fernández) Citadel, 1938 (Vidor) Citadel of Silence. See Citadelle du silence, 1937 Citadelle du silence, 1937 (L’herbier) Citizen Kane, 1941 (Welles; Wise) Citizen Karel Havli?ek. See Ob?an Karel Havli?ek, 1966 Citizen’s Band, 1977 (Demme) Città delle donne, 1980 (Fellini) Citta di notte, 1956 (Bava) Città dolente, 1948 (Fellini) Città si difende, 1951 (Fellini; Germi) Citta violenta, 1970 (Wertmuller) City, 1939 (Cavalcanti; Lorentz) City at Night. See Citta di notte, 1956 City beneath the Sea, 1953 (Boetticher) City Called Copenhagen. See En by ved navn K?benhaven, 1960 City for Conquest, 1940 (Kazan; Siegel) City Girl, 1984 (Coolidge) City Hall, 1995 (Schrader) City Hall to Harlem in Fifteen Seconds via the Subway Route, 1904 (Porter) City Has Your Face. See Městom? svou tvá?, 1958 City Heat, 1984 (Eastwood) City Life, 1990 (Kie?lowski) City Lights, 1931 (Chaplin) City Map. See Várostérkép, 1977 City of Contrasts. See Contras City, 1969 City of Dark, 1997 (Lefebvre) City of Desire. See Joen no chimata, 1923 City of Hope, 1991 (Sayles) City of Joy, 1992 (Joffé) City of Pirates. See Ville des pirates, 1983 City of Sadness. See Pei Ch’ing Ch’êng Shih, 1989 City of Women. See Città delle donne, 1980 City Prepares. See First Days, 1939 City Speaks, 1946 (Rotha) City Streaming, 1990 (Brakhage) FILM TITLE INDEX DIRECTORS, 4 th EDITION 1166 City Streets, 1931 (Mamoulian) City Tramp. See Stadtstreicher, 1965 City under the Sea. See War Gods of the Deep, 1965 Civil Action, 1998 (Pollack) Civil Rights: The Struggle Continues, 1989 (Kopple) Civilization and Its Discontents, 1964 (Morrissey) Claim Jumpers, 1911 (Dwan) Clair de femme, 1979 (Costa-Gavras) Clair de lune sous Richelieu, 1911 (Gance) Claire Makes It Big, 1999 (Bogdanovich) Claire’s Knee. See Genou de Claire, 1970 Clan of the Cave Bear, 1985 (Sayles) Clan—Tale of the Frogs. See Klanni—tarina sammokoitten, 1984 Clancy, 1974 (Brakhage) Clancy at the Bat, 1929 (Sennett) Clara, 2000 (Sanders-Brahms) Clara’s Heart, 1988 (Mulligan) Claro, 1975 (Rocha) Clash by Night, 1952 (Lang) Class Action, 1991 (Apted) Class Relations. See Klassenverh?ltnisse, 1985 Class Reunion, 1972 (Wood, Edward D., Jr.) Class Trip, 1998 (Miller) Classe de neige, 1998 (Miller) Classe operaia va in paradiso, 1971 (Petri) Classe tous risques, 1960 (Sautet) Classi?cation des plantes, 1982 (Ruiz) Claudia, 1943 (Goulding) Clay Heart. See Guldets Gift, eller Lerhjertet, 1916 Clay Pigeons, 1998 (Scott) Clean and Sober, 1988 (Howard) Clean Machine, 1987 (Miller) Clean Slate. See Coup de torchon, 1982 Clear All Wires, 1933 (Daves) Cléo de cinq à sept, 1961 (Godard; Varda) Cleopatra, 1934 (de Mille) Cleopatra, 1963 (Mankiewicz) Clerks, 1994 (Smith) Cles du paradis, 1991 (de Broca) Clever Dummy, 1917 (Sennett) Clever Girl Takes Care of Herself. See Bra ?icka reder sig sj?lv, 1914 Client, 1994 (Schumacher) Client sérieux, 1932 (Autant-Lara) Cliff. See Shiroi gake, 1960 Climax. See Immorale, 1967 Climbing High, 1939 (Reed) Climbing the Peach Palm, 1974 (Asch) Cloak. See Shinel, 1926 Cloak and Dagger, 1946 (Lang) Cloches de Paques, 1912 (Feuillade) Clock, 1945 (Minnelli) Clockers, 1995 (Lee; Scorsese) Clockmaker. See Horloger de Saint-Paul, 1974 Clockwork, 1978 (Raimi) Clockwork Orange, 1971 (Kubrick) Cloister’s Touch, 1909 (Grif?th) Close Call, 1911 (Sennett) Close Encounters of the Third Kind, 1977 (Schrader; Spielberg; Truffaut) Close Harmony, 1929 (Cromwell) Close Shave, 1929 (Sennett) Close to Eden. See Urga, 1990 Close to Nature, 1968 (Benegal) Close-Up. See Nema-ye Nazdik, 1990 Close-up: The Blood. See K?zelr?lia: a vér, 1965 Closed Doors. See S vylou?ením ve?ejnosti, 1933 Closed Road, 1916 (Tourneur) Closely Watched Trains. See Ostre sledované vlaky, 1966 Closet, 1965 (Warhol) Closet Land, 1991 (Howard) Clothes Make the Pirate, 1925 (Tourneur) Cloud in the Sky, 1940 (Ulmer) Clouds. See Nube, 1998 Clouds at Sunset. See Akanegumo, 1967 Clouds at Twilight. See Yuyake-gumo, 1956 Clouds Will Roll Away. See Není stále zamre?eno, 1950 Clown and Policeman, 1900 (Hepworth) Clown and the Alchemist, 1900 (Porter) Clown en sac, 1904 (Guy) Clowns, 1902 (Guy) Clowns. See I clowns, 1970 Club, 1981 (Beresford) Club de femmes, 1936 (Delannoy) Club Extinction. See Docteur M, 1990 Club Havana, 1945 (Ulmer) Club of the Big Deed. See S.V.D., 1927 Club Vampire, 1997 (Corman) Clubman and the Tramp, 1908 (Grif?th) Clue, 1985 (Landis) Clum perdesi, 1960 (Güney) Clunked on the Corner, 1929 (Sennett) Cluny Brown, 1946 (Lubitsch) Coal Miner’s Daughter, 1980 (Apted) Coalface, 1935 (Cavalcanti; Grierson) Coals of Fire, 1918 (Niblo) Coast of Folly, 1925 (Dwan) Coat’s Tale, 1914 (Sennett) Cobbler Stay at Your Bench. See Skomakare bliv vid din l?st, 1915 Cobra Verde, 1987 (Herzog) Cobra Woman, 1944 (Siodmak) Cobweb, 1916 (Hepworth) Cobweb, 1955 (Minnelli) Coca-Cola Kid, 1985 (Makavejev) Cocaine Wars, 1986 (Corman) Cocher de ?acre endormi, 1897/98 (Guy) Cochon, 1970 (Eustache) Cock Crows Twice. See Niwatori wa futatabi naku, 1954 Cock-eyed World, 1929 (Walsh) Cockeyed Cavaliers, 1934 (Sandrich) Cock?ghter, 1974 (Corman) Cocktail, 1937 (Henning-Jensen) Cocktail Hostesses, 1972 (Wood, Edward D., Jr.) Cocktail Molotov, 1980 (Kurys) Cocktails, 1928 (Launder and Gilliat) Cocoanuts, 1929 (Florey) Cocoon, 1985 (Howard) Cocorico, Monsieur Poulet, 1974 (Rouch) Cocotiers, 1963 (Rouch) C.O.D., 1932 (Powell and Pressburger) Code Name: Ruby. See Jmeno kodu: Rubin, 1997 Code Name: Trixie. See Crazies, 1973 Code of Honor, 1916 (Borzage) Code of the Sea, 1924 (Fleming) Code Seven, Victim Five. See Victim Five, 1964 Coeur de Gueux, 1936 (Epstein) Coeur en Hiver, 1992 (Sautet) Coeur ?dèle, 1923 (Epstein) Coeurs farouches, 1924 (Duvivier) Coffee and Cigarettes, 1987 (Jarmusch) Coffee and Cigarettes II (Memphis Version), 1989 (Jarmusch) Coffee and Cigarettes III (Somewhere in California), 1993 (Jarmusch) Coffee House. See Kaffeehaus, 1971 FILM TITLE INDEXDIRECTORS, 4 th EDITION 1167 Coffret de Tolède, 1914 (Feuillade) Cohen at Coney Island. See Cohen Collects a Debt, 1912 Cohen Collects a Debt, 1912 (Sennett) Cohen Saves the Flag, 1913 (Sennett) Cohen’s Advertising Scheme, 1904 (Porter) Cohen’s Outing, 1913 (Sennett) Cohens and the Kellys, 1927 (Florey) Cohens and the Kellys in Trouble, 1933 (Stevens) Cold Comfort Farm, 1996 (Schlesinger) Cold Fever. See A koldum klaka, 1994 Cold Heaven, 1992 (Roeg) Cold Showers. See Kholodnye Dushi, 1914 Cold Turkey, 1925 (Sennett) Cold War, 1998 (Branagh) Colette, 1950 (Cocteau) Collection, 1976 (Apted) Collectionneuse, 1967 (Rohmer) Collector, 1965 (Wyler) College, 1927 (Keaton) College Coach, 1933 (Wellman) College Is a Nice Place. See Daigaku yoi toko, 1936 College Kiddo, 1927 (Sennett) College Rhythm, 1934 (Dmytryk) College Swing, 1938 (Walsh) Collège swing, 1946 (Duvivier) College Vamp, 1931 (Sennett) Collier de la reine, 1909 (Feuillade) Collier de perles, 1915 (Feuillade) Colloque de chiens, 1977 (Ruiz) Colonel. See Az ezredes, 1917 Colonel Bontemps, 1913/16 (Feuillade) Colonel Redl. See Redl Ezredes, 1985 Colonia penal, 1971 (Ruiz) Colonie Sicedison, 1958 (Olmi) Colony beneath the Earth. See Gyarmat a f?ld alatt, 1951 Color Adjustment, 1992 (Riggs) Color Fields, 1977 (Vanderbeek) Color of Lies. See Au coeur du mensonge, 1999 Color of Money, 1986 (Scorsese) Color of Pomegranates. See Sayat nova, 1969 Color Purple, 1986 (Spielberg) Colorado Legend and the Ballad of the Colorado Ute, 1961 (Brakhage) Colorado Territory, 1949 (Walsh) Colored Girl’s Love, 1914 (Sennett) Colored Villainy, 1915 (Sennett) Colorful China. See Színfoltok Kínab?l, 1957 Colors Are Dreaming. See Boje sanjaju, 1958 Colors of China. See Színfoltok Kínab?l, 1957 Colors of Vásárhely. See Vásárhelyi szinek, 1961 Colosso di Rodi, 1961 (Leone) Colossus of Rhodes. See Colosso di Rodi, 1961 Colours. See Rangha, 1976 Colpa e la pena, Abbasso lo zio, 1958 (Bellocchio) Colpo di pistola, 1941 (Castellani) Comanche Station, 1960 (Boetticher) Comancheros, 1962 (Curtiz) Comandos comunales, 1972 (Guzmán) Comata, the Sioux, 1909 (Grif?th) Combat d’amour en songe, 2000 (Ruiz) Come and Get It, 1936 (Hawks; Wyler) Come Back, 1983 (Vadim) Come Back, Little Shicksa, 1949 (Lewis) Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean, 1982 (Altman) Come Drink with Me. See Ta Tsui Hsia, 1965 Come Have Coffee with Us. See Venga a prendere il caffe . . . da noi, 1970 Come on, George!, 1939 (Dearden) Come Rain or Shine. See Ob’s stürmt oder schneit, 1976 Come See the Paradise, 1990 (Parker) Come September, 1961 (Mulligan) Come to My Place, I’m Living at My Girlfriend’s. See Viens chez moi, j’habite chez une copine, 1981 Comedians. See Cómicos, 1954 Comedie du bonheur, 1940 (Cocteau) Comédie du bonheur, 1940 (L’herbier) Comédie Fran?aise ou l’amour joue, 1996 (Wiseman) Comedy of Terrors, 1963 (Tourneur) Comenzo a retumbar el Momtombo, 1981 (Alvarez) Comes a Horseman, 1978 (Pakula) Comet Over Broadway, 1938 (Berkeley) Comfort and Indifference,. See Confort et l’indifférence, 1982 Comfort and Joy, 1984 (Forsyth) Comfort of Strangers, 1990 (Schrader) Comic Grimacer, 1901 (Hepworth) Cómicos, 1954 (Bardem) Comin’ thro’ the Rye, 1916 (Hepworth) Comin’ Thro’ the Rye, 1922 (Hepworth) Coming Home, 1978 (Ashby) Coming of Angelo, 1913 (Grif?th) Coming of the Dial, 1933 (Grierson) Coming out Party, 1965 (Loach) Coming Soon, 1982 (Landis) Coming Soon, 1999 (Bogdanovich) Coming to America, 1988 (Landis) Comizi d’amore, 1964 (Pasolini) Command, 1953 (Fuller) Command Decision, 1948 (Franklin) Commanding Of?cer, 1915 (Dwan) Commare secca, 1962 (Bertolucci; Pasolini) Comme on fait son lit on se couche, 1903/04 (Guy) Comme une lettre à la poste, 1938 (Storck) Comment ?a va, 1976 (Godard) Comment detruire la reputation du plus celebre agent secret du monde, How to Destroy the Reputation of the Greatest Secret Agent. See Magni?que, 1973 Comment monsieur prend son bain, 1903 (Guy) Comment on disperse les foules, 1903/04 (Guy) Comment on dort á Paris!, 1905 (Guy) Comment Yukong dépla?a les montagnes, 1976 (Ivens) Commissaire est bon enfant, le gendarme est sans pitie, 1935 (Becker) Commissario Pepe, 1968 (Scola) Commitments, 1991 (Parker) Common Clay, 1930 (Fleming) Common Law Cabin, 1967 (Meyer) Communal Organization. See Comandos comunales, 1972 Commune. See Gromada, 1952 Commute, 1995 (Baillie) Como era gostoso o meu frances, 1971 (Pereira Dos Santos) Como, por qué y para qué asesina a un general?, 1971 (Alvarez) Como ves?, 1982 (Leduc) Compact with Death. See Da?buján a Pandrhola, 1960 Compadre Mendoza, 1933 (de Fuentes) Compagnia dei matti, 1928 (de Sica) Compagnie des fous. See Compagnia dei matti, 1928 Compagnons de voyage encombrants, 1903 (Guy) Compa?ero Presidente, 1971 (Littin) Company Man, 2000 (Allen) Company of Wolves, 1984 (Jordan) Company She Keeps, 1951 (Cromwell) Compartiment tueurs, 1966 (Costa-Gavras) FILM TITLE INDEX DIRECTORS, 4 th EDITION 1168 Complementos, 1977 (Almodóvar) Complex Sessions, 1994 (Demme) Compliments of Mr. Flow. See Mister Flow, 1936 Complot, 1973 (Holland) Complot. See To Kill a Priest, 1988 Complot petrolero, 1981 (Leduc) Compulsion, 1959 (Welles) Compulsory Husband, 1930 (Launder and Gilliat) Computer Generation, 1973 (Vanderbeek) Computers. See Komputery, 1967 Comrade X, 1940 (Vidor) Comrades, 1911 (Sennett) Comrades! Don’t Put up with It. See Emberek! Ne engedjétek!, 1954 Comradeship. See Kameradschaft, 1931 Comte de Monte Cristo, 1961 (Autant-Lara) Comunicados del comité nacional de huelga, 1968 (Leduc) Con la División del Norte. See De abajo, 1939 Con los dorados de Villa, 1939 (Fernández) Conan the Barbarian, 1982 (Stone) Concealing a Burglar, 1908 (Grif?th) Concert. See Koncert, 1961 Concierge, 1900 (Guy) Concierto mayor, 1997 (Alvarez) Concierto por la vida, 1997 (Alvarez) Concorrenza sleale, 2000 (Scola) Concours de bébés, 1904 (Guy) Concours de boules, 1896-97 (Lumière) Concrete Jungle. See Criminal, 1960 Condamné à mort s’est échappé, 1956 (Bresson; Straub and Huillet) Condanna, 1991 (Bellocchio) Condemned. See Danserindens Kaerlighedsdr?m, 1915 Condemned Man Escapes. See Condamné a mort s’est échappé, 1956 Condemned of Altona. See I sequestrati di Altona, 1962 Conduct Unbecoming, 1972 (Attenborough) Conductor. See Dyrygent, 1979 Confession, 1918 (Franklin) Confession, 1986 (Brakhage) Confession. See Aveu, 1970 Confessions. See Confessions of Boston Blackie, 1941 Confessions of a Queen, 1925 (Sj?str?m) Confessions of a Suburban Girl, 1992 (Seidelman) Confessions of Amans, 1976 (Nava) Confessions of Boston Blackie, 1941 (Dmytryk) Confessions of Winifred Wagner. See Winifred Wagner und die Geschichte des Hauses Wahnfried von 1914-1975, 1975 Con?dence, 1909 (Grif?th) Con?dence. See Bizalom, 1979 Con?ned, 1994 (Sen) Con?rm or Deny, 1941 (Fuller; Lang) Con?agration. See Enjo, 1958 Con?ict, 1945 (Siodmak) Con?icts of Life. See Livets kon?ikter, 1913 Conformist. See Conformista, 1970 Conformista, 1970 (Bertolucci) Confort et l’indifférence, 1982 (Arcand) Confrontation. See Fényes szelek, 1969 Confucian Confusion, 1994 (Yang) Confusión cotidiana, 1950 (Gutiérrez Alea) Congiuntura, 1964 (Scola) Congres der Vakvereeinigingen. See N.V.V. Congres, 1929/30 Conjugal Cabin. See Common Law Cabin, 1967 Conjurer and the Boer, 1900 (Hepworth) Connection, 1961 (Clarke) Conquering Cross, 1941 (Eisenstein) Conquering Power, 1921 (Ingram) Conquering the Woman, 1922 (Vidor) Conqueror, 1917 (Walsh) Conquerors, 1932 (Wellman) Conquest, 1930 (Grierson) Conquest of the Air, 1940 (Korda) Conquista de El Dorado, 1965 (Fernández) Conrack, 1974 (Ritt) Conscience de prêtre, 1906 (Guy) Conscience, 1910 (Grif?th) Conseil d’ami, 1916 (Feyder) Consenting Adults, 1992 (Pakula) Consequence. See Konsequenz, 1977 Consider Your Verdict, 1938 (Boulting) Conspiracy, 1914 (Dwan) Conspiration des drapeaux, 1912 (Gance) Constable, 1929 (Sennett) Constans, 1980 (Zanussi) Constant Factor. See Constans, 1980 Constant Husband, 1954 (Launder and Gilliat) Constant Nymph, 1943 (Goulding) Construction Design. See Szerkezettervezés, 1960 Construire un feu, 1926 (Autant-Lara) Construzione meccaniche riva, 1956 (Olmi) Contact, 1932 (Rotha) Contact, 1997 (Zemeckis) Conte d’automne, 1998 (Rohmer) Conte de printemps, 1989 (Rohmer) Conte d’ete, 1996 (Rohmer) Conte d’hiver, 1992 (Rohmer) Contemplations, 1964-69 (Rohmer) Contempt. See Mépris, 1963 Contigo en la distancia, 1991 (Gutiérrez Alea) Continental Divide, 1981 (Apted; Kasdan; Spielberg) Contraband, 1940 (Powell and Pressburger) Contract. See Kontract, 1981 Contrapunto, 1981 (Alvarez) Contras City, 1969 (Mambety) Contre l’oubli, 1991 (Akerman; Leconte) Controsesso, 1964 (Castellani) Controversy. See Sostyazanie, 1964 Convenient Burglar, 1911 (Sennett) Convent. See O Convento, 1995 Conversa Acabada, 1982 (Oliveira) Conversation, 1974 (Coppola) Conversation with Gregory Peck, 1999 (Kopple) Conversations with Willard Van Dyke, 1981 (Ivens) Conversion d’Irma, 1913 (Feuillade) Converts, 1910 (Grif?th) Convict 99, 1938 (Launder and Gilliat) Convict Thirteen, 1920 (Keaton) Convict No. 113. See Fange no. 113, 1916 Convicts No. 10 and No. 13. See Politimesteren, 1911 Convict’s Sacri?ce, 1909 (Grif?th) Convoy, 1978 (Peckinpah) Coogan’s Bluff, 1968 (Eastwood; Siegel) Cook, 1918 (Keaton) Cook. See Dough and Dynamite, 1914 Cook, the Thief, His Wife and Her Lover, 1989 (Greenaway) Cookie, 1989 (Lewis; Seidelman) Cookie’s Fortune, 1999 (Altman) Cool World, 1963 (Clarke; Wiseman) Cooler Climate, 1999 (Seidelman) Cop Fools the Sergeant, 1904 (Porter) Coplan ouverte le feu à Mexico, 1967 (Tavernier) Copper Coin King. See Doka o, 1926 Coppie (Les Couples), 1970 (de Sica) Cops, 1922 (Keaton) FILM TITLE INDEXDIRECTORS, 4 th EDITION 1169 Cops, 1960 (Keaton) Cops, 1998 (Rogozhkin) Cops and Robbers. See Guardie e ladri, 1951 Cops and Watches. See Twenty Minutes of Love, 1914 Coq au Vin. See Poulet au vinaigre, 1984 Coquille et le clergyman, 1927 (Dulac) Cor, 1931 (Epstein) Coraje del pueblo, 1971 (Sanjinés) Coralie et Cie, 1933 (Cavalcanti) Corazón bandolero, 1934 (Fernández) Corbeau, 1943 (Clouzot) Cord of Life, 1909 (Grif?th) Coriolan, 1950 (Cocteau) Coriolis Effect, 1994 (Tarantino) Corn. See Korn, 1943 Corn Is Green, 1979 (Cukor) Corn’s-a-Poppin’, 1951 (Altman) Corner in Hats, 1914 (Browning) Corner in Wheat, 1909 (Grif?th) Corner of Great Tokyo. See Dai-Tokyo bi ikkaku, 1930 Cornered, 1945 (Dmytryk) Corona di ferro, 1940 (Castellani) Coronation of King Edward VII, 1901 (Hepworth) Coronel no tiene quien le escriba, 1999 (Ripstein) Corregidor, 1943 (Ulmer) Corrupción de Chris Miller, 1973 (Bardem) Corrupter, 1999 (Stone) Corruption. See Going Straight, 1916 Corruption of Chris Miller. See Corrupción de Chris Miller, 1973 Corso rouge, 1913 (Tourneur) Corti italiani, 1997 (Scola) Corvette K-225, 1943 (Hawks) Corvette Port Arthur, 1943 (Ivens) Cosa, 1990 (Moretti) Cose da pazzi, 1953 (Bava; Pabst) Cose di Cosa Nostra, 1970 (de Sica) Cosi come sei, 1978 (Lattuada) Cosmonauts on Venus. See Planeta Burg, 1966 Cossacks across the Danube. See Zaporosch Sa Dunayem, 1938 Cossacks in Exile. See Zaporosch Sa Dunayem, 1938 Costly Exchange, 1915 (Browning) Coton, 1935 (Storck) Cotton Candy, 1978 (Howard) Cotton Club, 1984 (Coppola) Cotton Mill, Treadmill. See On est au coton, 1976 Couch, 1964 (Warhol) Couch in New York. See Divan à New York, 1996 Coucher d’une Parisienne, 1900 (Guy) Coucher d’Yvette, 1897 (Guy) Couleur de feu, 1957 (Storck) Coulomb’s Law, 1959 (Leacock) Counselor at Law, 1933 (Wyler) Counsel’s Opinion, 1933 (Dwan) Count, 1916 (Chaplin) Count Me Out. See Stikkfri, 1997 Count of Monte Cristo, 1913 (Porter) Count the Hours, 1953 (Siegel) Count Vim’s Last Exercise, 1967 (Weir) Countdown, 1967 (Altman) Counted Out. See Knock Out, 1914 Counter-Attack, 1945 (Korda) Counter-Espionage, 1942 (Dmytryk) Countess Donelli. See Gr??n Donelli, 1924 Countess from Hong Kong, 1967 (Chaplin) Countess’ Honor. See Grevindens Aere, 1919 Country Boy, 1915 (de Mille) Country Chairman, 1914 (Dwan) Country Comes to Town, 1931 (Grierson) Country Cupid, 1911 (Grif?th) Country Doctor, 1909 (Grif?th) Country Doctor. See Pouta, 1961 Country Doctor. See Selskiy vrach, 1951 Country Lovers, 1911 (Sennett) Counts of Pocci—Some Chapters toward the History of a Family. See Grafen Pocci—Einige Kapitel zur Geschichte einer Familie, 1967 County Fair, 1920 (Tourneur) Country Hero, 1917 (Keaton) County Seat, 1931 (Sandrich) Coup de foudre, 1983 (Kurys) Coup de grace. See Fangschuss, 1976 Coup de torchon, 1982 (Tavernier) Coup de vent, 1905 (Feuillade) Coup d’état. See Golpe de estado, 1976 Coup du berger, 1956 (Chabrol; Godard; Rivette; Straub and Huillet) Coup du fakir, 1915 (Feuillade) Couple on the Move. See Hikkoshi fufu, 1928 Couples et amants, 1994 (Breillat) Cour des miracles, 1902 (Guy) C?ur et l’argent, 1912 (Feuillade) Courage, 1921 (Franklin) Courage for Every Day, 1964 (Menzel) Courier of Lyon. See Affaire du courrier de Lyon, 1937 Couronne noire, 1952 (Cocteau) Courrier Sud, 1936 (Bresson) Course à l’échalote, 1975 (Beineix) Course a l’ab?me, 1915 (Feuillade) Course au potiron, 1906 (Feuillade) Course aux millions, 1912 (Feuillade) Course de taureaux à N?mes, 1906 (Guy) Course des belles-mères, 1907 (Feuillade) Course du lièvre à travers les champs, 1972 (Beineix) Course en sac, 1895 (Lumière) Court House Crooks, 1915 (Sennett) Court Intrigue. See En Ho?ntrige, 1912 Court Martial of Billy Mitchell, 1955 (Preminger) Court-Martialled, 1915 (Hepworth) Courte échelle, 1899/1900 (Guy) Courtesans of Bombay, 1982 (Ivory) Courtin’ of Calliope Clew, 1916 (Borzage) Courting Trouble, 1932 (Sennett) Courtship of Eddie’s Father, 1963 (Howard; Minnelli) Cousin Angelica. See Prima Angélica, 1974 Cousin Bobby, 1991 (Demme) Cousins, 1959 (Chabrol; de Broca) Cousins, 1989 (Schumacher) Coutroom, 1967 (Warhol) Covek nije tica, 1966 (Makavejev) Cover Girl, 1944 (Donen) Cover Girl Models, 1975 (Corman) Cover to Cover, 1936 (Rotha) Covered Wagon, 1923 (Arzner) Cow, 1993 (Kachyňa) Coward, 1912 (Dwan) Coward. See Zbabělec, 1962 Coward and the Saint. See Kapurush-o-Mahapurush, 1965 Cowboy, 1958 (Daves) Cowboy and the Artist, 1911 (Dwan) Cowboy and the Lady, 1938 (McCarey) Cowboy and the Outlaw, 1911 (Dwan) Cowboy from Brooklyn, 1938 (Bacon) Cowboy Socialist, 1912 (Dwan) Cowboy’s Deliverance, 1911 (Dwan) FILM TITLE INDEX DIRECTORS, 4 th EDITION 1170 Cowboy’s Ruse and Law and Order on Bar L Ranch, 1911 (Dwan) Cowcatcher’s Daughter, 1931 (Sennett) Cow’s Husband, 1928 (Sandrich) Cowslips, 1931 (Sandrich) Coyote Ugly, 2000 (Smith) Crack Gloss Eulogy, 1992 (Brakhage) Crack in the Mirror, 1960 (Welles) Crackers, 1984 (Malle) Cracking Up, 1982 (Lewis) Cradle of Genius, 1959 (Rotha) Cradle Snatchers, 1927 (Hawks) Crafty Selim. See Tilki Selim, 1966 Craig’s Wife, 1936 (Arzner) Crainquebille, 1922 (Feyder) Crash, 1996 (Cronenberg) Crash of Silence. See Mandy, 1952 Crazies, 1973 (Romero) Crazy April. See Bolond április, 1957 Crazy in Love, 1992 (Coolidge) Crazy like a Fox, 1926 (McCarey) Crazy Mama, 1975 (Corman; Demme) Crazy to Act, 1927 (Sennett) Crazysitter, 1995 (Corman) Cream Puff Romance, 1916 (Sennett) Creation, 1979 (Brakhage) Création d’ulcères arti?ciels chez le chien, 1934 (Storck) Creature from the Haunted Sea, 1960 (Corman) Créatures, 1966 (Varda) Credo ou La Tragédie de Lourdes, 1924 (Duvivier) Creed and Currency. See Glaube und W?hrung, 1980 Creepshow, 1982 (Romero) Creepshow 2, 1987 (Romero) Creo en Dios, 1940 (de Fuentes) Creosoot, 1931 (Ivens) Creosote. See Creosoot, 1931 Crepúscolo de un Dios, 1968 (Fernández) Crépuscule d’épouvante, 1921 (Duvivier) Crest of the Wave. See Seagulls over Sorrento, 1954 Crew, 1990 (Scorsese) Cri du coeur, 1994 (Ouedraogo) Cri du hibou, 1987 (Chabrol) Cria cuervos, 1976 (Saura) Cricket on the Hearth, 1909 (Grif?th) Cricket on the Hearth, 1914 (Guy) Cries and Whispers. See Viskningar och rop, 1973 Crime. See Morderstwo, 1957/58 Crime and Punishment, 1935 (von Sternberg) Crime and Punishment. See Rikos ja Pangaistus, 1983 Crime and Punishment U.S.A., 1959 (Corman) Crime at a Girls’ School. See Zlo?in v dív?í ?kole, 1965 Crime de Grand-père, 1910 (Gance) Crime de la rue du Temple. See Assassinat de la rue du Temple, 1904 Crime de Monsieur Lange, 1936 (Becker; Renoir) Crime d’Ovide Plouffe, 1984 (Arcand) Crime in a Night Club. See Zlo?in v ?antánu, 1968 Crime in the Streets, 1956 (Cassavetes; Siegel) Crime of Cain, 1914 (Ingram) Crime of Dr. Crespi, 1935 (von Stroheim) Crime of Monsieur Lange. See Crime de Monsieur Lange, 1936 Crime of Ovide Plouffe,. See Crime d’Ovide Plouffe, 1984 Crime Story, 1986 (Ferrara) Crime Zone, 1989 (Corman) Crimen de Oribe, 1950 (Torre Nilsson) Crimen y castigo, 1950 (de Fuentes) Crimes and Misdemeanors, 1989 (Allen) Crimes of the Future, 1970 (Cronenberg) Crimes of the Heart, 1986 (Beresford) Crimewave, 1985 (Raimi) Criminal, 1960 (Losey) Criminal Affairs, 1997 (Corman) Criminal Code, 1931 (Hawks) Criminal Court, 1946 (Wise) Criminal Hypnotist, 1908 (Grif?th) Criminal Justice, 1990 (Apted) Criminal Life of Archibaldo de la Cruz. See Ensayo de un crimen, 1955 Criminals, 1913 (Dwan) Crimson Curtain. See Rideau cramoisi, 1953 Crimson Kimono, 1959 (Fuller) Crimson Pirate, 1952 (Siodmak) Crimson Romance, 1934 (von Stroheim) Crinoline, 1906 (Guy) Cripple Girl. See Kaerligheds Laengsel, 1915 Crise est ?nie, 1934 (Siodmak) Crise, 1992 (Serreau) Crisis. See Kris, 1946 Crisis, 1954 (Xie Jin) Crisis, 1963 (Leacock) Crisis. See Crise, 1992 Crisis en el Caribe, 1962 (Alvarez) Criss Cross, 1949 (Siodmak) Cristo si è fermato a Eboli, 1979 (Rosi) Cristoforo Colombo, 1983 (Lattuada) Critic, 1963 (Brooks) Critical Care, 1997 (Brooks; Lumet) Critical Condition, 1986 (Apted) Crna macka, beli macor, 1998 (Kusturica) Crocodile, 2000 (Hooper) Crocodile Conspiracy, 1985 (Burnett) Croisière de L’Atalante, 1926 (Grémillon) Cronaca di un amore, 1950 (Antonioni) Cronaca di una morte annunciata, 1988 (Rosi) Cronica de una Se?ora, 1971 (Bemberg) Crook. See Voyou, 1970 Crook Buster, 1925 (Wyler) Crooked Mirror. See K?ivé zrcadlo, 1956 Crooked Road, 1911 (Grif?th) Crooked to the End, 1915 (Sennett) Crooked Way, 1949 (Florey) Crooklyn, 1994 (Lee) Crooner, 1932 (Bacon) Cross Creek, 1983 (Ritt) Cross My Heart (Bernstein), 1987 (Kasdan) Cross of Iron, 1977 (Peckinpah) Crossed Love and Swords, 1915 (Sennett) Cross?re, 1947 (Dmytryk) Crossing Delancey, 1988 (Silver) Crossroad Avenger: The Adventures of the Tucson Kid, 1953 (Wood, Edward D., Jr.) Crossroads, 1986 (Hill) Crossroads. See Jujiro, 1928 Crossroads of Life. See I Livets Braending, 1915 Crossroads of New York, 1922 (Sennett) Crouching Tiger, Hidden Dragon, 2000 (Lee) Crowd, 1928 (Vidor) Crowd Roars, 1932 (Hawks) Crowd Roars, 1938 (Fleming) Crowded Streetcar. See Manin densha, 1957 Crown versus Stevens, 1936 (Powell and Pressburger) Cruci?ed Lovers. See Chikamatsu monogatari, 1954 Cruel, Cruel Love, 1914 (Chaplin; Sennett) Cruel Romance. See Jestoki romans, 1984 FILM TITLE INDEXDIRECTORS, 4 th EDITION 1171 Cruel Story of the Samurai’s Way. See Bushido zankoku monogatari, 1963 Cruel Story of Youth. See Seishun zankoku monogatari, 1960 Cruising, 1980 (Friedkin) Crusades, 1935 (de Mille) Cruz del Sur, 1992 (Guzmán) Cruz diablo, 1934 (de Fuentes; Fernández) Cruzada ABC, 1966 (Pereira Dos Santos) Cry. See Krik, 1963 Cry Baby, 1958 (Corman) Cry Baby, 1990 (Waters) Cry for Help, 1912 (Grif?th) Cry Freedom, 1987 (Attenborough) Cry from the Heart. See Cri du coeur, 1994 Cry from the Wilderness, 1909 (Porter) Cry in the Dark, 1988 (Schepisi) Cry in the Wild, 1990 (Corman) Cry of the City, 1948 (Siodmak) Cry of the Owl. See Cri du hibou, 1987 Cry, the Beloved Country, 1951 (Korda) Crying Game, 1992 (Jordan) Cryptogramme rouge, 1915/16 (Feuillade) Crystals, 1959 (Leacock) Csend és kiáltás, 1968 (Jancsó) Cserepek, 1981 (Gaál) Csillagosok, katonák, 1967 (Jancsó; Mikhalkov) Cty?ikrát o Bulharsku, 1958 (Kachyňa) Cuando corre el alazán, 1967 (Fernández) Cuando corrió el alazán, 1985 (Fernández) Cuando levanta la niebla, 1952 (Fernández) Cuando los hijos nos juzgan, 1951 (Bu?uel) Cuatro milpas, 1937 (Fernández) Cuatro puentes, 1974 (Alvarez) Cuatro verdades, 1962 (García Berlanga) Cub, 1915 (Tourneur) Cuba, 1979 (Lester) Cuba: Battle of the Ten Million. See Bataille des dix millions, 1970 Cuba dos de enero, 1965 (Alvarez) Cuba, pueblo armado. See Pueblos en armas, 1961 Cuba Si!, 1961 (Marker) Cuba’s Ten Years. See Tiz éves Kuba, 1969 Cuban Fight against Demons. See Pelea cubana contra los demonios, 1971 Cuban Love Song, 1931 (Lewin) Cucaracha, 1958 (Fernández) Cuckoo. See Jihi shincho, 1927 Cuckoo. See Hototogisu, 1932 Cuckoo’s Egg. See Kuckucksei, 1948 Cuckoo’s Egg: Milos Forman, 1985 (Jire?) Cuenca, 1958 (Saura) Cuentos eróticos, 1979 (García Berlanga) Cuerpo repartido y el mundo al revez, 1975 (Ruiz) Cukrová bouda, 1980 (Kachyňa) Cul-de-sac, 1965 (Polanski) Culinary Embassies. See Ambassades nourricières, 1984 Cult People, 1989 (Meyer) Cultural Lisbon. See Lisboa Cultural, 1983 Culture intensive ou Le Vieux Mari, 1904 (Guy) Cumberland Story, 1947 (Jennings) Cumbite, 1964 (Gutiérrez Alea) Cumbre que nos une, 1979 (Alvarez) Cumbres borrascoses. See Abismos de pasión, 1953 Cumplimos, 1962 (Alvarez) Cuore, 1948 (de Sica) Cuore di cane, 1976 (Lattuada) Cup of Bitterness, 1916 (Ingram) Cupid and the Pest, 1915 (Browning) Cupid in Chaps, 1911 (Dwan) Cupid in the Dental Parlor, 1913 (Sennett) Cupid Never Ages, 1913 (Dwan) Cupid through Padlocks, 1912 (Dwan) Cupid Throws a Brick, 1913 (Dwan) Cupid’s Boots, 1925 (Sennett) Cupid’s Day Off, 1919 (Sennett) Cupid’s Fireman, 1923 (Wellman) Cupid’s Joke, 1911 (Sennett) Cupola Where the Furnaces Glow. See Kyupora no aru machi, 1962 Curdled, 1996 (Tarantino) Curé de Cucugnan, 1967 (Pagnol) Cure, 1917 (Chaplin) Cure That Failed, 1913 (Sennett) Cured, 1911 (Sennett) Cured in the Excitement, 1927 (Sennett) Curée, 1966 (Vadim) Curing Ceremony, 1969 (Marshall) Curiosity, 1911 (Sennett) Curly, 1958 (Romero) Current. See Sodrásban, 1964 Currents of Youth. See Seishun no kiryu, 1942 Curse of Iku, 1918 (Borzage) Curse of the Cat People, 1944 (Wise) Curse of the Demon. See Night of the Demon, 1957 Curse of the Starving Class, 1994 (Beresford) Cursed Millions. See Prokliatiye millioni, 1917 Curses! They Remarked, 1914 (Sennett) Curtain, 1918 (Franklin) Curtain Pole, 1909 (Grif?th; Sennett) Curtatone e Montanara, 1955-59 (Taviani) Curtis’s Charm, 1995 (Egoyan) Curtiss’s School of Aviation, 1912 (Dwan) Custer of the West, 1968 (Siodmak) Customs Frontier. See Vámhatár, 1977 Cute Girls. See Chiu Shih Liu Liu Tê T’a, 1979 Cutting It Short. See Postri?ny, 1980 Cwal, 1996 (Zanussi) Cyclamen. See Ciklámen, 1916 Cyclist. See Bicycleran, 1988 Cykledrengene i T?rvegraven, 1940 (Henning-Jensen) Cynara, 1932 (Vidor) Cyrano de Bergerac, 1950 (Kramer) Cyrano et d’Artagnan, 1963 (Gance; Kaplan) Cyrano et D’Assoucy, 1911 (Gance) Czarci ?leb, 1948 (Kawalerowicz) Czech Connection, 1975 (Nemec) Cziowiek z zelaza, 1981 (Holland) Cz?owiek z ?elaza, 1981 (Wajda) Cz?owiek z marmuru, 1977 (Wajda) D-dag, 1999 (Von Trier) Da hong deng long gao gao gua, 1991 (Zhang Yimou) Da larin kurdu Kocero, 1964 (Güney) Da larin o lu, 1965 (Güney) Da yue bing, 1986 (Chen Kaige; Zhang Yimou) Dabbling in Art, 1921 (Sennett) Dad, 1989 (Spielberg) Dad’s Day, 1929 (McCarey) Daddy Boy, 1927 (Sennett) Daddy Knows Best, 1933 (Sennett) Daddy Nostalgie, 1990 (Tavernier) Daddy’s Boys, 1988 (Corman) Daddy’s Gone A-Hunting, 1925 (Borzage) Daesh vozkukh, 1924 (Vertov) FILM TITLE INDEX DIRECTORS, 4 th EDITION 1172 Dagger. See Dolken, 1915 Daguerrotypes, 1975 (Varda) Dai go fukuryu-maru, 1959 (Shindo) Dai-Tokyo bi ikkaku, 1930 (Gosho) Daibutsu kaigen, 1952 (Kinugasa) Daibyonin, 1995 (Itami) Daichi wa hohoemu, 1925 (Mizoguchi) Daigaku wa deta keredo, 1929 (Ozu) Daigaku yoi toko, 1936 (Ozu) Daihao meizhoubao, 1989 (Zhang Yimou) Dainah la métisse, 1931 (Grémillon) Daisies. See Sedmikrásky, 1966 Daisy Kenyon, 1947 (Preminger) Daisy Miller, 1974 (Bogdanovich) Dallas through the Looking Glass, 1981 (Roeg) Dama s sobachkoi, 1960 (Hei?tz) Damage, 1992 (Malle) Damaged Lives, 1933 (Ulmer) Dame aux Camélias, 1934 (Gance) Dame aux camélias, 1962 (Pagnol) Dame de Chez Maxim, 1934 (Korda) Dame de Montsoreau, 1913 (Tourneur) Dame, der Teufel und die Probiermamsell, 1918 (Wiene) Dame mit dem schwarzen Handschuh, 1919 (Curtiz) Dame mit den Sonnenblum, 1920 (Curtiz) Dame vraiment bien, 1908 (Feuillade) Damen med de lyse handsker, 1942 (Christensen; Henning-Jensen) Damernes Blad, 1911 (Blom) Dames, 1934 (Berkeley; Daves) Dames du Bois de Boulogne, 1945 (Bresson; Cocteau; Melville) Damn Yankees, 1958 (Donen; Fosse) Damned, 1963 (Losey) Damned. See Caduta degli dei, 1969 Damned. See Maudits, 1947 Damned Holiday. See Prokleti praznik, 1958 D?mon des Meeres, 1931 (Curtiz) Dams and Waterways, 1911 (Dwan) Damsel in Distress, 1937 (Stevens) Damy, 1955 (Gerasimov) Dan the Dandy, 1911 (Grif?th) Dan Turner, Hollywood Detective, 1990 (Bartel) Dance Contest in Esira. See Danst?vlingen i Esira, 1935/36 Dance, Girl, Dance, 1940 (Arzner; Wise) Dance Hall, 1950 (Crichton) Dance Hall Marge, 1931 (Sennett) Dance in the Rain. See Ples v dezju, 1961 Dance in the Sun, 1954 (Clarke) Dance Little Lady, 1954 (Zetterling) Dance Madness, 1925 (Florey) Dance Me Outside, 1994 (Jewison) Dance Movie, 1963 (Warhol) Dance of Death. See Totentanz, 1919 Dance of Life, 1929 (Cromwell) Dance of Shiva, 1998 (Branagh) Dance of the Damned, 1989 (Corman) Dance of the Looney Spoons, 1959 (Vanderbeek) Dance of the Vampires. See Fearless Vampire Killers, 1967 Dance Shadows by Danielle Helander. See Caswallan Trilogy, 1986 Dance Training. See Kyoren no buto, 1924 Dance with Death, 1992 (Corman) Dancer, 2000 (Besson) Dancer in the Dark, 2000 (Fridriksson; Von Trier) Dancer of Izu. See Izu no odoriko, 1933 Dancer’s Revenge. See Danserindens Haevn, 1915 Dancer’s Strange Dream. See Danserindens Kaerlighedsdr?m, 1915 Dancers, 1925 (Goulding) Dancers of Tomorrow. See Asu no odoriko, 1939 Dances in Japan. See Nihon no buyo, 1958 Dancing Girl, 1915 (Dwan) Dancing Girl. See Nautch Girl, 1934 Dancing Girl of Butte, 1910 (Grif?th; Sennett) Dancing Mad. See T?nzer meiner Frau, 1925 Dancing Mothers, 1926 (Goulding) Dancing with Crime, 1947 (Attenborough) Dandan Dard, 1983 (Kiarostami) Dandelion. See Tampopo, 1986 Dandy in Aspic, 1968 (Mann) Danger: Diabolik. See Diabolik, 1968 Danger Girl, 1916 (Sennett) Danger, Love at Work, 1937 (Preminger) Danger Signal, 1945 (Florey) Danger Stalks Near. See Fuzen no tomoshibi, 1957 Danger Within, 1959 (Attenborough) Danger! Women at Work, 1943 (Ulmer) Dangerous Age, 1923 (Stahl) Dangerous Curves Behind, 1925 (Sennett) Dangerous Flirt, 1924 (Browning) Dangerous Game, 1993 (Ferrara) Dangerous Hours, 1920 (Niblo) Dangerous Liaisons, 1988 (Frears) Dangerous Lies, 1921 (Hitchcock) Dangerous Love, 1988 (Corman) Dangerous Paradise, 1920 (Goulding) Dangerous Paradise, 1930 (Cavalcanti; Wellman) Dangerous to Know, 1938 (Florey) Dangerous Toys, 1921 (Goulding) Dangerously They Live, 1941 (Florey) Dangers de l’acoolisme, 1899/1900 (Guy) Dangers of a Bride, 1917 (Sennett) Dangers of the Engagement. See Gefahren der Brautzeit/ Liebesn?chte, 1929 Daniel, 1983 (Lumet) “Daniel” episode of Stimulantia, 1967 (Bergman) Daniel Boone, 1907 (Porter) Danish Brigade in Sweden. See Brigaden i Sverige, 1945 Danish Design, 1960 (Roos) Danish Girls Show Everything. See Danske piger viser alt, 1996 Danish Island. See De danske Sydhavs?er, 1944 Danish Village Church. See Landsbykirken, 1947 Danjuro sandai, 1944 (Mizoguchi) Dann schon lieber Lebertran, 1930 (Ophüls) Danny Boy. See Angel, 1982 Danryu, 1939 (Yoshimura) Dans la brousse, 1912 (Feuillade) Dans la vie, 1911 (Feuillade) Dans la ville blanche, 1983 (Tanner) Dans les coulisses, 1900 (Guy) Dans l’ouragan de la vie, 1916 (Dulac) Dans un miroir, 1985 (Ruiz) Dans une ?le perdue, 1930 (Cavalcanti) Danse basque, 1901 (Guy) Danse de l’ivresse, 1900 (Guy) Danse de mort, 1947 (von Stroheim) Danse des Saisons, 1900 (Guy) Danse du papillon, 1900 (Guy) Danse du pas des foulards par des almées, 1900 (Guy) Danse du ventre, 1900/01 (Guy) Danse ?eur de lotus, 1897 (Guy) Danse mauresque, 1902 (Guy) Danse serpentine, 1900 (Guy) Danse serpentine par Mme Bob Walter, 1899/1900 (Guy) Danserinden. See Ballettens Datter, 1913 FILM TITLE INDEXDIRECTORS, 4 th EDITION 1173 Danserindens Kaerlighedsdr?m, 1915 (Holger-Madsen) Danserindens Kaerlighedsdr, 1915 (Holger-Madsen) Danses, 1900 (Guy) Danses espagnoles, 1900 (Lumière) Dansk politi i Sverige, 1945 (Henning-Jensen) Danske piger viser alt, 1996 (Makavejev) Danst?vlingen i Esira, 1935/36 (Fej?s) Dante Quartet, 1987 (Brakhage) Dante’s Inferno, 1924 (Goulding) Danton, 1982 (Holland; Wajda) Danube—Fishes—Birds. See Duna—halak—madarak, 1971 Danulon gyártás, 1961 (Mészáros) Danulon Production. See Danulon gyártás, 1961 Danza delle lancette, 1936 (Lattuada) Daoma Zei, 1985 (Tian Zhuangzhuang) Daphne, 1936 (Rossellini) Daraku suru onna, 1967 (Yoshimura) Da?buján a Pandrhola, 1960 (Fri?) Darby’s Rangers, 1958 (Wellman) Dare-Devil, 1923 (Sennett) Daredevil. See Smelchak, 1919 Dark, 1979 (Hooper) Dark Angel, 1935 (Franklin) Dark Angel, 1996 (Coppola) Dark Angel, 2000 (Cameron) Dark at Noon, 1992 (Ruiz) Dark Command, 1940 (Walsh) Dark Eyes. See Oci ciornie, 1987 Dark Half, 1993 (Romero) Dark Horse, 1932 (Leroy) Dark Lover’s Play, 1915 (Sennett) Dark Mirror, 1946 (Siodmak) Dark Night. See Noche oscura, 1989 Dark Passage, 1947 (Daves) Dark Secrets, 1923 (Fleming; Goulding) Dark Secrets; The Death Artist; Roger Corman Presents Bucket of Blood. See Bucket of Blood, 1995 Dark Star, 1919 (Dwan) Dark Star, 1974 (Carpenter) Dark Town Strutters, 1975 (Corman) Dark Victory, 1939 (Goulding) Dark Wind, 1992 (Morris) Darkman, 1990 (Landis; Raimi) Darkman II: The Return of Durant, 1994 (Raimi) Darkman III: Darkman Must Die, 1996 (Raimi) Darkness at Noon. See Mahiru no ankoku, 1956 Darkness in Daytime. See Nappali s?tétség, 1963 Darktown Belle, 1913 (Sennett) Darling, 1965 (Schlesinger) Darling. See Mazlí?ek, 1934 Darò un millione, 1935 (de Sica) Dash for Liberty. See H?jt Spil, 1913 Dash, Love and Splash, 1914 (Sennett) Dash of ourage, 1916 (Sennett) Dash through the Clouds, 1911 (Sennett) Dastaan, 1950 (Kapoor) Dastforoush, 1987 (Makhmalbaf) Date with Judy, 1948 (Donen) Daudo Sorko, 1967 (Rouch) Daughter. See Musume, 1926 Daughter of Brahma. See Maharadjaens Yndlingshustru II, 1918 Daughter of D’Artagnan. See Fille de D’Artagnan, 1994 Daughter of Dr. Jekyll, 1957 (Ulmer) Daughter of Liberty and A Trouper’s Heart, 1911 (Dwan) Daughter of Shanghai, 1937 (Florey) Daughter of the Congo, 1930 (Micheaux) Daughter of the Fortune Teller. See Den blaa Natviol, 1911 Daughter of the Mountains. See H?gfj?llets dotter, 1914 Daughter of the Navajos, 1911 (Guy) Daughter of the Nile. See Ni Luo Ho Nü Erh, 1987 Daughter of the Orient. See Daughter of Shanghai, 1937 Daughter of the Railway. See Jernbanens Datter, 1911 Daughter of Two Worlds, 1920 (Goulding) Daughters Courageous, 1939 (Curtiz) Daughters of Destiny. See Destinées, 1952 Daughters of Senor Lopez, 1912 (Dwan) Dave, 1993 (Stone) Dave’s Love Affair, 1911 (Sennett) David Copper?eld, 1933 (Cukor) David Copper?eld, 1970 (Attenborough) David Cronenberg, I Have to Make the World Be Flesh, 1999 (Cronenberg) David e Golia, 1959 (Welles) David Garrick, 1914 (Ingram) David Golder, 1930 (Duvivier) David Harum, 1915 (Dwan) David Lynn’s Sculpture, 1961 (Baillie) David: Off and On, 1972 (Coolidge) Davudo, 1965 (Güney) Davy, 1957 (Dearden) Dawn. See Aube, 1986 Dawn. See Hajnal, 1971 Dawn. See Raat Bhore, 1956 Dawn Guard, 1941 (Boulting) Dawn of a New Day. See Fajr Yum Jadid, 1964 Dawn of Manchukuo and Mongolia. See Mammo Kenkoku no Reimei, 1932 Dawn of Passion, 1912 (Dwan) Dawn of the Dead. See Zombies, 1978 Dawn Patrol, 1930 (Hawks) Dawn Patrol, 1938 (Goulding) Day and the Hour. See Jour et l’heure, 1962 Day at the Beach, 1969 (Polanski) Day at the Circus, 1901 (Porter) Day Dreams, 1922 (Keaton) Day in the Country. See Partie de campagne, 1946 Day for Night. See Nuit américaine, 1973 Day of Despair. See O Dia do desespero, 1992 Day of Faith, 1923 (Browning) Day of Happiness. See Dyen schastya, 1964 Day of Idiots. See Tag der Idioten, 1982 Day of Joy. See Glaedens Dag, eller Miskendt, 1918 Day of Marriage. See Totsugu hi, 1956 Day of Reckoning, 1990 (Fuller) Day of the Dead, 1985 (Romero) Day of the Dolphin, 1973 (Nichols) Day of the Fight, 1952 (Kubrick) Day of the Jackal, 1973 (Zinnemann) Day of the Locust, 1975 (Schlesinger) Day of Wrath. See Vredens Dag, 1943 Day She Paid, 1919 (Ingram) Day the Clown Cried, 1972 (Beineix; Lewis) Day the Earth Stood Still, 1951 (Wise) Day the Fish Came Out, 1967 (Cacoyannis) Day the Mercedes Became a Hat, 1993 (Nair) Day the Sky Exploded. See Morte viene dallo spazio, 1958 Day the World Ended, 1955 (Corman) Day They Buried Cleaver, 1970 (Apted) Day to Wed. See Totsugu hi, 1956 Daybreak, 1931 (Feyder) Daybreak. See Jour se lève, 1939 Daybreak and Whiteye, 1957 (Brakhage) FILM TITLE INDEX DIRECTORS, 4 th EDITION 1174 Daydreams. See Grezy, 1915 Days and Nights in the Forest. See Aranyer Din Ratri, 1970 Days in the Trees. See Des journées entières dans les arbres, 1976 Days of ‘36. See Mères tou 36, 1972 Days of Glory, 1944 (Tourneur) Days of Hate. See Días de odio, 1954 Days of Heaven, 1978 (Malick) Days of Hope, 1976 (Loach) Days of Love. See Giorni d’amore, 1954 Days of Youth. See Jeugd-dag, 1929/30 Days of Youth. See Wakaki hi, 1929 Day’s Pleasure, 1919 (Chaplin) Daytrippers, 1996 (Soderbergh) Daze in the West, 1927 (Wyler) Dazed and Confused, 1993 (Linklater) Dazwischen, 1981 (D?rrie) D.C. Cab, 1983 (Schumacher) De abajo, 1939 (Fernández) De America soy hijo . . . y a ella me debo, 1972 (Alvarez) De beaux lendemains. See Sweet Hereafter, 1997 De bl? undulater, 1965 (Henning-Jensen) De Boot, 1985 (van Dormael) De brandende straal, 1911 (Ivens) De Brug, 1928 (Ivens) De cierta manera, 1977 (Gómez; Gutiérrez Alea) De danske Sydhavs?er, 1944 (Henning-Jensen) De Domeinen Ditvoorst, 1993 (Bertolucci) De eso no se habla, 1993 (Bemberg) De Forviste, 1914 (Holger-Madsen) De gamla kvarnen, 1964 (Troell) De Gamle, 1947 (Dreyer) De gouden Ilsy, 1957 (Haanstra) De Grands Evènements et des gens ordinaires, 1979 (Ruiz) De Grey—Le Banc de Desolation, 1972 (Chabrol) De Lands?yktige, 1921 (Stiller) De l’Argentine, 1985 (Schroeter) De l’autre c?té du périph, 1998 (Tavernier) De Mayerling à Sarajevo, 1940 (Ophüls) De Muiderkring herleeft, 1948 (Haanstra) De Naaede Faergen, 1948 (Dreyer) De opsporing van aardolie, 1954 (Haanstra) De overval, 1962 (Haanstra; Rotha) De pokkers unger, 1947 (Henning-Jensen) De Sade, 1969 (Corman; Huston) De Sista Stegen, 1960 (Cromwell) De smaa Landstrygere, 1908 (Holger-Madsen) De stem van het water, 1966 (Haanstra) De svarta maskerna, 1912 (Sj?str?m; Stiller) De tre Kammerater, 1912 (Blom) De Tribune ?lm: Breken en bouwen, 1930 (Ivens) De Udstillede, 2000 (Von Trier) De unge gamle, 1984 (Roos) De verkenningsboring, 1954 (Haanstra) De Vierde Man. See Fourth Man, 1979 De Weg waar Bresson, 1984 (Schrader) De zaak M.P., 1960 (Haanstra) Deacon Outwitted, 1913 (Sennett) Deacon’s Troubles, 1912 (Sennett) Dead, 1960 (Brakhage) Dead, 1987 (Huston) Dead Again, 1991 (Branagh) Dead Bang, 1989 (Frankenheimer) Dead by Monday, 2000 (Cronenberg) Dead Calm, 1988 (Miller) Dead Case, 1978 (Holland) Dead Cert, 1973 (Richardson) Dead Country. See Holt vidék, 1971 Dead End, 1937 (Wyler) Dead Man, 1995 (Jarmusch) Dead Next Door, 1988 (Raimi) Dead of Night, 1945 (Cavalcanti; Crichton; Dearden) Dead of Winter, 1987 (Penn) Dead Ones, 1948 (Markopoulos) Dead Only Perish. See ?lüme yalniz gidilar, 1963 Dead Pigeon on Beethoven Street, 1973 (Fuller) Dead Poets Society, 1989 (Weir) Dead Pool, 1988 (Eastwood) Dead Reckoning, 1947 (Cromwell) Dead Ringers, 1988 (Cronenberg) Dead Zone, 1983 (Cronenberg) Deadhead Miles, 1982 (Malick) Deadly Affair, 1967 (Lumet) Deadly Blessing, 1981 (Craven) Deadly Circuit. See Mortelle randonnée, 1983 Deadly Companions, 1961 (Peckinpah) Deadly Friend, 1986 (Craven) Deadly Glass of Beer, 1916 (Browning) Deadly Trap. See Maison sous les arbres, 1971 Deaf, 1986 (Wiseman) Deaf Burglar, 1913 (Sennett) Deal of the Century, 1983 (Friedkin) Deal with the Devil. See Den mystiske Fremmede, 1914 Dear Augustin. See Oh du lieber Augustin, 1922 Dear Diary. See Caro Diario, 1994 Dear Inspector, Dear Detective. See Tendre Poulet, 1977 Dear Phone (+ ph, ed), 1977 (Greenaway) Dearly Purchased Friendship. See Dyrek?bt Venskab, 1912 Death and the Maiden, 1993 (Polanski) Death at Dawn. See Akatsuki no shi, 1924 Death Becomes Her, 1992 (Pollack; Zemeckis) Death Bell. See Halálcseng?, 1917 Death by Hanging. See Koshikei, 1968 Death Command of the Tower. See Boro no kesshitai, 1943 Death Day, 1933 (Eisenstein) Death Dice, 1915 (Walsh) Death Disc, 1909 (Grif?th) Death Drives Through, 1935 (Huston) Death for Five Voices. See Tod für fünf Stimmen, 1995 Death Game, 1996 (Corman) Death in Canaan, 1978 (Richardson) Death in the Snow. See Echigo tsutsuishi oyashirazu, 1964 Death in Venice. See Morte a Venezia, 1971 Death Is Called Engelchen. See Smrt si ?iká Engelchen, 1963 Death of a Beautiful Dream. See Smrt krásnych srncu, 1986 Death of a Bureaucrat. See Muerte de un burócrata, 1966 Death of a Champion, 1939 (Florey) Death of a Composer, 1999 (Greenaway) Death of a Cyclist. See Muerte de un ciclista, 1955 Death of a Fly. See Smrt mouchy, 1975 Death of a Gun?ghter, 1969 (Siegel) Death of a Maiden. See Shojo no shi, 1927 Death of a President. See ?mier? Prezydenta, 1977 Death of a Provincial. See Smierc prowincjala, 1966 Death of a Salesman, 1951 (Kramer) Death of a Salesman, 1985 (Schl?ndorff) Death of Empedocles. See Tod des Empedokles, 1987 Death of Hemingway, 1965 (Markopoulos) Death of Maria Malibran. See Tod der Maria Malibran, 1972 Death of Mario Ricci. See Mort de Mario Ricci, 1983 Death of Mr. Baltisberger. See Smrt pana Baltisbergra, 1965 Death of My Sister. See Imoto no shi, 1921 Death of Siegfried. See Siegfrieds Tod, 1924 FILM TITLE INDEXDIRECTORS, 4 th EDITION 1175 Death on the Road, 1935 (Rotha) Death Race 2000, 1975 (Bartel; Corman; Landis) Death Ray. See Luch smerti, 1925 Death Watch. See Mort en direct, 1980 Death’s Marathon, 1913 (Grif?th) Deathsport, 1978 (Corman) Deathstalker, 1984 (Corman) Deathstalker 4, 1992 (Corman) Deathtrap, 1982 (Lumet) Debandade, 1999 (Berri) Débarquement, 1895 (Lumière) Debauchery Is Wrong. See Doraku shinan, 1928 Debe’s Tantrum, 1972 (Marshall) Débrouille-toi, 1917 (Feuillade) Décade prodigieuse, 1972 (Chabrol) Decade prodigieuse, 1972 (Welles) Decalogue. See Dekalog, 1989 Decameron, 1971 (Pasolini) Deccan Queen, 1936 (Mehboob Khan) Deceit, 1921 (Micheaux) Deceived Dreams. See Grezy, 1915 Deceivers, 1914 (Browning) Deceiving Costume. See Itsuwareru seiso, 1951 Décembre, mois des enfants, 1956 (Storck) December Seventh, 1943 (Ford) Deception, 1909 (Grif?th) Deciding Kiss, 1918 (Browning) Deciduous Tree, 1987 (Shindo) Decima vittima, 1965 (Petri) Decimo clandestino, 1989 (Wertmuller) Decision against Time. See Man in the Sky, 1956 Decision at Sundown, 1957 (Boetticher) Decisive Battle. See Kessen, 1944 Déclin de l’empire américain, 1986 (Arcand) Decline of the American Empire. See Déclin de l’empire américain, 1986 Decline of Western Civilization, 1981 (Spheeris) Decline of Western Civilization II: The Metal Years, 1988 (Spheeris) Decline of Western Civilization Part III, 1998 (Spheeris) Décolleté dans le dos, 1975 (Nemec) Deconstructing Harry, 1997 (Allen) Decree of Destiny, 1910 (Grif?th) Dédá?ek, 1968 (Jire?) Dedans Paris, 1964 (Eustache) Dede Mamata, 1988 (Diegues) Děde?ek automobil, 1955 (Forman) Dedicated to the Kinks. See Summer in the City, 1970 Dedication of the Great Buddha. See Daibutsu kaigen, 1952 Dedictví aneb Kurvahosigutntag, 1992 (Chytilová) Deed of Derring-Do, 1969 (Howard) Deedeh-Ban, 1990 (Makhmalbaf) Deep, 1970 (Welles) Deep Crimson. See Profundo carmesí, 1996 Deep End, 1970 (Skolimowski) Deep Impact, 1998 (Spielberg) Deep in My Heart, 1954 (Donen) Deep Purple, 1920 (Walsh) Deep Waters, 1920 (Tourneur) Deer Hunter, 1978 (Cimino) Defeat of Japan. See Razgrom Japonii, 1945 Defeated People, 1946 (Jennings) Defector. See Espion, 1966 Defendant, 1964 (Menzel) Defendant. See Ob?alovany, 1964 Defending Your Life, 1991 (Brooks) Défense de savoir, 1973 (Beineix) De?ant Ones, 1958 (Kramer) De?cit, 1976-77 (Seidelman) Degal à Dialloube, 1970-71 (Cissé) Degree of Hygiene and Safety in a Copper Mine. See Podstawy BHP w kopalni miedzi, 1972 Degree of Murder. See Mord und Totschlag, 1967 Déjeuner de bébé. See Repas de bébé, 1895 Déjeuner des enfants, 1899/1900 (Guy) Dejeuner du chat, 1895 (Lumière) Déjeuner sur l’herbe, 1959 (Renoir) Dekalog, 1989 (Kie?lowski) Dekigokoro, 1933 (Ozu) Del odio nació el amor, 1949 (Fernández) Dél-Kína tájain, 1957 (Jancsó) Delayed Proposal, 1911 (Sennett) Delhi Way, 1964 (Ivory) Délibábok országa, 1983 (Mészáros) Delicacies of Molten Horror Synapse, 1991 (Brakhage) Delicate Balance, 1973 (Richardson) Delicate Delinquent, 1957 (Lewis) Delightfully Dangerous, 1944 (Tashlin) Delinquents, 1955 (Altman) Delitto di Giovanni Episcopo, 1947 (Fellini; Lattuada) Delitto Matteotti, 1973 (de Sica) Deliverance, 1972 (Boorman) Deliverance. See Sadgati, 1981 Delivering Milo, 2000 (Wenders) Della nube alla resistenza, 1979 (Straub and Huillet) Delta Phase I, 1962 (Haanstra) Déménagement. See Moving In, 1993 Déménagement à la cloche de bois, 1897/98 (Guy) Déménagement à la cloche de bois, 1907 (Guy) Demain à Nanguila, 1960 (Ivens) Demanty noci, 1964 (Nemec) Dementia 13, 1963 (Coppola; Corman) Demetrius and the Gladiators, 1954 (Daves) Demoiselle du notaire, 1912 (Feuillade) Demoiselles de Rochefort, 1967 (Demy; Miller) Démolition d’un mur, 1895 (Lumière) Demon Keeper. See Demon Knight, 1995 Demon Knight, 1995 (Zemeckis) Demon of Fear, 1916 (Borzage) Demon Pond. See Yashagaike, 1979 Demonio y carne. See Susana, 1950 Demons of the Swamp. See Attack of the Giant Leeches, 1959 Demonstratie van proletarische solidariteit, 1930 (Ivens) Demonstration of Proletarian Solidarity. See Demonstratie van proletarische solidariteit, 1930 Demütige und die S?ngerin, 1925 (Dupont) Den Aerel?se, 1916 (Holger-Madsen) Den blaa Natviol, 1911 (Blom) Den blinde Skaebne. See Lotteriseddel No. 22152, 1915 Den blomstertid, 1940 (Sj?berg) Den, der sejrer. See Syndens Datter, 1915 Den d? des Halsbaand, 1910 (Blom) Den dvende Stad, 1921 (Holger-Madsen) Den D?des R?st. See Testamentets Hemmelighed, 1916 Den D?des Sjael. See En Kunstners Gennembrud, 1915 Den D?dsd?mte. See Danserindens Kaerlighedsdr?m, 1915 Den farlige Alder, 1911 (Blom) Den f?rste Kaerlighed, 1912 (Blom) Den frelsende Film, 1915 (Holger-Madsen) Den Goda viljan, 1991 (Bergman) Den Goda viljan, 1992 (August; Bergman) Den graa Dame, 1909 (Holger-Madsen) Den hvide Dame, 1913 (Holger-Madsen) Den hvide Djaevel, 1915 (Holger-Madsen) FILM TITLE INDEX DIRECTORS, 4 th EDITION 1176 Den Hvide Dj?vel, eller Dj?velens Protege, 1916 (Dreyer) Den hvide Slavehandel I, 1910 (Blom) Den hvide Slavehandel II, 1911 (Blom) Den kinesiske Vase. See Vasens Hemmelighed, 1913 Den levende virkelighed, 1989 (Roos) Den lille Chauff?r, 1914 (Blom) Den moderna suffragetten, 1913 (Stiller) Den Muso, 1975 (Cissé) Den mystiske Fremmede, 1914 (Holger-Madsen) Den mystiske Selskabsdame, 1916 (Blom) Den Mystiske Selskabsdame, eller Legationens Gidsel, 1917 (Dreyer) Den naadige Fr?ken, 1911 (Blom) Den of Beasts. See Kedamono no yado, 1951 Den of Thieves, 1905 (Hepworth) Den ok?nda, 1913 (Stiller) Den omstridte Jord, 1915 (Holger-Madsen) Den Pukkelryggede. See Kaerligheds Laengsel, 1915 Den r?de Enke. See Rovedderkoppen, 1915 Den sande Kaerlighed, 1912 (Blom) Den skaebnesvangre L?gn. See Fru Potifar, 1911 Den skaebnesvangre Op?ndelse, 1910 (Blom) Den Skonne Evelyn, 1916 (Dreyer) Den sorte Hertug, 1907 (Holger-Madsen) Den sorte Kansler, 1912 (Blom) Den starkaste, 1929 (Sj?berg) Den store Magt, 1924 (Blom) Den store Middag, 1914 (Blom) Den st?rste Kaerlighed, 1914 (Blom) Den str?mlinjede gris, 1952 (Roos) Den svarte doktorn, 1911 (Holger-Madsen) Den tredie Magt, 1912 (Blom) Den tryanniske f?stmannen, 1912 (Stiller) Den udbrudte Slave. See Eventyr paa Fodrejsen, 1911 Denaro non esiste, 1999 (Olmi) Dengamle Baenk, Left Alone. See Under Mindernes Trae, 1913 Denmark Grows Up, 1947 (Henning-Jensen) Dent récalcitrante, 1902 (Guy) Dental Hygiene. See Behdasht-e Dandan, 1980 Dentellière, 1977 (Goretta) Dentist, 1919 (Sennett) Dentist, 1932 (Sennett) Dentist. See Laughing Gas, 1914 Denwa wa yugata ni naru, 1959 (Yoshimura) Départ, 1967 (Skolimowski) Départ en voiture, 1895 (Lumière) Départ pour les vacances, 1904 (Guy) Department Store. See Univermag, 1922 Departure of a Grand Old Man. See Ukhod velikovo startza, 1912 Deported, 1950 (Siodmak) Deprisa, deprisa, 1980 (Saura) Deputat Baltiki, 1936 (Hei?tz) Derby, 1919 (Dupont) Derecho de asilo, 1972 (Fernández) Derek Jarman: You Know What I Mean, 1988 (Jarman) Derkovitz Gyula 1894-1934, 1958 (Jancsó) Dernier Atout, 1942 (Becker) Dernier Bolchevik, 1993 (Marker) Dernier Choc, 1932 (Clouzot) Dernier Combat, 1983 (Besson) Dernier des six, 1941 (Clouzot) Dernier été, 1997 (Goretta) Dernier Metro, 1980 (Truffaut) Dernier Milliardaire, 1934 (Clair) Dernier Moment. See Last Moment, 1928 Dernier Pardon, 1913 (Tourneur) Dernier Tango à Paris. See Last Tango in Paris, 1972 Dernières Fian?ailles, 1973 (Lefebvre) Derniers Jours de Pompéi, 1948 (L’herbier) Derrière la fa?ade, 1938 (von Stroheim) Dersu Uzala, 1975 (Kurosawa) Des demoiselles ont en 25 ans, 1993 (Tavernier; Varda) Des enfants gatés, 1977 (Tavernier) Des Haares und der Liebe Wellen, 1929 (Ruttmann) Des journées entières dans les arbres, 1976 (Duras) Des Teufels General, 1955 (K?utner) Des Verschollene Inka-Gold, 1978 (Staudte) Desa?o, 1979 (Alvarez) Desaster, 1973 (Von Trotta) Désastres de la guerre, 1951 (Grémillon) Description d’un combat, 1960 (Marker) Desdemona, 1911 (Blom) Desert, 1976 (Brakhage) Desert Dust, 1927 (Wyler) Desert Flower, 1925 (Leroy) Desert Fury, 1947 (Rossen) Desert Laughs. See Yaban gülü, 1961 Desert Mice, 1959 (Dearden) Desert Patrol. See Sea of Sand, 1958 Desert Rats, 1953 (Wise) Desert Song, 1942 (Florey) Desert Victory, 1943 (Boulting) Desert Wooing, 1918 (Niblo) Desert’s Toll, 1926 (Stevens) Deserter, 1971 (Huston) Deserter. See Dezertir, 1933 Déserteuse, 1917 (Feuillade) Deserto rosso, 1964 (Antonioni) Desiderio, 1943 (Rossellini) Design for Living, 1933 (Lubitsch) Design of a Human Being. See Ningen moyo, 1949 Designing Woman, 1957 (Minnelli) Desire, 1936 (Borzage; Lubitsch) Desire. See Yoku, 1958 Desire. See Yokubo, 1953 Desire and Hell at Sunset Motel, 1992 (Bartel) Desire Me, 1947 (Cukor; Leroy) Desired Woman, 1927 (Curtiz) Desist?lm, 1954 (Brakhage) Desordre, 1951 (Cocteau) Désordre, 1961 (Welles) Despair. See Reise ins Licht, 1977 Despegue a la 18.00, 1969 (Alvarez) Desperado, 1995 (Tarantino) Desperate, 1947 (Mann) Desperate Lover, 1912 (Sennett) Desperate Hours, 1955 (Wyler) Desperate Hours, 1990 (Cimino) Desperate Journey, 1942 (Walsh) Desperate Living, 1977 (Waters) Desperate Moment, 1953 (Zetterling) Desperate Trails, 1921 (Ford) Desperately Seeking Susan, 1985 (Seidelman) D’est, 1993 (Akerman) Destin des mères, 1911/13 (Feuillade) Destination Gobi, 1952 (Wise) Destination Tokyo, 1944 (Daves) Destinazione Verna, 2000 (Antonioni) Destinées, 1952 (Delannoy) Destins de Manoel, 1985 (Ruiz) Destiny. See Al-Massir, 1997 Destiny. See Müde Tod: Ein Deutsches Volkslied in Sechs Versen, 1921 Destiny Turns on the Radio, 1994 (Tarantino) FILM TITLE INDEXDIRECTORS, 4 th EDITION 1177 Destroy She Said. See Détruire, dit-elle, 1969 Destroyer. See Wir verbauen 3 x 27 Milliarden Dollar in einen Angriffs- schlachter, 1971 Det b?des der for. See Haevnet, 1911 Det brinner en eld, 1943 (Sj?str?m) Det de?nitive afslag p? anmodningen om et kys, 1949 (Roos) Det er tilladt at vaere ?ndssvag, 1969 (Roos) Det f?rste Honorar, 1912 (Blom) Det gamle K?bmandshus, 1911 (Blom) Det gyldne Smil, 1935 (Fej?s) Det hemmelighedsfulde X, 1913 (Christensen) Det m?rke Punkt, 1911 (Blom) Det m?rke Punkt, 1913 (Holger-Madsen) Det omringgade huset, 1922 (Sj?str?m) Det regnar p? v?r k?rlek, 1946 (Bergman) Det r?da tornet, 1914 (Stiller) Det sjunde inseglet, 1957 (Bergman) Det stjaalne Ansigt, 1914 (Holger-Madsen) Det store Fald or Malstr?mmen, 1911 (Holger-Madsen) Det store Hjerte, 1924 (Blom) Det St?rste i Verden, 1919 (Holger-Madsen) Det unge Blod, 1915 (Holger-Madsen) Det var i Maj, 1914 (Sj?str?m) Detective, 1985 (Godard) Detective Story, 1951 (Wyler) Déterminés à vaincre, 1968 (Ivens) Deti Veka, 1915 (Bauer) Detonator, 1997 (Corman) Detour, 1945 (Ulmer) Détruire, dit-elle, 1969 (Duras) Detstvo Gorkovo, 1938 (Donskoi) Deus e o diablo na terra do sol, 1964 (Rocha) Deus Ex, 1971 (Brakhage) Deutsche Panzer; Aberglaube, 1940 (Ruttmann) Deutsche Waffenschmiede, 1940 (Ruttmann) Deutscher Traum, 1977 (Syberberg) Deutschland bleiche mutter, 1980 (Sanders-Brahms) Deutschland im Herbst, 1978 (Fassbinder; Kluge; Schl?ndorff) Deux Anglaises et le continent, 1971 (Miller; Truffaut) Deux fois cinquante ans de cinema Francais, 1995 (Godard) Deux Fran?aises, 1915 (Feuillade) Deux Gamines, 1920 (Clair; Feuillade) Deux Gosses, 1906 (Feuillade) Deux heures moins le quart avant Jesus-Christ, 1982 (Berri) Deux hommes dans Manhattan, 1959 (Melville) Deux Mondes, 1930 (Dupont) Deux Orphelines, 1933 (Tourneur) Deux ou trois choses que je sais d’elle, 1967 (Godard) Deux Rivaux, 1903/04 (Guy) Deux Timides, 1928 (Clair) Deux trois soleil, 1993 (Blier) Deuxième Souf?e, 1966 (Melville) Development of the Stalk and the Root. See A szár és a gy?kér fejl?dése, 1961 Devi, 1960 (Ray) Devil, 1908 (Grif?th) Devil, 1920 (Goulding) Devil. See Az ?rd?g, 1918 Devil at Four O’Clock, 1961 (Leroy) Devil by the Tail. See Diable par la queue, 1968 Devil Commands, 1941 (Dmytryk) Devil Crag. See Seytan kayaliklari, 1970 Devil Dancer, 1927 (Niblo) Devil Dogs of the Air, 1935 (Bacon) Devil-Doll, 1936 (Browning; von Stroheim) Devil Horse, 1926 (Stevens) Devil in a Blue Dress, 1995 (Demme) Devil in Evening Dress, 1973 (Miller) Devil in Love. See Arcidiavolo, 1966 Devil in the Flesh, 1986 (Bellocchio) Devil in the Flesh. See Diable au corps, 1947 Devil Is a Woman, 1935 (von Sternberg) Devil-May-Care, 1929 (Franklin; Lewin) Devil of the Desert. See Shaitan el Sahara, 1954 Devil Stone, 1917 (de Mille) Devil Strikes at Night. See Nachts wann der Teufel kam, 1957 Devil’s Angels, 1967 (Cassavetes; Corman) Devil’s Bishop, 1988 (Pontecorvo) Devil’s Bouncing Ball Song. See Akuma no temari-uta, 1977 Devil’s Cargo, 1925 (Fleming) Devil’s Circus, 1926 (Christensen) Devil’s Commandment. See I Vampiri, 1956 Devil’s Doorway, 1950 (Mann) Devil’s Envoys. See Visiteurs du soir, 1942 Devil’s Eye. See Dj?vulens ?ga, 1960 Devil’s Holiday, 1930 (Cavalcanti; Goulding) Devil’s Island. See Aku Ryoto, 1980 Devil’s Island. See Djo?aeyjan, 1996 Devil’s Island. See Gokumonto, 1977 Devil’s Own, 1997 (Pakula) Devil’s Pale Moonlit Kiss, 2000 (Woo) Devil’s Pass. See Czarci ?leb, 1948 Devil’s Passkey, 1919 (von Stroheim) Devil’s Playground, 1976 (Schepisi) Devil’s Protege. See Den hvide Djaevel, 1916 Devil’s Wanton. See F?ngelse, 1949 Devil’s Wheel. See Chyortovo koleso, 1926 Devil’s Workshop. See Atelier du diable, 1982 Devils, 1971 (Jarman) Devils at the Elgin, 1974 (Jarman) Devoradora, 1946 (de Fuentes) Devushka s korobkoi, 1927 (Barnet) Devushka s Ulitsy. See Ditya Bol’shogo Goroda, 1914 Dezertir, 1933 (Gerasimov; Pudovkin) Dhadram Karam, 1975 (Kapoor) Dhoon, 1953 (Kapoor) Di, 1978 (Rocha) Dia de Noviembre, 1972 (Solas) Día Paulino, 1963 (Sanjinés) Diable au coeur, 1927 (L’herbier) Diable au coeur, 1946 (Autant-Lara) Diable au corps, 1946 (Autant-Lara; Tati) Diable au corps, 1990 (Breillat) Diable dans la ville, 1924 (Dulac) Diable et les dix commandements, 1962 (Duvivier) Diable par la queue, 1968 (de Broca) Diable probablement, 1977 (Bresson) Diablo, 1990 (Carpenter) Diabolik, 1968 (Bava) Diaboliquement v?tre, 1967 (Duvivier) Diaboliques, 1954 (Clouzot) Diabolo Menthe, 1977 (Kurys) Dial M for Murder, 1954 (Hitchcock) Dialog, 1968 (Skolimowski) Diálogo de exilados, 1974 (Ruiz) Dialogue. See Dialog, 1968 Dialogue of Exiles. See Diálogo de exilados, 1974 Dialogue of Forms, 1986 (Jire?) Dialogue with Conscience of the Past, 1988 (Jire?) Diamant du Sénéchal, 1914 (Feuillade) Diamánt noir, 1939 (Delannoy) Diamond Cut Diamond, 1932 (Niblo) FILM TITLE INDEX DIRECTORS, 4 th EDITION 1178 Diamond Jim, 1935 (Sturges) Diamond Ship. See Brillantenschiff, 1920 Diamond Star, 1910 (Grif?th) Diamonds, 1999 (Landis) Diamonds of the Night. See Demanty noci, 1964 Diaries, Notes & Sketches, 1975 (Bogdanovich) Diaries, Notes, and Sketches. See Walden, 1968 Diario de la guerra del cerdo, 1975 (Torre Nilsson) Diary for My Children. See Napló gyermekeimnek, 1982 Diary for My Father and My Mother. See Napló apámnak, anyámnak, 1990 Diary for My Loves. See Napló szerelmeimnek, 1987 Diary for Timothy, 1945 (Jennings) Diary of a Chambermaid, 1946 (Renoir) Diary of a Country Priest. See Journal d’un curé de campagne, 1950 Diary of a Lost Girl. See Tagebuch einer Verlorenen, 1929 Diary of a Poor Young Man. See Romanzo di un Giovane Povero, 1995 Diary of a Shinjuku Thief. See Shinjuku dorobo nikki, 1969 Diary of a Young Man, 1964 (Loach) Diary of Anne Frank, 1959 (Ashby; Stevens) Diary of Forbidden Dreams. See What?, 1973 Diary of Lady M, 1993 (Tanner) Diary of One Who’s Disappeared, 1978 (Jire?) Diary of Sueko. See Nianchan, 1959 Diary of the Pig War. See Diario de la guerra del cerdo, 1975 Diary of Yunbogi. See Yunbogi no nikki, 1965 Días de odio, 1954 (Torre Nilsson) Dias melhores virao, 1990 (Diegues) Diavolo innamorato. See Arcidiavolo, 1966 Dick Whittington and His Cat, 1913 (Guy) Did Mother Get Her Wash, 1911 (Sennett) Didier, 1997 (Berri) Diebe von Günsterburg. See Springende Hirsch, 1915 Diece minuti di vita, 1943 (de Sica) Diese Machine ist mein antihumanistisches Kunstwerk, 1982 (Jarman) Dieses Lied bleibt bei Dir, 1954 (Forst) Dieu a besoin des hommes, 1950 (Delannoy) Dieux du feu, 1961 (Storck) Dif?cile morire, 1977 (Jancsó) Diga sul Paci?co. See Barrage contre le Paci?que, 1958 Digi sul ghiaccio, 1953 (Olmi) Digterkongen. See Gudernes Yndling, 1919 Digue, ou Pour sauver la Hollande, 1911 (Gance) Dijkbouw, 1952 (Haanstra) Dike Builders. See Dijkbouw, 1952 Dil Hi To Hai, 1963 (Kapoor) Dil Ki Raani, 1947 (Kapoor) Dilawar, 1931 (Mehboob Khan) Dillinger and Capone, 1995 (Corman) Dim Little Island, 1949 (Jennings) Dimanche à la campagne, 1984 (Tavernier) Dimanche à Pekin, 1956 (Marker) Dimanche de la vie, 1965 (Miller) Dimenticare Palermo, 1990 (Rosi) Dimy Gorina, 1961 (Gerasimov) Diner, 1982 (Levinson) Dinner and a Movie, 2000 (Bartel) Dinner at Eight, 1933 (Cukor) Dinner Jest, 1926 (Sennett) Dino, 2002 (Schrader; Scorsese) Dionysos, 1984 (Rouch) Dionysus in ‘69, 1970 (de Palma) Diplomaniacs, 1933 (Mankiewicz) Diplomatic Pouch. See Teka dypkuryera, 1927 Diputado, 1978 (Bardem) Direct au coeur, 1933 (Pagnol) Directed by John Ford, 1971 (Bogdanovich; Welles) Directors, 1963 (Germi; Godard; Hitchcock; Huston) Direkt?rens Datter, 1912 (Blom) Dirigible, 1931 (Capra) Dirty Dozen, 1967 (Aldrich; Cassavetes) Dirty Duck, 1977 (Corman) Dirty-Face Dan, 1915 (Franklin) Dirty Hands. See Innocents aux mains sales, 1975 Dirty Harry, 1971 (Eastwood; Siegel) Dirty Lake an Angel. See Sale comme un ange, 1990 Dirty Money. See Maudite galette, 1972 Dirty Story. See Sale histoire, 1977 Dirty Work in a Laundry, 1915 (Sennett) Dis-moi, 1980 (Akerman) Disbarred, 1937 (Florey) Disclosure, 1994 (Levinson) Discontent, 1916 (Weber) Discord and Harmony, 1914 (Dwan) Discreet Charm of the Bourgeoisie. See Charme discret de la bourgeoisie, 1972 Discussion, 1895 (Lumière) Discussion de M. Janssen et de M. Lagrange, 1895 (Lumière) “Discutiamo discutiamo” episode of Amore e rabbia, 1969 (Bellocchio) Dishevelled Hair. See Midare-gami, 1961 Dishonored, 1931 (von Sternberg) Dislike. See Kirai Kirai Kirai, 1960 Disorderly Orderly, 1964 (Lewis; Tashlin) Disorganised Crime, 1989 (Badham) Dispara!, 1993 (Saura) Disparus de Saint-Agil, 1938 (von Stroheim) Disputed Passage, 1939 (Borzage) Disque 927, 1928 (Dulac) Distant Clouds. See Toi kumo, 1955 Distant Drums, 1951 (Walsh) Distant Jamaica. See Fernes Jamaica, 1969 Distant Relative, 1912 (Dwan) Distant Thunder. See Asani Sanket, 1973 Distant Trumpet, 1964 (Walsh) Distinguished Gentleman. See Besserer Herr, 1928 Distractions, 1960 (Chabrol) Distress Call, 1938 (Cavalcanti) Dita Saxová, 1967 (Menzel) Dites cariatides, 1984 (Varda) Dites-lui que je l’aime, 1977 (Miller) Ditte: Child of Man. See Ditte Menneskebarn, 1946 Ditte Menneskebarn, 1946 (Henning-Jensen) Ditto, 1937 (Keaton) Ditvoorst Domains. See De Domeinen Ditvoorst, 1993 Ditya Bol’shogo Goroda, 1914 (Bauer) Diva, 1981 (Beineix) Divan à New York, 1996 (Akerman) Dive Bomber, 1941 (Curtiz) Diverse Reports: We Should Have Won, 1985 (Loach) Divertimento, 1993 (Rivette) Divertissement, 1952 (Rivette) Divided Heart, 1954 (Crichton; Schlesinger) Divided Love. See Geteilte liebe, 1988 Divina, 1989 (Haynes) Divine, 1935 (Ophüls) Divine. See Evangelio de las Maravillas, 1998 Divine Comedy. See A divina comedia, 1991 Divine croisière, 1929 (Duvivier) Divine Damnation, 1967 (Markopoulos) Divine Trash, 1998 (Jarmusch; Morrissey; Waters) Divine Woman, 1928 (Sj?str?m) Diving Girl, 1911 (Sennett) FILM TITLE INDEXDIRECTORS, 4 th EDITION 1179 Divino Boemo, 1970 (Jire?) Divisions de la nature, 1978 (Ruiz) Divorce a la Mode, 1932 (Sennett) Divorce Courtship, 1933 (Stevens) Divorce Dodger, 1926 (Sennett) Divorce in the Family, 1932 (Daves) Divorce Italian Style. See Divorzio all’italiana, 1962 Divorced. See Fr?nskild, 1951 Divorced Sweethearts, 1929 (Sennett) Divorcee, 1919 (Guy) Divorzio all’italiana, 1962 (Germi) Diwana, 1967 (Kapoor) Dix heures et demie du soir en été. See 10:30 P.M. Summer, 1966 Dix-septième parallèle, 1968 (Ivens) Dixie Merchant, 1926 (Borzage) Dixième anniversaire de l’O.U.A., 1973 (Cissé) Dixième Symphonie, 1918 (Gance) Dizzy Heights and Daring Hearts, 1916 (Sennett) Dizzy Joe’s Career, 1914 (Browning) Django Reinhardt, 1958 (Cocteau) Dj?vulens ?ga, 1960 (Bergman) Djo?aeyjan, 1996 (Fridriksson) Djungeldansen, 1935/36 (Fej?s) Dnes naposled, 1958 (Fri?) Dnes ve?er v?echno skon?i, 1955 (Kachyňa) Do Cheshman Beesu, 1984 (Makhmalbaf) Do Gentlemen Snore?, 1928 (McCarey) Do I Love You?, 1934 (Gerasimov) Do-It-Yourself Democracy, 1963 (Zetterling) Do Jasoos, 1975 (Kapoor) Do Not Judge. See D?men icke, 1914 Do-Re-Mi-Fa, 1915 (Sennett) Do the Right Thing, 1989 (Lee) Do Ustad, 1959 (Kapoor) Do Widzenia do Jutra, 1960 (Polanski) Do You Like Women?, 1964 (Polanski) Do You Remember Dolly Bell?. See Sjecas li se Dolly Bell?, 1981 Dobrě placená procházka, 1965 (Forman) Dobré svetlo, 1985 (Kachyňa) Dobry voják Svejk, 1931 (Fri?) Dobu, 1954 (Shindo) Dobutsuen nikki, 1956 (Hani) Doce sillas, 1962 (Gutiérrez Alea) Dochu sugoruku bune, 1926 (Kinugasa) Dochu sugoruku kago, 1926 (Kinugasa) Dock Brief, 1962 (Attenborough) Docks of New York, 1928 (von Sternberg) Docteur M, 1990 (Chabrol) Docteur Popaul, 1972 (Chabrol) Doctor. See Doktor ur, 1916 Doctor and the Devils, 1985 (Brooks) Doctor and the Woman, 1918 (Weber) Doctor Dolittle, 1967 (Attenborough) Doctor Dolittle, 1998 (Brooks) Doctor from Halberstadt. See Arzt aus Halberstadt, 1969 Doctor Syn, 1937 (Launder and Gilliat) Doctor X, 1932 (Curtiz) Doctor Zhivago, 1965 (Lean) Doctored Affair, 1913 (Sennett) Doctor’s Legacy. See En ensom Kvinde, 1914 Doctors’ Wives, 1931 (Borzage) Doctors Don’t Tell, 1941 (Tourneur) Documental a proposito del transito, 1971 (Gómez) Documenteur: An Emotion Picture, 1981 (Varda) Documento, 1939 (Castellani) Documento mensile, 1951 (Visconti) Documento Z3, 1941 (Fellini) D?dens Brud Gadeoriginalen, 1911 (Blom) Dodes’ka-den, 1970 (Ichikawa) Dodeskaden. See Dodesukaden, 1970 Dodesukaden, 1970 (Kurosawa) Dodge City, 1939 (Curtiz) Dodging His Doom, 1917 (Sennett) Dodoth Morning, 1963 (Asch) D?dsdr?mmen, 1911 (Blom) D?dskyssen, 1917 (Sj?str?m) Dodsworth, 1936 (Wyler) Does. See Biches, 1968 Dog, 1977 (Bardem) Dog Catcher’s Love, 1917 (Sennett) Dog Day Afternoon, 1975 (Lumet) Dog Days. See Hundstage, 1944 Dog Doctor, 1931 (Sennett) Dog-Heads. See Psohlavci, 1954 Dog Shy, 1926 (McCarey) Dog Soldiers. See Who’ll Stop the Rain, 1978 Dog Star Man, 1964 (Brakhage) Dog Star Man: Part II, 1963 (Brakhage) Dog’s Language. See Colloque de chiens, 1977 Dog’s Life, 1918 (Chaplin) Dog’s Life. See Zivot je pes, 1933 Dog’s Life. See Vita da cani, 1950 Doggy and the Four. See Punt’a a ?ty?lístek, 1954 Dogma, 1999 (Arcand; Smith) Dogs, 1988 (Hartley) Dogs of War, 1980 (Jewison) Dohyo-matsuri, 1944 (Kurosawa) Doigts qui voient, 1911 (Feuillade) Doing His Best. See Making a Living, 1914 Doka o, 1926 (Mizoguchi) Dokhunda, 1935 (Kuleshov) Dokkoi ikiteiru, 1951 (Imai) Dokter Pulder zaait papavers, 1975 (Haanstra) Doktor Glas, 1967 (Zetterling) Doktor Mabuze—Igrok, 1924 (Eisenstein) Doktor Satansohn, 1915 (Lubitsch) Doktor ur, 1916 (Curtiz) Dokument: Fanny och Alexander, 1986 (Bergman) Dokushinsha goyojin, 1930 (Gosho) Dolandiricilar, 1961 (Güney) Dolandiricilar sahi, 1961 (Güney) Dolce Cinema, 1999 (Scorsese) Dolce vita, 1960 (Fellini) Dolci signore, 1967 (Scola) Doldertal 7, 1971 (Markopoulos) Dole plotovi, 1962 (Makavejev) Dolken, 1915 (Stiller) Doll. See A Child’s Sacri?ce, 1910 Dollar Did It, 1913 (Sennett) Dollar Down, 1925 (Browning) Dollar Mambo, 1993 (Leduc) Dollars of Dross, 1916 (Borzage) Dollhouse Mystery, 1915 (Franklin) Doll’s House, 1918 (Tourneur) Doll’s House, 1973 (Losey) Dolorosa, 1934 (Grémillon) Dom na Trubnoi, 1928 (Barnet) Dom za vesanje, 1988 (Kusturica) Domain of the Moment, 1977 (Brakhage) Domani accadra, 1988 (Moretti) Domani è troppo tardi, 1950 (de Sica) Domaren, 1960 (Sj?berg) FILM TITLE INDEX DIRECTORS, 4 th EDITION 1180 D?men icke, 1914 (Sj?str?m) Domenica d’agosto, 1949 (Rosi) Domenica è sempre domenica, 1958 (de Sica) Domicile conjugal, 1970 (Miller; Truffaut) Domingo, 1961 (Diegues) Dominion, 1974 (Brakhage) Domino Principle, 1976 (Kramer) Don Diego and Pelagea. See Dondiego i Pelaguya, 1928 Don Giovanni, 1979 (Losey) Don Giovanni in Sicilia, 1967 (Lattuada) Don Juan 68, 1968 (Jire?) Don Juan. See Amór de Don Juan, 1956 Don Juan 1973 ou si Don Juan était une femme, 1973 (Vadim) Don Juan DeMarco, 1995 (Coppola) Don Juan et Faust, 1922 (Autant-Lara; L’herbier) Don Juan, or If Don Juan Were a Woman. See Don Juan 1973 ou si Don Juan était une femme, 1973 Don Quichotte, 1933 (Pabst) Don Quichotte, 1964-69 (Rohmer) Don Quintin el amargao, 1935 (Bu?uel) Don Quintín el amargao. See Hija del enga?o, 1951 Don Quixote, 1955 (Welles) Don Quixote, 1957 (Kozintsev) Don’s Party, 1975 (Beresford) Do?a Barbara, 1943 (de Fuentes) Donald Cammell: The Ultimate Performance, 1998 (Anger) Dondiego i Pelaguya, 1928 (Protazanov) Dongo Horendi, 1966 (Rouch) Dongo Hori, 1973 (Rouch) Dongo Yenendi, 1966 (Rouch) Donkey Skin. See Peau d’ane, 1971 Donkey Skin. See Szamárb?r, 1918 Donna che venne del mare, 1957 (de Sica) Donna del ?ume, 1954 (Pasolini) Donna del Montagna, 1943 (Castellani) Donna d’una notte. See Femme d’une nuit, 1930 Donna piu bella del mondo, 1955 (Bava) Donnie Brasco, 1997 (Levinson) Donovan Affair, 1929 (Capra) Donovan’s Kid, 1931 (Niblo) Donovan’s Reef, 1963 (Ford) Don’t Believe in Monuments. See Spomenicima ne treba verovati, 1958 Don’t Bet on Blonds, 1935 (Florey) Don’t Bite Your Dentist, 1930 (Sennett) Don’t Change Your Husband, 1919 (de Mille) Don’t Cry, Pretty Girls. See Szép Iányok, ne sirjatok, 1970 Don’t Drink the Water, 1966 (Allen) Don’t Drink the Water, 1994 (Allen) Don’t Get Jealous, 1929 (Sennett) Don’t Give up the Ship, 1959 (Lewis) Don’t Leave Your Husband. See Dangerous Toys, 1921 Don’t Let It Kill You. See Ne faut pas mourir pour ?a, 1967 Don’t Look Down, 1998 (Craven) Don’t Look Now, 1973 (Roeg) Don’t Make Waves, 1967 (Mackendrick) Don’t Play Bridge with Your Wife, 1933 (Sennett) Don’t Raise the Bridge, Lower the River, 1967 (Lewis) Don’t Say It. See Kung Fu Master, 1988 Don’t Shoot, 1926 (Wyler) Don’t Sleep Alone, 1997 (Corman) Don’t Tease the Mosquito. See Non stuzzicate la zanzara, 1967 Don’t Tell Dad, 1925 (Sennett) Don’t Tell Everything, 1922 (de Mille) Don’t Touch Him, He Might Resent It, 1970 (Apted) Don’t Trust Your Husband, 1948 (Bacon) Don’t Weaken, 1920 (Sennett) Don’t Worry, He Won’t Get Far on Foot, 2000 (van Sant) Donto okoze, 1959 (Oshima) Donzoko, 1957 (Kurosawa) Dooley Scheme, 1911 (Sennett) Doom Generation, 1995 (Araki) Doomed Love. See Amor de perdic?o, 1978 Doomsday Man, 2000 (Raimi) Door, 1972 (Xie Jin) Door on the Left as You Leave the Elevator. See A gauche en sortant de l’ascenseur, 1988 Door-to-Door Maniac, 1961 (Howard) Doors, 1991 (Stone) Doorway, 2000 (Corman) Doorway of Destruction, 1915 (Ford) Dora-heita, 1999 (Ichikawa) Dorado, 1921 (L’herbier) Dorado, 1966 (Hawks) Dorado, 1987 (Saura) Dorado de Pancho Villa, 1967 (Fernández) Doraku shinan, 1928 (Gosho) Doris and Doreen, 1978 (Frears) Dornr?schen, 1917 (Leni) Doroga v ad. See Tol’ko Raz v Godu, 1914 Dorogoi moi chelovek, 1958 (Hei?tz) Dorogoi tsenoi, 1957 (Donskoi) Dorothea Angermann, 1959 (Siodmak) Dorothys Bekenntnis, 1921 (Curtiz) Dos putas, o, Historia de amor que termina en boda, 1974 (Almodóvar) Dos rostros y una sola imagen, 1984 (Alvarez) Dotkniecie, 1990 (Zanussi) Dottie Gets Spanked, 1993 (Haynes) Douaniers et contrebandiers, 1905 (Guy) Double Amour, 1925 (Epstein) Double Bed. See Lit à deux places, 1965 Double Indemnity, 1944 (Wilder) Double Jeopardy, 1999 (Beresford) Double jeu, 1916 (Feuillade) Double Knot, 1913 (Walsh) Double Life, 1947 (Cukor) Double Life of Véronique. See Podwójne ?ycie Weroniky, 1991 Double Man, 1967 (Schaffner) Double or Nothing, 1937 (Dmytryk) Double Speed, 1920 (Leroy) Double Suicide. See Shinju ten no Amijima, 1969 Double vie de Véronique. See Podwójne ?ycie Weroniky, 1991 Double Wedding, 1913 (Sennett) Double Wedding, 1937 (Mankiewicz) Doubling in the Quickies, 1932 (Sennett) Douce, 1943 (Autant-Lara) Douche aprés le bain, 1896-97 (Lumière) Dough and Dynamite, 1914 (Chaplin; Sennett) Doughboys, 1930 (Keaton) Doughnut Designer. See Dough and Dynamite, 1914 Doulos, 1963 (Melville) Douro, faina ?uvial, 1931 (Oliveira) Dov’è la libertà, 1953 (Rossellini) Dow Rahehal Baraye yek Massaleh, 1975 (Kiarostami) Down among the Sheltering Palms, 1952 (Goulding) Down and Dirty. See Brutti, sporchi e cattivi, 1976 Down by Law, 1986 (Jarmusch) Down Home, 1920 (Franklin) Down Memory Lane, 1949 (Sennett) Down on the Farm, 1920 (Sennett) Down to Earth, 1917 (Fleming) Down to the Sea in Shoes, 1923 (Sennett) Down with the Fences. See Dole plotovi, 1962 FILM TITLE INDEXDIRECTORS, 4 th EDITION 1181 Downfall of Osen. See Orizuru osen, 1934 Downhill, 1927 (Hitchcock) Dozen Socks, 1927 (Sennett) Dr. Akagi. See Kanzo Sensei, 1998 Dr. Bish Remedies I, 1990 (Baillie) Dr. Bish Remedies II, 1987-present (Baillie) Dr. Broadway, 1942 (Mann) Dr. Bull, 1933 (Ford) Dr. Crippen, 1962 (Roeg) Dr. Cyclops, 1940 (Schoedsack) Dr. Ehrlich’s Magic Bullet. See Story of Dr. Ehrlich’s Magic Bullet, 1940 Dr. Endesha Ida Mae Holland, 1998 (Burnett) Dr. Goldfoot and the Girl Bombs. See Spie vengono dal semifreddo, 1966 Dr. Jekyll and Mr. Hyde, 1932 (Mamoulian) Dr. Jekyll and Mr. Hyde, 1941 (Fleming) Dr. Jekyll and Mr. Hyde. See Den skaebnesvangre Op?ndelse, 1910 Dr. Mabuse der Spieler, 1924 (Eisenstein) Dr. Mabuse, der Spieler, 1921/22 (Lang) Dr. Mabuse, the Gambler. See Dr. Mabuse, der Spieler, 1921/22 Dr. Nicola, 1909 (Blom) Dr. Nicola I (Den skjulte Skat), 1909 (Blom) Dr. Nicola III, 1909 (Blom) Dr. Nicola in Tibet. See Dr. Nicola III, 1909 Dr. Pulder Sows Poppies, When the Poppies Bloom Again. See Dokter Pulder zaait papavers, 1975 Dr. Strangelove: Or, How I Learned to Stop Worrying and Love the Bomb, 1964 (Kubrick) Dr. T and the Women, 2000 (Altman) Dracula, 1931 (Browning) Dracula, 1979 (Badham) Dracula 2000, 2000 (Craven) Dracula and Son. See Dracula pere et ?ls, 1977 Dracula cerca sangue di vergine e . . . morì di sete!!, Blood for Dracula. See Andy Warhol’s Dracula, 1974 Dracula: Dead and Loving It, 1995 (Brooks) Dracula pere et ?ls, 1977 (Breillat) Dracula Rising, 1993 (Corman) Drag Harlan, 1920 (Franklin) Drag Net, 1928 (von Sternberg) Dragnet Girl. See Hijosen no onna, 1933 Dragon Gate. See Lung Men Fêng Yun, 1976 Dragon Gate Inn. See Lung Men K’o Chan, 1967 Dragon of Komodo. See Draken p? Komodo, 1937/38 Dragon Tamers, 1974 (Woo) Dragon Town Story. See Lung sing jing yuet, 1997 Dragon: The Bruce Lee Story, 1993 (Badham) Dragonen, 1925 (Blom) Dragones de Ha-Long, 1976 (Alvarez) Dragon?re, 1993 (Corman) Dragons de Villars, 1900/07 (Guy) Dragonwyck, 1946 (Mankiewicz) Dragotsennye zerna, 1948 (Hei?tz) Draken p? Komodo, 1937/38 (Fej?s) Drama von Mayerling. See Trag?die im Hause Habsburg, 1924 Dramatic School, 1938 (Leroy) Drame au Chateau d’Acre, 1915 (Gance) Drame au pays basque, 1913 (Feuillade) Drame de Shanghai, 1938 (Pabst) Dramma della gelosia—Tutti i particolari in cronaca, 1970 (Scola) Dranem, 1900/07 (Guy) Drastic Demise, 1945 (Anger) Draughtsman’s Contract, 1982 (Greenaway) Dravci, 1948 (Weiss) Drawing Flies, 1996 (Smith) Dream. See His Prehistoric Past, 1914 Dream about a House. See Alom a házr?l, 1971 Dream Flight. See Polioty vo sne naiavou, 1983 Dream Girl, 1916 (de Mille) Dream House, 1932 (Sennett) Dream Lover, 1986 (Pakula) Dream Machine, 1983 (Jarman) Dream, NYC, The Return, The Flower, 1976 (Brakhage) Dream of a Rarebit Fiend, 1906 (Porter) Dream of David Gray. See Vampyr, 1932 Dream of Death. See D?dsdr?mmen, 1911 Dream of Love, 1928 (Niblo) Dream of Passion, 1978 (Dassin) Dream On, 1990 (Landis) Dream One, 1982 (Boorman) Dream Path of Youth. See Seishun no yumeji, 1923 Dream Street, 1921 (Grif?th) Dream Stuff, 1933 (Sennett) Dream, What Else?. See Traum, was sonst, 1994 Dream Woman, 1914 (Guy) Dreamers, 2000 (Bartel) Dreaming, 1980 (Vanderbeek) Dreaming Lips, 1937 (Lean) Dreaming Place, 1999 (Cimino) Dreams, 1990 (Kurosawa; Scorsese) Dreams. See Kvinnodr?m, 1955 Dreams of Love, 1990 (Forman) Dreams of Monte Carlo. See Monte Carlo, 1926 Dreams of Youth. See Wakodo no yume, 1928 Dreams That Money Can Buy, 1941 (Ray) Drei amerikanische LPs, 1969 (Wenders) Drei Niemandskinder, 1927 (Forst) Drei T?nze der Mary Wilford, 1920 (Wiene) Drei Unterof?ziere, 1950 (Staudte) Drei von der Tankstelle, 1955 (Forst) Dreigroschenoper, 1931 (Pabst) Dreigroschenoper, 1963 (Staudte) Dreiklang, 1938 (Sirk) Drenge, 1977 (Malmros) Dress Rehearsal. See Generalprobe, 1980 Dressed to Kill, 1980 (de Palma) Dressmaker from Paris, 1925 (Hawks) Drifter, 1988 (Corman) Drifters, 1929 (Grierson) Drifting, 1923 (Browning) Drifting Bottles, 1998 (Kaurismaki) Drifting Clouds. See Kauas Pilvet Karkaavat, 1996 Drifting Clouds. See Wakare-gumo, 1951 Driftwood, 1912 (Dwan) Driftwood, 1947 (Dwan) Driftwood. See Strandgut, 1924 Driller Killer, 1979 (Ferrara) Drink’s Lure, 1912 (Grif?th) Dritte Generation, 1979 (Fassbinder) Drive for Life, 1909 (Grif?th) Drive, He Said, 1972 (Rafelson) Driven from Home. See Austreibung, 1923 Driver, 1978 (Hill) Driver dagg faller Regn, 1946 (Zetterling) Driving Miss Daisy, 1989 (Beresford) Droga do nieba, 1958 (Zanussi) Droit à la vie, 1917 (Gance) Dr?le de drame, 1937 (Carné) DROP Squad, 1994 (Lee) Drop Zone, 1994 (Badham) Dropout Wife, 1972 (Wood, Edward D., Jr.) Droppington’s Devilish Dream, 1915 (Sennett) Droppington’s Family Tree, 1915 (Sennett) FILM TITLE INDEX DIRECTORS, 4 th EDITION 1182 Droske 519, 1909 (Blom) Drowning by Numbers, 1988 (Greenaway) Drowning Pool, 1975 (Hill) Drug Wars: The Camarena Story, 1990 (Mann) Drug Wars: The Cocaine Cartel, 1992 (Mann) Druggist’s Dilemma, 1933 (Sandrich) Drugstore Cowboy, 1989 (van Sant) Druhá směna, 1940 (Fri?) Druides, 1906 (Guy) Drum, 1938 (Korda) Drum Beat, 1954 (Daves) Drummer’s Vacation, 1912 (Sennett) Drums. See Drum, 1938 Drums along the Mohawk, 1939 (Ford) Drums of Love, 1928 (Grif?th) Drunk, 1965 (Warhol; de Antonio) Drunkard. See Konyakci, 1965 Drunkard’s Reformation, 1909 (Grif?th) Drunken Angel. See Yoidore tenshi, 1948 Dry Lake. See Kawaita mizuumi, 1960 Dry Rot, 1956 (Clayton) Dry White Season, 1989 (Palcy) Du c?té de la C?te, 1958 (Varda) Du c?té de Robinson, 1963 (Eustache) Du ?l à l’aiguille, 1924 (Grémillon) Du haut en bas, 1933 (Pabst) Du mouron pour les petits oiseaux, 1962 (Carné) Du Ri?? chez les hommes, 1955 (Dassin) Du sang de la volupté et de la mort, 1947 (Markopoulos) Du Skal Aere Din Hustru, 1925 (Dreyer) Du skal elske din Naeste, 1915 (Blom) Du sollst nicht Ehe brechen. See Thérèse Raquin, 1928 Dubarry von heute, 1927 (Korda) Duchess of Buffalo, 1926 (Franklin) Duchess of Doom. See Blacksnake!, 1973 Duck Hunter, 1922 (Sennett) Duck Soup, 1933 (McCarey) Duck, You Sucker. See Giù la testa, 1972 Dudes, 1987 (Spheeris) Due cuori felici, 1932 (de Sica) Due madri, 1938 (de Sica) Due Marines e un Generale, 1967 (Keaton) Due milioni per un sorriso, 1939 (Castellani) Due notti con Cleopatra, 1954 (Scola) Due occhi diabolici, 1990 (Romero) Due Soldi di speranza, 1952 (Castellani) Duel, 1912 (Sennett) Duel, 1939 (Clouzot) Duel, 1971 (Spielberg) Duel. See Plokhoy khoroshyi chelovek, 1973 Duel a mort, 1950 (Keaton) Duel at Kagiya Corner. See Ketto Kagiya no tsuji, 1951 Duel at Silver Creek, 1952 (Siegel) Duel in the Sun, 1946 (Franklin; Vidor; von Sternberg; Welles) Duel of a Snowy Night. See Yuki no yo ketto, 1954 Duel of the Candles, 1911 (Dwan) Duel tragique, 1904 (Guy) Duelle, 1976 (Rivette) Duellists, 1977 (Scott) Duelo de pistoleros, 1965 (Fernández) Duelo en las monta?as, 1949 (Fernández) Duet for One, 1981 (Friedkin) Duggie Fields, 1974 (Jarman) Duke of Chimney Butte, 1921 (Borzage) Duke Steps Out, 1929 (Daves) Duke’s Plan, 1909 (Grif?th) Dulces horas, 1981 (Saura) Dulcimer Street. See London Belongs to Me, 1948 Dulcy, 1923 (Franklin) Dulha Dulhan, 1964 (Kapoor) Dumb Daddies, 1928 (McCarey) Dumb Girl of Portici, 1916 (Weber) Dumb Waiter, 1928 (Sennett) Dumb Waiter, 1987 (Altman) Dumka, 1964 (Paradzhanov) Dumme sterben nicht aus. See Palmetto, 1998 Dummkopf, 1920 (Pick) Dummy, 1929 (Cromwell) Duna—halak—madarak, 1971 (Szabó) Dune, 1984 (Lynch) Dungeon, 1922 (Micheaux) Dungeon. See Scarf, 1951 Dunkel bei Tageslicht. See Nappali s?tétség, 1963 Dunkirk, 1958 (Attenborough) Dunkle Tage, 1999 (Von Trotta) Dunwich Horror, 1969 (Corman) Duped Journalist. See A becsapott újságíró, 1914 Duplicity, 1978 (Brakhage) Duplicity II, 1978 (Brakhage) Duplicity III, 1980 (Brakhage) Durante l’estate, 1971 (Olmi) Durch die Walder, durch die Auen, 1956 (Pabst) During the Plague. See Mens Pesten raser, 1913 During the Round-up, 1913 (Grif?th) During the Summer. See Durante l’estate, 1971 Durs à cuire, 1964 (Chabrol) Dusk to Dawn, 1922 (Vidor) Düsman, 1979 (Güney) Dust Be My Destiny, 1939 (Rossen) Dust in the Wind. See Lien Lien Feng Ch’eng, 1986 Dutch Gold Mine, 1911 (Sennett) Dutch Marine Corps, 1966 (Verhoeven) Dutch Master, 1995 (Seidelman) Dutch Sculpture. See Nederlandse beeldhouwkunst tijdens de late Middeleeuwen, 1951 Dùvad, 1959 (Fábri) Dva-Buldi-Dva, 1929 (Kuleshov) Dvanáct k?esel, 1933 (Fri?) Dvojrole, 1999 (Jire?) Dvorianckoe gnezdo, 1969 (Mikhalkov) Dwaj ludzie z szasa, 1958 (Polanski) Dworzec, 1980 (Kie?lowski) Dyelo Rumyantseva, 1956 (Hei?tz) Dyen schastya, 1964 (Hei?tz) Dying Swan. See Umirayushchii Lebed’, 1917 Dying Young, 1991 (Schumacher) Dynamite, 1929 (de Mille) Dynamite Anchorage. See Murder Is My Beat, 1955 Dynamite Women, 1976 (Corman) Dyrek?bt Venskab, 1912 (Blom) Dyrygent, 1979 (Wajda) Dziecko, 1973 (Kie?lowski) D? Kontrakt. See Hendes Moders L?fte, 1916 D?dssejleren or Dynamitattentatet paa Fyrtaarnet, 1911 (Holger-Madsen) E arrivato il cavaliere!, 1950 (Bava) E la nave va, 1983 (Breillat; Fellini) E=mc2, 1996 (Attenborough) E Pericoloso Sporgersi, 1984 (van Dormael) E una Domenica sera di novembre, 1981 (Wertmuller) E venne un uomo, 1965 (Olmi) Ear. See Ucho, 1969 FILM TITLE INDEXDIRECTORS, 4 th EDITION 1183 Ear. See Ucho, 1992 Early Spring. See Before Spring, 1958 Early Spring. See Soshun, 1956 Early Summer. See Bakushu, 1951 Early to Wed, 1926 (Borzage) Earrings of Madame De. See Madame de ..., 1953 Earth. See Zemlya, 1930 Earth Smiles. See Daichi wa hohoemu, 1925 Earth’s Revenge. See Den omstridte Jord, 1915 Earthbottom, 1954/6 (Romero) Earthen Aerie, 1995 (Brakhage) Earthquake in Chile. See Erdbebenin Chile, 1974 East China Sea. See Higashi Shinaki, 1968 East Is West, 1922 (Franklin) East Lynne with Variations, 1919 (Sennett) East of Eden, 1955 (Kazan) East of Shanghai. See Rich and Strange, 1932 East of Suez, 1925 (Walsh) East of Sumatra, 1953 (Boetticher) East of the Water Plug, 1924 (Sennett) East Side, West Side, 1927 (Dwan) East Side, West Side, 1950 (Leroy) Easter Egg Hunt, 1981 (Altman) Eastern Cowboy, 1911 (Dwan) Eastern Flower, 1913 (Dwan) Eastern Girl, 1912 (Dwan) Easy Go. See Free & Easy, 1930 Easy Life. See Sorpasso, 1962 Easy Living, 1937 (Sturges) Easy Living, 1949 (Tourneur) Easy on the Eyes, 1933 (Sennett) Easy Rider, 1969 (Rafelson) Easy Street, 1917 (Chaplin) Easy Street, 1928 (Micheaux) Easy to Love, 1953 (Berkeley) Easy to Take, 1936 (Dmytryk) Easy Virtue, 1927 (Hitchcock) Easy Wheels, 1989 (Raimi) Eat Drink Man Woman, 1994 (Lee) Eat My Dust!, 1976 (Bartel; Corman; Howard) Eat Your Heart Out, 1997 (Adlon) Eat Your Makeup, 1968 (Waters) Eaten Alive, 1976 (Hooper) Eating Raoul, 1982 (Bartel; Landis) Eating Too Fast, 1966 (Warhol) Eau vive, 1938 (Epstein) Eaux d’arti?ce, 1953 (Anger) Eavesdropper, 1909 (Grif?th) Eavesdropper, 1914 (Sennett) Eavesdropper. See Ojo de la cerradura, 1964 Ebreo errante, 1947 (Fellini) Ecce bombo, 1978 (Moretti) Ecce Homo, 1915 (Gance) Eccentric Dancer, 1900 (Hepworth) Eccentric Private Theatre of the Maharajah of Udaipur. See Jag Mandir, 1991 Echigo tsutsuishi oyashirazu, 1964 (Imai) Echiquier de Dieu, 1964 (Welles) Echizen take ningyo, 1963 (Yoshimura) Echo of a Song, 1913 (Dwan) Echoes from a Somber Kingdom. See Echos aus Einem Dustern Reich, 1990 Echos aus Einem Dustern Reich, 1990 (Herzog) Eci, pec, pec, 1961 (Makavejev) Eclipse, 1911 (Guy) Eclipse. See Eclisse, 1962 Eclisse, 1962 (Antonioni) Ecole, 1962 (Tanner) école communale, 1939 (Carné) école des detectives, 1934 (Delannoy) Ecole des facteurs, 1947 (Tati) Ecole des femmes, 1940 (Ophüls) écuelles, 1983 (Ouedraogo) Ecume des jours, 1968 (Miller) Ed TV, 1999 (Howard; Reiner) Ed Wood, 1994 (Burton) Ed Wood Story: The Plan 9 Companion. See Flying Saucers over Hollywood: The Plan 9 Companion, 1992 Eddie Cantor, 1929 (Florey) Eddie Presley, 1993 (Tarantino) èdes Anna, 1957 (Fábri) Edgar Allan Poe, 1909 (Grif?th) Edgar Po?, 1964-69 (Rohmer) Edge of Darkness, 1943 (Milestone; Rossen; Siegel) Edge of Eternity, 1959 (Siegel) Edge of the City, 1957 (Cassavetes; Ritt) Edge of the World, 1937 (Powell and Pressburger) Edinstvennaia, 1976 (Hei?tz) Edipo re, 1967 (Pasolini) Edison Maes Dagbog. See Nattevandreren, 1916 Edith and Marcel. See Edith et Marcel, 1982 Edith és Marlene, 1992 (Mészáros) Edith et Marcel, 1982 (Lelouch) édouard et Caroline, 1951 (Becker) Educated Evans, 1935 (Launder and Gilliat) Education professionelle des conducteurs de tramway, 1925 (Grémillon) Education sentimentale, 1962 (Astruc) Educational Fairy Tale. See Pedago?ka bajka, 1961 Edward II, 1991 (Jarman) Edward My Son, 1949 (Cukor) Edward Scissorhands, 1990 (Burton) Ee Geroiski Podvig, 1914 (Bauer) Eel. See Unagi, 1997 Een blandt mange, 1961 (Henning-Jensen) Een Hagedis Teveel. See A Lizard Too Much, 1960 Een pak slaag, 1979 (Haanstra) Eeny Meeny Miny Moe. See Ole dole doff, 1968 Ef? Briest. See Fontane Ef? Briest, 1974 Effroi, 1913 (Feuillade) Effrontée, 1985 (Miller) E-Flat Man, 1935 (Keaton) Efter Repetitioner, 1983 (Bergman) Egg-Laying Man, 1900 (Hepworth) Eggshells, 1969 (Hooper) égi bárány, 1970 (Jancsó) Eglantine, 1971 (Chabrol) Egri csillagok, 1923 (Fej?s) Egy délután Koppánymonostorban, 1955 (Jancsó) Egy kiállitás képei, 1954 (Jancsó) Egy krajcár t?rténete, 1917 (Curtiz) Egy tukor, 1971 (Szabó) Egyptian, 1954 (Curtiz) Egyptian Series, 1984 (Brakhage) Egyptian Story. See Hadota Misreya, 1982 Ehe der Maria Braun, 1978 (Fassbinder) Eien no hito, 1961 (Kinoshita) Eiga Joyu, 1987 (Ichikawa; Shindo) Eiger Sanction, 1975 (Eastwood) Eight Hours Don’t Make a Day. See Acht Stunden sind kein Tag, 1972 Eight Iron Men, 1952 (Dmytryk; Kramer) Eight Men Out, 1988 (Sayles) Eight Million Ways to Die, 1985 (Ashby) FILM TITLE INDEX DIRECTORS, 4 th EDITION 1184 Eight O’Clock Walk, 1951 (Attenborough) Eighty Days, 1944 (Jennings) Eijanaika, 1980 (Imamura) Eika Katappa, 1969 (Schroeter) Einleitung zu Arnold Schoenberg Begleit Musik zu einer Lichtspielscene, 1969 (Straub and Huillet) Einsp?nner Nr. 13. See Fiaker Nr. 13, 1926 Eisenstein in Mexico, 1933 (Eisenstein) Eisenstein’s Mexican Project, 1958 (Eisenstein) éjszaka, 1989 (Gaál) Ek Adhuri Kahani, 1972 (Sen) Ek Dil Sou Afsane, 1963 (Kapoor) Ek din achanak, 1989 (Sen) Ek Din Pratidin, 1979 (Sen) Ek Hi Rasta, 1939 (Mehboob Khan) Ekberg, 1964 (Troell) Ekpombi, 1968 (Angelopoulos) Ekspeditricen, 1911 (Blom) El, 1952 (Bu?uel) Elan, 1947 (Mehboob Khan) Elastic Affair, 1930 (Hitchcock) Eld ombord, 1923 (Sj?str?m) Eldora, 1953 (Markopoulos) Eldorado, 1921 (Autant-Lara) Eldsmiourinn, 1981 (Fridriksson) Elecciones municipales, 1970 (Guzmán) Elective Af?nities. See Af?nità elettive, 1996 Electra, 1962 (Cacoyannis) Electric Alarm, 1915 (Browning) Electric Horseman, 1979 (Pollack) Electric House, 1922 (Keaton) Electricity Cure, 1900 (Hepworth) Electri?cation de la ligne Bruxelles-Anvers, 1935 (Storck) Electri?cation de la ligne Paris-Vierzon, 1925 (Grémillon) électrocuté, 1911 (Gance) Electrocutée, 1904 (Guy) Electroshow, 1966 (Guzmán) Elegy. See A it, 1971 Elegy of the North. See Banka, 1957 Elektreia. See Szerelmem, Elektra, 1975 Element of Crime. See Forbrydelsens element, 1984 Elementary Phrases, 1994 (Brakhage) Eléna et les hommes, 1956 (Renoir; Straub and Huillet) Elephant Boy, 1937 (Crichton; Flaherty; Korda) Elephant Called Slowly, 1969 (Launder and Gilliat) Elephant God. See Joi Baba Felunath, 1978 Elephant Man, 1980 (Brooks; Lynch) Elephant Shooting the Chutes at Luna Park, 1904 (Porter) Eletjel, 1954 (Fábri) Eletünket és vérunket: Magyar rapsz?dia 1, 1978 (Jancsó) Elevator to the Gallows. See Ascenseur pour l’échafaud, 1958 Eleven Devils. See Elf Teufel, 1927 Eleventh Commandment. See Jedenácté p?ikázání, 1935 Eleventh Year. See Odinnadtsatii, 1928 Elf Teufel, 1927 (Forst; Korda) Elisa, My Love. See Elisa, vida mía, 1977 Elisa, vida mía, 1977 (Saura) Elisir d’amore, 1946 (Bava) Elite Ball, 1913 (Sennett) Elizabeth, 1998 (Attenborough) Elizabeth: The Virgin Queen. See Elizabeth, 1998 Ella Cinders, 1926 (Leroy) Elle court, elle court la banlieue, 1972 (Kurys; Miller) Ellehammer, 1957 (Roos) Ellery Queen, Master Detective, 1940 (Niblo) Elmer the Great, 1933 (Leroy) éloge de l’amour, 1999 (Godard) Eloping with Auntie, 1909 (Grif?th) Elsie Haas, femme peintre et cinéaste d’Haiti, 1985 (Faye) Elsie Haas, Haitian Woman Painter and Filmmaker. See Elsie Haas, femme peintre et cinéaste d’Haiti, 1985 Elskovs Magt, 1912 (Blom) Elskovs Mast, 1913 (Holger-Madsen) Elskovs Op?ndsomhed, 1913 (Dreyer) Elskovsleg, 1913 (Blom; Holger-Madsen) Elstree Calling, 1930 (Hitchcock) Eltávozott nap, 1968 (Mészáros) éltet? Tisza-víz, 1954 (Jancsó) Elusive Corporal. See Caporal épinglé, 1962 Elusive Pimpernel, 1950 (Powell and Pressburger) Elvis, 1979 (Carpenter) Emak-Bakia, 1926 (Ray) Embarquement pour le promenade, 1896-97 (Lumière) Emberek! Ne engedjétek!, 1954 (Jancsó) Embezzler, 1914 (Dwan) Emerald Forest, 1985 (Boorman) Emergency Call, 1933 (Mankiewicz) Emergency Squad, 1939 (Dmytryk) Emigrant, 1994 (Chahine) Emil and the Detectives, 1935 (Launder and Gilliat) Emil and the Detectives. See Emil und die Detektive, 1931 Emil und die Detektive, 1931 (Wilder) Emission. See Ekpombi, 1968 Emitai, 1971 (Sembene) Emlékezz, ifjúság, 1955 (Jancsó) Emmigrants. See Utvandrarna, 1970 Emotional Education. See Selskaya uchitelnitsa, 1947 Emperor, 1965-67 (Lucas) Emperor of the North, 1973 (Aldrich) Emperor of the North Pole. See Emperor of the North, 1973 Emperor Waltz, 1948 (Wilder) Emperor’s Baker and the Baker’s Emperor. See Císa?v peka? a Peka?uv peka?, 1951 Empire, 1964 (Warhol) Empire of Passion. See Ai no borei, 1978 Empire of the Senses. See Ai no corrida, 1976 Empire of the Sun, 1987 (Spielberg) Empire Sonrai. See Songhays, 1963 Empire Strikes Back, 1980 (Kasdan; Kershner; Lucas) Employee. See Angestellte, 1972 Employment Discrimination: The Troubleshooters, 1976 (Coolidge) Empress, 1917 (Guy) Emptied-out Grocer’s Shop. See U snědeného krámu, 1933 Empty Hands, 1924 (Fleming) Empty Table. See Shokutaku no nai ie, 1985 En Aeresoprejsning, 1914 (Holger-Madsen) En av de m?nga, 1915 (Sj?str?m) En by ved navn K?benhaven, 1960 (Roos) En Cas de malheur, 1958 (Autant-Lara) En classe, 1897/98 (Guy) En cours de route. See Utk?zben, 1979 En de zee was niet meer, 1955 (Haanstra) En el Nombre de Dios, 1986 (Guzmán) En ensom Kvinde, 1914 (Blom) En este pueblo no hay ladrones, 1964 (Bu?uel) En faction, 1902 (Guy) En fangerfamilie i Thuledistriktet, 1967 (Roos) En farlig Forbryder, 1913 (Blom) En Forbryders Liv og Levned, eller En Forbryders Memoirer, 1916 (Dreyer) En Frusen dr?m, 1997 (Troell) En Gaest fra en anden Verden. See Tugthusfange No. 97, 1914 FILM TITLE INDEXDIRECTORS, 4 th EDITION 1185 En grève, 1911/13 (Feuillade) En grov Sp?g, 1908 (Holger-Madsen) En Handfull Ris, 1938 (Fej?s) En Ho?ntrige, 1912 (Blom) En Ildpr?ve, 1915 (Holger-Madsen) En Kunstners Gennembrud, 1915 (Holger-Madsen) En Kvinde af Folket, 1909 (Blom) En kvinnas morgondag, 1930 (Goulding) En la otra isla, 1968 (Gómez) En lektion i k?rlek, 1954 (Bergman) En Lektion, 1911 (Blom) En lisant le journal, 1932 (Cavalcanti) En m?rkelig k?rlighed, 1968 (Malmros) En Moders Kaerlighed. See Den st?rste Kaerlighed, 1914 En Moders Kaerlighed. See Historien om en Moder, 1912 En Op?nders Skaebne, 1911 (Blom) En Opstandelse, 1914 (Holger-Madsen) En passion, 1969 (Bergman) En rade, 1927 (Cavalcanti) En rade, 1953 (Cavalcanti) En saelfangst i Nordgr?nland, 1955 (Henning-Jensen) En sommarsaga, 1912 (Sj?str?m) En to iu onna, 1971 (Imai) En Verden til forskel, 1989 (Von Trier) Enamorada, 1946 (Fernández) Enchanted Bicycle. See Zaczárowany rower, 1955 Enchanted Cottage, 1945 (Cromwell) Enchanted Desna. See Zacharovannaya Desna, 1965 Enchanted Drawing, 1900 (Porter) Enchanted Island, 1958 (Dwan) Enchantment, 1916 (Borzage) Encounter. See Stranger on the Prowl, 1952 Encyclopédie ?lmée—Alchimie, Azur, Absence, 1952 (Grémillon) End of a Clairvoyant. See Konec jasnovidce, 1958 End of a Prolonged Journey. See Hana no nagadosu, 1954 End of Arthur’s Marriage, 1965 (Loach) End of Battle Fire. See Senka no hate, 1950 End of Dawn, 1964 (Warhol) End of Desire. See Vie, 1958 End of Innocence. See Casa del ángel, 1957 End of St. Petersburg. See Konyets Sankt-Peterburga, 1927 End of Summer. See Kohayagawa-ke no aki, 1961 End of the Affair, 1954 (Dmytryk) End of the Affair, 1999 (Jordan) End of the Feud, 1912 (Dwan) End of the Feud, 1914 (Dwan) End of the Game. See Richter und sein Henker, 1975 End of the Good Old Days. See Kone? starych casu, 1989 End of the Night. See Koniec wojny, 1956 End of the World in Our Usual Bed in a Night Full of Rain. See Fine del mondo in una notte piena di poggia, 1978 End of Violence, 1997 (Wenders) Endangered Species, 1982 (Rudolph) Ende eines Winterm?rchens, 1977 (Syberberg) Endelig Alene, 1914 (Holger-Madsen) Endise, 1974 (Güney) Endless Desire. See Hateshinaki yokubo, 1958 Endless Love, 1981 (Zef?relli) Endless Night, 1972 (Launder and Gilliat) Endless Passion. See Hateshinaki jonetsu, 1949 Ene, mene, mink, 1977 (D?rrie) Enemigo principal, 1974 (Sanjinés) Enemy, 1928 (Niblo) Enemy. See Düsman, 1979 Enemy Air Attack. See Tekki kushu, 1943 Enemy Mine, 1985 (Petersen) Enemy of the People. See Ganashatru, 1989 Enemy of the People. See Minshu no teki, 1946 énergie et vous, 1961 (Storck) Energy First, 1955 (Anderson) Enfance nue, 1970 (Berri; Pialat) Enfant aimé, 1971 (Akerman) Enfant de la barricade. See Sur la barricade, 1907 Enfant de la roulotte, 1914 (Feuillade) Enfant de l’amour, 1929 (L’herbier) Enfant et chien, 1896-97 (Lumière) Enfant sauvage, 1969 (Miller; Truffaut) Enfants, 1985 (Duras) Enfants au bord de la mer, 1896-97 (Lumière) Enfants aux jouets, 1895 (Lumière) Enfants de la peur. See Os ?lhos do medo, 1978 Enfants de Lumière, 1995 (Miller; Sautet) Enfants du miracle, 1903/04 (Guy) Enfants du paradis, 1945 (Carné) Enfants du siècle, 1999 (Kurys) Enfants jouent a la Russie, 1995 (Godard) Enfants terribles, 1950 (Cocteau; Melville) Enfer, 1994 (Chabrol) Enforcer, 1950 (Walsh) Enforcer, 1976 (Eastwood) Engagement. See I ?danzati, 1963 Engagement Ring, 1911 (Sennett) Engagement Ring. See Konyaku yubiwa, 1950 Engineer Prite’s Project. See Proyekt inzhenera Praita, 1918 Englar alheimsins, 2000 (Fridriksson) English Potter, 1933 (Flaherty) Englishman and the Girl, 1910 (Grif?th; Sennett) Engrenage, 1919 (Feuillade) Enigma, 1987 (Rouch) Enigma, 2000 (Apted) Enigma of Kaspar Hauser. See Jeder für sich und Gott gegen alle, 1974 énigme, 1919 (Feuillade) Enigme de dix heures, 1916 (Gance) Enjo, 1958 (Ichikawa) Enlèvement en automobile et mariage précipite, 1903 (Guy) Enlightenment Guaranteed. See Erleuchtung garantiert, 2000 Enlisted Man’s Honor, 1911 (Guy) Ennemi public, 1937 (Storck) Enoch Arden, Part I, 1911 (Grif?th) Enoch Arden, Part II, 1911 (Grif?th) Enormous Changes at the Last Minute, 1985 (Sayles) Enough of It. See Et Huskors, 1914 Enough Rope. See Meurtrier, 1963 Enough Simplicity in Every Wise Man, 1923 (Eisenstein) Enrages, 1985 (Berri) Enredando sombras, 1998 (Birri; Costa-Gavras) Enrico IV, 1983 (Bellocchio) Ensayo de un crimen, 1955 (Bu?uel) Enskilda samtal, 1996 (Bergman) Entanglement. See Karami-ai, 1962 Entente cordiale, 1939 (L’herbier) Enter Laughing, 1967 (Reiner) Enterrement du Hogon, 1973 (Rouch) Entertainer, 1960 (Richardson) Enthusiasm: Symphony of the Don Basin. See Entuziazm: Simfoniia Donbassa, 1931 Entotsu no mieru basho, 1953 (Gosho) Entr’acte, 1924 (Clair; Ray) Entre la mer et l’eau douce, 1967 (Arcand) Entre Nous. See Coup de foudre, 1983 Entre tinieblas, 1983 (Almodóvar) Entuziazm: Simfoniia Donbassa, 1931 (Vertov) FILM TITLE INDEX DIRECTORS, 4 th EDITION 1186 Envers du décor: Portrait de Pierre Guffoy, 1992 (Forman) Envers du paradis, 1953 (von Stroheim) Eo kaku kodomotachi, 1955 (Hani) Epervier, 1933 (L’herbier) Ephemeral Solidity, 1993 (Brakhage) Epidemic, 1988 (Von Trier) Epilepsy, 1976 (Benegal) Epilog, 1950 (K?utner) Episode in Netherlands. See City Life, 1990 Epistemology of Jean Piaget. See Jean Piaget, 1977 Epitaph to My Love. See Waga koi no tabiji, 1961 Epitome. See Shukuzu, 1953 Epoch of Loyalty. See Kinno jidai, 1926 épreuve, 1914 (Feuillade) E’primavera, 1949 (Castellani) Equilibriste, 1902 (Guy) Equine Spy, 1912 (Guy) Equinox, 1993 (Rudolph) Equinox Flower. See Higanbana, 1958 Equipage, 1927 (Tourneur) Equus, 1977 (Lumet) Er du gr?nlaender. See Kaláliuvit, 1970 Er i bange, 1971 (Roos) Era notte a Roma, 1960 (Rossellini) Eradicating Auntie, 1909 (Grif?th) Eraserhead, 1978 (Lynch) Ercole al centro della terra, 1961 (Bava) Ercole e la regina di Lidia, 1959 (Bava) Erdbebenin Chile, 1974 (Sanders-Brahms) Eremitten. See Syndig Kaerlighed, 1915 Erendira, 1983 (Guerra) Erh Tzu Tê Ta Wan Ou, 1983 (Hou Hsiao-Hsien) Erik the Conqueror. See Invasori, 1961 Erin Brockovich, 2000 (Soderbergh) Erleuchtung garantiert, 2000 (D?rrie) Eroe dei nostri tempi, 1958 (Lattuada) Erogami no onryo, 1930 (Ozu) Eroi della Domenica, 1953 (Bava) Eros, O Basileus, 1967 (Markopoulos) Erosion, 1971 (Greenaway) Erotic Tales. See Cuentos eróticos, 1979 Erotica, 1961 (Meyer) Erótica, 1978 (Fernández) Erotica. See Amore dif?cile, 1960 Eroticon. See Erotica, 1961 Erotikon, 1920 (Stiller) Erotique, 1994 (Borden) érotique. See Erotyk, 1960 Erotyk, 1960 (Skolimowski) Errand Boy, 1961 (Lewis) Erreur de poivrot, 1904 (Guy) Erreur judiciaire, 1899/1900 (Guy) Erreur tragique, 1913 (Feuillade) Erste walzer, 1978 (D?rrie) Eruption, 1997 (Corman) Es geschah am 20 Juli, 1955 (Pabst) Es geschehen noch Wunder, 1951 (Forst) Es hilft nicht, wo Gewalt herrscht. See Nicht vers?hnt oder Es hilft nur Gewalt, wo Gewalt herrscht, 1965 Es ist nicht leicht ein Gott zu sein, 1989 (Herzog) Es leuchten die Sterne, 1938 (Forst) Es war einmal ein Walzer, 1932 (Wilder) Es werde Licht, 1917/18 (Pick) Es Werde Licht, 1918 (Dupont) Esa luz!, 1998 (Saura) Esa pareja feliz, 1951 (Bardem; García Berlanga) Escalada del chantaje, 1965 (Alvarez) Escambray, 1961 (Alvarez) Escapade de Filoche, 1915 (Feuillade) Escapade in Japan, 1957 (Eastwood) Escapades of Eva. See Eva tropí hlouposti, 1939 Escape, 1914 (Grif?th) Escape, 1925 (Florey) Escape, 1940 (Leroy) Escape, 1948 (Mankiewicz) Escape Artist, 1982 (Coppola) Escape at Dawn. See Akatsuki no dasso, 1950 Escape Episode, 1944 (Anger) Escape Episode, 1946 (Anger) Escape from Alcatraz, 1979 (Eastwood; Siegel) Escape from East Berlin. See Tunnel 28, 1962 Escape from L.A., 1996 (Bartel; Carpenter) Escape from New York, 1981 (Cameron; Carpenter) Escape in the Desert, 1944 (Florey) Escape Me Never, 1935 (Lean) Escape on the Fog, 1945 (Boetticher) Escape to Burma, 1955 (Dwan) Escape to Victory. See Victory, 1981 “Escaped the Law, But . . .’’. See Den st?rste Kaerlighed, 1914 Escapes Home. See Vtěky domü, 1980 Esconocido. See Playa prohibida, 1955 Escopeta nacional, 1978 (García Berlanga) Escort, The Wrong Blonde. See Mauvaise passe, 1999 Escuela de sordomudos, 1967 (Guzmán) Eskimo Village, 1933 (Grierson) Eskiya celladi, 1967 (Güney) Esmeralda, 1905 (Guy) Espagne 1937/Espa?a leal en armas!, 1937 (Bu?uel) Espion, 1966 (Godard) Espionage Agent, 1939 (Bacon) Espions, 1955 (Clouzot) Esrefpasali, 1966 (Güney) Essai de simulation de délire cinématographique, 1935 (Ray) Essence. See Susman, 1986 Essene, 1972 (Wiseman) Esta tierra nuestra, 1959 (Gutiérrez Alea) Estampida, 1971 (Alvarez) Este’aze, 1984 (Makhmalbaf) Esther, 1910 (Feuillade) Esther and the King, 1960 (Bava; Walsh) Estorvo, 2000 (Guerra) Estrella, 1976 (Almodóvar) Estudios para un retrato, 1978 (Leduc) E.T.—The Extraterrestrial, 1982 (Spielberg) Et ... Dieu créa la femme, 1956 (Vadim) Et ?r med Henry, 1967 (Roos) Et Bankrun. See Pressens Magt, 1913 Et Budskab til Napoleon paa Elba, 1909 (Blom) Et crac!, 1969 (Chabrol) Et forfejlet Spring. See H?jt Spil, 1913 Et Haremseventyr, 1914 (Holger-Madsen) Et Hjerte af Guld. See Hjertets Guld, 1912 Et Huskors, 1914 (Holger-Madsen) Et la lumière fut, 1989 (Ioseliani) Et Laereaar, 1914 (Blom) Et mourir de plaisir, 1960 (Vadim) Et Skud i M?rket. See Truet Lykke, 1915 Et Slot I Et Slot, 1954 (Dreyer) Et vanskeligt Valg. See Guldet og vort Hjerte, 1913 Eta del ferro, 1964 (Rossellini) était une fois la révolution. See Giù la testa, 1972 Etat de siège, 1973 (Costa-Gavras) FILM TITLE INDEXDIRECTORS, 4 th EDITION 1187 Eternal City, 1915 (Porter) Eternal Faust, 1985 (Jire?) Eternal Love, 1929 (Lubitsch) Eternal Love. See Liang Shan-po yü Chu Ying T’ai, 1963 Eternal Mother, 1911 (Grif?th) Eternal Prague, 1941 (Weiss) Eternal Rainbow. See Kono ten no niji, 1958 Eternal Return. See éternel Retour, 1943 éternel Retour, 1943 (Cocteau; Delannoy) Eternity and a Day. See Mia Aiwniothta kai Mia Mera, 1998 Ethel Gets Consent, 1914/15 (Browning) Ethel’s Teacher, 1914 (Browning) Ethnic Notions, 1986 (Riggs) étirage des ampoules électriques, 1924 (Grémillon) Etnocidio: notas sobre el Mezquital, 1978 (Leduc) étoile de mer, 1928 (Ray) étoile dispara?t, 1932 (Delannoy) étrange aventure de Lemmy Caution, 1965 (Godard) Etrange Madame X, 1951 (Grémillon) Etrange Monsieur Victor, 1938 (Grémillon) Etranger. See Straniero, 1967 Etsuraku, 1965 (Oshima) Ett Hemligt gifterma?l, 1912 (Sj?str?m) Ettore lo fusto, 1972 (de Sica) Etude, 1961 (Gaál) Etude cinégraphique sur une arabesque, 1929 (Dulac) Etudes de mouvements, 1928 (Ivens) étudiante d’aujourd’hui, 1966 (Rohmer) Euclidean Illusions, 1978 (Vanderbeek) Eugenie Grandet. See Conquering Power, 1921 Eureka, 1982 (Roeg) Europa, 1991 (Von Trier) Europa ‘51, 1952 (Fellini; Rossellini) Europa, Europa, 1990 (Holland) Europa-Postlagernd, 1918 (Dupont) Europe in the Raw, 1963 (Meyer) European Rest Cure, 1904 (Porter) Europeans, 1979 (Ivory) évènement le plus important depuis que l’homme a marché sur la lune, 1973 (Demy) Eva, 1948 (Bergman) Eva tropí hlouposti, 1939 (Fri?) Evangeliemandens Liv, 1914 (Holger-Madsen) Evangeline, 1919 (Walsh) Evangelio de las Maravillas, 1998 (Ripstein) Evangelium, 1923 (Holger-Madsen) Evariste Galois, 1965 (Astruc) évasion du mort, 1915/16 (Feuillade) Eve, 1962 (Losey) Eve and the Handyman, 1961 (Meyer) Eve of St. Mark, 1944 (Stahl) Eve’s Daughter, 1914 (Ingram) éveillé du pont de l’Alma, 1985 (Ruiz) Evelyn the Beautiful. See Den Skonne Evelyn, 1916 Even as You and I, 1917 (Weber) Even Cowgirls Get the Blues, 1994 (van Sant) Even Dwarfs Started Small. See Auch Zwerge haben klein angefangen, 1970 Evening at Abdon. See Evening at Abdon’s, 1974 Evening at Abdon’s, 1974 (Holland) Eventyr paa Fodrejsen, 1911 (Blom) Ever since Eve, 1937 (Bacon) Every Day except Christmas, 1957 (Anderson; Reisz) Every Day’s a Holiday, 1964 (Roeg) Every Man for Himself. See Sauve qui peut, 1980 Every Man for Himself and God against All. See Jeder für sich und Gott gegen alle, 1974 Every Minute Counts. See Count the Hours, 1953 Every Mother’s Son, 1919 (Walsh) Every Night at Night, 1935 (Walsh) Every Revolution Is a Throw of the Dice. See Toute révolution est un coup de dés, 1977 Every Which Way but Loose, 1978 (Eastwood) Every Woman for Herself and All for Art, 1977 (Jarman) Everybody Does It, 1949 (Goulding) Everybody Wins, 1989 (Reisz) Everybody’s Doing It, 1916 (Browning) Everybody’s Woman. See Jedermanns Frau, 1924 Everyday, 1929 (Eisenstein) Everyday Stories. See Mindennapi t?rténetek, 1955 Everyman, 1962 (Baillie) Everyone off to Jail. See Todos a la cárcel, 1993 Everyone Says I Love You, 1996 (Allen) Everything Ends Tonight. See Dnes ve?er v?echno skon?i, 1955 Everything for Sale. See Wszystko na sprzeda?, 1968 Everything That Lives. See Ikitoshi Ikerumono, 1934 Everything You Always Wanted to Know about Sex but Were Afraid to Ask, 1972 (Allen) Everything’s in Order But Nothing Works. See Tutto a posto e niente in ordine, 1974 Everywoman’s Man. See Prize?ghter and the Lady, 1933 Evil Angels. See A Cry in the Dark, 1988 Evil Dead, 1982 (Raimi) Evil Dead II, 1987 (Raimi) Evil Eye. See Ragazza che sapeva troppo, 1963 Evil Genius. See Truet Lykke, 1915 Evil Inheritance, 1912 (Dwan) Evil Men Do, 1915 (Ingram) Evita, 1996 (Parker) Ewigkeit von gestern. See Brutalit?t in Stein, 1960 Ex-Convict, 1904 (Porter) Ex-lady, 1932 (Florey) Ex-Rooster, 1932 (Sandrich) Ex-Sweeties, 1931 (Sennett) Ex-voto, 1919 (Autant-Lara) Ex-Voto. See Diable au coeur, 1927 Examination Day at School, 1910 (Grif?th) Examination, Pass Mark. See Zaliczenie, 1969 Example. See Ibret, 1971 Excalibur, 1981 (Boorman; Jordan) Excess Baggage, 1928 (Daves) Exchange Is No Robbery, 1898 (Hepworth) Exciting Courtship, 1914 (Browning) Excursion a Vueltabajo, 1965 (Gómez) Executioner. See Azrail benim, 1968 Executioner. See Verdugo, 1963 Executive Suite, 1954 (Wise) Exhumation of the Holy Remains of St. Sergius of Radonezh. See Vskrytiye moshchei Sergiya Radonezhskogo, 1919 Exhumation of the Remains of Sergius of Radonezh. See Vskrytie moschei Sergeia Radonezhskogo, 1919 Exile, 1917 (Tourneur) Exile, 1931 (Micheaux) Exile, 1947 (Ophüls) Exiled. See Aeventyrersken, 1914 Exiles. See De Lands?yktige, 1921 EXistenZ, 1999 (Cronenberg) Exode, 1910 (Feuillade) Exodus, 1960 (Preminger) Exorcist, 1973 (Friedkin) Exorcist II: The Heretic, 1977 (Boorman) FILM TITLE INDEX DIRECTORS, 4 th EDITION 1188 Exotica, 1994 (Egoyan) Expedition. See Abhijan, 1962 Experience. See Tadjrebeh, 1973 Experiment, 1943 (Fri?) Experiment in Evil. See Testament du Docteur Cordelier, 1959 Experiment Perilous, 1944 (Tourneur) Expiated Innocence. See Sonad oskuld, 1915 Expiation, 1909 (Grif?th) Expiation, 1915 (Feuillade) Exploits of an Intelligence Agent. See Podvig razvedchika, 1947 Explorers, 1985 (Dante) Explosion of a Motor Car, 1900 (Hepworth) Expostulations, 1960/62 (Romero) Express Train in a Railway Cutting, 1899 (Hepworth) Expropriación, 1973 (Ruiz) Expropriation. See Expropriación, 1973 Exquisite Sinner, 1926 (Florey; von Sternberg) Exquisite Thief, 1919 (Browning) Exterminating Angel. See ángel exterminador, 1962 Extra Girl, 1923 (Sennett) Extraordinary Adventures of Mr. West in the Land of the Bolsheviks. See Neobychainye priklucheniya Mistera Vesta v stranye bolshevikov, 1924 Extraordinary Child, 1954 (Brakhage) Extraordinary Seaman, 1968 (Frankenheimer) Extraordinary Years. See Neobyˇejná léta, 1952 Extreme Measures, 1996 (Apted) Extreme Prejudice, 1987 (Hill) Eye for an Eye, 1996 (Schlesinger) Eye Myth, 1972 (Brakhage) Eye Myth, 1981 (Brakhage) Eye of the Eagle 3, 1992 (Corman) Eye of the Vichy. See Oeil de Vichy, 1993 Eye See You, 2001 (Howard) Eyes. See Pittsburgh Documents, 1971 Eyes Do Not Want to Close at All Times or Perhaps One Day Rome Will Permit Herself to Choose in Her Turn, Othon. See Othon, 1969 Eyes in the Night, 1942 (Zinnemann) Eyes of a Stranger; Roses Are Dead; Secret Lies; Secret Lives. See Acting on Impulse, 1993 Eyes of God, 1913 (Weber) Eyes of Laura Mars, 1978 (Carpenter) Eyes of Mystery, 1918 (Browning) Eyes that Could Not Close, 1913 (Guy) Eyes That See Not, 1912 (Porter) Eyes, the Mouth. See Occhi, la bocca, 1982 Eyes Wide Shut, 1999 (Kubrick; Pollack) Eyes without a Face. See Yeux sans visages, 1959 Eyewitness. See Sudden Terror, 1970 F for Fake, 1973 (Bogdanovich; Welles) F. Murray Abraham: Man and Actor, 1987 (Jire?) Fábián Bálint találkozása Istennel, 1979 (Fábri) Fable of the Beautiful Pigeon-Fancier. See Fábula de la bella palomera, 1988 Fabrication du ciment arti?ciel, 1924 (Grémillon) Fabrication du ?l, 1924 (Grémillon) Fabryka, 1970 (Kie?lowski) Fábula de la bella palomera, 1988 (Guerra) Fabuleuse Aventure de Marco Polo, 1964 (Welles) Fabuleux voyage de l’ange, 1991 (Lefebvre) Face, 1965 (Warhol) Face. See Ansiktet, 1958 Face at the Window, 1910 (Grif?th) Face at the Window, 1912 (Guy) Face behind the Mask, 1940 (Florey) Face in the Crowd, 1957 (Kazan) Face of a Murderer. See Satsujinsha no kao, 1949 Face of Britain, 1935 (Rotha) Face of Hope, 1991 (Chytilová) Face of Scotland, 1938 (Grierson) Face-Off, 1998 (Woo) Face on the Barroom Floor, 1908 (Porter) Face on the Barroom Floor, 1914 (Chaplin; Sennett) Face on the Barroom Floor, 1923 (Ford) Face to Face. See Ansikte mot ansikte, 1976 Face to Face. See Twarza w twarz, 1968 Face Value, 1927 (Florey) Faces, 1968 (Cassavetes; Schroeter) Faces in the Dark, 1959 (Zetterling) Faces of Children. See Visages d’enfants, 1925 Faces of Switzerland. See Visages Suisse, 1990 Facing the Music, 1933 (Launder, Frank, and Sidney Gilliat) Facing the Wind. See Veter v litso, 1930 Facteur trop ferré, 1907 (Feuillade) Factory. See Fabryka, 1970 Factory Front, 1940 (Cavalcanti) Factotum. See Portaborse, 1991 Faded Lilies, 1909 (Grif?th) Fader og S?n, 1911 (Blom) Faderen, 1909 (Blom) Fadern, 1969 (Sj?berg) Fad’jal, 1979 (Faye) Fado, Majeur et Mineur, 1994 (Ruiz) Faedrenes Synd, 1914 (Blom) Fahlstrom, 1980 (Ruiz) Fahrendes Volk, 1938 (Feyder) Fahrenheit 451, 1966 (Truffaut) Fail Safe, 1964 (Lumet) Fail-Safe, 2000 (Frears) Failure, 1911 (Grif?th) Failure’s Song Is Sad. See Haizan no uta wa kanashi, 1923 Faim . . . L’ occasion . . . L’herbe tendre, 1904 (Guy) Faint Heart, 1922 (La Cava) Fainting Lover, 1931 (Sennett) Fair Co-ed, 1927 (Tourneur) Fair Exchange, 1909 (Grif?th) Fair Exchange. See Getting Acquainted, 1914 Faire-part: Musée Henri Langlois, 1997 (Rouch) Fairfax Avenue, 1949 (Lewis) Fairytale Country. See Sagolandet, 1988 Faithful, 1910 (Grif?th) Faithful Taxicab, 1913 (Sennett) Faithful unto Death. See Hjertets Guld, 1912 Faithless. See Trol?sa, 2000 Faits divers, 1923 (Autant-Lara) Fajr Yum Jadid, 1964 (Chahine) Fake Girl. See Karakuri musume, 1927 Faking with Society. See Caught in a Cabaret, 1914 Fala Brasilia, 1965 (Pereira Dos Santos) Falbalas, 1945 (Becker) Falcon and the Snowman, 1985 (Schlesinger) Falcon Strikes Back, 1943 (Dmytryk) Falcons. See Magasiskola, 1970 Fall. See A queda, 1978 Fall. See Cáida, 1959 Fall Molander, 1944 (Pabst) Fall of Mauryas. See Maurya Patan, 1929 Fall of Sodom. See Caida de Sodoma, 1974 Fall of the House of Usher, 1960 (Corman) Fall of the Roman Empire, 1964 (Mann) Fall Rosentopf, 1918 (Lubitsch) FILM TITLE INDEXDIRECTORS, 4 th EDITION 1189 Fall Tokeramo. See Polizeiakte 909, 1933 Fallen Angel, 1945 (Preminger) Fallen Angels, 1993 (Bogdanovich; Soderbergh) Fallen Champ: The Untold Story of Mike Tyson, 1993 (Kopple) Fallen Hero, 1913 (Browning) Fallen Idol, 1948 (Reed) Fallen Star, 1916 (Hepworth) Fallen Woman. See Daraku suru onna, 1967 Falling Down, 1993 (Schumacher) Falling Fire, 1997 (Corman) Falling for You, 1933 (Launder, Frank, and Sidney Gilliat) Falling Leaves, 1912 (Guy) Falling Leaves. See Listopad, 1966 Falls, 1980 (Greenaway) Falsche Arzt. See Namenlos, 1923 Falsche Bewegung, 1974 (Wenders) Falsche Ehemann, 1931 (Wilder) F?lschung, 1981 (Schl?ndorff) Falschung, 1981 (Skolimowski) False Colors, 1914 (Weber) False Evidence. See For sin Faders Skyld, 1916 False Impressions, 1932 (Sennett) False Road, 1920 (Niblo) False Roomers, 1931 (Sandrich) Falsely Accused, 1905 (Hepworth) Famalic?o, 1940 (Oliveira) Fame, 1980 (Parker) Fame Is the Spur, 1947 (Boulting) Famiglia, 1987 (Scola) Familia Dressel, 1935 (de Fuentes) Familia Pichilin, 1978 (Solanas, Fernando E., And Octavio Getino) Familia provisional, 1955 (García Berlanga) Familiar, 1973 (Solanas, Fernando E., And Octavio Getino) Family. See Famiglia, 1987 Family Business, 1984 (Akerman) Family Business, 1985 (Costa-Gavras) Family Business, 1989 (Lumet) Family Entrance, 1925 (Mccarey) Family Game. See Kazoku gemu, 1983 Family Home. See His Trysting Place, 1914 Family Honor, 1920 (Vidor) Family Jewels, 1965 (Lewis) Family Life. See Zycie rodzinne, 1970 Family Life (Wednesday’s Child), 1972 (Loach) Family Mixup, 1912 (Sennett) Family Plot, 1976 (Hitchcock) Family Portrait, 1950 (Jennings) Family Portrait, 1992 (Tian Zhuangzhuang) Family Relations. See Rodnya, 1982 Family Ties. See Rodnya, 1982 Family Troubles, 1932 (Stevens) Family Viewing, 1987 (Egoyan) Family Way, 1966 (Boulting) Family’s Honor, 1913 (Ingram) Family’s Situation. See Kazoku no jijo, 1962 Famous, 2000 (Lee) Famous All over Town, 1988 (Demme) Famous Ferguson Case, 1932 (Bacon) Famous Mrs. Fair, 1923 (Niblo) Famous Soviet Heroes. See Slava Sovetskim Geroiniam, 1938 Famous Sword Bijomaru. See Meito Bijomaru, 1945 Fan, 1949 (Preminger) Fandy, ó Fandy, 1982 (Kachyňa) Fanfare, 1958 (Haanstra) Fanfarron. See Aquí llego el valentón, 1938 Fange nr. 1, 1935 (Fej?s) Fange nr. 113, 1916 (Dreyer; Holger-Madsen) F?ngelse, 1949 (Bergman) Fangoria’s Weekend of Horrors, 1986 (Hooper) Fangschuss, 1976 (Schl?ndorff; Von Trotta) Fanny, 1932 (Pagnol) Fanny and Alexander. See Fanny och Alexander, 1982 Fanny Hill, 1964 (Meyer) Fanny och Alexander, 1982 (Bergman) Fantasia sottomarina, 1939 (Rossellini) Fantasma del convento, 1934 (de Fuentes) Fantasmi a Roma, 1960 (Scola) Fantassin Guignard, 1905 (Guy) Fantastic Tale of Naruto. See Naruto hicho, 1957 Fantasy Film Worlds of George Pal, 1985 (Dante) Fant?mas, 1931 (Fej?s) Fant?mas contre Fant?mas, Le faux magistrat, 1913/14 (Feuillade) Fant?mas, Juve contre Fant?mas, La mort qui tue, 1913/14 (Feuillade) Fant?me de la liberté, 1974 (Bu?uel) Fant?me du Moulin Rouge, 1924 (Clair) Fant?mes du chapelier, 1982 (Chabrol) Fany, 1995 (Kachyňa) Faquir, 1947 (Gutiérrez Alea) Far and Away, 1992 (Howard) Far Apart. See Contigo en la distancia, 1991 Far Call, 1929 (Dwan) Far Country, 1955 (Mann) Far from the Madding Crowd, 1967 (Roeg; Schlesinger) Far from Vietnam. See Loin du Viêt-nam, 1967 Far from Vietnam. See Loin du Vietnam, 1967 Far out Man, 1990 (Bartel) F?r?-dokument, 1969 (Bergman) F?r?-dokument 1979, 1979 (Bergman) Faraon, 1965 (Kawalerowicz) Faraway, So Close. See In weiter Ferne, so nah!, 1993 Farces de cuisinière, 1902 (Guy) Farces de Jocko, 1897/98 (Guy) Farceur, 1960 (de Broca) Farenheit 451, 1966 (Roeg) Farewell. See Proschanie s Matyoroy, 1981 Farewell, Home Sweet Home. See Adieu, plancher des vaches!, 1997 Farewell My Concubine. See Ba wang bie ji, 1993 Farewell, My Lovely, 1944 (Dmytryk) Farewell to Arms, 1932 (Borzage) Farewell to Arms, 1957 (de Sica; Huston) Farewell to Matyora. See Proschanie s Matyoroy, 1981 Farewell to Your Love. See Wadaat Hobak, 1957 Fargo, 1996 (Coen) Farkas, 1916 (Curtiz) Farmer aux Texas, 1925 (Leni) Farmer Takes a Wife, 1935 (Fleming) Farmer’s Daughter, 1940 (Daves) Farmer’s Wife, 1928 (Hitchcock) Farò da padre . . . , 1974 (Lattuada) Far’s Sorg. See Smil, 1916 Fascinating Mrs. Frances, 1909 (Grif?th) Fascination, 1922 (Goulding) Fashions for Women, 1927 (Arzner) Fashions of 1934, 1934 (Berkeley) Fast and Furious, 1939 (Berkeley) Fast and Loose, 1930 (Sturges) Fast and the Furious, 1954 (Corman) Fast Company, 1929 (Mankiewicz) Fast Company, 1978 (Cronenberg) Fast Workers, 1933 (Browning) Fast, Cheap & Out of Control, 1996 (Morris) Faster Pussycat! Kill! Kill!, 1965 (Meyer) FILM TITLE INDEX DIRECTORS, 4 th EDITION 1190 Fat City, 1972 (Huston) Fat Man and Little Boy, 1989 (Joffé) Fat Man and the Thin Man. See Gros et le maigre, 1961 Fat Wives for Thin, 1929 (Sennett) Fata Morgana, 1969 (Herzog) Fatal Chocolate, 1911 (Sennett) Fatal Flirtation, 1914 (Sennett) Fatal Glass of Beer. See Deadly Glass of Beer, 1916 Fatal Glass of Beer, 1933 (Sennett) Fatal High, 1914 (Sennett) Fatal Hour, 1908 (Grif?th) Fatal Lie. See Fru Potifar, 1911 Fatal Mallet, 1914 (Chaplin; Sennett) Fatal Mirror, 1912 (Dwan) Fatal Orchids. See Black Orchids, 1916 Fatal Passions. See Dr. Mabuse, der Spieler, 1921/22 Fatal Promise. See Chalice of Sorrow, 1916 Fatal Sweet Tooth, 1914 (Sennett) Fate, 1912 (Grif?th) Fate of a Flirt, 1925 (Lewin) Fate of Lee Khan. See Ying Ch’un Ko Chih Fêng Po, 1973 Fate’s Interception, 1912 (Grif?th) Fate’s Turning, 1910 (Grif?th) Father. See Apa, 1966 Father. See Baba, 1971 Father. See Fadern, 1969 Father Amine. See Baba Amine, 1950 Father and His Son. See Oyaji to sono ko, 1929 Father Christmas Has Blue Eyes. See Père No?l a les yeux bleus, 1966 Father Gets in the Game, 1908 (Grif?th; Sennett) Father Master. See Padre padrone, 1977 Father of the Bride, 1950 (Minnelli) Father Panchali. See Pather Panchali, 1955 Father Sergius. See Otets Sergii, 1918 Father Sorrow. See Smil, 1916 Father to Be, 1979 (Hallstrom) Father Vojtech. See Páter Vojtěch, 1928 Father Vojtech. See Pater Vojtěch, 1936 Father Was a Fullback, 1949 (Stahl) Father Washes His Children, 1974 (Asch) Fatherland, 1986 (Loach) Father’s Choice, 1913 (Sennett) Father’s Doing Fine, 1952 (Attenborough) Father’s Favorite, 1912 (Dwan) Father’s Grief. See Faderen, 1909 Father’s Little Dividend, 1951 (Minnelli) Fatiche di Ercole, 1957 (Bava) Fatima Milagrosa, 1928 (Oliveira) Fatto di sangue fra due uomini per causa di una vedova, 1978 (Wertmuller) Fatty Again, 1914 (Sennett) Fatty and Mabel Adrift, 1916 (Sennett) Fatty and Mabel at the San Diego Exposition, 1915 (Sennett) Fatty and Mabel Viewing the World’s Fair at San Francisco, 1915 (Sennett) Fatty and Minnie-He-Haw, 1914 (Sennett) Fatty and the Broadway Stars, 1915 (Sennett) Fatty and the Heiress, 1914 (Sennett) Fatty at Coney Island, 1917 (Keaton) Fatty at San Diego, 1913 (Sennett) Fatty Joins the Force, 1913 (Sennett) Fatty’s Chance Acquaintance, 1915 (Sennett) Fatty’s Day Off, 1913 (Sennett) Fatty’s Debut, 1914 (Sennett) Fatty’s Faithful Fido, 1915 (Sennett) Fatty’s Finish, 1914 (Sennett) Fatty’s Flirtation, 1913 (Sennett) Fatty’s Gift, 1914 (Sennett) Fatty’s Jonah Day, 1914 (Sennett) Fatty’s Magic Pants, 1914 (Sennett) Fatty’s New Role, 1915 (Sennett) Fatty’s Reckless Fling, 1915 (Sennett) Fatty’s Wine Party, 1914 (Sennett) Faun, 1918 (Korda) Faunovo prilis pozdni odpoledne, 1983 (Chytilová) Faust, 1900/07 (Guy) Faust, 1926 (Murnau) Faust, 1970 (Syberberg) Faust 3: Candida Albacore, 1988 (Brakhage) Faust 4, 1989 (Brakhage) Faust and Marguerite, 1900 (Porter) Faust des Riesen, 1917 (Dupont) Faust et Méphistophélès, 1903 (Guy) FaustFilm: An Opera, 1987 (Brakhage) Faustrecht der Freiheit, 1974 (Fassbinder) Faust’s Other: An Idyll, 1988 (Brakhage) Faut-il les marier?, 1932 (Clouzot) Faut Vivre Dangereusement, 1974 (Kaplan) Faute d’orthographe, 1919 (Feyder) Favoris de la Lune, 1984 (Ioseliani) Favorite Fool, 1915 (Sennett) Favorite Wife of the Maharaja II. See Maharadjaens Yndlingshustru II, 1918 Fayette, 1961 (de Sica) Fazil, 1927 (Hawks) FBI Story, 1959 (Leroy) Fear, 1912 (Dwan) Fear, 1995 (Craven) Fear. See Angst, 1954 Fear and Desire, 1953 (Kubrick) Fear and Loathing in Las Vegas, 1998 (Gilliam) Fear, Anxiety, and Depression, 1989 (Solondz) Fear City, 1984 (Ferrara) Fear Eats the Soul. See Angst essen Seele auf, 1973 Fear No Evil, 1990 (Scorsese) Fear o’ God. See Mountain Eagle, 1926 Fear of Fear. See Angst vor der Angst, 1975 Fear Strikes Out, 1957 (Mulligan; Pakula) Fearless Fagan, 1952 (Donen) Fearless Frank, 1967 (Kaufman) Fearless Vampire Killers, 1967 (Polanski) Fearless, 1993 (Weir) Fearmakers, 1958 (Tourneur) Feast, 1969 (Asch) Feast. See Utage, 1967 Feast at Zhirmunka. See Pir v Girmunka, 1941 Feast of St Jorgen. See Prazdnik svyatovo Iorgena, 1930 Feather Letter, 1953 (Xie Jin) Federal Man-Hunt, 1938 (Fuller) Fedora, 1916 (Korda) Fedora, 1978 (Wilder) Fée au printemps, 1906 (Guy) Fée aux choux, 1896 (Guy) Feedback, 1965 (Vanderbeek) Feeding Time, 1913 (Sennett) Feel My Pulse, 1928 (La Cava) Feest. See Let’s Have a Party, 1963 Feet of Clay, 1924 (de Mille) Feet of Mud, 1924 (Capra; Sennett) Fehér éjszakák, 1916 (Korda) Fehér rózsa, 1919 (Korda) Feifa Shengming, 1990 (Tian Zhuangzhuang) FILM TITLE INDEXDIRECTORS, 4 th EDITION 1191 Feind im Blut, 1931 (Ruttmann) Fekete Kapitany, 1921 (Fej?s) Felices Pascuas, 1954 (Bardem) Felicia’s Journey, 1999 (Egoyan) Félicité, 1979 (Miller) Félins, 1964 (Clément) Felix, 1987 (Sanders-Brahms; Von Trotta) Fellini: A Director’s Notebook. See Block-notes di un regista, 1969 Fellini Roma. See Roma, 1972 Fellini Satyricon. See Satyricon, 1969 Fellow Citizen. See Hamshahri, 1983 Fellows Who Ate the Elephant. See Zo o kutta renchu, 1947 Fem Kopier, 1913 (Blom) Fem raske Piger, 1933 (Holger-Madsen) Female, 1933 (Curtiz) Female: 70 Times 7. See Setenta veces siete, 1962 Female Demon. See Chokon yasha, 1928 Female Impersonator. See Masquerader, 1914 Female of the Species, 1912 (Grif?th; Weber) Female Trouble, 1974 (Waters) Femeile zilelor noastre, 1958 (Mészáros) Feminine Touch, 1941 (Mankiewicz) Femme coquette, 1955 (Godard) Femme d’à c?té, 1981 (Truffaut) Femme de l’aviateur, 1980 (Rohmer) Femme de mon pote, 1982 (Blier) Femme de Rose Hill, 1989 (Tanner) Femme disparait, 1942 (Feyder) Femme douce, 1969 (Bresson) Femme du boulanger, 1938 (Pagnol) Femme du bout de monde, 1937 (Epstein) Femme du Ganges, 1974 (Duras) Femme d’une nuit, 1930 (L’herbier) Femme ecarlate, 1968 (Chabrol) Femme en blanc se révolte. See Nouveau Journal d’une femme en blanc, 1966 Femme est une femme, 1961 (Godard) Femme et le pantin, 1958 (Duvivier) Femme fatale, 1917 (Feuillade) Femme ?dèle, 1976 (Vadim) Femme in?dèle, 1969 (Chabrol) Femme mariée, 1964 (Godard) Femme Nikita, 1990 (Besson) Femme spectacle, 1960 (Lelouch) Femmes Fatales, 1979 (Tavernier) Femmes Fatales. See Calmos, 1975 Fencing Master, 1915 (Walsh) Fencing Master. See Tateshi danpei, 1950 Fenêtre ouverte, 1952 (Storck) Feng Erh T’i T’a Ts’ai, 1980 (Hou Hsiao-Hsien) Fêng Kuei Lai Tê Jen, 1984 (Hou Hsiao-Hsien) Feng yue, 1996 (Chen Kaige) Fényes szelek, 1969 (Jancsó) Fer a cheval, 1915 (Feuillade) Ferdinand Lassalle, 1918 (Dupont) Ferdinando I, re di Napoli, 1959 (de Sica) Ferdydurke, 1991 (Skolimowski) Fér?arckép, 1964 (Gaál) Ferghana Canal, 1939 (Eisenstein) Ferieb?rn, 1952 (Roos) Fermière à Montfaucon, 1967 (Rohmer) Fernando e Carolina, 1999 (Wertmuller) Fernes Jamaica, 1969 (Fassbinder) Ferroviere, 1956 (Germi) Ferry to Hong Kong, 1959 (Welles) Fertilizzanti complessi, 1956 (Olmi) Fertiluzzanti produtti dalla Societa del Gruppo Edison, 1959 (Olmi) Festin de Balthazar, 1910 (Feuillade) Festival de Dakar, 1965 (Rouch) Festival of American Folklife, 1976 (Marshall) Fest?k városa—Szentendre, 1964 (Mészáros) Fête à Henriette, 1952 (Duvivier) Fête des Gandyi Bi à Simiri, 1977 (Rouch) Fête du Sanke, 1970-71 (Cissé) Fête espagnole, 1919 (Dulac) Fêtes de Belgiques, 1969-72 (Storck) Fêtes de novembre à Bregbo, 1966 (Rouch) Fêtes du centenaire, 1930 (Storck) Fêtes galantes, 1965 (Clair) Fetters. See Pouta, 1961 Fetus. See A Magzat, 1993 Feu!, 1937 (Delannoy) Feu follet, 1963 (Malle) Feu Mathias Pascal, 1924 (Cavalcanti; L’herbier) Feud and the Turkey, 1908 (Grif?th) Feud in the Kentucky Hills, 1912 (Grif?th) Feuerl?scher E. A. Winterstein, 1968 (Kluge) Feuertaufe, 1940 (Bu?uel) Feuerzangenbowle, 1970 (K?utner) Feux de la mer, 1948 (Epstein) Fever, 1981 (Holland) Fever. See Hore?ka, 1958 Fever: The Story of the Bomb. See Fever, 1981 Few Good Men, 1992 (Reiner) Fiaker Nr. 13, 1926 (Curtiz; Leni) Fian?ailles d’Agénor, 1916 (Feuillade) Fiancé ensorcelé, 1903 (Guy) Fiancé in sight. See Novio a la vista, 1953 Fiancée du pirate, 1969 (Kaplan ; Malle) Fiancés. See I ?danzati, 1963 Fiancés de 1914, 1914 (Feuillade) Fiancés de Séville, 1914 (Feuillade) Fibre e civilta, 1957 (Olmi) Fickle Fancy, 1920 (Sennett) Fickle Fatty’s Fall, 1915 (Sennett) Fickle Spaniard, 1911 (Sennett) Fiddler on the Roof, 1971 (Jewison) Fiddlesticks, 1926 (Capra; Sennett) Fiddling Fool, 1923 (La Cava) Fidel en la URSS, 1963 (Alvarez) Fideles Gef?ngnis, 1918 (Lubitsch) Fidélité romaine, 1911 (Feuillade) Fidelity, 1912 (Dwan) Fido’s Fate, 1916 (Sennett) Fido’s Tin-Type Tangle, 1915 (Sennett) Field, 1990 (Sheridan) Field of Fire, 1992 (Corman) Field of Honor, 1973 (Zemeckis) Fierce Creatures, 1997 (Schepisi) Fiesco, 1921 (Leni) Fiesta de Santa Barbara, 1936 (Keaton) Fiesta del diablo, 1930 (Goulding) Fièvre monte à El Pao, 1959 (Bu?uel) Fièvres, 1941 (Delannoy) Fi? tambour, 1915 (Feuillade) Fifres et tambours d’Entre-Sambre-et-Meuse, 1974-75 (Storck) Fifteen from Rome. See I mostri, 1963 Fifteen Minutes on Fifteen Years. See 15 perc 15 évr?l, 1965 Fifteen Song Traits, 1965 (Brakhage) Fifth Avenue Girl, 1939 (La Cava) Fifth Element, 1997 (Besson) Fifth Seal. See Az ?t?dik pecsét, 1976 FILM TITLE INDEX DIRECTORS, 4 th EDITION 1192 Fifty Fantastics, 1965 (Warhol) Fifty-Fifty, 1916 (Dwan) Fifty Fifty, 1998 (Akerman) Fifty–Mile Auto Contest, 1912 (Dwan) Fifty Million Frenchmen, 1931 (Bacon) Fifty Personalities, 1965 (Warhol) Fifty Years of Action!, 1986 (Schlesinger) Fig Leaves, 1926 (Hawks) Fight Club, 1999 (Fincher) Fight for Life, 1940 (Lorentz) Fight for Love, 1919 (Ford) Fight Night, 1926 (Sennett) Fighter Squadron, 1948 (Walsh) Fighting Blood, 1911 (Grif?th) Fighting Brothers, 1919 (Ford) Fighting Film Album. See Boevi kinosbornik, 1942 Fighting Film Album No. 1, 1941 (Gerasimov) Fighting Film Album no. 3. See Boyevoy kinosbornik no. 3, 1941 Fighting Film Album no. 10. See Boyevoy kinosbornik no. 10, 1942 Fighting Fluid, 1925 (Mccarey) Fighting Friends, Japanese Style. See Wasei kenka tomodachi, 1929 Fighting Heart, 1925 (Ford) Fighting Instinct. See Manden, der sejrede, 1918 Fighting Mad, 1976 (Corman; Demme) Fighting Odds, 1917 (Dwan) Fighting Pimpernel. See Elusive Pimpernel, 1950 Fighting Tooth, (Nail) and the Government, 1988 (Marshall) Figures de cire, 1912 (Tourneur) Figures in a Landscape, 1970 (Losey) Fille bien gardée, 1924 (Feuillade) Fille de D’Artagnan, 1994 (Tavernier) Fille de Jephté, 1910 (Feuillade) Fille de l’eau, 1925 (Renoir) Fille du margrave, 1912 (Feuillade) Fille du puisatier, 1940 (Pagnol) Fille et des fusils, 1964 (Lelouch) Fille revée, 1978 (Carax) Fille sur le pont, 1999 (Leconte) Filles de la concierge, 1934 (Tourneur) Filles du cantonnier, 1909 (Feuillade) Film, 1965 (Keaton) Film about a Woman Who . . . , 1974 (Rainer) Film about the Book. See Film o knjizi A.B.C., 1962 Film and Reality, 1952 (Cavalcanti) Film comme les autres, 1968 (Godard) Film-Concert Dedicated to the Twenty-?fth Anniversary of the Red Army, 1943 (Gerasimov) Film d’amore e d’anarchia, ovvero stamattina alle 10 in Via dei ?ori nella nota casa di toleranza, 1973 (Wertmuller) Film der Menschlichkeit. See I.N.R.I., 1923 Film Form No.1, 1970 (Vanderbeek) Film Form No.2, 1970 (Vanderbeek) Film für Bossak und Leacock, 1984 (Leacock) Film gegen die Volkskrankheit Krebs—jeder Achte . . . , 1941 (Ruttmann) Film Johnnie, 1914 (Chaplin; Sennett) Film Magazine of the Arts, 1963 (Mekas) Film-notities uit de Sovjet-Unie, 1930 (Ivens) Film o knjizi A.B.C., 1962 (Makavejev) Film of Love and Anarchy, or This Morning at Ten in the Via dei ?ori at the Well-known House of Tolerance. See Film d’amore e d’anarchia, ovvero stamattina alle 10 in Via dei ?ori nella nota casa di toleranza, 1973 Film ohne Titel, 1947 (K?utner) Film-Truth. See Kino-Pravda, 1922-23 Filmmaker, 1968 (Lucas) Films by Stan Brakhage: An Avant-Garde Home Movie, 1961 (Brakhage) Filmstudy—Zeedijk. See Zeedijk-Filmstudie, 1927 Fils de deux mères ou Comédie de l’innocence, 2000 (Ruiz) Fils de Gascogne, 1995 (Leacock) Fils de la sunamité, 1911 (Feuillade) Fils de l’eau, 1952 (Rouch) Fils de Locuste, 1911 (Feuillade) Fils du ?ibustier, 1922 (Feuillade) Fils du garde-chasse, 1906 (Guy) Fils du Rajah, 1931 (Autant-Lara) Fils improvisé, 1932 (Delannoy) Fin de ?esta, 1959 (Torre Nilsson) Fin de Paganini, 1910 (Gance) Fin du jour (+ co-sc): Marie Antoinette, 1938 (Duvivier) Fin du monde, 1931 (Gance) Final Accord. See Schlussakkord, 1936 Final Comedown, 1972 (Corman) Final Curtain, 1957 (Wood, Edward D., Jr.) Final Embrace, 1992 (Corman) Final Lie, 1958 (Cacoyannis) Final Pardon, 1912 (Porter) Final Settlement, 1910 (Grif?th) Final Verdict, 1914 (Walsh) Finally Sunday. See Vivement dimanche!, 1984 Finanzen des Grossherzogs, 1924 (Murnau) Find, Fix and Strike, 1941 (Cavalcanti; Crichton) Finders Keepers, 1984 (Lester) Finders Keepers, Lovers Weepers!, 1968 (Meyer) Finding Buck McHenry, 2000 (Burnett) Finding Forrester, 2000 (van Sant) Fine Clothes, 1925 (Stahl) Fine del mondo in una notte piena di poggia, 1978 (Wertmuller) Fine Feathers Make Fine Birds, 1914 (Ingram) Fine Snow, 1983 (Ichikawa) Finer Things, 1913 (Dwan) Finest Hours, 1964 (Welles) Finger of Guilt. See Intimate Stranger, 1956 Finger Prints, 1927 (Bacon) Finian’s Rainbow, 1968 (Coppola) Finis terrae, 1929 (Epstein) Finisce sempre cosí, 1939 (de Sica) Finish of Bridget McKeen, 1901 (Porter) Finished Actor, 1927 (Sennett) Finishing Touch, 1932 (Stevens) Finn and Hattie, 1931 (Mankiewicz) Finnegan, Begin Again, 1985 (Silver) Finnegan’s Bomb, 1914 (Sennett) Finyé, 1982 (Cissé) Fiole enchantée, 1902 (Guy) Fiore delle mille e una notte, 1974 (Pasolini) Fiorile, 1992 (Taviani) Fioritures, 1916 (Gance) Fire. See Aag, 1948 Fire. See Ogon, 1930 Fire Barrier, 1926 (Wyler) Fire Chief, 1916 (Sennett) Fire Island, 1974 (Jarman) Fire of Waters, 1965 (Brakhage) Fire on the Mountain, 1981 (Howard) Fire-Raisers, 1933 (Powell, Michael, and Emeric Pressburger) Fire Sale, 1977 (Reiner) Fire Within. See Feu follet, 1963 Firebugs, 1913 (Sennett) Fire?y’s Light. See Hotaru-bi, 1958 Firefox, 1982 (Eastwood) Firehawk, 1993 (Corman) Fireloop. See Caswallan Trilogy, 1986 FILM TITLE INDEXDIRECTORS, 4 th EDITION 1193 Fireman, 1916 (Bacon; Chaplin) Fireman E. A. Winterstein. See Feuerl?scher E. A. Winterstein, 1968 Fireman Save My Child, 1932 (Bacon) Firemen to the Rescue, 1903 (Hepworth) Firemen’s Ball. See Ho?í, má panenko, 1967 Fires of Baku. See Ogni Baku, 1950 Fires on the Plain. See Nobi, 1959 Fires Were Started, 1943 (Jennings) Fires Within, 1991 (Armstrong) Fireside Brewer, 1920 (Sennett) Fireside Theater, 1955 (Ford) Firewood, 1974 (Asch) Fireworks, 1947 (Anger) Fireworks over the Sea. See Umi no hanabi, 1951 Firm, 1993 (Pollack) Firma Heiratet, 1914 (Lubitsch) First and the Last. See Twenty-one Days, 1937 First Born, 1984 (Apted) First Case, Second Case. See Ghazieh-e Shekl-e Aval, Ghazieh-e Shekl-e Dou Wom, 1979 First Comes Courage, 1943 (Arzner) First Days, 1939 (Cavalcanti; Jennings) First Gentleman, 1948 (Cavalcanti) First Graders. See Avaliha, 1984 First Hundred Years, 1924 (Capra; Sennett) First Hymn to the Night-Novalis, 1994 (Brakhage) First Lad. See Pervyi paren, 1958 First Legion, 1951 (Sirk) First Love. See Hatsukoi, 1926 First Love. See Pervaya Lyubov’, 1915 First Love. See Pierwsza mi?o??, 1973 First Name: Carmen. See Prenom: Carmen, 1983 First Nudie Musical, 1976 (Howard) First Prize, 1927 (Sandrich) First Run Features, 1984 (Apted) First Time, 1951 (Tashlin) First Time. See Premiere fois, 1976 First Travelling Saleslady, 1956 (Eastwood) First Waltz. See Erste walzer, 1978 First Wave, 1998 (Coppola) First Wives Club, 1996 (Reiner) First Year, 1926 (Borzage) First Year. See Primer a?o, 1970 First Years. See Pierwsze lata, 1949 Fish Called Wanda, 1988 (Crichton) Fish in the Bathtub, 1999 (Silver) Fishe da Krin. See Tlatsche, 1939 Fisher Folks, 1911 (Grif?th) Fisher King, 1991 (Gilliam) Fishing Village. See Fiskebyn, 1919 Fishy Affair, 1913 (Sennett) Fiskebyn, 1919 (Stiller) F.I.S.T., 1978 (Jewison) Fistful of Dollars, 1964 (Eastwood) Fists in the Pocket. See I pugni in tasca, 1965 Fitzcarraldo, 1981 (Herzog) Five Branded Women. See Jovanka e le altre, 1959 Five Brothers and Sisters. See Gonin no kyodai, 1939 Five Copies. See Fem Kopier, 1913 Five Days One Summer, 1982 (Zinnemann) Five Easy Pieces, 1970 (Rafelson) Five Evenings. See Pyat vecheroc, 1979 Five Fingers, 1952 (Mankiewicz) Five Graves to Cairo, 1943 (von Stroheim; Wilder) Five Last Days. See Fünf letzte Tage, 1981 Five Minutes to Live. See Door-to-Door Maniac, 1961 Five Postcards from Capital Cities, 1967 (Greenaway) Five-Star Final, 1930 (Leroy) Five-storied Pagoda. See Goju-no to, 1944 Five Thousand Fingers of Dr. T, 1953 (Kramer) Five Ways to Kill Yourself, 1987 (van Sant) Fixed Bayonets, 1951 (Fuller) Fixer, 1968 (Frankenheimer) Flame and the Arrow, 1950 (Tourneur) Flame in My Heart. See Flamme dans mon coeur, 1987 Flame of New Orleans, 1940 (Clair) Flame Within, 1935 (Goulding) Flamenco, 1995 (Saura) Flames of Royal Love. See V ?áru královské lásky, 1991 Flames over Baku. See Ogni Baku, 1950 Flaming Arrow. See Wigwam, 1911 Flaming Star, 1960 (Siegel) Flaming Sword. See Verdens Undergang, 1915 Flaming Years. See Povest plamennykh let, 1961 Flamingo Road, 1949 (Curtiz) Flamme, 1923 (Lubitsch) Flamme dans mon coeur, 1987 (Tanner) Flammes sur l’Adriatique, 1968 (Astruc) Flammesvaerdet. See Verdens Undergang, 1915 Flap, 1970 (Reed) Flash 29, 1968 (Autant-Lara) Flash of Light, 1910 (Grif?th) “Flashing Spikes”, 1962 (Ford) Flatliners, 1990 (Schumacher) Flavor of Green Tea over Rice. See Ochazuke no aji, 1952 Flawless, 1999 (Schumacher) Fledermaus ‘55. See Oh! Rosalinda, 1955 Fleet That Came to Stay, 1946 (Boetticher) Flesh, 1931 (Ford; Goulding) Flesh, 1968 (Morrissey; Warhol) Flesh and Blood, 1912 (Guy) Flesh and Blood, 1951 (Clayton) Flesh and Blood, 1985 (Verhoeven) Flesh and Blood, 1997 (Dante) Flesh and Bone, 1993 (Pollack) Flesh and Fantasy, 1943 (Duvivier) Flesh and Woman. See Grand Jeu, 1954 Flesh for Frankenstein, 1974 (Morrissey) Flesh Is Hot. See Buta to gunkan, 1961 Flesh of Morning, 1956 (Brakhage) Flesh Will Surrender. See Delitto di Giovanni Episcopo, 1947 Fleur de l’age, 1947 (Carné) Fleur des ruines, 1916 (Gance) Fleurs sauvages, 1982 (Lefebvre) Flic, 1972 (Melville) Flicker Fever, 1935 (Sennett) Flickering Flame, 1997 (Loach) Flickering Youth, 1924 (Capra; Sennett) Flickorna, 1968 (Zetterling) Fliegenden ?rzte von Ostafrika, 1969 (Herzog) Fliehende Schatten, 1922 (Pick) Flight, 1929 (Capra) Flight, 1974 (Brakhage) Flight. See Flugten, 1942 Flight Command, 1941 (Borzage) Flight from Folly, 1944 (Goulding) Flight from Life. See Har jeg Ret til at tage mit eget Liv, 1919 Flight from the Millions. See Flugten fra millionerne, 1934 Flight Nurse, 1954 (Dwan) Flight of the Eagle. See Ingenjor andrees luftfard, 1982 Flight of the Phoenix, 1965 (Aldrich; Attenborough) Flight of the Spruce Goose, 1986 (Romero) FILM TITLE INDEX DIRECTORS, 4 th EDITION 1194 Flights of Fancy. See Polioty vo sne naiavou, 1983 Flintstones, 1994 (Raimi) Flintstones in Viva Rock Vegas, 2000 (Spielberg) Flip Flops, 1923 (Sennett) Flip Out, 1983 (Bartel) Flipping, 1973 (Chabrol) Flirt, 1916 (Weber) Flirt, 1995 (Hartley) Flirtation Walk, 1934 (Borzage; Daves) Flirting, 1989 (Miller) Flirting Husband, 1912 (Sennett) Flirting in the Park, 1933 (Stevens) Flirts. See Between Showers, 1914 Flirt’s Mistake, 1914 (Sennett) Flirty Four-Flushers, 1926 (Sennett) Flirty Sleepwalker, 1932 (Sennett) Floating Away, 1998 (Badham) Floating Vessel. See Ukifune, 1957 Floating Weeds. See Ukigusa, 1959 Flocons d’or, 1976 (Schroeter) Flood. See Povodeň, 1958 Flooded Out. See Inundados, 1961 Floods of Fear, 1958 (Crichton) Floorwalker, 1916 (Bacon; Chaplin) Flor de mi secreto, 1995 (Almodóvar) Flor silvestre, 1943 (Fernández) Florence—Days of Destruction, 1966 (Zef?relli) Florentine, 1999 (Coppola) Florentine Dagger, 1935 (Florey) Flower. See Hana, 1941 Flower Blooms. See Hana hiraku, 1948 Flower of Doom, 1917 (Ingram) Flower of My Secret. See Flor de mi secreto, 1995 Flower on the Stone. See Tsvetok no kamne, 1963 Flower Path. See Poovanam, 1969 Flowers in the Attic, 1987 (Craven) Flowers of Asphalt, 1949 (Markopoulos) Flowers of Shanghai. See Hai shang hua, 1998 Flowers of St. Francis. See Francesco—giullare di Dio, 1950 Flucht der Sch?nheit, 1915 (Wiene) Fluchtweg St. Pauli—Grossalarm fur die Davidswache, 1971 (Staudte) Flugel und fesseln, 1984 (Sanders-Brahms) Flugten, 1942 (Roos) Flugten fra Livet. See Har jeg Ret til at tage mit eget Liv, 1919 Flugten fra millionerne, 1934 (Fej?s) Flugten gennem Skyerne. See Den sande Kaerlighed, 1912 Fly, 1986 (Brooks; Cronenberg) Fly by Night, 1942 (Siodmak) Fly Me, 1972 (Corman; Dante) Flying Colors, 1917 (Borzage) Flying Doctors of East Africa. See Fliegenden ?rzte von Ostafrika, 1969 Flying down to Rio, 1933 (Fernández) Flying Dutchman. See Rotterdam-Europoort, 1966 Flying High, 1931 (Berkeley) Flying Leathernecks, 1951 (Ray) Flying Padre, 1952 (Kubrick) Flying Romeos, 1928 (Leroy) Flying Saucers over Hollywood: The Plan 9 Companion, 1992 (Dante; Raimi) Flying Saucers over the Great Littletown. See Talí?e nad Velkym Malíkovem, 1977 Flyktingar ?nner en hamn, 1945 (Henning-Jensen) Fodselsdagsgaven, 1912 (Blom) Fog, 1980 (Carpenter) Fog and Rain. See Kire no ame, 1924 Foggy Harbor. See Kiri no minato, 1923 Foiled Again, 1914 (Browning) Foiled by Fido, 1915 (Sennett) Foiling Fickle Father, 1913 (Sennett) Foire internationale de Bruxelles, 1940 (Storck) Folie des vaillants, 1925 (Dulac) Folie du Docteur Tube, 1916 (Gance) Folie ordinaire d’une ?lle de Cham, 1986 (Rouch) Folies bourgeoises, 1976 (Chabrol) Folies Masquées, 1901 (Guy) Folketingsvalg 1945, 1945 (Henning-Jensen) Folkets Ven, 1918 (Holger-Madsen) Folle, folle, folleme, Tim, 1978 (Almodóvar) F?llet, 1943 (Henning-Jensen) Follie d’estate, 1966 (Scola) Follie per l’opera, 1948 (Bava) Follow Me, 1972 (Reed) Follow the Boys, 1944 (Welles) Follow the Fleet, 1936 (Sandrich) Follow the Star, 1977 (Woo) Folly to Be Wise, 1952 (Launder, Frank, and Sidney Gilliat) Foma Gordeyev, 1959 (Donskoi) Fome de amor, 1968 (Pereira Dos Santos) Fond de l’air est rouge, 1977 (Marker) Fontane Ef? Briest, 1974 (Fassbinder) Fool, 1925 (Goulding) Fool and His Money, 1914 (Weber) Fool for Love, 1986 (Altman) Foolish Age, 1919 (Sennett) Foolish Husbands, 1929 (Sennett) Foolish Husbands. See Histoire de rire, 1941 Foolish Matrons, 1921 (Tourneur) Foolish Wives, 1921 (von Stroheim) Fools for Scandal, 1938 (Leroy) Fools of Fate, 1909 (Grif?th) Fool’s Paradise, 1921 (de Mille) Fool’s Revenge, 1909 (Grif?th) Foot and Mouth, 1955 (Anderson) Foot Film. See Volleyball, 1967 Footlight Parade, 1933 (Bacon; Berkeley) Footprints. See Stopy, 1960 Footsteps, 1973 (Parker) Footsteps in the Dark, 1941 (Bacon) Fop. See Pizhon, 1929 For a Few Dollars More. See Per qualche dollaro in più, 1965 For a Joyful Life. See Za ?ivot radostny, 1951 For a Night of Love. See Manifesto, 1989 For a Wife’s Honor, 1908 (Grif?th) For all o trampolim da Vitória, 1998 (Pereira Dos Santos) F?r att inte tala om alla dessa kvinnor, 1964 (Bergman) For Better—But Worse, 1915 (Sennett) For Better, for Worse, 1919 (de Mille) For Better or Worse, 1996 (Reiner) For de Andre. See Du skal elske din Naeste, 1915 For Ever Mozart, 1996 (Godard) For France, 1917 (von Stroheim) For Happiness. See Za schastyem, 1917 For Her Sister’s Sake. See Brillantstjernen, 1912 For His Country’s Honor. See For sit Lands Aere, 1915 For His Son, 1911 (Grif?th) For Husbands Only, 1917 (Weber) For Lizzie’s Sake, 1913 (Sennett) For Love of Gold, 1908 (Grif?th) For Love of Mabel, 1913 (Sennett) For Love of the Game, 1999 (Raimi) For Love or Money, 1969 (Wood, Edward D., Jr.) For Love or Money. See Cash, 1933 FILM TITLE INDEXDIRECTORS, 4 th EDITION 1195 For Luck. See Za Schast’em, 1917 For Marilyn, 1992 (Brakhage) For Me and My Gal, 1942 (Berkeley) For Sale a Bungalow, 1927 (Sennett) For sin Faders Skyld, 1916 (Holger-Madsen) F?r sin k?dleks skull, 1914 (Sj?str?m; Stiller) For sit Lands Aere, 1915 (Blom) For the Defense, 1930 (Cromwell) For the Good of Her Men, 1912 (Dwan) For the Love of Ludwig, 1932 (Sennett) For the Love of Man. See Lyubit cheloveka, 1972 For the Love of Mike, 1927 (Capra) For the Love of Mike, 1932 (Launder, Frank, and Sidney Gilliat) For the Love of Tillie. See Tillie’s Punctured Romance, 1914 For the Sake of a Few Lines, 1985 (Rogozhkin) For Them That Trespass, 1949 (Cavalcanti) For Those in Peril, 1944 (Crichton) For You at the Front: The Kazakhstan Front. See Tebe, Front: Kazakhstan Front, 1943 For Your Love Only. See Reifezeugnis, 1982 Forbidden, 1919 (Weber) Forbidden, 1932 (Capra) Forbidden Adventure, 1931 (Mankiewicz) Forbidden Fruit, 1921 (de Mille) Forbidden Games. See Jeux interdits, 1951 Forbidden Passage, 1941 (Zinnemann) Forbidden Room, 1914 (Dwan) Forbidden Songs. See Zakazane piosenki, 1947 Forbidden Thing, 1920 (Dwan) Forbidden to Know. See Défense de savoir, 1973 Forbidden World, 1982 (Corman) Forbrydelsens element, 1984 (Von Trier) Force of Arms, 1951 (Curtiz) Force of Evil, 1948 (Aldrich; Polonsky) Forced Bravery, 1913 (Sennett) Forced Take-Off. See Qiang xing qi fei, 1984 Forces of Nature, 1999 (Spielberg) Foreclosure, 1912 (Dwan) Foreign Affair, 1948 (Wilder) Foreign Correspondent, 1940 (Hitchcock) Foreign Skies. See Wish You Were There, 1985 Foreman and the Jury, 1913 (Sennett) Foreman Went to France, 1941 (Cavalcanti) Forest, 1931 (Gerasimov) Forest on the Hill, 1919 (Hepworth) Forêt secrète d’Afrique, 1968 (Storck) Forever Amber, 1947 (Preminger; Stahl) Forever and a Day, 1942 (Clair) Forever and a Day, 1943 (Goulding; Keaton) Forever Flirt. See Strausskiste, 1999 Forever Hollywood, 1999 (Waters) Forever in Love, Body and Soul. See Pride of the Marines, 1945 Forever Mine, 1999 (Schrader) Forever Yours. See Forget Me Not, 1936 Forever Yours. See Hub illal Abad, 1959 Forfaiture, 1937 (L’herbier) Forgerons, 1895 (Lumière) Forgery. See F?lschung, 1981 Forget Me Not, 1936 (Korda) Forgotten. See Olvidados, 1950 Forgotten Faces, 1936 (Dupont) Forgotten Prayer, 1916 (Borzage) Forgotten Silver, 1996 (Jackson) Forgotten Victory, 1939 (Zinnemann) Forjadores de la paz, 1962 (Alvarez) F?royar Faer?erne, 1961 (Roos) Forraederen, 1910 (Blom) Forrest Gump, 1994 (Zemeckis) Forsaking All Others, 1934 (Mankiewicz) Fort Apache, 1948 (Ford) Fortini/Cani, 1976 (Straub, Jean-Marie, And Danièle Huillet) Fortune, 1975 (Nichols) Fortune Cookie, 1966 (Wilder) Fortune Hunters, 1913 (Guy) Fortune Is a Woman, 1956 (Launder, Frank, and Sidney Gilliat) Fortunella, 1958 (Fellini) Forty Deuce, 1982 (Morrissey) Forty Guns, 1957 (Fuller) Forty Hearts. See Sorok serdets, 1930 Forty Little Mothers, 1940 (Berkeley) Forward Flag of Independence. See Susume dokuritsuki, 1943 Fossils. See Kaseki, 1975 Fou, 1970 (Goretta) Fou amoureaux, 1991 (Vadim) Fou de la falaise, 1916 (Gance) Foul Play, 1976 (Bardem) Found Film No.1, 1968-70 (Vanderbeek) Foundations of Progress, 1972 (Benegal) Foundling, 1915 (Dwan) Foundling of Fate. See Hittebarnet, 1916 Fountain, 1934 (Cromwell) Fountainhead, 1949 (Vidor) Fountainhead. See Izumi, 1956 Fountains of Bakhisarai, 1909 (Protazanov) Four Adventures of Reinette and Mirabelle. See Quatre Aventures de Reinette et Mirabelle, 1987 Four against the Bank. See Vier genen die bank, 1976 Four American Composers, 1983 (Greenaway) Four around a Woman. See K?mpfende Herzen, 1920 Four Bags Full. See Traversée de Paris, 1956 Four Barriers, 1937 (Cavalcanti; Grierson) Four by Four, 1965 (Troell) Four Chimneys. See Entotsu no mieru basho, 1953 Four Daughters, 1938 (Curtiz) Four Days in July, 1985 (Leigh) Four Devils, 1928 (Murnau) Four Feathers, 1929 (Schoedsack) Four Feathers, 1939 (Korda) Four Feathers. See Storm over the Nile, 1955 Four Flights to Love. See Paradis perdu, 1939 Four for Texas, 1963 (Aldrich) Four Friends, 1981 (Penn) Four Frightened People, 1934 (de Mille) Four Horsemen of the Apocalypse, 1921 (Ingram) Four Horsemen of the Apocalypse, 1962 (Minnelli) Four Hundred Blows. See Quatre Cents Coups, 1959 Four Hundred Million, 1939 (Ivens) Four Jills in a Jeep, 1944 (Niblo) Four Love Stories. See Yottsu no koi no monogatari, 1947 Four Men and a Prayer, 1938 (Ford) Four Moods. See Hsi Nu Ai Le, 1970 Four Musketeers, 1975 (Lester) Four Nights of a Dreamer. See Quatre Nuits d’un rêveur, 1971 Four Orphans, 1923 (La Cava) Four Poster, 1952 (Kramer) Four Rooms, 1995 (Tarantino) Four Seasons of Tateshina. See Tateshina no shiki, 1966 Four Sons, 1928 (Ford) Four Stars, 1967 (Warhol) Four Times about Bulgaria. See Cty?ikrát o Bulharsku, 1958 Four Times That Night. See Quante volte. . .quella notte, 1972 Four Ways Out. See Città si difende, 1951 FILM TITLE INDEX DIRECTORS, 4 th EDITION 1196 Four Wives, 1939 (Curtiz) Fourberies de Pingouin, 1916 (Feuillade) Fourbi, 1996 (Tanner) Four’s a Crowd, 1938 (Curtiz) Fourteen Hours, 1951 (Cassavetes) Fourteen’s Good, Eighteen’s Better, 1980 (Armstrong) Fourth Estate, 1940 (Rotha) Fourth Man, 1979 (Verhoeven) Fourth Marriage of Dame Margaret. See Pr?st?nkan, 1920 Fourth War, 1989 (Frankenheimer) Fox. See Faustrecht der Freiheit, 1974 Foxes of Harrow, 1947 (Stahl) Fox?re, 1987 (Schumacher) Fox?re Childwatch, 1971 (Brakhage) Foxtrot, 1975 (Ripstein) Fra Diavolo, 1912 (Guy) Fra Fyrste til Knejpevaert, 1913 (Holger-Madsen) Fra Vincenti, 1909 (Feuillade) Fragment of an Empire. See Oblomok imperii, 1929 Fragments of War, 1987 (Miller) Franc, 1994 (Mambety) Fran?ais vus par . . . , 1988 (Lynch) Fran?aise et l’amour, 1960 (Clair; Delannoy) Francesco d’Assisi, 1966 (Bellocchio) Francesco, giullare di Dio, 1949 (Fellini; Rossellini) Franches lippées, 1933 (Delannoy) Francis Bacon. See Estudios para un retrato, 1978 Francis in the Navy, 1955 (Eastwood) Francis of Assisi, 1961 (Curtiz) Francisca, 1981 (Oliveira) Franciscain de Bourges, 1967 (Autant-Lara) Fran?ois Simon—La présence, 1986 (Tanner) Fran?ois Truffaut: Portraits volés, 1993 (Astruc; Chabrol; Rohmer; Tavernier) Frank Capra, 1973 (Capra) Frank Capra’s American Dream, 1997 (Altman; Howard) Frank Hansens Glück, 1917 (Wiene) Frankenstein Unbound, 1989 (Corman) Frankenstein, 1931 (Florey; Whale) Frankenweenie, 1984 (Bartel; Burton) Franks, 1909 (Grif?th) Fr?nskild, 1951 (Bergman) Frantic, 1988 (Polanski) Frantic. See Ascenseur pour l’échafaud, 1958 Franziska, 1957 (K?utner) Fratelli, 1988 (Lattuada) Fratelli sole, sorella luna, 1972 (Wertmuller; Zef?relli) Frau am Wege, 1948 (Forst) Frau auf der Folter, 1928 (Wiene) Frau Blackburn, geb. 5 Jan. 1872, wird ge?lmt, 1967 (Kluge) Frau Dorothys Bekenntnis. See Dorothys Bekenntnis, 1921 Frau Eva, 1915 (Wiene) Frau, die jeder liebt, bist Du!, 1928 (Forst) Frau im Mond, 1929 (Lang) Frau mit dem schlechten Ruf, 1924 (Christensen) Frau mit den Orchiden, 1919 (Lang) Frau nach Mass, 1940 (K?utner) Frau über Bord, 1945 (Staudte) Frau von vierzig Jahren, 1925 (Leni) Fraud That Failed, 1913 (Dwan) Frauen in New York, 1977 (Fassbinder) Frauen sind keine Engel, 1943 (Forst) Frauenopfer, 1922 (Leni) Fr?ulein Barbier, 1915 (Wiene) Fraulein Berlin, 1983 (Jarmusch) Fr?ulein Doktor, 1968 (Lattuada) Fr?ulein F?hnrich, 1929 (Forst) Fr?ulein Piccolo, 1914 (Lubitsch) Fr?ulein Seifenschaum, 1914 (Lubitsch) Frayle, 1959 (Olmi) Freak, 1998 (Lee) Freaks, 1932 (Browning) Freaks and Geeks, 1999 (Spielberg) Freaks of the Deep, 1932 (Sennett) Freccia nel ?anco, 1945 (Lattuada) Fredaines de Pierrette, 1900 (Guy) Free and Easy, 1930 (Keaton; Niblo; de Mille) Free Fall, 1967 (Vanderbeek) Free School. See Jiyu gakko, 1951 Free Woman. See Strohfeuer, 1971 Freed ‘em and Weep, 1929 (Mccarey) Freedom Committee. See Frihedsfonden, 1945 Freedom Road, 1978 (Kadár) Freeway, 1996 (Stone) Freeway II: Confessions of a Trickbaby, 1999 (Landis) Freeze Out, 1921 (Ford) Frei bis zum n?chsten Mal, 1969 (Fassbinder) Freiheit, 1965-67 (Lucas) Freiwild, 1928 (Holger-Madsen) Fremde, 1917 (Pick) Fremde Frau, 1950 (Staudte) French. See Gaulois, 1988 French Cancan, 1955 (Renoir; Rivette; Straub, Jean-Marie, And Danièle Huillet) French Cancan, Only the French Can. See Jeune homme a l’inauguration, 1955 French Connection, 1971 (Friedkin) French Connection II, 1975 (Frankenheimer) French Downstairs, 1916 (Weber) French Dressing, 1927 (Dwan) French Duel, 1909 (Grif?th) French Kiss, 1995 (Kasdan) French Lieutenant’s Woman, 1981 (Reisz) French Line, 1954 (Bacon) French Mistress, 1960 (Boulting) French Postcards, 1979 (Beineix) French Provincial. See Souvenirs d’en France, 1974 French, They Are a Funny Race. See Carnets du Major Thompson, 1957 French Twist. See Gazon Maudit, 1995 French Vampire in America. See Innocent Blood, 1992 French White Cargo. See Cargaison blanche, 1937 French without Tears, 1939 (Lean) Frenzy, 1972 (Hitchcock) Frenzy. See Hets, 1944 Frère de lait, 1916 (Feyder) Fresa y chocolate, 1993 (Gutiérrez Alea) Fresh Bait. See Appat, 1995 Fresh from the City, 1920 (Sennett) Freud, 1963 (Huston) Freudlose Gasse, 1925 (Pabst) Freundschaft siegt. See Naprozod mlodziezy, 1952 Fric-Frac, 1939 (Autant-Lara) Frida. See Frida: Naturaleza vita, 1984 Frida: Naturaleza vita, 1984 (Leduc) Friday the Thirteenth, 1933 (Launder, Frank, and Sidney Gilliat) Frieda, 1946 (Dearden; Zetterling) Friedemann Bach, 1950 (Staudte) Friedensfahrt. See Wyscig pokoju Warszawa-Berlin-Praga, 1952 Friend. See Przy Jaciel, 1960 Friend. See Arkadas, 1974 Friend Fleeing, 1962 (Baillie) Friend Husband, 1918 (Sennett) FILM TITLE INDEXDIRECTORS, 4 th EDITION 1197 Friend Indeed, 1938 (Zinnemann) Friend of the Family, 1909 (Grif?th) Friend of the People. See Folkets Ven, 1918 Friendly Enemies, 1942 (Dwan) Friendly Persuasion, 1956 (Wyler) Friendly; Rope Dancing, 1990 (Coolidge) Friends, 1912 (Grif?th) Friends and Lovers, 1931 (von Stroheim) Friendship Triumphs. See Naprozod mlodziezy, 1952 Frieze, an Underground Film, 1973 (Miller) Frightened Bride. See Tall Headlines, 1952 Frighteners, 1996 (Jackson; Zemeckis) Frigid Souls. See Kholodnye Dushi, 1914 Frihedsfonden, 1945 (Henning-Jensen) Friluft, 1959 (Roos) Fringe Dwellers, 1985 (Beresford) Friquet, 1912 (Tourneur) Frisco Jenny, 1933 (Wellman) Frisco Kid, 1935 (Bacon) Frisco Kid, 1979 (Aldrich) Frissons. See Shivers, 1975 Fritz Kortner spricht Faust, 1966 (Syberberg) Fritz Kortner spricht Monologe für eine Schallplatte, 1966 (Syberberg) Fritz Kortner spricht Shylock, 1966 (Syberberg) Frivolité, 1901 (Guy) Frogmen, 1951 (Bacon) Fr?ken Julie, 1951 (Sj?berg) From a Chinese Notebook. See Z ?ínsk?o zápisniku, 1954 From a Far Country, 1981 (Zanussi) From Dusk till Dawn, 1996 (Tarantino) From Dusk till Dawn 2: Texas Blood Money, 1999 (Tarantino) From Dusk till Dawn 3: The Hangman’s Daughter, 2000 (Tarantino) From Here to Eternity, 1953 (Zinnemann) From Here to Eternity. See I Should Have Stood in Bedlam, 1949 From Now On, 1920 (Walsh) From Patches to Plenty, 1915 (Sennett) From Rags to Britches, 1925 (Sennett) From Rags to Riches, 1979 (Woo) From Star Wars to Star Wars: The Story of Industrial Light & Magic, 1999 (Howard) From the City of Lodz. See Z miasta Lodzi, 1969 From the Cloud to the Resistance. See Della nube alla resistenza, 1979 From the Drain, 1967 (Cronenberg) From the Earth to the Moon, 1998 (Howard) From the Family of the Crocodilia. See Aus der Familie der Panzerechsen, 1974 From the Four Corners, 1941 (Launder, Frank, and Sidney Gilliat) From the Four Hundred to the Herd, 1912 (Dwan) From the Life of the Marionettes. See Aus dem Leben der Marionetten, 1980 From Time to Time, 1992 (Badham) Front, 1976 (Allen; Ritt) Front Page, 1931 (Milestone) Front Page, 1974 (Wilder) Front Page Woman, 1935 (Curtiz) Frontier, 1935 (Gerasimov) Frontier. See Aerograd, 1935 Frontier Marshal, 1939 (Dwan) Frontier Rangers, 1959 (Tourneur) Frontier Woman, 1955 (Howard) Frozen Dream. See En Frusen dr?m, 1997 Frozen Justice, 1929 (Dwan) Frozen Limits, 1939 (Launder, Frank, and Sidney Gilliat) Frozen North, 1922 (Keaton) Fru Potifar, 1911 (Blom) Frühlingsstimmen, 1933 (Fej?s) Fruit of Paradise. See Ovoce strom rajskych jíme, 1969 Fruits de saison, 1902 (Guy) Frumento, 1958 (Olmi) Frusta e il corpo, 1963 (Bava) Fu-Zung Cen, 1986 (Xie Jin) Fuck, 1968 (Warhol) Fuck. See Blue Movie, 1969 Fuck Me, Fuck Me, Fuck Me, Tim. See Folle, folle, folleme, Tim, 1978 Fuefuki-gawa, 1960 (Kinoshita) Fuera de aquí, 1976 (Sanjinés) Fuga, 1960 (Diegues) Fuga, 1965 (Jire?) Fuga in Francia, 1948 (Germi) Fugitive, 1910 (Grif?th) Fugitive, 1913 (Dwan) Fugitive, 1947 (Ford) Fugitive Girls, 1974 (Wood, Edward D., Jr.) Fugitive Kind, 1960 (Lumet) Fugitive Road, 1934 (von Stroheim) Fugitives. See Den sande Kaerlighed, 1912 Fugitives. See Kacaklar, 1971 Fugitives Find Shelter. See Flyktingar ?nner en hamn, 1945 Fugue de Lily, 1917 (Feuillade) Fujicho, 1947 (Kinoshita) Fukeyo koikaze, 1935 (Gosho) Fukushu suruwa ware ni ari, 1979 (Imamura) Full Body Massage, 1995 (Roeg) Full Day’s Work. See Journée bien remplie, 1972 Full Fathom Five, 1990 (Corman) Full Life. See Mitasareta seikatsu, 1962 Full Metal Jacket, 1987 (Kubrick) Full Moon in Paris. See Nuits de la pleine lune, 1984 Full Value, 1912 (Dwan) Fuller Brush Girl, 1950 (Bacon; Tashlin) Fuller Brush Man, 1947 (Tashlin) Fultah Fisher’s Boarding House, 1922 (Capra) Fumeria d’oppio, 1947 (Fellini) Fun in a Bakery Shop, 1902 (Porter) Funérailles à Bongo: Le Vieux Anai, 1979 (Rouch) Funérailles du Larle Naba, 1983 (Ouedraogo) Funeral, 1996 (Ferrara) Funeral. See Ososhiki, 1984 Funeral of Queen Victoria, 1901 (Hepworth) Fünf letzte Tage, 1981 (Adlon) Funf ver?uchten Gentlemen, 1931 (Duvivier) Fünfter Akt, siebte Szene. Fritz Kortner probt Kabale und Liebe, 1965 (Syberberg) Funhouse, 1981 (Hooper) Funivia del Faloria, 1950 (Antonioni) Funkausstellung 1971—Hitparade, 1971 (Schroeter) Funny Bones, 1995 (Lewis) Funny Face, 1957 (Donen) Funny Girl, 1968 (Wyler) Funny Old Man. See Smě?ny pán, 1969 Funny Thing Happened on the Way to the Forum, 1966 (Keaton; Lester; Roeg) Funnymooners, 1926 (Sennett) Fuoco, 1915 (Pastrone) Furies, 1950 (Mann) Furoncle, 1915 (Feuillade) Furs, 1911 (Sennett) Furusato, 1923 (Mizoguchi) Furusato, 1930 (Mizoguchi) Furusato no uta, 1925 (Mizoguchi) Fury, 1922 (Goulding) Fury, 1936 (Lang; Mankiewicz) FILM TITLE INDEX DIRECTORS, 4 th EDITION 1198 Fury, 1978 (Cassavetes; de Palma) Fury Is a Woman. See Sibirska Ledi Magbet, 1972 Furyo shonen, 1960 (Hani) Fusa, 1993 (Ichikawa) Fusée, 1933 (Tourneur) Fusen, 1956 (Imamura) Fushin no toki, 1968 (Imai) Fuss and Feathers, 1909 (Porter) Fuss and Feathers, 1918 (Niblo) Füst, 1970 (Jancsó) Futari de aruita iku-haru-aki, 1962 (Kinoshita) Futatsu doro, 1933 (Kinugasa) Future Fear, 1997 (Corman) Future of Emily. See Flugel und fesseln, 1984 Futurekick, 1991 (Corman) Future’s in the Air, 1936 (Rotha) Fuyaki shinju, 1934 (Kinugasa) Fuzen no tomoshibi, 1957 (Kinoshita) G.I. Jane, 1997 (Scott) G.m.b.H. Tenor, 1916 (Lubitsch) Gaa med mig hjem, 1941 (Christensen) Gabbeh, 1996 (Makhmalbaf) Gabbiano, 1977 (Bellocchio) Gabriel over the White House, 1933 (La Cava) Gadajace g?owy, 1980 (Kie?lowski) Gad?ies, 1976 (Brakhage) Gaétan ou le commis audacieux, Lahire ou le valet de c?ur, 1921/22 (Feuillade) Gage d’amour, 1904 (Guy) Gai Dimanche, 1935 (Tati) Gai Savoir, 1968 (Godard) Gaijo no suketchi, 1925 (Mizoguchi) Gaily, Gaily, 1969 (Ashby; Jewison) Gaites de l’escadron, 1913 (Tourneur) Gakuso o idete, 1925 (Mizoguchi) Galápagos Islands, 1938 (Leacock) Galaxie, 1966 (Markopoulos) Galaxis, 1995 (Raimi) Galaxy of Terror, 1981 (Corman) Galaxy Quest, 1999 (Spielberg) Galerie des monstres, 1924 (Cavalcanti) Galga mentén, 1954 (Jancsó) Galileo, 1975 (Losey) Gallant Journey, 1946 (Wellman) Gallant Lady, 1933 (La Cava) Galley Slave, 1915 (Ingram) Gallina clueca, 1941 (de Fuentes) Gallina muy ponedora, 1980 (Fernández) Gallipoli, 1981 (Weir) Galloping Bungalows, 1924 (Sennett) Galloping Justice, 1927 (Wyler) Gambler, 1974 (Reisz) Gamblers, 1929 (Curtiz) Gambler’s Wife. See Fra Fyrste til Knejpevaert, 1913 Gambling Rube, 1914 (Sennett) Game, 1997 (Fincher) Game. See Gra, 1968 Game in the Sand. See Spiel im Sand, 1964 Game Is Over. See Curée, 1966 Game of Death, 1946 (Wise) Game of Love. See Blé en herbe, 1953 Game of Poker, 1913 (Sennett) Game of Pool, 1913 (Sennett) Game Old Knight, 1915 (Sennett) Gamekeeper, 1979 (Loach) Games. See Jeux, 1979 Gamila Bohraid, 1958 (Chahine) Gamin de Paris, 1923 (Feuillade) Gammelion, 1967 (Markopoulos) Ganashatru, 1989 (Ray) Gandhi, 1982 (Attenborough) Ganesh Utsava, 1914/15 (Phalke) Gang Buster, 1931 (Mankiewicz) Gang in die Nacht, 1921 (Murnau) Ganga Zumba, 1964 (Diegues) Gangavataran, 1937 (Phalke) Gang’s All Here, 1943 (Berkeley) Gangs of New York, 1938 (Fuller) Gangs of New York, 2001 (Scorsese) Gangs of the Waterfront, 1938 (Fuller) Gangster, 1913 (Sennett) Gangster We Made. See Vicious Years, 1950 Gangster’s Moll. See Minbo No Onna, 1991 Ganovenehre, 1966 (Staudte) Gans von Sedan, 1959 (K?utner) Garage, 1920 (Keaton) Garbo Talks, 1984 (Lumet) Gar?on, 1983 (Sautet) Gar?on divorcé. See Mari gar?on, 1932 Gar?on sauvage, 1951 (Delannoy) Garconnière, 1960 (Petri) Gar?u, 1995 (Pialat) Garde à vue, 1981 (Miller) Garden, 1990 (Jarman) Garden of Allah, 1927 (Ingram) Garden of Delights. See Jardín de las delicias, 1970 Garden of Earthly Delights, 1981 (Brakhage) Garden of Eden, 1928 (Milestone) Garden of Luxor, 1972 (Jarman) Garden of the Finzi-Continis. See Giardino dei Finzi Contini, 1970 Garden of the Moon, 1938 (Berkeley) Garden of Women. See Onna no sono, 1954 Gardener. See Tr?dgárrdsma?staren, 1912 Gardens of Stone, 1987 (Coppola) Gardeof?zier. See Leibgardist, 1925 Gardez le sourire. See Sonnenstrahl, 1933 Gardienne du feu, 1913 (Feuillade) Gardiens de phare, 1929 (Feyder; Grémillon) Gare centrale. See Bab el Hadid, 1958 Garibaldino al convento, 1942 (de Sica) Garlands at the Foot of the Mountain, 1984 (Xie Jin) Garment Jungle, 1957 (Aldrich) Gars des vues, 1975 (Lefebvre) Gasherbrum—Der leuchtende Berg, 1984 (Herzog) Gaslight, 1944 (Cukor) Gaspards, 1973 (Miller) Gassenhauer, 1931 (Pick; Staudte) Gass-s-s-s, or It Became Necessary to Destroy the World in Order to Save It, 1970 (Corman) Gastone, 1959 (de Sica) Gatans barn, 1914 (Sj?str?m) Gate of Hell. See Jigokumon, 1953 Gates of Heaven, 1978 (Morris) Gates of Heaven. See Bramy raju, 1967 Gates of the Night. See Portes de la nuit, 1946 Gates to Paradise. See Bramy raju, 1967 Gathering of Old Men, 1987 (Schl?ndorff) Gatto, 1978 (Leone) Gattopardo, 1963 (Pollack; Visconti) Gaucho, 1927 (Fernández) Gaucho, 1964 (Scola) FILM TITLE INDEXDIRECTORS, 4 th EDITION 1199 Gaucho. See Gaucho, 1964 Gauchos judíos, 1975 (Torre Nilsson) Gaudi Afternoon, 2000 (Seidelman) Gauguin, 1950 (Resnais) Gaulois, 1988 (Herzog) Gaunt Stranger, 1938 (Launder, Frank, and Sidney Gilliat) Gauntlet, 1977 (Eastwood) Gaven. See Fodselsdagsgaven, 1912 Gavotte, 1902 (Guy) Gay Back Alley. See Yokina uramachi, 1939 Gay Deceiver, 1926 (Stahl) Gay Deception, 1934 (Wyler) Gay Defender, 1927 (La Cava) Gay Desperado, 1936 (Mamoulian) Gay Divorcee, 1934 (Sandrich) Gay Lady. See Battle of Paris, 1929 Gay Masquerade. See Benten Kozo, 1928 Gay Nineties, 1931 (Sandrich) Gay Shoe Clerk, 1903 (Porter) Gaz mortels, 1916 (Gance) Gazebo, 1960 (Hitchcock) Gazon Maudit, 1995 (Berri) Gdy spadaja anioly, 1959 (Polanski) Gee Whiz, 1920 (Sennett) Gefahren der Brautzeit/Liebesn?chte, 1929 (Forst) Gef?hrliche Spiel, 1919 (Wiene) Geheimnesse einer Seele, 1925 (Pabst) Geheimnis der Orplid. See Epilog, 1950 Geheimnis des Amerika-Docks, 1917 (Dupont) Geheimnis des blauen Zimmers, 1950 (Staudte) Geheimnisvolle Tiefen, 1949 (Pabst) Geier Wally, 1921 (Dupont; Leni) Geisha Boy, 1957 (Lewis; Tashlin) Gekka no kyojin, 1926 (Kinugasa) Geld, 1989 (D?rrie) Gelegenheitsarbeit einer Sklavin, 1973 (Kluge) Geliebte, 1927 (Wiene) Gelosia, 1953 (Germi) Gel?ste Ketten, 1916 (Wiene) Gemischte Frauenchor, 1916 (Lubitsch) GEN—Ji?í Anderle, 1993 (Jire?) GEN—Josef Skvorecky, 1993 (Jire?) GEN—Milo? Kopecky, 1995 (Jire?) Genbakuno-ko, 1952 (Shindo) Genboerne, 1939 (Henning-Jensen) Gendai no joo, 1924 (Mizoguchi) Gendarme est sans culotte, 1914 (Feuillade) Gendarme est sans pitié, 1932 (Autant-Lara) Gendarmes, 1907 (Guy) Gendre de Monsieur Poirier, 1934 (Pagnol) Généalogies d’un crime, 1997 (Ruiz) General, 1926 (Keaton) General, 1998 (Boorman) General Died at Dawn, 1936 (Milestone) General Ginsburg, 1930 (Sandrich) General Line. See Generalnaia linia, 1929 General Nogi and Kuma-san. See Nogi Taisho to Kuma-san, 1926 General Nuisance, 1941 (Keaton) General Statement on Chile. See Acta General de Chile, 1986 Generale della Rovere, 1959 (de Sica; Rossellini) Generalnaia linia, 1929 (Eisenstein) Generalprobe, 1980 (Schroeter) General’s Daughter, 1999 (Frankenheimer) Generation. See Pokolenie, 1955 Genesis, 1986 (Sen) Genesis: The Creation and the Flood, 1994 (Olmi) Genio due compari e un pollo, 1975 (Leone) Genius, 1970 (Markopoulos) Genji monogatari, 1951 (Shindo; Yoshimura) Genocide, 1985 (Welles) Genopstandelsen. See En Opstandelse, 1914 Genou de Claire, 1970 (Rohmer) Gens du mil, 1951 (Rouch) Gens du voyage, 1938 (Feyder) Gente del Po, 1947 (Antonioni) Gentle Gunman, 1952 (Dearden) Gentleman Burglar, 1908 (Porter) Gentleman Burglar, 1914 (Sennett) Gentleman Jim, 1942 (Walsh) Gentleman of Leisure, 1915 (de Mille) Gentleman of Paris, 1931 (Launder, Frank, and Sidney Gilliat) Gentleman of the Room. See Kammarjunkaren, 1913 Gentleman Tramp, 1975 (Bogdanovich) Gentleman’s Agreement, 1947 (Kazan) Gentlemen of Nerve, 1914 (Chaplin; Sennett) Gentlemen Prefer Blondes, 1953 (Hawks) Genuine, 1920 (Wiene) Geo le mysterieux, 1916 (Dulac) Geography Films Series, 1944/49 (Leacock) Geordie, 1955 (Launder, Frank, and Sidney Gilliat) George Stevens: A Filmmaker’s Journey, 1984 (Capra) George Wallace, 1997 (Frankenheimer) Georginas Gründe, 1975 (Schl?ndorff; Von Trotta) Gerald Cranston’s Lady, 1924 (Goulding) Gerald’s Film, 1976 (Jarman) Gerard Has His Hair Removed with Nair, 1967 (Warhol) Gerard Malanga Reads Poetry, 1966 (Warhol) German Sisters. See Bleierne Zeit, 1981 Germania, anno zero, 1947 (Rossellini) Germany in Autumn. See Deutschland im Herbst, 1978 Germany Nine Zero. See Allemagne Neuf Zero, 1991 Germany, Pale Mother. See Deutschland bleiche mutter, 1980 Germany, Year Zero. See Germania, anno zero, 1947 Germinal, 1993 (Berri) Germination d’un haricot, 1928 (Dulac) Geronimo: An American Legend, 1993 (Hill) Gershwin, 1992 (Resnais) Gertrud, 1964 (Dreyer) Gervais, 1956 (Clément) Geschichte des kleinen Muck, 1953 (Staudte) Geschichtsunterricht, 1972 (Straub, Jean-Marie, And Danièle Huillet) Geschlecht derer von Rinwall, 1918 (Wiene) Gespensterschiff, 1921 (Leni) Gestes du silence, 1960 (Storck) Gesu di Nazareth, 1977 (Zef?relli) Get Back, 1991 (Lester) Get Charlie Tully. See Ooh . . . You Are Awful, 1972 Get Crazy. See Flip Out, 1983 Get on the Bus, 1996 (Lee) Get out Your Handkerchiefs. See Preparez vos mouchoirs, 1977 Get Rich Quick, 1913 (Sennett) Get-Rich-Quick Wallingford, 1915 (Niblo) Get-Rich-Quick Wallingford, 1921 (Borzage) Get to Know Your Rabbit, 1972 (Welles; de Palma) Get Your Man, 1927 (Arzner) Getaway, 1972 (Hill; Peckinpah) Getaway, 1994 (Hill) Geteilte liebe, 1988 (Sanders-Brahms) Getting Acquainted, 1914 (Chaplin; Sennett) Getting Even, 1909 (Grif?th) Getting Gertie’s Garter, 1945 (Dwan) Getting His Goat. See Property Man, 1914 FILM TITLE INDEX DIRECTORS, 4 th EDITION 1200 Getting Mary Married, 1919 (Dwan) Getting of Wisdom, 1977 (Beresford) Gewalt, 1971 (Sanders-Brahms) Gewehr über, 1950 (Staudte) Gezeichneten, 1922 (Dreyer) Ghare Bahire, 1984 (Ray) Ghazieh-e Shekl-e Aval, Ghazieh-e Shekl-e Dou Wom, 1979 (Kiarostami) Ghessé hayé kish, 1999 (Makhmalbaf) Ghost, 1911 (Sennett) Ghost and Mrs. Muir, 1947 (Mankiewicz) Ghost Breaker, 1914 (de Mille) Ghost Breaker, 1922 (Leroy) Ghost Dog: The Way of the Samurai, 1999 (Jarmusch) Ghost Flower, 1918 (Borzage) Ghost Goes West, 1935 (Clair) Ghost of Folly, 1926 (Sennett) Ghost of the Variety. See Sp?gelset i Gravkaelderen, 1910 Ghost Parade, 1931 (Sennett) Ghost Story of Youth. See Seishun kaidan, 1955 Ghost Train, 1931 (Launder, Frank, and Sidney Gilliat) Ghosts, 1915 (von Stroheim) Ghosts Italian Style. See Questi fantasmi, 1967 Ghosts of Mars, 2001 (Carpenter) Ghosts of Mississippi, 1996 (Reiner) Ghosts of Rome. See Fantasmi a Roma, 1960 Giacomo l’idealista, 1942 (Lattuada) Giant, 1956 (Stevens) Giant of Marathon. See Battaglia di Maratona, 1959 Giardino dei Finzi Contini, 1970 (de Sica) Gibraltar, 1938 (von Stroheim) Gibson Goddess, 1909 (Grif?th; Sennett) Giddap, 1925 (Sennett) Giddy Age, 1932 (Sennett) Giddy, Gay and Ticklish, 1915 (Sennett) Gideon of Scotland Yard, 1959 (Ford) Gidslet, 1913 (Christensen) Gielgud: Scenes from Nine Decades, 1994 (Branagh) Gift, 1973 (Brakhage) Gift, 2000 (Raimi) Gift Horse, 1952 (Attenborough) Giftas, 1956 (Zetterling) Giftpilen, 1915 (Blom) Gigi, 1958 (Minnelli) Gilda Live, 1980 (Nichols) Gill-Women of Venus. See Voyage to the Planet of the Prehistoric Women, 1966 Gillekop, 1916 (Blom) Gillekop, 1919 (Dreyer) Gimme Shelter, 1970 (Maysles) Gin-Shinju, 1956 (Shindo) Gina, 1974 (Arcand) Ginger and Fred, 1986 (Fellini) Gingerbread Man, 1998 (Altman; Branagh) Gingham Girl, 1920 (Sennett) Ginpei from Koina. See Toina no Ginpei, 1933 Ginrei no hate, 1947 (Kurosawa) Ginza no onna, 1955 (Yoshimura) Ginza no yanagi, 1932 (Gosho) Ginza Sanshiro, 1950 (Ichikawa) Giochi di Colonia, 1958 (Olmi) Gioconda Smile. See A Woman’s Vengeance, 1948 Gion bayashi, 1953 (Mizoguchi) Gion Festival. See Gion matsuri, 1933 Gion Festival Music. See Gion bayashi, 1953 Gion matsuri, 1933 (Mizoguchi) Gion no shimai, 1936 (Mizoguchi) Giornata balorda, 1960 (Pasolini) Giornata particolare, 1977 (Scola) Giorni d’amore, 1954 (Petri) Giorni di gloria, 1945 (Visconti) Giorno della prima di Close-Up, 1996 (Moretti) Giovane Toscanini, 1988 (Zef?relli) Giovanna d’Arco al rogo, 1954 (Rossellini) Giovanni Mariti, 1958 (Pasolini) Gioventù perduta, 1947 (Germi) Gipsy Joe, 1916 (Sennett) Girl. See Den Muso, 1975 Girl. See Eltávozott nap, 1968 Girl 6, 1996 (Lee; Tarantino) Girl and Her Trust, 1912 (Grif?th) Girl and the Bronco Buster, 1911 (Guy) Girl and the Gun, 1912 (Dwan) Girl and the Outlaw, 1908 (Grif?th) Girl at Dojo Temple. See Musume Dojoji, 1946 Girl Back Home, 1912 (Dwan) Girl Can’t Help It, 1956 (Tashlin) Girl Crazy, 1929 (Sennett) Girl Crazy, 1943 (Berkeley) Girl Friend. See Kanojo, 1926 Girl from Chicago, 1932 (Micheaux) Girl from Everywhere, 1927 (Sennett) Girl from Lorraine. See Provinciale, 1980 Girl from Maxim’s, 1933 (Crichton; Korda) Girl from Nowhere, 1928 (Sennett) Girl from the Street. See Ditya Bol’shogo Goroda, 1914 Girl Getters. See System, 1964 Girl Guardian, 1916 (Sennett) Girl I Loved. See Waga koiseshi otome, 1946 Girl in Black, 1957 (Cacoyannis) Girl in Every Port, 1928 (Hawks) Girl in Number 29, 1920 (Ford) Girl in the Crowd, 1934 (Powell, Michael, And Emeric Pressburger) Girl in the Moon. See Frau im Mond, 1929 Girl in the News, 1940 (Launder, Frank, and Sidney Gilliat; Reed) Girl in the Painting. See Portrait from Life, 1949 Girl in the Tonneau, 1932 (Sennett) Girl Isn’t Allowed to Love. See Bara ikutabi, 1955 Girl Missing, 1932 (Florey) Girl Must Live, 1939 (Launder, Frank, and Sidney Gilliat; Reed) Girl of the Golden West, 1915 (de Mille) Girl of Yesterday, 1915 (Dwan) Girl on the Bridge. See Fille sur le pont, 1999 Girl on the Canal. See Painted Boats, 1945 Girl Was Young. See Young and Innocent, 1937 Girl Who Knew Too Much. See Ragazza che sapeva troppo, 1963 Girl Who Stayed at Home, 1919 (Grif?th) Girl with Green Eyes, 1964 (Richardson) Girl with the Green Eyes, 1916 (Guy) Girl with the Hat Box. See Devushka s korobkoi, 1927 Girlfriends. See Amiche, 1955 Girlfriends. See Biches, 1968 Girls, 1957 (Cukor) Girls. See Bonnes femmes, 1960 Girls. See Flickorna, 1968 Girls about Town, 1931 (Cukor) Girls and a Daddy, 1908 (Grif?th) Girl’s Folly, 1917 (Tourneur) Girls from Wilko. See Panny z Wilka, 1979 Girls in Chains, 1943 (Ulmer) Girls in Prison, 1994 (Fuller) Girls of Izu. See Izu no musumetachi, 1945 Girls on the Beach, 1965 (Corman) FILM TITLE INDEXDIRECTORS, 4 th EDITION 1201 Girls Own Story, 1984 (Campion) Girl’s Strategem, 1913 (Grif?th) Gishiki, 1971 (Oshima) Gitane, 1986 (de Broca) Gitanella, 1914 (Feuillade) Giù la testa, 1972 (Leone) Giudizio universale, 1961 (de Sica) Giulietta degli spiriti, 1965 (Fellini) Giulietta e Romeo, 1954 (Castellani) Give a Girl a Break, 1953 (Donen; Fosse) Give Her the Moon. See Caprices de Marie, 1969 Give My Regards to Broadway, 1948 (Bacon) Give Us Air. See Daesh vozkukh, 1924 Give Us Wings, 1936 (Weiss) Gives Us This Day, 1949 (Dmytryk) Glace a trois faces, 1927 (Epstein) Glad Rag Doll, 1929 (Curtiz) Gladiator, 1986 (Ferrara) Gladiator, 2000 (Scott; Spielberg) Glaedens Dag, eller Miskendt, 1918 (Dreyer) Glamorous World of the Adlon Hotel. See In der glanzvollen Welt des Hotel Adlon, 1989 Glamour, 1934 (Wyler) Glaneurs et la glaneuse, 2000 (Varda) Glas du Père Césaire, 1909 (Gance) Glas, 1958 (Haanstra) Glas Wasser, 1960 (K?utner) Glass. See Glas, 1958 Glass-Bottom Boat, 1966 (Tashlin) Glass Shield, 1994 (Burnett) Glass Works, 1914/15 (Phalke) Glassmakers of England, 1933 (Flaherty) Glaube und W?hrung, 1980 (Herzog) Glaze of Cathexis, 1990 (Brakhage) Gleaners and I. See Glaneurs et la glaneuse, 2000 Gleisdreieck, 1950 (Staudte) Glen or Glenda, 1953 (Wood, Edward D., Jr.) Glenn Miller Story, 1954 (Mann) Glimpse of Los Angeles, 1914 (Sennett) Glimpse of the San Diego Exposition, 1915 (Sennett) Glimpses of the Moon, 1923 (Dwan) Glitterbug, 1993 (Jarman) Glocken aus der Tiefe. See Bells from the Deep, 1993 Glomdalsbruden, 1926 (Dreyer) Gloria, 1977 (Autant-Lara) Gloria, 1980 (Cassavetes) Gloria, 1999 (Lumet) Glories of Iran, 1971 (Lelouch) Glorious Lady, 1919 (Goulding) Glorious Sixth of June, 1934 (Jennings) Glory at Sea. See Gift Horse, 1952 Glory! Glory!, 1988 (Anderson) Glory of the Sunset. See Yen Shuio Han, 1976 Glory on the Summit: Burning Youth. See Yama no sanka: moyuru wakamono-tachi, 1962 Glory to Us, Death to the Enemy. See Slava Nam—Smert’ Vagram, 1914 Glücklichen Jahre der Thorwalds, 1962 (Staudte) Glumov’s Film Diary. See Kinodnevik Glumova, 1923 Glutton’s Nightmare, 1901 (Hepworth) Go-Between, 1970 (Losey) Go-Getter, 1937 (Berkeley; Daves) Go into Your Dance, 1935 (Berkeley; Florey) Go West, 1925 (Keaton) Goalie’s Anxiety at the Penalty Kick. See Angst des Tormanns beim Elfmeter, 1971 Goat, 1921 (Keaton) Gobbo, 1960 (Pasolini) God Is My Co-Pilot, 1944 (Florey) God Needs Men. See Dieu a besoin des hommes, 1950 God Runs Backwards. See Isten hátrafelé megy, 1990 God Said ‘Ha!’, 1998 (Tarantino) God Shiva, 1955 (Haanstra) God Told Me To, 1976 (Corman) God Within, 1912 (Grif?th) Godchild, 1974 (Badham) Goddag b?rn. See Newborn, 1953 Goddag Dyr!, 1947 (Roos) Goddess, 1958 (Cromwell) Goddess. See Devi, 1960 Goddess of Sagebrush Gulch, 1912 (Grif?th) Godelureaux, 1961 (Chabrol) Godfather, 1972 (Coppola) Godfather, Part II, 1974 (Coppola; Corman) Godfather, Part III, 1991 (Coppola) Godless Girl, 1929 (de Mille) Godovshchina revoliutsiya, 1919 (Vertov) Gods and the Dead. See Os deuses e os mortos, 1970 God’s Country, 1946 (Keaton) God’s Country, 1985 (Malle) God’s Gift. See Wend Kuuni, 1982 God’s Gift to Women, 1931 (Curtiz) God’s Little Acre, 1958 (Mann) Gods of the Plague. See G?tter der Pest, 1969 God’s Stepchildren, 1938 (Micheaux) God’s Unfortunate, 1912 (Dwan) G?glerblod, Artists. See Trol?s, 1913 G?gleren. See Elskovs Magt, 1912 Gogo no Yuigon-jo, 1995 (Shindo) Gohatto, 1999 (Oshima) Going and Coming Back. See Partir, revenir, 1985 Going Ga-ga, 1928 (Mccarey) Going Gently, 1981 (Frears) Going Highbrow, 1935 (Florey) Going Hollywood, 1933 (Walsh) Going My Way, 1944 (Mccarey) Going Places. See Valseuses, 1973 Going Straight, 1916 (Franklin) Going Up, 1923 (Leroy) Goju-no to, 1944 (Gosho) Gokumonto, 1977 (Ichikawa) Gold and Glitter, 1912 (Grif?th) Gold Digger of Weepah, 1927 (Sennett) Gold Diggers in Paris, 1938 (Berkeley) Gold Diggers of 1933, 1933 (Berkeley; Leroy) Gold Diggers of 1935, 1935 (Berkeley) Gold Diggers of 1937, 1937 (Bacon; Berkeley) Gold Dust Gertie, 1931 (Bacon) Gold from the Gutter. See Alt paa ét Kort, 1912 Gold Ghost, 1934 (Keaton) Gold Is Not All, 1910 (Grif?th) Gold Is Where You Find It, 1938 (Curtiz) Gold Lust, 1911 (Dwan) Gold of Naples. See Oro di Napoli, 1954 Gold Rush, 1925 (Chaplin) Gold Seekers, 1910 (Grif?th) Golden Age of Comedy, 1959 (Clair) Golden Bed, 1925 (de Mille) Golden Boat, 1990 (Jarmusch; Ruiz) Golden Bowl, 2000 (Ivory) Golden Boy, 1939 (Mamoulian) Golden Button, 1986 (Rogozhkin) Golden Chance, 1915 (de Mille) FILM TITLE INDEX DIRECTORS, 4 th EDITION 1202 Golden Coach. See Carrosse d’or, 1953 Golden Demon. See Konjiki yasha, 1923 Golden Dreams, 2001 (Holland) Golden Earrings, 1947 (Polonsky) Golden Eighties. See Années 80, 1983 Golden Fern. See Zlaté kapradí, 1963 Golden Fortress. See Sonar Kella, 1974 Golden Gates. See Zolotye vorota, 1969 Golden Girl, 1951 (Bacon) Golden Gloves, 1940 (Dmytryk) Golden Hour, 1996 (Hallstrom) Golden Ilsy. See De gouden Ilsy, 1957 Golden Lake. See Goldene See, 1919 Golden Louis, 1909 (Grif?th) Golden Pavement, 1915 (Hepworth) Golden Shovel. See Aranyáso, 1914 Golden Smile. See Det gyldne Smil, 1935 Golden Supper, 1910 (Grif?th) Golden Vision, 1968 (Loach) Goldene Schmetterling, 1926 (Curtiz; Leni) Goldene See, 1919 (Lang) Gold?akes. See Flocons d’or, 1976 Gold?ocken. See Flocons d’or, 1976 Goldstein, 1964 (Kaufman) Golem, 1936 (Duvivier) Golem, l’esprit de l’exil, 1992 (Bertolucci) Golf Nut, 1927 (Sennett) Golfers, 1929 (Sennett) Golfos, 1960 (Saura) Golgotha, 1935 (Duvivier) Golod . . . golod . . . golod, 1921 (Pudovkin) Golpe de estado, 1976 (Guzmán) Golpeando en la selva, 1967 (Alvarez) G?nül kusu, 1965 (Güney) Gone to Earth, 1950 (Powell, Michael, And Emeric Pressburger) Gone with the Wind, 1939 (Cukor; Fleming; Hawks) Gonin no kyodai, 1939 (Yoshimura) Gonza, the Spearman. See Yari no Gonza, 1986 Gonzague ou L’Accordeur, 1933 (Grémillon) Goob na ?u, 1979 (Faye) Good and the Bad. See Bon et les méchants, 1975 Good Bad Man, 1916 (Dwan; Fleming) Good Day for Fighting. See Custer of the West, 1968 Good Die Young, 1954 (Clayton) Good Earth, 1937 (Fleming; Franklin; Lewin) Good Fairy, 1935 (Sturges) Good Fairy. See Zemma, 1951 Good-for-Nothing. See His New Profession, 1914 Good Grief, 1990 (Lewis) Good Humor Man, 1950 (Bacon; Tashlin) Good Land. See Nybyggarna, 1970 Good Light. See Dobré svetlo, 1985 Good Little Devil, 1913 (Porter) Good Love and the Bad, 1912 (Dwan) Good Man in Africa, 1994 (Beresford) Good Men, Good Women. See Haonan Haonu, 1995 Good Morning . . . and Goodbye!, 1967 (Meyer) Good Morning Babilonia, 1986 (Taviani) Good Morning Boys, 1937 (Launder, Frank, and Sidney Gilliat) Good Morning, Madam, 1925 (Sennett) Good Morning, Nurse!, 1925 (Sennett) Good Morning, Taipei. See Tsao an Taipei, 1977 Good Morning, Vietnam, 1988 (Levinson) Good News, 1930 (Daves) Good Night, Nurse!, 1918 (Keaton) Good Omens, 2002 (Gilliam) Good Provider, 1922 (Borzage) Good Sam, 1948 (Mccarey) Good Soldier Schweik. See Dobry voják Svejk, 1931 Good Taste, 1995 (Jackson) Good, the Bad, and the Ugly. See Buono il brutto il cattivo, 1966 Good Time Charley, 1927 (Curtiz) Good Times, 1967 (Friedkin) Good Will Hunting, 1997 (Smith; van Sant) Goodbye Again, 1933 (Curtiz) Goodbye Charlie, 1964 (Minnelli) Goodbye, Children. See Au Revoir les enfants, 1987 Goodbye, Hello. See Sayonara, konnichiwa, 1959 Goodbye Kiss, 1928 (Sennett) Goodbye Legs, 1929 (Sennett) Goodbye Lover, 1999 (Joffé) Goodbye, Mr. Chips, 1939 (Franklin) Goodbye South, Goodbye. See Nanguo zaijan, nanguo, 1996 Goodbye, Summer, 1914 (Ingram) GoodFellas, 1990 (Scorsese) Goole by Numbers, 1976 (Greenaway) Goonies, 1985 (Spielberg) Goopy Gyne Bagha Byne, 1969 (Ray) Goose Girl, 1915 (de Mille) Goose Steps Out, 1942 (Dearden) Goosed, 1999 (Coppola) Gooseland, 1926 (Sennett) Gopichand Jasoos, 1982 (Kapoor) Gopinath, 1948 (Kapoor) Gorgeous Hussy, 1936 (Mankiewicz) Gorgon, the Space Monster, 1962-70 (Carpenter) Gorgon versus Godzilla, 1962-70 (Carpenter) Gorilla, 1939 (Dwan) Gorilla, 1954/6 (Romero) Gorilla Bathes at Noon, 1993 (Makavejev) Gorillas in the Mist, 1988 (Apted) Gorizont, 1933 (Kuleshov) Gorizont, 1962 (Hei?tz) Gorky Park, 1983 (Apted) Gory o zmierzchu, 1970 (Zanussi) Goryachie dyenechki, 1935 (Hei?tz) Gosh-Darn Mortgage, 1926 (Sennett) Goskinokalender, 1923-25 (Vertov) Gospel according to Saint Matthew. See Vangelo secondo Matteo, 1964 Gospordaze, 1972 (Kie?lowski) Gosseline, 1923 (Feuillade) Gossette, 1923 (Dulac) G?sta Berlings saga, 1923 (Stiller) Got a Match, 1911 (Sennett) G?tter der Pest, 1969 (Fassbinder; Von Trotta) G?tterd?mmerung. See Caduta degli dei, 1969 Gottesgeisel, 1920 (Curtiz) Goumbe des jeunes noceurs, 1965 (Rouch) Goupi Mains rouges, 1943 (Becker) Go?ter de bébé, 1896-97 (Lumière) Goutte de sang, 1924 (Epstein) Governor, 1977 (Brakhage) Governor’s Daughter. See Guvern?rens Datter, 1912 Governor’s Daughters. See Lanksh?vdingens dottrar, 1916 Governor’s Lady, 1915 (de Mille) Gowri, 1943 (Kapoor) Goya en Burdeos, 1999 (Saura) Goyosen, 1926 (Kinugasa) Gozaresh, 1977 (Kiarostami) Gozenchu no jikanwari, 1972 (Hani) Gozideh tasvir dar doran-e Qajar, 1993 (Makhmalbaf) Gra, 1968 (Kawalerowicz) FILM TITLE INDEXDIRECTORS, 4 th EDITION 1203 Graal. See Hitler ein Film aus Deutschland, 1977 Graal. See Lancelot du Luc, 1974 Grace of God, 1997 (Cronenberg) Gracias Santiago, 1984 (Alvarez) Graciela, 1956 (Torre Nilsson) Graduate, 1967 (Nichols) Grafen Pocci—Einige Kapitel zur Geschichte einer Familie, 1967 (Syberberg) Graf?ti Blackboard. See Rakugaki kokuban, 1959 Gr??n Donelli, 1924 (Pabst) Gran calavera, 1949 (Bu?uel) Gran Casino, 1947 (Bu?uel) Gran salto al vacio, 1979 (Alvarez) Gran varietà, 1953 (de Sica) Grand barrage, 1961 (Olmi) Grand bleu, 1988 (Besson) Grand Canyon, 1991 (Kasdan) Grand Carnaval, 1985 (Besson) Grand cri d’amour, 1998 (Berri) Grand Dukes. See Grands ducs, 1996 Grand Duke’s Finances. See Finanzen des Grossherzogs, 1924 Grand Hotel, 1932 (Goulding) Grand Hotel Babylon, 1919 (Dupont) Grand Illusion. See Grande Illusion, 1937 Grand Jeu, 1934 (Feyder) Grand Jeu, 1954 (Siodmak) Grand Parade, 1930 (Goulding) Grand Prix, 1966 (Frankenheimer) Grand Refrain, 1936 (Siodmak) Grand Rue. See Calle Mayor, 1956 Grand Slam Opera, 1936 (Keaton) Grand Theft Auto, 1977 (Bartel; Corman; Dante; Howard) Grande Amour de Beethoven, 1936 (Gance) Grande attacco, 1977 (Huston) Grande Chartreuse, 1938 (Clément) Grande époque, 1959 (Clair) Grande Fille tout simple, 1947 (L’herbier) Grande Illusion, 1937 (Becker; Renoir; von Stroheim) Grande paese d’Acciaio, 1960 (Olmi) Grande Passion, 1929 (Delannoy) Grande Pastorale, 1943 (Clément) Grande strada azzurra, 1957 (Pontecorvo) Grande Vie. See Kunstseidene M?dchen, 1960 Grandes Manoeuvres, 1955 (Clair) Grandeur et Decadence d’un Petit Commerce du Cinema, 1986 (Godard) Grandi magazzini, 1939 (Castellani; de Sica) Grandma’s Girl, 1929 (Sennett) Grandmother, 1970 (Lynch) Grandmother. See A nagymama, 1916 Grandmother. See Yaaba, 1989 Grands ducs, 1996 (Leconte) Grands Moments, 1965 (Lelouch) Granpa. See Dédá?ek, 1968 Gr?nsfolken, 1913 (Stiller) Granton Trawler, 1934 (Cavalcanti; Grierson) Grapes of Wrath, 1940 (Ford) Grass, 1925 (Schoedsack) Grass Is Greener, 1960 (Donen) Grass Is Singing, 1982 (August) Gratuités, 1927 (Grémillon) Grausame Freundin, 1932 (Clouzot) Grausige N?chte, 1921 (Pick) Gravy Train, 1974 (Malick) Gray Dame. See Den graa Dame, 1909 Gray’s Anatomy, 1996 (Soderbergh) Greaser, 1915 (Walsh) Greaser and the Weakling, 1912 (Dwan) Greaser’s Gauntlet, 1908 (Grif?th) Great Adventure, 1918 (Guy) Great Beginning. See Chlen pravitelstva, 1940 Great Cargoes, 1933 (Rotha) Great Clown. See Muharraj el Kabir, 1951 Great Consoler. See Velikii uteshitel, 1933 Great Day, 1920 (Hitchcock) Great Day for Bonzo, 1974 (Apted) Great Day in Harlem, 1994 (Benton) Great Day in the Morning, 1956 (Tourneur) Great Dictator, 1940 (Chaplin) Great Ecstasy of the Sculptor Steiner. See Grosse Ekstase des Bildschnitzers Steiner, 1974 Great Escape, 1963 (Attenborough) Great Expectations, 1946 (Lean) Great Flamarion, 1945 (Mann; von Stroheim) Great Gabbo, 1929 (von Stroheim) Great Garrick, 1937 (Leroy; Whale) Great Gatsby, 1974 (Clayton; Coppola) Great Gilbert and Sullivan. See Story of Gilbert and Sullivan, 1953 Great Harmony, 1913 (Dwan) Great Imposter, 1961 (Mulligan) Great Land, 1944 (Gerasimov) Great Lie, 1941 (Goulding) Great Love, 1918 (Grif?th) Great Manhunt. See State Secret, 1950 Great Man’s Lady, 1942 (Wellman) Great McGinty, 1940 (Sturges) Great Meddler, 1940 (Zinnemann) Great Moment, 1944 (Sturges) Great North?eld Minnesota Raid, 1972 (Kaufman) Great Pearl Tangle, 1916 (Sennett) Great Pie Mystery, 1931 (Sennett) Great Problem, 1916 (Ingram) Great Redeemer, 1920 (Tourneur) Great Scott, 1920 (Sennett) Great Sinner, 1949 (Leroy; Siodmak) Great Sioux Uprising, 1953 (Bacon) Great St. Trinian’s Train Robbery, 1966 (Launder, Frank, and Sidney Gilliat) Great Stone Face, 1970 (Keaton) Great Temptation. See Porte du large, 1936 Great Texas Dynamite Chase. See Dynamite Women, 1976 Great Toe Mystery, 1914 (Sennett) Great Train Robbery, 1903 (Porter) Great Universal Mystery, 1914 (Dwan) Great Vacuum Robbery, 1915 (Sennett) Great Van Robbery, 1959 (Roeg) Great Waltz, 1938 (Duvivier; Fleming) Great Waltz. See Waltzes from Vienna, 1933 Great White Hope, 1970 (Ritt) Greater Love Hath No Man, 1915 (Guy) Greater Love, 1913 (Dwan) Greater than Love, 1920 (Niblo; Stahl) Greatest Love. See Europa ‘51, 1952 Greatest Question, 1919 (Grif?th) Greatest Show on Earth, 1952 (de Mille) Greatest Story Ever Told, 1965 (Ashby; Stevens) Greatest Thing in Life, 1918 (Grif?th) Greed, 1924 (Ingram; von Stroheim) Greek Testament, 1942 (Cavalcanti; Crichton) Green and Pleasant Land, 1955 (Anderson) Green Berets, 1968 (Leroy) Green Bird. See Grüne Vogel, 1979 Green Card, 1990 (Weir) FILM TITLE INDEX DIRECTORS, 4 th EDITION 1204 Green–eyed Monster, 1912 (Dwan) Green Fields, 1937 (Ulmer) Green Flood. See Z?ldár, 1965 Green for Danger, 1946 (Launder, Frank, and Sidney Gilliat) Green, Green Grass of Home. See Tsai Nei Ho P’an Ch’ing Ts’ao Ch’ing, 1982 Green Hell, 1940 (Whale) Green Light, 1937 (Borzage) Green Man, 1956 (Dearden; Launder, Frank, and Sidney Gilliat) Green Manuela. See Grüne Manuela, 1923 Green Mare. See Jument verte, 1959 Green Mountain Land, 1950 (Flaherty) Green Mountains. See Aoi sanmyaku, 1949 Green Planet. See Belle verte, 1996 Green Ray. See Rayon vert, 1986 Green Room. See Chambre verte, 1978 Green Years. See Z?ldár, 1965 Greene Murder Case. See A Night of Mystery, 1937 Greenhorn, 1916 (Franklin) Greenhouse. See Jardin des plantes, 1995 Greetings, 1968 (de Palma) Gregory’s Girl, 1980 (Forsyth) Gregory’s Two Girls, 1999 (Forsyth) Grekh, 1916 (Protazanov) Gremlins, 1984 (Dante; Spielberg) Gremlins 2: The New Batch, 1990 (Bartel; Dante; Spielberg) Grenoble. See Treize jours en France, 1968 Gretchen the, 1916 (Franklin) Gretel, 1973 (Armstrong) Grève des apaches, 1908 (Feuillade) Grevinde Hjertel?s, 1915 (Holger-Madsen) Grevindens Aere, 1918 (Blom; Dreyer) Grey Gardens, 1975 (Maysles) Grey Gold. See Or gris, 1980 Grey Owl, 1999 (Attenborough) Grezy, 1915 (Bauer) Gribiche, 1925 (Feyder) Gridlock’d, 1997 (Sayles) Grido, 1957 (Antonioni) Grief, 1993 (Bartel) Grierson, 1972 (Haanstra; Ivens) Griff nach den Sternen, 1955 (K?utner) Grifters, 1990 (Frears; Scorsese) Grihalaxmi, 1934 (Mehboob Khan) Grim Reaper. See Commare secca, 1962 Grimace, 1966 (Blier) Grin and Bear It, 1933 (Stevens) Griot Badye, 1977 (Rouch) Grisbi. See Touchez pas au Grisbi, 1954 Grissom Gang, 1971 (Aldrich) Grocery Clerk’s Romance, 1912 (Sennett) Gromada, 1952 (Kawalerowicz) Gr?nland, 1980 (Roos) Gr?nlandske dialektoptagelser og trommedanse fra Thuledistriktet, 1967 (Roos) Gros et le maigre, 1961 (Polanski) Gross Fatigue, 1994 (Polanski) Gross Misconduct, 1993 (Egoyan) Grosse Abenteuerin, 1928 (Wiene) Grosse Atlantik, 1962 (Welles) Grosse Ekstase des Bildschnitzers Steiner, 1974 (Herzog) Grosse Freiheit Nr. 7, 1944 (K?utner) Grosse Liebe, 1931 (Preminger) Grosse Spiel, 1950 (Staudte) Grosse Sprung, 1927 (Riefenstahl) Grosse Verhau, 1970 (Kluge) Grotesk—Burlesk—Pittoresk, 1968 (Schroeter) Group, 1966 (Lumet) Group Instruction. See Group no shido, 1956 Group no shido, 1956 (Hani) Group of Women, 1961 (Marshall) Group One, 1967 (Warhol) Growing Up. See Hsiao Pi Te Ku Shih, 1982 Growing Up. See Takekurabe, 1955 Grown-Ups, 1980 (Leigh) Growth of a Pea Plant, 1911 (Phalke) Grubstake Mortgage, 1912 (Dwan) Grumpy, 1930 (Cukor) Grüne Manuela, 1923 (Dupont) Grüne Vogel, 1979 (Szabó) Gruppo di famiglia in un interno, 1974 (Visconti) Guantanamera, 1994 (Gutiérrez Alea) Guapo del 900, 1960 (Torre Nilsson) Guard, 1989 (Rogozhkin) Guardia del corpo, 1942 (de Sica) Guardian, 1990 (Friedkin) Guardian and the Poet. See Vormund und sein Dichter, 1978 Guardie e ladri, 1951 (Bava) Guardsman, 1931 (Franklin; Lewin) Gubben Kommer, 1939 (Sj?str?m) Gubijinso, 1935 (Mizoguchi) Gudernes Yndling, 1919 (Holger-Madsen) Guelwaar, 1992 (Sembene) Güemes—La terra en armas, 1970 (Torre Nilsson) Guendalina, 1956 (Lattuada) Guerilla Fighter. See Padatik, 1973 Guérité. See Douaniers et contrebandiers, 1905 Guernica, 1950 (Resnais) Guernica, 1978 (Kusturica) Guerra del cerdo. See Diario de la guerra del cerdo, 1975 Guerra e liberdade Castro alves em S?o Paulo, 1998 (Pereira Dos Santos) Guerra necessaria, 1980 (Alvarez) Guerra olvidados, 1967 (Alvarez) Guerre du silence, 1959 (Lelouch) Guerre est ?nie, 1966 (Resnais) Guerre populaire au Laos, 1969 (Ivens) Guerre sans non, 1991 (Tavernier) Guerrilla, 1908 (Grif?th) Guess Who’s Coming to Dinner?, 1967 (Kramer) Guestless Dinner Party. See Den store Middag, 1914 Guests of Honour, 1941 (Cavalcanti; Crichton) Guests of Hotel Astoria, 1989 (Burnett) Guet-apens, L’écrin du rajah, 1912/13 (Feuillade) Gueule d’amour, 1937 (Grémillon) Gueule ouverte, 1974 (Pialat) Guidance to the Indulgent. See Doraku shinan, 1928 Guiding Conscience. See Lykken, 1916 Guilty as Sin, 1993 (Lumet) Guilty by Suspicion, 1991 (Polonsky; Scorsese) Guilty by Suspicion. See A Cry in the Dark, 1988 Guinea Pig, 1948 (Attenborough; Boulting) Guinguette, 1958 (Delannoy) Guldet og vort Hjerte, 1913 (Holger-Madsen) Guldets Gift, eller Lerhjertet, 1916 (Dreyer; Holger-Madsen) Guldm?nten. See Alt paa ét Kort, 1912 Guldspindeln, 1914 (Sj?str?m) Guling Jie Shaonian Sha Ren Shijian, 1991 (Yang) Gumshoe, 1971 (Frears) Gun, 1974 (Badham) Gun, 1997 (Altman) Gun Fightin’ Gentleman, 1919 (Ford) Gun Fury, 1953 (Walsh) FILM TITLE INDEXDIRECTORS, 4 th EDITION 1205 Gun in His Hand, 1945 (Losey) Gun Justice, 1927 (Wyler) Gun Law, 1919 (Ford) Gun Packer, 1919 (Ford) Gun Pusher. See Gun Packer, 1919 Gun Runners, 1958 (Siegel) Gun Runners, 1969 (Wood, Edward D., Jr.) Gun Woman, 1918 (Borzage) Gunboat Ginsburg, 1930 (Sandrich) Güney ?lüm saciyor, 1969 (Güney) Gung Ho, 1986 (Howard) Gunga Din, 1939 (Hawks; Stevens) Gunki hatameku shitani, 1972 (Shindo) Gunless Bad Man, 1926 (Wyler) Gunman, 1911 (Dwan) Gunman, 1913 (Walsh) Gunnar Hedes saga, 1922 (Stiller) Gunpowder Plot, 1900 (Hepworth) Guns. See Os fuzis, 1964 Guns at Batasi, 1964 (Attenborough) Guns for the Dictator. See Arme à gauche, 1965 Guns in the Afternoon. See Ride the High Country, 1962 Guns of the Trees, 1961 (Mekas) Guns, Sin, and Bathtub Gin. See Lady in Red, 1979 Guns West, 1954 (Corman) Gunsaulus Mystery, 1921 (Micheaux) Gunslinger, 1956 (Corman) Guru, 1968 (Ivory) Gusher, 1913 (Sennett) Gussie Rivals Jonah, 1915 (Sennett) Gussie the Golfer, 1914 (Sennett) Gussie Tied to Trouble, 1915 (Sennett) Gussie’s Backward Way, 1915 (Sennett) Gussie’s Day of Rest, 1915 (Sennett) Gussie’s Wayward Path, 1915 (Sennett) Gustave est médium, 1921/22 (Feuillade) Gustave Moreau, 1961 (Kaplan) Gutei kenkei, 1931 (Gosho) Gutter. See Dobu, 1954 Guvern?rens Datter, 1912 (Blom) Guy, a Gal and a Pal, 1945 (Boetticher) Guy Named Joe, 1943 (Fleming) Guys and Dolls, 1955 (Mankiewicz) Guys of the Sea. See Umi no yarodomo, 1957 Gyarmat a f?ld alatt, 1951 (Fábri) Gycklarnas afton, 1953 (Bergman) Gyermekek, k?nyvek, 1962 (Mészáros) Gyertek el a névnapomra, 1983 (Fábri) Gymnasium Jim, 1922 (Sennett) Gymnasts, 1961 (Baillie) Gypsies. See Cigányok, 1962 Gypsy, 1962 (Leroy) Gypsy. See Gitane, 1986 Gypsy and the Gentleman, 1958 (Losey) Gypsy Moths, 1969 (Frankenheimer) Gypsy Queen, 1913 (Sennett) H Is for House (+ ph, ed, voice), 1973 (Greenaway) H.M. Pulham, Esq., 1941 (Vidor) H.O., 1966 (Ripstein) Habanera, 1937 (Sirk) Habit of Happiness, 1916 (Dwan; Fleming) Haceldama ou Le Prix du Sang, 1919 (Duvivier) Hachi-Ko, 1988 (Shindo) Hachigatsu No Kyohshikyoku, 1991 (Kurosawa) Hadaka no jukyu-sai, 1970 (Shindo) Hadaka no shima, 1960 (Shindo) Hadaka no taiyo, 1958 (Shindo) Hadota Misreya, 1982 (Chahine) Haevnens Nat, 1915 (Christensen) Haevnet, 1911 (Blom) H?ftling aus Stambul, 1929 (Forst) Hag in a Leather Jacket, 1964 (Waters) Hagiographia, 1971 (Markopoulos) Haha o kowazu-ya, 1934 (Ozu) Haha yo, kimi no na o kegasu nakare, 1928 (Gosho) Haha, 1963 (Shindo) Hahayo koishi, 1926 (Gosho) Hai shang hua, 1998 (Hou Hsiao-Hsien) Hai zi wang, 1987 (Chen Kaige) Haikyo no naka, 1923 (Mizoguchi) Hail Mary, 1985 (Godard) Hail the Conquering Hero, 1944 (Sturges) Hail to Freedom. See Viva la libertad, 1965 Hair, 1979 (Forman; Ray) Hair Trigger Casey, 1922 (Borzage) Hair Trigger Casey. See Immediate Lee, 1916 Haircut, 1963 (Warhol) Hairdresser’s Husband. See Mari de la coiffeuse, 1990 Hairpins, 1920 (Niblo) Hairspray, 1988 (Waters) Haizan no uta wa kanashi, 1923 (Mizoguchi) Hajnal, 1971 (Szabó) Hakai, 1948 (Kinoshita) Hakai, 1962 (Ichikawa) Hakoiri musume, 1935 (Ozu) Hakuchi, 1951 (Kurosawa) Hakuchu no torima, 1966 (Oshima) Halálcseng?, 1917 (Curtiz) Halbblut, 1919 (Lang) Half a Bride, 1928 (La Cava) Half a Chance. See Chance sur deux, 1998 Half-Back of Notre Dame, 1924 (Sennett) Half-Breed, 1916 (Dwan; Fleming) Half Breed. See Halvblod, 1913 Half Caste. See Halbblut, 1919 Half Holiday, 1931 (Sennett) Half Life, 1988 (Corman) Half Naked Truth, 1932 (La Cava) Half-Slave, Half-Free. See Solomon Northrup’s Odyssey, 1984 Half-Way to Heaven, 1929 (Cavalcanti) Halfway House, 1944 (Cavalcanti; Dearden) Halhatatlanság, 1959 (Jancsó) Halil, the Crow-Man. See Kargaci Halil, 1968 Halimeden mektup var, 1964 (Güney) Hall of Lost Steps. See Sál ztracenych kroku, 1960 Hallelujah, 1929 (Vidor) Hallelujah, I’m a Bum, 1933 (Milestone) Hallo! Hallo! Hier spricht Berlin. See Allo Berlin? Ici Paris!, 1931 Halloween, 1978 (Carpenter) Halloween II, 1981 (Carpenter) Halloween III: Season of the Witch, 1983 (Carpenter) Halloween IV: The Return of Michael Meyers, 1988 (Carpenter) Halloween V: The Revenge of Michael Meyers, 1989 (Carpenter) Halloween H20: Twenty Years Later, 1998 (Carpenter) Halls of Anger, 1970 (Reiner) Halls of Montezuma, 1951 (Milestone) Hallucination. See Lidércnyomás, 1920 Halvblod, 1913 (Sj?str?m) Ham Artist. See Face on the Bar-Room Floor, 1914 Hamagure no komoriuta, 1973 (Yoshimura) Hamari Baat, 1943 (Kapoor) FILM TITLE INDEX DIRECTORS, 4 th EDITION 1206 Hamburg, 1961 (Roos) Hamles, 1960 (Skolimowski) Hamlet, 1910 (Blom) Hamlet, 1963 (Kozintsev) Hamlet, 1968 (Dmytryk) Hamlet, 1969 (Richardson) Hamlet, 1990 (Zef?relli) Hamlet, 1996 (Attenborough; Branagh) Hamlet, 2000 (Bartel) Hamlet Goes Business. See Hamlet Liikemaailmassa, 1987 Hamlet Liikemaailmassa, 1987 (Kaurismaki) Hamlet’s Castle. See Shakespeare og Kronborg, 1950 Hammett, 1982 (Coppola; Wenders) H?mnaren, 1915 (Stiller) Hamnstad, 1948 (Bergman) Hampi, 1965 (Rouch) Hamsarayan, 1982 (Kiarostami) Hamshahri, 1983 (Kiarostami) Hamsun, 1996 (Troell) Hana, 1941 (Yoshimura) Hana hiraku, 1948 (Ichikawa) Hana no nagadosu, 1954 (Kinugasa) Hanakago no uta, 1937 (Gosho) Hanamuko no negoto, 1935 (Gosho) Hanaoko Seishu no tsuma, 1967 (Shindo) Hanare goze Orin, 1977 (Shinoda) Hanasake jijii, 1923 (Kinugasa) Hanasaku minato, 1943 (Kinoshita) Hanayome no negoto, 1933 (Gosho) Hanayome san wa sekai-ichi, 1959 (Shindo) Hand, 1981 (Stone) Hand in the Trap. See Mano en la trampa, 1961 Hand Movie, 1968 (Rainer) Hand of Death, 1975 (Woo) Hand of Peril, 1916 (Tourneur) Hand That Rocks the Cradle, 1917 (Weber) Handful of Rice. See En Handfull Ris, 1938 Handicapped Future. See Behinderte Zukunft, 1970 Handle with Care. See Citizen’s Band, 1977 H?ndler der vier Jahreszeiten, 1971 (Fassbinder) Handmaid’s Tale, 1990 (Schl?ndorff) Hands over the City. See Mani sulla città, 1963 Hands Up!, 1917 (Browning) Hands Up!. See Rece do gory, 1967 Hanele, 1999 (Kachyňa) Hang ‘em High, 1967 (Eastwood) Hanged Man, 1964 (Siegel) Hanging out Yonkers, 1973 (Akerman) Hanging Tree, 1959 (Daves) Hangman, 1959 (Curtiz) Hangman’s House, 1928 (Ford) Hangmen Also Die, 1943 (Lang) Hangyaboly, 1971 (Fábri) Hanna K, 1983 (Costa-Gavras) Hannah and Her Sisters, 1986 (Allen) Hanna’s Ragtime, 1997 (Menzel) Hannibal, 1960 (Ulmer) Hannibal, 2001 (Scott) Hannibál tonár úr, 1956 (Fábri) Hanno rapito un uomo, 1937 (de Sica) Hanno rubato un tram, 1954 (Bava) Hanoi, martes 13, 1967 (Alvarez) Hans and Grethe. See Hans og Grethe, 1913 Hans br?llopsnatt, 1915 (Stiller) Hans f?rste Honorar. See Det f?rste Honorar, 1912 Hans gode Genius, 1920 (Blom) Hans’ Good Fortune. See Hans im gluck, 1976 Hans hustrus f?r?utna, 1915 (Stiller) Hans im gluck, 1976 (Petersen) Hans n?ds testamente, 1919 (Sj?str?m) Hans og Grethe, 1913 (Dreyer) Hans Rigtige Kone, 1917 (Dreyer; Holger-Madsen) Hans Trutz im Schlaraffenland, 1915 (Lubitsch) Hans vanskeligste Rolle, 1912 (Blom) Hansel and Gretel, 1909 (Porter) Hansom Cabman, 1924 (Capra; Sennett) Hansom Driver, 1913 (Sennett) Hantise, 1912 (Feuillade) Hanussen, 1988 (Szabó) Haonan Haonu, 1995 (Hou Hsiao-Hsien) Happening, 1966 (Chabrol) Happiest Days of Your Life, 1950 (Launder, Frank, and Sidney Gilliat) Happiness, 1924 (Vidor) Happiness, 1998 (Solondz) Happiness Ahead, 1928 (Goulding) Happiness Ahead, 1934 (Leroy) Happiness of Eternal Night. See Schast’e Vechnoi Nochi, 1915 Happy Birthday to John, 1996 (Mekas) Happy Birthday Türke!, 1991 (D?rrie) Happy Canary. See Vesyolaya kanareika, 1929 Happy-End im siebten Himmel. See Traum von Lieschen Müller, 1961 Happy Ending , 1931 (Launder, Frank, and Sidney Gilliat) Happy Ever After. See Blonder Traum, 1932 Happy Hooligan Surprised, 1901 (Porter) Happy Hooligan Turns Burglar, 1902 (Porter) Happy in the Morning, 1938 (Cavalcanti) Happy Is the Bride, 1957 (Boulting) Happy Mother’s Day, 1963 (Leacock) Happy Mother’s Day, Love George, 1973 (Howard) Happy New Year, 1988 (Lelouch) Happy New Year. See Bonne année, 1972 Happy Though Married, 1919 (Niblo) Happy Time, 1952 (Kramer) Happy We, 1983 (Hallstrom) Har har du ditt liv, 1966 (Troell) Har jeg Ret til at tage mit eget Liv, 1919 (Holger-Madsen) Hara-Kiri, 1919 (Lang) Haracima dokunma, 1965 (Güney) Harakiri. See Seppuku, 1962 Harald S?verud—1 en alder af 88 ?r, 1985 (Roos) Harangok városa—Veszprém, 1966 (Mészáros) Hard Bodies, 1989 (Menzel) Hard Boiled, 1925 (Mccarey) Hard-Boiled, 1992 (Woo) Hard Cash, 1913 (Ingram) Hard Choices, 1984 (Sayles) Hard Cider, 1914 (Sennett) Hard Day’s Night, 1964 (Lester) Hard Fists, 1927 (Wyler) Hard Is the Life of an Adventurer. See Tě?ky ?ivot dobrodruha, 1941 H?rd klang, 1952 (Sj?str?m) Hard Knocks and Love Taps, 1921 (Sennett) Hard Labor on the River Douro. See Douro, faina ?uvial, 1931 Hard Labour, 1972 (Leigh) Hard Luck, 1921 (Keaton) Hard Summer. See Vizivárosi Nyár, 1965 Hard Target, 1993 (Raimi; Woo) Hard Time: The Premonition, 1999 (Bartel) Hard Times, 1975 (Hill) Hard to Beat, 1909 (Porter) Hard to Handle, 1933 (Leroy) FILM TITLE INDEXDIRECTORS, 4 th EDITION 1207 Hard to Handle: Bob Dylan with Tom Petty and the Heartbreakers, 1986 (Armstrong) Hard Way, 1991 (Badham) Hardcore, 1978 (Schrader) Hardly Working, 1980 (Lewis) Hare Krishna, 1966 (Mekas) Harem Knight, 1926 (Sennett) Hari Hondal Bargadar, 1980 (Benegal) Harlan County, U.S.A., 1976 (Kopple) Harlot, 1964 (Warhol) Harmony Heaven, 1930 (Launder, Frank, and Sidney Gilliat) Harold and Maude, 1971 (Ashby) Harold Teen, 1928 (Leroy) Három csillág, 1960 (Jancsó) Harp of Burma. See Biruma no tategoto, 1956 Harrison és Barrison, 1917 (Korda) Harrowing, 1993 (Brakhage) Haru koro no hana no en, 1958 (Kinugasa) Haru no yume, 1960 (Kinoshita) Haru wa gofujin kara, 1932 (Ozu) Harun al Raschid, 1924 (Curtiz) Harvest in the Cooperative “Dosza’’. See Arat az Orosházi D?zsa, 1953 Harvest Is In. See Goob na ?u, 1979 Harvest of Tears. See Pressens Magt, 1913 Has Anybody Seen My Gal?, 1952 (Sirk) Hasards ou coincidences, 1998 (Lelouch) Hash House Fraud, 1915 (Sennett) Hash-House Hero. See Star Boarder, 1914 Hash-House Mashers, 1915 (Sennett) Hashi no nai kawa, 1969 (Imai) Hassane, 1990 (Palcy) Hasta cierto punto, 1984 (Gutiérrez Alea) Hasta la victoria siempre, 1967 (Alvarez) Hasta que perdio Jalisco, 1945 (de Fuentes) Hatari!, 1962 (Hawks) Hatchet for the Honeymoon. See Rosso segno della follia, 1969 Hatchet Man, 1932 (Wellman) Haters, 1912 (Dwan) Hateshinaki jonetsu, 1949 (Ichikawa) Hateshinaki yokubo, 1958 (Imamura) Hatful of Rain, 1957 (Zinnemann) Hatmaker. See Fant?mes du chapelier, 1982 Hatred. See Mollenard, 1938 Hatred. See Nenavist, 1978 Hats Off, 1936 (Fuller) Hatsukoi, 1926 (Gosho) Hatsukoi, 1947 (Kurosawa) Hatsuoki jig ok uhen, 1968 (Hani) Hatta Marri, 1932 (Sennett) H?ttest was gescheites gelernt, 1978 (D?rrie) Haunted, 1995 (Coppola) Haunted and the Hunted. See Dementia 13, 1963 Haunted Bedroom, 1919 (Niblo) Haunted Castle. See Schloss Vogel?d, 1921 Haunted Hill. See House on Haunted Hill, 1999 Haunted Homestead, 1927 (Wyler) Haunted House, 1921 (Keaton) Haunted House, 1928 (Christensen) Haunted Palace, 1963 (Corman) Haunted Sea, 1997 (Corman) Haunting, 1963 (Wise) Haunting, 1999 (Spielberg) Haunting of Hell House, 1999 (Corman) Hauptdarsteller, 1977 (D?rrie) Hauptmann von K?penick, 1956 (K?utner) Haus der Frauen, 1977 (Zanussi) Haus der Lüge, 1925 (Pick) Haus in Montevideo, 1963 (K?utner) Haut Bas Fragile, 1995 (Rivette) Haut les mains!, 1912 (Feuillade) Haute Lisse, 1956 (Grémillon) Havana, 1990 (Pollack) Have You Thought of Talking to the Director?, 1962 (Baillie) Havel’s Audience with History, 1990 (Menzel) Havets Dj?vul, 1935/36 (Fej?s) Having a Go, 1983 (Armstrong) Having a Wild Weekend. See Catch Us If You Can, 1965 Havoc, 1925 (Goulding) Havsgammar. See R?sen p? Tistel?n, 1916 Hawk, 1935 (Dmytryk) Hawkins and Watkins, 1932 (Sennett) Hawks and the Sparrows. See Uccellacci e uccellini, 1966 Hawk’s Nest, 1928 (Christensen) H?xan, 1922 (Christensen) Hayfoot, Strawfoot, 1926 (Sennett) Hayseed, 1919 (Keaton) Hayseed Romance, 1935 (Keaton) Haystacks and Steeples, 1916 (Sennett) Hazasodik az uram, 1913 (Curtiz) Hazukashii yume, 1927 (Gosho) He and His Sister. See On a jeho sestra, 1931 He Called Her In, 1913 (Dwan) He Comes up Smiling, 1918 (Dwan) He Did and He Didn’t, 1916 (Sennett) He Died after the War. See Tokyo senso sengo hiwa, 1970 He Got Game, 1998 (Lee) He Is My Brother, 1976 (Dmytryk) He Loved Her So. See Twenty Minutes of Love, 1914 He Loved the Ladies, 1914 (Sennett) He Stands in a Desert Counting the Seconds of His Life, 1985 (Anger; Mekas) He Trumped Her Ace, 1930 (Sennett) He Walked by Night, 1948 (Mann) He was born, he suffered, he died, 1974 (Brakhage) He Was Her Man, 1934 (Bacon) He Was Once, 1989 (Haynes) He Who Gets Slapped, 1924 (Sj?str?m) He Who Gets Smacked, 1925 (Sennett) He Who Must Die. See Celui qui doit mourir, 1958 He Who Rides a Tiger, 1965 (Crichton) He Would A Hunting Go, 1913 (Sennett) He Wouldn’t Stay Down, 1915 (Sennett) Head, 1968 (Rafelson) Head of the House, 1952 (Leacock) Head On, 1980 (Huston) Head over Heels. See Chilly Scenes of Winter, 1979 Health, 1979 (Altman) Health-giving Waters of Tisza. See éltet? Tisza-víz, 1954 Health of a Nation, 1939 (Cavalcanti) Healthy Neighborhood, 1913 (Sennett) Heart. See Kokoro, 1955 Heart. See O corac?o, 1960 Heart Beats of Long Ago, 1910 (Grif?th) Heart in Winter. See Coeur en Hiver, 1992 Heart like a Wheel, 1983 (Bartel) Heart o’ the Hills, 1919 (Franklin) Heart of a Painted Woman, 1915 (Guy) Heart of Britain, 1941 (Jennings) Heart of Darkness, 1993 (Roeg) Heart of Glass. See Herz aus Glas, 1976 Heart of Maryland, 1927 (Bacon) Heart of New York, 1932 (Leroy) FILM TITLE INDEX DIRECTORS, 4 th EDITION 1208 Heart of Nora Flynn, 1916 (de Mille) Heart of Oyama, 1908 (Grif?th) Heart of Scotland, 1961/62 (Grierson) Heart of Show Business, 1957 (de Mille) Heart of the Mountains. See Kokoro no sanmyaku, 1966 Heart of Wetona, 1919 (Franklin) Heartbeat. See Szivdobogás, 1961 Heartbeeps, 1981 (Bartel) Heartbreak Island. See Qunian dongtian, 1995 Heartbreak Ridge, 1986 (Eastwood) Heartburn, 1986 (Forman; Nichols) Hearts Adrift, 1914 (Porter) Hearts and Flowers, 1919 (Sennett) Hearts and Horses, 1913 (Dwan) Hearts and Planets, 1915 (Sennett) Hearts and Sparks, 1916 (Sennett) Hearts Are Trumps, 1920 (Ingram) Hearts Divided, 1936 (Borzage) Hearts in Exile, 1929 (Curtiz) Hearts of Age, 1934 (Welles) Hearts of Oak, 1924 (Ford) Hearts of the World, 1918 (Grif?th; von Stroheim) Heart’s Voice. See Guldet og vort Hjerte, 1913 Heat, 1972 (Morrissey; Warhol) Heat, 1995 (Mann) Heat. See Znoy, 1963 Heat and Dust, 1983 (Ivory) Heat and Mud. See Netsudeichi, 1950 Heat Haze. See Kagero, 1969 Heat Lightning, 1934 (Leroy) Heave-ho!. See Hej rup!, 1934 Heaven and Earth, 1993 (Stone) Heaven and Hell. See Tengoku to jigoku, 1963 Heaven Avenges, 1912 (Grif?th) Heaven Before I Die, 1997 (Miller) Heaven Can Wait, 1943 (Lubitsch) Heaven Fell That Night. See Bijoutiers du clair de lune, 1958 Heaven Knows, Mr. Allison, 1957 (Huston) Heaven Linked with Love. See Tengoku ni musubu koi, 1932 Heavenly Assignment. See Heavenly Bodies!, 1963 Heavenly Bodies!, 1963 (Meyer) Heavenly Creatures, 1994 (Jackson) Heavens Above!, 1963 (Boulting) Heaven’s Gate, 1980 (Cimino) Heavens! My Husband!, 1932 (Sennett) Heavy, 1995 (Forman) Hebi himesama, 1940 (Kinugasa) Hectic Days. See Goryachie dyenechki, 1935 Hedda Gabler, 1919 (Pastrone) Hedy the Shoplifter or The Fourteen-Year-Old Girl, 1965 (Warhol) Heel of Italy. See Yellow Caesar, 1940 Heerak Rajar Deshe, 1979 (Ray) Heeren der Meere, 1922 (Korda) Hefty’s, 1983 (Raimi) Heidi, 1937 (Dwan) Heien, 1929 (Ivens) Height of Battle. See Senka no hate, 1950 Heilige Berg, 1926 (Riefenstahl) Heilige Lüge, 1927 (Holger-Madsen) Heimkehr des Odysseus, 1918 (Wiene) Heimkehr ins Glück, 1950 (Staudte) Heimlichkeiten, 1968 (Staudte) Heinrich, 1977 (Sanders-Brahms) Heinze’s Resurrection, 1913 (Sennett) Heir to Genghis Khan. See Potomok Chingis-khana, 1928 Heiress, 1949 (Wyler) Heiresses. See ?r?kseg, 1980 Heirs. See Os herdeiros, 1969 Heisters, 1963 (Hooper) Hej rup!, 1934 (Fri?) Hej, te eleven Fa . . . , 1963 (Jancsó) Helas Pour Moi, 1993 (Godard) Helen Morgan Story, 1957 (Curtiz) Helen of Four Gates, 1920 (Hepworth) Helen of Troy, 1955 (Wise) Helen’s Marriage, 1911 (Sennett) Helimadoe, 1993 (Jire?) Hell. See Enfer, 1994 Hell and High Water, 1954 (Fuller) Hell Bent, 1918 (Ford) Hell in the Paci?c, 1968 (Boorman) Hell Is for Heroes, 1962 (Siegel) Hell Is Sold Out, 1951 (Attenborough) Hell Spit Flexion, 1981 (Brakhage) Hell without Limits. See Lugar sin límites, 1977 Hellé, 1972 (Vadim) Heller in Pink Tights, 1960 (Cukor) Heller Wahn, 1983 (Von Trotta) Hello Baby, 1925 (Mccarey) Hello Children. See Zdravstvuitye deti, 1962 Hello Mabel, 1914 (Sennett) Hello Sailor, 1927 (Sandrich) Hello Sister, 1933 (von Stroheim) Hello Television, 1930 (Sennett) Hell’s Heroes, 1929 (Huston; Wyler) Hell’s Kitchen, 1939 (Dupont) Help!, 1965 (Lester) Help, Help, 1911 (Sennett) Help! Help! Hydrophobia!, 1913 (Sennett) Help Wanted!, 1939 (Zinnemann) Helpful Hogan, 1923 (La Cava) Helping Hand, 1908 (Grif?th) Helping Himself. See His New Profession, 1914 Helsinki Napoli All Night Long, 1988 (Jarmusch; Wenders) Hem fr?n Babylon, 1941 (Sj?berg) Hem?t i Natten, 1977 (August) Hemingway’s Adventures of a Young Man. See Adventures of a Young Man, 1962 Hemo the Magni?cent, 1957 (Capra) Hen in the Wind. See Kaze no naka no mendori, 1948 Hendes Aere. See For sit Lands Aere, 1915 Hendes Helt, 1917 (Holger-Madsen) Hendes Moders L?fte, 1916 (Holger-Madsen) Hendes Naade, 1925 (Blom) Henkel, ein deutsches Werk in seiner Arbeit, 1938 (Ruttmann) Henri Storck: Ooggetuige, 1987 (Storck) Henry, 1955 (Anderson) Henry IV. See Enrico IV, 1983 Henry V, 1989 (Branagh) Henry VIII, 1911 (Goulding) Henry & June, 1990 (Kaufman) Henry & Verlin, 1994 (Cronenberg) Henry Fool, 1997 (Hartley) Henry Geldzahler, 1964 (Warhol) Henry Is Drunk, 1973 (Marshall) Her Actor Friend, 1926 (Sennett) Her Alibi, 1990 (Beresford) Her Awakening, 1911 (Grif?th) Her Big Story, 1913 (Dwan) Her Birthday Present, 1913 (Sennett) Her Blighted Love, 1918 (Sennett) Her Brother. See Ototo, 1960 FILM TITLE INDEXDIRECTORS, 4 th EDITION 1209 Her Cardboard Lover, 1942 (Cukor) Her Circus Knight, 1917 (Sennett) Her Code of Honor, 1919 (Stahl) Her Fame and Shames, 1917 (Sennett) Her Father’s Pride, 1910 (Grif?th) Her Feathered Nest, 1916 (Sennett) Her Filmland Hero, 1915 (Franklin) Her First Affaire, 1933 (Dwan) Her First Beau, 1916 (Sennett) Her First Biscuits, 1909 (Grif?th) Her First Love Affair. See Den f?rste Kaerlighed, 1912 Her First Mate, 1933 (Wyler) Her First Mistake, 1918 (Sennett) Her First Romance, 1940 (Dmytryk) Her Friend the Bandit, 1914 (Chaplin; Sennett) Her Great Scoop, 1914 (Ingram) Her Heroic Feat. See Ee Geroiski Podvig, 1914 Her Highness the Salesgirl. See Ihre Durchlaucht, die Verk?uferin, 1933 Her Husband’s Friend, 1920 (Niblo) Her Innocent Marriage, 1913 (Dwan) Her Last Affair, 1936 (Powell, Michael, and Emeric Pressburger) Her Last Chance, 1914 (Sennett) Her Last Trip. See SS Ionian, 1939 Her Love Story, 1924 (Dwan) Her Marble Heart, 1916 (Sennett) Her Mother Interferes, 1911 (Sennett) Her Mother’s Oath, 1913 (Grif?th) Her Nature Dance, 1917 (Sennett) Her New Beau, 1913 (Sennett) Her Night of Romance, 1924 (Franklin) Her Only Way, 1918 (Franklin) Her Own Country, 1912 (Dwan) Her Painted Hero, 1915 (Sennett) Her Pet, 1911 (Sennett) Her Private Life, 1929 (Korda) Her Sacri?ce, 1911 (Grif?th) Her Screen Idol, 1918 (Sennett) Her Sister from Paris, 1925 (Franklin) Her Sister’s Secret, 1946 (Ulmer) Her Son. See S?nnen, 1914 Her Terrible Ordeal, 1909 (Grif?th) Her Torpedoed Love, 1917 (Sennett) Herakles, 1962 (Herzog) Herbie, 1965-67 (Lucas) Herbstsonate, 1978 (Bergman) Hercules. See Fatiche di Ercole, 1957 Hercules and Xena—The Animated Movie: The Battle for Mount Olympus, 1998 (Raimi) Hercules at the Center of the Earth. See Ercole al centro della terra, 1961 Hercules in the Haunted World. See Ercole al centro della terra, 1961 Hercules the Athlete. See Verdens Herkules, 1908 Hercules Unchained. See Ercole e la regina di Lidia, 1959 Herd. See Sürü, 1978 Herdsman, 1982 (Xie Jin) Herdsmen of the Sun. See Wodaabe—Die Hirten der Sonne, 1988 Here Come the Munsters, 1995 (Landis) Here Come the Waves, 1944 (Sandrich) Here Comes the Groom, 1951 (Capra) Here Comes the Navy, 1934 (Bacon) Here I Am, 1962 (Baillie) Here Is a Fountain. See Koko ni izumi ari, 1955 Here Is the Land, 1937 (Rotha) Here Is Your Life. See Har har du ditt liv, 1966 Here We Go Again, 1942 (Dwan) Heredity, 1912 (Grif?th) Here’s to the Girls. See Ojosan kanpai, 1949 Hergün ?lmektense, 1964 (Güney) Héritage de la chouette, 1989 (Kazan) Heritage de la Chouette, 1989 (Marker) Héritier des Montdésir, 1939 (Becker) Herman Teirlinck, 1953 (Storck) Hermanos de Hierro, 1961 (Fernández) Hermanos Muerte, 1964 (Fernández) Hermit. See Syndig Kaerlighed, 1915 Hermit’s Gold, 1911 (Dwan) Hero, 1992 (Frears) Hero. See Nayak, 1966 Hero Ain’t Nothin’ but a Sandwich, 1977 (Corman) Hero for a Night. See Hrdina jedné noci, 1935 Hero of Little Italy, 1913 (Grif?th) Hero with a Knife. See Kamali zeybek, 1964 Heroes Are Made. See Kak zakalyalas stal, 1942 Heroes for Sale, 1933 (Wellman) Heroes of Telemark, 1965 (Mann) Heroes of the Street, 1922 (Goulding) Heroes Shed No Tears, 1986 (Woo) Heroes Stand Alone, 1989 (Corman) Hero?sme de Paddy, 1916 (Gance) Herr Arnes Pengar, 1919 (Stiller) Herr auf Bestellung, 1930 (Forst) Herr der Liebe, 1919 (Lang) Herr Doktor, 1917 (Feuillade) Herr Kischott, 1979 (Adlon) Herr Puntila und sein Knecht Matti, 1955 (Cavalcanti) Herr Storms f?rste Monocle. See Min f?rste Monocle, 1911 Herr über Leben und Tod, 1919 (Pick) Herren mit der weissen Weste, 1970 (Staudte) Herrenpartie, 1964 (Staudte) Herrin der Welt, 1918 (Lang) Herrin von Atlantis. See Atlantide, 1932 Herrliche Zeiten, 1950 (Forst) Herrliches Dasein, 1974 (Staudte) Herschel and the Music of the Stars. See Herschel und die Musik der Sterne, 1984 Herschel und die Musik der Sterne, 1984 (Adlon) Herz aus Glas, 1976 (Herzog) Herzogin Satanella, 1920 (Curtiz) Herztrumpt, 1920 (Dupont) Hesar dar Hesar, 1982 (Makhmalbaf) Hesitating Houses, 1926 (Sennett) Hessian Renegades, 1909 (Grif?th) Hest p? sommerferie, 1959 (Henning-Jensen) Hesten, 1943 (Henning-Jensen) Hesten paa Kongens Nytorv, 1941 (Henning-Jensen) Hester Street, 1974 (Silver) Het dak van de walvis, 1981 (Ruiz) Het olieveld, 1954 (Haanstra) Het Verdriet Van Belgie, 1994 (Goretta) Hets, 1944 (Bergman; Sj?berg; Zetterling) Hets Korps Mariniers. See Dutch Marine Corps, 1966 Hetty King—Performer, 1970 (Anderson) Heures, 1909 (Feuillade) Heureuse Intervention, 1919 (Florey) Heut Spielt der Strauss, 1928 (Wiene) Hey! Hey! U.S.A.!, 1938 (Launder, Frank, and Sidney Gilliat) Hey Rookie, 1944 (Donen) Hi-Lo Country, 1998 (Frears) Hi, Mom!, 1970 (Bartel; de Palma) Hi, Nellie!, 1934 (Leroy) Hi no tori, 1980 (Ichikawa) Hibana, 1922 (Kinugasa) Hibana, 1956 (Kinugasa) FILM TITLE INDEX DIRECTORS, 4 th EDITION 1210 Hibiscus Town, 1987 (Xie Jin) Hickey and Boggs, 1972 (Hill) Hickory Hill, 1968 (Leacock) Hidari uchiwa, 1935 (Gosho) Hidden Agenda, 1990 (Loach; Zetterling) Hidden City, 1915 (Ford) Hidden Fortress. See Kakushi toride no san-akunin, 1958 Hidden River. See Río Escondido, 1947 Hidden Room. See Obsession, 1949 Hidden Woman, 1922 (Dwan) Hide and Seek, 1913 (Sennett) Hide and Seek Detectives, 1918 (Sennett) Higanbana, 1958 (Ozu) Higashi Shinaki, 1968 (Imamura) High and Dry, 1954 (Mackendrick) High and Low, 1913 (Dwan) High and Low. See Du haut en bas, 1933 High and Low. See Tengoku to jigoku, 1963 High and the Mighty, 1954 (Wellman) High Anxiety, 1977 (Brooks; Levinson) High Ashbury, 1967 (Warhol) High Fidelity, 2000 (Frears) High Flies the Hawk, I and II. See Píseň o sletu I, II, 1949 High Gear, 1931 (Stevens) High Heels. See Docteur Popaul, 1972 High Heels. See Tacomes lejanos, 1991 High Hopes, 1988 (Leigh) High Incident, 1996 (Spielberg) High In?delity. See Alta infedeltà, 1964 High Journey, 1959 (Welles) High Kampf, 1973 (Apted) High Noon, 1952 (Kramer; Zinnemann) High Plains Drifter, 1972 (Eastwood) High Pressure, 1932 (Leroy) High School, 1968 (Wiseman) High School II, 1994 (Wiseman) High School Big Shot, 1959 (Corman) High Season, 1987 (Branagh) High Sierra, 1941 (Huston; Walsh) High Sign, 1921 (Keaton) High Spirits, 1988 (Jordan) High Spots on Broadway, 1914 (Sennett) High Stake. See Hjerternes Kamp, 1912 High Strung, 1928 (Sandrich) High Tension, 1936 (Dwan) High Tension. See S?nt h?nder inte h?r, 1950 High Tide, 1987 (Armstrong) High Treason, 1951 (Boulting) High Wall. See Vysoká zed, 1964 High, Wide, and Handsome, 1937 (Mamoulian) High Wind in Jamaica, 1965 (Mackendrick) Highball, 1997 (Bogdanovich) Highbinders, 1915 (Browning) Higher Learning, 1995 (Singleton) Highs, 1976 (Brakhage) Highway Dragnet, 1954 (Corman) Hija de Juan Simón, 1935 (Bu?uel) Hija del enga?o, 1951 (Bu?uel) Hijo del crack, 1953 (Torre Nilsson) Hijos de Fierro, 1976 (Solanas, Fernando E., And Octavio Getino) Hijos de Maria Morales, 1952 (de Fuentes) Hijosen no onna, 1933 (Ozu) Hikkoshi fufu, 1928 (Ozu) Hikuidori, 1926 (Kinugasa) Hilde Warren und der Tod, 1917 (Lang) Hildegard, 1948 (Zetterling) Hill, 1965 (Lumet) Hills Are Calling, 1914 (Hepworth) Hills Have Eyes, 1977 (Craven) Hills Have Eyes, Part II, 1983 (Craven) Himeyuri Lily Tower. See Himeyuri no to, 1953 Himeyuri no to, 1953 (Imai) Himiko, 1974 (Shinoda) Himlaspelet, 1942 (Sj?berg) Himmel Hoch, 1968 (Schroeter) Himmel ohne Sterne, 1955 (K?utner) Himmel über Berlin, 1987 (Wenders) Himmelskibet, 1917 (Holger-Madsen) Himself as Herself, 1967 (Markopoulos) Hind. See Alageyik, 1958 Hindenburg, 1975 (Wise) Hindoo Dagger, 1908 (Grif?th) Hindu Tomb. See Indische Grabmal, 1959 Hintertreppe, 1921 (Leni) Hipolito el de Santa, 1949 (de Fuentes) Hipoteza, 1972 (Zanussi) Hips, Hips, Hooray, 1934 (Sandrich) Hiroshima mon amour, 1959 (Duras; Resnais) His Alibi, 1916 (Sennett) His Auto Ruination, 1916 (Sennett) His Better Self, 1911 (Guy) His Bitter Pill, 1916 (Sennett) His Bread and Butter, 1916 (Sennett) His Busted Trust, 1916 (Sennett) His Butler’s Sister, 1943 (Borzage) His Call. See Yevo prizyv, 1925 His Chum, the Baron, 1913 (Sennett) His Country’s Bidding, 1914 (Hepworth) His Crooked Career, 1913 (Sennett) His Daredevil Queen. See Mabel at the Wheel, 1914 His Daughter, 1911 (Grif?th) His Duty, 1909 (Grif?th) His Ex Marks the Spot, 1940 (Keaton) His Excellency. See Yevo prevosoditelstvo, 1927 His Father’s Footsteps, 1915 (Sennett) His Favorite Pastime, 1914 (Chaplin; Sennett) His First Command, 1930 (La Cava) His First False Step, 1916 (Sennett) His First Flame, 1927 (Sennett) His First Monocle. See Min f?rste Monocle, 1911 His First Patient. See Det f?rste Honorar, 1912 His Girl Friday, 1940 (Hawks) His Glorious Night, 1930 (Feyder) His Guardian Angel. See Hans gode Genius, 1920 His Halted Career, 1914 (Sennett) His Hereafter, 1916 (Sennett) His Hidden Purpose, 1918 (Sennett) His Hour, 1924 (Vidor) His Innocent Dupe. See Sjaeletyven, 1915 His Last Burglary, 1910 (Grif?th) His Last False Step, 1919 (Sennett) His Last Laugh, 1916 (Sennett) His Last Scent, 1916 (Sennett) His Lesson, 1912 (Grif?th) His Lordship, 1932 (Powell, Michael, And Emeric Pressburger) His Lordship’s White Feather, 1912 (Guy) His Lost Love, 1909 (Grif?th) His Luckless Love, 1915 (Sennett) His Lying Heart, 1916 (Sennett) His Majesty, the American, 1919 (Fleming) His Marriage Wow, 1925 (Capra; Sennett) His Most Dif?cult Part. See Hans vanskeligste Rolle, 1912 FILM TITLE INDEXDIRECTORS, 4 th EDITION 1211 His Mother’s Scarf, 1911 (Grif?th) His Mother’s Son, 1913 (Grif?th) His Musical Career, 1914 (Chaplin; Sennett) His Mysterious Adventure. See Seine Frau, die Unbekannte, 1923 His Name Is Sukhe-Bator. See Yevo zovut Sukhe-Bator, 1942 His Naughty Thought, 1917 (Sennett) His Neighbor’s Wife, 1913 (Porter) His New Job, 1915 (Chaplin) His New Mama, 1924 (Capra; Sennett) His New Profession, 1914 (Chaplin; Sennett) His New Stenographer, 1928 (Sennett) His Nibs, 1922 (La Cava) His Old-Fashioned Mother, 1913 (Dwan) His Own Fault, 1911 (Sennett) His Picture in the Papers, 1916 (Fleming; von Stroheim) His Precious Life, 1917 (Sennett) His Prehistoric Past, 1914 (Chaplin; Sennett) His Pride and Shame, 1916 (Sennett) His Real Wife. See Hans Rigtige Kone, 1917 His Reckless Fling. See His Favorite Pastime, 1914 His Regeneration, 1914 (Chaplin) His Return, 1915 (Walsh) His Robe of Honor, 1918 (Ingram) His Royal Shyness, 1932 (Sennett) His Second Childhood, 1914 (Sennett) His Sister-in-Law, 1910 (Grif?th) His Sister’s Kids, 1913 (Sennett) His Sister’s Sweetheart, 1911 (Guy) His Smothered Love, 1918 (Sennett) His Taking Ways, 1914 (Sennett) His Talented Wife, 1914 (Sennett) His Trust, 1910 (Grif?th) His Trust Ful?lled, 1910 (Grif?th) His Trysting Place, 1914 (Chaplin; Sennett) His Uncle Dudley, 1917 (Sennett) His Unlucky Night, 1928 (Sennett) His Ups and Downs, 1913 (Sennett) His Ward’s Love, 1909 (Grif?th) His Wedded Wife, 1914 (Ingram) His Wedding Night, 1917 (Keaton) His Wedding Night. See Hans br?llopsnatt, 1915 His Wife’s Friend, 1918 (Sennett) His Wife’s Mistake, 1916 (Sennett) His Wife’s Mother, 1909 (Grif?th) His Wife’s Past. See Hans hustrus f?r?utna, 1915 His Wife’s Visitor, 1909 (Grif?th) His Wild Oats, 1916 (Sennett) His Winning Punch, 1915 (Sennett) His Wooden Wedding, 1925 (Mccarey) His Youthful Fancy, 1920 (Sennett) Hisshoka, 1945 (Mizoguchi) Histoire d’Adèle H., 1975 (Miller; Truffaut) Histoire d’amour, 1933 (Ophüls) Histoire d’amour. See Tavaszi zápor, 1932 Histoire de puce, 1909 (Feuillade) Histoire de rire, 1941 (L’herbier) Histoire de vent, 1988 (Ivens) Histoire d’eau, 1958 (Godard; Truffaut) Histoire du cinema: Fatale beauté, 1998 (Godard) Histoire du cinema: La monnaie de l’absolu, 1998 (Godard) Histoire du cinema: Le conr?le de l’univers, 1998 (Godard) Histoire du cinema: Les signes parmi nous, 1998 (Godard) Histoire du cinema: Seul le cinema, 1998 (Godard) Histoire du cinema: Une vague nouvelle, 1998 (Godard) Histoire du soldat inconnu, 1932 (Storck) Histoire simple, 1978 (Sautet) Histoires d’Amérique: Food, Family, and Philosophy/American Stories, 1989 (Akerman) Histoires extraordinaires, 1968 (Malle; Vadim) Histoires extraordinaires/Tre passi nel delirio, 1968 (Fellini) Histoires insolites, 1974 (Chabrol) Historias de la revolución, 1960 (Gutiérrez Alea) Historias del subdesarrollo. See Memorias del subdesarrollo, 1968 Historias prohibidas de Pulgarcito, 1979 (Leduc) Historien om en Mand, 1944 (Roos) Historien om en Moder, 1912 (Blom) Historien om et slot, J. F. Willumsen, 1951 (Roos) History Is Made at Night, 1937 (Borzage) History Lessons. See Geschichtsunterricht, 1972 History of Albertfalva. See Albertfalvai t?rténet, 1955 History of Motion in Motion, 1967 (Vanderbeek) History of Postwar Japan as Told by a Bar Hostess. See Nippon sengoshi: Madamu Omboro no seikatsu, 1970 History of the Civil War. See Istoriia grazhdenskoi voini, 1922 History of the Vatican. See Vaticano de Pio XII, 1940 History of the World, Part I, 1981 (Brooks; Levinson) Hit, 1984 (Frears) Hit Him Again. See Fatal Mallet, 1914 Hit Me Again. See Smarty, 1933 Hitchcock: Shadow of a Genius, 1999 (Altman; Bogdanovich) Hitchin’ Posts, 1920 (Ford) Hitler? Connais pas, 1963 (Blier) Hitler ein Film aus Deutschland, 1977 (Syberberg) Hitler Lives?, 1945 (Siegel) Hitler’s Children, 1943 (Dmytryk) Hitler’s Madman, 1943 (Sirk) Hito hada Kannon, 1937 (Kinugasa) Hito no issho, 1928 (Mizoguchi) Hito no yo no sugata, 1928 (Gosho) Hitori musuko, 1936 (Ozu) Hitotsubu no mugi, 1958 (Yoshimura) Hittebarnet, 1916 (Holger-Madsen) Hitting a New High, 1937 (Walsh) Hj?rtan som m?tas, 1914 (Sj?str?m) Hjerternes Kamp, 1912 (Blom) Hjertestorme, 1915 (Blom) Hjertets Guld, 1912 (Blom) Hjertetyven, 1943 (Roos) Hoboken to Hollywood, 1926 (Sennett) Hobson’s Choice, 1931 (Launder, Frank, and Sidney Gilliat) Hobson’s Choice, 1954 (Lean) Hochzeit im Ekzentrik Klub, 1917 (Lang) Hoffmanns Erz?hlungen, 1915 (Pick) Hoffmeyer’s Legacy, 1912 (Sennett) Hofkonzert, 1936 (Sirk) Hofrat Geiger, 1947 (Forst) Hogan out West, 1915 (Sennett) Hogan the Porter, 1915 (Sennett) Hogan’s Annual Spree, 1914 (Sennett) Hogan’s Aristocratic Dream, 1915 (Sennett) Hogan’s Messy Job, 1915 (Sennett) Hogan’s Romance Upset, 1915 (Sennett) Hogan’s Wild Oats, 1914 (Sennett) Hogaraka ni ayume, 1930 (Ozu) H?gfj?llets dotter, 1914 (Sj?str?m) Hogs and Warships. See Buta to gunkan, 1961 Hohoemu jinsei, 1930 (Gosho) H?jt Spil, 1913 (Blom) Hokus Focus, 1933 (Sandrich) Hokusai manga, 1982 (Shindo) Hokusai, Ukiyoe Master. See Hokusai manga, 1982 Holcroft Covenant, 1985 (Frankenheimer) FILM TITLE INDEX DIRECTORS, 4 th EDITION 1212 Hold Back the Dawn, 1941 (Wilder) Hold Back the Night, 1956 (Dwan) Hold Back the Sea. See Lage landen, 1960 Hold ‘Em Jail, 1932 (Sandrich) Hold ‘em Navy, 1937 (Dmytryk) Hold ‘er Sheriff, 1931 (Sennett) Hold Fast, 1927 (Sandrich) Hold That Bear, 1927 (Sandrich) Hold that Pose, 1927 (Sennett) Hold-Up, 1911 (Guy) Hole. See Ana, 1957 Hole in the Head, 1959 (Capra) Hole in the Soul, 1995 (Makavejev) Hole in the Wall, 1928 (Florey) Holiday, 1938 (Cukor) Holiday in Mexico, 1946 (Donen) Holiday Inn, 1942 (Sandrich) H?llische Macht, 1922 (Wiene) Hollow Man, 2000 (Verhoeven) Hollywood, 1923 (de Mille) Hollywood, 1980 (Capra) Hollywood Babylon, 1992 (Anger) Hollywood Boulevard, 1936 (Florey) Hollywood Boulevard, 1976 (Bartel; Corman; Dante) Hollywood Boulevard, 1991 (Corman) Hollywood Canteen, 1944 (Daves) Hollywood Cavalcade, 1939 (Keaton; Sennett) Hollywood Double, 1932 (Sennett) Hollywood Fashion Machine, 1995 (Schrader) Hollywood Handicap, 1938 (Keaton) Hollywood Happenings, 1931 (Sennett) Hollywood Hero, 1927 (Sennett) Hollywood Hotel, 1937 (Berkeley) Hollywood Kid, 1924 (Sennett) Hollywood Mavericks, 1990 (Rudolph) Hollywood on Trial, 1976 (Dmytryk) Hollywood or Bust, 1956 (Lewis; Tashlin) Hollywood Party, 1934 (Dwan; Goulding) Hollywood Rated “R’’, 1997 (Landis; Meyer) Hollywood Revue, 1929 (Keaton) Hollywood Star, 1929 (Sennett) Hollywood Ten, 1950 (Dmytryk) Hollywood Theme Song, 1930 (Sennett) Hollywood Vice Squad, 1986 (Spheeris) Hollywood Vixens. See Beyond the Valley of the Dolls, 1970 Hollywood You Never See, 1935 (de Mille) Hollywood’s Wild Angel, 1979 (Scorsese) Holt vidék, 1971 (Gaál) Holy Apes. See Bramy raju, 1967 Holy Matrimony, 1943 (Stahl) Holy Of?ce. See Santo O?cio, 1974 Holy Smoke, 1999 (Campion) Holy Week. See Wielki tydzien, 1995 Homage. See Homenaje, 1975 Homage at Siesta Time. See Homenaje a la hora de la siesta, 1962 Hombori, 1948 (Rouch) Hombre, 1967 (Ritt) Hombre de exito, 1986 (Solas) Hombres armadas. See Men with Guns, 1997 Home, 1919 (Weber) Home and the World. See Ghare Bahire, 1984 Home before Dark, 1958 (Leroy) Home Breakers, 1915 (Sennett) Home-Breaking Hound, 1915 (Sennett) Home Brew. See A Fireside Brewer, 1920 Home Folks, 1912 (Grif?th) Home Fries, 1997 (Kasdan; Levinson) Home from Babylon. See Hem fr?n Babylon, 1941 Home from the Hill, 1960 (Minnelli) Home from the Sea, 1915 (Walsh) Home-made Movies, 1922 (Sennett) Home Movie on John Waters, 1998 (Waters) Home Movies, 1979 (de Palma) Home of the Brave, 1949 (Kramer) Home, Sweet Home, 1914 (Grif?th) Home Sweet Home, 1982 (Leigh) Home Sweet Homicide, 1946 (Bacon) Home Talent, 1921 (Sennett) Home Town. See Furusato, 1930 Home Trail, 1927 (Wyler) Homecoming, 1948 (Franklin; Leroy) Homeland of Electricity, 1987 (Shepitko) Homeland. See Zan Boko, 1988 Homenaje, 1975 (Almodóvar) Homenaje a la hora de la siesta, 1962 (Torre Nilsson) Homer and Eddie, 1989 (Waters) Homesdale, 1971 (Weir) Homesteader, 1919 (Micheaux) Hometown. See Furusato, 1923 Homeward in the Night. See Hem?t i Natten, 1977 Homework. See Mashgh-e Shab, 1989 Homicidal Impulse, 1992 (Corman) Homicide: Life on the Street, 1993 (Bigelow; Stillman) Hommage à Alfred Lepetit, 2000 (Polanski) Hommage à Debussy, 1963 (L’herbier) Hommage à Marcel Mauss: Germaine Dieterlen, 1977 (Rouch) Hommage à Marcel Mauss: Marcel Levy, 1977 (Rouch) Hommage à Marcel Mauss: Taro Okamoto, 1973 (Rouch) Hommage à Simone Signoret, 1986 (Marker) Homme à la valise, 1984 (Akerman) Homme à l’Hispano, 1926 (Duvivier) Homme a l’Hispano, 1933 (Epstein) Homme à l’imperméable, 1957 (Duvivier) Homme aimanté, 1907 (Feuillade) Homme amoureux. See A Man in Love, 1987 Homme au foulard à pois, 1916 (Feyder) Homme blesse, 1982 (Berri) Homme de compagnie, 1916 (Feyder) Homme de proie, 1912 (Feuillade) Homme de Rio, 1963 (de Broca) Homme de trop, 1968 (Costa-Gavras) Homme des poisons, 1915/16 (Feuillade) Homme du jour, 1936 (Duvivier) Homme du large, 1920 (Autant-Lara; L’herbier) Homme et femme. See Man och Kvinna, 1938 Homme et une femme, 1966 (Lelouch) Homme et une femme: Vingt ans déja, 1986 (Lelouch) Homme mysterieux, 1933 (Tourneur) Homme que a perdu son ombre, 1992 (Tanner) Homme qui aimait les femmes, 1977 (Truffaut) Homme qui me pla?t, 1969 (Lelouch) Homme sans visage, 1919 (Feuillade) Hommes du port, 1995 (Tanner) Hommes et les autres, 1954 (Guerra) Hommes et les femmes sont faits pour vivre heureux. . .mais pas ensemble, 1997 (de Broca) Hommes nouveux, 1936 (L’herbier) Hommes, femmes, mode d’emploi, 1996 (Lelouch) Homoman, 1964 (Lefebvre) Homunculus, 1916 (Pick) Hon segrade, 1916 (Sj?str?m) Honarpisheh, 1993 (Makhmalbaf) FILM TITLE INDEXDIRECTORS, 4 th EDITION 1213 Honest Man, 1918 (Borzage) Honesty Is the Best Policy, 1908 (Porter) Honesty—the Best Policy, 1926 (Hawks) Honey Pot, 1967 (Mankiewicz) Honeycomb. See Madriguera, 1969 Honeymoon, 1928 (von Stroheim) Honeymoon. See Luna de miel, 1956 Honeymoon for Three, 1941 (Bacon) Honeymoon Hardships, 1925 (Sennett) Honeymoon in My Life. See Honningmane, 1978 Honeymoon Zeppelin, 1929 (Sennett) Honeysuckle Rose, 1980 (Pollack) Hong gao liang, 1988 (Zhang Yimou) Honky Tonk, 1929 (Bacon) Honky Tonk Freeway, 1980 (Schlesinger) Honkytonk Man, 1982 (Eastwood) Honneur du Corse, 1906 (Guy) Honningmane, 1978 (August) Honno, 1966 (Shindo) Honor among Lovers, 1931 (Arzner) Honor of His Family, 1909 (Grif?th) Honor of the Family, 1931 (Bacon) Honor of the Mounted, 1914 (Dwan) Honor of Thieves, 1908 (Grif?th) Honor System, 1917 (Walsh) Honorable Catherine, 1942 (L’herbier) Honorin et l’Enfant Prodigue, 1995 (Kaplan) Honradez de la cerradura), 1949 (Bardem) Honryu, 1926 (Gosho) Hoodlum, 1919 (Franklin) Hoodlum’s Honor. See Ganovenehre, 1966 Hoodman Blind, 1923 (Ford) Hook, 1991 (Spielberg) Hook and Hand, 1914 (Guy) Hook, Line, and Sinker, 1969 (Lewis) Hooked at the Altar, 1926 (Sennett) Hooligans. See Golfos, 1960 Hoop Dreams, 1993 (Lee) Hop, the Devil’s Brew, 1916 (Weber) Hope. See Nadeje, 1963 Hope. See Umut, 1970 Hope and Glory, 1987 (Boorman) Hope for the Hungry, 1953/55 (Rotha) Hopeless Ones. See Umutsuzlar, 1971 Hopes of Blind Alley, 1914 (Dwan) Hora de los hornos, 1968 (Solanas, Fernando E., And Octavio Getino) Hora de los Ni?os, 1969 (Ripstein) Horace Greeley Jr., 1925 (Capra) Hordubalové, 1937 (Fri?) Hordubals. See Hordubalové, 1937 Hore?ka, 1958 (Jire?) Horendi, 1972 (Rouch) Ho?í, má panenko, 1967 (Forman) Horizon. See Chiheisen, 1984 Horizon. See Gorizont, 1933 Horizons noirs. See Svarta Horisonter, 1935/36 Horizons West, 1952 (Boetticher) Horká zima, 1972 (Kachyňa) Horloger de Saint-Paul, 1974 (Tavernier) Horn Blows at Midnight, 1944 (Walsh) Horoscope for a Child, 1970 (Benegal) Horowitz Plays Mozart, 1987 (Maysles) Horse, 1965 (Warhol) Horse. See Lonesome Cowboys, 1968 Horse of Oxumaire. See O cavalo de Oxumaire, 1961 Horse of Pride. See Cheval d’Orgueil, 1980 Horse Race Fever. See Renn?eber, 1917 Horse Soldiers, 1959 (Ford) Horse That Cried. See Dorogoi tsenoi, 1957 Horse, the Woman, and the Gun. See At avrat silah, 1966 Horse Thief, 1912 (Dwan; Sennett) Horse Thief. See Daoma Zei, 1985 Horse Thief’s Bigamy, 1911 (Dwan) Horse Trader, 1927 (Wyler) Horseman, The Woman and The Moth, 1968 (Brakhage) Horsemen, 1970 (Frankenheimer) Horses. See Hesten, 1943 Horses. See Uma, 1941 Horyu Temple. See Horyu-ji, 1958 Horyu-ji, 1958 (Hani) Hospital, 1970 (Wiseman) Hospital. See Szpital, 1976 Hostage of the Embassy. See Den Mystiske Selskabsdame, eller Legationens Gidsel, 1917 H?stsonaten. See Herbstsonate, 1978 Hot Blood, 1956 (Ray) Hot Blood is the Strongest, 1997 (Woo) Hot Box, 1972 (Corman; Demme) Hot Bridge, 1930 (Sandrich) Hot Cakes for Two, 1926 (Sennett) Hot Car Girl, 1958 (Corman) Hot Dogs. See Mabel’s Busy Day, 1914 Hot Finish. See Mabel at the Wheel, 1914 Hot for Paris, 1929 (Walsh) Hot Marshland. See Netsudeichi, 1950 Hot Night. See Atsui yoru, 1968 Hot Pearls. See Blonde from Singapore, 1941 Hot Soup, 1927 (Sandrich) Hot Spell, 1958 (Cukor) Hot Stuff, 1911 (Sennett) Hot Stuff, 1929 (Leroy) Hot Touch, 1980 (Vadim) Hot Winter. See Horká zima, 1972 Hotaru-bi, 1958 (Gosho) Hotel Adlon. See In der glanzvollen Welt des Hotel Adlon, 1989 Hotel Blue Star. See Hotel Modrá hvězda, 1941 Hotel de France, 1987 (Berri) H?tel de la gare, 1914 (Feuillade) Hotel des Amériques, 1981 (Téchiné) Hotel du Nord, 1938 (Carné) Hotel Haywire, 1937 (Sturges) Hotel Honeymoon, 1912 (Guy) Hotel Imperial, 1927 (Stiller) Hotel Imperial, 1938 (Florey) Hotel Mixup. See Mabel’s Strange Predicament, 1914 Hotel Modrá hvězda, 1941 (Fri?) Hotel Monterey, 1972 (Akerman) Hotel New Hampshire, 1984 (Richardson) Hotel Paradis, 1917 (Dreyer) Hotel Splendide, 1932 (Powell, Michael, And Emeric Pressburger) Hototogisu, 1932 (Gosho) Hotsy Toty, 1925 (Sennett) Hound Dog Man, 1959 (Siegel) Hound of the Baskervilles, 1978 (Morrissey) Hounds of Zaroff. See Most Dangerous Game, 1932 Hour of Glory. See Small Back Room, 1949 Hour of the Assassin, 1987 (Corman) Hour of the Furnaces. See Hora de los hornos, 1968 Hour of the Trial. See I. Pr?vningens stund, 1916 Hour of the Wolf. See Vargtimmen, 1968 Hourglass, 1971 (Gerima) House, 1916 (Franklin) FILM TITLE INDEX DIRECTORS, 4 th EDITION 1214 House, 1973 (Burnett) House. See A Casa, 1997 House across the Bay, 1940 (Hitchcock) House at the Terminus. See Tam na kone?né, 1957 House behind the Cedars, mid-1920s (Micheaux) House by the River, 1950 (Lang) House Divided, 1931 (Huston; Wyler) House I Live In, 1945 (Leroy) House of Bamboo, 1955 (Fuller) House of Cards, 1916 (Guy) House of Cards, 1969 (Welles) House of Darkness, 1913 (Grif?th) House of Exorcism. See Casa dell’esorcismo, 1974 House of Horror, 1928 (Christensen) House of Light. See Chambre blanche, 1969 House of Marney, 1927 (Hepworth) House of Pleasure. See Plaisir, 1952 House of Strangers, 1949 (Mankiewicz) House of the Angel. See Casa del ángel, 1957 House of the Damned, 1996 (Corman) House of the Sleeping Virgins. See Nemureru bijo, 1968 House of the Spirits, 1994 (August) House of Usher. See Fall of the House of Usher, 1960 House of Women. See Haus der Frauen, 1977 House on 56th Street, 1933 (Florey) House on Carroll Street, 1988 (Benton) House on Haunted Hill, 1999 (Zemeckis) House on Telegraph Hill, 1951 (Wise) House on Trubnaya. See Dom na Trubnoi, 1928 House That Jack Built, 1912 (Dwan) House with the Closed Shutters, 1910 (Grif?th) Houseboat, 1916 (Sennett) Housebreakers, 1914 (Browning) Household Saints, 1993 (Demme) Householder, 1963 (Ivory) Housekeeping, 1987 (Forsyth) Houslovy koncert, 1962 (Jire?) Houston Texas, 1976 (Jarman) H?vdingens Son ?r d?d, 1937/38 (Fej?s) How Come Nobody’s on Our Side, 1975 (Reiner) How Could William Tell?, 1919 (La Cava) How Dr. Nicola Procured the Chinese Cane. See Dr. Nicola, 1909 How Films Are Made, 1914/15 (Phalke) How Fine, How Fresh the Roses Were. See Kak khoroshi, Kak svezhi byli rozi, 1913 How Green Was My Valley, 1941 (Ford) How He Lied to Her Husband, 1930 (Launder, Frank, and Sidney Gilliat) How Heroes Are Made, 1914 (Sennett) How Hiram Won Out, 1913 (Sennett) How I Won the War, 1967 (Lester) How It Feels to Be Run Over, 1900 (Hepworth) How Jones Lost His Roll, 1905 (Porter) How Motion Pictures Are Made, 1914 (Sennett) How Much Loving Does a Normal Couple Need? See Common Law Cabin, 1967 How Much Wood Would a Woodchuck Chuck, 1976 (Herzog) How She Triumphed, 1911 (Grif?th) How Tasty Was My Little Frenchman. See Como era gostoso o meu frances, 1971 How the Burglar Tricked the Bobby, 1901 (Hepworth) How the F-100 Got Its Tail, 1955 (Leacock) How the Grinch Stole Christmas, 2000 (Howard) How the Steel Was Tempered. See Kak zakalyalas stal, 1942 How the West Was Won, 1962 (Ford) How to Eat Fried Worms, 2001 (Howard) How to Kill Your Neighbor’s Dog , 2000 (Branagh) How to Make Use of Our Leisure Time? See Az Oghat-e Faraghat-e Khod Chegouneh Estefadeh Konim?, 1977 How to Steal a Million, 1966 (Wyler) How to Stop a Motor Car, 1902 (Hepworth) How to Stuff a Wild Bikini, 1965 (Keaton) How Villains Are Made. See Race, 1914 Howard in Particular, 1979 (Egoyan) Howard the Duck, 1986 (Lucas) Howards End, 1992 (Ivory) Howling, 1980 (Corman; Dante; Sayles) Hra na krále, 1967 (Jire?) Hra o ?ivot, 1956 (Weiss) Hrdina jedné noci, 1935 (Fri?) Hsi Nu Ai Le, 1970 (King) Hsi Yen, 1993 (Lee) Hsia Nü, 1970 (King) Hsiao Ao Chiang Hu, 1989 (King) Hsiao Pa Pa Te T’ien K’ung, 1984 (Hou Hsiao-Hsien) Hsiao Pi Te Ku Shih, 1982 (Hou Hsiao-Hsien) Hua hun, 1993 (Zhang Yimou) Hua Pi Zhi Yinyang Fawang, 1992 (King) Hua T’ien-T’so, 1961 (King) Huang Baomei, 1958 (Xie Jin) Huang tu di, 1984 (Chen Kaige; Zhang Yimou) Hub illal Abad, 1959 (Chahine) Hubby to the Rescue, 1914 (Browning) Hubby’s Job, 1913 (Sennett) Hubby’s Latest Alibi, 1928 (Sennett) Hubby’s Quiet Little Game, 1926 (Sennett) Hubby’s Week-End Trip, 1928 (Sennett) Huckleberry Finn, 1939 (Mankiewicz) Huckleberry Finn, 1975 (Howard) Hud, 1963 (Ritt) Hudba z Marsu, 1954 (Kadár) Hudsucker Proxy, 1994 (Coen; Raimi) Hudutlarin kanunu, 1966 (Güney) Hue and Cry, 1946 (Crichton) Huey. See Black Panthers, 1968 Hugo architecte, 1964-69 (Rohmer) Huguenot, 1909 (Feuillade) Huhtikuu on kuukausista julmin, 1983 (Kaurismaki) Huit Jours de bonheur. See Liebesexpress, 1931 Huitieme Jour (The Eighth Day), 1996 (van Dormael) Hula, 1927 (Fleming) Hula Hula Land, 1917 (Sennett) Hullabaloo over Georgie and Bonnie’s Pictures, 1979 (Ivory) Hullo Everybody. See Getting Acquainted, 1914 Hum Tum Aur Woh, 1938 (Mehboob Khan) Humain trop humain, 1972 (Malle) Human Beast. See Bête humaine, 1938 Human Being. See Ningen, 1925 Human Cargo, 1936 (Dwan) Human Condition Part I: No Greater Love. See Ningen no joken I, 1959 Human Condition Part II: Road to Eternity. See Ningen no joken II, 1959 Human Condition Part III: A Soldier’s Prayer. See Ningen no joken III, 1961 Human Desire, 1954 (Lang) Human Driftwood, 1915 (Tourneur) Human Dutch. See Alleman, 1963 Human Face Is a Monument, 1965 (Vanderbeek) “Human” Factor, 1975 (Dmytryk) Human Factor, 1979 (Attenborough) Human Factor, 1980 (Preminger) Human Fish, 1932 (Sennett) Human Hound’s Triumph, 1915 (Sennett) FILM TITLE INDEXDIRECTORS, 4 th EDITION 1215 Human Kindness, 1913 (Dwan) Human Patterns. See Ningen moyo, 1949 Human Pawn. See Broken Fetters, 1916 Humanoids from the Deep, 1996 (Corman) Humayun, 1945 (Mehboob Khan) Humble Man and the Singer. See Demütige und die S?ngerin, 1925 Humdrum Brown, 1918 (Ingram) Humoresque, 1920 (Borzage) Humoresques. See Iumoreski, 1924 Humour noir, 1964 (Autant-Lara) Hun Within, 1918 (von Stroheim) Hunchback and the Dancer. See Bucklige und die Tanzerin, 1920 Hunchback of Notre Dame. See Notre-Dame de Paris, 1956 Hundred and One Nights. See Cent et une nuits, 1995 Hundred Pound Window, 1944 (Attenborough) Hundred Thousand Children, 1955 (Anderson) Hundstage, 1944 (Forst) Hung Hu-Tzu, 1958 (King) Hungarian Rhapsody. See Eletünket és vérunket: Magyar rapsz?dia 1, 1978 Hungarians. See Magyarok, 1977 Hunger, 1997 (Scott) Hunger . . . Hunger . . . Hunger. See Golod . . . golod . . . golod, 1921 Hungry Wives, 1973 (Romero) Hungry Wolves. See Ac kurtlar, 1969 Hunt, 1915 (Sennett) Hunt. See A ca?a, 1963 Hunt. See Caza, 1966 Hunted, 1951 (Crichton) Hunters, 1957 (Marshall) Hunters. See I Kynighi, 1977 Hunting Flies. See Polowanie na muchy, 1969 Hunting Ri?e. See Ryoju, 1961 Hunting Trouble, 1933 (Stevens) Huozhe, 1994 (Zhang Yimou) Hurdes—Tierra sin pan, 1932 (Bu?uel) Hurdy Gurdy, 1929 (Mccarey) Hurlevent, 1985 (Rivette) Hurrah for Soldiers, 1962/63 (Baillie) Hurricane, 1937 (Ford) Hurricane, 1979 (Troell) Hurricane, 1999 (Jewison) Hurricane Irene, 1986 (Kopple) Hurry Call, 1932 (Sandrich) Hurry, Doctor, 1925 (Sennett) Hurry, Hurry. See Deprisa, deprisa, 1980 Hurry Sundown, 1966 (Preminger) Husassistenten, 1914 (Holger-Madsen) Husband for Anna. See Marito per Anna Zaccheo, 1953 Husbands, 1970 (Cassavetes) Husbands and Lovers, 1924 (Stahl) Husbands and Wives, 1992 (Allen; Pollack) Husband’s Reunion, 1933 (Sennett) Huse til mennesker, 1972 (Roos) Hush . . . Hush, Sweet Charlotte, 1964 (Aldrich) Hushing the Scandal, 1915 (Sennett) Hussards et grisettes, 1901 (Guy) Hustle, 1975 (Aldrich) Hustler, 1961 (Rossen) Húsz óra, 1964 (Fábri) Hvem er Gentlemantyven, 1915 (Holger-Madsen) Hvem er han? See En ensom Kvinde, 1914 Hvem var Forbryderen?, 1912 (Blom) Hvězda zvaná Pelyněk, 1964 (Fri?) Hvo som elsker sin Fader or Faklen, 1915 (Holger-Madsen) Hvor bjergene sejler, 1955 (Henning-Jensen) Hvor Sorgerne glemmes, 1916 (Holger-Madsen) Hvorledes Dr. Nicola erhvervede den kinesiske Stok. See Dr. Nicola, 1909 Hyakumanin no musumetachi, 1963 (Gosho) Hyenas. See Hyènes, 1992 Hyènes, 1992 (Mambety) Hymn to a Tired Man. See Nihon no seishun, 1968 Hymn to Her, 1974 (Brakhage) Hypnotized, 1932 (Sennett) Hypocrites!, 1914 (Weber) Hypothèse du tableau volé, 1978 (Ruiz) Hypothesis. See Hipoteza, 1972 Hypothesis of a Stolen Painting. See Hypothèse du tableau volé, 1978 I...., 1995 (Brakhage) I, a Man, 1967 (Warhol) I Am a Camera, 1955 (Clayton) I Am a Cat. See Wagahai wa neko de aru, 1975 I Am a Fugitive from a Chain Gang, 1932 (Leroy) I Am a Thief, 1934 (Florey) I Am Sebastian Ott. See Ich bin Sebastian Ott, 1939 I Am Self-suf?cient. See Io sono un autarchico, 1976 I Am Two. See Watashi wa nisai, 1962 I Am Your Child, 1997 (Brooks; Reiner) I bambini ci guardano, 1943 (de Sica) I basilischi, 1963 (Wertmuller) I Became a Criminal. See They Made Me a Fugitive, 1947 I Believe in You, 1951 (Dearden) I Call First, 1967 (Scorsese) I Can Get It for You Wholesale, 1951 (Polonsky) I cani del Sinai. See Fortini/Cani, 1976 I Can’t Marry Them All. See Alle kann ich nicht heiraten, 1952 I clowns, 1970 (Fellini) I colpevoli, 1957 (de Sica) I Coltelli del vendicatore, 1965 (Bava) I Come from Bokin. See Je reviens de Bokin, 1977 I Come with the Wave. See Wo T’a Laong Erh Lai, 1978 I Confess, 1953 (Hitchcock) I conte Max, 1957 (de Sica) I Corti italiani, 1997 (Pontecorvo) I den store pyramide, 1974 (Roos) I Did It, Mama, 1909 (Grif?th) I dieci comandamenti, 1945 (Germi) I Dismember Mama, 2000 (Morris) I dolci inganni, 1960 (Lattuada) I Don’t Care Girl, 1953 (Bacon) I Don’t Kiss. See J’embrasse pas, 1991 I Don’t Know. See Nie wiem, 1977 I Don’t Know You but I Love You. See Ich kenn’ Dich nicht und liebe Dich, 1933 I Don’t Want to Talk about It. See De eso no se habla, 1993 I Dood It, 1943 (Minnelli) I Dream of Jeannie (with the Light Brown Hair), 1952 (Dwan) I Dream Too Much, 1934 (Cromwell) I . . . Dreaming, 1988 (Brakhage) I Dreamt I Woke Up, 1991 (Boorman) I due marescialli, 1961 (de Sica) I Escaped from Devil’s Island, 1973 (Corman) I ?danzati, 1963 (Olmi) I ?gli di nessuno, 1951 (Rosi) “I” Film. See Ik-Film, 1929 I Flunked, But . . . . See Rakudai wa shita keredo, 1930 I Found Stella Parish, 1935 (Leroy) I Fresh, 1987 (Burnett) I fuorilegge del matrimonio, 1963 (Taviani) I giorni contati, 1962 (Petri) FILM TITLE INDEX DIRECTORS, 4 th EDITION 1216 I giorni più belli, 1956 (de Sica) I girasoli, 1970 (de Sica) I Graduated, But . . . . See Daigaku wa deta keredo, 1929 I Had a Comrade. See Yo tenía un camarada, 1965 I Hate Your Guts. See Intruder, 1961 I Hired a Contract Killer, 1990 (Kaurismaki) I Know Where I’m Going, 1945 (Powell, Michael, And Emeric Pressburger) I Kynighi, 1977 (Angelopoulos) I Live for Love, 1935 (Berkeley) I Live in Fear. See Ikimono no kiroku, 1955 I Live My Life, 1935 (Mankiewicz) I Livets Braending, 1915 (Holger-Madsen) I livets v?r, 1912 (Sj?str?m) I Love a Soldier, 1944 (Sandrich) I Love NY: Sidney Lumet, 1987 (Jire?) I Love You All. See Je vous aime, 1980 I Love You to Death, 1989 (Kasdan) I magliari, 1959 (Rosi) I Married a Witch, 1942 (Clair) I, Mobster, 1958 (Corman) I mostri, 1963 (Scola) I Never Promised You a Rose Garden, 1977 (Corman) I nostri anni più belli, Gli anni più belli. See I giorni più belli, 1956 I nostri ?gli. See I Vinti, 1952 I nostri sogni, 1943 (de Sica) I nuovi mostri, 1977 (Scola) I Once Had a Life. See General, 1998 I Only Want You to Love Me. See Ich will doch nur, dass Ihr mich liebt, 1976 I Pazzi della domenica, 1955-59 (Taviani) I pirati de Capri, 1949 (Ulmer) I Played It for You, 1985 (Wenders) I. Pr?vningens stund, 1916 (Sj?str?m) I pugni in tasca, 1965 (Bellocchio) I racconti di Canterbury, 1972 (Pasolini; Welles) I recuperanti, 1969 (Olmi) I Remember Mama, 1948 (Stevens) I See a Dark Stranger, 1946 (Launder, Frank, and Sidney Gilliat) I Sell Anything, 1934 (Florey) I sequestrati di Altona, 1962 (de Sica) I sette Contadini, 1957 (Petri) I Shot Jesse James, 1948 (Fuller) I Should Have Stood in Bedlam, 1949 (Lewis) I Sign in Blood. See Imzam kanla yazilir, 1970 I sogni nel cassetto, 1957 (Castellani) I Spit on Your Grave. See J’irai cracher sur vos tombes, 1959 I Spy. See Morning After, 1934 I Surrender Dear, 1931 (Sennett) I Take These Truths, 1994 (Brakhage) I Take This Woman, 1932 (von Sternberg) I tartari, 1960 (Welles) I, the Worst of Them All. See Yo, la peor de todas, 1990 I tre aquilotta, 1942 (Rossellini) I Tre volti della paura, 1963 (Bava) I Vampiri, 1956 (Bava) I vinti, 1952 (Antonioni; Rosi) I Vitelloni, 1953 (Fellini) I Walk the Line, 1970 (Frankenheimer) I Walk to the Sun. See Id? do s?o?ca, 1955 I Walked with a Zombie, 1943 (Tourneur) I Wanna Hold Your Hand, 1978 (Spielberg; Zemeckis) “I Want My Hat!’’, 1909 (Grif?th) I Want to Go Home, 1989 (Resnais) I Want to Live, 1958 (Wise) I Was a Fireman. See Fires Were Started, 1943 I Was a Male War Bride, 1949 (Hawks) I Was a Soldier. See By?em ?o?nierzem, 1970 I Was an Adventuress, 1940 (von Stroheim) I Was Born, But . . . . See Umarete wa mita keredo, 1932 I Will Kill You, Wolf. See Ich Werde Dich Toten Wolf, 1970 I Wonder Who’s Kissing Her Now, 1947 (Bacon) I Won’t Forget That Night. See Sono yo wa wasurenai, 1962 I, Your Mother. See Man Sa Yay, 1980 I, Zorba, 1987 (Wise) Ibn el Nil, 1951 (Chahine) Ibret, 1971 (Güney) Ibun sarutobi sasuke, 1965 (Shinoda) Icarus, 1961 (de Palma) Ice Cold Cocos, 1926 (Sennett) Ice Storm, 1997 (Lee) Icebreaker. See Brise-Glace, 1988 Icelandic Cowboys. See Kurekar Noroursins, 1984 Iceman, 1984 (Jewison; Schepisi) Iceman Cometh, 1973 (Frankenheimer) Iceman’s Ball, 1932 (Sandrich) Ich bin Sebastian Ott, 1939 (Forst) Ich hab’ von Dir getr?umt, 1944 (Staudte) Ich kenn’ Dich nicht und liebe Dich, 1933 (Forst) Ich Küsse Ihre Hand, Madame, 1929 (Zinnemann) Ich m?chte kein Mann sein!, 1920 (Lubitsch) Ich und er, 1987 (D?rrie) Ich Werde Dich Toten Wolf, 1970 (Petersen) Ich will doch nur, dass Ihr mich liebt, 1976 (Fassbinder) Ichhapuran, 1970 (Sen) Ichiban utsukushiku, 1944 (Kurosawa) Ici et ailleurs, 1976 (Godard) Iconoclast, 1909 (Grif?th; Porter) Icy in Spots. See Stellenweise glatteis, 1975 Id? do s?o?ca, 1955 (Wajda) Idea di un’isola, 1967 (Rossellini) Ideal Husband, 1947 (Clayton; Korda) Ideale Gattin, 1914 (Lubitsch) Identi?cation Marks: None. See Rysopis, 1964 Identi?cazione di una donna, 1982 (Antonioni) Idiot. See Dummkopf, 1920 Idiot. See Hakuchi, 1951 Idioterne, 1998 (Von Trier) Idiots. See Idioterne, 1998 Idle Class, 1921 (Chaplin) Idlers That Work, 1949 (Anderson) Idoire, 1932 (Tourneur) Idol Dancer, 1920 (Grif?th) Idol of Hope, 1941 (Eisenstein) Idoles, 1967 (Eustache) Idylle, 1897 (Guy) Idylle à la plage, 1931 (Storck) Idylle interrompue, 1897/98 (Guy) Ieraishan, 1951 (Ichikawa) Ieri, oggi, domani, 1963 (de Sica) If..., 1969 (Anderson; Frears) If I Had a Million, 1932 (Lubitsch; Mankiewicz) If I Had to Do It All over Again. See Si c’était à refaire, 1976 If I Lose You. See Seni kaybederesen, 1961 If I Were a Spy. See Si j’etais un espion, 1967 If I Were King, 1938 (Sturges) If I Were Rich. See Cash, 1933 If It Fits, 1978 (Marshall) If It’s Tuesday, This Must Be Belgium, 1969 (Cassavetes; de Sica) If One Thousand Clarinets, 1964 (Menzel) If the Sun Never Returns. See Si le soleil ne revenais pas, 1987 If These Walls Could Talk 2, 2000 (Coolidge) FILM TITLE INDEXDIRECTORS, 4 th EDITION 1217 If You Like It. See Sukinareba koso, 1928 If You Love Me. See Aisureba koso, 1955 Igyj?ttem, 1964 (Jancsó) Ihr Sport, 1919 (Wiene) Ihre Durchlaucht, die Verk?uferin, 1933 (Clouzot; Forst) Ihre Hoheit be?ehlt, 1931 (Wilder) Ik-Film, 1929 (Ivens) Ikari no umi, 1944 (Imai) Ikeru shikabane, 1920 (Kinugasa) Ikimono no kiroku, 1955 (Kurosawa) Ikinokata Shinsengumi, 1932 (Kinugasa) Ikiru, 1952 (Kurosawa) Ikisi de cesurdu, 1963 (Güney) Ikite-iru Magoroku, 1943 (Kinoshita) Ikitoshi Ikerumono, 1934 (Gosho) Ile au trésor, 1986 (Ruiz) ?le de Paques, 1935 (Storck) ?le jaune, 1975 (Lefebvre) Iliac Passion, 1967 (Markopoulos) Ill, 2001 (Romero) I’ll Be Seeing You, 1945 (Cukor) I’ll Be Yours, 1947 (Sturges) I’ll Buy You. See Anata kaimasu, 1956 I’ll Do Anything, 1994 (Brooks) Ill Met by Moonlight, 1956 (Powell, Michael, And Emeric Pressburger) I’ll Never Forget Whatshisname, 1967 (Welles) I’ll Say So, 1918 (Walsh) I’ll See You in My Dreams, 1952 (Curtiz) Illegal, 1979 (Ripstein) Illegally Yours, 1987 (Bogdanovich) Illicit Interlude. See Sommarlek, 1951 Illuminacja, 1973 (Zanussi) Illusioniste renversant, 1903 (Guy) Illustre Machefer, 1913/16 (Feuillade) Illustrious Corpses. See Cadaveri eccelenti, 1976 Ilusión viaja en tranvía, 1953 (Bu?uel) I’m a Fool, 1976 (Howard) I’m All Right Jack, 1959 (Attenborough; Boulting) Im Banne der Kralle, 1921 (Pabst) I’m Coming Home, 1968 (Mikhalkov) I’m Dangerous Tonight, 1990 (Hooper) Im Dienste der Menschheit, 1938 (Ruttmann) Im innern des wals, 1985 (D?rrie) Im Lauf der Zeit, 1976 (Wenders) I’m Mad, 1994 (Spielberg) I’m Still Alive, 1940 (Niblo) I’m Wandering through Moscow. See Ya shagayu po Moskve, 1964 Im Wei?en R??l, 1952 (Forst) Ima hitotabi no, 1947 (Gosho) Image, 1925 (Feyder) Images, 1972 (Altman) Images d’Ostende, 1929-30 (Storck) Images du débat, 1979 (Ruiz) Images from the Ghajar Dynasty. See Gozideh tasvir dar doran-e Qajar, 1993 Images of Debate. See Images du débat, 1979 Imagining October, 1984 (Jarman) Imitateur, 1982 (van Dormael) Imitation of Christ, 1967 (Warhol) Imitation of Life, 1934 (Stahl; Sturges) Imitation of Life, 1959 (Sirk) Immagini Populari Siciliane Profane, 1952 (Birri) Immagini Populari Siciliane Sacre, 1952 (Birri) Immature Punter, 1898 (Hepworth) Immediate Family (Kaplan), 1989 (Kasdan) Immediate Lee, 1916 (Borzage) Immigrant, 1917 (Chaplin) Immigrant Experience: The Long Long Journey, 1972 (Silver) Immoral Girls of the Naked West. See Wild Gals of the Naked West!, 1962 Immoral Teas, 1959 (Meyer) Immorale, 1967 (Germi) Immortal Love. See Eien no hito, 1961 Immortal Sergeant, 1942 (Stahl) Immortal Sins, 1992 (Corman) Immortal Story, 1968 (Welles) Immortality. See Halhatatlanság, 1959 Imoto, 1974 (Itami) Imoto no shi, 1921 (Kinugasa) Imp, 1919 (Goulding) Impasse des deux anges, 1948 (Tourneur) Impatient Heart, 1971 (Badham) Impatient Maiden, 1932 (Whale) Imperative. See Uerreichbare, 1982 Imperfect Journey, 1994 (Gerima) Imperial Grace. See Ko-on, 1927 Imperial Infantry. See Kaiserj?ger, 1956 Imperio de la Fortuna, 1985 (Ripstein) Implacable Destiny. See Love Me and the World Is Mine, 1927 Implement, 1910 (Grif?th) Importancia universal del hueco, 1981 (Alvarez) Imposibrante, 1968 (Guzmán) Impossible Objet, 1973 (Frankenheimer) Imposter, 1944 (Duvivier) Imposter, 1956 (Fernández) Imposter. See Impostor, 1997 Imposters, 1998 (Allen) Impostor, 1936 (Fernández) Impostor, 1997 (Bemberg) Impotence. See Xala, 1974 Impressions de L’Ile des Morts, 1986 (Leacock) Imprevisto, 1961 (Lattuada) Impudent Girl. See Effrontée, 1985 Imzam kanla yazilir, 1970 (Güney) In a Cottage Hospital, 1969 (Apted) In a Full Moon Night. See In una notte di chiaro luna, 1989 In a Hempen Bag, 1909 (Grif?th) In a Lonely Place, 1950 (Ray) In a Mirror. See Dans un miroir, 1985 In a Wild Moment, One Wild Moment, A Summer Affair. See Moment d’egarement, 1977 In a Year with Thirteen Moons. See In einem Jahr mit dreizehn Monden, 1978 In Again—Out Again, 1917 (von Stroheim) In Another’s Nest, 1913 (Dwan) In Bad Taste, 1999 (Waters) In Between, 1955 (Brakhage) In Between, 1978 (Mekas) In Between. See Dazwischen, 1981 In Black and White, 1969 (Loach) In Caliente, 1935 (Bacon; Berkeley) In Celebration, 1974 (Anderson) In Conference, 1931 (Sennett) In Consideration of Pompeii, 1994 (Brakhage) In Country, 1989 (Jewison) In der glanzvollen Welt des Hotel Adlon, 1989 (Adlon) In der Nacht, 1931 (Ruttmann) In Dreams, 1998 (Jordan; Spielberg) In einem Jahr mit dreizehn Monden, 1978 (Fassbinder) In Gefahr und gr?sster Not bringt der Mittelweg den Tod, 1974 (Kluge) In Harm’s Way, 1964 (Preminger) In Hollywood with Potash and Perlmutter, 1924 (Leroy) FILM TITLE INDEX DIRECTORS, 4 th EDITION 1218 In jenen Tagen, 1947 (K?utner) In Life’s Cycle, 1910 (Grif?th) In Little Italy, 1909 (Grif?th) In Love and War, 1997 (Attenborough) In Memoriam László Mészáros. See Mészáros László emlékére, 1968 In Memory of Sergo Ordzhonikidze. See Pamyati Sergo Ordzhonikidze, 1937 In Name Only, 1939 (Cromwell) In nome della legge, 1948 (Fellini; Germi) In Old Arizona, 1929 (Walsh) In Old California, 1910 (Grif?th) In Old Kentucky, 1909 (Grif?th) In Old Kentucky, 1927 (Stahl) In Our Time, 1982 (Yang) In Paris Parks, 1954 (Clarke) In Prehistoric Days, 1913 (Grif?th) In Search of Famine. See Akaler Sandhane, 1980 In Search of Oz, 1993 (Coolidge) In Spite Of, 1991 (Henning-Jensen) In Spring One Plants Alone, 1980 (Ward) In Such Trepidation I Creep off Tonight to the Evil Battle. See Zu b?ser Schlacht schleich’ ich heut’ Nacht so bang, 1977 In the Aisles of the Wild, 1912 (Grif?th) In the Belly of the Whale. See Im innern des wals, 1985 In the Big City. See V bolshom gorode, 1927 In the Bishop’s Carriage, 1913 (Porter) In the Bleak Midwinter, 1995 (Branagh) In the Bonds of Passion. See Skaebnens Veje, 1913 In the Border States, 1910 (Grif?th) In the Clutches of the Gang, 1914 (Sennett) In the Course of Time. See Im Lauf der Zeit, 1976 In the Cut, 2001 (Campion) In the Days of ‘49, 1911 (Grif?th) In the Days of Struggle. See V dni borbi, 1920 In the Good Old Summertime, 1949 (Keaton) In the Hands of Impostors. See Den hvide Slavehandel II, 1911 In the Heart of a Fool, 1921 (Dwan) In the Heat of Passion, 1992 (Corman) In the Heat of Passion II, 1994 (Corman) In the Heat of the Night, 1967 (Ashby; Jewison) In the King of Prussia, 1983 (de Antonio) In the Light of the King’s Love. See V ?áru královské lásky, 1991 In the Line of Fire, 1993 (Eastwood; Petersen) In the Meantime, Darling, 1944 (Preminger) In the Melting Pot, 1999 (Nava) In the Mountains of Ala-Tau. See V gorakh Ala-Tau, 1944 In the Mouth of Madness, 1995 (Carpenter) In the Name of Life. See Vo imya zhizni, 1946 In the Name of the Father, 1993 (Sheridan) In the Name of the Father. See Nel nome del padre, 1971 In the Name of the Fatherland. See Vo imya rodini, 1943 In the Night. See In der Nacht, 1931 In the Outskirts of the City. See A város peremén, 1957 In the Park, 1915 (Bacon; Chaplin) In the Presence of a Clown. See Larmar och g?r sig till, 1997 In the Presence of Mine Enemies, 1996 (Silver) In the Prime of Life. See Ekspeditricen, 1911 In the Realm of Fortune. See Imperio de la Fortuna, 1985 In the Realm of the Senses. See Ai no corrida, 1976 In the Ruins. See Haikyo no naka, 1923 In the Season of Buds, 1910 (Grif?th) In the Shadow of the Sun, 1980 (Jarman) In the Soup, 1992 (Jarmusch) In the Summertime. See Durante l’estate, 1971 In the Town of S. See V gorodye S, 1967 In the Watches of the Night, 1909 (Grif?th) In the White City. See Dans la ville blanche, 1983 In the Window Recess, 1909 (Grif?th) In the Year 2000, 1912 (Guy) In the Year of the Pig, 1968 (de Antonio) In This Corner, 1985 (Egoyan) In This Our Life, 1942 (Huston) In Two Minds, 1967 (Loach) In una notte di chiaro luna, 1989 (Wertmuller) In weiter Ferne, so nah!, 1993 (Wenders) In Which We Serve, 1942 (Attenborough; Lean) In Wrong. See Between Showers, 1914 Inadmissable Evidence, 1968 (Anderson) Inanimate Animated. See Vichitra Shilpa, 1914/15 Inauguration de l’Exposition universelle, 1900 (Lumière) Inauguration of the Pleasure Dome, 1954 (Anger) Inbad the Sailor, 1923 (Sennett) Incantevole nemica, 1952 (Keaton) Ince cumali, 1967 (Güney) Incensurati, 1960 (de Sica) Inchiesa, 1971 (Bertolucci) Incident at Oglala, 1992 (Apted) Incident in a Volcano. See Sluchai v vulkane, 1940 Incognito, 1997 (Badham) Incompetent Hero, 1914 (Sennett) Inconnus dans la maison, 1941 (Clouzot) Inconsolable Memories. See Memorias del subdesarrollo, 1968 Incorrigible, 1975 (de Broca) Incredible Floridas, 1972 (Weir) Incredible Mr. Limpet, 2000 (Jewison) Incredible Shrinking Woman, 1981 (Schumacher) Indagine su un cittadino al di sopra di ogni sospietto, 1970 (Petri) Inde fant?me, 1969 (Malle) Independence, 1976 (Huston) Independent, 2000 (Bogdanovich; Howard) Independent’s Day, 1998 (Smith) Index Hans Richter, 1969 (Markopoulos) India, 1958 (Rossellini) India Cabaret, 1985 (Nair) India Song, 1975 (Duras) India vista da Rossellini, 1958 (Rossellini) Indian Brothers, 1911 (Grif?th) Indian Chief and the Seidlitz Powder, 1901 (Hepworth) Indian Jealousy, 1912 (Dwan) Indian Runner’s Romance, 1909 (Grif?th) Indian Story. See Indiánt?rténet, 1961 Indian Summer, 1912 (Grif?th) Indian Summer, 1993 (Raimi) Indian Youth—An Exploration, 1968 (Benegal) Indiana Jones and the Last Crusade, 1989 (Lucas; Spielberg) Indiana Jones and the Temple of Doom, 1984 (Fincher; Lucas; Spielberg) Indianapolis Speedway, 1939 (Bacon) Indian’s Loyalty, 1913 (Grif?th) Indiánt?rténet, 1961 (Jancsó) Indictment: The McMartin Trial, 1995 (Stone) Indio, 1971 (Fernández) Indische Grabmal, 1921 (Lang) Indiscreet, 1931 (Mccarey) Indiscreet, 1958 (Donen) Indiscretion. See Stazione Termini, 1953 Indiscretion of an American Wife. See Stazione Termini, 1953 Indomitable Leni Peickert. See Unbez?hmbare Leni Peickert, 1969 Indonesia Calling, 1946 (Ivens) Industrial Britain, 1933 (Flaherty; Grierson) Industrial Research, 1976 (Benegal) Industrial Reserve Army. See Industrielle Reservarmee, 1971 Industrie de la tapisserie et du meuble sculpté, 1935 (Storck) FILM TITLE INDEXDIRECTORS, 4 th EDITION 1219 Industrielle Reservarmee, 1971 (Sanders-Brahms) Inez from Hollywood, 1924 (Arzner) Infamous. See Den Aerel?se, 1916 Inferno, 1980 (Bava) Inferno des Verbrechens. See Inferno—Menschen der Zeit, 1921/22 Inferno—Menschen der Zeit, 1921/22 (Lang) Inferno of First Love. See Hatsuoki jig ok uhen, 1968 In?rmière, 1914 (Gance) Informant, 1973 (Marshall) Information Received, 1961 (Roeg) Informer, 1912 (Grif?th) Informer, 1935 (Ford) Informer. See Zinker, 1931 Inge bliver voksen, 1954 (Roos) Ingeborg Holm, 1913 (Sj?str?m) Ingenjor andrees luftfard, 1982 (Troell) Ingmars?nerna, Parts I and II, 1919 (Sj?str?m) Ingrate, 1908 (Grif?th) Inherit the Wind, 1960 (Kramer) Inheritance, 1997 (Bartel) Inheritance. See Karami-ai, 1962 Inheritance of Fuckoffguysgoodbye, 1993 (Chytilová) Inheritors. See Os herdeiros, 1969 Inhumaine, 1923 (Autant-Lara; Cavalcanti; L’herbier) Initiation, 1975 (Rouch) Initiation, 1978 (Clarke) Initiation à la danse des Possédés, 1949 (Rouch) Initiation à la mort. See Magiciens, 1975 Inn at Osaka. See Osaka no yado, 1954 Inn of Evil. See Inochi bo ni furo, 1971 Inner Circle, 1912 (Grif?th) Inner Eye, 1972 (Ray) Innerspace, 1986 (Dante; Spielberg) Innocence Is Bliss. See Miss Grant Takes Richmond, 1949 Innocence Unprotected. See Nevinost bez za?tite, 1968 Innocent, 1993 (Schlesinger) Innocent. See Innocente, 1976 Innocent Affair. See Don’t Trust Your Husband, 1948 Innocent Blood, 1992 (Landis; Raimi) Innocent Grafter, 1912 (Dwan) Innocent Husbands, 1925 (Mccarey) Innocent Magdalene, 1916 (Dwan; Fleming) Innocent Maid. See Hakoiri musume, 1935 Innocent Sinner, 1917 (Walsh) Innocent Sorcerers. See Niewinni czardodzieje, 1959 Innocent Witch. See Osore-zan no onna, 1964 Innocente, 1976 (Visconti) Innocents, 1961 (Clayton) Innocents, 1987 (Téchiné) Innocents aux mains sales, 1975 (Chabrol) Innocent’s Progress, 1918 (Borzage) Innocents with Dirty Hands. See Innocents aux mains sales, 1975 Inocentes, 1962 (Bardem) Inochi bo ni furo, 1971 (Kobayashi) Inondation, 1924 (Cavalcanti) Inquest, 1940 (Boulting) Inquest. See Voruntersuchung, 1931 Inquietude, 1998 (Oliveira) Inquilab, 1935 (Kapoor) I.N.R.I., 1923 (Wiene) Insect Woman. See Nippon konchuki, 1963 Insel, 1974 (Wenders) Inside, 1996 (Penn) Inside Daisy Clover, 1966 (Mulligan; Pakula) Inside Job, 1946 (Browning) Inside Moves, 1980 (Levinson) Inside Out, 1992 (Borden) Inside Rooms—The Bathroom, 1985 (Greenaway) Inside Story, 1948 (Dwan) Inside/Outside Station 9, 1970 (Marshall) Insider, 1999 (Mann) Insigni?cance, 1985 (Roeg) Inspecteur la Bavure, 1980 (Berri) Inspecteur Lavardin, 1985 (Chabrol) Inspector. See Revisor, 1933 Inspector Hornleigh Goes to It, 1940 (Launder, Frank, and Sidney Gilliat) Inspector Hornleigh on Holiday , 1939 (Launder, Frank, and Sidney Gilliat) Inspector Maigret. See Maigret tend un piège, 1957 Inspirations, 1997 (Apted) Instant de la paix. See Augenblick des Friedens, 1965 Instinct. See Honno, 1966 Instinct est ma?tre, 1917 (Feyder) Instructional Steamer “Red Star’. See Instruktorii Parokhod “Krasnaia Zvezda’’, 1920 Instruktorii Parokhod “Krasnaia Zvezda’’, 1920 (Vertov) Insulted and the Injured. See Unizhennye I oskorblyonnye, 1991 Insurrección de la burguesia, 1974 (Guzmán) Inta Habibi, 1956 (Chahine) Intelligence Service. See Ill Met by Moonlight, 1956 Intentions of Murder. See Akai satsui, 1964 Interesting State, 1999 (Wertmuller) Interim, 1952 (Brakhage) Interim Balance. See Věrni zustaneme, 1945 Interior of a Railway Carriage, 1901 (Hepworth) Interiors, 1978 (Allen; Schumacher) Interlude, 1957 (Sirk) Intermission. See Entr’acte, 1924 International Sneak, 1917 (Sennett) International Velvet, 1967 (Warhol) Interpolations I-V, 1992 (Brakhage) Interrupted Elopement, 1911 (Sennett) Interrupted Game, 1911 (Sennett) Interrupted Picnic, 1898 (Hepworth) Intervals, 1969 (Greenaway) Interview, 1971 (Sen) Interview. See Intervista, 1987 Interview with the Vampire, 1994 (Jordan) Intervista, 1987 (Fellini) Intimate Portrait: Kelly Preston, 1999 (Raimi) Intimate Stranger, 1956 (Losey) Into the Dark. See Entre tinieblas, 1983 Into the Night, 1985 (Bartel; Cronenberg; Demme; Kasdan; Landis; Siegel) Into the West, 1993 (Sheridan) Into Thin Air, 1985 (Howard) Intoccabili, 1968 (Cassavetes) Intolerance, 1916 (Browning; Grif?th; von Stroheim) Introducing Dorothy Dandridge, 1999 (Coolidge) Introducing the Dial, 1935 (Grierson) Introduction to Arnold Schoenberg’s Accompaniment for a Cinematographic Scene. See Einleitung zu Arnold Schoenberg Begleit Musik zu einer Lichtspielscene, 1969 Introduction to Marriage. See Kekkon-gaku nyumon, 1930 Intruder, 1961 (Corman) Intruder, 1988 (Raimi) Intruder. See Invader, 1935 Intruders: They Are among Us, 1992 (Apted) Intruse, 1913 (Feuillade) Intrusion at Lompoc, 1912 (Dwan) Inugami Family. See Inugami-ke no ichizoku, 1976 Inugami-ke no ichizoku, 1976 (Ichikawa) FILM TITLE INDEX DIRECTORS, 4 th EDITION 1220 Inundados, 1961 (Birri) Invader, 1935 (Keaton) Invaders. See 49th Parallel, 1941 Invaders from Mars, 1986 (Hooper) Invasion. See Tatárjárás, 1917 Invasion America, 1998 (Spielberg) Invasion of the Body Snatchers, 1956 (Peckinpah; Siegel) Invasion of the Body Snatchers, 1978 (Kaufman; Siegel) Invasore, 1943 (Rossellini) Invasori, 1961 (Bava) Inventing the Abbotts, 1997 (Howard) Inventive Love. See Elskovs Op?ndsomhed, 1913 Inventor’s Secret, 1911 (Sennett) Inventory. See Stan Posiadania, 1989 Investigating Sex, 2001 (Rudolph) Investigation of a Citizen above Suspicion. See Indagine su un cittadino al di sopra di ogni sospietto, 1970 Investigation of a Hit and Run, 1972 (Marshall) Invincible, 1943 (Gerasimov) Invincible, 2000 (Herzog) Invisible Child, 1999 (Silver) Invisible Man, 1933 (Whale) Invisible Man. See Nevidimi chelovek, 1935 Invisible Stripes, 1940 (Bacon) Invitation, 1973 (Goretta) Invitation. See Invitation, 1973 Invitation à la chasse, 1974 (Von Trotta) Invitation au voyage, 1927 (Dulac) Invitation to a Gun?ghter, 1964 (Kramer) Invitation to Hell, 1984 (Craven) Invitation to the Inside. See Zaproszenie do wn?trza, 1978 Invite Monsieur à d?ner, 1932 (Autant-Lara) Invocation of My Demon Brother, 1969 (Anger) Io, io, io . . . e gli altri, 1966 (de Sica) Io la conoscevo bene, 1965 (Scola) Io non vedo, tu non parli, lui non sente, 1971 (de Sica) Io sono un autarchico, 1976 (Moretti) Io speriamo che me la cavo, 1994 (Wertmuller) Iola’s Promise, 1912 (Grif?th) IP5: L’?le aux pachydermes, 1992 (Beineix) Iphigenia, 1977 (Cacoyannis) Ipotesi, 1970 (Petri) Ippan gatana dohyoiri, 1934 (Kinugasa) Ippocampo, 1943 (de Sica) I.Q., 1994 (Schepisi) Ire a Santiago, 1964 (Gómez) Irene, 1926 (Leroy) Iris, 1915 (Hepworth) Iris och l? jtnantsh j?rta, 1946 (Sj?berg; Zetterling) Irish in Us, 1935 (Bacon) Irma La Douce, 1963 (Wilder) Iron Curtain, 1948 (Wellman) Iron Gate. See Bab el Hadid, 1958 Iron Horse, 1924 (Ford) Iron Horsemen, 1994 (Jarmusch; Kaurismaki) Iron Man, 1931 (Browning) Iron Mask, 1929 (Dwan) Iron Maze, 1991 (Stone) Iron Nag, 1925 (Sennett) Iron Ring. See Kanawa, 1972 Irrgarten der Leidenschaft. See Pleasure Garden, 1926 Is Marriage the Bunk?, 1925 (Mccarey) Is Paris Burning? See Paris br?le-t-il?, 1966 Is That All There Is?, 1993 (Anderson) Isabelle Eberhardt, 1990 (Wenders) Isadora, 1968 (Reisz) Isen brydes, 1947 (Roos) Ishimatsu of Mori. See Mori no Ishimatsu, 1949 Ishimatsu of the Forest. See Mori no Ishimatsu, 1949 Isidore a la deveine, 1919 (Florey) Isidore sur le lac, 1919 (Florey) Iskindiriah Kaman Oue Kaman, 1990 (Chahine) Iskindria . . . Leh?, 1978 (Chahine) Isla de la pasión, 1941 (Fernández) Isla del tesero, 1969 (Gómez) Island. See Hadaka no shima, 1960 Island. See Insel, 1974 Island. See On, 1966 Island in the Sky, 1953 (Wellman) Island in the Sun, 1957 (Rossen) Island of Dr. Moreau, 1996 (Frankenheimer) Island of Horrors. See Gokumonto, 1977 Island of Naked Scandal. See Shima to ratai jiken, 1931 Island of Silver Herons. See Ostrov st?íbrnych volavek, 1976 Island of Terror. See Cinque bambole per la luna d’agosto, 1970 Island of Treasure, 1965 (Welles) Islands, 1984 (Maysles) Islands in the Stream, 1977 (Schaffner) Islas Marías, 1950 (Fernández) Isle of Forgotten Sins, 1943 (Ulmer) Isle of Lost Ships, 1923 (Tourneur) Isn’t It Shocking?, 1974 (Badham) Isn’t Life Terrible, 1925 (Mccarey) Isn’t Love Cuckoo, 1925 (Sennett) Isotopes in Medical Science. See Izot?pok a gy?gyászatban, 1959 Isphahan: Lettre Persanne 1977, 1977 (Rouch) Ispirazione, 1988 (Jarman) Israel, Why? See Pourquoi, Israel?, 1973 Issa le tisserand, 1985 (Ouedraogo) Issa the Weaver. See Issa le tisserand, 1985 Isten hátrafelé megy, 1990 (Jancsó) Isten hozta, ?rnagy úr!, 1969 (Fábri) Istoriia grazhdenskoi voini, 1922 (Vertov) It Ain’t No Sin. See Belle of the Nineties, 1934 It All Starts Today. See ?a commence aujourd’hui, 1999 It Conquered the World, 1956 (Corman) It Depends on Us Too . . . . See Rajtunk is mulik, 1960 It Happened at the Inn. See Goupi Mains rouges, 1943 It Happened in Gibraltar. See Gibraltar, 1938 It Happened in Hollywood, 1937 (Fuller) It Happened in Hollywood, 1972 (Craven) It Happened in Rome. See Souvenir d’Italie, 1957 It Happened in Tokyo. See Kawa no aru shitamachi no hanashi, 1955 It Happened One Christmas, 1977 (Welles) It Happened One Night, 1934 (Capra) It Happened Tomorrow, 1943 (Clair) It Happens Every Spring, 1949 (Bacon) It Isn’t Easy Being God. See Es ist nicht leicht ein Gott zu sein, 1989 It Must Be Love, 1926 (Leroy) It Pays to Exercise, 1918 (Sennett) It Pays to Wait, 1912 (Dwan) It Rains on Our Love. See Det regnar p? v?r k?rlek, 1946 It Should Happen to You, 1954 (Cukor) It Started in Naples, 1960 (de Sica) It Started in Paris, 1935 (Huston) It Was Always So Beautiful with You. See Bei Dir war es immer so sch?n, 1952 It Was een April, 1935 (Sirk) It Was in May. See Det var i Maj, 1914 Italia non è un paesa povero, 1960 (Taviani) Italia non e un paese povero, 1960 (Ivens) Italian-American, 1974 (Scorsese) FILM TITLE INDEXDIRECTORS, 4 th EDITION 1221 Italian Barber, 1910 (Grif?th) Italian Barber, 1911 (Sennett) Italian Blood, 1911 (Grif?th) Italiano in America, 1967 (de Sica) Italy Is Not a Poor Country. See Italia non e un paese povero, 1960 Itél a Balaton, 1932 (Fej?s) Itinéraire d’un enfant gaté, 1988 (Lelouch) Itinerary of a Spoiled Child. See Itinéraire d’un enfant gaté, 1988 It’ll Happen Tomorrow. See Domani accadra, 1988 Itoshi no wagako, 1926 (Gosho) It’s a Bear. See Just a Bear, 1931 It’s a Big Country, 1952 (Wellman) It’s a Boy, 1920 (Sennett) It’s a Mad, Mad, Mad, Mad World, 1963 (Keaton; Kramer; Lewis) It’s a Wonderful Life, 1946 (Capra) It’s All True, 1942 (Welles) It’s Always Fair Weather, 1955 (Donen) It’s Always Sunday, 1955 (Dwan) It’s Forever Springtime. See E’primavera, 1949 It’s Impossible to Learn to Plow by Reading Books, 1988 (Linklater) It’s in the Air, 1938 (Dearden) It’s Magic. See Romance on the High Seas, 1948 It’s Murder!, 1977 (Raimi) It’s No Laughing Matter, 1914 (Weber) It’s Not Just You, Murray, 1964 (Scorsese) It’s Only Money, 1962 (Lewis; Tashlin) It’s Trad, Dad, 1962 (Lester) It’s up to You, 1941 (Kazan) Itsuwareru seiso, 1951 (Shindo; Yoshimura) Itto d’Afrique, 1934 (Clouzot) Iumoreski, 1924 (Vertov) Ivan, 1932 (Dovzhenko) Ivan Grozny, 1944 (Eisenstein; Pudovkin) Ivan Groznyi II: Boyarskii zagovor, 1958 (Eisenstein) Ivan the Terrible, Part I. See Ivan Groznyi, 1944 Ivan the Terrible, Part II: The Boyars’ Plot. See Ivan Groznyi II: Boyarskii zagovor, 1958 Ivanov. See Three Soldiers, 1932 Ivanovo detstvo, 1962 (Tarkovsky) Ivan’s Childhood. See Ivanovo detstvo, 1962 I’ve Always Loved You, 1946 (Borzage) Ivory Snuff Box, 1915 (Tourneur) Ivy and John, 1965 (Warhol) Izin, 1975 (Güney) Izot?pok a gy?gyászatban, 1959 (Jancsó) Izu no musumetachi, 1945 (Gosho) Izu no odoriko, 1933 (Gosho) Izumi, 1956 (Kobayashi) J. Th. Arnfred, 1974 (Roos) Ja se fabricam automovels em Portugal, 1939 (Oliveira) Jaan Pehchan, 1950 (Kapoor) Jabberwocky, 1977 (Gilliam) J’Accuse, 1919 (Gance) J’accuse, 1937 (Gance) Jack, 1996 (Coppola) Jack & Jill, 1998 (Egoyan) Jack Ahoy!, 1934 (Launder, Frank, and Sidney Gilliat) Jack and the Beanstalk, 1902 (Porter) Jack and the Beanstalk, 1917 (Franklin) Jack Brown, Genius, 1995 (Jackson) Jack Bull, 1999 (Badham) Jack Knife Man, 1920 (Vidor) Jack of Diamonds, 1912 (Dwan) Jack Point, 1973 (Apted) Jackal of Nahueltoro. See Chacal de Nahueltoro, 1969 Jackboot Mutiny. See Es geschah am 20 Juli, 1955 Jackie, 1921 (Ford) Jackie Brown, 1997 (Tarantino) Jack’s the Boy, 1932 (Launder, Frank, and Sidney Gilliat) Jack’s Wife. See Hungry Wives, 1973 Jack’s Word, 1912 (Dwan) Jackson County Jail, 1976 (Corman) Jackville, 1965 (Rouch) Jacquot de Nantes, 1991 (Demy; Varda) Jade, 1995 (Friedkin) Jag drapte, 1943 (Zetterling) Jag Mandir, 1991 (Herzog) Jagd nach dem Gluck, 1930 (Renoir) Jagd nach dem Tode, 1920 (Wiene) Jagirdar, 1937 (Mehboob Khan) Jagte Raho, 1956 (Kapoor) Jagten paa Gentlemanr?veren, 1910 (Blom) Jaguar, 1967 (Rouch) Jaguar: A Yanomamo Twin-Cycle Myth, 1976 (Asch) Jaguar Lives, 1979 (Huston) J’ai faim, j’ai froid, 1984 (Akerman) J’ai un hanneton dans mon pantalon, 1906 (Guy) Jail Bait, 1937 (Keaton) Jail Yaatra, 1947 (Kapoor) Jailbait, 1954 (Wood, Edward D., Jr.) Jak si zaslouzit princeznu, 1995 (Menzel) Jalisco canta en Sevilla, 1948 (de Fuentes) Jalna, 1934 (Cromwell) Jalousie du barbouillé, 1928 (Cavalcanti) Jalsaghar, 1958 (Ray) Jam Session, 1944 (Donen) Jama Masjid Street Journal, 1979 (Nair) Jamaica Inn, 1939 (Hitchcock; Launder, Frank, and Sidney Gilliat) James Bond Story, 1999 (Apted) James Dean Story, 1957 (Altman) Jana Aranya, 1975 (Ray) Jane, 1986 (Brakhage) Jane Austen in Manhattan, 1980 (Ivory) Jane B. par Agnès V., 1988 (Varda) Jane Eyre, 1943 (Welles) Jane Eyre, 1996 (Zef?relli) Janes gode Ven. See Det St?rste i Verden, 1919 Janie, 1944 (Curtiz) Janine, 1961 (Berri; Pialat) Janis, 1999 (Demme) Janitor, 1913 (Sennett) Janitor’s Wife’s Temptation, 1915 (Sennett) Janitzio, 1934 (Fernández) János Tornyai. See Tornyai János, 1962 Jáno?ík, 1935 (Fri?) January Man, 1989 (Jewison) Janus-Faced. See Januskopf, 1920 Januskopf, 1920 (Murnau) Japan and the Japanese. See Nihon to Nihonjin, 1970 Japanerin, 1918 (Dupont) Japanese Grandmothers. See Nippon no obachan, 1962 Japanese Summer: Double Suicide. See Muri-shinju: Nihon no natsu, 1967 Japanese Tragedy. See Nihon no higeki, 1953 Jardín de las delicias, 1970 (Saura) Jardin des plantes, 1995 (de Broca) Jardinier. See Arroseur arrosé, 1895 Jardins de Paris, 1948 (Resnais) Jashumon no onna, 1924 (Kinugasa) Jason X: Friday the 13th Part 10, 2001 (Cronenberg) Jatagan Mala, 1953 (Makavejev) FILM TITLE INDEX DIRECTORS, 4 th EDITION 1222 Jaune le soleil, 1971 (Duras) Jawaharlal Nehru, 1985 (Benegal) Jaws, 1975 (Spielberg) Jazz—34, 1996 (Altman) Jazz Boat, 1960 (Roeg) Jazz Mamas, 1929 (Sennett) Jazz Singer, 1953 (Curtiz) Jazz Waiter. See Caught in a Cabaret, 1914 Jazzmania, 1923 (Goulding) Je reviens de Bokin, 1977 (Kaboré) Je serai seule après minuit, 1931 (Clouzot) Je t’aime, je t’aime, 1968 (Resnais) Je tu il elle, 1974 (Akerman) Je vous aime, 1980 (Berri) Je vous y prrrends!, 1897/98 (Guy) Jealous Husband, 1911 (Grif?th; Sennett) Jealous Husbands, 1923 (Tourneur) Jealous Rage, 1912 (Dwan) Jealous Waiter, 1913 (Sennett) Jealousy. See Shitto, 1949 Jealousy and the Man, 1909 (Grif?th) Jean Cocteau, 1949 (Roos) Jean Cocteau fait du cinéma, 1925 (Cocteau) Jean de Florette, 1986 (Berri; Pagnol) Jean de la Lune, 1948 (Astruc) Jean Effel, 1948 (Resnais) Jean la poudre, 1912 (Tourneur) Jean-Paul Belmondo, 1965 (Lelouch) Jean Piaget, 1977 (Goretta) Jean Renoir, 1993 (Bertolucci; Chabrol) Jean Renoir, le patron, 1966 (Eustache; Rivette) Jean Taris champion de natation. See Taris, 1931 Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles, 1975 (Akerman; Storck) Jeanne la fran?aise. See Joanna Francesa, 1973 Jeanne la Pucelle, 1994 (Rivette) Jedenácté p?ikázání, 1935 (Fri?) Jeder für sich und Gott gegen alle, 1974 (Herzog) Jedermanns Frau, 1924 (Korda) Jedermanns Weib. See Jedermanns Frau, 1924 Jefe maximo, 1940 (de Fuentes) Jefferson in Paris, 1995 (Ivory) Jeffries Jr., 1924 (Mccarey) Jelenlét, 1965 (Jancsó) J’embrasse pas, 1991 (Téchiné) Jeniec Europy, 1989 (Kawalerowicz) Jennifer, 1964 (de Palma) Jenny, 1936 (Carné) Jenny’s Pearls, 1913 (Sennett) Jens Langkniv, 1940 (Henning-Jensen) Jens Mansson i Amerika, 1947 (de Mille) Jeremiah Johnson, 1972 (Pollack) Jericho Mile, 1979 (Mann) Jerky Boys, 1995 (Bartel) Jernbanens Datter, 1911 (Blom) Jero on Jero: A Balinese Trance Seance Observed, 1980 (Asch) Jero Tapakan: Stories from the Life of a Balinese Healer, 1983 (Asch) Jérome Perreau, héro des barricades, 1936 (Gance) Jerry the Giant, 1926 (Sandrich) Jerusalem, 1996 (August) Jessye Norman Sings Carmen, 1989 (Maysles) Jester and the Queen. See Sasek a kralovna, 1987 Jestoki romans, 1984 (Mikhalkov) Jesus Christ Superstar, 1973 (Jewison) Jésus de Montréal, 1989 (Arcand) Jesus of Nazareth. See Gesu di Nazareth, 1977 Jet Pilot, 1957 (von Sternberg) Jet Storm, 1959 (Attenborough; Zetterling) Jetée, 1964 (Marker) Jetzt leben—Juden in Berlin, 1995 (Sanders-Brahms) Jeu de l’oie, 1980 (Ruiz) Jeudi on chantera comme dimanche, 1966 (Storck) Jeugd-dag, 1929/30 (Ivens) Jeune Fille. See Young One, 1960 Jeune Fille assassinée, 1974 (Astruc; Vadim) Jeune ?lle libre le soir, 1975 (Clément) Jeune Fille un seul amour, Magni?cent Sinner. See Katya, 1960 Jeune homme a l’inauguration, 1955 (Berri) Jeune homme et la mort, 1953 (Anger) Jeunes ?lles d’aujourd’hui. See Maturareise, 1943 Jeunes ?lles en détresse, 1939 (Pabst) Jeunes Loups, 1967 (Carné) Jeux, 1979 (Ruiz) Jeux de l’amour, 1959 (Chabrol) Jeux de l’amour, 1960 (de Broca) Jeux de l’été et de la mer, 1936 (Storck) Jeux interdits, 1951 (Clément) Jeux sont faits, 1947 (Delannoy) Jewel Case. See S?lvdaasen med Juvelerne, 1910 Jeweller’s Terror. See Juvelerernes Skr?k, eller Skelethaanden, eller Skelethaandens sidste bedrift, 1915 Jewels of a Sacri?ce, 1913 (Dwan) Jewish Gauchos. See Gauchos judíos, 1975 Jew’s Christmas, 1913 (Weber) Jezebel, 1938 (Huston; Wyler) Jézus Krisztus Horoszkója, 1989 (Jancsó) JFK, 1991 (Stone) Jigoku no kifujin, 1949 (Kurosawa) Jigokumon, 1953 (Kinugasa) Jigokuno magarikago, 1959 (Imamura) Jihi shincho, 1927 (Mizoguchi) Jilt, 1909 (Grif?th) Jim Bludso, 1917 (Browning) Jim Jam Janitor, 1928 (Sennett) Jim Thorpe—All American, 1951 (Curtiz) Jimmy Hollywood, 1994 (Levinson) Jimmy the Gent, 1934 (Curtiz) Jimpu Group. See Jimpuren, 1933 Jimpuren, 1933 (Mizoguchi) Jinete fantasma, 1967 (Fernández) Jing ke ci qin wang, 1999 (Chen Kaige) Jinks Joins the Temperance Club, 1911 (Sennett) Jinkyo, 1924 (Mizoguchi) Jinruigaku nyumon, 1966 (Imamura) Jinsei no onimotsu, 1935 (Gosho) Jinsei o Mitsumete, 1923 (Kinugasa) Jinsei tonbo-gaeri, 1946 (Imai) Jinxed!, 1982 (Siegel) J’irai cracher sur vos tombes, 1959 (Berri) Jiruba no Tetsu, 1950 (Kurosawa) Jis Desh Me Ganga Behti Hai, 1960 (Kapoor) Jitney Elopement, 1915 (Bacon; Chaplin) Jitters, the Butler, 1932 (Sandrich) Jive Junction, 1943 (Ulmer) Jiyu gakko, 1951 (Yoshimura) JLG/JLG—Autoportrait de Decembre, 1994 (Godard) Jmeno kodu: Rubin, 1997 (Nemec) Jo-bachi, 1978 (Ichikawa) Joan of Arc, 1948 (Fleming) Joan of Arc at the Stake. See Giovanna d’Arco al rogo, 1954 Joan the Woman, 1917 (de Mille) Joanna Francesa, 1973 (Diegues) FILM TITLE INDEXDIRECTORS, 4 th EDITION 1223 Job. See Posto, 1961 Job. See Urzad, 1967 Job in a Million, 1937 (Grierson) Job Offer. See Offre d’emploi, 1980 Jocko musicien, 1903 (Guy) Jocular Winds, 1913 (Dwan) Joe Debbs, 1917 (Lang) Joe Kidd, 1972 (Eastwood) Joe vs. the Volcano, 1989 (Spielberg) Joen no chimata, 1923 (Mizoguchi) Joen, 1959 (Kinugasa) Joe’s Apartment, 1996 (Bartel) Joe’s Bed-Stuy Barbershop: We Cut Heads, 1982 (Lee) Joey Boy, 1965 (Launder, Frank, and Sidney Gilliat) Jofroi, 1934 (Pagnol) Johan, 1920 (Stiller) Johan, 1964 (Troell) Johann the Cof?n Maker, 1927 (Florey) Johannas Traum, 1975 (Schroeter) Johannes J?rgensen i Assisi, 1950 (Roos) Johannes J?rgensen i Svendborg, 1954 (Roos) Johannes Larsen, 1957 (Roos) Johannes V. Jensen, 1947 (Roos) John Carpenter’s Escape from L.A.. See Escape from L.A., 1996 John Ericsson, 1937 (Sj?str?m) John Gilpin’s Ride, 1908 (Hepworth) John Needham’s Double, 1916 (Weber) John, the Tenant. See Arendás zsidó, 1917 John the Younger Brother. See J?n az ?csem, 1919 John Woo’s Blackjack, 1998 (Woo) Johnny Bago, 1993 (Zemeckis) Johnny Eager, 1941 (Leroy) Johnny Guitar, 1954 (Ray) Johnny Handsome, 1989 (Hill) Johnny O’Clock, 1947 (Rossen) Johnny One-Eye, 1949 (Florey) Joi Baba Felunath, 1978 (Ray) Joie de revivre, 1947 (Storck) Joiuchi, 1967 (Kobayashi) Joke. See Zert, 1968 Joke of Destiny, Lying in Wait around the Corner Kike a Street Bandit. See Scherzo del destinoin aqquato dietro l’angelo come un brigante di strada, 1983 Joke on the Joker, 1911 (Sennett) Jokei, 1960 (Yoshimura) Joker. See Farceur, 1960 Joking Relationship, 1962 (Marshall) Jokyo II: Mono o takaku uritsukeru onna, 1959 (Ichikawa) Jokyu aishi, 1931 (Gosho) Joli Mai, 1963 (Marker) Jolly Jilter, 1927 (Sennett) J?n az ?csem, 1919 (Curtiz) Jonah Man, 1904 (Hepworth) Jonah qui aura 25 ans en l’année 2000, 1976 (Tanner) Jonas et Lila, à demain, 1999 (Tanner) Jonas in the Desert, 1993 (Anger; Mekas; Morrissey; Scorsese) Jones and His New Neighbors, 1909 (Grif?th) Jones and the Lady Book Agent, 1909 (Grif?th) Jones Family in Hollywood, 1939 (Keaton) Jones Family in Quick Millions, 1939 (Keaton) Jones Have Amateur Theatricals, 1909 (Grif?th) Jordan Is a Hard Road, 1915 (Dwan) Jordan’s Dance, 1977 (Jarman) Jordens Haevn. See Den omstridte Jord, 1915 Jorjamado no cinema, 1979 (Rocha) Josei ni kansuru juni-sho, 1954 (Ichikawa) Josei no shori, 1946 (Mizoguchi; Shindo) Josei wa tsuyoshi, 1924 (Mizoguchi) Joseph and the Amazing Technicolor Dreamcoat, 2000 (Attenborough) Joseph Andrews, 1977 (Richardson) Josephine and Men, 1955 (Boulting) Josette, 1938 (Dwan) Josh’s Suicide, 1911 (Sennett) Jóslat, 1920 (Fej?s) Josser in the Army, 1932 (Launder, Frank, and Sidney Gilliat) Joueur, 1958 (Autant-Lara) Jour de fête, 1949 (Tati) Jour des parques. See Rupture, 1970 Jour du frotteur, 1932 (Cavalcanti) Jour du terme, 1904 (Guy) Jour et l’heure, 1962 (Clément) Jour pina a demandé, 1983 (Akerman) Jour “S . . . “, 1984 (Lefebvre) Jour se lève, 1939 (Carné) Journal d’un curé de campagne, 1950 (Bresson) Journal d’un scélérat, 1950 (Rohmer) Journal d’une femme de chambre, 1963 (Bu?uel) Journal d’une femme en blanc, 1965 (Autant-Lara) Journal of the Orange Flower. See Karatachi nikki, 1959 Journalist. See Zhurnalist, 1967 Journée bien remplie, 1972 (Beineix) Journée naturelle, 1947 (Resnais) Journey. See Safar, 1994 Journey. See Viaggio, 1974 Journey beneath the Desert, 1960 (Ulmer) Journey from the Shadows, 1938 (Weiss) Journey into Autumn. See Kvinnodr?m, 1955 Journey into Fear, 1943 (Welles) Journey of the Hyena. See Touki Bouki, 1973 Journey of Vincenc Mo?tek and Simon Pe?l of Vl?nov to Prague, 1969 A.D.. See Cesta do Prahy Vincence Mo?teka a Simona Pe?la z Vl?nova l.p. 1969, 1969 Journey Out. See Resan bort, 1945 Journey to Avebury, 1971 (Jarman) Journey to Jerusalem, 1940 (Lumet) Journey to the Beginning of the World. See Viagem ao principio do mundo, 1997 Journey to the Center of the Earth, 1993 (Raimi) Journey to the Land of the Traveller. See Sarari be Diare Mosafer, 1993 Journey to the Lost City, 1959 (Lang) Journey Together, 1945 (Attenborough; Boulting) Journey’s End, 1930 (Whale) Journeys from Berlin/1971, 1980 (Rainer) Jours de 36. See Mères tou 36, 1972 Jours tranquilles a Clichy, 1990 (Chabrol) Jovanka e le altre, 1959 (Germi; Ritt) Joven. See Young One, 1960 Joven Picasso, 1993 (Bardem) Joy, 1972 (Apted) Joy Girl, 1927 (Dwan) Joy House. See Félins, 1964 Joy Luck Club, 1993 (Stone) Joy of Sex, 1984 (Coolidge) Joyeux Calvaire, 1996 (Arcand) Joyeux Tromblons, 1974-75 (Storck) Joyless Street. See Freudlose Gasse, 1925 Joyu, 1947 (Kinugasa) Joyu, 1956 (Shindo) Joyu Sumako no koi, 1947 (Mizoguchi) Ju Dou, 1990 (Zhang Yimou) Juan sin miedo, 1938 (Fernández) Juarez, 1939 (Huston) FILM TITLE INDEX DIRECTORS, 4 th EDITION 1224 Jubal, 1956 (Daves) Jubiaba, 1986 (Pereira Dos Santos) Jubilation Street. See Kanko no machi, 1944 Jubilee, 1978 (Jarman) Jud Süss, 1950 (Staudte) Judás, 1918 (Curtiz) Judas Was a Woman. See Bête humaine, 1938 Judex, 1916 (Feuillade) Judge, 1916 (Sennett) Judge. See Domaren, 1960 Judge and the Assassin. See Juge et l’assassin, 1976 Judge Priest, 1934 (Ford) Judge Rummy in Bear Facts, 1920 (La Cava) Judgement at Nuremberg, 1961 (Kramer) Judgement Day, 1986 (Friedkin) Judgement in Stone, 1995 (Chabrol) Judgement of Allah, 1935 (Mehboob Khan) Judgment Deferred, 1951 (Grierson) Judith, 1965 (Roeg) Judith et Holopherne, 1909 (Feuillade) Judith of Bethulia, 1913 (Grif?th) Judo Saga—II. See Zoku Sugata Sanshiro, 1945 Jueves, milagro, 1957 (García Berlanga) Juge et l’assassin, 1976 (Tavernier) Juggernaut, 1974 (Lester) Juggler, 1953 (Dmytryk; Kramer) Juguetes, 1978 (Bemberg) Juha, 1999 (Kaurismaki) Jujiro, 1928 (Kinugasa) Jukyu-sai no haru, 1933 (Gosho) Jules et Jim, 1961 (Truffaut) Julia, 1977 (Zinnemann) Julia Walking Home, 2001 (Holland) Juliana in zeventig bewogen jaren, 1979 (Haanstra) Julie Pot de Colle, 1977 (de Broca) Juliet of the Spirits. See Giulietta degli spiriti, 1965 Juliette dans Paris, 1967 (Miller) Juliette ou la Clé des songes, 1951 (Carné) Julius Caesar, 1953 (Mankiewicz) Jumbo, 1962 (Berkeley) Jumeaux de Brighton, 1936 (Bresson) Jument verte, 1959 (Autant-Lara) Jumpin’ at the Boneyard (Stanzler), 1991 (Kasdan) Jumping Jacks, 1952 (Lewis) Jumping the Puddles Again. See U7zcaron; zase ská?u p?es kalu?e, 1970 Junai monogatari, 1957 (Imai) June Moon, 1931 (Mankiewicz) Junge Medardus, 1923 (Curtiz) Junge T?rless, 1966 (Schl?ndorff) Jungens, 1950 (Staudte) Jungfruk?llen, 1960 (Bergman) Jungle Book, 1942 (Korda) Jungle Dance. See Djungeldansen, 1935/36 Jungle Fever, 1991 (Lee) Junior, 1988 (van Sant) Junior Bonner, 1972 (Peckinpah) Juno and the Paycock, 1929 (Hitchcock) Junoon, 1977 (Benegal) Jupiter’s Thigh. See On a vole la cuisse de Jupiter, 1980 Jurassic Park, 1993 (Attenborough; Spielberg) Jurassic Park 3, 2001 (Spielberg) Jury of Fate, 1917 (Browning) Jusan nichi no kinyobi, 1959 (Oshima) Jusqu’à la victoire, 1970 (Godard) Jusqu’au coeur, 1968 (Lefebvre) Just a Bear, 1931 (Sennett) Just Another Murder, 1935 (Sennett) Just before Nightfall. See Juste avant la nuit, 1971 Just Brown’s Luck, 1913 (Sennett) Just for Fun, 1963 (Roeg) Just Gold, 1913 (Grif?th) Just Heroes, 1987 (Woo) Just Kids, 1913 (Sennett) Just like a Woman, 1912 (Grif?th) Just like at Home. See Olyan, mint otthon, 1978 Just Pals, 1920 (Ford) Just Shoot Me, 1997 (Allen) Just Tell Me What You Want, 1980 (Lumet) Juste avant la nuit, 1971 (Chabrol) Justice d’Abord, 1920/23 (Protazanov) Justice for Selwyn. See Prípad pro Selwyn, 1968 Justice of the Sage, 1912 (Dwan) Justice Victorious. See Retten sejrer, 1917 Justicier. See Justiciero, 1967 Justiciero, 1967 (Pereira Dos Santos) Justin de Marseille, 1935 (Tourneur) Justine, 1969 (Cukor) Jutro premiera, 1946 (Kawalerowicz) Juvelerernes Skr?k, eller Skelethaanden, eller Skelethaandens sidste bedrift, 1915 (Dreyer) Juvenile Court, 1973 (Wiseman) Juvenizer. See Chung Shên Ta Shih, 1981 Juventude, 1950 (Pereira Dos Santos) Kabarett. See Dieses Lied bleibt bei Dir, 1954 Kabe atsuki heya, 1956 (Kobayashi) Kabinett des Dr. Caligari, 1920 (Wiene) Kabocha, 1928 (Ozu) Kacaklar, 1971 (Güney) Kachan kekkon shiroyo, 1962 (Gosho) Kachan to Juichi-nin no Kodomo, 1966 (Gosho) Kaddu beykat, 1975 (Faye) Kaeranu sasabue, 1926 (Gosho) Kaerlighed g?r blind, 1912 (Blom) Kaerlighed pa kredit, 1955 (Henning-Jensen) Kaerlighed paa Rullesk?jter, 1943 (Roos) Kaerlighedens smerte, 1992 (Malmros) Kaerlighedens Styrke, 1911 (Blom) Kaerlighedens Triumf, 1914 (Holger-Madsen) Kaerligheds Laengsel, 1915 (Blom) Kaerligheds-Vaeddemaalet, 1914 (Blom) Kaettekita yopparai, 1968 (Oshima) Kaffeehaus, 1971 (Fassbinder) Kafka, 1991 (Soderbergh) Kagemusha, 1980 (Kurosawa; Lucas) Kagero, 1969 (Shindo) Kagero ezu, 1959 (Kinugasa) Kagi, 1959 (Ichikawa) Kahreden kursun, 1965 (Güney) Kaidan. See Kwaidan, 1964 Kaido no kishi, 1928 (Gosho) Kaigun tokubetsu shonen hei, 1972 (Imai) Kaikoku danji, 1926 (Mizoguchi) Kaikokuki, 1928 (Kinugasa) Kaiserj?ger, 1956 (Forst) Kaisha-in seikatsu, 1929 (Ozu) Kak khoroshi, Kak svezhi byli rozi, 1913 (Protazanov) Kak zakalyalas stal, 1942 (Donskoi) Kakka, 1940 (Imai) Kakushi toride no san-akunin, 1958 (Kurosawa) Kal, Aaj Aur Kal, 1972 (Kapoor) Kalahari Family, 2000 (Marshall) FILM TITLE INDEXDIRECTORS, 4 th EDITION 1225 Kaláliuvit, 1970 (Roos) Kalamita, 1980 (Chytilová) Kaleidoscope Valeska Gert. See Kaleidoskop Valeska Gert, 1977 Kaleidoscope. See Chalachitra, 1981 Kaleidoskop Valeska Gert, 1977 (Schl?ndorff) Kaliya Mardan, 1918 (Phalke) Kalkmalerier, 1954 (Roos) Kallelsen, 1974 (Bergman) Kalyug, 1981 (Benegal) Kam pánové, kam jdete?, 1987 (Kachyňa) Kam Parenky, 1993 (Chytilová) Kama Sutra: A Tale of Love, 1996 (Nair) Kamaeleonen. See Maaneprinsessen, 1916 Kamali zeybek, 1964 (Güney) Kamaszváros, 1962 (Mészáros) Kameradschaft, 1931 (Pabst) Kami e no michi, 1928 (Gosho) Kamigami no fukaki yokubo, 1968 (Imamura) Kamikaze, 1987 (Besson) Kaminingyo haru no sayaki, 1926 (Mizoguchi) Kammarjunkaren, 1913 (Stiller) Kammersjukjul, 1978 (Malmros) Kampen Mod Kraeften, 1947 (Dreyer) Kampen om hans hj?rta, 1916 (Stiller) Kampen om tungtvannet. See Bataille de l’eau lourde, 1948 Kampf um Rom, 1968 (Siodmak; Welles) K?mpfende Herzen, 1920 (Lang) K?mpfende Welten, 1922 (Dupont) Kan G?vdeyi g?türdü, 1965 (Güney) Kan su gibi akacak, 1969 (Güney) Kana?, 1957 (Wajda) Kanashiki hakuchi, 1924 (Mizoguchi) Kanashimi wa onna dakeni, 1958 (Shindo) Kanawa, 1972 (Shindo) Kanchanjanga, 1962 (Ray) Kancho mada shinazu, 1942 (Yoshimura) Kandidat, 1980 (Kluge; Schl?ndorff) Kane, 1926 (Mizoguchi) Kangaroo, 1952 (Milestone) Kanhaiya, 1959 (Kapoor) Kanimin son damlasina kadar, 1970 (Güney) Kanko no machi, 1944 (Kinoshita) Kankobals, 1995 (Costa-Gavras) Kanli bu day, 1965 (Güney) Kanojo, 1926 (Gosho) Kanojo to kare, 1963 (Hani) Kanojo to unmei, 1924 (Kinugasa) Kanonenserenade, 1958 (de Sica; Staudte) Kanraku no onna, 1924 (Mizoguchi) Kansas City, 1996 (Altman) Kansas City Kitty, 1944 (Donen) Kantor Ideál, 1932 (Fri?) Kanzo Sensei, 1998 (Imamura) Kaos, 1984 (Taviani) Kapò, 1960 (Pontecorvo) Kaptain Discovers the North Pole, 1917 (La Cava) Kaptajn Klyde og hans venner vender tilbage, 1980 (Von Trier) K?pt’n Bay-Bay, 1953 (K?utner) Kapurush-o-Mahapurush, 1965 (Ray) Kara sahin, 1964 (Güney) Karacao lanin kara sevdasi, 1959 (Güney) Karacao lan’s Mad Love. See Karacao lanin kara sevdasi, 1959 Karakuri musume, 1927 (Gosho) Karami-ai, 1962 (Kobayashi) Karatachi nikki, 1959 (Gosho) Karaul. See Guard, 1989 Karayuki-san, 1975 (Imamura) Kargaci Halil, 1968 (Güney) Karim and Sala. See A Karim na Sala, 1991 Karin Ingmarsdotter, 1920 (Sj?str?m) Karin Mansdotter, 1954 (Sj?berg) Karin’s Face, 1985 (Bergman) Karl May, 1974 (K?utner; Syberberg) K?rlek och journalistik, 1916 (Stiller) K?rlek starkare ?n hat, 1914 (Sj?str?m) Karleken, 1980 (August) Karneval, 1908 (Holger-Madsen) Károly bakák, 1918 (Korda) Karthauzi, 1916 (Curtiz) Kartiki Purnima Festival, 1914/15 (Phalke) Karumen junjo su, 1952 (Kinoshita) Karumen kokyo ni kaeru, 1951 (Kinoshita) Karussell. See K?rhinta, 1955 Kasa?, 1973 (Jire?) Kaseki, 1975 (Kobayashi) Kaseki no mori, 1973 (Shinoda) Kashima Paradise, 1973 (Marker) Kasimpasali, 1965 (Güney) Kasimpasali recep, 1965 (Güney) Katakomby, 1940 (Fri?) Katapult, 1983 (Jire?) Katchem Kate, 1911 (Sennett) Katharina Eiselt, 1980 (D?rrie) Katharina Knie, 1929 (Forst) Katherine Reed Story, 1965 (Altman) Kathleen Mavourneen, 1906 (Porter) Katia, 1938 (Tourneur) Katka, 1950 (Kadár) Katok i skripka, 1960 (Tarkovsky) Katrina Dead, 1967 (Warhol) Kats Is Kats, 1920 (La Cava) Katya, 1960 (Siodmak) Katzelmacher, 1969 (Fassbinder) Katzensteg, 1915 (Leni) Kauas Pilvet Karkaavat, 1996 (Kaurismaki) Kavkazskiye mineralniye vody, 1924 (Kuleshov) Kawa no aru shitamachi no hanashi, 1955 (Kinugasa) Kawaita hana, 1963 (Shinoda) Kawaita mizuumi, 1960 (Shinoda) Kawanakajima kassen, 1941 (Kinugasa) Kazabana, 1959 (Kinoshita) Kazaks—Minorité nationale—Sinking, 1977 (Ivens) Kaze no naka no mendori, 1948 (Ozu) Kazoku gemu, 1983 (Itami) Kazoku no jijo, 1962 (Yoshimura) Kdo hledá zlaté dno, 1975 (Menzel) Kean, 1910 (Blom) Kedamono no yado, 1951 (Kurosawa) Keegans, 1976 (Badham) Keejte Tippel. See Cathy Tippel, 1975 Keep, 1983 (Mann) Keep Cool. See You hua hao hao shuo, 1997 Keep On Rockin’, 1971 (Leacock) Keep up Your Right. See Soigne ta droite, 1987 Keep Walking. See Cammina, cammina, 1983 Keeper of the Flame, 1943 (Cukor) Keepers of the Frame, 1999 (Brakhage) Keepers of Youth, 1931 (Launder, Frank, and Sidney Gilliat) Keeping On, 1983 (Kopple) Keeping the Faith, 2000 (Forman) Kegyelet, 1967 (Szabó) Keiner Liebt Mich, 1994 (D?rrie) FILM TITLE INDEX DIRECTORS, 4 th EDITION 1226 Keiraku hichu, 1928 (Kinugasa) Keirin shonin gyojoki, 1964 (Imamura) Kejsaren av Portugalien, 1944 (Sj?str?m) Kék Duna kering?, 1992 (Jancsó) Kekkon, 1947 (Kinoshita) Kekkon-gaku nyumon, 1930 (Ozu) Kekkon koshinkyoku, 1951 (Ichikawa) Kekkon no seitai, 1941 (Imai) Kelid, 1993 (Kiarostami) Kelly from the Emerald Isle, 1913 (Guy) Kelly Gets His Man, 1927 (Wyler) Kelly’s Heroes, 1970 (Eastwood) Kelp Industry, 1913 (Sennett) Ken Gets out of Jail, 1987 (van Sant) Kennel Murder Case, 1933 (Curtiz) Kentucky Fried Movie, 1977 (Landis) Kentucky Kernels, 1934 (Stevens) Kentucky Pride, 1925 (Ford) Kenya, South Africa, 1962 (Leacock) Képi, 1905 (Guy) Kept Husbands, 1931 (Bacon) Keresztel?, 1967 (Gaál) Kermes. See Kirmes, 1960 Kermesse héro?que, 1935 (Feyder) Kes, 1969 (Loach) Kessen, 1944 (Yoshimura) Két Félid? a pokolban, 1961 (Fábri) Ketto Kagiya no tsuji, 1951 (Kurosawa) Key, 1934 (Curtiz) Key, 1958 (Reed) Key. See Kagi, 1959 Key. See Kelid, 1993 Key Largo, 1948 (Huston) Keyhole, 1933 (Curtiz) Keys of the Kingdom, 1944 (Mankiewicz; Stahl) Keys to Happiness. See Klyuchi shchastya, 1913 Keys to Paradise. See Cles du paradis, 1991 Kezunbe vettuk a béke ugyét, 1950 (Jancsó) Khaan Dost, 1976 (Kapoor) Khandahar, 1983 (Sen) Khane-ye Doust Kodjast?, 1987 (Kiarostami) Kharij, 1982 (Sen) Khartoum, 1966 (Dearden) Kholodnye Dushi, 1914 (Bauer) Khronika-molniya, 1924 (Vertov) Kiáltó, 1964 (Mészáros) Kick-Off, 1931 (Stevens) Kid, 1921 (Chaplin) Kid, 1984 (Hartley) Kid Auto Races at Venice, 1914 (Chaplin; Sennett) Kid for Two Farthings, 1955 (Reed) Kid from Spain, 1932 (Berkeley; Mccarey; Zinnemann) Kid Galahad, 1937 (Curtiz) Kid Glove Killer, 1942 (Zinnemann) Kid Magicians, 1915 (Franklin) Kidnapped, 1935 (Holger-Madsen) Kidnapped. See Unos, 1952 Kidnapper. See Secuestrador, 1958 Kids, 1995 (van Sant) Kids Play Russian. See Enfants jouent a la Russie, 1995 Kiedy ty ?pisz, 1950 (Wajda) Kieron, 1968 (Angelopoulos) Kiiroi karasu, 1957 (Gosho) Kika, 1993 (Almodóvar) Kiku to Isamu, 1958 (Imai) Kilenc hónap, 1976 (Mészáros) Kilencvenkilenc, 1918 (Curtiz) Kill, Baby. . .Kill!. See Spie vengono dal semifreddo, 1966 Kill the Umpire, 1949 ((Bacon; Tashlin) Killbots. See Chopping Mall, 1986 Killer! See Que la bête meure, 1969 Killer, 1989 (Woo) Killer Bees, 1974 (Schumacher) Killer Elite, 1975 (Peckinpah) Killer Inside Me, 2000 (Morris) Killer Is Loose, 1955 (Boetticher) Killer: Journal of a Murder, 1996 (Stone) Killer McCoy, 1947 (Donen) Killer of Sheep, 1977 (Burnett) Killer Party, 1986 (Bartel) Killer Shark, 1950 (Boetticher) Killers, 1946 (Huston; Siodmak) Killers, 1964 (Cassavetes; Siegel) Killer’s Kiss, 1955 (Kubrick) Killers on Parade. See Yuhi ni akai ore no kao, 1961 Killing, 1956 (Kubrick) Killing Fields, 1984 (Joffé) Killing Hearts, 1914 (Sennett) Killing Me Softly, 2001 (Chen Kaige) Killing of a Chinese Bookie, 1976 (Cassavetes) Killing of Sister George, 1968 (Aldrich) Killing Urge. See Jet Storm, 1959 Killing Zoe, 1994 (Tarantino) Kim G., 1978 (August) Kimono, 2000 (Hartley) Kína vendégei voltunk, 1957 (Jancsó) Kind Millionaire. See Pytlákova schovanka, 1949 Kind of Loving, 1962 (Schlesinger) Kinder der Finsternis, 1921 (Dupont; Leni) Kinderen van Ghana, 1988 (Haanstra) Kindergarten, 1995 (Baillie) Kindering, 1987 (Brakhage) Kindling, 1915 (de Mille) Kindred of the Dust, 1923 (Walsh) Kinfolk. See Rodnya, 1982 King: A Filmed Record . . . Montgomery to Memphis, 1970 (Lumet) King and Country, 1964 (Losey) King and Four Queens, 1956 (Walsh) King and the Chorus Girl, 1937 (Leroy) King Charlie. See His Prehistoric Past, 1914 King Creole, 1958 (Curtiz) King David, 1985 (Beresford) King Game. See Hra na krále, 1967 King in New York, 1957 (Chaplin) King Kong, 1933 (Schoedsack) King Kongs Faust, 1984 (D?rrie) King Lear, 1987 (Allen; Carax; Godard) King Lear. See Korol Lir, 1971 King Log, 1932 (Grierson) King of Alcatraz, 1937 (Florey) King of Comedy, 1983 (Lewis; Scorsese) King of Hearts. See Roi de coeur, 1966 King of Kings, 1927 (de Mille) King of Kings, 1961 (Ray; Welles) King of Kings. See Kirallar kirali, 1965 King of Kings. See Krák Králu, 1963 King of Marvin Gardens, 1973 (Rafelson) King of New York, 1990 (Ferrara) King of Paris. See Korol’ Parizha, 1917 King of the Children. See Hai zi wang, 1987 King of the Damned, 1935 (Launder, Frank, and Sidney Gilliat) King of the Gamblers, 1937 (Florey) FILM TITLE INDEXDIRECTORS, 4 th EDITION 1227 King of the Hill, 1993 (Soderbergh) King of the Sumava. See Král Sumavy, 1959 King of Thieves. See Dolandiricilar, 1961 King, Queen, Knave, 1971 (Skolimowski) King Steps Out, 1936 (von Sternberg) Kingdom 1-4. See Riget, 1994 Kingdom 5-8. See Riget II, 1997 Kingdom of Diamonds. See Heerak Rajar Deshe, 1979 Kingdom of Naples. See Regno di Napoli, 1978 Kings Go Forth, 1958 (Daves) Kings of the Road. See Im Lauf der Zeit, 1976 King’s Ransom, 2001 (Woo) King’s Story, 1965 (Welles) Kini et Adams, 1997 (Ouedraogo) Kinno jidai, 1926 (Kinugasa) Kino za XX liet, 1940 (Pudovkin) Kino-Eye. See Kino-glaz, 1924 Kino-glaz, 1924 (Vertov) Kino-Nedelia, 1918-19 (Vertov) Kino-Pravda, 1922-23 (Vertov) Kinodnevik Glumova, 1923 (Eisenstein) Kinuyo monogatari, 1930 (Gosho) Kipperbang, 1983 (Apted) Kipps, 1941 (Launder, Frank, and Sidney Gilliat; Reed) Kirai Kirai Kirai, 1960 (Itami) Kirallar kirali, 1965 (Güney) Kire no ame, 1924 (Kinugasa) Kiri no minato, 1923 (Mizoguchi) Kirinji, 1926 (Kinugasa) Kirmes, 1960 (Staudte) Kirpitchiki, 1925 (Pudovkin) Kish Tales. See Ghessé hayé kish, 1999 Kishin yuri keiji, 1924 (Kinugasa) Kismet, 1955 (Minnelli) Kiss, 1900 (Hepworth) Kiss, 1929 (Feyder; Lewin) Kiss, 1963 (Warhol) Kiss before the Mirror, 1933 (Whale) Kiss for Corliss, 1949 (Aldrich) Kiss from Stadium. See Polibek ze stadionu, 1948 Kiss in the Dark, 1949 (Daves) Kiss Me Again, 1925 (Lubitsch) Kiss Me and Die. See Lady in Red, 1979 Kiss Me Deadly, 1955 (Aldrich) Kiss Me Goodbye, 1982 (Mulligan) Kiss Me Kate, 1953 (Fosse) Kiss Me, Stupid, 1964 (Wilder) Kiss of Death, 1976 (Leigh) Kiss of Death. See D?dskyssen, 1917 Kiss Them For Me, 1957 (Donen) Kisses. See Baisers, 1963 Kisses at Fifty, 1974 (Apted) Kissing Bandit, 1948 (Donen) Kisvilma: Az Utolso Naplo, 2000 (Mészáros) Kitchen, 1966 (Warhol) Kitchen Lady, 1918 (Sennett) Kitsch, 1919 (Pick) Kitty. See Katka, 1950 Kitty from Killarney, 1927 (Sennett) Kitty und die Weltkonferenz, 1939 (K?utner) Kizil vazo, 1961 (Güney) Kizilirmak-Karakoyun, 1967 (Güney) Kizoku no kaidan, 1959 (Yoshimura) Kizudarake no sanga, 1964 (Shindo) Klanni—tarina sammokoitten, 1984 (Kaurismaki) Klansman, 1974 (Fuller) Klaps, 1976 (Kie?lowski) Klassenverh?ltnisse, 1985 (Straub, Jean-Marie, and Danièle Huillet) Kleider machen Leute, 1940 (K?utner) Kleine Chaos, 1966 (Fassbinder) Kleiner Film einer grossen Stadt—Die Stadt Düsseldorf am Rhein, 1935 (Ruttmann) Kleptomaniac, 1905 (Porter) Kliatva molodikh, 1944 (Vertov) Klondike Annie, 1936 (Walsh) Klostret I Sendomir, 1920 (Sj?str?m) Klugen Frauen, 1936 (Feyder) Klute, 1971 (Pakula) Klyatva Timura, 1942 (Kuleshov) Klyuchi shchastya, 1913 (Protazanov) Knabe in Blau, 1919 (Murnau) Knack—and How to Get It, 1965 (Lester) Knave of Hearts. See Monsieur Ripois, 1954 Knickerbocker Buckaroo, 1919 (Wellman) Knife in the Water. See Noz w wodzie, 1960 Knife in the Water. See Nóz w wodzie, 1962 Knight of the Road, 1911 (Grif?th) Knight of the Street. See Kaido no kishi, 1928 Knight of the Sword. See Santo de la espada, 1969 Knight without Armour, 1937 (Feyder) Knightriders, 1981 (Romero) Kniplinger. See Grevindens Aere, 1918 Knives of the Avenger. See I Coltelli del vendicatore, 1965 Knivstikkeren. See En farlig Forbryder, 1913 Knock for Knock, 1976 (Leigh) Knock! Knock!, 1985 (Egoyan) Knock on Any Door, 1949 (Ray) Knock on Wood, 1953 (Zetterling) Knockout, 1914 (Chaplin; Sennett) Knockout Kisses, 1933 (Sennett) Know Your Ally: Britain, 1944 (Capra) Know Your Enemy: Germany, 1945 (Capra) Know Your Enemy: Japan, 1945 (Capra) Knud, 1966 (Roos) Knud Rasmussens mindeekspedition til Kap Seddon, 1982 (Roos) Knute Rockne—All American, 1940 (Bacon) Ko-on, 1927 (Mizoguchi) Kobanzame, 1949 (Kinugasa) Kobayashi Takiji, 1974 (Imai) Kocao lan, 1964 (Güney) Ko?ár do Vídně, 1966 (Kachyňa) Kocero, Mountain Wolf. See Da larin kurdu Kocero, 1964 Kodiyettom. See Voshojdenie, 1977 Kofuku, 1982 (Ichikawa) Koga Mansion. See Koga yashiki, 1949 Koga yashiki, 1949 (Kinugasa) Koge, 1964 (Kinoshita) Kohayagawa-ke no aki, 1961 (Ozu) Kohlhiesels T?chter, 1920 (Lubitsch) Koi, 1924 (Kinugasa) Koi no katamichi kippu, 1960 (Shinoda) Koi no Tokyo, 1932 (Gosho) Koi to bushi, 1925 (Kinugasa) Koibito, 1951 (Ichikawa) Koko ni izumi ari, 1955 (Imai) Kokoro, 1955 (Ichikawa) Kokoro, 1973 (Shindo) Kokoro no sanmyaku, 1966 (Yoshimura) Kolejnosc uczuc, 1993 (Zanussi) Koli-Koli, 1966 (Rouch) Kolibel ‘naya, 1937 (Vertov) Kome, 1957 (Imai) FILM TITLE INDEX DIRECTORS, 4 th EDITION 1228 Komedie om Geld, 1936 (Ophüls) Komm’ zu mir zum Rendezvous, 1930 (Florey) Kom?dianten, 1941 (Pabst) Kom?die der Leidenschaften, 1921 (Leni) Komputery, 1967 (Zanussi) Komsomolsk, 1938 (Gerasimov) Koncert, 1961 (Szabó) Kondura/Anugrahan, 1977 (Benegal) Konec jasnovidce, 1958 (Chytilová) Kone? starych casu, 1989 (Menzel) Kongen b?d, 1938 (Henning-Jensen) Koniec wojny, 1956 (Polanski) K?nigin vom Moulin-Rouge, 1925 (Wiene) K?nigin, 1999 (Schroeter) K?nigskinder, 1949 (K?utner) Konigsmark, 1936 (Tourneur) K?nigswalzer, 1935 (Forst; Grémillon) Konjiki yasha, 1923 (Kinugasa) Konketsuji Rika, 1973 (Yoshimura) Konki, 1961 (Yoshimura) Konkurs, 1963 (Forman) Kono hiroi sora no dokoka ni, 1954 (Kobayashi) Kono ko o nokoshite, 1983 (Kinoshita) Kono ten no niji, 1958 (Kinoshita) Konrad Albert Pocci, der Fussballgraf vom Ammerland—Das vorl?u?g letzte Kapitel einer Chronik der Familie Pocci, 1967 (Syberberg) Konsequenz, 1977 (Petersen) Konservanbraut, 1915 (Wiene) Kontract, 1981 (Zanussi) Kontsert masterov ukrainskogo iskusstva, 1952 (Barnet) Konyakci, 1965 (Güney) Konyaku yubiwa, 1950 (Kinoshita) Konyets Sankt-Peterburga, 1927 (Pudovkin) Kopytem Sem, Kopytem Tam, 1987 (Chytilová) Korczak, 1990 (Holland; Wajda) Korea, 1959 (Ford) K?rhinta, 1955 (Fábri) K?rkarlen, 1921 (Sj?str?m) Korkuszlar, 1965 (Güney) Korn, 1943 (Henning-Jensen) Korol Lir, 1971 (Kozintsev) Korol’ Parizha, 1917 (Bauer; Kuleshov) Kort ?r sommaren, 1962 (Henning-Jensen) Koshikei, 1968 (Oshima) Koto, 1980 (Ichikawa) Kotoshi no koi, 1962 (Kinoshita) Koumiko Mystery. See Mystère Koumiko, 1965 Kouzelna Praha Rudolfa II, 1982 (Jire?) Kovat miehet, 1999 (Kaurismaki) Kovboy Ali, 1966 (Güney) K?z?s útan, 1953 (Jancsó) Kozano lu, 1967 (Güney) K?zelr?lia: a vér, 1965 (Jancsó) Kraftmeier, 1916 (Lubitsch) Krajobraz po bitwie, 1970 (Wajda) Krák Králu, 1963 (Fri?) Král Sumavy, 1959 (Kachyňa) Kramer vs. Kramer, 1979 (Benton) Krane’s Bakery Shop. See Kranes Konditori, 1951 Kranes Konditori, 1951 (Henning-Jensen) Krapp’s Last Tape, 2000 (Egoyan) Krasnaya palatka, 1971 (Mikhalkov) Krazha zreniya, 1934 (Kuleshov) Kremlin Letter, 1970 (Huston; Welles) Kreutzer Sonata, 1956 (Godard) Kreuzer Emden, 1932 (K?utner) Krieg und Frieden, 1983 (Kluge; Schl?ndorff) Kriemhilds Rache, 1924 (Lang) Krig og Kaerlighed, 1914 (Holger-Madsen) Krigens Fjende, 1915 (Holger-Madsen) Krigs-korrespondenten, 1913 (Dreyer) Krik, 1963 (Jire?) Kris, 1946 (Bergman) Kristián, 1939 (Fri?) Kristina Talking Pictures, 1976 (Rainer) Kristinus Bergman, 1948 (Henning-Jensen) K?ivé zrcadlo, 1956 (Kachyňa) Krok do tmy, 1938 (Fri?) Krónika, 1967 (Gaál) Kronika wypadków mi?osnych, 1985 (Wajda) Krótki dzień pracy, 1981 (Kie?lowski) Krótki ?lm o miló?ci, 1988 (Kie?lowski) Krótki ?lm o zabi janiu, 1988 (Kie?lowski) Krov’za krov’, smert’za smert’: slodeianiya Nemetsko-Fashistkih zakhvatchikov na territorii C.C.C.P. me ne zabudem, 1941 (Vertov) Krudt med Knald, 1931 (Holger-Madsen) Krylya, 1966 (Shepitko) Krzysztof Penderecki, 1968 (Zanussi) Ku Klux Klan—The Invisible Empire, 1965 (Leacock) Kuarup, 1989 (Guerra) Kuckucksei, 1948 (Forst) Kuduz recep, 1967 (Güney) Kumbha Mela, 1989 (Antonioni) Kumo ga chigireru toki, 1961 (Gosho) Kumonosu-jo, 1957 (Kurosawa) Kun en Tigger, 1912 (Holger-Madsen) Kundskabens tr?, 1981 (Malmros) Kundun, 1997 (Scorsese) !Kung Bushmen Hunting Equipment, 1972 (Marshall) !Kung San Exhibit/Peabody Museum, 1991 (Marshall) !Kung San Traditional Life, 1987 (Marshall) !Kung San: Resettlement, 1988 (Marshall) Kung Fu Master, 1988 (Varda) K’ung Shan Ling Yü, 1979 (King) Kungajakt, 1944 (Sj?berg) Kunstseidene M?dchen, 1960 (Duvivier) Kuragejima: Tales from a Southern Island. See Kamigami no fukaki yokubo, 1968 Kurayama no ushimatsu, 1935 (Kinugasa) Kurbanlik katil, 1967 (Güney) Kurekar Noroursins, 1984 (Fridriksson) Kuroda seichuroku, 1938 (Kinugasa) Kuroi Ame, 1988 (Imamura) Kuroi kawa, 1957 (Kobayashi) Kuroi ushio, 1954 (Imamura) Kuroijunin no onna, 1961 (Ichikawa; Itami) Kurosawa: The Last Emperor, 1999 (Bertolucci; Woo) Kursunlarin kanunu, 1969 (Güney) Kurutta ippeiji, 1926 (Kinugasa) Kusa Meikyu, 1980 (Itami) Kustom Kar Kommandos, 1965 (Anger) Kutsukate tokijiro, 1934 (Kinugasa) Kvartetten som spr?ngdes, 1950 (Sj?str?m) Kvinna utan ansikte, 1947 (Bergman) Kvinnodr?m, 1955 (Bergman) Kvinnors v?ntan, 1952 (Bergman) Kwaidan, 1964 (Kobayashi) Kyo mo mata kakute arinan, 1959 (Kinoshita) Kyohubadan no joo, 1925 (Mizoguchi) Kyoren no buto, 1924 (Kinugasa) Kyoren no onna shisho, 1926 (Mizoguchi) Kyoshitsu no kodomotachi, 1954 (Hani) FILM TITLE INDEXDIRECTORS, 4 th EDITION 1229 Kyoto, 1969 (Ichikawa) Kyoto, My Mother’s Place, 1991 (Oshima) Kyupora no aru machi, 1962 (Imamura) L.627, 1992 (Tavernier) L.A. Babysitter. See Jeune ?lle libre le soir, 1975 L.A. Takedown, 1989 (Mann) L.A. without a Map, 1998 (Skolimowski) L.B.J., 1968 (Alvarez) La Course du lièvre à travers les champs, 1972 (Clément) La Rivolta delle Gladiatrici. See Arena, 1973 Laberinto de pasiones, 1982 (Almodóvar) Labors of Hercules. See Fatiche di Ercole, 1957 Laburnum Grove, 1936 (Reed) Labyrinth, 1986 (Lucas) Labyrinth, 1991 (Jire?) Labyrinth des Grauens. See Wege des Schreckens, 1921 Labyrinth in the Field. See Kusa Meikyu, 1980 Labyrinth of Passions. See Laberinto de pasiones, 1982 Lace. See Grevindens Aere, 1918 Lacemaker. See Dentellière, 1977 Lachende Erben, 1933 (Ophüls) Lachende Stern, 1983 (Schroeter) Lacombe, Lucien, 1973 (Malle) Laddie, 1935 (Stevens) Ladies First, 1918 (Sennett) Ladies’ Journal. See Damernes Blad, 1911 Ladies’ Man, 1961 (Lewis) Ladies Must Eat, 1929 (Sennett) Ladies Must Love, 1933 (Dupont) Ladies of Leisure, 1926 (Lewin) Ladies of Leisure, 1930 (Capra) Ladies of the Bois de Boulogne. See Dames du Bois de Boulogne, 1945 Ladies of the Mob, 1928 (Wellman) Ladies Past, 1930 (Stevens) Ladri di biciclette, 1948 (de Sica) Lady, 1925 (Borzage) Lady and the Beard. See Shukujo to hige, 1931 Lady and the Monster, 1944 (von Stroheim) Lady and the Mouse, 1913 (Grif?th) Lady Barber, 1924 (Sennett) Lady Be Good, 1941 (Berkeley) Lady Charlie. See A Busy Day, 1914 Lady Eve, 1941 (Sturges) Lady for a Day, 1933 (Capra) Lady from Hell. See Jigoku no kifujin, 1949 Lady from Shanghai, 1948 (Welles) Lady Gangster, 1941 (Florey) Lady Godiva, 1955 (Eastwood) Lady Godiva Rides Again, 1951 (Launder, Frank, and Sidney Gilliat) Lady Hamilton. See That Hamilton Woman, 1941 Lady Helen’s Escapade, 1909 (Grif?th) Lady in a Jam, 1942 (La Cava) Lady in Red, 1979 (Sayles) Lady in the Train. See Sayidet el Kitar, 1952 Lady-Killer. See Leon Drey, 1915 Lady-Killer of Rome. See Assassino, 1961 Lady Lion, 1928 (Sandrich) Lady Macbeth of Mtsensk. See Sibirska Ledi Magbet, 1972 Lady Marions sommar?irt, 1913 (Sj?str?m) Lady Mary’s Love. See Den naadige Fr?ken, 1911 Lady Musashino. See Musashino Fujin, 1951 Lady of Burlesque, 1943 (Wellman) Lady of Chance, 1928 (Goulding) Lady of Scandal, 1930 (Franklin) Lady of the Boulevard. See Nana, 1934 Lady of the Harem, 1926 (Walsh) Lady of the Pavements, 1929 (Grif?th) Lady of the Shadows. See Terror, 1963 Lady or the Tiger?, 1942 (Zinnemann) Lady Oscar, 1978 (Demy; Varda) Lady Pays Off, 1951 (Sirk) Lady! Please!, 1932 (Sennett) Lady Surrenders, 1930 (Stahl) Lady Takes a Sailor, 1949 (Curtiz) Lady to Love, 1930 (Sj?str?m) Lady Vanishes, 1938 (Hitchcock; Launder, Frank, and Sidney Gilliat) Lady Windermere’s Fan, 1925 (Lubitsch) Lady Windermere’s Fan. See Fan, 1949 Lady with Sun?owers. See A napraforgós h?lgy, 1918 Lady with the Black Glove. See Dame mit dem schwarzen Handschuh, 1919 Lady with the Little Dog. See Dama s sobachkoi, 1960 Ladybird Ladybird, 1994 (Loach) Ladykiller, 1996 (Corman) Ladykillers, 1955 (Mackendrick) Lady’s Morals, 1930 (Franklin) Lady’s Tailor, 1919 (Sennett) Laegens Hustru. See Mens Pesten raser, 1913 L?rerv?relset, 1994 (Von Trier) Lafayette, 1961 (Welles) Lafayette Escadrille, 1958 (Eastwood; Wellman) Lage landen, 1960 (Haanstra) Lagourdette, gentleman cambrioleur, 1913/16 (Feuillade) Laisen no zenya, 1943 (Yoshimura) Laisse aller, c’est une valse, 1970 (Blier) Laliberté, 1987 (Lefebvre) Lamb. See Lamm, 1964 Lamb, the Woman, the Wolf, 1914 (Dwan) Lament for a Bandit. See Llanto por un bandido, 1964 Lamm, 1964 (Staudte) Lamuru, 1933 (Gosho) Lan Fengzheng, 1993 (Tian Zhuangzhuang) Lana Turner and More Milk Evette. See More Milk Evette, 1966 Lanai-Loa, 1998 (Coppola) Lancelot du Luc, 1974 (Bresson) Lancement d’un navire à La Ciotat, 1895 (Lumière) Land, 1942 (Flaherty) Land. See Ard, 1969 Land and Freedom, 1941 (Eisenstein) Land and Freedom, 1995 (Loach) Land Baron of San Tee, 1912 (Dwan) Land before Time, 1988 (Lucas; Spielberg) Land des Schweigens und der Dunkelheit, 1971 (Herzog) Land in Anguish. See Terra em transe, 1967 Land in Trance. See Terra em transe, 1967 Land Is Forever Land. See Terra sempere terra, 1951 Land o’ Lizards, 1916 (Borzage) Land of Death, 1912 (Dwan) Land of Desire. See Skepp till Indialand, 1947 Land of Fate. See Praesten i Vejlby, 1920 Land of Mirages. See Délibábok országa, 1983 Land of Promise, 1945 (Rotha) Land of Silence and Darkness. See Land des Schweigens und der Dunkelheit, 1971 Land of the Lawless, 1923 (Fej?s) Land of the Pharaohs, 1955 (Hawks) Land Salesman, 1913 (Sennett) Land Thieves, 1911 (Dwan) Land without Bread. See Hurdes—Tierra sin pan, 1932 Landlady, 1938 (Boulting) Landlord, 1970 (Ashby; Jewison) FILM TITLE INDEX DIRECTORS, 4 th EDITION 1230 Landlord’s Troubled, 1913 (Sennett) Landru, 1962 (Chabrol; Melville) Landsbykirken, 1947 (Dreyer) Landscape after the Battle. See Krajobraz po bitwie, 1970 Landscape in the Mist. See Topio stia Omichli, 1988 Landscapes of Southern China. See Dél-Kína tájain, 1957 Lane That Had No Turning, 1922 (Fleming) Lang Gespr?ch mit dem Vogel, 1992 (Zanussi) Lanka Dahan, 1916/17 (Phalke) Lanksh?vdingens dottrar, 1916 (Sj?str?m) Lantern Under a Full Moon. See Meigatsu somato, 1951 Lanton Mills, 1969 (Malick) Lao jing, 1987 (Zhang Yimou) Lao ren he gou, 1993 (Xie Jin) Laos, the Forgotten War. See Guerra olvidados, 1967 Laputa, 1986 (Sanders-Brahms) Larceny, Inc., 1942 (Bacon) Largest Boat Ever Launched Sidewalks, 1913 (Sennett) Larks on a String. See Skrivánci na niti, 1969 Larle Naba’s Funeral. See Funerailles du Larle Naba, 1983 Larmar och g?r sig till, 1997 (Bergman) Lars Ole, 5C, 1973 (Malmros) Láska, 1972 (Kachyňa) Láska mezi kapkami de?tě, 1979 (Kachyňa) Lásky jedné plavovlásky, 1965 (Forman) Lass from the Stormy Croft. See T?sen fr?n stormyrtorpet, 1918 Lasse-Maja, 1941 (Zetterling) Last Adventure of Arsène Lupin. See Arsén Lupin utolsó kalandja, 1921 Last Adventure of the Skeleton’s Hand. See Juvelerernes Skr?k, eller Skelethaanden, eller Skelethaandens sidste bedrift, 1915 Last Aristocrats, 1989 (Xie Jin) Last Betrothal. See Dernières Fian?ailles, 1973 Last Bohemian. See Az utolsó bohém, 1912 Last Bolshevik. See Dernier Bolchevik, 1993 Last Butter?y, 1990 (Kachyňa) Last Call from Passenger Faber, 1991 (Schl?ndorff) Last Command, 1928 (von Sternberg) Last Couple Out. See Sista paret ut, 1956 Last Coupon, 1932 (Launder, Frank, and Sidney Gilliat) Last Dance, 1991 (Zanussi) Last Dance, 1996 (Beresford) Last Dance. See Daibyonin, 1995 Last Dawn. See Az utolsó hajnal, 1917 Last Day of the War. See Ultimo dia de la guerra, 1969 Last Days, 1998 (Spielberg) Last Days of Chez Nous, 1992 (Armstrong) Last Days of Disco, 1998 (Stillman) Last Days of Gomorrah. See Letzten tage von Gomorrah, 1974 Last Days of Kennedy and King, 1998 (Stone) Last Days of Pompeii, 1935 (Schoedsack) Last Days of Pompeii. See Derniers Jours de Pompéi, 1948 Last Days of Pompeii. See Ultimi giorni di Pompeii, 1959 Last Deal, 1909 (Grif?th) Last Detail, 1973 (Ashby) Last Drink of Whiskey, 1914 (Browning) Last Drop of Water, 1911 (Grif?th; Sennett) Last Embrace, 1979 (Demme) Last Emperor, 1987 (Bertolucci; Chen Kaige) Last Exit to Earth, 1996 (Corman) Last Five Minutes. See Ultimi cinque minuti, 1955 Last Frontier, 1955 (Mann) Last Gangster. See Roger Touhy, Gangster, 1943 Last Gasp. See Sista skriket, 1995 Last Goal. See Két Félid? a pokolban, 1961 Last Grenade, 1969 (Attenborough) Last Hour, 1930 (Launder, Frank, and Sidney Gilliat) Last House on the Left, 1973 (Craven) Last House on the Left, Part II. See Reazione a catena, 1971 Last Hurrah, 1958 (Ford) Last Hurrah for Chivalry, 1978 (Woo) Last Hustle in Brooklyn, 1977 (Lee) Last Laugh. See Letzte Mann, 1924 Last Man. See Poslední mu?, 1934 Last Man Standing, 1996 (Hill) Last Man to Hang?, 1956 (Schlesinger) Last Metro. See Dernier Metro, 1980 Last Moment, 1928 (Fej?s) Last Movie, 1971 (Fuller) Last Movie. See Splendor, 1989 Last Night, 1998 (Cronenberg) Last Notch, 1911 (Dwan) Last of England, 1987 (Jarman) Last of Mrs. Cheyney, 1929 (Franklin) Last of Mrs. Cheyney, 1937 (Arzner) Last of Sheila, 1972 (Schumacher) Last of the Mobile Hot Shots, 1970 (Lumet) Last of the Mohicans, 1920 (Tourneur) Last of the Mohicans, 1992 (Mann) Last of the Vikings. See Ultimo dei Vikinghi, 1961 Last Orders, 2001 (Schepisi) Last Outlaw, 1919 (Ford) Last Pair Out. See Sista paret ut, 1956 Last Party, 1993 (Lee; Stone) Last Performance, 1929 (Fej?s) Last Picture Show, 1971 (Bogdanovich; Rafelson) Last Run, 1971 (Huston) Last September, 1999 (Jordan) Last Shot. See Poslední vyst?el, 1950 Last Stage. See Ostatni etap, 1947 Last Sunset, 1961 (Aldrich) Last Supper. See última cena, 1976 Last Tango in Paris, 1972 (Bertolucci; Breillat; Varda) Last Temptation of Christ, 1988 (Schrader; Scorsese) Last Ten Days. See Letzte Akt, 1955 Last Tycoon, 1976 (Kazan) Last Wagon, 1956 (Daves) Last Waltz, 1978 (Scorsese) Last Warning, 1929 (Leni) Last Wave, 1977 (Weir) Last Will of Dr. Mabuse. See Testament des Dr. Mabuse, 1933 Last Witness. See Letzte Zeuge, 1960 Last Woman on Earth, 1958 (Corman) Last Word, 1979 (Boulting) Last Words. See Letzte Worte, 1968 Last Year at Marienbad. See Année dernière à Marienbad, 1961 Late amented, 1917 (Sennett) Late Autumn. See Akibiyori, 1960 Late George Apley, 1947 (Mankiewicz) Late Great Planet Earth, 1979 (Welles) Late Mathias Pascal. See Feu Mathias Pascal, 1925 Late Season. See Utószezon, 1967 Late Show, 1977 (Altman; Benton) Late Spring. See Banshun, 1949 Latest in Life Saving, 1913 (Sennett) Latin Lovers, 1953 (Leroy) Latino Bar, 1990 (Leduc) L?ufer von Marathon, 1933 (Dupont) Laugh and Get Rich, 1931 (La Cava) Laugh and the World Laughs. See Habit of Happiness, 1916 Laughing Gas, 1907 (Porter) Laughing Gas, 1914 (Chaplin; Sennett) Laughing Saskia. See A nevet? Szaszkia, 1916 FILM TITLE INDEXDIRECTORS, 4 th EDITION 1231 Laughing Times, 1981 (Woo) Laughter in the Dark, 1969 (Richardson) Laundromat, 1985 (Altman) Laura, 1944 (Preminger) Lausbubengeschichten, 1964 (K?utner) Lauter Lügen, 1950 (Staudte) L’Autre, 1999 (Chahine) Lavatori della pietra, 1955-59 (Taviani) Lavatory moderne, 1900/01 (Guy) Lavender Hill Mob, 1951 (Crichton) Laveuses, 1896-97 (Lumière) Laviamoci il cervello. See RoGoPaG, 1962 Law, 1974 (Badham) Law. See Tila?, 1990 Law and Disorder, 1958 (Crichton) Law and Order, 1969 (Wiseman) Law of Desire. See Ley del deseo, 1986 Law of God, 1912 (Dwan) Law of Smuggling. See Hudutlarin kanunu, 1966 Law of the Land, 1917 (Tourneur) Law of the Lawless, 1923 (Fleming) Lawful Holdup, 1911 (Dwan) Lawful Larceny, 1923 (Dwan) Lawine, 1923 (Curtiz) Lawless, 1950 (Losey) Lawless Breed, 1952 (Walsh) Lawless Land, 1987 (Corman) Lawless Rider, 1952 (Wood, Edward D., Jr.) Lawrence of Arabia, 1962 (Lean; Roeg) Laxdale Hall, 1952 (Grierson) Lay Down Your Arms. See Ned med Vaabnene, 1914 Lazy Lightning, 1926 (Wyler) Lazybones, 1925 (Borzage) Lazybones, 1935 (Powell, Michael, and Emeric Pressburger) Lea Lyon. See Lyon Lea, 1915 Leadbelly, 1976 (Parks) Leaden Times. See Bleierne Zeit, 1981 Leading Lizzie Astray, 1914 (Sennett) Leading Man, 1911 (Sennett) League of Gentlemen, 1959 (Attenborough; Dearden) Léanyportre, 1971 (Szabó) Leap into the Void, 1980 (Bellocchio) Leap Year Cowboy, 1912 (Dwan) Leapfrog as Seen by the Frog, 1900 (Hepworth) Learning Modules for Rural Children, 1974/5 (Benegal) Learning to Love, 1925 (Franklin) Learning Tree, 1969 (Parks) Leather Girls. See Faster Pussycat! Kill! Kill!, 1965 Leather Stockings, 1909 (Grif?th) Leave ‘em Laughing, 1928 (Stevens) Leave Her to Heaven, 1946 (Stahl) Leave It to Me. See Nechte to na mně, 1955 Leave It to Smiley, 1914 (Browning) Leaves from Satan’s Book. See Blade af Satans Bog, 1921 Leaving Las Vegas, 1995 (Ward) Lebassi Baraye Arossi, 1976 (Kiarostami) Leben—ein Traum, 1917 (Wiene) Leben von Adolf Hitler, 1961 (Rotha) Lebende Buddhas, 1924 (Ruttmann) Lebende Tote, 1919 (Wiene) Lebender Schatten. See Schatten, 1918 Lebenskünstler, 1925 (Holger-Madsen) Lebenszeichen, 1967 (Herzog) Leckerbissen, 1948 (Forst) Le?on de bicyclette, 1896-97 (Lumière) Le?on de danse, 1897 (Guy) Le?ons de boxe, 1898/99 (Guy) Lecture quotidienne, 1900/01 (Guy) Lecumberri, 1976 (Ripstein) Leda. See A double tour, 1959 Ledolom, 1931 (Barnet) Left Hand of God, 1955 (Dmytryk) Left-handed Gun, 1958 (Penn) Left, Right, and Centre, 1959 (Launder, Frank, and Sidney Gilliat) Legacy. See Dedictví aneb Kurvahosigutntag, 1992 Legal Discussion of a Hit and Run, 1973 (Marshall) Legand Hall Bombing, 1978 (Joffé) Legato, 1977 (Gaál) Legend, 1985 (Scott) Legend of a Duel to the Death. See Shito no densetsu, 1963 Legend of Lylah Clare, 1968 (Aldrich) Legend of the Holy Drinker. See Leggenda del santo bevitore, 1988 Legend of the Mountain. See Shan Chung Ch’uan Chi, 1978 Legend of the Suram Fortress. See Legenda o Suramskoj kreposti, 1985 Legend of Tianyun Mountain, 1981 (Xie Jin) Legenda o Suramskoj kreposti, 1985 (Paradzhanov) Legenda Sinfonica, 1947 (Bava) Légende de la ?leuse, 1907 (Feuillade) Légende de l’arc-en-ciel, 1909 (Gance) Légende de Sainte Ursule, 1948 (Cocteau) Légende des phares, 1909 (Feuillade) Legge, 1959 (Dassin) Leggenda del santo bevitore, 1988 (Olmi) Legion Condor, 1950 (Staudte) Legion of Death, 1918 (Browning) Legion of the Condemned, 1928 (Wellman) Lehrer im Wandel, 1963 (Kluge) Leibgardist, 1925 (Wiene) Leise ?ehen meine Lieder, 1933 (Forst) Lek pa regnbagen, 1958 (Zetterling) Lekcja anatomii. See Anatomie stunde, 1977 Lekkamraterna, 1914 (Stiller) Lektionen in Finsternis, 1992 (Herzog) Lemon Drop Kid, 1950 (Tashlin) Lena and the Geese, 1912 (Grif?th) Leningrad Cowboys Go America, 1989 (Jarmusch; Kaurismaki) Leningrad Cowboys Meet Moses, 1994 (Kaurismaki) Lenny, 1974 (Fosse) Leo and Loree, 1980 (Howard) Leo the Last, 1970 (Boorman) Léolo, 1992 (Arcand) Leon Drey, 1915 (Bauer) Léon Morin, prêtre, 1963 (Melville) Leonardo da Vinci, 1972 (Castellani) Leone have sept cabecas, 1970 (Rocha) Leont. See Professional, 1995 Leontines Ehem?nner, 1928 (Wiene) Leopard. See Gattopardo, 1963 Leopard Man, 1943 (Tourneur) Leo? Janá?ek, 1974 (Jire?) Less than the Dust, 1916 (von Stroheim) Lesser Evil, 1912 (Grif?th) Lesson, 1910 (Grif?th) Lesson. See Tsena cheloveka, 1928 Lesson in Love. See En lektion i k?rlek, 1954 Lessons of Darkness. See Lektionen in Finsternis, 1992 Lester Persky Story, 1964 (Warhol) Let ‘er Go, 1920 (Sennett) Let George Do It, 1940 (Dearden) Let It Be Known to All Your Loves. See Oznamuje se láskam vasim, 1988 Let Joy Reign Supreme. See Que la fête commence, 1975 FILM TITLE INDEX DIRECTORS, 4 th EDITION 1232 Let Katie Do It, 1916 (Franklin) Let My People Go, 1960 (Anderson) Let My People Live, 1939 (Ulmer) Let There Be Light, 1946 (Huston) Let There Be Light. See Es Werde Licht, 1918 Let’s Get Married, 1926 (La Cava) Let’s Have a Party, 1963 (Verhoeven) Let’s Make Love, 1960 (Cukor) Let’s Speak, Grandmother. See Parlons, grand-mère, 1989 Let’s Spend the Night Together, 1982 (Ashby) Let’s Talk about Women. See Se permette parliamo di donne, 1964 Letter from a Friend, 1982 (Haynes) Letter from an Unknown Woman, 1948 (Ophüls) Letter, 1940 (Wyler) Letter. See A Carta, 1999 Letter for Evie, 1946 (Dassin) Letter from Home, 1941 (Reed) Letter from Siberia. See Lettre de Sibérie, 1958 Letter of Introduction, 1938 (Stahl) Letter to Jane or Investigation about a Still, 1972 (Godard) Letter to Three Wives, 1949 (Mankiewicz) Lettere di una novizia, 1960 (Lattuada) Letters. See Stanley and Iris, 1989 Letters from China. See Before Spring, 1958 Letters from Marusia. See Actas de Marusia, 1985 Letters from the Park. See Cartas del parque, 1988 Letto. See Secrets d’alc?ve, 1953 Lettre, 1997 (Tavernier) Lettre à Jane. See A Letter to Jane or Investigation about a Still, 1972 Lettre de Sibérie, 1958 (Marker) Lettre d’un cinéaste, 1982 (Ioseliani) Lettres, 1914 (Feuillade) Lettres d’amour, 1942 (Autant-Lara) Lettres de mon moulin, 1954 (Pagnol) Lettres de Stalingrad, 1969 (Cavalcanti) Letzte Akt, 1955 (Pabst) Letzte Brücke, 1954 (K?utner) Letzte Dokumentar?lm, 1999 (Leacock) Letzte Mann, 1924 (Murnau) Letzte Worte, 1968 (Herzog) Letzte Zeuge, 1960 (Staudte) Letzten tage von Gomorrah, 1974 (Sanders-Brahms) Leuchtfeuer, 1954 (Staudte) Leutnant auf Befehl, 1916 (Lubitsch) Lev s bílou h?ívou, 1987 (Jire?) Lev Tolstoj, 1984 (Gerasimov) Level Five, 1997 (Marker; Oshima) Lèvres closes, 1906 (Guy) Lewis & Clark & George, 1997 (Bartel) Ley del deseo, 1986 (Almodóvar) Li Lianying, the Imperial Eunuch, 1991 (Tian Zhuangzhuang) Liaisons dangereuses, 1959 (Vadim) Liam, 2000 (Frears) Liang Shan-po yü Chu Ying T’ai, 1963 (King) Lianna, 1981 (Sayles) Liar, 1912 (Dwan) Liberated China, 1950 (Gerasimov) Liberation. See Osvobozhdenie, 1940 Liberation of L.B. Jones, 1970 (Wyler) Liberty, 1929 (Mccarey) Liberty Heights, 1999 (Levinson) Libido, 1973 (Schepisi) Lidé jednoho srdce, 1953 (Kachyňa) Lidé na k?e, 1937 (Fri?) Lidé z maringotek, 1966 (Fri?) Lidé z metra, 1974 (Jire?) Lidércnyomás, 1920 (Fej?s) Lidu?ka of the Stage. See Muzikantská Lidu?ka, 1940 Lie, 1914 (Dwan) Lieb’ mich und die Welt ist mein, 1923 (Forst) Liebe der Jeanne Ney, 1927 (Pabst) Liebe des van Royk, 1918 (Pick) Liebe en Deutschland, 1984 (Holland) Liebe in Deutschland, 1983 (Wajda) Liebe ist k?lter als der Tod, 1969 (Fassbinder) Liebelei, 1933 (Ophüls) Liebes Pielgerfahrt, 1920/23 (Protazanov) Liebesbrief der K?nigin, 1916 (Wiene) Liebesexpress, 1931 (Wiene) Liebeskonzil, 1982 (Schroeter) Liebfraumilch, 1928 (Forst) Liebling der Matrosen, 1937 (Sirk) Lied der Sonne, 1933 (de Sica) Lied der Str?me, 1954 (Ivens) Lied einer Nacht, 1932 (Clouzot) Lied für dich, 1933 (Clouzot) Lied ist aus, 1930 (Forst) Lien Lien Feng Ch’eng, 1986 (Hou Hsiao-Hsien) Liens de sang. See Blood Relatives, 1978 Lies. See Uso, 1963 Lies My Father Told Me, 1975 (Kadár) Lieu du crime, 1986 (Téchiné) Lieutenant Wore Skirts, 1955 (Tashlin) Life. See Zhizn, 1927 Life and Adventures of Nicholas Nickleby, 1947 (Cavalcanti) Life and Death of a Hollywood Extra, 1927 (Florey) Life and Death of Colonel Blimp, 1943 (Powell, Michael, And Emeric Pressburger) Life and Extraordinary Adventures of Private Ivan Chonkin, 1995 (Menzel) Life and Loves of Beethoven. See Grande Amour de Beethoven, 1936 Life and Nothing But. See Vie et rien d’autre, 1989 Life, and Nothing More. See Zendegi Edame Darad, 1991 Life and Times of a Criminal. See En Forbryders Liv og Levned, eller En Forbryders Memoirer, 1916 Life and Times of Judge Roy Bean, 1972 (Huston) Life and Times of the Reverend Buck Shotte, 1968 (Weir) Life at Stake. See Hra o ?ivot, 1956 Life Boat, 1944 (Hitchcock) Life-bringing Water. See éltet? Tisza-víz, 1954 Life for a Kiss, 1912 (Dwan) Life for a Life. See Zhizn’ za Zhizn’, 1916 Life for a Life. See Zycie Za Zycie, 1991 Life for Ruth, 1962 (Dearden) Life Goes On. See Az élet megy tovább, 1959 Life in Sometown, U.S.A., 1938 (Keaton) Life in the Balance, 1913 (Sennett) Life Is a Bed of Roses. See Vie est un roman, 1983 Life Is like a Somersault. See Jinsei tonbo-gaeri, 1946 Life Is Rising from the Ruins, 1945 (Kadár) Life Is Sweet, 1990 (Leigh) Life Line, 1919 (Tourneur) Life Love Death. See Vie, l’amour, la mort, 1968 Life of a Communist Writer. See Kobayashi Takiji, 1974 Life of a Cowboy, 1906 (Porter) Life of a Film Director: Record of Kenji Mizoguchi. See Aru eiga- kantoku no shogai: Mizoguchi Kenji no kiroku, 1975 Life of a London Shopgirl, 1914 (Goulding) Life of a Mother. See Historien om en Moder, 1912 Life of a Woman, 1953 (Shindo) Life of Adolf Hitler. See Leben von Adolf Hitler, 1961 Life of an American Fireman, 1903 (Porter) FILM TITLE INDEXDIRECTORS, 4 th EDITION 1233 Life of an American Policeman, 1905 (Porter) Life of an Of?ce Worker. See Kaisha-in seikatsu, 1929 Life of Chikuzan. See Chikuzan hitori-tabi, 1977 Life of General Villa, 1912 (Walsh) Life of Her Own, 1950 (Cukor) Life of Juanita Castro, 1965 (Warhol) Life of Luxury. See Hidari uchiwa, 1935 Life of Oharu. See Saikaku ichidai onna, 1952 Life of Reilly, 1923 (La Cava) Life on a String. See Bian zou bian chang, 1991 Life Signs. See Eletjel, 1954 Life Size. See Tama?o natural, 1973 Life Stinks!, 1991 (Brooks) Life Story. See Zyciorys, 1975 Life Was at Stake. See Hra o ?ivot, 1956 Life with an Idiot, 1993 (Rogozhkin) Life with Father, 1947 (Curtiz) Life with Henry, 1941 (Niblo) Lifeforce, 1985 (Hooper) Lifers Group: World Tour, 1992 (Spheeris) Life’s Harmony, 1916 (Borzage) Life’s Very Good. See Otchen kharacho dziviosta, 1932 Light. See Yeelen, 1987 Light Ahead. See Tlatsche, 1939 Light Fantastic. See Love Is Better than Ever, 1952 Light Keeps Me Company. See Ljuset h?ller mig s?llskap, 2000 Light of Day, 1987 (Schrader) Light Sleeper, 1992 (Schrader) Light Snack, 1975 (Leigh) Light That Came, 1909 (Grif?th) Light That Failed, 1939 (Wellman) Light Years Away. See Années lumière, 1981 Lighthouse. See Yorokobi mo kanashimi mo ikutoshitsuki, 1957 Lighthouse Love, 1932 (Sennett) Lightnin’, 1925 (Ford) Lightning over Water, 1981 (Jarmusch; Ray; Wenders) Lightning Strikes Twice, 1951 (Vidor) Lightning, 1927 (Stevens) Lights from Circus Life. See Det store Hjerte, 1924 Lights of Night. See Nishi Ginza eki mae, 1958 Lightship, 1985 (Skolimowski) Ligne de démarcation, 1966 (Berri; Chabrol) Like a Bird on a Wire. See Wie ein Vogel auf dem Draht, 1974 Like Most Wives, 1914 (Weber) Likely Stories, Volume 1, 1990 (Reiner) Li’l Abner, 1940 (Keaton) Li’l Abner, 1960 (Lewis) Lili Marleen, 1980 (Fassbinder) Lilies of the Field, 1930 (Korda) Liliom, 1919 (Curtiz) Liliom, 1930 (Borzage) Liliom, 1934 (Lang) Lilith, 1964 (Rossen) Lilith und Ly, 1919 (Lang) Lille Cirkus, 1984 (Roos) Lily of the Tenements, 1910 (Grif?th) Lily Turner, 1933 (Wellman) Lily’s Lovers, 1911 (Sennett) Limbo, 1972 (Silver) Limbo, 1999 (Sayles) Limelight, 1952 (Aldrich; Chaplin; Keaton) Limey, 1999 (Soderbergh) Lina Pod Ekspertizoi ili Buinyi Pokoinik, 1917 (Bauer) Lina Under Examination. See Lina Pod Ekspertizoi ili Buinyi Pokoinik, 1917 Lina’s Adventure in Sochi. See PriklyuchenieLiny v Sochi, 1916 Lincoln, 1992 (Parks) Lincoln Cycle, 1917 (Stahl) Line, 1969 (Rainer) Line Cruising South, 1933 (Grierson) Line of Demarcation. See Ligne de démarcation, 1966 Line to Tschierva Hut, 1937 (Cavalcanti; Grierson) Line-up, 1958 (Siegel) Línea del cielo, 1983 (Stillman) Lines of White on the Sullen Sea, 1909 (Grif?th) Lion and the Girl, 1916 (Sennett) Lion and the House, 1932 (Sennett) Lion and the Mouse, 1928 (Bacon) Lion and the Souse, 1924 (Sennett) Lion des Mogols, 1924 (Epstein) Lion Game, 1970 (Marshall) Lion Has Seven Heads. See Leone have sept cabecas, 1970 Lion Has Wings, 1939 (Powell, Michael, And Emeric Pressburger) Lion Hunters. See Chasse au lion à l’arc, 1965 Lion in the Streets, 1953 (Walsh) Lion nommé l’Américain, 1968 (Rouch) Lion savant, 1902 (Guy) Lion with the White Mane. See Lev s bílou h?ívou, 1987 Lionheart, 1987 (Schaffner) Lion’s Love, 1969 (Bogdanovich; Clarke; Varda) Lion’s Roar, 1928 (Sennett) Lion’s Whiskers, 1925 (Sennett) Liqueur du couvent, 1903 (Guy) Liquid Dreams, 1992 (Bartel) Lisa and the Devil. See Casa dell’esorcismo, 1974 Lisboa Cultural, 1983 (Oliveira) Lisbon Story, 1995 (Oliveira; Wenders) Lisetta, 1933 (de Sica) List of Adrian Messenger, 1963 (Huston) Listen to Britain, 1942 (Jennings) Listen Up! The Lives of Quincy Jones, 1990 (Lumet) Listen with Your Eyes, 2000 (Frankenheimer) Listening In, 1932 (Sennett) Listopad, 1966 (Ioseliani) Lit à deux places, 1965 (Delannoy) Little, 1916 (Franklin) Little American, 1917 (de Mille) Little Angels of Luck, 1910 (Grif?th) Little Big Man, 1970 (Penn) Little Big Shot, 1935 (Curtiz) Little Billy Triumphs, 1914 (Sennett) Little Billy’s City Cousin, 1914 (Sennett) Little Billy’s Strategy, 1914 (Sennett) Little Black Book, 1999 (Forman) Little Bricks. See Kirpitchiki, 1925 Little Brother. See Bratichka, 1926 Little Buddha, 1994 (Bertolucci) Little Caesar, 1930 (Leroy) Little Chaos. See Kleine Chaos, 1966 Little Chauffeur. See Den lille Chauff?r, 1914 Little Cupids, 1916 (Franklin) Little Darling, 1909 (Grif?th) Little Dick’s First Adventure. See Ash Can, or Little Dick’s First Adventure, 1915 Little Dick’s First Case, 1916 (Franklin) Little Dieter Needs to Fly, 1997 (Herzog) Little Foxes, 1941 (Wyler) Little Girl Who Sold the Sun. See Petite vendeuse de soleil, 1998 Little Hero, 1913 (Sennett) Little Johnny Jones, 1923 (Leroy) Little Journey, 1927 (Lewin) Little Lord Fauntleroy, 1936 (Cromwell) FILM TITLE INDEX DIRECTORS, 4 th EDITION 1234 Little Man, What Now?, 1934 (Borzage; Ulmer) Little Marie, 1915 (Browning) Little Match Girl. See Petite Marchande d’allumettes, 1928 Little Meena’s Romance, 1916 (Fleming) Little Mermaid. See Malá mo?ská víla, 1976 Little Miss Smiles, 1922 (Ford) Little Mr. Jim, 1945 (Zinnemann) Little Monastery in Tuscany. See Petit monastère en Toscane, 1988 Little People, 1926 (Cavalcanti) Little Prince, 1974 (Donen; Fosse) Little Princess, 1917 (Hawks) Little Rascals, 1994 (Brooks; Spheeris) Little Robinson Corkscrew, 1924 (Sennett) Little Runaway. See Chiisana tobosha, 1967 Little Shop of Horrors, 1960 (Corman) Little Sugar House. See Cukrová bouda, 1980 Little Teacher, 1909 (Grif?th) Little Teacher, 1915 (Sennett) Little Tease, 1913 (Grif?th) Little Terror, 1917 (Ingram) Little Theatre of Jean Renoir. See Petit Théatre de Jean Renoir, 1970 Little Thief. See Petite Voleuse, 1988 Little Train Robbery, 1905 (Porter) Little Vilma: The Last Diary. See Kisvilma: Az Utolso Naplo, 2000 Little White Dove. See Palomita blanca, 1973 Little Widow, 1919 (Sennett) Little Women, 1933 (Cukor) Little Women, 1949 (Leroy) Little Women, 1994 (Armstrong) Liv, 1998 (Altman; Antonioni) Liv till varje pris, 1998 (Kazan) Liv Ullmann scener fra et liv, 1997 (Allen) Live by the Fist, 1993 (Corman) Live Flesh. See Carne trémula, 1997 Live for Life. See Vivre pour vivre, 1967 Lives of Performers, 1972 (Rainer) Livets G?glespil, 1916 (Holger-Madsen) Livets kon?ikter, 1913 (Sj?str?m; Stiller) Livets Storme, 1910 (Blom) Living Corpse. See Ikeru shikabane, 1920 Living Corpse. See Nuits de feu, 1936 Living Corpse. See Zhivoi trup, 1928 Living Death, 1915 (Browning) Living End, 1992 (Araki; Bartel) Living Idol, 1957 (Lewin) Living in a Big Way, 1947 (Donen; La Cava) Living It Up, 1954 (Lewis) Living Magoroku. See Ikite-iru Magoroku, 1943 Living on Velvet, 1935 (Borzage) Living Sea. See Umi wa ikiteiru, 1958 Living Things. See Zhivye dela, 1929 Living Tree . . . An Old Folk Song. See Hej, te eleven Fa . . . , 1963 Living Water, 1962 (Shepitko) Liykken draeber, 1914 (Holger-Madsen) Lizard Too Much, 1960 (Verhoeven) Lizards. See I basilischi, 1963 Lizzies of the Field, 1924 (Sennett) Ljepotica 62, 1962 (Makavejev) Ljubavni Slu?aj, tragedija sluzbenice PTT, 1967 (Makavejev) Ljuset h?ller mig s?llskap, 2000 (Allen; Polanski) Llanto por un bandido, 1964 (Bu?uel; Saura) L? jen och t?rar, 1913 (Sj?str?m) Loaf. See Sousto, 1960 Loaf of Bread. See Sousto, 1960 Local Hero, 1983 (Forsyth) Locataire, 1976 (Polanski) Locations. See Schaupl?tze, 1967 Locked Out: Ravenswood, 1992 (Kopple) Locket, 1912 (Dwan) Locksmith and Chancellor. See Slesar i kantzler, 1923 Locomotive No. B-1000. See Parovoz B-1000, 1929 Locomotives, 1935 (Jennings) Locusts, 1974 (Howard) Lodger, 1926 (Hitchcock) Lodging for the Night, 1912 (Grif?th) Log Cabin. See Srub, 1965 Logis de l’horreur. See Unheimliche Gast, 1922 Lohengrin, 1936 (de Sica) Loi. See Legge, 1959 Loi du nord, 1942 (Feyder) Loin du Vietnam, 1967 (Godard; Guerra; Ivens; Lelouch; Marker; Resnais; Varda) Lola, 1961 (Demy) Lola la trailera, 1983 (Fernández) Lola Montès, 1955 (Ophüls) Lola, 1981 (Fassbinder) Lolita, 1962 (Kubrick) London After Midnight, 1927 (Browning) London Belongs to Me, 1948 (Attenborough; Launder, Frank, and Sidney Gilliat) London Can Take It, 1940 (Jennings) London Connection, 1979 (Coolidge) Londoners, 1939 (Grierson) Lone Cowboy, 1915 (Walsh) Lone Star, 1927 (Wyler) Lone Star, 1995 (Sayles) Lone Star Kid, 1988 (Howard) Lonedale Operator, 1911 (Grif?th) Loneliness of Neglect, 1912 (Dwan) Loneliness of the Long-Distance Runner, 1962 (Richardson) Lonely Boat, 1951 (Leacock) Lonely Hearts, Happiness. See Kofuku, 1982 Lonely Hoodlum. See Sabishiki ranbomono, 1927 Lonely Night, 1951 (Leacock) Lonely Passion of Judith Hearne, 1988 (Clayton) Lonely Range, 1911 (Dwan) Lonely Villa, 1909 (Grif?th; Sennett) Lonely Village. See Sabishi mura, 1924 Lonely Wife. See Charulata, 1964 Lonely Woman, 1953 (Rossellini) Lonely Woman. See A Woman Alone, 1982 Lonesome, 1928 (Fej?s) Lonesome Cowboys, 1968 (Morrissey; Warhol) Long Absence. See Aussi longue absence, 1961 Long Blue Road. See Grande strada azzurra, 1957 Long Day’s Journey into Night, 1962 (Lumet) Long Goodbye, 1973 (Altman; Rudolph) Long Gray Line, 1955 (Ford) Long Hot Summer, 1957 (Ritt; Welles) Long Live the Bride and Groom. See Vivan los novios, 1969 Long Live the Deceased. See A? ?ije nebo?tik, 1935 Long Live the King, 1926 (Mccarey) Long Live the Lady!. See Lunga Vita alla Signora, 1987 Long Live the Republic. See At ?ije republika, 1965 Long, Long Trailer, 1954 (Minnelli) Long Lost Father, 1934 (Schoedsack) Long Pants, 1927 (Capra) Long Ride Home. See A Time for Killing, 1967 Long Riders, 1980 (Hill) Long Road, 1911 (Grif?th) Long Shot, 1978 (Frears) Long Shot. See Target of an Assassin, 1976 FILM TITLE INDEXDIRECTORS, 4 th EDITION 1235 Long Silence. See Lungo silenzio, 1993 Long Voyage Home, 1940 (Ford) Long Way Home, 1989 (Apted) Long Weekend (o’ Despair), 1989 (Araki) Longest Yard, 1974 (Aldrich) Longshot, 1986 (Bartel) Longue Marche, 1966 (Astruc) Look at Life, 1965-67 (Lucas) Look at Liv, 1977 (Bergman) Look at the 6th FESPACO. See Regard sur le VIème FESPACO, 1979 Look Back in Anger, 1959 (Richardson) Look Back. See Blick zurück, 1944 Look Who’s Laughing, 1941 (Dwan) Look Who’s Talking, Too!, 1991 (Brooks) Lookin’ to Get Out, 1982 (Ashby) Looking for a Flat. See Nevité o byte?, 1947 Looking for His Murderer. See Mann der seinen M?rder sucht, 1931 Looking for Nothing, 1988 (Egoyan) Looking for Richard, 1996 (Branagh) Looking for Sally, 1925 (Mccarey) Looking for Trouble, 1934 (Wellman) Lookout,. See Another Stakeout, 1993 Looks and Smiles, 1981 (Loach) Loop, 1986 (Brakhage) Loot, 1971 (Attenborough) Lorca, la Muerte de un Poeta, 1987 (Bardem) Lord Arthur Saville’s Crime. See Lidércnyomás, 1920 Lord Babs, 1932 (Launder, Frank, and Sidney Gilliat) Lord Camber’s Ladies, 1932 (Hitchcock) Lord Feathertop, 1908 (Porter) Lord for a Night. See Aru yo no tonosama, 1946 Lord Jim, 1925 (Fleming) Lord Jim, 1964 (Itami) Lord of the Rings: The Fellowship of the Ring, 2001 (Jackson) Lord of the Rings: The Return of the King, 2003 (Jackson) Lord of the Rings: The Two Towers, 2002 (Jackson) Lord Richard in the Pantry, 1930 (Launder, Frank, and Sidney Gilliat) Lord’s Lantern in Budapest. See Pesten Nkem lámpást adott kezembe az úr, 1999 Lords of Little Egypt, 1961 (Zetterling) Lorenzo’s Oil, 1992 (Miller) Lorgnon accusateur, 1905 (Guy) Lorna, 1964 (Meyer) Lorna Doone, 1922 (Tourneur) Lost a Cook, 1917 (Sennett) Lost and Found on a South Sea Island, 1923 (Walsh) Lost and Won, 1917 (de Mille) Lost Art of Minding One’s Business, 1913 (Grif?th) Lost Bag. See Naar Fruen gaar paa Eventyr, 1913 Lost Boys, 1987 (Schumacher) Lost Highway, 1997 (Lynch) Lost Honor of Katharina Blum. See Verlorene Ehre der Katharina Blum, 1975 Lost Horizon, 1937 (Capra) Lost Illusions, 1911 (Porter) Lost in America, 1985 (Brooks) Lost in Prague. See Návrat domu, 1948 Lost in the Alps, 1907 (Porter) Lost in the Deep Cloud. See Yun shen Pu Chih Ch’u, 1974 Lost in Yonkers, 1993 (Coolidge) Lost Lost Lost, 1975 (Bogdanovich; Mekas) Lost Luck. See Ashi ni sawatta koun, 1930 Lost Patrol, 1934 (Ford) Lost People, 1949 (Attenborough; Zetterling) Lost Squadron, 1932 (von Stroheim) Lost Track. See Ztracená stopa, 1956 Lost Weekend, 1945 (Wilder) Lost World: Jurassic Park, 1997 (Attenborough; Landis; Spielberg) Lost Youth. See Gioventù perduta, 1947 Lothringen!, 1994 (Straub, Jean-Marie, And Danièle Huillet) Lotna, 1959 (Polanski; Wajda) Lotta dell’uomo per la sua sopravvivenza, 1967 (Rossellini) Lotte in Italia, 1969 (Godard) Lottekens Feldzug, 1915 (Wiene) Lotteriseddel No. 22152, 1915 (Blom) Lottery Lover, 1935 (Wilder) Loud Visual Noises, 1987 (Brakhage) Loudest Whisper. See Children’s Hour, 1962 Louis Lumière, 1964-69 (Rohmer) Louis Lumière. See Lumière et l’invention du cinématographe, 1953 Louisa May Alcott’s The Inheritance. See Inheritance, 1997 Louise, 1939 (Gance) Louisiana, 1984 (de Broca) Louisiana Story, 1946) Louisiana Story, 1948 (Flaherty; Leacock) Louisiane. See Louisiana, 1984 Loulou, 1979 (Pialat) Loup des Malveneur, 1943 (L’herbier) Loup y es-tu?, 1983 (Rohmer) Lourdes et ses miracles, 1954 (Demy) Love, 1927 (Goulding; Tourneur) Love, 1982 (Zetterling) Love. See Karleken, 1980 Love. See Koi, 1924 Love. See Láska, 1972 Love. See Mirsu, 1924 Love & Basketball, 2000 (Lee) Love & Hate, 1995 (Zanussi) Love & Human Remains, 1993 (Arcand) Love à la Carte. See Adua e le compagne, 1960 Love Affair, 1939 (Daves; Dmytryk; Mccarey) Love Affair. See Ljubavni Slu?aj, tragedija sluzbenice PTT, 1967 Love after Love. See Après l’amour, 1992 Love Among the Roses, 1910 (Grif?th) Love among the Ruins, 1975 (Cukor) Love and a Warrior. See Koi to bushi, 1925 Love and Anger. See Amore e rabbia, 1967 Love and Bullets, 1914 (Sennett) Love and Courage, 1913 (Sennett) Love and Death, 1975 (Allen) Love and Doughnuts, 1922 (Sennett) Love and Dynamite, 1914 (Sennett) Love and Gasoline, 1914 (Sennett) Love and Happiness, 1995 (Bartel) Love and Hate. See Lyubov’ i nenavist’, 1936 Love and Journalism. See K?rlek och journalistik, 1916 Love and Kisses, 1925 (Sennett) Love and Larceny. See Mattatore, 1960 Love and Law. See Amour et la loi, 1920/23 Love and Lemons, 1912 (Dwan) Love and Lobsters. See He Did and He Didn’t, 1916 Love and Lunch. See Mabel’s Busy Day, 1914 Love and Pain, 1913 (Sennett) Love and Pain and the Whole Damn Thing, 1972 (Pakula) Love and Pledge. See Ai to chikai, 1945 Love and Rubbish, 1913 (Sennett) Love and Salt Water, 1914 (Sennett) Love and Separation in Sri Lanka. See Suri Lanka no ai to wakare, 1976 Love and the Devil, 1929 (Korda) Love and the Frenchwoman. See Fran?aise et l’amour, 1960 Love and War. See Krig og Kaerlighed, 1914 Love at First Sight, 1928 (Sennett) FILM TITLE INDEX DIRECTORS, 4 th EDITION 1236 Love at Large, 1989 (Rudolph) Love at Twenty. See Amour a vingt ans, 1962 Love between the Raindrops. See Láska mezi kapkami de?tě, 1979 Love by the Light of the Moon, 1901 (Porter) Love Cage, 1964 (Clément) Love Can Build a Bridge. See Naomi & Wynonna: Love Can Build a Bridge, 1995 Love Comet, 1916 (Sennett) Love Crimes, 1991 (Borden) Love Film. See Szerelmes?lm, 1970 Love Finds a Way, 1908 (Grif?th) Love Flower, 1920 (Grif?th) Love Game. See Jeux de l’amour, 1960 Love Happy, 1948 (Tashlin) Love Has Tomorrow. See Ai Yu Ming T’ien, 1976 Love, Honor, and Behave, 1920 (Sennett) Love in a Hammock, 1901 (Porter) Love in a Police Station, 1927 (Sennett) Love in an Apartment Hotel, 1912 (Grif?th) Love in Armor, 1915 (Sennett) Love in Germany. See Liebe in Deutschland, 1983 Love in Germany, 1989 (D?rrie) Love in Morocco. See Baroud, 1931 Love in the Afternoon, 1957 (Wilder) Love in the City. See Amore in città, 1953 Love in the Hills, 1911 (Grif?th) Love in the Tropics. See Tropisk Kaerlighed, 1911 Love in Tokyo. See Koi no Tokyo, 1932 Love Is a Funny Thing. See Homme qui me pla?t, 1969 Love Is a Racket, 1932 (Wellman) Love Is Better than Ever, 1952 (Donen) Love Is Blind, 1909 (Porter) Love Is Blind, 1913 (Dwan) Love Is Blind. See Kaerlighed g?r blind, 1912 Love Is Blonde, 1928 (Sandrich) Love Is Colder than Death. See Liebe ist k?lter als der Tod, 1969 Love Is My Profession. See En Cas de malheur, 1958 Love Letter, 1999 (Spielberg) Love Letters, 1984 (Corman) Love Letters, 1999 (Donen) Love Loops the Loop, 1918 (Sennett) Love, Loot, and Crash, 1915 (Sennett) Love Lottery, 1953 (Crichton) Love Love Love, 1968 (Greenaway) Love Mask, 1916 (de Mille) Love Me and the World Is Mine, 1927 (Dupont) Love Me and the World Is Mine. See Lieb’ mich und die Welt ist mein, 1923 Love Me Tonight, 1932 (Mamoulian) Love Nest, 1923 (Keaton) Love Nest on Wheels, 1937 (Keaton) Love Never Dies, 1921 (Vidor) Love of a Clown—Pagliacci. See Pagliacci, 1947 Love of Jeanne Ney. See Liebe der Jeanne Ney, 1927 Love of Sumako the Actress. See Joyu Sumako no koi, 1947 Love of the West, 1911 (Dwan) Love Old and New. See Shamisen to otobai, 1961 Love on a Pillow. See Repos du guerrier, 1962 Love on a Train. See Subway Stories: Tales from the Underground, 1997 Love on Credit. See Kaerlighed pa kredit, 1955 Love on Skates, 1916 (Sennett) Love on Skis. See Amor auf Ski, 1928 Love on the Run, 1936 (Mankiewicz) Love on the Run. See Amour en fuite, 1979 Love on Toast, 1937 (Dupont) Love One Another. See Gezeichneten, 1922 Love Parade, 1929 (Lubitsch) Love Riot, 1916 (Sennett) Love Root. See Mandragola, 1965 Love Route, 1915 (Dwan) Love Should Be Guarded. See Asya, 1977 Love Sickness at Sea, 1913 (Sennett) Love, Speed, and Thrills, 1915 (Sennett) Love Storm. See Cape Forlorn, 1930 Love Story. See Douce, 1943 Love Streams, 1984 (Cassavetes) Love Stronger than Hatred. See K?rlek starkare ?n hat, 1914 Love Sublime, 1917 (Browning) Love Sundae, 1926 (Sennett) Love Test, 1935 (Powell, Michael, And Emeric Pressburger) Love That Lives. See Det St?rste i Verden, 1919 Love That Whirls, 1949 (Anger) Love the Magician. See Amor brujo, 1985 Love Thief, 1914 (Sennett) Love Thy Neighbor, 1940 (Sandrich) Love Trap, 1929 (Wyler) Love Undefeated: Conversations with Derek Jarman, 1993 (Jarman) Love Will Conquer, 1916 (Sennett) Love Will Find a Way, 1908 (Porter) Love with the Proper Stranger, 1963 (Pakula; Mulligan) Loveable Cheat, 1949 (Keaton) Loved By Two. See Akit ketten szeretnek, 1915 Loved One, 1965 (Ashby; Richardson) Loveless, 1983 (Bigelow) Lovely Flute and Drum. See Natsukashiki fue ya taiko, 1967 Lovely to Look At, 1952 (Leroy; Minnelli) Lovemaker. See Calle Mayor, 1956 Lovemaking, 1968 (Brakhage) Lover. See Ai-jin, 1953 Lover. See Amant, 1991 Lover. See Koibito, 1951 Lover and His Lass, 1975 (Hallstrom) Loverboy, 1990 (Silver) Lovers?, 1927 (Stahl) Lovers. See Amants, 1958 Lover’s Call. See Nedaa el Ochak, 1961 Lovers’ Council. See Liebeskonzil, 1982 Lovers, Happy Lovers, 1954 (Clément) Lover’s Lost Control, 1915 (Sennett) Lover’s Luck, 1914 (Sennett) Lovers Must Learn. See Rome Adventure, 1962 Lovers on the Bridge. See Amants du Pont-Neuf, 1991 Lovers’ Post Of?ce, 1914 (Sennett) Love’s Berry. See Yahidka kokhannya, 1926 Love’s Boomerang. See Perpetua, 1922 Love’s Crucible. See Vem d?mer, 1922 Love’s Debris. See Poussières d’amour, 1996 Love’s Devotee. See Elskovsleg, 1913 Love’s False Faces, 1919 (Sennett) Love’s Intrigue, 1924 (Sennett) Love’s Labour’s Lost, 2000 (Branagh) Love’s Languid Lure, 1927 (Sennett) Love’s Last Laugh, 1926 (Sennett) Loves of a Blonde. See Lásky jedné plavovlásky, 1965 Loves of Carmen, 1927 (Walsh) Loves of Isadora. See Isadora, 1968 Loves of Ondine, 1967 (Morrissey; Warhol) Loves of Zero, 1927 (Florey) Love’s Outcast, 1921 (Sennett) Love’s Sweet Pif?e, 1924 (Sennett) Lovesick, 1983 (Huston) Lovin’ Molly, 1974 (Lumet) FILM TITLE INDEXDIRECTORS, 4 th EDITION 1237 Loving, 1957 (Brakhage) Loving Couples. See Alskande par, 1964 Lower Depths. See Bas-Fonds, 1936 Lower Depths. See Donzoko, 1957 Lowland. See Tie?and, 1944 Loyal 47 Ronin. See Chushingura, 1932 Loyal Soldier of Pancho Villa. See Dorado de Pancho Villa, 1967 Lu, a kokott, 1918 (Curtiz) Luanda ya no es de San Pablo, 1976 (Alvarez) Lucette, 1924 (Feuillade) Luch smerti, 1925 (Kuleshov; Pudovkin) Luci del varietà, 1950 (Fellini; Lattuada) Lucía, 1968 (Solas) Luciano Serra, pilota, 1938 (Rossellini) Lucie Aubrac, 1997 (Berri) Lucien Leuwen, 1973 (Autant-Lara) Lucifer Rising, 1974 (Anger) Lucille Love, the Girl of Mystery, 1914 (Ford) Luck and Love. See Chance et l’amour, 1964 Luck o’ the Foolish, 1924 (Capra; Sennett) Luck of the Irish, 1920 (Dwan) Luck, Trust & Ketchup: Robert Altman in Carver County, 1993 (Altman) Lucky Horseshoe, 1911 (Sennett) Lucky Jim, 1909 (Grif?th) Lucky Jim, 1957 (Boulting) Lucky Lady, 1926 (Walsh) Lucky Lady, 1975 (Donen) Lucky Leap, 1915 (Sennett) Lucky Luciano. See A proposito Lucky Luciano, 1973 Lucky Partners, 1940 (Milestone) Lucky Star, 1929 (Borzage) Lucky Stars, 1925 (Capra; Sennett) Lucky Toothache, 1910 (Sennett) Lucky Transfer, 1915 (Browning) Lucrèce Borgia, 1935 (Gance) Ludwig, 1973 (Visconti) Ludwig II—Glanz und Elend eines K?nigs, 1954 (K?utner; Syberberg) Ludwig’s Cook. See Theodor Hierneis oder: Wie man ehem. Hofkoch wird, 1972 Lugar sin límites, 1977 (Ripstein) Lullaby. See Kolibel ‘naya, 1937 Lullaby of Hamagure. See Hamagure no komoriuta, 1973 Lulu, 1918 (Curtiz) Lulu, 1967 (Leacock) Lulu the Tool. See Classe operaia va in paradiso, 1971 Lumber Yard Gang, 1916 (Ford) Lumière d’été, 1943 (Grémillon) Lumière et compagnie, 1995 (Angelopoulos; Boorman; Chahine; Costa- Gavras; Greenaway; Ivory; Kaboré; Kiarostami; Leconte; Lynch; Miller; Ouedraogo; Penn; Sanders-Brahms; van Dormael; Zhang Yimou) Lumière et l’invention du cinématographe, 1953 (Gance) Luna, 1979 (Bertolucci) Luna de miel, 1956 (Powell, Michael, and Emeric Pressburger) Luna sleva, 1928 (Hei?tz) Lunatics: A Love Story, 1991 (Raimi) Lunch, 1899/1900 (Guy) Lune dans le caniveau, 1983 (Beineix) Lune des Lapins, 1950 (Anger) Lung Men Fêng Yun, 1976 (King) Lung Men K’o Chan, 1967 (King) Lung sing jing yuet, 1997 (Zhang Yimou) Lunga notte del ‘43, 1960 (Pasolini) Lunga strada azzurra. See Grande strada azzurra, 1957 Lunga Vita alla Signora, 1987 (Olmi) Lungo il ?ume, 1992 (Olmi) Lungo silenzio, 1993 (Von Trotta) Lunkhead, 1929 (Sennett) Lupa, 1953 (Lattuada) Lupe, 1965 (Warhol) Lure, 1914 (Guy) Lure of the Gown, 1909 (Grif?th) Lure of the Jungle. See Paw, 1959 Lured, 1947 (Sirk) Lust for Evil, 1959 (Clément) Lust for Life, 1956 (Minnelli) Lust in the Dust, 1985 (Bartel) Lust of the Vampire. See I Vampiri, 1956 Lust Seekers. See Good Morning . . . and Goodbye!, 1967 Lustg?rden, 1961 (Bergman) Lustige Ehemann, 1919 (Lubitsch) Lustigen Vagabunden, 1928 (Forst) Lustigen Weiber von Wien, 1930 (Forst) Lusty Men, 1952 (Ray) Luttes en Italie. See Lotte in Italia, 1969 Lutteurs américains, 1903 (Guy) Lyana, 1955 (Barnet) Lyckon?len, 1915 (Stiller) Lydia, 1918 (Dreyer; Holger-Madsen) Lydia, 1941 (Duvivier) Lydia Gilmore, 1916 (Porter) Lying Lips, 1939 (Micheaux) Lykken, 1916 (Holger-Madsen) Lynet, 1934 (Holger-Madsen) Lyon, le regard intérieur, 1988 (Tavernier) Lyon Lea, 1915 (Korda) Lyon, place Bellecour, 1895 (Lumière) Lyon, place des Cordeliers, 1895 (Lumière) Lys de la Vie, 1920 (Clair) Lyset i natten, 1953 (Roos) Lysten styret. See Et Huskors, 1914 Lyubit cheloveka, 1972 (Gerasimov) Lyubov’ i nenavist’, 1936 (Barnet) Lyulya Bek, 1914 (Bauer) M, 1951 (Aldrich; Losey) M. Butter?y, 1992-93 (Cronenberg) M Is for Man, Music, Mozart, 1991 (Greenaway) M, M?rder unter Uns, 1931 (Lang) Ma and Pa, 1922 (Sennett) Ma Cousine de Varsovie, 1931 (Clouzot) Ma es holnap, 1912 (Curtiz) Ma femme’s appelle reviens, 1982 (Leconte) Ma no ike, 1923 (Kinugasa) Ma non è una cosa seria!, 1936 (de Sica) Ma Nuit chez Maud, 1969 (Rohmer) Ma Olsen, 1977 (Ward) Ma saison préferée, 1993 (Téchiné) Maaneprinsessen, 1916 (Holger-Madsen) Maangamizi: The Ancient One, 2000 (Demme) Mabel and Fatty’s Simple Life, 1915 (Sennett) Mabel at the Wheel, 1914 (Chaplin; Sennett) Mabel, Fatty and the Law, 1915 (Sennett) Mabel Lost and Won, 1915 (Sennett) Mabel’s Adventures, 1912 (Sennett) Mabel’s and Fatty’s Wash Day, 1915 (Sennett) Mabel’s Awful Mistake, 1913 (Sennett) Mabel’s Bare Escape, 1914 (Sennett) Mabel’s Blunder, 1914 (Sennett) Mabel’s Busy Day, 1914 (Chaplin; Sennett) Mabel’s Dramatic Career, 1913 (Sennett) Mabel’s Flirtation. See Her Friend the Bandit, 1914 FILM TITLE INDEX DIRECTORS, 4 th EDITION 1238 Mabel’s Heroes, 1913 (Sennett) Mabel’s Latest Prank, 1914 (Sennett) Mabel’s Lovers, 1912 (Sennett) Mabel’s Married Life, 1914 (Chaplin; Sennett) Mabel’s Nerve, 1914 (Sennett) Mabel’s New Hero, 1913 (Sennett) Mabel’s New Job, 1914 (Sennett) Mabel’s Stormy Love Affair, 1914 (Sennett) Mabel’s Strange Predicament, 1914 (Chaplin; Sennett) Mabel’s Strategem, 1912 (Sennett) Mabel’s Wilful Way, 1915 (Sennett) Macadam, 1946 (Feyder) Macao, 1943 (Delannoy) Macao, 1951 (von Sternberg) Macao, l’enfer du jeu, 1939 (Delannoy; von Stroheim) Macaroni. See Maccheroni, 1985 MacArthur’s Children. See Setouchi shonen yakyu dan , 1985 Macbeth, 1916 (Fleming; von Stroheim) Macbeth, 1948 (Welles) Macbeth, 1971 (Schroeter) Macbeth, 1972 (Polanski) Macbeth. See Makbet, 1969 Maccheroni, 1985 (Scola) Macchina ammazzacattivi, 1947 (Rossellini) Machi no hitobito, 1926 (Gosho) Machi to gesui, 1953 (Hani) Machiboke no onna, 1946 (Shindo) Machine, 1973 (Sanders-Brahms) Machine, 1994 (Berri) Machine à refaire la vie, 1924 (Duvivier) Machine Age. See Kalyug, 1981 Machine Gun Kelly, 1958 (Corman) Machine Gun McCain. See Intoccabili, 1968 Machine of Eden, 1970 (Brakhage) Machorka-Muff, 1963 (Straub, Jean-Marie, And Danièle Huillet) Macht der Bilder: Leni Riefenstahl, 1993 (Riefenstahl) Macht der Finsternis, 1923 (Wiene) Macht der Gefühle, 1983 (Kluge) Maciste alpino, 1916 (Pastrone) Maciste, 1915 (Pastrone) Mack at It Again, 1914 (Sennett) Mackintosh Man, 1973 (Hill; Huston) Maclovia, 1948 (Fernández) Macomber Affair, 1947 (Korda) Macon County Jail, 1997 (Corman) Ma?ons, 1905 (Guy) Mad about the Opera. See Follie per l’opera, 1948 Mad Cap. See Premi Pagal, 1933 Mad City, 1997 (Costa-Gavras; Landis) Mad Dog and Glory, 1990 (Scorsese) Mad Dog Time, 1996 (Reiner) Mad Genius, 1931 (Curtiz) Mad Little Island. See Rockets Galore, 1958 Mad Man of Martinique, 1979 (Stone) Mad Wednesday, 1947 (Sturges) Mad Max, 1979 (Miller) Mad Max II, 1981 (Miller) Mad Max III: Beyond Thunderdome, 1985 (Miller) Madadayo, 1993 (Kurosawa) Madam Water. See Madame L’eau, 1993 Madame Bovary, 1934 (Becker; Renoir) Madame Bovary, 1949 (Minnelli) Madame Bovary, 1991 (Chabrol) Madame Curie, 1943 (Franklin; Leroy) Madame de . . . , 1953 (de Sica; Ophüls) Madame de Thèbes, 1915 (Stiller) Madame L’eau, 1993 (Rouch) Madame Pompadour, 1927 (Dupont) Madame Q, 1929 (Mccarey) Madame Rex, 1911 (Grif?th) Madame Rosa. See Vie devant soi, 1977 Madame Sans Gène, 1909 (Blom) Madame Satan, 1930 (de Mille) Madame Sousatzka, 1988 (Schlesinger) Madame Wang’s, 1981 (Morrissey) Madame wünscht keine Kinder, 1926 (Korda) Madame wünscht keine Kinder, 1933 (Wilder) Madamu to nyobo, 1931 (Gosho) M?dchen aus Flandern, 1956 (K?utner) Madchen vom Moorhof, 1935 (Sirk) Maddalena, 1970 (Kawalerowicz) Maddelena zero in condotta, 1941 (de Sica) Made for Each Other, 1939 (Cromwell) Made in Bangkok, 1991 (Joffé) Made in Heaven, 1987 (Rudolph) Made in Italy, 1965 (Scola) Made in the Kitchen, 1921 (Sennett) Made in U.S.A., 1966 (Godard) Made Manifest, 1980 (Brakhage) M?del vom Ballett, 1918 (Lubitsch) Madeleine, 1950 (Lean) Madeleine und der Legion?r, 1958 (Staudte) Mademoiselle, 1965 (Richardson) Mademoiselle 100 millions, 1913 (Tourneur) Mademoiselle Docteur, 1937 (Pabst; von Stroheim) Mademoiselle Fi?, 1944 (Wise) Mademoiselle France. See Reunion, 1942 Mademoiselle Gobette. See Presidentessa, 1952 Madigan, 1968 (Polonsky; Siegel) Madman. See Fou, 1970 Madman in the Dark. See Krok do tmy, 1938 Mado, 1976 (Sautet) Madone des sleepings, 1955 (von Stroheim) Madonna of Avenue A, 1929 (Curtiz) Madonne et le dragon, 1990 (Fuller) Madriguera, 1969 (Saura) Mae Day: The Crumbling of a Documentary, 1992 (Smith) Maedelia la Breche, 1980 (van Dormael) Maestro di Vigevano, 1963 (Petri) Maf?a, 1972 (Torre Nilsson) Ma?a. See In nome della legge, 1949 Ma?oso, 1962 (Lattuada) Magasiskola, 1970 (Gaál) Magdalene, 1908 (Holger-Madsen) Maggie, 1954 (Mackendrick) Maggie’s First False Step, 1917 (Sennett) Mágia, 1917 (Korda) Magic, 1978 (Attenborough) Magic. See Mágia, 1917 Magic Box, 1951 (Attenborough; Boulting) Magic Christian, 1968 (Attenborough; Polanski) Magic Fire, 1956 (Dupont) Magic Flame, 1926 (Florey) Magic Flute. See Troll??jten, 1975 Magic of the Diamond. See Magie du diamant, 1958 Magic Prague of Rudolph II. See Kouzelna Praha Rudolfa II, 1982 Magic Town, 1947 (Wellman) Magic Voice. See Forget Me Not, 1936 Magic Voyage of Sinbad, 1962 (Coppola; Corman) Magic Waltz. See Varázskering?, 1918 Magic World. See Mundo mágico, 1966 Magical Death, 1974 (Asch) FILM TITLE INDEXDIRECTORS, 4 th EDITION 1239 Magical World of Chuck Jones, 1992 (Dante; Howard) Magician, 1926 (Ingram) Magician. See Ansiktet, 1958 Magician. See Tarot, 1972 Magicians of the Silver Screen. See Báje?ni mu?i s klikou, 1979 Magiciens, 1975 (Chabrol) Magiciens de Wanzerbé, 1948 (Rouch) Magie du diamant, 1958 (Roos) Magie noire, 1904 (Guy) Magirama, 1956 (Gance) Mágnás Miska, 1916 (Korda) Magnet Laboratory, 1959 (Leacock) Magni?cent Ambersons, 1942 (Welles; Wise) Magni?cent Cuckold. See Magni?co cornuto, 1964 Magni?cent Doll, 1946 (Borzage) Magni?cent Fraud, 1939 (Florey) Magni?cent Matador, 1955 (Boetticher) Magni?cent Obsession, 1935 (Stahl) Magni?cent Obsession, 1954 (Sirk) Magni?co cornuto, 1964 (Scola) Magni?que, 1973 (de Broca) Magnum Force, 1973 (Cimino; Eastwood) Magokoro, 1953 (Kobayashi) Magot de Joséfa, 1964 (Autant-Lara) Magpie Strategy. See Strategija svrake, 1987 Magyarok, 1977 (Fábri) Mahanagar, 1963 (Ray) Mahaprithivi, 1992 (Sen) Maharadjaens Yndlingshustru II, 1918 (Blom) Mahiru no ankoku, 1956 (Imai) Mahiru no enbukyoku, 1949 (Yoshimura) Mahjong, 1996 (Yang) Maid and the Man, 1912 (Dwan) Maid Mad, 1916 (Sennett) Maiden and Men, 1912 (Dwan) Maiden’s Trust, 1917 (Sennett) Maidstone, 1968 (Leacock) Maigret et l’affaire Saint-Fiacre, 1958 (Delannoy) Maigret tend un piège, 1957 (Delannoy) Maihime, 1989 (Shinoda) Main Attraction, 1962 (Zetterling) Main du diable, 1942 (Tourneur) Main du professeur Hamilton ou Le Roi des dollars, 1903 (Guy) Main Nashe Me Hoon, 1959 (Kapoor) Mainland. See Great Land, 1944 Mains négatives, 1978/79 (Duras) Mais qu’est-ce qu’elles veulent?, 1976 (Serreau) Maison aux images, 1955 (Grémillon) Maison de danses, 1931 (Tourneur) Maison des bois, 1971 (Pialat) Maison des lions, 1912 (Feuillade) Maison sous les arbres, 1971 (Clément) Maisons de la misère, 1937 (Storck) Ma?tre de forges, 1933 (Gance) Ma?tre de la foudre, 1915/16 (Feuillade) Ma?tre d’ecole, 1981 (Berri) Ma?tre du temps, 1970 (Guerra) Ma?tre Galip, 1962 (Pialat) Ma?tres fous, 1954 (Rouch) Major and the Minor, 1942 (Wilder) Major Barbara, 1941 (Lean) Major Dundee, 1965 (Peckinpah) Majordome, 1964 (Delannoy) Majority of One, 1961 (Leroy) Makbet, 1969 (Wajda) Make Way for Tomorrow, 1937 (Mccarey) Makin’ It, 1970 (Hitchcock) Making a Film for Me Is Living, 1995 (Antonioni) Making a Living, 1914 (Chaplin; Sennett) Making a Splash (d only), 1984 (Greenaway) Making Mr. Right, 1987 (Seidelman) Making of a Man, 1911 (Grif?th) Making of an Automobile Tire, 1913 (Sennett) Makioka sisters. See Sasame Yuki, 1983 Makkhetes, 1916 (Curtiz) Makwayela, 1977 (Rouch) Mal du siècle, 1953 (Lelouch) Malá mo?ská víla, 1976 (Kachyňa) Mala Noche, 1985 (van Sant) Malakhov Kurgan, 1944 (Hei?tz) Malcolm X, 1992 (Lee; Sayles) Maldone, 1927 (Grémillon) Maldoror, 1951/52 (Anger) Male and Female, 1919 (de Mille) Male Companion. See Monsieur de compagnie, 1964 Male du siècle, 1975 (Beineix; Berri; Forman) Malé?ce, 1912 (Feuillade) Malencontre, 1920 (Dulac) Maleta, 1960 (Ruiz) Malfray, 1948 (Resnais) Malgache Adventure. See Aventure Malgache, 1944 Malheur qui passe, 1916 (Feuillade) Malheurs de la guerre, 1962 (Storck) Malia, 1945 (Castellani) Malibran, 1943 (Cocteau) Malina, 1991 (Schroeter) Mallarmé, 1964-69 (Rohmer) Mallrats, 1995 (Smith) Malombra, 1942 (Castellani) Malpertius, 1972 (Welles) Malquerida, 1949 (Fernández) Maltese Falcon, 1941 (Huston) Malvados, 1965 (Fernández) Mama Behave, 1926 (Mccarey) Mamá cumple cien a?os, 1979 (Saura) Mama Loves Papa, 1931 (Stevens) Mama, There’s a Man in Your Bed. See Romuald et Juliette, 1989 Mama Turns One Hundred. See Mamá cumple cien a?os, 1979 Maman Colibri, 1929 (Duvivier) Maman et la putain, 1973 (Eustache) Mambo, 1955 (Rossen) Mamie Rose. See Det m?rke Punkt, 1911 Mamma Roma, 1962 (Pasolini) Mammals. See Ssaki, 1962 Mammals of Victoria, 1994 (Brakhage) Mammame, 1986 (Ruiz) Mamma’s Affair, 1921 (Fleming) Mammo, 1994 (Benegal) Mammo Kenkoku no Reimei, 1932 (Mizoguchi) Mammy, 1930 (Curtiz) Mammy Water, 1953 (Rouch) Mammy’s Rose, 1916 (Borzage) Mam’zelle Bonaparte, 1941 (Tourneur) Man, 1910 (Grif?th) Man about Town, 1939 (Sandrich) Man and a Woman. See Homme et une femme, 1966 Man and a Woman: Twenty Years Later. See Homme et une femme: Vingt ans déja, 1986 Man and His Wife Make a Hammock, 1974 (Asch) Man and His World, 1967 (Vanderbeek) Man and the Stars. See O homem das estrelas, 1971 Man and the Woman, 1908 (Grif?th) FILM TITLE INDEX DIRECTORS, 4 th EDITION 1240 Man and the Woman, 1917 (Guy) Man behind the Mask, 1936 (Powell, Michael, And Emeric Pressburger) Man Between, 1953 (Reed) Man Called Back, 1932 (Florey) Man Called “Bee”, 1975 (Asch) Man Called John. See e venne un uomo, 1965 Man-Eating Sharks, 1932 (Sennett) Man for All Seasons, 1966 (Welles; Zinnemann) Man for All That, 1915 (Walsh) Man for Burning. See Uomo da bruciare, 1962 Man Forgets Love. See Mann vergisst die Liebe, 1955 Man from Frisco, 1943 (Florey) Man from Home, 1914 (de Mille) Man from Home, 1922 (Hitchcock) Man from Laramie, 1955 (Mann) Man from Naples. See Mann aus Neapel, 1922 Man from Painted Post, 1917 (Fleming) Man from Planet X, 1951 (Ulmer) Man from the Alamo, 1953 (Boetticher) Man from the Diner’s Club, 1963 (Tashlin) Man from the East, 1912 (Dwan) Man from the Meteor, 1954/6 (Romero) Man from the Restaurant, 1929 (Protazanov) Man from Yesterday, 1932 (Zinnemann) Man ham Mitoumam, 1975 (Kiarostami) Man Hunt, 1911 (Dwan) Man Hunt, 1941 (Lang) Man I Killed, 1932 (Lubitsch) Man I Love, 1929 (Wellman) Man I Love, 1946 (Walsh) Man in a Cocked Hat. See Carlton-Browne of the F.O., 1959 Man in Love, 1987 (Kurys) Man in Milan, 1990 (Scorsese) Man in My Life. See Rajol ? Hayati, 1961 Man in Polar Regions, 1967 (Clarke) Man in the Couch, 1914 (Browning) Man in the Iron Mask, 1939 (Whale) Man in the Moon, 1960 (Dearden) Man in the Moon, 1991 (Mulligan) Man in the Moonlight, 1919 (Franklin) Man in the Net, 1959 (Curtiz) Man in the Sky, 1956 (Crichton) Man in the White Suit, 1951 (Mackendrick) Man in the Wilderness, 1971 (Huston) Man Inside, 1958 (Roeg) Man Is Not a Bird. See Covek nije tica, 1966 Man Is Ten Feet Tall. See Edge of the City, 1957 Man Next Door, 1913 (Sennett) Man och Kvinna, 1938 (Fej?s) Man of Africa, 1953 (Grierson) Man of Aran, 1934 (Flaherty) Man of Bronze. See Jim Thorpe—All American, 1951 Man of Iron. See Cz?owiek z ?elaza, 1981 Man of Iron. See Ferroviere, 1956 Man of Marble. See Cz?owiek z marmuru, 1977 Man of Stone, 1921 (Goulding) Man of the Hour, 1914 (Tourneur) Man of the Moment. See Toki no ujigami, 1932 Man of the Soil. See A f?ld embere, 1917 Man of the West, 1958 (Mann) Man on a Tightrope, 1952 (Kazan) Man on the Beach, 1955 (Losey) Man on the Box, 1914 (de Mille) Man on the Case, 1914 (Dwan) Man on the Moon, 1999 (Forman) Man Sa Yay, 1980 (Faye) Man spielt nicht mit der Liebe, 1926 (Pabst) Man There Was. See Terje Vigen, 1917 Man to Man, 1930 (Dwan) Man Trouble, 1930 (Zinnemann) Man Trouble, 1992 (Rafelson) Man under Cover, 1922 (Browning) Man Upstairs, 1958 (Attenborough) Man Vanishes. See Ningen johatsu, 1967 Man Who Came Back, 1924 (Goulding) Man Who Came Back, 1931 (Walsh) Man Who Changed His Mind, 1936 (Launder, Frank, and Sidney Gilliat) Man Who Dared God, 1917 (Weber) Man Who Envied Women, 1985 (Rainer) Man Who Fell to Earth, 1976 (Roeg) Man Who Finally Died, 1962 (Zetterling) Man Who Haunted Himself, 1970 (Dearden) Man Who Killed Don Quixote, 2001 (Gilliam) Man Who Knew Too Much, 1934 (Hitchcock) Man Who Knew Too Much, 1955 (Hitchcock) Man Who Laughs, 1928 (Leni) Man Who Left His Will on Film. See Tokyo senso sengo hiwa, 1970 Man Who Lived Again. See Man Who Changed His Mind, 1936 Man Who Loved Women. See Homme qui aimait les femmes, 1977 Man Who Saw Tomorrow, 1981 (Welles) Man Who Shot Liberty Valance, 1962 (Ford) Man Who Stayed at Home, 1915 (Hepworth) Man Who Tamed the Victors. See Manden, der sejrede, 1918 Man Who Won, 1923 (Wellman) Man Who Would Be King, 1975 (Huston) Man with a Movie Camera. See Chelovek s kinoapparatom, 1929 Man with an Umbrella. See Det regnar p? v?r k?rlek, 1946 Man with Connections. See Pistonne, 1970 Man with the Axe. See Parashuram, 1978 Man with the Golden Arm, 1955 (Preminger) Man with the Golden Touch. See Az aranyember, 1918 Man with the X-Ray Eyes. See X, 1963 Man with Two Hearts. See A kétszívü fér?, 1916 Man Within, 1947 (Attenborough) Man without a Future. See Manden uden Fremtid, 1915 Man without a Nationality. See Mukokuseki-sha, 1951 Man without a Star, 1955 (Vidor) Manchurian Candidate, 1962 (Frankenheimer) Mandabi, 1968 (Sembene) Mandacaru vermelho, 1961 (Pereira Dos Santos) Mandalay, 1934 (Curtiz) Mandela, 1996 (Demme) Manden, der sejrede, 1918 (Holger-Madsen) Manden uden Fremtid, 1915 (Holger-Madsen) Manden uden Smil, 1916 (Holger-Madsen) Mandi, 1983 (Benegal) Mandragola, 1965 (Lattuada) Mandragore. See Alraune, 1952 Mandy, 1952 (Mackendrick) Mangler, 1995 (Hooper) Manhandled, 1924 (Dwan) Manhattan, 1979 (Allen) Manhattan Cocktail, 1928 (Arzner) Manhattan Madness, 1916 (Dwan; Fleming) Manhattan Melodrama, 1934 (Mankiewicz) Manhattan Murder Mystery, 1993 (Allen) Manhattan Parade, 1932 (Bacon) Manhunter, 1986 (Mann) Mani sporche, 1978 (Petri) Mani sulla città, 1963 (Rosi) Maniac, 1977 (Corman) Maniac Cook, 1908 (Grif?th) FILM TITLE INDEXDIRECTORS, 4 th EDITION 1241 Maniac Cop, 1988 (Raimi) Maniac Cop 2, 1990 (Raimi) Manicure Lady, 1911 (Sennett) Manicurist, 1916 (Sennett) Manifesto, 1989 (Makavejev) Manifold Controversy, 1973 (Marshall) Manin densha, 1957 (Ichikawa) Mankillers. See Faster Pussycat! Kill! Kill!, 1965 Mankinda, 1957 (Vanderbeek) Manmohan, 1936 (Mehboob Khan) Mann aus Neapel, 1922 (Dupont) Mann, dem man den Namen stahl, 1945 (Staudte) Mann der seinen M?rder sucht, 1931 (Siodmak; Wilder) Mann Spiegel, 1916 (Wiene) Mann um Mitternacht, 1924 (Holger-Madsen) Mann vergisst die Liebe, 1955 (Forst) Mannek?gen, 1913 (Stiller) Mannequin, 1938 (Borzage; Mankiewicz) M?nner . . . , 1986 (D?rrie) Manner um Lucie, 1931 (Korda) Mannesmann, 1937 (Ruttmann) Mano en la trampa, 1961 (Torre Nilsson) Manoeuvre, 1980 (Wiseman) Manoever. See Geteilte liebe, 1988 Manolete, 1944 (Gance) Manon, 1948 (Clouzot) Manon de Montmartre, 1914 (Feuillade) Manon des sources, 1952 (Pagnol) Manon des sources, 1986 (Berri; Pagnol) Manon Lescaut, 1926 (Leni) Manon Lescaut, 1940 (de Sica) Manpower, 1941 (Walsh) Man’s Calling, 1912 (Dwan) Man’s Castle, 1933 (Borzage) Man’s Duty, 1913 (Dwan) Man’s Face Is His History. See Otoko no kao wa rirekisho, 1966 Man’s Favorite Sport, 1963 (Hawks) Man’s Genesis, 1912 (Grif?th) Man’s Great Adversary. See Elskovs Magt, 1912 Man’s Heart. See Otokogokoro, 1925 Man’s Life. See Hito no issho, 1928 Man’s Lust for Gold, 1912 (Grif?th) Man’s Man, 1929 (Daves) Man’s Value. See Tsena cheloveka, 1928 Man’s Worldly Appearance. See Hito no yo no sugata, 1928 Manslaughter, 1922 (de Mille) Manthan, 1976 (Benegal) Mantrap, 1926 (Fleming) Manuel Rodriquez, 1972 (Guzmán) Manuela, 1965 (Solas) Manuel’s Destinies. See Destins de Manoel, 1985 Manufacture of Musical Instruments. See Proizvodstvo muzykal’nykh instrumentov, 1930 Manxman, 1928 (Hitchcock; Launder, Frank, and Sidney Gilliat) Many a Pickle, 1938 (Cavalcanti) Many a Sip, 1931 (Sandrich) Map of the Human Heart, 1992 (Ward) Mapuches, 1971 (Ruiz) Maputo, 1976 (Alvarez) Mar, 1974 (Leduc) Mar y tú, 1951 (Fernández) Maranh?o 66, 1965 (Rocha) Marathon, 1992 (Saura) Marathon Man, 1976 (Schlesinger) Marathon Runner. See L?ufer von Marathon, 1933 Maratre, 1906 (Guy) Marauders, 1912 (Dwan) March of Time, 1940 (Bu?uel) March to Aldermaston, 1958 (Anderson) Marcha del pueblo combatiente, 1980 (Alvarez) Marchand de ballons, 1902 (Guy) Marchand de coco, 1899/1900 (Guy) Marchand de plaisir, 1923 (Autant-Lara) Marché, 1896-97 (Lumière) Marché à la volaille, 1899/1900 (Guy) Marche des machines, 1927 (Zinnemann) Marche des rois, 1913 (Feuillade) Marcheurs de Sainte Rolende, 1974-75 (Storck) Marcia trionfale, 1976 (Bellocchio) Mardi Gras, 1958 (Goulding) Mare Matto, 1962 (Castellani) Mare Nostrum, 1925 (Ingram) Maréchalferrant, 1895 (Lumière) Marg Deegari, 1982 (Makhmalbaf) Margaret Head: Portrait of a Friend. See Ciné-Portrait de Margaret Head, 1977 Margin for Error, 1943 (Preminger) Marguerite: 3—Eine Frau für Drei, 1939 (K?utner) Marguerite de la nuit, 1956 (Autant-Lara) Mari de la coiffeuse, 1990 (Leconte) Mari gar?on, 1932 (Cavalcanti) Maria Callas portr?t, 1968 (Schroeter) Maria Callas singt 1957 Rezitativ und Arie der Elvira aus Ernani 1844 von Giuseppe Verdi, 1968 (Schroeter) María Candelaria, 1943 (Fernández) Maria Chapdelaine, 1934 (Duvivier) Maria Dabrowska, 1966 (Zanussi) Mariá Elena, 1935 (Fernández) Maria no Oyuki, 1935 (Mizoguchi) Maria of the Street of Ants. See Ari no Machi no Maria, 1958 Maria Rosa, 1916 (de Mille) Mariage, 1974 (Lelouch) Mariage de Chiffon, 1942 (Autant-Lara) Mariage de l’a?née, 1911/13 (Feuillade) Mariage de Mademoiselle Beulemans, 1927 (Duvivier) Mariage de Miss Nelly, 1913 (Feuillade) Mariage de raison, 1916 (Feuillade) Marianne and Julianne. See Bleierne Zeit, 1981 Marianne de ma jeunesse, 1955 (Duvivier) Marie-Antoinette, 1955 (Delannoy) Marie-Chantal contre le Docteur Kha, 1965 (Chabrol) Marie de Nazareth, 1995 (Delannoy) Marie du port, 1949 (Carné) Marie, légende hongroise. See Tavaszi zápor, 1932 Marie Octobre, 1959 (Duvivier) Mariée était en noir, 1967 (Truffaut) Mariés d’un jour, 1916 (Feuillade) Marie’s Millions. See Tillie’s Punctured Romance, 1914 Marijuana, 1936 (Fernández) Marilyn’s Window, 1988 (Brakhage) Marine Law, 1913 (Dwan) Marines et Cristeaux, 1928 (Gance) Marines, Let’s Go, 1961 (Walsh) Mario Banana, 1964 (Warhol) Mario, Maria e Mario, 1993 (Scola) Marionetki, 1934 (Protazanov) Marionetten der Leidenschaft, 1919 (Pick) Marionettes. See Marionetki, 1934 Marisa la civetta, 1957 (Pasolini) Marito per Anna Zaccheo, 1953 (Petri) Marito povero, 1946 (de Sica) Marius, 1931 (Korda; Pagnol) FILM TITLE INDEX DIRECTORS, 4 th EDITION 1242 Marius; Zum Goldenen Anker, 1931 (Korda) Marizza, genannt die Schmuggler-Madonna, 1922 (Murnau) Marjolin ou la ?lle manquée, 1921/22 (Feuillade) Mark of the Vampire, 1935 (Browning) Mark of Zorro, 1920 (Niblo) Mark of Zorro, 1940 (Mamoulian) Marked Man, 1917 (Ford) Marked Men, 1919 (Ford) Marked Time-Table, 1910 (Grif?th) Marked Woman, 1937 (Bacon; Rossen) Market Place. See Mandi, 1983 Markisinnan de Sade, 1992 (Bergman) Markurells I Wadk?ping, 1931 (Sj?str?m) Marmara hasan, 1968 (Güney) Marnie, 1964 (Hitchcock) Marquise d’O . . . , 1976 (Rohmer) Marquise Von O, 1989 (Syberberg) Marquitta, 1927 (Renoir) Marriage. See Kekkon, 1947 Marriage. See Mariage, 1974 Marriage Agency. See ?ktenskapsbryd?n, 1913 Marriage Broker. See Americaner Schadchen, 1939 Marriage Circle, 1924 (Lubitsch) Marriage Circus, 1925 (Sennett) Marriage Clause, 1926 (Weber) Marriage, Italian Style. See Matrimonio all’italiana, 1964 Marriage License?, 1926 (Borzage) Marriage of Convenience. See B?rnevennerne, 1914 Marriage of Maria Braun. See Ehe der Maria Braun, 1978 Marriage of the Blessed. See Arousi-ye Khouban, 1989 Marriage of William Ashe, 1916 (Hepworth) Marriage Ring, 1918 (Niblo) Marriage Time. See Konki, 1961 Married for the First Time. See Vpervye zamuzhem, 1979 Married in Haste. See A Jitney Elopement, 1915 Married Lady Borrows Money. See Okusama shakuyosho, 1936 Married Life, 1920 (Sennett) Married Life. See Kekkon no seitai, 1941 Married to the Mob, 1988 (Demme; Solondz) Marry Me Again, 1953 (Tashlin) Marry Me! Marry Me!. See Mazel Tov ou le mariage, 1969 Marrying Kind, 1952 (Cukor) Mars Attacks!, 1995 (Burton; Skolimowski) Marseillaise, 1938 (Becker; Renoir) Marseillaise. See Captain of the Guard, 1930 Martha, 1973 (Fassbinder) Martha und Ich, 1990 (Weiss) Martha’s Vindication, 1916 (Franklin) Marthe Richard, 1936 (von Stroheim) Martian Chronicles, 2001 (Spielberg) Martin, 1977 (Romero) Martin Andersen Nexos sidste rejse, 1954 (Roos) Martin Fierro, 1968 (Torre Nilsson) Martin Missil Quarterly Reports, 1957 (Brakhage) Martin of the Mounted, 1926 (Wyler) Martin Soldat, 1966 (Miller) Martyr of the Garden of the Pear Trees, 1949 (Xie Jin) Martyre de l’Obèse, 1932 (L’herbier) Martyred Presidents, 1901 (Porter) Martyrs of Love. See Mu?edníci lásky, 1967 Marusa no onna, 1987 (Itami) Marusa no onna II, 1988 (Itami) Marutai no onna, 1997 (Itami) Mary Ann, 1918 (Korda) Mary, Mary, 1963 (Leroy) Mary of Scotland, 1936 (Ford) Mary of the Movies, 1923 (Ingram) Mary Regan, 1919 (Weber) Mary Reilly, 1996 (Frears) Mary Shelley’s Frankenstein, 1994 (Branagh; Coppola) Mary, Sir John greift ein!. See Murder, 1930 Mary Stevens M.D., 1933 (Bacon) Marya Sklodowska-Curie. Ein M?dchen, das die Welt ver?ndert, 1972 (Staudte) Maschera del demonio, 1960 (Bava) Mascot, 1914 (Browning) Mascot of Troop “C”, 1911 (Guy) Masculin-féminin, 1966 (Godard) M*A*S*H, 1970 (Altman) Masher, 1910 (Sennett) Mashgh-e Shab, 1989 (Kiarostami) Mask, 1984 (Bogdanovich) Mask of Dijon, 1945 (von Stroheim) Mask of the Demon. See Maschera del demonio, 1960 Mask of Zorro, 1998 (Spielberg) Maske, 1919 (Dupont) Masked Bride, 1925 (Florey; von Sternberg) Masked Mamas, 1926 (Sennett) Maskerade, 1934 (Forst) Masks of the Devil, 1928 (Sj?str?m) Masque d’horreur, 1912 (Gance) Masque of the Red Death, 1964 (Corman; Roeg) Masquerade, 1941 (Gerasimov) Masquerade, 1964 (Dearden) Masquerade in Vienna. See Maskerade, 1934 Masquerader, 1914 (Chaplin; Sennett) Masques, 1986 (Chabrol) Mass for the Dakota Sioux, 1964 (Baillie) Mass Is Ended. See Massa e ?nita, 1985 Mass Production of Eggs. See Nagyüzemi tojástermelés, 1962 Massa e ?nita, 1985 (Moretti) Massacre, 1912 (Grif?th) Massnahmen gegen Fanatiker, 1968 (Herzog) Master. See Det r?da tornet, 1914 Master Ideál. See Kantor Ideál, 1932 Master Mind, 1914 (de Mille) Master of Love. See Herr der Liebe, 1919 Master of the House. See Du Skal Aere Din Hustru, 1925 Master of the Vineyard, 1911 (Dwan) Master Samuel. See M?sterman, 1920 Master Zoard. See Zoárd Mester, 1917 M?sterman, 1920 (Sj?str?m) Masters of the Sea. See Heeren der Meere, 1922 Masters of Ukrainian Art in Concert. See Kontsert masterov ukrainskogo iskusstva, 1952 M?stertjuven, 1915 (Stiller) Mastery of the Sea, 1941 (Cavalcanti) Mat, 1926 (Pudovkin) Mat, 1956 (Donskoi) Mata au hi made, 1932 (Ozu) Mata au hi made, 1950 (Imai) Matador, 1986 (Almodóvar) Matatabi, 1973 (Ichikawa) Match Factory Girl. See Tulitikkutehtaan Tytto, 1989 Match Play, 1929 (Sennett) Matches, 1913 (Dwan) Matchless, 1966 (Lattuada) Matchmaker. See Yeuh Hsia Lao Jen, 1975 Matchmaking Mamas, 1929 (Sennett) Matelas alcoolique, 1906 (Guy) Mater dolorosa, 1910 (Feuillade) Mater Dolorosa, 1917 (Gance) FILM TITLE INDEXDIRECTORS, 4 th EDITION 1243 Materi i docheri, 1974 (Gerasimov) Matewan, 1987 (Sayles) Matières nouvelles, 1964 (Storck) Matinee, 1992 (Dante; Sayles) Matinee Idol, 1928 (Capra) Matins, 1988 (Brakhage) Matiouette, 1983 (Téchiné) Matira Manisha, 1967 (Sen) Matka Joanna od Aniolów, 1961 (Kawalerowicz) Matrimaniac, 1916 (Fleming) Matrimonial Bed, 1930 (Curtiz) Matrimonial Problem. See Matrimonial Bed, 1930 Matrimonio, 1953 (de Sica) Matrimonio all’italiana, 1964 (Castellani; de Sica) Mattatore, 1960 (Scola) Mattei Affair. See Caso Mattei, 1972 Matter of Dignity. See Final Lie, 1958 Matter of Life and Death, 1946 (Attenborough) Matter of Life and Death, 1946 (Powell, Michael, And Emeric Pressburger) Matter of Morals. See De Sista Stegen, 1960 Matter of Time, 1976 (Minnelli) Matthaus-Passion, 1951 (Flaherty) Matthias Kneissl, 1970 (Fassbinder) Maturareise, 1943 (Feyder) Maudite galette, 1972 (Arcand) Maudite soit la guerre, 1910 (Feuillade) Maudits, 1947 (Clément) Maudits sauvages, 1971 (Lefebvre) Maulkorb, 1958 (Staudte) Mauprat, 1926 (Bu?uel; Epstein) Maurice, 1987 (Ivory) Maurya Patan, 1929 (Mehboob Khan) Mauvais coeur puni, 1904 (Guy) Mauvais Fils, 1980 (Sautet) Mauvais Sang, 1986 (Carax) Mauvaise ?lle, 1990 (Téchiné) Mauvaise graine, 1933 (Wilder) Mauvaise passe, 1999 (Berri) Mauvaise Soupe, 1899/1900 (Guy) Mauvaises fréquentations, 1966 (Eustache) Mauvaises rencontres, 1955 (Astruc) Max et les ferrailleurs, 1971 (Sautet) Max, Mon Amour, 1986 (Oshima) Maximenko Brigade. See A Maksimenko brigád, 1950 May 1, 1920 in Moscow. See Pervoye maya 1920 v Moskve, 1919 May 1st 1952. See 1952 Május 1, 1952 May Blossom, 1915 (Dwan) May Fools. See Milou en Mai, 1990 May-Fly. See Maaneprinsessen, 1916 Maybe It’s Love, 1930 (Wellman) Mayerling to Sarajevo. See De Mayerling à Sarajevo, 1940 Mayo de las tres banderas, 1980 (Alvarez) Mayol, 1900/07 (Guy) Mazazo macizo, 1981 (Alvarez) Mazel Tov ou le mariage, 1969 (Berri) Mazlí?ek, 1934 (Fri?) Mazurka di papà, 1938 (de Sica) Mazurka, 1935 (Forst) McCabe and Mrs. Miller, 1971 (Altman) Me & Isaac Newton, 1999 (Apted) Me alquilo para sonar, 1991 (Guerra) Me and Him. See Ich und er, 1987 Me and My Gal, 1932 (Walsh) Me and You. See Mig og dig, 1969 Me Gangster, 1928 (Walsh) Me! I’m Afraid of Virginia Woolf, 1978 (Frears) Me, Naked Childhood. See Enfance nue, 1970 Me Want You. See Moi vouloir toi, 1984 Meadow. See Prato, 1979 Mean Machine. See Longest Yard, 1974 Mean Streets, 1973 (Scorsese) Meantime, 1983 (Leigh) Meat, 1975 (Wiseman) Meat Fight, 1974 (Marshall) Mécaniciens de l’armée de l’air, 1959 (Lelouch) Mechanical Ballet. See Ballet mécanique, 1924 Mechanics of the Brain. See Mekhanikha golovnovo mozga, 1926 Med livet som insats, 1940 (Sj?berg) Med tuld Musik, 1933 (Holger-Madsen) Medals. See Seven Days’ Leave, 1930 Medan staden sover, 1950 (Bergman) Medbejlerens Haevn, 1910 (Blom) Meddlers, 1912 (Dwan) Medea, 1969 (Pasolini) Medea, 1988 (Von Trier) Médecines et médecins, 1976 (Rouch) Medicine Ball Caravan, 1979 (Scorsese) Medicine Bottle, 1909 (Grif?th) Medico e lo stregone, 1957 (de Sica) Meditation on Violence, 1948 (Deren) Medium Is the Masseuse: A Balinese Massage, 1983 (Asch) Meet Boston Blackie, 1940 (Florey) Meet John Doe, 1941 (Capra) Meet Marlon Brando, 1965 (Maysles) Meet Me at the Fair, 1952 (Sirk) Meet Me in Moscow. See Ya shagayu po Moskve, 1964 Meet Me in St. Louis, 1944 (Minnelli) Meet My Girl, 1926 (Sennett) Meet the Feebles, 1989 (Jackson) Meet the Pioneers, 1948 (Anderson) Meeting Hearts. See Hj?rtan som m?tas, 1914 Meeting in July. See Setkání v ?ervenci, 1977 Meeting on the Atlantic. See Spotkanie na Atlantyku, 1979 Meeting Ships. See Skepp som motas, 1916 Meeting Venus, 1990 (Szabó) Meeting with Maxim, 1941 (Gerasimov) Még kér a nép, 1972 (Jancsó) Mégano, 1955 (Gutiérrez Alea) Megavixens. See Cherry, Harry, and Raquel!, 1969 Meigatsu somato, 1951 (Kinugasa) Meiji haruaki, 1968 (Gosho) Meilleure fa?on de marcher, 1976 (Miller) Mein Herz—Niemandem!, 1997 (Sanders-Brahms) Mein Kind, 1956 (Ivens) Mein liebster Feind—Klaus Kinski, 1999 (Herzog) Mein Schulefreund, 1960 (Siodmak) Mein Vater der Schauspieler, 1956 (Siodmak) Mein Wille ist Gesetz, 1919 (Pick) Meine Frau, die Filmschauspielerin; Meyer aus Berlin, 1919 (Lubitsch) Meito Bijomaru, 1945 (Mizoguchi) Mekhanikha golovnovo mozga, 1926 (Pudovkin) Melba, 1953 (Milestone) Mélo, 1986 (Resnais) Melodie der Welt, 1929 (Ruttmann) Melody, 1971 (Parker) Melody Cruise, 1933 (Sandrich) Melon-Drama, 1931 (Sandrich) Melvin and Howard, 1980 (Demme) Melvin’s Revenge, 1949 (Lewis) Member of the Government. See Chlen pravitelstva, 1940 Member of the Wedding, 1952 (Kramer; Zinnemann) FILM TITLE INDEX DIRECTORS, 4 th EDITION 1244 Memento Mori, 1989 (Jire?) Memento Mori, 1992 (Clayton) Memoire. See Hadota Misreya, 1982 Memoire des apparences, 1987 (Ruiz) Memoire retrouvée, 1996 (Weir) Memoirs of a Criminal. See En Forbryders Liv og Levned, eller En Forbryders Memoirer, 1916 Memoirs of an Invisible Man, 1991 (Carpenter) Memorandum on Ana. See Apunte sobre Ana, 1971 Memorias de un reencuentro, 1986 (Alvarez) Memorias del subdesarrollo, 1968 (Gutiérrez Alea) Memorias do carcere, 1984 (Pereira Dos Santos) Memórias e con?ssoes, 1982 (Oliveira) Memories. See Zwischengleis, 1978 Memories of Jail. See Memorias do carcere, 1984 Memories of Underdevelopment. See Memorias del subdesarrollo, 1968 Memories of Young Days. See Wakaki hi no kangeki, 1931 Memory Lane, 1926 (Stahl) Memory of Our Day, 1963 (Nemec) Memory of the Heart, 1958 (Gerasimov) Memphis Belle, 1944 (Wyler) Men, 1950 (Kramer; Zinnemann) Men .... See M?nner . . . , 1986 Men: A Passion Playground, 1985 (Egoyan) Men and Beasts, 1962 (Gerasimov) Men and Wolves. See Uomini e lupi, 1956 Men Are Such Fools, 1938 (Berkeley) Men Bathing, 1973 (Marshall) Men Can’t Be Raped. See Miesta ei voi raiskata, 1977 Men in Black, 1997 (Spielberg) Men in Danger, 1939 (Cavalcanti) Men in War, 1957 (Mann) Men of Novgorod. See Novgorodtsy, 1943 Men of the Lightship, 1940 (Cavalcanti; Hitchcock) Men of the Sea. See Midshipman Easy, 1933 Men of the World. See Herrin der Welt, 1918 Men of Tohoku. See Tohoku no zummu-tachi, 1957 Men of Tomorrow, 1932 (Crichton; Korda) Men of War, 1994 (Sayles) Men Who Tread on the Tiger’s Tail. See Tora no o o fumu otokotachi, 1945 Men with Guns, 1997 (Sayles) Men with Wings, 1938 (Wellman) Men without Women, 1930 (Ford) Men, Women: A User’s Manual. See Hommes, femmes, mode d’emploi, 1996 Menace, 1913 (Dwan) Menace to Carlotta, 1914 (Dwan) Menaces, 1939 (von Stroheim) Menage. See Tenue de soirée, 1986 Mended Lute, 1909 (Grif?th) Mender of the Nets, 1912 (Grif?th) Ménestrel de la reine Anne, 1913 (Feuillade) Menino de engenho, 1965 (Rocha) Mens Pesten raser, 1913 (Holger-Madsen) Mensch verstreut und Welt verkehrt. See Cuerpo repartido y el mundo al revez, 1975 Menschen am Sonntag, 1929 (Siodmak; Ulmer; Wilder; Zinnemann) Menschen, die die Staufer-Austellung vorbereiten, 1977 (Kluge) Menschen hinter Gittern, 1930 (Fej?s) Menschen im K??g, 1930 (Dupont) Mental Suicide, 1913 (Dwan) Menteurs, 1961 (Chabrol) Menthe—la bienheureuse, 1979 (Von Trier) Mentiras Piadosos, 1989 (Ripstein) Menty. See Cops, 1998 Menuisiers, 1896-97 (Lumière) Meoto boshi, 1926 (Kinugasa) Mephisto, 1981 (Szabó) Mépris, 1963 (Godard; Lang) Mer des corbeaux. See Mor-Vran, 1931 Mera Naam Joker, 1970 (Kapoor) Meraviglie di Aladino, 1961 (Bava; de Sica) Mercenarios, 1983 (Fernández) Merchant Convoy. See Merchant Seamen, 1941 Merchant of the Four Seasons. See H?ndler der vier Jahreszeiten, 1971 Merchant of Venice, 1914 (Weber) Merchant Seamen, 1941 (Cavalcanti) Merci la vie, 1991 (Blier) Merci pour le chocolat, 2000 (Chabrol) Mère du moine, 1909 (Feuillade) Mère et l’infant, 1959 (Demy) Merely a Married Man, 1915 (Sennett) Mères tou 36, 1972 (Angelopoulos) Meri Jaan. See Romantic Prince, 1932 Meridiano Novo, 1976 (Alvarez) Merlusse, 1935 (Pagnol) Mermaids of Tiburon, 1961 (Corman) Merrill’s Marauders, 1962 (Fuller) Merrily We Go to Hell, 1932 (Arzner) Merry Christmas, Mr. Lawrence, 1983 (Oshima) Merry Vagabonds. See Lustigen Vagabunden, 1928 Merry Widow, 1925 (von Stroheim) Merry Widow, 1934 (Lubitsch) Merry Widow. See Vig ?zvegy, 1918 Merry Widow Waltz Craze, 1908 (Porter) Merry Wives of Vienna. See Lustigen Weiber von Wien, 1930 Merry-Go-Round, 1922 (von Stroheim) Merry-Go-Round, 1979 (Rivette) Merry-Go-Round. See K?rhinta, 1955 Merveilleuse Visite, 1974 (Carné) Mes entretiens ?lmés, 1998 (Storck) Me’s Outing. See Herrenpartie, 1964 Mes petites amoureuses, 1974 (Eustache) Mésaventure d’un charbonnier, 1899/1900 (Guy) Mesék az írógépr?l, 1916 (Korda) Meshes of the Afternoon, 1943 (Deren) Message, 1909 (Grif?th) Message from Geneva, 1936 (Cavalcanti) Message from the Moon, 1911 (Sennett) Message of the Violin, 1910 (Grif?th) Message to Napoleon. See Et Budskab til Napoleon paa Elba, 1909 Messagère, 1975 (Palcy) Messe de minuit, 1906 (Guy) Messenger. See Messagère, 1975 Messenger Boy’s Mistake, 1903 (Porter) Messenger: The Story of Joan of Arc, 1999 (Besson) Messia, 1978 (Rossellini) Messiah. See Messia, 1978 Messidor, 1978 (Tanner) Mestiere delle armi, 2000 (Olmi) Městom? svou tvá?, 1958 (Kachyňa) Mészáros László emlékére, 1968 (Mészáros) Metal neccanico e parrucchiera in un turbine di sesso e di politica, 1996 (Wertmuller) Metall des Himmels, 1934 (Ruttmann) Métamorphoses du paysage industriel, 1964-69 (Rohmer) Metamorphosis, 1975 (Nemec) Metro lungo cinque, 1961 (Olmi) Metropolis, 1927 (Lang) Metropolitan, 1990 (Stillman) Metropolitan Symphony. See Tokai kokyogaku, 1929 FILM TITLE INDEXDIRECTORS, 4 th EDITION 1245 Meurtre est un meurtre, 1972 (Chabrol) Meurtrier, 1963 (Autant-Lara) Meurtrière. See Demütige und die S?ngerin, 1925 Mewad No Mawali, 1930 (Mehboob Khan) Mexican, 1911 (Dwan) Mexican Sweethearts, 1909 (Grif?th) Mexican Symphony, 1941 (Eisenstein) Mexico Marches, 1941 (Eisenstein) México norte, 1977 (Fernández) Meyer als Soldat, 1914 (Lubitsch) Meyer auf der Alm, 1913 (Lubitsch) Mi abuelo, mi perro y yo, 1983 (Fernández) Mi Hermano Fidel, 1977 (Alvarez) Mi hijo, el Chei: Un retrato de familia de Don Ernesto Guevara, 1985 (Birri) Mi nombre es sombra, 1996 (Almodóvar) Mi Prazane me Rozùmeji, 1991 (Chytilová) Mia Aiwniothta kai Mia Mera, 1998 (Angelopoulos) Mia valle, 1955 (Olmi) Miami Blues, 1990 (Demme) Miami Vice, 1985 (Ferrara) Michael, 1924 (Christensen; Dreyer) Michael Collins, 1996 (Jordan) Michael Jackson: Making Michael Jackson’s “Thriller’’, 1983 (Landis) Michael Jordan to the Max, 2000 (Lee) Michael Kohlhaas—Der Rebell, 1969 (Schl?ndorff) Michael Nyman Songbook, 1992 (Schl?ndorff) Michael Strogoff; or The Courier to the Czar, 1914 (Guy) Michael the Brave, 1969 (Welles) Michel Strogoff, 1935 (Delannoy) Michelino la B, 1956 (Olmi) Michki protiv Youdenitsa, 1925 (Gerasimov; Kozintsev) Michurin, 1948 (Dovzhenko) Mickey, 1918 (Sennett) Mickey One, 1965 (Penn) Mickey’s Pal, 1912 (Guy) Midare-gami, 1961 (Kinugasa) Middle Child. See Welcome to the Dollhouse, 1995 Middle of the Road Is a Very Dead End. See In Gefahr und gr?sster Not bringt der Mittelweg den Tod, 1974 Middle of the World. See Milieu du monde, 1974 Middle Watch, 1930 (Launder, Frank, and Sidney Gilliat) Middleman. See Jana Aranya, 1975 Midnight, 1939 (Wilder) Midnight Adventure, 1909 (Grif?th) Midnight Cowboy, 1969 (Morrissey; Schlesinger) Midnight Cupid, 1910 (Grif?th) Midnight Daddies, 1929 (Sennett) Midnight Elopement, 1912 (Sennett) Midnight Express, 1978 (Parker; Stone) Midnight Supper, 1909 (Porter) Midnight in the Garden of Good and Evil, 1997 (Eastwood) Midnight Mary, 1933 (Wellman) Midnight Ride of Paul Revere, 1907 (Porter) Midnight Romance, 1919 (Weber) Midshipman Easy, 1933 (Reed) Midsommer. See Det gamle K?bmandshus, 1911 Midsummer Day’s Work, 1939 (Cavalcanti) Midsummer Night’s Sex Comedy, 1982 (Allen) Midsummer Night’s Steam, 1927 (Sandrich) Midsummer-Time. See Det gamle K?bmandshus, 1911 Midwinter Trip to Los Angeles, 1912 (Dwan) Midwinter’s Tale. See In the Bleak Midwinter, 1995 Miedzy Wroc?awiem a Zielona Góra, 1972 (Kie?lowski) Miesta ei voi raiskata, 1977 (August) Mig og dig, 1969 (Henning-Jensen) Mighty, 1929 (Cromwell) Mighty Aphrodite, 1995 (Allen) Mighty Joe Young, 1949 (Schoedsack) Mighty like a Moose, 1926 (Mccarey) Mignon, 1900/07 (Guy) Mignon or The Child of Fate, 1912 (Guy) Migrants, 1974 (Howard) Migratory Birds under the Moon. See Tsuki no watari-dori, 1951 Mikey and Nicky, 1976 (Cassavetes) Mikkel, 1948 (Roos) Miklós Borsós. See Borsós Miklós, 1966 Mil, 1962 (Rouch) Mil huit cent quatorze, 1910 (Feuillade) Milan noir, 1987 (Breillat) Milano ‘83, 1984 (Olmi) Mildred Pierce, 1945 (Curtiz) Milieu du monde, 1974 (Tanner) Militaire et nourrice, 1904 (Guy) Militant Suffragette. See A Busy Day, 1914 Militarismo y tortura, 1969 (Ruiz) Milk We Drink, 1913 (Sennett) Milky Way, 1935 (Mccarey) Milky Way. See Voie lactée, 1969 Mill on the Po. See Mulino del Po, 1949 Miller’s Crossing, 1990 (Coen; Raimi) Millhouse: A White House Comedy, 1971 (de Antonio) Million, 1931 (Clair) Million Bid, 1927 (Curtiz) Million-Dollar Bride, 1914 (Browning) Million-Dollar Hotel, 2000 (Wenders) Million-Dollar In?eld, 1982 (Reiner) Million-Dollar Job. See A Film Johnnie, 1914 Million-Dollar Legs, 1932 (Dmytryk; Mankiewicz) Millio- Dollar Mermaid, 1952 (Berkeley; Leroy) Million-Dollar Robbery, 1914 (Guy) Million-Dollar Trio. See Trio: Rubinstein, Heifetz and Piatigorsky, 1952 Million Girls. See Hyakumanin no musumetachi, 1963 Millionaerdrengen, 1913 (Holger-Madsen) Millionaire Cat, 1932 (Sandrich) Millionairess, 1960 (de Sica) Million?rin, 1918 (Wiene) Millions de la bonne, 1913/16 (Feuillade) Millions en fuite. See Flugten fra millionerne, 1934 Millions like Us, 1943 (Launder, Frank, and Sidney Gilliat) Mills of the Gods, 1909 (Grif?th) Milosierdzie platne z gory, 1975 (Zanussi) Milou en Mai, 1990 (Malle) Mimi metallurgio ferito nell’onore, 1972 (Wertmuller) Mimikry, 1992 (Jire?) Min bedstefar er en stok, 1967 (Henning-Jensen) Min f?rste Monocle, 1911 (Blom) Min Ven Levy, 1914 (Holger-Madsen) Minami ni kaze, 1942 (Yoshimura) Minbo No Onna, 1991 (Itami) Minbo, Or the Gentle Art of Japanese Extortion. See Minbo No Onna, 1991 Mind Benders, 1963 (Dearden) Mindennapi t?rténetek, 1955 (Mészáros) Mine Pilot. See Minlotsen, 1915 Mineral Waters of the Caucasus. See Kavkazskiye mineralniye vody, 1924 Miner’s Wife, 1911 (Dwan) Minerva traduce el mar, 1962 (Solas) Ming Green, 1966 (Markopoulos) Minin i Pozharsky, 1939 (Pudovkin) Ministères de L’Art, 1988 (Carax) FILM TITLE INDEX DIRECTORS, 4 th EDITION 1246 Ministry of Fear, 1944 (Lang) Miniver Story, 1950 (Franklin) Minlotsen, 1915 (Stiller) Minnie and Moskowitz, 1971 (Cassavetes) Minor Apocalypse. See Petite Apocalypse, 1993 Minority Report, 2002 (Spielberg) Minshu no teki, 1946 (Imai) Minuit, quai de Bercy, 1952 (von Stroheim) Minute de vérité, 1952 (Delannoy) Minute Hands, The Street Photographer. See Minuteros, 1972 Minuteros, 1972 (Ruiz) Mio, 1970 (Hani) Mio ?glio Nerone, 1956 (Bava; de Sica) Mio Figlio Professore, 1946 (Castellani) Miquette et sa mère, 1949 (Clouzot) Miracle, 1991 (Jordan) Miracle. See Miracolo, 1947 Miracle Can Happen, 1946 (Huston) Miracle in Harlem, 1937 (Micheaux) Miracle in Milan. See Miracolo a Milano, 1950 Miracle in Soho, 1957 (Powell, Michael, And Emeric Pressburger) Miracle of Morgan’s Creek, 1944 (Sturges) Miracle on 34th Street, 1994 (Attenborough) Miracle Woman, 1931 (Capra) Miracle Worker, 1962 (Penn) Miracles for Sale, 1939 (Browning) Miracles Still Happen. See Es geschehen noch Wunder, 1951 Miracolo, 1947 (Rossellini) Miracolo a Milano, 1950 (de Sica) Mirada de los otros, 1979 (Solanas, Fernando E., And Octavio Getino) Mirage, 1964 (Dmytryk) Mirage. See Fata Morgana, 1969 Miraklet, 1913 (Sj?str?m) Miramar praia das rosas, 1939 (Oliveira) Mireille, 1906 (Feuillade; Guy) Mirror. See Egy tukor, 1971 Mirror. See Zerkalo, 1975 Mirror from India, 1971 (Anderson) Mirror of Holland. See Spiegel van Holland, 1950 Mirrored Reason, 1980 (Vanderbeek) Mirsu, 1924 (Kinugasa) Mirt Sost Shi Amit (Harvest: 3000 Years), 1975 (Gerima) Mis Fatty’s Seaside Lover, 1915 (Sennett) Misadventures of a Claim Agent, 1912 (Dwan) Misadventures of Buster Keaton, 1955 (Keaton) Misappropriated Turkey, 1912 (Grif?th) Misc. Happenings, 1961-62 (Vanderbeek) Mischief of Love. See Unfug der Liebe, 1928 Miserables, 1952 (Milestone) Miserables, 1995 (Lelouch) Misérables, 1998 (August) Misère au Borinage, 1933 (Ivens; Storck) Misericordia, 1919 (Pick) Miser’s Heart, 1911 (Grif?th) Misery, 1990 (Reiner) Mis?ts, 1961 (Huston) Misfortune, 1973 (Loach) Mishaps of Seduction and Conquest, 1984 (Campion) Mishima: A Life in Four Chapters, 1985 (Coppola; Lucas; Schrader) Mishka against Yudenitch. See Michki protiv Youdenitsa, 1925 Miska the Magnate. See Mágnás Miska, 1916 Misplaced Foot, 1914 (Sennett) Misplaced Jealousy, 1911 (Sennett) Miss Ensign. See Fr?ulein F?hnrich, 1929 Miss Gaby, 1971 (Jarman) Miss Grant Takes Richmond, 1949 (Bacon; Tashlin) Miss Helyett, 1926 (Delannoy) Miss Italia, 1950 (Bava) Miss Julie. See Fr?ken Julie, 1951 Miss Lina Esbrard Danseuse Cosmopolite et Serpentine, 1902 (Guy) Miss Mary, 1987 (Bemberg) Miss Mary. See Miss Meri, 1918 Miss Mend, 1926 (Barnet) Miss Meri, 1918 (Kuleshov) Miss Millionaire, 1988 (Rogozhkin) Miss Nobody. See Panna Nikt, 1996 Miss Oyu. See Oyu-sama, 1951 Miss Pinkerton, 1932 (Bacon) Miss Robin Crusoe, 1954 (Dupont) Miss Sherlock Holmes, 1908 (Porter) Miss Tutti Frutti, 1921 (Curtiz) Miss Yugoslavia 62. See Ljepotica 62, 1962 Missile, 1988 (Wiseman) Missing, 1982 (Costa-Gavras) Missing Admiralty Plans. See Det stjaalne Ansigt, 1914 Missing Bride, 1914 (Sennett) Missing Husbands. See Atlantide, 1921 Missing Juror, 1944 (Boetticher) Mission, 1986 (Joffé) Mission: Impossible, 1996 (de Palma) Mission Impossible II, 2000 (Woo) Mission to Mars, 2000 (de Palma) Mission to Moscow, 1943 (Curtiz; Siegel) Mississippi Blues, 1983 (Tavernier) Mississippi Burning, 1988 (Parker) Mississippi Masala, 1991 (Nair) Mississippi Mermaid. See Sirène du Mississippi, 1969 Missouri Breaks, 1976 (Penn) Mist in the Valley, 1922 (Hepworth) Mistake, 1913 (Grif?th) Mistaken Masher, 1913 (Sennett) Mr. , 1912 (Sennett) Mister 420. See Shri 420, 1955 Mr. and Mrs. Bridge, 1990 (Ivory) Mr. and Mrs. Smith, 1941 (Hitchcock) Mr. Arkadin, 1955 (Welles) Mr. Baseball, 1992 (Schepisi) Mr. Billion, 1977 (Bartel) Mr. Borland Thinks Again, 1940 (Rotha) Mr. Bragg, A Fugitive, 1911 (Sennett) Mr. Broadway, 1933 (Ulmer) Mr. Death: The Rise and Fall of Fred A. Leuchter Jr., 1999 (Morris) Mr. Deeds Goes to Town, 1936 (Capra) Mr. Eight Hundred Eighty, 1950 (Goulding) Mr. Fix-It, 1918 (Dwan) Mister Flow, 1936 (Siodmak) Mr. Grouch at the Seashore, 1911 (Sennett) Mr. Hayashi, 1961 (Baillie) Mr. Hoover and I, 1989 (de Antonio) Mr. Hughes, 2000 (de Palma) Mr. Hulot’s Holiday. See Vacances de Monsieur Hulot, 1953 Mr. Jealousy, 1997 (Bogdanovich) Mister Johnson, 1991 (Beresford) Mr. Jones at the Ball, 1908 (Grif?th; Sennett) Mr. Jones Has a Card Party, 1909 (Grif?th; Sennett) Mr. King paa Eventyr. See Aegteskab og Pigesjov, 1914 Mr. Klein, 1977 (Losey) Mr. Lucky. See Rakkii-san, 1952 Mr. Orchid. See Père tranquille, 1946 Mr. Peck Goes Calling, 1911 (Sennett) Mr. Proudfoot Shows a Light, 1941 (Launder, Frank, and Sidney Gilliat) Mr. Pu. See Puu-san, 1953 FILM TITLE INDEXDIRECTORS, 4 th EDITION 1247 Mister Roberts, 1955 (Ford; Leroy) Mr. Saturday Night, 1992 (Lewis) Mr. Shome. See Bhuvan Shome, 1969 Mr. Sleepy’s Good Luck, 1914/15 (Phalke) Mr. Slotter’s Jubilee. See Een pak slaag, 1979 Mr. Smith Goes to Washington, 1939 (Capra) Mr. Stitch TV, 1995 (Dante) Mr. Teas and His Playthings. See Immoral Teas, 1959 Mr. Tomkins Inside Himself, 1962 (Brakhage) Mr. What’s His Name, 1935 (Launder, Frank, and Sidney Gilliat) Mister Wu, 1918 (Pick) Mistero di Oberwald, 1979 (Antonioni) Mistons, 1957 (Truffaut) Mrs. Erricker’s Reputation, 1920 (Hepworth) Mrs. Jones’ Burglar, 1909 (Grif?th) Mrs. Jones Entertains, 1908 (Grif?th) Mrs. Jones’ Lover, 1909 (Grif?th) Mrs. Miniver, 1942 (Franklin; Wyler) Mistress of a Foreigner. See Tojin okichi, 1930 Mrs. Parker and the Vicious Circle, 1994 (Rudolph) Mrs. Peabody, 1922 (Hitchcock) Mrs. Soffel, 1984 (Armstrong) Mistrovstvi světa leteckych modelá?u, 1957 (Kachyňa) Misunderstood. See En Aeresoprejsning, 1914 Misunderstood Boy, 1913 (Grif?th) Mit fünfzig küssen M?nner anders, 1998 (Von Trotta) Mit livs eventyr, 1955 (Roos) Mit mir will keiner spielen, 1976 (Herzog) Mitasareta seikatsu, 1962 (Hani) Mitico Gianluca, 1988 (Scola) Mitten ins herz, 1983 (D?rrie) Mitternacht, 1918 (Dupont) Mittsu no ai, 1954 (Kobayashi) Mix-up in Raincoats, 1911 (Sennett) Mixed Blood, 1985 (Morrissey) Mixed Magic, 1936 (Keaton) Mixed Nuts, 1994 (Reiner) Miyamoto Musashi, 1944 (Mizoguchi) Miyazawa Kenji sono ai, 1995 (Shindo) Mlady mu? a bílá velryba, 1978 (Jire?) Mo’ Better Blues, 1990 (Lee) Moana, 1926 (Flaherty) Mobster. See I, Mobster, 1958 Moby Dick, 1930 (Bacon; Curtiz) Moby Dick, 1956 (Huston; Welles) Moby Dick, 1998 (Coppola) Mockery, 1927 (Christensen) Mod Lyset, 1918 (Holger-Madsen) Mod Stjernerne. See Hans gode Genius, 1920 Mode rêvée, 1939 (L’herbier) Model, 1981 (Wiseman) Model. See Mannek?gen, 1913 Model and the Marriage Broker, 1951 (Cukor) Model Shop, 1969 (Demy) Modelage express, 1903 (Guy) Moderato Cantabile, 1960 (Duras) Modern Dubarry. See Dubarry von heute, 1927 Modern Enoch Arden, 1916 (Sennett) Modern Hero, 1934 (Pabst) Modern Jack the Ripper. See En farlig Forbryder, 1913 Modern Musketeer, 1917 (Dwan; Fleming) Modern Prodigal, 1910 (Grif?th) Modern Romance, 1981 (Brooks) Modern Times, 1936 (Chaplin) Moderno Barba azul, 1946 (Keaton) Moderns, 1988 (Rudolph) Modesty Blaise, 1966 (Losey) Modigliani of Montparnasse. See Montparnasse 19, 1957 Mogambo, 1953 (Ford) Mohawk’s Way, 1910 (Grif?th) Mohini Bhasmasur, 1914 (Phalke) Moi fatigué debout, moi couché, 1997 (Rouch) Moi, un noir, 1957 (Rouch) Moi universiteti, 1940 (Donskoi) Moi vouloir toi, 1984 (Leconte) Moine, 1972 (Bu?uel) Mokuseki, 1940 (Gosho) Moldavian Fairy Tale. See Moldavskaia skazka, 1951 Moldavskaia skazka, 1951 (Paradzhanov) Molière, 1909 (Gance) Mollenard, 1938 (Siodmak) Molly Bawn, 1916 (Hepworth) Molly Maguires, 1970 (Ritt) Molly O, 1921 (Sennett) Mollycoddle, 1920 (Fleming) Molodaya gvardiya, 1947 (Gerasimov) Molotov Cocktail. See Cocktail Molotov, 1980 Moment. See ?jeblikket, 1980 Moment d’egarement, 1977 (Berri) Moment in Love, 1957 (Clarke) Moment of Darkness, 1915 (Hepworth) Moment of Indiscretion, 1958 (Roeg) Moment of Innocence. See Nun va Goldoon, 1996 Moment of Truth. See Minute de vérité, 1952 Moment of Truth. See Momento della verità, 1965 Moment to Moment, 1965 (Leroy) Momento della verità, 1965 (Rosi) Momentos, 1981 (Bemberg) Moments. See Momentos, 1981 Momma Don’t Allow, 1955 (Richardson; Reisz) Mon Amie Pierrette, 1967 (Lefebvre) Mon and Ino. See Ani imoto, 1976 Mon Cas. See O Meu Caso—Repeticoes, 1986 Mon homme, 1996 (Blier) Mon oeil, 1966 (Lefebvre) Mon oncle, 1917 (Feuillade) Mon oncle, 1958 (Tati) Mon oncle d’Amérique, 1980 (Resnais) Mon Paris, 1928 (Dulac) Mon père avait raison, 1996 (Vadim) Mona Lisa, 1968 (Schroeter) Mona Lisa, 1986 (Jordan) Monarki og demokrati, 1977 (Roos) Monastery of Sendomir. See Klostret I Sendomir, 1920 Monday Morning in a Coney Island Police Court, 1908 (Grif?th) Monday’s Child. See Chica del lunes, 1966 Monde de Paul Delvaux, 1944 (Storck) Monde du silence, 1956 (Malle) Monde jeune. See Monde nouveau, 1965 Monde nouveau, 1965 (de Sica) Monde tremblera, 1939 (Clouzot) Mondo dei miracoli, 1959 (de Sica) Mondo Girls. See Mondo Topless, 1966 Mondo nuovo, 1982 (Scola) Mondo nuovo. See Monde nouveau, 1965 Mondo Teeno, 1967 (Lester) Mondo Topless, 1966 (Meyer) Mondo Trasho, 1969 (Waters) Mondo vuole cosi, 1945 (de Sica) Money. See Kane, 1926 Money. See Penge, 1916 Money. See Thune, 1992 FILM TITLE INDEX DIRECTORS, 4 th EDITION 1248 Money Crazy, 1977 (Woo) Money Dance. See Zeni no odori, 1964 Money from Home, 1954 (Lewis) Money Mad, 1908 (Grif?th) Money Money Money. See Aventure c’est l’aventure, 1972 Money Movers, 1978 (Beresford) Money Order. See Mandabi, 1968 Money Pit, 1986 (Spielberg) Money Talks. See Zeni no odori, 1964 Monika. See Sommaren med Monika, 1953 Monjas coronadas, 1978 (Leduc) Monkey Business, 1952 (Hawks) Monkey Business, 1994 (Scott) Monkey Business in America, 1931 (Sennett) Monkey Shines, 1988 (Romero) Monkey Talks, 1927 (Walsh) Monnaie de lapin, 1899/1900 (Guy) Monolutteur, 1904 (Guy) Monsanto, 1999 (Guerra) Monsieur Albert Prophète, 1963 (Rouch) Monsieur Brotonneau, 1939 (Pagnol) Monsieur de compagnie, 1964 (de Broca) Monsieur Hire, 1989 (Leconte) Monsieur le Duc, 1932 (Autant-Lara) Monsieur Lecocq, 1914 (Tourneur) Monsieur Pinson, policier, 1915 (Feyder) Monsieur Ripois, 1954 (Clément) Monsieur Verdoux, 1947 (Chaplin; Florey) Monsignor, 1982 (Polonsky) Monster and the Girl, 1914 (Guy) Monster from Galaxy 27, 1958 (Corman) Monster from the Ocean Floor, 1954 (Corman) Monster of Highgate Ponds, 1960 (Cavalcanti) Monsters. See I mostri, 1963 Monstruo verde. See Marijuana, 1936 Montagne in?dèle, 1923 (Epstein) Montana, 1950 (Walsh) Montana Belle, 1952 (Dwan) Monte Carlo, 1926 (Florey) Monte Carlo, 1930 (Lubitsch) Monte Carlo Story, 1956 (de Sica) Monte Cassino, 1946 (Germi) Monte Cristo, 1921 (Florey) Montenegro, 1981 (Makavejev) Monterey Pop, 1967 (Leacock) Month in the Country, 1987 (Branagh) Montiel’s Widow. See Viuda de Montiel, 1980 Montparnasse 19, 1957 (Becker) Montpi, 1957 (K?utner) Montreal Sextet. See Montréal vu par. . . , 1991 Montréal vu par. . . , 1991 (Arcand; Egoyan) Monty Python and the Holy Grail, 1975 (Gilliam) Monty Python Live at the Hollywood Bowl, 1982 (Gilliam) Monty Python’s Life of Brian, 1979 (Gilliam) Monty Python’s The Meaning of Life, 1983 (Gilliam) Monument of Totsuseki. See Totsuseki iseki, 1966 Mooching through Georgia, 1939 (Keaton) Mookie, 1998 (Berri) Moon and Sixpence, 1942 (Lewin) Moon in the Gutter. See Lune dans le caniveau, 1983 Moon Is Blue, 1953 (Preminger) Moon Is to the Left. See Luna sleva, 1928 Moon of Israel. See Slavenk?nigin, 1924 Moon over Harlem, 1939 (Ulmer) Moonblood, 1975 (Asch) Moon?eet, 1955 (Lang) Moonlight and Monkey Business, 1930 (Sandrich) Moonlight in Havana, 1942 (Mann) Moonlight Madness. See Gekka no kyojin, 1926 Moonlight Serenade. See Setouchi munraito serenade, 1997 Moonlighting, 1982 (Skolimowski) Moonlighting, 1985 (Donen) Moonrise, 1948 (Borzage) Moonrise. See Tsukiwa noborinu, 1955 Moonshine County Express, 1977 (Corman) Moonshine Maid and the Man, 1914 (Ingram) Moonshine, 1918 (Keaton) Moonshiners, 1916 (Sennett) Moonstruck, 1988 (Jewison) Moontide, 1942 (Lang) Mor defter, 1964 (Güney) Mor och dotter, 1912 (Stiller) Mor-Vran, 1931 (Epstein) Moral der Ruth Halbfass, 1971 (Schl?ndorff; Von Trotta) Moralista, 1959 (de Sica) Moravia, 1955-59 (Taviani) Mord ohne T?ter, 1920 (Dupont) Mord und Totschlag, 1967 (Schl?ndorff) M?rder sind unter uns, 1946 (Staudte) Morderstwo, 1957/58 (Polanski) Mordsache Holm, 1950 (Staudte) More about the Children of Bullerby Village, 1987 (Hallstrom) More American Graf?ti, 1979 (Howard; Lucas) More Milk Evette, 1966 () More Milk, Evette, 1965 (Morrissey; Warhol) More than a Miracle. See C’era una volta, 1967 More than a School, 1974 (Coolidge) More than Friends, 1979 (Reiner) More the Merrier, 1943 (Stevens) Morella, 1990 (Corman) Morena, 1986 (Kaurismaki) Morgan, a Suitable Case for Treatment, 1966 (Frears; Reisz) Mori no Ishimatsu, 1949 (Shindo; Yoshimura) Móricz Zsigmond, 1956 (Jancsó) Morir por la patria es vivir, 1976 (Alvarez) Mormon, 1912 (Dwan) Mormonens Offer, 1911 (Blom) Morning After, 1934 (Dwan) Morning After, 1986 (Lumet) Morning Departure, 1950 (Attenborough) Morning for the Osone Family. See Osone-ke no asa, 1946 Morning Papers, 1914 (Sennett) Morning Premiere. See Jutro premiera, 1946 Morning Schedule. See Gozenchu no jikanwari, 1972 Morning Sun Shines. See Asahi wa kagayaku, 1929 Moro Naba, 1958 (Rouch) Morocco, 1930 (von Sternberg) Moros y cristianos, 1987 (García Berlanga) Morphia the Death Drug, 1914 (Hepworth) Mors aux dents, 1979 (Tavernier) Morsel. See Sousto, 1960 Mort, 1909 (Feuillade) Mort de Lucrèce, 1913 (Feuillade) Mort de Mario Ricci, 1983 (Goretta) Mort de Mozart, 1909 (Feuillade) Mort de Robert Macaire et Bertrand, 1905 (Guy) Mort de Vénus, 1930 (Storck) Mort du Duc d’Enghien, 1912 (Gance) Mort du soleil, 1921 (Dulac) Mort en ce jardin, 1956 (Bu?uel) Mort en direct, 1980 (Tavernier) Mort vivant, 1912 (Feuillade) FILM TITLE INDEXDIRECTORS, 4 th EDITION 1249 Mortal Storm, 1940 (Borzage) Mortal Thoughts, 1991 (Rudolph) Morte a Venezia, 1971 (Visconti) Morte di un amico, 1960 (Pasolini) Morte d’Isotta, 1968 (Schroeter) Morte viene dallo spazio, 1958 (Bava) Mortel Tranfert, 2000 (Beineix) Mortelle randonnée, 1983 (Miller) Morts reviennent-ils?. See Drame au Chateau d’Acre, 1915 Mortuary Academy, 1988 (Bartel) Moscow in October. See Moskva v oktyabre, 1927 Mosedale Horseshoe, 1971 (Apted) Moses und Aron, 1975 (Straub, Jean-Marie, And Danièle Huillet) Moskva v oktyabre, 1927 (Barnet) Mosquito Coast, 1986 (Schrader; Weir) Mossafer, 1974 (Kiarostami) Mossane, 1996 (Faye) Most Beautiful. See Ichiban utsukushiku, 1944 Most Beautiful Swindles in the World. See Plus Belles Escroqueries du monde, 1963 Most Dangerous Game, 1932 (Schoedsack) Most Dangerous Man Alive, 1961 (Dwan) Most Useful Tree in the World. See V?rldens mest Anv?ndbara Tr?d, 1935/36 Mot de l’. See Lénigme, 1919 Mot nya tider, 1939 (Sj?str?m) Mother, 1914 (Tourneur) Mother, 1996 (Brooks) Mother. See Haha, 1963 Mother. See Mat, 1926 Mother. See Mat, 1956 Mother and Daughter. See Anya és leánya, 1981 Mother and Daughter. See Mor och dotter, 1912 Mother and Eleven Children. See Kachan to Juichi-nin no Kodomo, 1966 Mother and Son, 1967 (Nemec) Mother and the Whore. See Maman et la putain, 1973 Mother, Do Not Shame Your Name. See Haha yo, kimi no na o kegasu nakare, 1928 Mother, Get Married. See Kachan kekkon shiroyo, 1962 Mother, I Miss You. See Hahayo koishi, 1926 Mother India. See Bharat Mata, 1957 Mother Is a Freshman, 1949 (Bacon) Mother Joanna of the Angels. See Matka Joanna od Aniolów, 1961 Mother Küster’s Trip to Heaven. See Mutter Küsters Fahrt zum Himmel, 1975 Mother Machree, 1928 (Ford) Mother o’ Mine, 1921 (Niblo) Mother of Mine. See Gribiche, 1925 Mother of the Ranch, 1911 (Dwan) Mother Should Be Loved. See Haha o kowazu-ya, 1934 Mothering Heart, 1913 (Grif?th) Mothers and Daughters. See Materi i docheri, 1974 Mother’s Boy, 1913 (Sennett) Mother’s Heart. See Serdtse materi, 1966 Mother’s Love, 1910 (Walsh) Mother’s Love. See Hahayo koishi, 1926 Mother’s Loyalty. See Vernost materi, 1967 Mothlight, 1963 (Brakhage) Motor Boat Mamas, 1928 (Sennett) Motor Mods and Rockers. See Motorpsycho, 1965 Motorcar Apaches. See Lyckon?len, 1915 Motorcycles. See Pětistovka, 1949 Motoring Mamas, 1929 (Sennett) Motorpsycho, 1965 (Meyer) Mots ont un sens, 1970 (Marker) Mouche, 1903/04 (Guy) Mouchette, 1967 (Bresson) Mouettes, 1994 (Kaplan) Moule, 1936 (Delannoy) Moulin-Rouge, 1928 (Dupont) Moulin Rouge, 1952 (Clayton; Huston) Mountain, 1956 (Dmytryk) Mountain Eagle, 1926 (Hitchcock) Mountain Justice, 1937 (Curtiz) Mountain King. See Yedi da in aslani, 1966 Mountain Music, 1937 (Florey) Mountain Pass of Love and Hate. See Aizo toge, 1934 Mountaineer’s Honor, 1909 (Grif?th) Mountains and Rivers with Scars. See Kizudarake no sanga, 1964 Mountains at Dusk. See Gory o zmierzchu, 1970 Mountains of the Moon, 1989 (Rafelson) Mouse Heaven, 1989 (Anger) Mouse on the Moon, 1963 (Lester) Move Along, There’s Nothing to See. See Circulez y a rien a voir, 1983 Movie Days. See Biodagar, 1994 Movie Fans, 1920 (Sennett) Movie Hound, 1927 (Sandrich) Movie Movie, 1978 (Donen) Movie Nut. See A Film Johnnie, 1914 Movie Star, 1916 (Sennett) Movie-Town, 1931 (Sennett) Moving Finger, 1985 (Boulting) Moving In, 1993 (Akerman) Moving Perspectives, 1967 (Sen) Moving the Mountain, 1994 (Apted) Moving Violation, 1976 (Corman) Moya rodina, 1933 (Hei?tz) Mrigaya, 1976 (Sen) Ms.45, 1981 (Ferrara) Ms. Don Juan. See Don Juan 1973 ou si Don Juan était une femme, 1973 Mu?edníci lásky, 1967 (Anderson; Nemec) Much Ado about Nothing, 1993 (Branagh) Muddy Hands, 1988 (Haynes) Muddy Romance, 1913 (Sennett) Muddy Water. See Nigori-e, 1953 Müde Tod: Ein Deutsches Volkslied in Sechs Versen, 1921 (Lang) Mudhoney, 1965 (Meyer) Mueda, memória e massacre, 1979 (Guerra) Muerte al invasor, 1961 (Alvarez; Gutiérrez Alea) Muerte de Pio Baroja, 1957 (Bardem) Muerte de un burócrata, 1966 (Gutiérrez Alea) Muerte de un ciclista, 1955 (Bardem) Muerte en este jardin. See Mort en ce jardin, 1956 Muggsy’s First Sweetheart, 1910 (Grif?th) Mugs Game, 1972 (Leigh) Muhammad and Larry, 1980 (Maysles) Muharraj el Kabir, 1951 (Chahine) Muj p?ítel Fabián, 1953 (Weiss) Mujer del Puerto, 1992 (Ripstein) Mujer sin alma, 1943 (de Fuentes) Mujer sin amor. See Cuando los hijos nos juzgan, 1951 Mujeres al borde de un ataque de nervios, 1988 (Almodóvar) Mujeres mandan, 1936 (Fernández; de Fuentes) Mukokuseki-sha, 1951 (Ichikawa) Mulher de verdade, 1954 (Cavalcanti) Mulholland Drive, 2001 (Lynch) Mulino del Po, 1948 (Fellini; Lattuada) Multi-Handicapped, 1986 (Wiseman) Multiple Maniacs, 1970 (Waters) Mumford, 1999 (Kasdan) Mum’s the Word, 1926 (Mccarey) Munchie, 1992 (Corman) FILM TITLE INDEX DIRECTORS, 4 th EDITION 1250 Munchies, 1987 (Bartel; Corman) Mundo de la Mujer, 1972 (Bemberg) Mundo mágico, 1966 (Littin) Munekata shimai, 1950 (Ozu) Municipal Elections. See Elecciones municipales, 1970 Munition Conspiracy. See Krigens Fjende, 1915 Munka vagy hivatás?, 1963 (Mészáros) Munsters Scary Little Christmas, 1996 (Landis) Muppet Movie, 1979 (Brooks; Welles) Muppets Take Manhattan, 1984 (Landis) Mur, 1970 (Guerra) Mur, 1982 (Güney) Mur. See Démolition d’un mur, 1895 Mur Murs, 1980 (Varda) Mura di Malapaga, 1948 (Clément) Mura no hanayome, 1928 (Gosho) Mural Murals. See Mur Murs, 1980 Murarz, 1973 (Kie?lowski) Murder, 1930 (Hitchcock) Murder a la Mod, 1967 (de Palma) MURDER and murder, 1996 (Rainer) Murder Czech Style. See Vra?da po na?em, 1966 Murder Goes to College, 1937 (Dmytryk) Murder in the Family. See Crime d’Ovide Plouffe, 1984 Murder Is My Beat, 1955 (Ulmer) Murder My Sweet. See Farewell, My Lovely, 1944 Murder on the Orient Express, 1974 (Lumet) Murder Psalm, 1980 (Brakhage) Murder without Cause. See Mord ohne T?ter, 1920 Murder without Motive: The Edmund Perry Story, 1992 (Apted) Murderers Are among Us. See M?rder sind unter uns, 1946 Murderers Are on Their Way. See Ubitzi vykhodyat na dorogu, 1942 Murders in the Rue Morgue, 1932 (Florey; Huston) Muri-shinju: Nihon no natsu, 1967 (Oshima) Muriel, ou le temps d’un retour, 1963 (Resnais) Murmur of the Heart. See Souf?e au coeur, 1971 Muro, 1947 (Torre Nilsson) Murphy’s I.O.U., 1913 (Sennett) Murphy’s Romance, 1986 (Ritt) Musashi Miyamoto. See Miyamoto Musashi, 1944 Musashino Fujin, 1951 (Mizoguchi) Muscle-bound Music, 1926 (Sennett) Muse, 1999 (Brooks; Cameron; Reiner) Musée Grévin, 1958 (Cocteau; Demy) Musée vivant, 1965 (Storck) Musen fusen, 1924 (Mizoguchi) Museo dell’amore, 1935 (Lattuada) Museumsmysteriet, 1909 (Blom) Music. See Muzsika, 1984 Music and Faith, 1992 (Jire?) Music and Pain, 1993 (Jire?) Music Box, 1990 (Costa-Gavras) Music from Mars. See Hudba z Marsu, 1954 Music Hall. See Tango Tangles, 1914 Music Hall Star. See Lydia, 1916 Music Hath Its Charms, 1915 (Browning) Music in Darkness. See Musik i m?rker, 1948 Music in the Air, 1934 (Wilder) Music Man, 1962 (Howard) Music Master, 1927 (Dwan) Music of the Heart, 1999 (Craven) Music Room. See Jalsaghar, 1958 Musica, 1966 (Duras) Musical Tramps. See His Musical Career, 1914 Musicians’ Girl. See Muzikantská Lidu?ka, 1940 Musik i m?rker, 1948 (Bergman; Zetterling) Musique et danse des chasseurs Gow, 1965 (Rouch) Musketeers of Pig Alley, 1912 (Grif?th) Musuko no seishun, 1952 (Kobayashi) Musume, 1926 (Gosho) Musume Dojoji, 1946 (Ichikawa) Mutant Action. See Acción mutante, 1993 Mute Witness, 1913 (Dwan) Mutiny, 1952 (Dmytryk) Mutiny on the Bounty, 1935 (Lewin) Mutiny on the Bounty, 1962 (Milestone) Mutter Küsters Fahrt zum Himmel, 1975 (Fassbinder) Muyder Circle Lives Again. See De Muiderkring herleeft, 1948 Mu? z neznáma, 1939 (Fri?) Muzikantská Lidu?ka, 1940 (Fri?) Muzsika, 1984 (Jancsó) Muzzle. See Kanonen-Serenade, 1958 My Apprenticeship. See Vlyudyakh, 1939 My Baby, 1912 (Grif?th) My Beautiful Laundrette, 1985 (Frears) My Best Friend’s Girl. See Femme de mon pote, 1982 My Best Gal, 1944 (Mann) My Brilliant Career, 1979 (Armstrong) My Brother Talks to Horses, 1946 (Zinnemann) My Brother’s Wedding, 1983 (Burnett) My Child. See Mein Kind, 1956 My Country. See Moya rodina, 1933 My Darling Clementine, 1946 (Ford) My Dear Bodyguard. See Sevgili muha?zin, 1970 My Dear Fellow. See Dorogoi moi chelovek, 1958 My Dear Man. See Dorogoi moi chelovek, 1958 My Dinner with Andre, 1981 (Malle) My Dream Is Yours, 1949 (Curtiz) My Enemy, the Sea. See Taiheiyo hitoribotchi, 1963 My Eye. See Mon Oeil, 1966 My Face Red in the Sunset. See Yuhi ni akai ore no kao, 1961 My Fair Lady, 1964 (Cukor) My Family, Mi Familia, 1995 (Coppola; Nava) My Fatherland. See Moya rodina, 1933 My Fault, New Version. See Shin ono ga tsumi, 1926 My Favorite Season. See Ma saison préferée, 1993 My Favorite Wife, 1940 (Mccarey) My First Mister, 2000 (Brooks) My Friend Fabian. See Muj p?ítel Fabián, 1953 My Friend Irma, 1949 (Lewis) My Friend Irma Goes West, 1950 (Lewis) My Friend Levy. See Min Ven Levy, 1914 My Friend the Gypsy. See Muj p?ítel Fabián, 1953 My Friend the King, 1931 (Powell, Michael, And Emeric Pressburger) My Generation, 2000 (Kopple) My Girlfriend’s Boyfriend. See Ami de mon amie, 1987 My Goodness, 1920 (Sennett) My Heart Belongs to Daddy, 1942 (Siodmak) My Heart Is Calling, 1934 (Launder, Frank, and Sidney Gilliat) My Heart Is Mine Alone. See Mein Herz—Niemandem!, 1997 My Hero, 1912 (Grif?th) My Husband Lies. See Hazasodik az uram, 1913 My Hustler, 1966 (Morrissey; Warhol) My Kingdom for. . . , 1985 (Boetticher) My Lady’s Garter, 1920 (Tourneur) My Learned Friend, 1943 (Dearden) My Left Foot, 1989 (Sheridan) My Life as a Dog, 1985 (Hallstrom) My Life for Zarah Leander, 1986 (Sirk) My Life Story. See Mit livs eventyr, 1955 My Life to Live. See Vivre sa vie, 1962 My Life with Caroline, 1941 (Milestone) FILM TITLE INDEXDIRECTORS, 4 th EDITION 1251 My Life’s Bright Day. See Waga shogai no kagayakeru hi, 1948 My Life’s in Turnaround, 1993 (Sayles) My Little Loves. See Mes petites amoureuses, 1974 My Love Burns. See Waga koi wa moenu, 1949 My Love to the Swallows. See a pozdravuji vla?tovky, 1972 My Loving Child. See Itoshi no wagako, 1926 My Madonna, 1915 (Guy) My Man. See Mon homme, 1996 My Man and I, 1952 (Wellman) My Man Godfrey, 1936 (La Cava) My Mountain Song 27, 1969 (Brakhage) My Name Is Joe, 1998 (Loach) My Name Is Joker. See Mera Naam Joker, 1970 My Name Is Kerim. See Benim adim Kerim, 1967 My Name Is Nobody, 1973 (Leone) My New Friend, 1984 (van Sant) My Night at Maud’s. See Ma Nuit chez Maud, 1969 My Own Country, 1998 (Nair) My Own Private Idaho, 1991 (van Sant) My Partner Mr. Davis, 1936 (Autant-Lara) My Praguers Understand Me. See Mi Prazane me Rozùmeji, 1991 My s Urala, 1944 (Kuleshov) My Second Brother. See Nianchan, 1959 My Sister Eileen, 1955 (Fosse) My Sister, My Love. See Imoto, 1974 My Six Convicts, 1952 (Kramer) My Son. See Shodo satsujin: Musukoyo, 1979 My Son John, 1952 (Mccarey) My Son, the Hero, 1943 (Ulmer) My Sons’ Youth. See Musuko no seishun, 1952 My Stupid Brother. See Niisan no baka, 1932 My Sweet Little Village. See Vesnicko ma strediskova, 1985 My Universities. See Moi universiteti, 1940 My Valet, 1915 (Sennett) My Way. See Waga michi, 1974 My Way Home. See Igyj?ttem, 1964 My Wife’s Relations, 1922 (Keaton) Mya—la mère, 1970 (Rouch) Mynte—den lyksalige. See Menthe—la bienheureuse, 1979 Myra Breckenridge, 1970 (Huston) Myrte en de demonen, 1949 (Haanstra) Mystère de la chambre jaune, 1930 (L’herbier) Mystère de la Tour Eiffel, 1927 (Duvivier) Mystère de l’atelier, 1957 (Marker) Mystère de l’Atelier Quinze, 1957 (Resnais) Mystère Koumiko, 1965 (Marker) Mystère Picasso, 1956 (Clouzot) Mystères du chateau de Dé, 1929 (Ray) Mysteries, 1968 (Markopoulos) Mysterious Cafe, 1901 (Porter) Mysterious Companion. See Den mystiske Selskabsdame, 1916 Mysterious Island, 1926 (Tourneur) Mysterious Island, 1973 (Bardem) Mysterious Lady, 1928 (Niblo) Mysterious Lady. See Maaneprinsessen, 1916 Mysterious Lady’s Companion. See Den Mystiske Selskabsdame, eller Legationens Gidsel, 1917 Mysterious Mr. Davis. See My Partner Mr. Davis, 1936 Mysterious Mrs. M, 1917 (Weber) Mysterious Rose, 1914 (Ford) Mysterious X. See Det hemmelighedsfulde X, 1913 Mysterium, 1978 (Clarke) Mystery in Mexico, 1948 (Wise) Mystery of the Bermuda Triangle. See Triangulo diabolico de la Bermudas, 1977 Mystery of the Hindu Image, 1913 (Walsh) Mystery of the Leaping Fish, 1916 (Browning; Fleming) Mystery of the Museum. See Museumsmysteriet, 1909 Mystery of the Wax Museum, 1933 (Curtiz) Mystery of the Yellow Room, 1919 (von Sternberg) Mystery Road, 1921 (Hitchcock) Mystery Sea Raider, 1940 (Dmytryk) Mystery Submarine, 1950 (Sirk) Mystery Train, 1989 (Jarmusch) Mystic Swing, 1900 (Porter) Mystic, 1925 (Browning) Mystical Maid of Jamasha Pass, 1912 (Dwan) N!ai, the Story of a !Kung Woman, 1980 (Marshall) N!um Tchai: The Ceremonial Curing Dance of the !Kung Bushmen, 1969 (Marshall) N.U., 1948 (Antonioni) N.V.V. Congres, 1929/30 (Ivens) Na estrada da vida, 1980 (Pereira Dos Santos) Na krasnom fronte, 1920 (Kuleshov) Na samote u lesa, 1977 (Menzel) Na vernom sledu, 1925 (Barnet) Naar Fruen gaar paa Eventyr, 1913 (Blom) Naar Fruen skifter Pige. See Husassistenten, 1914 Naar man kun er ung, 1943 (Henning-Jensen) Nabat, 1917 (Bauer; Kuleshov) Nacer en Leningrado, 1977 (Solas) Nach Meinem letzten Umzug, 1970 (Syberberg) Nachi chempiony. See Sportivnaya slava, 1950 Nacht, 1985 (Syberberg) Nacht der Konigin Isabeau, 1920 (Wiene) Nacht der Regisseure, 1995 (Riefenstahl) Nacht in London, 1928 (Pick) Nacht in Venedig, 1934 (Wiene) Nachtdienst. See Milosierdzie platne z gory, 1975 N?chte des Grauens, 1916 (Pick) Nachts auf den Strassen, 1951 (K?utner) Nachts wann der Teufel kam, 1957 (Siodmak) Nacion clandestina, 1989 (Sanjinés) Nacional III, 1982 (García Berlanga) Nada, 1974 (Chabrol) NADA Gang. See Nada, 1974 Nadare, 1952 (Shindo) Nadeje, 1963 (Kachyňa) Nadezhda, 1954 (Gerasimov) Nadezhda, 1973 (Donskoi) Nadie dijo nada, 1971 (Ruiz) Nadine, 1987 (Benton) Nadja, 1994 (Lynch) Nadja à Paris, 1964 (Rohmer) Nagaya no shinshi roku, 1947 (Ozu) Nagurareta kochiyama, 1934 (Kinugasa) Nagyüzemi tojástermelés, 1962 (Mészáros) Nails, 1995 (Kopple) Na?s, 1945 (Pagnol) Naissance des cigognes, 1925 (Grémillon) Najma, 1943 (Mehboob Khan) Naked and the Dead, 1958 (Walsh) Naked Angels, 1969 (Corman) Naked Camera, 1960 (Meyer) Naked City, 1948 (Dassin) Naked City: A Killer Christmas, 1998 (Bogdanovich) Naked Dawn, 1955 (Ulmer) Naked Face of Night. See Yoru no sugao, 1958 Naked Gals of the Golden West. See Wild Gals of the Naked West!, 1962 Naked in New York, 1994 (Scorsese) Naked Island. See Hadaka no shima, 1960 FILM TITLE INDEX DIRECTORS, 4 th EDITION 1252 Naked Kiss, 1963 (Fuller) Naked Lunch, 1991 (Cronenberg) Naked Night. See Gycklarnas afton, 1953 Naked Nineteen-year-old. See Hadaka no jukyu-sai, 1970 Naked Paradise, 1957 (Corman) Naked Spur, 1953 (Mann) Naked Sun. See Hadaka no taiyo, 1958 Naked Warriors. See Arena, 1973 Naked Youth, a Story of Cruelty. See Seishun zankoku monogatari, 1960 Naked, 1993 (Leigh) Name the Man, 1924 (Sj?str?m) Namenlos, 1923 (Curtiz) Namida o shishi no tategami ni, 1962 (Shinoda) Namus ve silah, 1971 (Güney) Nan Hai Yü Nü Hai Tê Chan Chêng, 1976 (Hou Hsiao-Hsien) Nan of Music Mountain, 1917 (de Mille) Nan va Koutcheh, 1970 (Kiarostami) Nana, 1926 (Autant-Lara; Renoir) Nana, 1934 (Arzner) Nanairo yubi wa, 1918 (Kinugasa) Nanami: Inferno of First Love. See Hatsuoki jig ok uhen, 1968 Nancy Keith. See Testamentets Hemmelighed, 1916 Nanguila Tomorrow. See Demain à Nanguila, 1960 Nanguo zaijan, nanguo, 1996 (Hou Hsiao-Hsien) Naniwa ereji, 1936 (Mizoguchi) Nanni Moretti, 1990 (Moretti) Nanny. See Balia, 1999 Nanook of the North, 1922 (Flaherty) Nanshin josei, 1939 (Shindo) Nanto no haru, 1925 (Gosho) N?o ou a V? Glória de Mandar, 1990 (Oliveira) Naomi & Wynonna: Love Can Build a Bridge, 1995 (Bartel) Naomi and Rufus Kiss, 1964 (Warhol) Naples Is a Battle?eld, 1944 (Clayton) Napló apámnak, anyámnak, 1990 (Mészáros) Napló gyermekeimnek, 1982 (Mészáros) Napló szerelmeimnek, 1987 (Mészáros) Napoléon, 1927 (Gance) Napoléon, 1954 (von Stroheim; Welles) Napoléon à Saint-Hélène. See Napoléon auf St. Helena, 1929 Napoléon auf St. Helena, 1929 (Gance) Napoléon Bonaparte, 1934 (Gance) Napoleon Junior, 1926 (Sandrich) Napoléon vu par Abel Gance. See Napoléon, 1927 Napoleone ad Austerlitz. See Austerlitz, 1960 Napoleon’s Barber, 1928 (Ford) Napoli che non muore, 1939 (de Sica) Napoli d’altri tempi, 1938 (de Sica) Naponta két vonat, 1977 (Gaál) Nappali s?tétség, 1963 (Fábri) Naprozod mlodziezy, 1952 (Ivens) N?r k?rleken d?dar, 1913 (Sj?str?m; Stiller) N?r konstn?rer ?lska, 1914 (Stiller) N?r larmhlockan ljuder, 1913 (Stiller) N?r sv?rmor regerar, 1912 (Stiller) N?ra livet, 1958 (Bergman) Narayama bushi-ko, 1958 (Kinoshita) Narayama bushi-ko, 1983 (Imamura) Narrow Road, 1912 (Grif?th) Narrow Valley, 1921 (Hepworth) Naruto hicho, 1957 (Kinugasa) Nas wal Nil, 1968 (Chahine) Nasce un campione, 1954 (Petri) Naser Salah el Dine, 1963 (Chahine) Nashville, 1975 (Altman; Rudolph) Nashville Girl, 1976 (Corman) Nasooh’s Repentance. See Tobeh Nosuh, 1982 Nasreddin in Bukhara. See Nasreddin v Bukhare, 1943 Nasreddin v Bukhare, 1943 (Protazanov) Nasseroddin Shah, hactore Cinema, 1992 (Makhmalbaf) Nata di marzo, 1958 (Scola) Natale al campo 119, 1948 (Bava; de Sica) Natalka Poltavka, 1938 (Ulmer) Natasha, 1994 (Wajda) Nathalie Granger, 1972 (Duras) Nathan Dixon, 1999 (Apted) National Flag. See A Bandeira Nacional, 1988 National Lampoon’s Animal House. See Animal House, 1978 National Lampoon’s European Vacation, 1985 (Bartel) National Parks . . . a Necessity, National Parks in the Netherlands. See Nationale Parken . . . noodzaak, 1978 National Ri?e. See Escopeta nacional, 1978 Nationale Parken . . . noodzaak, 1978 (Haanstra) Native Land. See Strana rodnaya, 1946 Natsu no imoto, 1972 (Oshima) Natsukashiki fue ya taiko, 1967 (Kinoshita) Natten f?r Kristians F?delsdag, 1908 (Holger-Madsen) Nattens Mysterium, 1916 (Holger-Madsen) Nattens v?v, 1955 (Sj?str?m) Nattevandreren, 1916 (Holger-Madsen) Nattlek, 1966 (Zetterling) Nattvardsg?sterna, 1963 (Bergman) Natura e chimica, 1959 (Olmi) Natural, 1984 (Levinson) Natural Born Killers, 1994 (Stone; Tarantino) Nature of the Beast, 1919 (Hepworth) Naufrago de la Calle de la Providencia, 1970 (Ripstein) Naufragos, 1994 (Littin) Naughts, 1994 (Brakhage) Naughty Baby, 1929 (Leroy) Naughty Nurses. See Tender Loving Care, 1973 Nausicaa, 1970 (Varda) Nautch Girl, 1934 (Mehboob Khan) Nave bianca, 1941 (Rossellini) Navigator, 1924 (Keaton) Navigator: A Medieval Odyssey, 1988 (Ward) Navire des hommes perdus. See Schiff der verlorene Menschen, 1929 Navire Night, 1978 (Duras) Návrat domu, 1948 (Fri?) Navy Blues, 1941 (Bacon) Navy Wife, 1935 (Dwan) Nayak, 1966 (Ray) Nazarín, 1958 (Bu?uel) Nazi Agent, 1942 (Dassin) Nazraana, 1961 (Kapoor) Ne bougeons plus, 1903 (Guy) Ne faut pas mourir pour ?a, 1967 (Lefebvre) Ne jouez pas avec les Martiens, 1967 (de Broca) Ne me demandez pas pourquoi. See Testament d’Orphée, 1960 Ne nado krovi, 1917 (Protazanov) Ne tuez pas Dolly!, 1937 (Delannoy) Néa: A New Woman, 1976 (Kaplan) Neanderthal Man, 1953 (Dupont) Neapolitan Diary, 1993 (Rosi) Neapolitanische Geschwister. See Regno di Napoli, 1978 Near Dark, 1987 (Bigelow) Near Death, 1989 (Wiseman) Near to Earth, 1913 (Grif?th) Near-Tragedy, 1911 (Sennett) Nearer My God to Thee, 1917 (Hepworth) Nebo zovet/The Heavens Call, 1962 (Corman) Nechte to na mně, 1955 (Forman; Fri?) FILM TITLE INDEXDIRECTORS, 4 th EDITION 1253 Necklace, 1909 (Grif?th) Necklace of Ramses, 1914 (Ingram) Necklace of the Dead. See Den d? des Halsbaand, 1910 Necromancy, 1973 (Welles) Necromania, 1971 (Wood, Edward D., Jr.) Ned Kelly, 1970 (Richardson) Ned med Vaabnene, 1914 (Dreyer; Holger-Madsen) Nedaa el Ochak, 1961 (Chahine) Nederland, 1983 (Haanstra) Nederlandse beeldhouwkunst tijdens de late Middeleeuwen, 1951 (Haanstra) Neel Akasher Neechey, 1959 (Sen) Neel Kamal, 1947 (Kapoor) Neglected. See Glaedens Dag, eller Miskendt, 1918 Nègre blanc, 1912 (Gance) Negro Soldier, 1944 (Capra) Neighbor Trouble, 1932 (Sennett) Neighbors, 1911 (Sennett) Neighbors, 1921 (Keaton) Neighbor’s Wife and Mine. See Madamu to nyobo, 1931 Neither in Nor Out. See Se ki, se be, 1919 Nejlep?í ?enská mého ?ivota, 1968 (Fri?) Nel blu dipinto di blu, 1959 (de Sica) Nel nome del padre, 1971 (Bellocchio) Nel segno di Roma, 1958 (Leone) Nell, 1994 (Apted) Nell Dale’s Men Folks, 1916 (Borzage) Nell of the Pampas, 1912 (Dwan) Nella città l’inferno, 1959 (Castellani) Nelly & Monsieur Arnaud, 1995 (Sautet) Nelly & Mr. Arnaud. See Nelly & Monsieur Arnaud, 1995 Nelly Raintseva, 1916 (Bauer) Nelson Touch. See Corvette K-225, 1943 Nema Kiáltás, 1982 (Mészáros) Nema-ye Nazdik, 1990 (Kiarostami; Makhmalbaf) Nemesis. See Faedrenes Synd, 1914 Nemico di mia moglie, 1959 (de Sica) Nemureru bijo, 1968 (Yoshimura) Nenavist, 1978 (Mikhalkov) Není stále zamre?eno, 1950 (Kachyňa) Neobyˇejná léta, 1952 (Kachyňa) Neobychainye priklucheniya Mistera Vesta v stranye bolshevikov, 1924 (Barnet; Kuleshov; Pudovkin) Neokontchennaya piesa dlia mekhanitcheskogo pianino, 1977 (Mikhalkov) Neon Jungle. See Neon taiheiki-keieigaku nyumon, 1967 Neon taiheiki-keieigaku nyumon, 1967 (Imamura) Nepokorenniye, 1945 (Donskoi) Nero and the Burning of Rome, 1908 (Porter) Nero’s Big Weekend. See Mio ?glio Nerone, 1956 Nero’s Weekend. See Mio ?glio Nerone, 1956 Nerze Nachts am Strassenrand, 1973 (Staudte) Nessa bala Rejal, 1952 (Chahine) Nessuno o tutti—Matti da slegare, 1974 (Bellocchio) Nessuno torna indietro, 1943 (Germi; de Sica) Nest, 1943 (Anger) Net. See Madriguera, 1969 Net. See Red, 1953 Nest of Gentry. See Dvorianckoe gnezdo, 1969 Nest of Noblemen. See Dvorianckoe gnezdo, 1969 Netherlands. See Nederland, 1983 Netsudeichi, 1950 (Ichikawa) Netsujo no ichiya, 1929 (Gosho) Nettezza urbana. See N.U., 1948 Nettoyage par le vide, 1908 (Feuillade) Network, 1977 (Lumet) Neunzing N?chte and ein Tag. See Sette contro la morte, 1964 Neúplné zatméní, 1982 (Jire?) Neurasia, 1968 (Schroeter) Neuvaine, 1914 (Feuillade) Never Again!, 1910 (Sennett) Never Let Me Go, 1953 (Daves) Never on Sunday. See Pote tin kyriaki, 1960 Never Say Goodbye, 1956 (Eastwood; Sirk) Never the Twain Shall Meet, 1925 (Tourneur) Never Too Old, 1919 (Sennett) NeverEnding Story, 1984 (Fincher; Petersen) Neveu de Beethoven, 1985 (Morrissey) Nevidimi chelovek, 1935 (Donskoi) Nevinost bez za?tite, 1968 (Makavejev) Nevité o byte?, 1947 (Kadár) Nevjeste dolaze, 1978 (Kusturica) New Age, 1994 (Stone) New Architecture. See Nieuwe architectur, 1929 New Aunt, 1929 (Sennett) New Baby, 1911 (Sennett) New Baby, 1913 (Sennett) New Babylon. See Novyi Vavilon, 1929 New Bankroll, 1929 (Sennett) New Chilean Song. See Nueva canción Chile?a, 1973 New Conductor, 1913 (Sennett) New Cook. See Husassistenten, 1914 New Cowpuncher, 1912 (Dwan) New Domestic Animal. See Nova doma?a zivotinja, 1964 New Dress, 1911 (Grif?th) New Earth. See Nieuwe Gronden, 1934 New Enchantment. See Inhumaine, 1924 New Frontier, 1950 (Leacock) New Frontiers, 1940 (Ivens) New Generation, 1932 (Grierson) New Gentlemen. See Nouveaux Messieurs, 1928 New Girl in Town. See Nashville Girl, 1976 New Half-Back, 1929 (Sennett) New Horizons in Steel, 1977 (Benegal) New Horizons. See Vyborgskaya storona, 1939 New House on the Left. See Reazione a catena, 1971 New Janitor, 1914 (Chaplin; Sennett) New Jersey Drive, 1995 (Lee) New Kind of Woman. See Shin josei kagami, 1929 New Klondike, 1926 (Milestone) New Land. See Nybyggarna, 1970 New Lot, 1942 (Reed) New Mexico, 1951 (Aldrich) New Monsters. See I nuovi mostri, 1977 New Neighbor, 1912 (Sennett) New Operator, 1932 (Grierson) New Rates, 1934 (Cavalcanti) New Rose Hotel, 1998 (Ferrara) New School Teacher, 1924 (La Cava) New Snow. See Shinsetsu, 1942 New Tales of the Taira Clan. See Shin Heike monogatari, 1955 New Town. See Ville nouvelle, 1980 New Toy. See Nova igra?ka, 1964 New Tribes Mission, 1974 (Asch) New Trick, 1909 (Grif?th) New Warriors Will Arise. See Vstanou noví bojovníci, 1950 New Wave. See Nouvelle Vague, 1990 New Way. See Shindo, 1936 New World, 1982 (Jarmusch) New Worlds for Old, 1939 (Rotha) New Year’s Day, 1989 (Forman) New Year’s Eve in Skane. See Nyar i Skane, 1961 New Year’s Eve. See Sylvester, 1923 FILM TITLE INDEX DIRECTORS, 4 th EDITION 1254 New York Cinderella, 1939 (von Sternberg) New York Diary—Alexander Hackenschmied, 1993 (Jire?) New York Girl, 1914 (Sennett) New York Hat, 1912 (Grif?th) New York Nights, 1929 (Milestone) New York Stories, 1989 (Allen; Coppola; Scorsese) New York, 1954 (Leacock) New York, New York, 1977 (Scorsese) New York, New York Bis, 1984 (Akerman) Newborn, 1953 (Roos) Newcomers. See Wild Country, 1971 Newly Rich, 1931 (Mankiewicz) Newlyweds, 1910 (Grif?th; Sennett) News from Home, 1977 (Akerman) News from the Soviet Union. See Film-notities uit de Sovjet-Unie, 1930 News No. 3, 1962 (Baillie) Newsreel of Dreams No.1, 1968 (Vanderbeek) Newsreel of Dreams No.2, 1969 (Vanderbeek) Newsreel-Lightning. See Khronika-molniya, 1924 Newton Boys, 1998 (Linklater) Next Best Thing, 2000 (Schlesinger) Next Door Madame and My Wife. See Madamu to nyobo, 1931 Next of Kin, 1984 (Egoyan) Next Time We Love, 1936 (Sturges) Next Voice You Hear, 1950 (Wellman) Nezabivaemoe, 1968 (Dovzhenko) Ni Luo Ho Nü Erh, 1987 (Hou Hsiao-Hsien) Nianchan, 1959 (Imamura) Niaye, 1964 (Sembene) Nibelungen, 1924 (Lang; Ruttmann) Nicaragua, 1969 (Schroeter) Nice à propos de Jean Vigo, 1984 (Oliveira) Nice and Friendly, 1922 (Chaplin) Nice Time, 1957 (Goretta; Tanner) Nichirin, 1925 (Kinugasa) Nicholas and Alexandra, 1971 (Schaffner) Nicht vers?hnt oder Es hilft nur Gewalt, wo Gewalt herrscht, 1965 (Straub, Jean-Marie, And Danièle Huillet) Nick Carter et la trè?e rouge, 1965 (Miller) Nick Carter, Master Detective, 1939 (Tourneur) Nick of Time, 1995 (Badham) Nick of Time Baby, 1917 (Sennett) Nickel Ride, 1975 (Mulligan) Nickelodeon, 1976 (Bogdanovich) Nick’s Film. See Lightning over Water, 1981 Nick’s Movie. See Lightning over Water, 1981 Nico Icon, 1995 (Morrissey) Nie wiem, 1977 (Kie?lowski) Niedzielne Dzieci, 1976 (Holland) Niemand weiss es, 1920 (Pick) Niet genoeg. See Pas assez, 1968 Nieuwe architectur, 1929 (Ivens) Nieuwe Gronden, 1934 (Ivens) Niewinni czarodzieje, 1960 (Polanski; Skolimowski; Wajda) Niger, jeune républiquem, 1961 (Rouch) Night. See Notte, 1960 Night. See Yoru, 1923 Night Ambush. See Ill Met by Moonlight, 1956 Night and Day, 1946 (Curtiz) Night and Fog. See Nuit et brouillard, 1955 Night and Fog in Japan. See Nihon no yoru to kiri, 1960 Night and the City, 1950 (Dassin) Night Angel, 1931 (Goulding) Night at the Crossroads. See Nuit du carrefour, 1932 Night before Christian’s Birthday. See Natten f?r Kristians F?delsdag, 1908 Night before the Divorce, 1942 (Siodmak) Night before the War Begins. See Laisen no zenya, 1943 Night Butter?y. See Yoru no cho, 1957 Night Call Nurses, 1972 (Corman) Night Club, 1928 (Florey) Night Drum. See Yoru no tsuzumi, 1958 Night Duty. See Milosierdzie platne z gory, 1975 Night Falls on Manhattan, 1997 (Lumet) Night Flyer, 1928 (Daves) Night Full of Rain. See Fine del mondo in una notte piena di poggia, 1978 Night Games, 1979 (Vadim) Night Games. See Nattlek, 1966 Night Holds Terror, 1955 (Cassavetes) Night in London. See Nacht in London, 1928 Night in Marseilles, 1931 (Launder, Frank, and Sidney Gilliat) Night in the Show, 1915 (Chaplin) Night Is My Future. See Musik i m?rker, 1948 Night Is Young. See Mauvais Sang, 1986 Night Life in New York, 1925 (Dwan) Night Mail, 1936 (Cavalcanti; Grierson) Night Moves, 1975 (Penn) Night Music. See Bartók Béla: az éjszaka zenéje, 1970 Night Must Fall, 1964 (Reisz) Night Noises. See Tapage nocturne, 1979 Night Nurse, 1931 (Wellman) Night of Mystery, 1937 (Dupont) Night of January 16th, 1941 (Daves) Night of Nights, 1939 (Milestone) Night of Passion. See Netsujo no ichiya, 1929 Night of the Blood Beast, 1958 (Corman) Night of the Bride. See Noc nevěsty, 1967 Night of the Cobra Woman, 1972 (Corman) Night of the Demon, 1957 (Tourneur) Night of the Filmmakers. See Nacht der Regisseure, 1995 Night of the Flesh Eaters. See Night of the Living Dead, 1968 Night of the Ghouls, 1958 (Wood, Edward D., Jr.) Night of the Iguana, 1964 (Fernández; Huston) Night of the Living Dead, 1968 (Romero) Night of the Living Dead, 1990 (Romero) Night of the Party, 1934 (Powell, Michael, And Emeric Pressburger) Night of the Shooting Stars, 1983 (Taviani) Night on Earth, 1992 (Jarmusch) Night Out, 1915 (Chaplin) Night Owls, 1927 (Sandrich) Night Porter’s Point of View. See Z punktu widzenia nocnego portiera, 1977 Night River. See Yoru no kawa, 1956 Night Shift, 1982 (Howard) Night Song, 1947 (Cromwell) Night Sun. See Sole anche di notte, 1990 Night That Heaven Fell. See Bijoutiers du clair de lune, 1958 Night the Banshee Cried, 1957 (Wood, Edward D., Jr.) Night They Raided Minsky’s, 1968 (Friedkin) Night Tide, 1961 (Corman) Night to Remember. See Kazoku no jijo, 1962 Night Train. See Night Train to Munich, 1940 Night Train. See Pociag, 1959 Night Train to Munich, 1940 (Launder, Frank, and Sidney Gilliat; Reed) Night unto Night, 1949 (Siegel) Night Visions, 1990 (Craven) Night Watch, 1928 (Korda) Night Watch; The Hole. See Trou, 1960 Night Watchman’s Mistake, 1929 (Sennett) Night We Never Met, 1993 (Seidelman) Night Women. See Femme spectacle, 1960 FILM TITLE INDEXDIRECTORS, 4 th EDITION 1255 Night World, 1932 (Berkeley) Night Zoo. See Zoo la nuit, 1987 Nightbreed, 1990 (Cronenberg) Nightcats, 1956 (Brakhage) Nightfall, 1957 (Tourneur) Nightfall, 1988 (Corman) Nighthawks, 1979 (Jarman) Nightjohn, 1996 (Burnett) Nightmare. See Lidércnyomás, 1920 Nightmare Alley, 1947 (Goulding) Nightmare Cafe, 1992 (Craven) Nightmare in Chicago, 1964 (Altman) Nightmare on Elm Street (+ sc) , 1984 (Craven) Nightmare on Elm Street 3: Dream Warriors, 1986 (Craven) Nightmare Series, 1978 (Brakhage) Nightmusic, 1986 (Brakhage) Night’s End. See Nishant, 1975 Night’s End. See Raat Bhore, 1956 Nights of Cabiria. See Notti di Cabiria, 1956 Nights of Zaendeh-Rood. See Shabhaye Zayendeh-Rood, 1991 Nightshade Flower. See Ieraishan, 1951 Nightwatch, 1998 (Soderbergh) Nigori-e, 1953 (Imai) Nihombashi, 1929 (Mizoguchi) Nihon no buyo, 1958 (Hani) Nihon no higeki, 1953 (Kinoshita) Nihon no seishun, 1968 (Kobayashi) Nihon no yoru to kiri, 1960 (Oshima) Nihon shunka-ko, 1967 (Itami; Oshima) Nihon to Nihonjin, 1970 (Ichikawa) Nihon-maru Ship. See Nihon-maru, 1976 Nihon-maru, 1976 (Shinoda) Nihonbashi, 1956 (Ichikawa) Niisan no baka, 1932 (Gosho) Nijushi no hitomi, 1954 (Kinoshita) Nikita. See Femme Nikita, 1990 Nikita Mikhalkov: A Sentimental Trip Home. Music of Russian Painting. See Nikita Mikhalkov: Sentimentalnoye puteshestviye na rodinu. Muzyka russkoj zhivopisi, 1995 Nikita Mikhalkov: Sentimentalnoye puteshestviye na rodinu. Muzyka russkoj zhivopisi, 1995 (Mikhalkov) Niklashausen Journey. See Niklashauser Fahrt, 1970 Niklashauser Fahrt, 1970 (Fassbinder) Nikolai Stavrogin, 1915 (Protazanov) Nikutai bi, 1928 (Ozu) Nil by Mouth, 1997 (Besson) Nile’s Son. See Ibn el Nil, 1951 Nille, 1968 (Henning-Jensen) Nina B Affair. See Affaire Nina B, 1962 Nine Men, 1942 (Crichton) Nine Months. See Kilenc hónap, 1976 Nineteenth Spring. See Jukyu-sai no haru, 1933 Ninety in the Shade. See T?icet jedna ve stínu, 1965 Ninfa plebea, 1996 (Wertmuller) Ningen, 1925 (Mizoguchi) Ningen, 1962 (Shindo) Ningen johatsu, 1967 (Imamura) Ningen moyo, 1949 (Ichikawa) Ningen no joken I, 1959 (Kobayashi) Ningen no joken II, 1959 (Kobayashi) Ningen no joken III, 1961 (Kobayashi) Ninja bugeicho, 1967 (Oshima) Ninotchka, 1939 (Lubitsch; Wilder) Ninth Gate, 1999 (Polanski) Nip and Tuck, 1923 (Sennett) Nippon konchuki, 1963 (Imamura) Nippon no obachan, 1962 (Imai) Nippon sengoshi: Madamu Omboro no seikatsu, 1970 (Imamura) Nise Daigakusei, 1960 (Itami) Nishant, 1975 (Benegal) Nishi Ginza eki mae, 1958 (Imamura) Nishi Ginza Station. See Nishi Ginza eki mae, 1958 Nishijin no shimai, 1952 (Yoshimura) Nishizumi sanshacho den, 1940 (Yoshimura) Nitchevo, 1936 (Delannoy) Nitwits, 1935 (Stevens) Niwa no kotori, 1922 (Kinugasa) Niwatori wa futatabi naku, 1954 (Gosho) Nixon, 1995 (Stone) No Clouds in the Sky. See Sora wa haretari, 1925 No Defense, 1929 (Bacon) No Down Payment, 1957 (Ritt) No End. See Bez końca, 1984 No Exit No Panic. See Beruhrte, 1981 No Father to Guide Him, 1925 (Mccarey) No Greater Gift, 1985 (Howard) No Greater Glory, 1934 (Borzage) No Leave, No Love, 1946 (Donen) No, Mama, No, 1979 (Joffé) No Man of Her Own, 1932 (Goulding) No Man’s Land, 1985 (Tanner) No Man’s Land, 1987 (Howard) No Man’s Law, 1927 (Stevens) No Mercy No Future. See Beruhrte, 1981 No Minor Vices, 1948 (Aldrich; Milestone) No Money, No Fight. See Musen fusen, 1924 No More Ladies, 1933 (Cukor) No More Women, 1934 (Daves) No Mother to Guide Him, 1919 (Sennett) No, No, Lady, 1931 (Sennett) No Nukes, 1981 (Kopple) No One to Guide Him, 1916 (Sennett) No One Will Play with Me. See Mit mir will keiner spielen, 1976 No One Writes to the Colonel. See Coronel no tiene quien le escriba, 1999 No Other Way, 1953/55 (Rotha) No Parking, 1937 (Reed) No Place to Go, 1927 (Leroy) No Regret, 1992 (Riggs) No Regrets for Our Youth. See Waga seishun ni kuinashi, 1946 No Resting Place, 1950 (Rotha) No Return. See Kaeranu sasabue, 1926 No Room for the Groom, 1952 (Sirk) No Smoking, 1993 (Resnais) No somos de piedra, 1967 (García Berlanga) No Sun in Venice. See Sait-on jamais?, 1957 No Time for Flowers, 1952 (Siegel) No Time for Sergeants, 1958 (Leroy) No Trace of Romanticism. See Von romantik keine spur, 1980 No Way Out, 1950 (Mankiewicz) No Woman Knows, 1921 (Browning) No-Gun Man, 1924 (Arzner) Noah’s Ark, 1929 (Curtiz) Nobat e Asheqi, 1990 (Makhmalbaf) Nobi, 1959 (Ichikawa) Nobody Loves Me. See Keiner Liebt Mich, 1994 Nobody Said Nothing. See Nadie dijo nada, 1971 Nobody Shall Be Laughing, 1965 (Menzel) Nobody’s Darling, 1943 (Mann) Nobody’s Daughter. See Syndens Datter, 1915 Nobody’s Fool, 1994 (Benton) Nobody’s Son. See A senki ?a, 1917 FILM TITLE INDEX DIRECTORS, 4 th EDITION 1256 Nobody’s Woman. See Se?ora de Nadie, 1982 Noc nevěsty, 1967 (Kachyňa) Noce au lac Saint-Fargeau, 1905 (Guy) Noces d’argent, 1915 (Feuillade) Noces de sable, 1948 (Cocteau) Noces rouges, 1973 (Chabrol) Noces sanglantes, 1915/16 (Feuillade) Noces siciliennes, 1912 (Feuillade) Noces vénitiennes. See Prima notte, 1958 Noch’ v sentyabre, 1939 (Barnet) Noche oscura, 1989 (Saura) Nocní hovory s matkou, 2000 (Nemec) Noctámbulos, 1995 (Bardem) Nocturne, 1919 (Feuillade) Nocturne, 1980 (Von Trier) Nodes, 1981 (Brakhage) No?l de Francesca, 1912 (Feuillade) No?l du poilu, 1915 (Feuillade) Nogent, Eldorado du dimanche, 1929 (Carné) Nogi Taisho to Kuma-san, 1926 (Mizoguchi) Nogiku no gotoki kimi nariki, 1955 (Kinoshita) Noi donne siamo fatte cosi, 1971 (Scola) Noi siamo le colonne, 1956 (de Sica) Noire de. . ., 1966 (Sembene) Noise from the Deep, 1913 (Sennett) Noise of Bombs, 1914 (Sennett) Noises Off, 1992 (Bogdanovich) Nomad Bus. See Brodyachij avtobus, 1989 Non me lo dire!, 1940 (Fellini) Non or the Vain Glory of Command. See N?o ou a V? Glória de Mandar, 1990 Non sono superstizioso, ma. . .!, 1943 (de Sica) Non stuzzicate la zanzara, 1967 (Wertmuller) Non ti conosco più, 1936 (de Sica) Non uccidere. See Tu ne tueras point, 1961 Noon. See Polden, 1931 Noon Wine, 1966 (Peckinpah) Noon Wine, 1985 (Ivory) Nora Helmer, 1973 (Fassbinder) Nora inu, 1949 (Kurosawa) Norma Rae, 1979 (Ritt) Noro?t, 1976 (Rivette) Norte, 1983 (Nava) North, 1995 (Reiner) North Bridge. See Pont du Nord, 1981 North by Northwest, 1959 (Hitchcock) North of 57, 1924 (Sennett) North of Hudson Bay, 1923 (Ford) North or Northwest, 1938 (Cavalcanti) North Sea, 1938 (Cavalcanti) North Star, 1943 (Milestone; von Stroheim) North West Mounted Police, 1940 (de Mille) Northern Pursuit, 1943 (Siegel; Walsh) Northwest. See Noro?t, 1976 Northwest Outpost, 1947 (Dwan) Northwest Passage, 1940 (Vidor) Nos Bon Etudiants, 1903/04 (Guy) Nosferatu the Vampire. See Nosferatu—Eine Symphonie des Grauens, 1921 Nosferatu the Vampire. See Zwolfte Stunde—Eine Nacht des Grauens, 1930 Nosferatu, the Vampire. See Nosferatu—Phantom der Nacht, 1979 Nosferatu—Eine Symphonie des Grauens, 1921 (Murnau) Nosferatu—Phantom der Nacht, 1979 (Herzog) Nosferatu. See Zwolfte Stunde—Eine Nacht des Grauens, 1930 Nostalghia, 1983 (Tarkovsky) Nostalgia di protezione, 1997 (Pontecorvo) Nostalgia. See Nostalghia, 1983 Nostra guerra, 1945 (Lattuada) Nostros dos, 1954 (Fernández) Not a Drum Was Heard, 1924 (Wellman) Not a Pretty Picture, 1975 (Coolidge) Not as a Stranger, 1955 (Kramer) Not as Wicked as That. See Pas si méchant que ?a, 1975 Not Enough. See Pas assez, 1968 Not for Publication, 1984 (Bartel) Not Fourteen Again, 1996 (Armstrong) Not Guilty, 1921 (Franklin) Not Guilty: For Keith Richards, 1977 (Ferrara) Not like Us, 1995 (Bartel) Not of This Earth, 1957 (Corman) Not on Your Life. See Verdugo, 1963 Not One Less. See Yi ge dou bu neng shao, 1999 Not Reconciled. See Nicht vers?hnt oder Es hilft nur Gewalt, wo Gewalt herrscht, 1965 Not So Dumb, 1930 (Vidor) Note in the Shoe, 1909 (Grif?th) Notebook on Cities and Clothes. See Aufzeichnungen zu Kleidern und St?dten, 1989 Notes for an African Oresteia. See Appunti per una Orestiade africana, 1969 Notes for Jerome, 1981 (Mekas) Notes on a Green Revolution, 1972 (Benegal) Notes on the Circus, 1966 (Mekas) Nothing but Pleasure, 1940 (Keaton) Nothing but the Best, 1963 (Roeg) Nothing Hurt but My Pride, 1973 (Marshall) Nothing Sacred, 1937 (Wellman) Noto—Mandorli—Vulcano—Stromboli—Carnevale, 1992 (Antonioni) Notorious, 1946 (Hitchcock) Notorious Affair, 1930 (Bacon) Notorious Elinor Lee, 1940 (Micheaux) Notorious Gentleman. See Rake’s Progress, 1945 Notre Histoire, 1984 (Blier) Notre pauvre c?ur, 1916 (Feuillade) Notre-Dame de Paris, 1931 (Epstein) Notre-Dame de Paris, 1956 (Delannoy) Notte, 1960 (Antonioni) Notte brava, 1959 (Pasolini) Notte d’estate, con pro?lo Greco, occhi amandorla e odore di basilico, 1986 (Wertmuller) Notte di San Lorenzo, 1982 (Taviani) Notte di tempesta, 1945 (Castellani) Notte italiana, 1987 (Moretti) Notti bianche, 1957 (Visconti) Notti di Cabiria, 1956 (Fellini; Pasolini) Nous ne ferons jamais de cinéma, 1932 (Cavalcanti) Nous ne vieillirons pas ensemble, 1972 (Pialat) Nous n’irons plus au bois, 1951 (Sautet) Nouveau Journal d’une femme en blanc, 1966 (Autant-Lara) Nouveaux Messieurs, 1928 (Feyder) Nouvelle mission de Judex, 1917 (Feuillade) Nouvelle Orangerie, 1966 (Kaplan) Nouvelle tribu, 1996 (Vadim) Nouvelle Vague, 1990 (Godard) Nova doma?a zivotinja, 1964 (Makavejev) Nova igra?ka, 1964 (Makavejev) Nova sinfonia, 1982 (Alvarez) Novecento atto I. See 1900 (Novecento), 1976 Novecento atto II. See 1900 (Novecento), 1976 Novgorodtsy, 1943 (Barnet) Novio a la vista, 1953 (Bardem; García Berlanga) FILM TITLE INDEXDIRECTORS, 4 th EDITION 1257 Novosti dnia, 1944-54 (Vertov) Novyi Vavilon, 1929 (Gerasimov; Kozintsev; Pudovkin) Now, 1965 (Alvarez) Now about These Women. See F?r att inte tala om alla dessa kvinnor, 1964 Now That I Was Born a Woman. See Onna to umaretakaranya, 1934 Now We Will Call You Brother. See Ahor te vamos a llamar hermano, 1971 Now, Let’s Talk about Men. See Questa volta parliamo di uomini, 1965 Nowhere, 1997 (Araki) Noz w wodzie, 1960 (Skolimowski) Nóz w wodzie, 1962 (Polanski) N’te promène donc pas toute nue, 1906 (Feuillade) Nth Commandment, 1923 (Borzage) Nu borjar livet, 1948 (Zetterling) Nube, 1998 (Solanas, Fernando E., And Octavio Getino) Nude Restaurant, 1967 (Morrissey; Warhol) Nueva canción Chile?a, 1973 (Ruiz) Nugget Jim’s Pardner, 1916 (Borzage) Nuit agitée, 1897 (Guy) Nuit agitée, 1908 (Feuillade) Nuit américaine, 1973 (Miller; Truffaut) Nuit de la revanche, 1924 (Duvivier) Nuit de Varennes, 1982 (Scola) Nuit du carrefour, 1932 (Becker; Renoir) Nuit et brouillard, 1955 (Resnais) Nuit et jour, 1991 (Akerman) Nuit fantastique, 1942 (L’herbier) Nuit noire, Calcutta, 1964 (Duras) Nuits de feu, 1936 (L’herbier) Nuits de la pleine lune, 1984 (Rohmer) Nuits de Prince, 1928 (L’herbier) Nukiashi sashiashi, 1934 (Yoshimura) Numazu Hei-gakko, 1939 (Imai) Numazu Military Academy. See Numazu Hei-gakko, 1939 Number, 1979 (Boulting) Number 10, 1968 (Apted) Number 111. See A 111-es, 1919 Number Seventeen, 1932 (Hitchcock) Number Thirteen, 1922 (Hitchcock) Numbered Men, 1930 (Leroy) Numéro deux, 1975 (Godard) Numéro zero, 1971 (Eustache) Numéro zero, 1980 (Eustache) Nun. See Religieuse, 1966 Nun va Goldoon, 1996 (Makhmalbaf) Nunca pasa nada, 1963 (Bardem) Nun’s Story, 1958 (Zinnemann) Nuovo mondo (Le Nouveau Monde), 1962 (Godard) Nuptiae, 1969 (Brakhage) Nur um tausend Dollars, 1918 (Dupont) Nur zum Spass—Nur zum Spiel, 1977 (Schl?ndorff) Nuremberg Trials, 1946 (Lorentz) Nuri the Flea. See Pire Nuri, 1968 Nurses. See Sestricky, 1983 Nursing a Viper, 1909 (Grif?th; Sennett) Nusumareta koi, 1951 (Ichikawa) Nusumareta yokujo, 1958 (Imamura) Nut, 1921 (Chaplin) Nuts, 1987 (Ritt) Nuts in May, 1976 (Leigh) Nutt House, 1992 (Raimi) Nutty Professor, 1963 (Lewis) Nutty Professor, 1996 (Lewis) Nutty Professor II: The Klumps, 2000 (Lewis) Nutty, Naughty Chateau. See Chateau en Suede, 1963 Nuuk 250 ?r, 1979 (Roos) Nyar i Skane, 1961 (Troell) Nybyggarna, 1970 (Troell) NYC 3/94, 1994 (Hartley) Nymph. See Ninfa plebea, 1996 Nyobo funshitsu, 1928 (Ozu) O Amuleta de Ogum, 1974 (Pereira Dos Santos) O B?ca de Ouro, 1962 (Pereira Dos Santos) O canto do mar, 1953 (Cavalcanti) O cavalo de Oxumaire, 1961 (Guerra) O Circo, 1965 (Diegues) O Convento, 1995 (Oliveira) O corac?o, 1960 (Oliveira) O Dia do desespero, 1992 (Oliveira) O drag?o da maldade contra o santo querreiro. See Ant?nio das Mortes, 1969 O Dreamland, 1953 (Anderson) O grande momento, 1958 (Pereira Dos Santos) O homem das estrelas, 1971 (Guerra) O Lucky Man!, 1973 (Anderson; Frears) O Megalexandros, 1980 (Angelopoulos) O Melissokomos, 1986 (Angelopoulos) O Meu Caso—Repeticoes, 1986 (Oliveira) O ně?em jiném, 1963 (Chytilová) O p?o, 1959 (Oliveira) O passado e o presente, 1972 (Oliveira) O patio, 1958 (Rocha) O pintor e a cidade, 1956 (Oliveira) O Rio de Machado de Assis, 1964 (Pereira Dos Santos) O saisons, o chateaux, 1957 (Varda) O Salto, 1967 (de Broca) O samba, 1988 (Scola) O Sapato de cetim, 1985 (Oliveira) O scai, 1951 (Pereira Dos Santos) O slavnosti a hostech, 1966 (Nemec) O Thiasos, 1975 (Angelopoulos) O-Kay for Sound, 1937 (Launder, Frank, and Sidney Gilliat) O. Henry’s Full House, 1952 (Hawks) O.C. and Stiggs, 1983 (Altman) O.H.M.S., 1937 (Walsh) Oak and the Reed. See Chêne et le roseau, 1994 Oath, 1921 (Walsh) Oath and the Man, 1910 (Grif?th) Oath of Youth. See Kliatva molodikh, 1944 Ob?an Karel Havli?ek, 1966 (Jire?) Obchod na korze, 1965 (Kadár) Oberwald Mystery. See Mistero di Oberwald, 1979 Objections Overruled, 1912 (Dwan) Oblomok imperii, 1929 (Gerasimov) Oblomov, 1980 (Mikhalkov) Obmanutye Mechty. See Grezy, 1915 Obol’stitel. See Yuri Nagornyi, 1915 Oboro yo no onna, 1936 (Gosho) Ob’s stürmt oder schneit, 1976 (D?rrie) Obsession, 1949 (Dmytryk) Obsession, 1954 (Delannoy) Obsession, 1976 (Schrader; de Palma) Obsession. See Homme mysterieux, 1933 Obsession. See Junoon, 1977 Ob?alovany, 1964 (Kadár) Ocamo Is My Town, 1974 (Asch) Occasional Work of a Female Slave. See Gelegenheitsarbeit einer Sklavin, 1973 Occhi, la bocca, 1982 (Bellocchio; Breillat) Occupe-toi d’Amélie, 1949 (Autant-Lara) FILM TITLE INDEX DIRECTORS, 4 th EDITION 1258 Ocean Swells, 1934 (Stevens) Ocean Waif, 1916 (Guy) Ocean’s Eleven, 1960 (Milestone) Ocean’s Eleven, 2001 (Soderbergh) Ochazuke no aji, 1952 (Imamura; Ozu) Ocho a?os de Revolucion, 1966 (Alvarez) Oci ciornie, 1987 (Mikhalkov) October. See Oktiabr, 1928 Octubre de todos, 1977 (Alvarez) Oda—vissza, 1962 (Gaál) Odd Job Man, 1912 (Dwan) Odd Man Out, 1947 (Reed) Odd Obsession. See Kagi, 1959 Odds against Tomorrow, 1959 (Wise) Odds and Ends. See Vermischte Nachrichten, 1987 Odette Robert, 1980 (Eustache) Odeur des fauves, 1970 (de Sica) Odinnadtsatii, 1928 (Vertov) Odna, 1931 (Gerasimov; Kozintsev) Odnazhdy noch’yu, 1945 (Barnet) Odyssey, 1997 (Coppola) Oedipus Rex. See Edipo re, 1967 Oedipus the King, 1968 (Welles) Oeil de Vichy, 1993 (Chabrol) Oeil du ma?tre, 1957 (Resnais) Oeil Torve. See Oko wykol, 1960 O’er Hill and Dale, 1932 (Grierson) Oeuvre immortelle, 1924 (Duvivier) Of a Thousand Delights. See Vaghe stelle dell’orsa, 1965 Of Great Events and Ordinary People. See De Grands Evènements et des gens ordinaires, 1979 Of Human Bondage, 1934 (Cromwell) Of Human Bondage, 1946 (Goulding) Of Men and Music, 1951 (Aldrich) Of Mice and Men, 1940 (Milestone) Of Wayward Love. See Amore dif?cile, 1960 Off His Trolley, 1924 (Sennett) Off to Peoria, 1930 (Sandrich) Offbeat, 1960 (Zetterling) Offenbach titkai, 1996 (Szabó) Offense, 1973 (Lumet) Of?ce Boy’s Revenge, 1903 (Porter) Of?ce Wife, 1930 (Bacon) Of?cer 666, 1915 (Niblo) Of?cer Cupid, 1921 (Sennett) Of?cer’s Swordknot. See A tiszti kardbojt, 1915 Offre d’emploi, 1980 (Eustache) Offret, 1986 (Tarkovsky) Ogni Baku, 1950 (Hei?tz) Ogon, 1930 (Donskoi) Ogre. See Unhold, 1996 Ogro, 1979 (Pontecorvo) Oh, 1968 (Vanderbeek) Oh Amelia!. See Occupe-toi d’Amélie, 1949 Oh Dad, Poor Dad, Mamma’s Hung You in the Closet and I’m Feelin’ So Sad, 1967 (Mackendrick) Oh Daddy!, 1922 (Sennett) Oh, Doctor!, 1917 (Keaton) Oh du lieber Augustin, 1922 (Forst) Oh, Kay!, 1928 (Leroy) Oh Life—A Woe Story—The A Test News, 1963 (Brakhage) Oh, Mabel Behave, 1921 (Sennett) Oh, Mr. Porter!, 1937 (Launder, Frank, and Sidney Gilliat) Oh My Aunt, 1914 (Hepworth) Oh! Rosalinda, 1955 (Powell, Michael, And Emeric Pressburger) Oh Sera?na! See Bruciati da cocente passione, 1976 Oh, Those Eyes, 1911 (Sennett) Oh, Uncle!, 1926 (Sennett) Oh, Uncle, 1909 (Grif?th) Oh! What a Lovely War, 1969 (Attenborough) Oh, What a Night!. See Rounders, 1914 Oh, Woe Is Me. See Helas Pour Moi, 1993 Oh, You Beautiful Doll, 1949 (Stahl) Ohan, 1985 (Ichikawa) Ohayo, 1959 (Ozu) Oil and Water, 1912 (Grif?th) ?il du malin, 1962 (Chabrol) Oil for Aladdin’s Lamp, 1942 (Ivens) Oil for the Lamps of China, 1935 (Florey; Leroy) Oil on Troubled Waters, 1913 (Dwan) Oil?eld. See Het olieveld, 1954 Oily Scoundrel, 1916 (Sennett) Oito universitários, 1967 (Diegues) ?jeblikket, 1980 (Henning-Jensen) Ojo de la cerradura, 1964 (Torre Nilsson) Ojo Kichiza, 1926 (Kinugasa) Ojos vendados, 1978 (Saura) Ojosan kanpai, 1949 (Kinoshita; Shindo) Ojosan, 1930 (Ozu) ?k ketten, 1977 (Mészáros) Oka Oorie Katha, 1977 (Sen) Okame, 1927 (Gosho) Oklahoma, 1955 (Zinnemann) Oklahoma Crude, 1973 (Kramer) Oklahoma Kid, 1939 (Bacon) Oklahoma Woman, 1956 (Corman) Oko wykol, 1960 (Skolimowski) Okoto and Sasuke. See Okoto to Sasuke, 1961 Okoto to Sasuke, 1961 (Kinugasa) Okraina, 1933 (Barnet) Oktiabr, 1928 (Eisenstein) Okuman choja, 1954 (Ichikawa) Okusama shakuyosho, 1936 (Gosho) ?lüme yalniz gidilar, 1963 (Güney) Olaf—An Atom, 1913 (Grif?th) Old Actor, 1912 (Grif?th) Old Age Handicap, 1928 (Browning) Old Age—The Wasted Years, 1966 (Leacock) Old and New. See Staroe i novoe, 1929 Old Barn, 1929 (Sennett) Old Bill and Son, 1940 (Crichton) Old Bones of the River, 1938 (Launder, Frank, and Sidney Gilliat) Old Bookkeeper, 1911 (Grif?th) Old Boyfriends, 1978 (Schrader) Old Chinese Opera. See Stará ?inská opera, 1954 Old Chums, 1975 (Leigh) Old Confectioner’s Mistake, 1911 (Grif?th) Old Crowd, 1979 (Frears) Old Dark House, 1932 (Whale) Old Georgian Song. See Starinnaja gruzinskaja pesnja, 1969 Old Guard, 1941 (Gerasimov) Old Heidelberg, 1915 (von Stroheim) Old Ironsides, 1926 (Arzner) Old Jockey. See Staryi nayezdnik, 1940 Old Lantern. See Uta andon, 1960 Old Loves and New, 1926 (Tourneur) Old Maid, 1939 (Goulding) Old Man and Dog, 1970 (Armstrong) Old Man and His Dog. See Lao ren he gou, 1993 Old Man Motorcar. See Děde?ek automobil, 1955 Old Mill. See De gamla kvarnen, 1964 Old Place, 1998 (Godard) FILM TITLE INDEXDIRECTORS, 4 th EDITION 1259 Old South, 1940 (Zinnemann) Old Well. See Lao jing, 1987 Old Wives for New, 1918 (de Mille) Old Woman Ghost. See Yoba, 1976 Old Women of Japan. See Nippon no obachan, 1962 Old Writing Desk. See Chatollets Hemmelighed, eller Det gamle chatol, 1913 ?ldürmek hakkimdir, 1968 (Güney) Old-Fashioned Woman, 1974 (Coolidge) Oldás és k?tés, 1963 (Jancsó) Older Brother and Younger Sister. See Ani imoto, 1976 Oldest Profession. See Plus Vieux Métier du monde, 1967 Ole dole doff, 1968 (Troell) Olie op reis, 1957 (Haanstra) Oliver!, 1968 (Reed) Oliver Twist, 1948 (Lean) Olives and Their Oil, 1914 (Sennett) Olivia’s Story, 1999 (Burnett) Olivier, Olivier, 1991 (Holland) Oltre l’oblio, 1948 (Antonioni) Olvidados, 1950 (Bu?uel) Olyan, mint otthon, 1978 (Mészáros) Olympia, 1930 (Feyder) Olympia, 1938 (Riefenstahl) Olympia. See A Breath of Scandal, 1960 Olympia 52, 1952 (Marker) Olympische Spiele 1936. See Olympia, 1938 Ombre, 1991 (Goretta) Ombre du pêché, 1920/23 (Protazanov) Ombres chinoise, 1982 (Ruiz) Omega Connection. See London Connection, 1979 Omega, Omega . . . , 1984 (Jancsó) Omokage, 1948 (Gosho) On, 1966 (Sj?berg) On a Clear Day You Can See Forever, 1970 (Minnelli) On a Common Path. See K?z?s útan, 1953 On a jeho sestra, 1931 (Fri?) On a Summer’s Day, 1921 (Sennett) On a vole la cuisse de Jupiter, 1980 (de Broca) On a volé un homme, 1934 (Ophüls) On Borrowed Time, 1939 (Franklin) On conna?t la chanson, 1997 (Resnais) On Dangerous Ground, 1952 (Ray) On demande une brute, 1934 (Tati) On est au coton, 1976 (Arcand) On est poivrot, mais on a du c?ur, 1905 (Guy) On Foreign Land. See Por la tierra ajena, 1968 On Guard. See Bossu, 1997 On His Wedding Day, 1913 (Sennett) On ne meurt pas comme ?a, 1946 (von Stroheim) On n’engraisse pas les cochons à l’eau claire, 1973 (Lefebvre) On Our Merry Way. See A Miracle Can Happen, 1946 On Patrol, 1922 (Sennett) On purge bébé, 1931 (Renoir) On Roller Skates. See Rullesk?jterne, 1908 On s’est trompé d’histoire d’amour, 1973 (Serreau) On Such a Night, 1937 (Dupont) On Sundays, 1960/61 (Baillie) On the Beach, 1959 (Kramer) On the Border, 1913 (Dwan) On the Brink, 1911 (Porter) On the Earth. See Chijo, 1957 On the Foggy River. See Yen P’o Chiang Shang, 1977 On the Highway of Life. See Na estrada da vida, 1980 On the Hunting Ground, 1985 (Tian Zhuangzhuang) On the Jump, 1918 (Walsh) On the Pole, 1960 (Leacock) On the Red Front. See Na krasnom fronte, 1920 On the Reef, 1909 (Grif?th) On the Right Track. See Na vernom sledu, 1925 On the Roads of Fate. See P? livets ?desv?gar, 1913 On the Steep Cliff. See U Krutovo Yara, 1962 On the Town, 1949 (Donen) On the Waterfront, 1954 (Kazan) On the Western Frontier, 1909 (Porter) On the Yard, 1979 (Silver) On Top of the Whale. See Het dak van de walvis, 1981 Once a Thief, 1991 (Woo) Once Around, 1991 (Hallstrom) Once More with Feeling, 1960 (Donen) Once One Night. See Odnazhdy noch’yu, 1945 Once por cero, 1970 (Alvarez) Once upon a Honeymoon, 1942 (Mccarey) Once upon a Savage Night. See Nightmare in Chicago, 1964 Once upon a Thursday. See Affairs of Martha, 1942 Once upon a Time. See Var Engang, 1922 Once upon a Time . . . Is Now, 1977 (Hitchcock) Once upon a Time in America, 1984 (Leone) Once upon a Time in the West. See C’era una volta il West, 1969 Once upon a Time, Cinema. See Nasseroddin Shah, hactore Cinema, 1992 Once upon a Tractor, 1965 (Torre Nilsson) Onda, 1955 (Olmi) One 4 All. See Pour toutes, 1999 One A.M., 1916 (Chaplin) One A.M., 1968 (Godard) One A.M., 1971 (Godard) One Afternoon in Koppanymonostor. See Egy délután Koppánymonostorban, 1955 One against Seven. See Counter-Attack, 1945 One against the World, 1939 (Zinnemann) One American Movie. See One A.M., 1968 One and a Two. See Yi yi, 2000 One and Eight. See Yi ge he ba ge, 1983 One and Only. See Edinstvennaia, 1976 One and Yet, 1957-58 (Vanderbeek) One Busy Hour, 1909 (Grif?th) One Clear Call, 1922 (Stahl) One Could Laugh in Former Days. See Vroeger kon je lachen, 1983 One Cylinder Love, 1923 (Sennett) One Day Certainly. See Bir gün mutlaka, 1975 One Day More, One Day Less. See Plusz minusz egy nap, 1973 One Does Not Play with Love. See Man spielt nicht mit der Liebe, 1926 One Exciting Adventure, 1934 (Wilder) One Exciting Night, 1922 (Grif?th) One Fatal Hour. See Five-Star Final, 1930 One Fine Day, 1979 (Frears) One Fine Day. See Certo giorno, 1968 One Flew over the Cuckoo’s Nest, 1975 (Forman) One from the Heart, 1982 (Coppola) One Grain of Barley. See Hitotsubu no mugi, 1958 One Hour of Love, 1926 (Florey) One Hour with You, 1932 (Cukor; Lubitsch) One Hundred a Day, 1973 (Armstrong) One Hundred Meters with Chaplin. See Cien Metros con Charlot, 1967 One Hundred Years of Japanese Cinema, 1995 (Oshima) One Is Business, the Other Crime, 1912 (Grif?th) One Mile from Heaven, 1937 (Dwan) One Million AC/DC, 1969 (Wood, Edward D., Jr.) One More Chance, 1931 (Sennett) One More River, 1934 (Whale) One More Time, 1970 (Lewis) One More Time. See Ima hitotabi no, 1947 FILM TITLE INDEX DIRECTORS, 4 th EDITION 1260 One Mysterious Night, 1944 (Boetticher) One Night Stand, 1915 (Sennett) One Night Stand, 1995 (Corman) One Night Stand, 1997 (Ward) One Night, and Then—, 1909 (Grif?th) One of Our Aircraft Is Missing, 1942 (Lean; Powell, Michael, And Emeric Pressburger) One of the Blood. See His Majesty, the American, 1919 One of the Many. See En av de m?nga, 1915 One of Us. See Von uns beiden, 1973 One or the Other. See Von uns beiden, 1973 One P.M., 1971 (Godard; Leacock) One Parallel Movie. See One P.M., 1971 One Plus One, 1968 (Godard) One Potato, Two Potato .... See Eci, pec, pec, 1961 One Rainy Afternoon, 1936 (Sturges) One Round O’Brien, 1911 (Sennett) One September Night. See Noch’ v sentyabre, 1939 One She Loved, 1912 (Grif?th) One Sings, the Other Doesn’t. See Une chante l’autre pas, 1977 One Spooky Night, 1924 (Sennett) One Sunday Afternoon, 1948 (Walsh) One Third of a Nation, 1939 (Lumet) One Thousand Pounds for Rosebud, 1971 (Apted) One Touch of Nature, 1908 (Grif?th) One Touch of Venus, 1948 (Tashlin) One, Two, Three, 1912 (Dwan) One, Two, Three, 1961 (Wilder) One Two Three Sun. See Deux trois soleil, 1993 One Two Three, 1978 (Clarke) One Way or Another. See De cierta manera, 1977 One Week, 1920 (Keaton) One Woman’s Story. See Passionate Friends, 1949 One Wonderful Sunday. See Subarashiki nichiyobi, 1947 One Yard to Go, 1931 (Sennett) One-Man Mutiny. See Court Martial of Billy Mitchell, 1955 One-Piece Bathing Suit. See Million-Dollar Mermaid, 1952 One-Run Elmer, 1935 (Keaton) One-Way Ticket to Love. See Koi no katamichi kippu, 1960 One–Million–Pound Note. See Az egymillió fontos bankó, 1916 Oni azami, 1926 (Kinugasa) Onibaba, 1964 (Shindo) Onkel og Nev?. See Fader og S?n, 1911 Only A Farmer’s Daughter, 1915 (Sennett) Only a Messenger Boy, 1915 (Sennett) Only a Mother. See Bara en mor, 1949 Only Angels Have Wings, 1939 (Hawks) Only for Fun—Only for Play. See Nur zum Spass—Nur zum Spiel, 1977 Only for Love, Please Not Now. See Bride sur le cou, 1961 Only Game in Town, 1970 (Stevens) Only House, 1971 (Wood, Edward D., Jr.) Only Once a Year. See Tol’ko Raz v Godu, 1914 Only One. See Edinstvennaia, 1976 Only Saps Work, 1930 (Dmytryk; Mankiewicz) Only Son, 1914 (de Mille) Only Son. See Hitori musuko, 1936 Only the French Can. See French Cancan, 1955 Only the Hours. See Rien que les heures, 1926 Only Two Can Play, 1961 (Attenborough; Launder, Frank, and Sidney Gilliat; Zetterling) Only Way. See Ek Hi Rasta, 1939 Only When I Larf, 1968 (Attenborough; Dearden) Only Yesterday, 1933 (Stahl) Only You, 1981 (Jarmusch) Only You, 1994 (Jewison) Onna, 1948 (Kinoshita) Onna koso ie o momore, 1939 (Yoshimura) Onna no kao, 1949 (Imai) Onna no kunsho, 1961 (Yoshimura) Onna no machi, 1940 (Imai) Onna no misoshiru, 1968 (Gosho) Onna no saka, 1960 (Yoshimura) Onna no sono, 1954 (Kinoshita) Onna to umaretakaranya, 1934 (Gosho) Onna yo, kini no na o kegasu nakare, 1930 (Gosho) Onna-yo ayamaru nakare, 1923 (Kinugasa) Onorata società, 1961 (de Sica) Ont staan en vergaan, 1954 (Haanstra) Onu Allah affetsin, 1970 (Güney) Onyxkopf, 1917 (Dupont) Ooh . . . You Are Awful, 1972 (Launder, Frank, and Sidney Gilliat) Ookami, 1955 (Shindo) Open at Night. See Yoru hiraku, 1931 Open Gate, 1909 (Grif?th) Open House, 1982 (Egoyan) Opening Day of Close-Up. See Giorno della prima di Close-Up, 1996 Opening in Moscow, 1959 (Clarke) Opening Night, 1977 (Bogdanovich; Cassavetes) Opera do Malandro, 1986 (Guerra) Opera in the Vineyard. See Opera ve vinici, 1981 Opera No. 1, 1994 (Hartley) Opera ve vinici, 1981 (Jire?) Opera Zebracka, 1991 (Menzel) Opéra-Mouffe, 1958 (Varda) Operabranden, 1912 (Blom) Operación abril del Caribe, 1982 (Alvarez) Opération Béton, 1954 (Godard) Operation Cougar. See Daihao meizhoubao, 1989 Operation Disaster. See Morning Departure, 1950 Operation Gas-Oil, 1955 (de Broca) Operation Ogro. See Ogro, 1979 Operation “Happy New Year”, 1996 (Rogozhkin) Operation Redlight, 1969 (Wood, Edward D., Jr.) Operatsiia “S novym godom”. See Operation “Happy New Year”, 1996 Operazione paura. See Spie vengono dal semifreddo, 1966 Operette, 1940 (Forst) Opfer der Gesellschaft, 1918 (Wiene) Ophélia, 1962 (Chabrol) Opiate ‘67. See I mostri, 1963 Opium Smoker’s Dream. See Opiumsdr?mmen, 1914 Opium War. See Yapian zhanzheng, 1997 Opiumsdr?mmen, 1914 (Holger-Madsen) Opus 1, 1947 (Roos) Opus I, 1921 (Ruttmann) Opus II, III, IV, 1920-23 (Ruttmann) Opus seis, 1969 (Guzmán) Opus Six. See Opus seis, 1969 Opus V, 1925-26 (Ruttmann) Or des mers, 1932 (Epstein) Or du Cristobal, 1939 (Becker) Or gris, 1980 (Ruiz) Or Pigs and Pearls. See Montenegro, 1981 ?r?kbefogadás, 1975 (Mészáros) ?r?kseg, 1980 (Mészáros) Ora della veritá. See Minute de vérité, 1952 Oracle, 1952 (Grierson) Oratorio for Prague, 1968 (Nemec) Oratorium for Prague. See Oratorio for Prague, 1968 Orchestra Rehearsal. See Prova d’orchestra, 1978 Orchid for the Tiger. See Tigre se parfume à la dynamite, 1965 Orchidégartneren, 1977 (Von Trier) Orchids and Ermines, 1927 (Leroy) FILM TITLE INDEXDIRECTORS, 4 th EDITION 1261 Ordeal of Rosetta, 1918 (Goulding) Orderly or Unorderly. See Be Tartib ya Bedoun-e Tartib, 1981 Orders Are Orders, 1953 (Grierson) Orders Is Orders, 1933 (Launder, Frank, and Sidney Gilliat) Ordet, 1943 (Sj?str?m) Ordet, 1955 (Dreyer) Ordinary Madness of a Daughter of Cham. See Folie ordinaire d’une ?lle de Cham, 1986 Ordinary Ways. See K?z?s útan, 1953 Ordinateur des pompes funèbres, 1976 (Miller) Ore Riders, 1927 (Wyler) Orecchio, 1946 (Bava) Oreos with Attitude, 1990 (Haynes) Orfeo, 1985 (Goretta) Orfeu, 1999 (Diegues) Orfeusz es Eurydike, 1985 (Gaál) Org, 1979 (Birri) Organist at St. Vitus. See Varhaník v sv. Víta, 1929 Orgy of the Dead, 1965 (Wood, Edward D., Jr.) Oribe’s Crime. See Crimen de Oribe, 1950 Orient Express, 1954 (Rossellini) Oriental Love, 1917 (Sennett) Origin of Sex. See Sei no kigen, 1967 Original Kings of Comedy, 2000 (Lee) Origine du XXIème siècle, 2000 (Godard) Orizuru osen, 1934 (Mizoguchi) Orlacs H?nde, 1924 (Wiene) Ormens ?gg. See Schlangenei, 1977 Ornette, Made in America, 1985 (Clarke) Oro di Napoli, 1954 (de Sica) Oròlogio a Cucu, 1938 (Castellani) Orologio a cucù, 1938 (de Sica) Oros, 1960 (Guerra) Orphans, 1987 (Pakula) Orphan’s Mine, 1913 (Dwan) Orphans of the Storm, 1921 (Grif?th) Orphée, 1949 (Cocteau; Melville) Orphelin de Paris, 1923 (Feuillade) Orpheline, 1921 (Clair; Feuillade; Florey) Orrori del castello di Norimberga, 1972 (Bava) Országutak vándora, 1956 (Mészáros) Orthopedic Paradise. See Paraiso ortopedico, 1969 Os cafajestes, 1962 (Guerra) Os Canibais, 1988 (Oliveira) Os deuses e os mortos, 1970 (Guerra) Os ?lhos do medo, 1978 (Diegues) Os fuzis, 1964 (Guerra) Os herdeiros, 1969 (Diegues) Os mendigos, 1963 (Guerra) Osaka Elegy. See Naniwa ereji, 1936 Osaka monogatari, 1957 (Mizoguchi; Yoshimura) Osaka natsu no jin, 1937 (Kinugasa) Osaka no onna, 1958 (Kinugasa) Osaka no yado, 1954 (Gosho) Osaka Story. See Osaka monogatari, 1957 ?sbemutató, 1974 (Szabó) Oscar, 1991 (Dante; Landis) Oscar and Lucinda, 1997 (Armstrong) Oscar, champion de tennis, 1932 (Tati) Oslo, 1963 (Roos) Osman the Wanderer. See Piyade Osman, 1970 Osmjeh 61, 1961 (Makavejev) Osmosis Jones, 2001 (Howard) Osobennosti natsional’noi okhoty. See Peculiarities of the National Hunt, 1995 Osobennosti natsional’noi rybalki. See Peculiarities of National Fishing, 1998 Osone-ke no asa, 1946 (Kinoshita) Osore-zan no onna, 1964 (Gosho) Ososhiki, 1984 (Itami) Ossessione, 1942 (Visconti) Ossis Tagebuch, 1917 (Lubitsch) Ostatni etap, 1947 (Kawalerowicz) Ostende, reine des plages, 1930 (Storck) Osterman Weekend, 1983 (Peckinpah) Ostia, 1969 (Pasolini) Ostia, 1986 (Jarman) Ostre sledované vlaky, 1966 (Menzel) Ostrov st?íbrnych volavek, 1976 (Jire?) Ostroznie yeti, 1960 (Polanski) Osvobozhdenie, 1940 (Dovzhenko) ?sz Badacsonyban, 1954 (Jancsó) Otac na sluzbenoh putu, 1985 (Kusturica) Otaku, 1994 (Beineix) Otchen kharacho dziviosta, 1932 (Pudovkin) Otello, 1986 (Zef?relli) Otets Sergii, 1918 (Protazanov) Othello, 1952 (Welles) Othello, 1995 (Branagh) Othello. See Otello, 1986 Other, 1972 (Mulligan) Other, 1980 (Brakhage) Other. See Otro, 1984 Other Francisco. See Otro Francisco, 1975 Other Half, 1919 (Vidor) Other Man, 1916 (Sennett) Other Men’s Women, 1931 (Wellman) Other People’s Business, 1914 (Sennett) Other People’s Money, 1991 (Jewison) Other Shore. See Chuzoi bereg, 1930 Other Side of the Tracks. See De l’autre c?té du périph, 1998 Other Side of the Wind, 1972 (Bogdanovich; Welles) Other Tomorrow, 1930 (Bacon) Other Wise Man, 1912 (Dwan) Othon, 1969 (Straub, Jean-Marie, And Danièle Huillet) Otoko no kao wa rirekisho, 1966 (Itami) Otokogokoro, 1925 (Gosho) Ototo, 1960 (Ichikawa; Itami) Otro, 1984 (Ripstein) Otro Francisco, 1975 (Gutiérrez Alea) Otto e mezzo, 1963 (Fellini; Wertmuller) Ouagadougou, Ouaga deux roues, 1985 (Ouedraogo) Ouagadougou, Ouaga Two Wheels. See Ouagadougou, Ouaga deux roues, 1985 Ouigours—Minorité nationale—Sinkiang, 1977 (Ivens) Our Betters, 1933 (Cukor) Our Champions. See Sportivnaya slava, 1950 Our Children, 1913 (Sennett) Our Cissy, 1973 (Parker) Our Corner, 1980 (Tian Zhuangzhuang) Our Country. See Strana rodnaya, 1946 Our Country Cousin, 1914 (Sennett) Our Daily Bread, 1930 (Murnau) Our Daily Bread, 1934 (Mankiewicz; Vidor) Our Dare Devil Chief, 1915 (Sennett) Our God’s Brother, 1997 (Zanussi) Our Hitler. See Hitler. Ein Film aus Deutschland, 1977 Our Hollywood Education, 1992 (Bartel) Our Hospitality, 1923 (Keaton) Our Large Birds, 1914 (Sennett) Our Last Spring, 1959 (Cacoyannis) FILM TITLE INDEX DIRECTORS, 4 th EDITION 1262 Our Man in Havana, 1960 (Reed) Our Marriage. See Watakushi-tachi no kekkon, 1962 Our Mother’s House, 1967 (Clayton) Our Mr. Sun, 1956 (Capra) Our Russian Front, 1942 (Ivens; Milestone) Our Story. See Notre Histoire, 1984 Our Teacher. See Waga kyokan, 1939 Our Visit to China. See Kína vendégei voltunk, 1957 Our Wife, 1941 (Stahl) Our Wonderful Years. See Kachan to Juichi-nin no Kodomo, 1966 Ouragan sur la montagne, 1922 (Duvivier) Ours, 1988 (Berri) Out 1: noli me tangere, 1971 (Rivette) Out 1: ombre, 1974 (Rivette) Out Again—In Again, 1914 (Browning) Out and In, 1913 (Sennett) Out in the World. See Vlyudyakh, 1939 Out of Africa, 1985 (Pollack) Out of College. See Gakuso o idete, 1925 Out of Darkness, 1955 (Welles) Out of Darkness, 1990 (Kopple) Out of Rosenheim, 1987 (Adlon) Out of Season, 1949 (Anderson) Out of Sight, 1998 (Brooks; Soderbergh) Out of the Blue. See Hsiao Pa Pa Te T’ien K’ung, 1984 Out of the Clouds, 1954 (Dearden) Out of the Dark, 1988 (Bartel) Out of the Darkness. See Teenage Caveman, 1958 Out of the Fog, 1941 (Rossen) Out of the Night. See Strange Illusion, 1945 Out of the Past, 1947 (Tourneur) Out of the Underworld. See Nattevandreren, 1916 Out to Sea, 1997 (Coolidge) Out West, 1918 (Keaton) Outbreak, 1995 (Petersen) Outcast, 1936 (Florey) Outcast. See Hakai, 1962 Outcast among Outcasts, 1912 (Grif?th) Outcast of the Islands, 1951 (Reed) Outcasts of Poker Flat, 1919 (Ford) Outcast’s Return. See Tugthusfange No. 97, 1914 Outcry. See Grido, 1957 Outdoor Pajamas, 1924 (Mccarey) Outer and Inner Space, 1965 (Warhol) Outlaw, 1941 (Hawks) Outlaw and His Wife. See Berg-Ejvind och hans hustru, 1918 Outlaw Colony, 1912 (Dwan) Outlaw Josey Wales, 1976 (Eastwood; Kaufman) Outlaws of the Orient, 1937 (Schoedsack) Outlaw’s Revenge, 1912 (Walsh) Outlaw’s Trail, 1911 (Dwan) Outomlionnye solntsem, 1994 (Mikhalkov) Outpost in Morocco, 1948 (Florey) Outrage, 1915 (Hepworth) Outrage, 1964 (Ritt) Outrage, 1998 (Coppola) Outside Chance, 1978 (Corman) Outside the Law, 1921 (Browning) Outside the Law, 1930 (Browning) Outsider. See Guinea Pig, 1948 Outsiders, 1983 (Coppola) Outsiders. See Oka Oorie Katha, 1977 Outskirts. See Okraina, 1933 Ouvert pour cause d’inventaire, 1946 (Resnais) Over Again. See Punnascha, 1961 Over glas gesproken, 1958 (Haanstra) Over Here, 1924 (Sennett) Over Silent Paths, 1910 (Grif?th) Over, under, and up!. See Up!, 1976 Overcoat. See Cappotto, 1952 Overdrive, 1997 (Corman) Overexposed, 1990 (Corman) Overnight Delivery, 1998 (Smith) Overnight Stay in the Tyrol. See übernachtung in Tirol, 1974 Ovoce strom rajskych jíme, 1969 (Chytilová) Owd Bob, 1938 (Launder, Frank, and Sidney Gilliat) Owl’s Legacy. See Héritage de la chouette, 1989 Ox-Bow Incident, 1943 (Wellman) Oxford and Cambridge Boat Race, 1898 (Hepworth) Oyaji to sono ko, 1929 (Gosho) Oyu-sama, 1951 (Mizoguchi) Oyuki the Madonna. See Maria no Oyuki, 1935 Oz, 1997 (Levinson) Ozawa, 1986 (Maysles) Oznamuje se láskam vasim, 1988 (Kachyňa) P . . . respecteuse, 1949 (Astruc) P tissier et ramoneur, 1904 (Guy) P-38 Pilot, 1990 (Baillie) P? livets ?desv?gar, 1913 (Sj?str?m) Paa Bes?g hos Kong Tingeling, 1947 (Roos) Paa Livets Skyggeside, 1912 (Holger-Madsen) Paapi, 1953 (Kapoor) Pace That Thrills, 1925 (Leroy) Paci?c Heights, 1990 (Schlesinger) Paci?st. See Paci?sta, 1970 Paci?sta, 1970 (Jancsó) Padatik, 1973 (Sen) Paddy, 1969 (Corman) Padlocked, 1926 (Dwan) Padre, 1912 (Pastrone) Padre padrone, 1977 (Moretti; Taviani) Padri e ?gli, 1957 (de Sica) Paean. See Sanka, 1972 Paganini, 1910 (Gance) Page Miss Glory, 1935 (Daves; Leroy) Page of Madness. See Kurutta ippeiji, 1926 Pages d’un catalogue, 1980 (Ruiz) Pages from a Catalogue. See Pages d’un catalogue, 1980 Pages from a Life. See Stranitsy zhizni, 1948 Pagliacci, 1947 (Bava) Pagode, 1915 (Pick) Paid in Full, 1912 (Dwan) Paid to Love, 1927 (Hawks) Pain. See Aci, 1971 Painel, 1951 (Cavalcanti) Paint Your Wagon, 1969 (Eastwood) Painted Boats, 1945 (Crichton) Painted Lady, 1912 (Grif?th) Painted Lips. See Boquitas pintadas, 1974 Painted Skin. See Hua Pi Zhi Yinyang Fawang, 1992 Painter and the Town. See O pintor e a cidade, 1956 Painters Painting, 1972 (de Antonio) Painter’s Revenge, 1908 (Porter) Pair of Tights, 1928 (McCarey) Paisa Hi Paisa, 1956 (Mehboob Khan) Paisà, 1946 (Fellini; Rossellini) Paisan. See Paisà, 1946 Pajama Game, 1957 (Donen; Fosse) Pajama Party, 1964 (Keaton) Pajarico, 1998 (Saura) Pájaro del faro, 1971 (Alvarez) FILM TITLE INDEXDIRECTORS, 4 th EDITION 1263 Palaces of Peking. See Pekingi palotái, 1957 Palanquin. See Dochu sugoruku kago, 1926 Palavra e Utopia, 2000 (Oliveira) Pale Flower. See Kawaita hana, 1963 Pale Rider, 1985 (Eastwood) Paleface, 1922 (Keaton) Paleface, 1947 (Tashlin) Paleontologie, 1959 (Haanstra) Palermo oder Wolfsburg, 1980 (Schroeter) Palermo or Wolfsburg. See Palermo oder Wolfsburg, 1980 P?livets ?desv?ger, 1913 (Stiller) Palle alene i Verden, 1949 (Henning-Jensen) Palle Alone in the World. See Palle alene i Verden, 1949 Palm Beach Story, 1942 (Sturges) Palmetto, 1998 (Schl?ndorff) Palmier à l’huile, 1963 (Rouch) Palmy Days, 1931 (Berkeley) Paloma herida, 1963 (Fernández) Palombella rossa, 1989 (Moretti) Palomilla brava, 1973 (Ruiz) Palomita blanca, 1973 (Ruiz) Palookah from Paducah, 1935 (Keaton) Pals, 1912 (Dwan) Pályamunkások, 1957 (Gaál) Pam Kuso Kar, 1974 (Rouch) Pampa gringa, 1962 (Birri) Pamyati Sergo Ordzhonikidze, 1937 (Vertov) Pan, 1920 (Fej?s) Pan Tadeusz, 1999 (Wajda) Pan Tadeusz: The Last Foray in Lithuania. See Pan Tadeusz, 1999 Pandora and the Flying Dutchman, 1951 (Lewin) Pandora’s Box. See Büchse der Pandora, 1928 Pane, amore e . . . , 1955 (de Sica) Pane, amore e Andulasia, 1958 (de Sica) Pane, amore e fantasia, 1953 (de Sica) Pane, amore e gelosia, 1954 (de Sica) Panel. See Painel, 1951 Panels for the Walls of the World, 1967 (Vanderbeek) Panelstory, 1979 (Chytilová) Panic in the Parlor. See Sailor Beware!, 1956 Panic in the Streets, 1950 (Kazan) Panik in Chicago, 1931 (Wiene) Panique, 1946 (Duvivier) Panna Nikt, 1996 (Wajda) Panny z Wilka, 1979 (Wajda) Panorama of the Esplanade by Night, 1901 (Porter) Panta Rhei, 1951 (Haanstra) Pantalon coupé, 1905 (Guy) Pantano d’avio, 1956 (Olmi) Panthea, 1917 (Dwan; von Stroheim) Pantomimes, 1956 (Cocteau) Pants and Pansies, 1911 (Sennett) Panzergew?lbe, 1914 (Leni) Panzergew?lbe, 1926 (Pick) Papa diventa mamma, 1952 (Bava) Papa les Petits Bateaux, 1971 (Kaplan) Papacito lindo, 1939 (de Fuentes) Paparazzi, 1963 (Godard) Papa’s Movies. See Cinema du papa, 1970 Paper, 1994 (Howard) Paper. See Papir, 1943 Paper Doll’s Whisper of Spring. See Kaminingyo haru no sayaki, 1926 Paper Hanger. See Work, 1915 Paper Moon, 1973 (Bogdanovich) Papillon, 1973 (Schaffner) Papir, 1943 (Henning-Jensen) Paquebot ‘Tenacity’, 1933 (Duvivier) Paques rouges, 1914 (Feuillade) Paquet embarrassant, 1907 (Feuillade) Par le sang des autres, 1973 (Beineix) Par ou t’est rentre? On t’a pas vu sortir, 1984 (Lewis) Para recibir el canto de los pajaros, 1995 (Sanjinés) Para vestir, 1955 (Torre Nilsson) Paracelsus, 1943 (Pabst) Parachute, 1969 (Anderson) Parada, 1962 (Makavejev) Parade, 1973 (Tati) Parade. See Parada, 1962 Paradies, 1986 (D?rrie) Paradigme. See Pouvoir du mal, 1985 Paradine Case, 1947 (Hitchcock) Paradis de Satan, 1938 (Delannoy) Paradis perdu, 1939 (Gance) Paradise. See Paradies, 1986 Paradise for Buster, 1952 (Keaton) Paradise for Two, 1927 (La Cava) Paradise Lost, 1911 (Sennett) Paradise Lost. See Bristet Lykke, 1913 Paradise Not Yet Lost, or Oona’s Fifth Year, 1980 (Mekas) Paradise Road, 1997 (Beresford) Paradise Road. See Uli?ka v ráji, 1936 Paradiso e inferno, 1999 (Bertolucci) Paradistorg, 1976 (Bergman) Paraiso ortopedico, 1969 (Guzmán) Parallax View, 1974 (Pakula) Paralytic, 1912 (Guy) Paramount on Parade, 1930 (Arzner; Goulding; Lubitsch) Paranoia Corridor, 1994 (Brakhage) Parapluies de Cherbourg, 1964 (Demy) Parash Pathar, 1957 (Ray) Parashuram, 1978 (Sen) Parasite Murders. See Shivers, 1975 Paratroop Command, 1958 (Corman) Pardessus de demi-saison, 1917 (Feyder) Pardners, 1956 (Lewis) Pardon Me, but Your Teeth Are in My Neck. See Fearless Vampire Killers, 1967 Pardon My Berth Marks, 1940 (Keaton) Pardon My Past, 1946 (Aldrich) Parent terribles, 1948 (Cocteau) Parenthood, 1989 (Howard) Parfait amour!, 1996 (Breillat) Parfum de la dame en noir, 1931 (L’herbier) Parfums, 1924 (Grémillon) Pari, 1997 (Berri) Parias du cinéma, 1997 (Ouedraogo) Parigi e sempre parigi, 1951 (Rosi) Parigina a Roma, 1954 (Scola) Paris, 1926 (Florey; Goulding) Paris 1900, 1947 (Resnais) Paris à l’automne, 1958 (Resnais) Paris Belongs to Us. See Paris nous appartient, 1961 Paris Blues, 1961 (Ritt) Paris br?le-t-il?, 1966 (Clément; Coppola; Welles) Paris-Deauville, 1935 (Delannoy) Paris Does Strange Things. See Elena et les hommes, 1956 Paris Frills. See Falbalas, 1945 Paris Holiday, 1958 (Sturges) Paris in the Spring, 1935 (Milestone) Paris la nuit ou Exploits d’ apaches à Montamartre, 1904 (Guy) Paris—New York, 1939 (von Stroheim) Paris nour appartient, 1960 (Chabrol) FILM TITLE INDEX DIRECTORS, 4 th EDITION 1264 Paris nous appartient, 1958 (Godard) Paris nous appartient, 1960 (Demy) Paris nous appartient, 1961 (Rivette) Paris p? to m?der, 1949 (Roos) Paris, Texas, 1984 (Wenders) Paris qui dort, 1923 (Clair) Paris s’en va, 1981 (Rivette) París Tombuctú, 1999 (García Berlanga) Paris Underworld. See Apachen, 1919 Paris vu par . . . 20 ans après, 1984 (Akerman) Paris vu par . . . , 1965 (Chabrol; Godard; Rohmer; Rouch) Parisette, 1921 (Clair; Feuillade) Parisian Nights, 1924 (Florey) Parivartan, 1949 (Kapoor) Park Row, 1952 (Fuller) Parking, 1985 (Demy) Parlons, grand-mère, 1989 (Mambety) Parlor, Bedroom & Bath, 1931 (Keaton) Parlor, Bedroom, and Bath, 1930 (Autant-Lara) Parnell, 1937 (Stahl) Parole Fixer, 1939 (Florey) Parovoz B-1000, 1929 (Kuleshov) Parrish, 1961 (Daves) Parsifal, 1983 (Syberberg) Parson’s Widow. See Pr?st?nkan, 1920 Part de l’ombre, 1945 (Delannoy) Part of a documentary on Karl Gass made in East Germany, 1960 (Pereira Dos Santos) Part Time Wife, 1930 (Mccarey) Partial Eclipse. See Neúplné zatméní, 1982 Partie de campagne, 1936 (Becker; Visconti) Partie de campagne, 1946 (Renoir) Partie de plaisir, 1975 (Chabrol) Partie de tric-trac, 1895 (Lumière) Partie d’ecarté, 1895 (Lumière) Parting Trails, 1911 (Dwan) Partir . . . , 1931 (Tourneur) Partir!. See Partir . . . , 1931 Partir, revenir, 1985 (Lelouch) Partire, 1938 (de Sica) Partner, 1968 (Bertolucci) Partners in Crime, 1942 (Launder, Frank, and Sidney Gilliat) Partners Three, 1919 (Niblo) Parto psicopro?láctico, 1969 (Leduc) Party, 1964 (Altman) Party, 1970 (Schepisi) Party, 1996 (Oliveira) Party and the Guests. See O slavnosti a hostech, 1966 Party Girl, 1958 (Ray) Party Is Over. See Fin de ?esta, 1959 Parvarish, 1958 (Kapoor) Pas assez, 1968 (Haanstra) Pas de la mule, 1930 (Epstein) Pas de violence entre nous. See Quem e beta, 1972 Pas folle la guêpe, 1972 (Delannoy) Pas si méchant que ?a, 1975 (Goretta) Pascal, 1964-69 (Rohmer) Paseo sobre una guerra antigua, 1948/49 (Bardem; García Berlanga) Pasht, 1965 (Brakhage) Pasqualino settebellezze, 1976 (Wertmuller) Pasqualino. See Pasqualino settebellezze, 1976 Pass the Dumpling, 1927 (Sennett) Pass the Gravy, 1928 (Mccarey) Passage Through: A Ritual, 1990 (Brakhage) Passage to India, 1984 (Lean) Passage to Marseille, 1944 (Curtiz) Passager de la pluie, 1969 (Clément) Passante, 1972 (Faye) Passatore, 1947 (Fellini) Passé de Monique, 1917 (Feuillade) Passe ton bac d’abord, 1979 (Pialat) Passenger. See Professione: Reporter, 1975 Passerby. See Passante, 1972 Passing Fancy. See Dekigokoro, 1933 Passing of a Soul, 1915 (Hepworth) Passing of Izzy, 1914 (Sennett) Passing Quietly Through, 1971 (Coolidge) Passing Through. See Good Bad Man, 1916 Passion, 1954 (Dwan) Passion, 1982 (Godard) Passion. See En passion, 1969 Passion Béatrice, 1987 (Tavernier) Passion de Bernadette, 1990 (Delannoy) Passion de Jeanne d’Arc, 1928 (Dreyer) Passion Fish, 1992 (Sayles) Passion in the Desert. See Baroud, 1931 Passion Island. See Isla de la pasión, 1941 Passion of a Woman Teacher. See Kyoren no onna shisho, 1926 Passion of Anna. See En passion, 1969 Passion of Jesus. See Acto da primavera, 1963 Passion without End. See Hateshinaki jonetsu, 1949 Passionate Adventure, 1924 (Hitchcock) Passionate Friends, 1949 (Lean) Passionate Plumber, 1932 (Autant-Lara; Keaton) Passione d’amore, 1981 (Scola) Passionless Moments, 1984 (Campion) Passions of the Sea. See Lost and Found on a South Sea Island, 1923 Passions—He Had Three, 1913 (Sennett) Passport to Shame, 1959 (Roeg) Past, 1950 (Fri?) Past and Present. See O passado e o presente, 1972 Past Midnight, 1992 (Tarantino) Past, Present, and Future. See Trikaal, 1985 Pasteur, 1922 (Epstein) Pasti, pasti, pasticky, 1998 (Chytilová) Pastor Hall, 1940 (Boulting) Pastoral, 1976 (Ioseliani) Pat and Mike, 1952 (Cukor) Pat Garrett and Billy the Kid, 1973 (Fernández; Peckinpah) Patates, 1969 (Autant-Lara) Pater, 1910 (Feuillade) Páter Vojtěch, 1928 (Fri?) Pater Vojtěch, 1936 (Fri?) Path of Hope. See Cammino della speranza, 1950 Pather Panchali, 1955 (Ray) Paths into the Night. See Wagen in der Nacht, 1979 Paths of Glory, 1957 (Kubrick) Patience, 1920 (Leni) Patricia et Jean-Baptiste, 1966 (Lefebvre) Patrick Dewaere, 1992 (Blier) Patrimonio nacional, 1980 (García Berlanga) Patriot, 1928 (Lubitsch) Patriote, 1938 (Tourneur) Patriotic Woman. See Patriotin, 1979 Patriotin, 1979 (Kluge) Patriots. See Okraina, 1933 Patron est mort, 1938 (Storck) Patrouille en zone minée, 1964 (Miller) Pat’s Day Off, 1912 (Sennett) Patsy, 1928 (Vidor) Patsy, 1964 (Lewis) Pattern of Supply. See Olie op reis, 1957 FILM TITLE INDEXDIRECTORS, 4 th EDITION 1265 Pattes blanches, 1949 (Grémillon) Pattes de mouches, 1936 (Grémillon) Patton, 1970 (Coppola; Schaffner) Patton—Lust for Glory. See Patton, 1970 Patton: A Salute to a Rebel. See Patton, 1970 Pattuglia di passo San Giacomo, 1954 (Olmi) Patty Hearst, 1988 (Schrader) Paul Delvaux ou les femmes défendues, 1969-70 (Storck) Paul Revere’s Ride, 1910 (Walsh) Paul Swan, 1965 (Warhol) Paula aus Portugal, 1979 (D?rrie) Paula—‘‘je reviens’’, 1968 (Schroeter) Paulie, 1998 (Spielberg) Paulina s’en va, 1969 (Téchiné) Pauline à la plage, 1983 (Rohmer) Pauline at the Beach. See Pauline à la plage, 1983 Paura e amore, 1988 (Von Trotta) Paura. See Angst, 1954 Pauvre pompier, 1906 (Guy) Pavé, 1905 (Guy) Pavillonens Hemmelighed, 1916 (Dreyer) Pavlínka, 1974 (Kachyňa) Paw, 1959 (Henning-Jensen) Pawn of Fate, 1916 (Tourneur) Pawnbroker, 1965 (Lumet) Pawnbroker’s Heart, 1917 (Sennett) Pawnshop, 1916 (Chaplin) Pax Aeterna, 1916 (Holger-Madsen) Pay as You Enter, 1928 (Bacon) Pay Day, 1922 (Chaplin) Pay the Devil, 1957 (Welles) Pay-Off. See T-Bird Gang, 1959 Payoff, 1935 (Florey) Pays d’Octobre. See Mississippi Blues, 1983 Pays d’où je viens, 1956 (Carné) Pazza di giola, 1940 (de Sica) Peace of Britain, 1936 (Rotha) Peace Tour. See Wyscig pokoju Warszawa-Berlin-Praga, 1952 Peace Will Win. See Pokoj zwyciezy swiat, 1951 Peaceable Kingdom, 1971 (Brakhage) Peach Basket Hat, 1909 (Grif?th) Peaches and Plumbers, 1927 (Sennett) Peacock Alley, 1921 (Goulding) Peanuts and Bullets, 1915 (Sennett) Pearl. See Perla, 1945 Pearl Necklace. See Zhemchuzhnoe Ozherel’e, 1915 Pearl of the South Paci?c, 1955 (Dwan) Pearls in the Deep. See Perli?ky na dně, 1964 Pearls of the Deep. See Perli?ky na dně, 1964 Peau d’ane, 1971 (Demy) Peau de Torpedo, 1969 (Delannoy) Peau douce, 1964 (Truffaut) Pe?at, 1955 (Makavejev) Peccato che sia una canaglia, 1954 (de Sica) Peccatrice, 1940 (de Sica) Péchés de jeunesse, 1941 (Tourneur) Pêche au hareng, 1930 (Storck) Pêche aux poissons rouges, 1895 (Lumière) Pêcheur dans le torrent, 1897 (Guy) Pêcheurs du Niger, 1962 (Rouch) Pechmarie, 1950 (Staudte) Pecker, 1999 (Waters) Peculiarities of National Fishing, 1998 (Rogozhkin) Peculiarities of the National Hunt, 1995 (Rogozhkin) Pedago?ka bajka, 1961 (Makavejev) Pedales sobra Cuba, 1965 (Alvarez) Peddler, 1913 (Sennett) Peddler. See Dastforoush, 1987 Pedestrian Subway. See Przaj?cie podziemne, 1973 Pedreira de S?o Diogo, 1962 (Pereira Dos Santos) Pedro’s Dilemma, 1912 (Sennett) Pee-Wee’s Big Adventure, 1985 (Burton) Peel, 1982 (Campion) Peep Show, 1981 (Egoyan) Peeping Pete, 1913 (Sennett) Peeping Tom, 1960 (Powell, Michael, And Emeric Pressburger) Peg o’ the Ring, 1916 (Ford) Peg-o-My-Heart, 1923 (Vidor) Peggy Sue Got Married, 1986 (Coppola) Peggy, The Will o’ th’ Wisp, 1917 (Browning) Pègre de Paris, 1906 (Guy) Pei Chih Ch’iu, 1977 (Hou Hsiao-Hsien) Pei Ch’ing Ch’êng Shih, 1989 (Hou Hsiao-Hsien) Peine du talion, 1916 (Feuillade) Peintre et ivrogne, 1905 (Guy) Pekingi palotái, 1957 (Jancsó) Pelea cubana contra los demonios, 1971 (Gutiérrez Alea) Pelican Brief, 1993 (Pakula) Pelileo Earthquake, 1944/49 (Leacock) Pelle erobreren, 1987 (August) Pelle the Conqueror. See Pelle erobreren, 1987 Penal Colony. See Colonia penal, 1971 Penalty of Fame. See Gudernes Yndling, 1919 Penderecki, Lutoslawa, 1977 (Zanussi) P’eng P’eng I Ch’uan Hsin, 1980 (Hou Hsiao-Hsien) Penge, 1916 (Dreyer) Péniche tragique, 1924 (Pick) Penn and Teller Get Killed, 1989 (Penn) Penny Journey, 1938 (Jennings) Penny Paradise, 1938 (Dearden; Reed) Penny Serenade, 1941 (Stevens) Pension Groonen, 1924 (Wiene) Pension Mimosas, 1935 (Feyder) Pensioners, 1912 (Dwan) Pente, 1931 (Autant-Lara) Penthesilea, 1987 (Syberberg) People. See Ceddo, 1977 People and the Nile. See Nas wal Nil, 1968 People and Their Guns. See Peuple et ses fusils, 1969 People from the Metro. See Lidé z metra, 1974 People in the Sun, 1935 (Weiss) People of France. See Vie est à nous, 1936 People of One Heart. See Lidé jednoho srdce, 1953 People of the Cumberlands, 1937 (Kazan) People on a Glacier. See Lidé na k?e, 1937 People on Sunday. See Menschen am Sonntag, 1929 People on Wheels. See Lidé z maringotek, 1966 People under the Stairs, 1991 (Craven) People vs. John Doe, 1916 (Weber) People vs. Larry Flynt, 1996 (Forman; Stone) People Who Are Preparing the Year of the Hohenstaufens. See Menschen, die die Staufer-Austellung vorbereiten, 1977 People Will Talk, 1951 (Mankiewicz) People’s Enemy. See Minshu no teki, 1946 Pépé-le-Moko, 1937 (Duvivier) Pepi, Luci, Bom and Lots of Other Girls. See Pepi, Luci, Bom y otras chicas de montón, 1980 Pepi, Luci, Bom y otras chicas de montón, 1980 (Almodóvar) Pepita Jiménez, 1945 (Fernández) Peppermint frappé, 1967 (Saura) Peppermint Soda. See Diabolo Menthe, 1977 Perceval, 1964-69 (Rohmer) FILM TITLE INDEX DIRECTORS, 4 th EDITION 1266 Per qualche dollaro in più, 1965 (Eastwood; Leone) Per un pugno di dollari, 1964 (Leone) Perceval le Gaullois, 1978 (Rohmer) Perdición de los Hombres, 2000 (Ripstein) Perdonami, 1952 (Bava) Pére de mademoiselle, 1953 (L’herbier) Père No?l a les yeux bleus, 1966 (Eustache) Père prématuré, 1933 (Delannoy) Père tranquille, 1946 (Clément) Perez Family, 1995 (Nair) Perfect Couple, 1979 (Altman) Perfect Crime, 1921 (Dwan) Perfect Lady. See A Woman, 1915 Perfect Love, 1919 (Goulding) Perfect Love. See Parfait amour!, 1996 Perfect Marriage. See Beau Mariage, 1982 Perfect Specimen, 1937 (Curtiz) Perfect Storm, 2000 (Levinson; Petersen) Perfect Strangers, 1945 (Korda) Perfect World, 1993 (Eastwood) Per?dy of Mary, 1913 (Grif?th) Performance, 1970 (Roeg) Perils of Petersboro, 1926 (Sennett) Perils of the Park, 1916 (Sennett) Périscope, 1916 (Gance) Perjurer, 1957 (Ulmer) Perla, 1945 (Fernández) Perli?ky na dn , 1964 (Nemec) Perli?ky na dně, 1965 (Chytilová; Jire?) Permanent Vacation, 1980 (Jarmusch) Permeke, 1985 (Storck) Permette? Rocco Papaleo, 1971 (Scola) Permissive Society, 1975 (Leigh) Perón: actualización politica y doctrinaria para la toma del poder, 1971 (Solanas, Fernando E., And Octavio Getino) Perón: La revolución justicialista, 1971 (Solanas, Fernando E., And Octavio Getino) Perpetua, 1922 (Hitchcock) Persiane chiuse, 1950 (Fellini) Persona, 1966 (Bergman) Personal Column. See Pièges, 1939 Personal History, Adventures, Experience, and Observations of David Copper?eld, the Younger. See David Copper?eld, 1933 Personal History of British Cinema by Stephen Frears, 1994 (Apted: Frears) Personel, 1975 (Kie?lowski) Personnel. See Personel, 1975 Peru—Istituto de Verano, 1956 (Olmi) Pervaya Lyubov’, 1915 (Bauer) Perversions of Science, 1997 (Hooper; Zemeckis) Pervoye maya 1920 v Moskve, 1919 (Kuleshov) Pervyi paren, 1958 (Paradzhanov) Pesn o Gerojach, 1932 (Ivens) Pesn o metallye, 1928 (Hei?tz) Pesnya katorzhanina, 1911 (Protazanov) Pesnya Manshuk, 1971 (Mikhalkov) Pesnya o shchastye, 1934 (Donskoi) Pest from the West, 1939 (Keaton) Pest in Florenz, 1919 (Lang) Pest of Friends, 1927 (Sennett) Pesten Nkem lámpást adott kezembe az úr, 1999 (Jancsó) Petal on the Current, 1919 (Browning) Pete ‘n’ Tillie, 1972 (Ritt) Pete Roleum and His Cousins, 1939 (Losey) Peter and Pavla. See Cerny Petr, 1963 Peter Voss Who Stole Millions. See Peter Voss, der Millionendieb, 1931 Peter Voss, der Millionendieb, 1931 (Dupont; Forst) Peter’s Friends, 1992 (Branagh) Petersburg Slums. See Petersburgskiye trushchobi, 1915 Petersburgskiye trushchobi, 1915 (Protazanov) Petey and Johnny, 1961 (Leacock) Pětistovka, 1949 (Fri?) Petit à petit, 1971 (Rouch) Petit Babouin, 1932 (Grémillon) Petit Chaperon rouge, 1929 (Cavalcanti; Renoir) Petit Chapiteau. See Circo mas peque?o, 1963 Petit frèree et petite soeur, 1896-97 (Lumière) Petit Hamlet. See Hamles, 1960 Petit Jour, 1963 (Godard) Petit Manuel d’histoire de France, 1979 (Ruiz) Petit monastère en Toscane, 1988 (Ioseliani) Petit Monde de Don Camillo, 1951 (Duvivier) Petit of?cier . . . Adieu!, 1930 (Forst) Petit Roi, 1933 (Duvivier) Petit Soldat, 1963 (Godard) Petit Théatre de Jean Renoir, 1970 (Renoir) Petite, 1978 (Malle) Petite Andalouse, 1914 (Feuillade) Petite Apocalypse, 1993 (Costa-Gavras) Petite danseuse, 1913 (Feuillade) Petite Lise, 1930 (Grémillon) Petite magicienne, 1900 (Guy) Petite Marchande d’allumettes, 1928 (Renoir) Petite vendeuse de soleil, 1998 (Mambety) Petite voleuse, 1989 (Berri; Miller) Petites apprenties, 1911 (Feuillade) Petites Filles modèles, 1952 (Rohmer) Petites marionnettes, 1918 (Feuillade) Petits Coupeurs de bois vert, 1904 (Guy) Petri?ed Forest, 1936 (Daves) Petri?ed Forest. See Kaseki no mori, 1973 Pett and Pott, 1934 (Cavalcanti; Grierson; Jennings) Petulia, 1968 (Lester; Roeg) Peuple est invincible, 1969 (Ivens) Peuple et ses fusils, 1969 (Ivens) Peuple ne peut rien sans ses fusils, 1969 (Ivens) Peuple peut tout, 1969 (Ivens) Peur des coups, 1932 (Autant-Lara) Pezzo, capopezzo e capitano. See Kanonenserenade, 1958 Phaedra, 1962 (Dassin) Phantasmes, 1918 (L’herbier) Phantom Chariot. See K?rkarlen, 1921 Phantom Eye, 1999 (Corman) Phantom India. See Inde fant?me, 1969 Phantom Lady, 1944 (Siodmak) Phantom Life. See Vie fant?me , 1992 Phantom Light, 1935 (Powell, Michael, And Emeric Pressburger) Phantom of Liberty. See Fant?me de la liberté, 1974 Phantom of Love. See Ai no borei, 1978 Phantom of the Paradise, 1974 (de Palma) Phantom Outlaw, 1927 (Wyler) Phantom Raiders, 1940 (Tourneur) Phantom Riders, 1918 (Ford) Phantom Strikes. See Gaunt Stranger, 1938 Phantom, 1922 (Murnau) Phantom, 1996 (Dante) Pharaoh. See Faraon, 1965 Pharmacist, 1933 (Sennett) Phenomenon No.1, 1964 (Vanderbeek) Philadelphia, 1993 (Corman; Demme) Philadelphia Experiment, 1984 (Carpenter) Philadelphia Story, 1940 (Cukor; Mankiewicz) FILM TITLE INDEXDIRECTORS, 4 th EDITION 1267 Philippe Soupault et le surréalisme, 1982 (Tavernier) Philips-Radio, 1931 (Ivens) Philosopher’s Stone. See Parash Pathar, 1957 Phir Subah Hogi, 1958 (Kapoor) Phobia, 1980 (Huston) Phoenix. See Fujicho, 1947 Phoenix. See Hi no tori, 1980 Phone My Wife. See Zadzwoncie do mojej zony, 1958 Phoney University Student. See Nise Daigakusei, 1960 Photogénie mécanique, 1924 (Grémillon) Photograph. See Zdjecie, 1968 Photographe, 1895 (Lumière) Photos d’Alix , 1980 (Eustache) Phynx, 1970 (Berkeley) Physical Culture Romance, 1914 (Browning) Pianist, 2001 (Polanski) Piano, 1993 (Campion) Piano Movers. See His Musical Career, 1914 Pianos mécanicos, 1965 (Bardem) Pianos méchaniques. See Pianos mécanicos, 1965 Pibe cabeza, 1975 (Torre Nilsson) Picador, 1932 (Dulac) Piccadilly, 1928 (Dupont) Piccadilly Third Stop, 1960 (Zetterling) Piccolo mondo antico, 1941 (Lattuada) Piccolo mondo di Don Camillo. See Petit Monde de Don Camillo, 1951 Picket Guard, 1913 (Dwan) Picking Peaches, 1924 (Capra; Sennett) Picking up the Pieces, 2000 (Allen) Pickpocket, 1959 (Bresson) Pickup on South Street, 1953 (Fuller) Picnic at Hanging Rock, 1975 (Weir) Picnic at Ray’s, 1975 (Jarman) Picnic on the Grass. See Déjeuner sur l’herbe, 1959 Picture of Dorian Gray, 1945 (Lewin) Picture of Madame Yuki. See Yuki Fujin ezu, 1950 Picture of the Time. See Bild der Zeit, 1921/22 Picture Snatcher, 1933 (Bacon) Picture Windows, 1995 (Dante) Pictures at an Exhibition. See Egy kiállitás képei, 1954 Pictures of My Brother Julio. See As pinturas de meu irm?o Júlio, 1965 Pida huivsta kiinnim Tatjana, 1994 (Kaurismaki) Pie in the Sky, 1934 (Kazan) Piece of Pleasure. See Partie de plaisir, 1975 Pied Piper, 1942 (Preminger) Pied Piper. See Pied Piper of Hamelin, 1972 Pied Piper of Hamelin, 1972 (Demy) Pied qui etreint, 1916 (Feyder) Piednadze albo zycie, 1961 (Skolimowski) Piedra libre, 1976 (Torre Nilsson) Piedra sobre piedra, 1970 (Alvarez) Pieds-Nickeles, 1964 (de Broca) Piège à pucelles, 1972 (Chabrol) Pièges, 1939 (Siodmak; von Stroheim) Piel de verano, 1961 (Torre Nilsson) Pierre et Paul, 1968 (Miller) Pierre philosophe, 1912 (Gance) Pierres chantantes d’Ayorou, 1968 (Rouch) Pierrot assassin, 1903/04 (Guy) Pierrot le fou, 1965 (Fuller; Godard) Pierrot Pierrette, 1924 (Feuillade) Pierwsza mi?o??, 1973 (Kie?lowski) Pierwsze lata, 1949 (Ivens) Piety. See Kegyelet, 1967 Pig. See Cochon, 1970 Pigpen. See Porcile, 1969 Pigsty. See Porcile, 1969 Pikoo, 1981 (Ray) Pikovaya dama, 1916 (Protazanov) Pilate and Others. See Pilatus und andere—ein Film für Karfreitag, 1972 Pilatus und andere—ein Film für Karfreitag, 1972 (Wajda) Pile Driver. See Fatal Mallet, 1914 Pile Driving. See Heien, 1929 Piles of Perils, 1916 (Sennett) Pilgrim, 1923 (Chaplin) Pilgrimage, 1933 (Ford) Pill Pounder, 1923 (La Cava) Pillars of Society, 1916 (Walsh) Pillole di Ercole, 1960 (de Sica) Pillow Book, 1996 (Greenaway) Pilota ritorna, 1942 (Rossellini) Pimp. See Zegen, 1987 Pinched in the Finish, 1917 (Sennett) Pine à ongles, 1968 (Forman) Pink Cadillac, 1989 (Eastwood) Pink Flamingoes, 1972 (Waters) Pink Floyd—The Wall, 1982 (Parker) Pink Pajamas, 1929 (Sennett) Pinky, 1949 (Kazan) Pinky, Elmyra & the Brain, 1998 (Spielberg) Pinnacle Rider, 1926 (Wyler) Pinned to the Ground. See Auf’s kreuz gelegt, 1974 Pinocchio, 1972 (de Sica) Pioneers in Ingolstadt. See Pioniere in Ingolstadt, 1971 Pioniere in Ingolstadt, 1971 (Fassbinder) Pipes of Pan, 1922 (Hepworth) Pippa Passes, 1909 (Grif?th; Sennett) Pir v Girmunka, 1941 (Pudovkin) Pira?as, 1967 (García Berlanga) Piranha, 1978 (Bartel; Corman; Dante; Sayles) Pirata sono io!, 1940 (Fellini) Pirate, 1948 (Minnelli) Pirate Gold, 1912 (Grif?th) Pirate Tape, 1982 (Jarman) Pirates, 1985 (Polanski) Pirates Bold, 1916 (Franklin) Pirates du rail, 1938 (von Stroheim) Pirate’s Fiancée, Dirty Mary. See Fiancée du Pirate, 1969 Pirate’s Gold, 1908 (Grif?th) Pirates of Capri. See I pirati de Capri, 1949 Pire Nuri, 1968 (Güney) Pirhana II: Flying Killers,. See Pirhana II: The Spawning, 1981 Pirhana II: The Spawning, 1981 (Cameron) Pirogov, 1947 (Kozintsev) Piroska és a farkas, 1988 (Mészáros) Píseň o sletu I, II, 1949 (Weiss) Piste du nord, 1942 (Feyder) Pistonne, 1970 (Berri) Pit, 1914 (Tourneur) Pit. See Ana, 1957 Pit and the Pendulum, 1913 (Guy) Pit and the Pendulum, 1961 (Corman) Pit and the Pendulum. See Puits et le pendule, 1963 Pit Stop, 1969 (Corman) Pitfalls of a Big City, 1923 (Sennett) Pithache Panje, 1914 (Phalke) Pittori in città, 1955-59 (Taviani) Pittsburgh Documents, 1971 (Brakhage) Piú bella serata della mia vita, 1972 (Scola) Piyade Osman, 1970 (Güney) Pizhon, 1929 (Donskoi) FILM TITLE INDEX DIRECTORS, 4 th EDITION 1268 Pizza Triangle: A Drama of Jealousy, and Other Things. See Dramma della gelosia—Tutti i particolari in cronaca, 1970 Place for Lovers. See Amanti, 1968 Place in a Crowd, 1964 (Menzel) Place in the Sun, 1951 (Stevens) Place in the Sun. See A Spot in the Shade, 1949 Place to Go, 1963 (Dearden) Place without Limits. See Lugar sin límites, 1977 Places in the Heart, 1984 (Benton) Placido Domingo: A Musical Life, 1995 (Zef?relli) Plácido, 1961 (García Berlanga) Plague in Florence. See Pest in Florenz, 1919 Plain and Fancy Girls, 1925 (Mccarey) Plain Clothes, 1925 (Capra; Sennett) Plain Clothes, 1988 (Coolidge) Plain Jane to the Rescue, 1982 (Woo) Plain People. See Prostiye Lyudi, 1945 Plain Song, 1910 (Grif?th) Plain Woman. See Okame, 1927 Plainsman, 1937 (de Mille) Plaisir, 1952 (Ophüls) Plaisir d’Amour, 1994 (Kaplan) Plaisirs défendus, 1933 (Cavalcanti) Plan Nine from Outer Space, 1956 (Wood, Edward D., Jr.) Planet of the Apes, 1968 (Schaffner) Planet of the Vampires. See Terrore nello spazio, 1965 Planeta Burg, 1966 (Bogdanovich) Plannbung, 1977 (Petersen) Planter’s Wife, 1908 (Grif?th) Planton du colonel, 1897 (Guy) Plastiques, 1963 (Storck) Plateau, 1905 (Guy) Platinum Blonde, 1931 (Capra) Platonische Ehe, 1919 (Leni) Platoon, 1986 (Stone) Plato’s Cave Inn, 1980 (Vanderbeek) Platters. See écuelles, 1983 Play It Again, Sam, 1972 (Allen) Play It as It Lays, 1972 (Schumacher) Play Misty for Me, 1971 (Eastwood; Siegel) Play Murder for Me, 1992 (Corman) Playa prohibida, 1955 (Bardem) Playboy’s Voluptuous Vixens, 1997 (Meyer) Player, 1992 (Altman; Pollack; Rudolph) Playgirls and the Bellboy, 1962 (Coppola) Playgrounds of the Mammals, 1932 (Sennett) Playhouse, 1921 (Keaton) Playing Around, 1930 (Leroy) Playing with Scorpions, 1972 (Marshall) Playmates. See Lekkamraterna, 1914 Plays for Britain, 1976 (Leigh) Playtime, 1967 (Tati) Pleasantville, 1998 (Soderbergh) Please, Not Now!. See Bride sur le cou, 1961 Pleasure Garden, 1926 (Hitchcock) Pleasure Garden, 1952 (Anderson) Pleasure Garden. See Lustg?rden, 1961 Pleasure of Love. See Plaisir d’Amour, 1994 Pleasure Party. See Partie de plaisir, 1975 Pleasures of the Flesh. See Etsuraku, 1965 Plebei, 1915 (Protazanov) Plebeian. See Plebei, 1915 Plein soleil, 1959 (Clément) Plein Sud, 1981 (Miller) Plenty, 1985 (Schepisi) Ples v dezju, 1961 (Chabrol) Plokhoy khoroshyi chelovek, 1973 (Hei?tz) Pl?tzliche Reichtum der armen Leute von Kombach, 1970 (Fassbinder) Pl?tzliche Reichtum der armen Leute von Kombach, 1971 (Schl?ndorff; Von Trotta) Plough and the Stars, 1936 (Ford) Plow That Broke the Plains, 1936 (Lorentz) Plumber, 1914 (Sennett) Plumber, 1925 (Sennett) Plumber, 1978 (Weir) Plumber. See Work, 1915 Plumber and the Lady, 1933 (Sennett) Plumber’s Daughter, 1927 (Sennett) Plumbier amoureux, 1931 (Autant-Lara) Plumitas calientes, 1994 (Birri) Plus Belles Escroqueries du monde, 1963 (Polanski) Plus Belles Escroqueries du monde, 1964 (Chabrol; Godard) Plus vieux métier du monde, 1967 (Autant-Lara; de Broca; Godard; Miller) Plusz minusz egy nap, 1973 (Fábri) Po ceste pustym lesem, 1999 (Nemec) Po zakonu, 1926 (Kuleshov) Po: forza 50.000, 1961 (Olmi) Pobeda na pravoberezhnoi Ukraine i izgnanie Nemetskikh zakhvatchikov za predeli Ukrainskikh Sovetskikh zemel, 1945 (Dovzhenko) Pobeda, 1938 (Pudovkin) Pobo?ník Jeho Vysosti, 1933 (Fri?) Po?estné paní pardubické, 1944 (Fri?) Pociag, 1959 (Kawalerowicz) Pocket Money, 1972 (Malick) Pocketful of Miracles, 1961 (Capra) Pod gwiazda frygijska, 1954 (Kawalerowicz) Pod severnym siyaniyem, 1990 (Mikhalkov) Poder local, poder popular, 1970 (Gómez) Poder popular, 1979 (Guzmán) Podor del deseo, 1976 (Bardem) Podstawy BHP w kopalni miedzi, 1972 (Kie?lowski) Podsudimy, 1985 (Hei?tz) Podvig razvedchika, 1947 (Barnet) Podwójne ?ycie Weroniky, 1991 (Kie?lowski) Poem Field No.1, 1967 (Vanderbeek) Poem Field No.2, 1966 (Vanderbeek) Poem Field No.5, 1967 (Vanderbeek) Poem Field No.7, 1967 (Vanderbeek) Poem of an Inland Sea. See Poema o more, 1958 Poema o more, 1958 (Dovzhenko) Poet, 1957 (Barnet) Poet Remembers, 1989 (Nemec) Poète et sa folle amante, 1916 (Feuillade) Poetic Justice, 1993 (Singleton) Poil de carotte, 1925 (Duvivier; Feyder) Poil de carotte, 1932 (Duvivier) Poil de carotte, 1972 (Kurys) Point Blank, 1967 (Boorman) Point Break, 1991 (Bigelow; Cameron) Point de fuite, 1983 (Ruiz) Point Loma, Old Town, 1912 (Dwan) Point of No Return, 1993 (Badham; Besson) Point of Order, 1963 (de Antonio) Pointe courte, 1956 (Resnais; Varda) Pointing Finger, 1919 (Browning) Points of Reference, 1959 (Leacock) Poison, 1911/13 (Feuillade) Poison, 1991 (Haynes) Poison of Gold. See Guldets Gift, eller Lerhjertet, 1916 Poisoned Flume, 1911 (Dwan) Poisonous Arrow. See Giftpilen, 1915 FILM TITLE INDEXDIRECTORS, 4 th EDITION 1269 Poisonous Love. See Fader og S?n, 1911 Pojken och draken, 1962 (Troell) Poker Windows, 1931 (Sennett) Pokerspiel, 1966 (Kluge) Pokhozdeniya Oktyabrini, 1924 (Kozintsev) Poko, 1981 (Ouedraogo) Pokoj zwyciezy swiat, 1951 (Ivens) Pokolenie, 1955 (Polanski; Wajda) Pokoritel’ Zhenskikh Serdets. See Leon Drey, 1915 Poku?eni, 1957 (Kachyňa) Pola X, 1999 (Carax) Polden, 1931 (Hei?tz) Polibek ze stadionu, 1948 (Fri?) Police!, 1916 (Chaplin) Police, 1985 (Breillat; Pialat) Police Film. See Polizei?lm, 1970 Poliche, 1934 (Gance) Polin, 1900/07 (Guy) Polioty vo sne naiavou, 1983 (Mikhalkov) Polite Invasion, 1960 (Zetterling) Politician’s Love Story, 1909 (Grif?th; Sennett) Politimesteren, 1911 (Blom) Polizeiakte 909, 1933 (Wiene) Polizei?lm, 1970 (Wenders) Polly West est de Retour, 1996 (Kaplan) Polowanie na muchy, 1969 (Wajda) Poltergeist, 1982 (Hooper; Spielberg) Polustanok, 1963 (Barnet) Polyecran for International Exposition of Labor Turin. See Polyekrán pro Mezinárodní vystavu práce Turin, 1961 Polyecran for the Brno Industrial Fair. See Polyekrán pro BVV, 1960 Polyekrán pro BVV, 1960 (Jire?) Polyekrán pro Mezinárodní vystavu práce Turin, 1961 (Jire?) Polyester, 1981 (Waters) Pommier, 1902 (Guy) Pomodoro, 1961 (Olmi) Pompadourtasken. See Naar Fruen gaar paa Eventyr, 1913 P?mperly’s Kampf mit dem Schneeschuh, 1922 (Holger-Madsen) Pompiers, 1895 (Lumière) Pompon malencontreux 1, 1903/04 (Guy) Pont d’ Iéna, 1900 (Lumière) Pont du Nord, 1981 (Rivette) Pontcarral, Colonel d’Empire, 1942 (Delannoy) Pontormo and Punks at Santa Croce, 1982 (Jarman) Pony Express, 1909 (Porter) Poodle Springs, 1998 (Pollack; Rafelson) Pool of London, 1950 (Dearden) Poor Cow, 1967 (Loach) Poor Fish, 1924 (Mccarey) Poor Fish, 1931 (Sennett) Poor Girl, 1974 (Apted) Poor Girl. See Chudá holka, 1929 Poor Little Rich Girl, 1917 (Tourneur) Poor Little Rich Girl, 1965 (Warhol) Poor Ones. See Zavallilar, 1975 Poor Relations, 1919 (Vidor) Poovanam, 1969 (Benegal) Popas in tabara de vara, 1958 (Mészáros) Pope Must Die, 1991 (Bartel) Pope Must Diet. See Pope Must Die, 1991 Popeye, 1980 (Altman) Popió? i diament, 1958 (Wajda) Popió?y, 1965 (Wajda) Poppy. See Gubijinso, 1935 Popular Crafts. See Artesania popular, 1966 Popular Power. See Poder popular, 1979 Por la puerta falsa, 1950 (de Fuentes) Por la tierra ajena, 1968 (Littin) Por primera vez elecciones libres, 1984 (Alvarez) Porcile, 1969 (Pasolini) Porgy and Bess, 1959 (Preminger) Pork Chop Hill, 1959 (Milestone) Pornographers: Introduction to Anthropology. See Jinruigaku nyumon, 1966 Port Chicago Vigil, 1966 (Baillie) Port of Call. See Hamnstad, 1948 Port of Seven Seas, 1938 (Sturges; Whale) Port of Shadows. See Quai des brumes, 1938 Porta del cielo, 1946 (de Sica) Portaborse, 1991 (Moretti) Porte des Lilas, 1957 (Clair) Porte du large, 1936 (L’herbier) Porter. See New Janitor, 1914 Portes de la maison, 1954 (Storck) Portes de la nuit, 1946 (Carné) Porteuse de pain, 1906 (Feuillade) Porto Novo—la danse des reines, 1971 (Rouch) Portrait, 1993 (Penn) Portrait. See Shozo, 1948 Portrait de Mireille, 1909 (Gance) Portrait de Raymond Depardon, 1983 (Rouch) Portrait d’Henri Goetz, 1947 (Resnais) Portrait d’un assassin, 1949 (von Stroheim) Portrait from Life, 1949 (Zetterling) Portrait of a Girl. See Léanyportre, 1971 Portrait of a Lady, 1996 (Campion) Portrait of a Man. See Fér?arckép, 1964 Portrait of a Sinner. See Rough and the Smooth, 1959 Portrait of a Woman. See Femme disparait, 1942 Portrait of a Young Girl at the End of the 1960s in Brussels, 1994 (Akerman) Portrait of Arshile, 1995 (Egoyan) Portrait of Asa. See Portratt av Asa, 1965 Portrait of Geza Anda, 1964 (Leacock) Portrait of Jason, 1967 (Clarke) Portrait of One Who Proved His Mettle. See Portr?t einer Bew?hrung, 1964 Portrait of Paul Burkhard, 1964 (Leacock) Portrait of the Patriotic Heroes. See Chung Lieh T’u, 1974 Portrait of Van Cliburn, 1966 (Leacock) Portr?t einer Bew?hrung, 1964 (Kluge) Portratt av Asa, 1965 (Troell) Poslední mu?, 1934 (Fri?) Poslední vyst?el, 1950 (Weiss) Posse, 1993 (Bartel) Possédés, 1987 (Holland; Wajda) Possessed. See Possédés, 1987 Possession de l’enfant, 1909 (Feuillade) Post Haste, 1933 (Launder, Frank, and Sidney Gilliat) Post Haste, 1934 (Grierson; Jennings) Post Of?ce Europe. See Europa-Postlagernd, 1918 Postcards from the Edge, 1990 (Nichols; Reiner) Postman Always Rings Twice, 1981 (Rafelson) Posto, 1961 (Olmi) Postri?ny, 1980 (Menzel) Pot au Feu, 1965 (Altman) Pot Bouille, 1957 (Duvivier) Potage indigeste, 1903 (Guy) Pote tin kyriaki, 1960 (Dassin) Potifars Hustru, 1911 (Blom) Potomok Chingis-khana, 1928 (Barnet; Pudovkin) Pottery of Ilzecka. See Ceramika I??ecka, 1951 FILM TITLE INDEX DIRECTORS, 4 th EDITION 1270 Potterymaker, 1925 (Flaherty) Pottsville Palooka, 1931 (Sennett) Poudre d’escampette, 1971 (de Broca) Poule fantaisiste, 1903 (Guy) Poulet, 1963 (Berri) Poulet au vinaigre, 1984 (Chabrol) Pounding Hearts. See P’eng P’eng I Ch’uan Hsin, 1980 Pour être aimée, 1933 (Tourneur) Pour le mérite, 1950 (Staudte) Pour le mistral, 1966 (Ivens) Pour secourer la salade, 1902 (Guy) Pour toutes, 1999 (Lelouch) Pour un maillot jaune, 1965 (Lelouch) Pour un sou d’amour, 1931 (Grémillon) Pour une nuit d’amour, 1920/23 (Protazanov) Pour vos beaux yeux, 1929-30 (Storck) Pourquoi?, 1981 (Ouedraogo) Pourquoi, Israel?, 1973 (Lanzmann) Pourquoi pas?, 1977 (Serreau) Poussières d’amour, 1996 (Schroeter) Pouta, 1961 (Kachyňa) Pouvoir du mal, 1985 (Zanussi) Povere bimbe, 1923 (Pastrone) Poverty and Other Delights. See Joyeux Calvaire, 1996 Povest plamennykh let, 1961 (Dovzhenko) Povodeň, 1958 (Fri?) Power, 1986 (Lumet) Power and the Glory, 1933 (Sturges) Power and the Land, 1940 (Ivens) Power Flash of Death, 1913 (Dwan) Power of Emotions. See Macht der Gefühle, 1983 Power of Evil. See Pouvoir du mal, 1985 Power of Love, 1912 (Dwan) Power of Love. See Kaerlighedens Styrke, 1911 Power of the Image: Leni Riefenstahl. See Macht der Bilder: Leni Riefenstahl, 1993 Power of the Press, 1928 (Capra) Power of the Press, 1943 (Fuller) Power to the People, 1972 (Benegal) Pozor vizita!, 1981 (Kachyňa) P?ísně tajné premiéry, 1967 (Fri?) Prá?e, 1960 (Kachyňa) Practical Joke and a Sad End. See En grov Sp?g, 1908 Practice Makes Perfect. See Cavaleur, 1978 Praesidenten, 1919 (Dreyer) Praesten i Vejlby, 1920 (Blom) Praesten i Vejlby, 1931 (Holger-Madsen) Praestens Datter, 1916 (Holger-Madsen) Prague, 1985 (Menzel) Prague, the Restless Heart of Europe. See Praha, neklidne srace Europy, 1985 Praha, neklidne srace Europy, 1985 (Chytilová) Prangasiz mahkumlar, 1964 (Güney) Pr?st?nkan, 1920 (Dreyer) Pr?sten, 1914 (Sj?str?m) Pratidwandi, 1970 (Ray) Pratinidhi, 1964 (Sen) Prato, 1979 (Taviani) Pravda, 1969 (Godard) Prawdziwy koniec wielkiej wojny, 1957 (Kawalerowicz) Prazdnik svyatovo Iorgena, 1930 (Protazanov) Preacher, 2000 (Smith) Precautions against Fanatics. See Massnahmen gegen Fanatiker, 1968 Precious Grain. See Dragotsennye zerna, 1948 Precursores de la pintura argentina, 1957 (Torre Nilsson) Prefab Story. See Panelstory, 1979 Prelude à l’apres-midi d’une faune, 1938 (Rossellini) Prem Rog, 1982 (Kapoor) Préméditation, 1912 (Feuillade) Premature Burial, 1962 (Coppola; Corman) Premi Pagal, 1933 (Mehboob Khan) Première Cigarette, 1904 (Guy) Premiere fois, 1976 (Berri) Première Gamelle, 1902 (Guy) Premiere. See ?sbemutató, 1974 Premiers pas de Bébé, 1896-97 (Lumière) Premonition, 1970 (Rudolph) Prenom: Carmen, 1983 (Godard) Preparez vos mouchoirs, 1977 (Blier) Présence réelle, 1983 (Ruiz) Presence, 1972 (Brakhage) Presence. See Jelenlét, 1965 Présentation ou Charlotte et son steak, 1951 (Godard; Rohmer) President. See Praesidenten, 1919 President Vanishes, 1934 (Wellman) Presidentessa, 1952 (Germi) Pressens Magt, 1913 (Blom) Pressure Point, 1962 (Kramer) Presumed Innocent, 1990 (Pakula; Pollack) Pret a Porter. See Ready to Wear, 1995 Pretty Angels, 1990 (Fridriksson) Pretty as a Picture: The Art of David Lynch, 1997 (Lynch) Pretty Baby, 1978 (Malle) Pretty Maids All in a Row, 1971 (Vadim) Pretty Sister of Jose, 1915 (Dwan) Preview Murder Mystery, 1935 (Florey) Prey of the Jaguar, 1996 (Bartel) Price of a Good Time, 1917 (Weber) Price of a Song, 1935 (Powell, Michael, And Emeric Pressburger) Price of Beauty. See Den farlige Alder, 1911 Price of Coal, 1977 (Loach) Price of Heaven, 1997 (Bogdanovich) Price of Man. See Tsena cheloveka, 1928 Price of the Necklace, 1914 (Ingram) Priceless Watch. See Anmol Ghadi, 1946 Prick up Your Ears, 1987 (Frears; Jarman) Pride. See Aan, 1952 Pride and the Man, 1916 (Borzage) Pride and the Passion, 1957 (Kramer) Pride of New York, 1918 (Walsh) Pride of Palomar, 1922 (Borzage) Pride of Pickeville, 1927 (Sennett) Pride of the Clan, 1917 (Tourneur) Pride of the Marines, 1945 (Daves) Prière, 1900/07 (Guy) Priest. See Pr?sten, 1914 Priest and Empress. See Yoso, 1963 Prigioniero della montagna, 1955 (Pasolini) PriklyuchenieLiny v Sochi, 1916 (Bauer) Prima Angélica, 1974 (Saura) Prima della rivoluzione, 1964 (Bertolucci) Prima notte, 1958 (Cavalcanti; de Sica) Prima sezona, 1994 (Kachyňa) Primal Call, 1911 (Grif?th) Primary, 1960 (Leacock; Maysles) Primary Colors, 1998 (Nichols; Reiner) Primary Target, 1990 (Corman) Primate, 1974 (Wiseman) Primer a?o, 1970 (Guzmán) Primer delegado, 1975 (Alvarez) Primera fundacion de Buenos Aires, 1959 (Birri) Primeros Juegos Deportivos Militares, 1964 (Alvarez) FILM TITLE INDEXDIRECTORS, 4 th EDITION 1271 Primitive Lover, 1922 (Franklin) Primrose Path, 1940 (La Cava) Prince and the Pauper, 1915 (Porter) Prince and the Pauper. See Seine Majest?t das Bettelkind, 1920 Prince of Arcadia. See Prinz von Arkadien, 1932 Prince of Avenue A, 1920 (Ford) Prince of Darkness, 1987 (Carpenter) Prince of Egypt, 1998 (Brooks; Spielberg) Prince of Foxes, 1948 (Welles) Prince of Homburg. See Principe di Homburg, 1997 Prince of the City, 1981 (Lumet) Princess and the Plumber, 1930 (Korda) Princess Bride, 1987 (Reiner) Princess Chang Ping, 1975 (Woo) Princess from the Moon. See Taketori Monogatari, 1987 Princess of New York, 1921 (Hitchcock) Princess Pongyola. See A hercegn? Pongyolaban, 1914 Princess with the Golden Star. See Princezna se zlatou hvězdou, 1959 Princess Yang Kwei-fei. See Yokihi, 1955 Princesse de Clèves, 1960 (Cocteau; Delannoy) Princesse Mandane, 1928 (Dulac) Princess’s Dilemma. See Prinsesse Elena, 1913 Princezna se zlatou hvězdou, 1959 (Fri?) Principe di Homburg, 1997 (Bellocchio) Principio y ?n, 1993 (Ripstein) Prins Gustaf, 1944 (Zetterling) Prinsesse Elena, 1913 (Holger-Madsen) Printemps, 1909 (Feuillade) Prinz Kuckuk, 1919 (Leni) Prinz Sami, 1918 (Lubitsch) Prinz und Bettelknabe. See Seine Majest?t das Bettelkind, 1920 Prinz von Arkadien, 1932 (Forst) Prinzessin und der Geiger. See Blackguard, 1925 Prinzessin von Neutralien, 1917 (Wiene) Prípad pro Selwyn, 1968 (Weiss) Priscilla and the Umbrella, 1911 (Sennett) Priscilla’s April Fool Joke, 1911 (Sennett) Priscilla’s Capture, 1911 (Sennett) Prise de pouvoir par Louis XIV, 1966 (Rossellini) Prisionero trece, 1933 (de Fuentes) Prison, 1965 (Warhol) Prison. See F?ngelse, 1949 Prison Farm, 1938 (Dmytryk) Prison Stories: Women on the Inside, 1991 (Silver; Spheeris) Prison sur le gouffre, 1912 (Feuillade) Prison Taint. See Den Aerel?se, 1916 Prison without Bars, 1938 (Crichton) Prisoner from Stambul. See H?ftling aus Stambul, 1929 Prisoner No. 1. See Fange nr. 1, 1935 Prisoner No. 113. See Fange Nr. 113, 1917 Prisoner of Honor, 1991 (Anderson) Prisoner of Japan, 1942 (Ulmer) Prisoner of Mars, 1942 (Anger) Prisoner of Second Avenue, 1975 (Schumacher) Prisoner of Shark Island, 1936 (Ford) Prisoner of the Harem, 1914 (Guy) Prisoner of Zenda, 1913 (Porter) Prisoner of Zenda, 1922 (Ingram) Prisoner of Zenda, 1937 (Cromwell) Prisoners of Hope, 1995 (Kopple) Prisoner’s Song. See Pesnya katorzhanina, 1911 Prisonnière, 1968 (Clouzot) Private Affairs of Bel Ami, 1947 (Aldrich; Lewin) Private Benjamin, 1980 (Brooks) Private Confessions. See Enskilda samtal, 1996 Private Conversation. See Bes svideteley, 1983 Private Detective 62, 1933 (Curtiz) Private Duty Nurses, 1971 (Corman) Private Hell 36, 1954 (Siegel) Private Izzy Murphy, 1926 (Bacon) Private Life of a Cat, 1945 (Deren) Private Life of Don Juan, 1934 (Korda) Private Life of Helen of Troy, 1927 (Korda) Private Life of Henry VIII, 1933 (Crichton; Korda) Private Life of Sherlock Holmes, 1970 (Wilder) Private Lives, 1931 (Franklin) Private Lives of Elizabeth and Essex, 1939 (Curtiz) Private Matter, 1992 (Silver) Private Navy of Sergeant O’Farrell, 1968 (Tashlin) Private Parts, 1972 (Bartel) Private Wives, 1933 (Sandrich) Private Worlds, 1935 (La Cava) Private’s Affair, 1959 (Walsh) Private’s Progress, 1956 (Attenborough; Boulting) Privilege, 1990 (Rainer) Privileged, 1981 (Schlesinger) Privy Councillor Geiger. See Hofrat Geiger, 1947 Prix de beauté, 1930 (Clair) Prize of Gold, 1954 (Zetterling) Prize?ghter and the Lady, 1933 (Hawks) Prizzi’s Honor, 1985 (Huston) Pro Patria, 1914 (Blom) Probation Wife, 1919 (Franklin) Probation, 1975 (Leigh) Problem Girls, 1953 (Dupont) Procès, 1962 (Welles) Procès de Jeanne d’Arc, 1962 (Bresson) Process, 1972 (Brakhage) Processo alla città, 1952 (Rosi) Processo Clémenceau, 1918 (de Sica) Proclamation. See Kiáltó, 1964 Procureur Hallers. See Andere, 1930 Prodigal Bridegroom, 1926 (Sennett) Prodigal Knight. See Affairs of Anatol, 1921 Prodigal Son. See Tuhlaajapoika, 1993 Prodlou?eny ?as, 1984 (Jire?) Producers, 1968 (Brooks) Production sélective du réseau à soixante-dix, 1934 (Storck) Prof. Kelpha’s Magic, 1914/15 (Phalke) Professional, 1995 (Besson) Professione: Reporter, 1975 (Antonioni) Professor Bean’s Removal, 1913 (Sennett) Professor Beware, 1938 (Daves) Professor de mi Se?ora, 1930 (Florey) Professor Hannibal. See Hannibál tonár úr, 1956 Professor My Son. See Mio Figlio Professore, 1946 Professor’s Daughter, 1913 (Sennett) Profeta, 1967 (Scola) Profezia di un delitto. See Magiciens, 1975 Pro?t by Their Example, 1964 (Loach) Profound Desire of the Gods. See Kamigami no fukaki yokubo, 1968 Profundo carmesí, 1996 (Ripstein) Progresso in agricoltura, 1957 (Olmi) Proibito, 1954 (Rosi) Proie du vent, 1926 (Clair) Proie pour l’ombre, 1960 (Astruc) Proizvodstvo muzykal’nykh instrumentov, 1930 (Barnet) Prokleti praznik, 1958 (Makavejev) Prokliatiye millioni, 1917 (Protazanov) Prokuror, 1917 (Protazanov) Prolonged Time. See Prodlou?eny ?as, 1984 Promesse de l’aube, 1971 (Dassin) FILM TITLE INDEX DIRECTORS, 4 th EDITION 1272 Prométhé, 1908 (Feuillade) Prométhée . . . banquier, 1921 (L’herbier) Prometheus I-II, 1919 (Blom) Promise, 1912 (Dwan) Promise. See Versprechen, 1994 Promise at Dawn. See Promesse de l’aube, 1971 Promised Land. See Tierra prometida, 1973 Promised Land. See Ziemia obiecana, 1974 Property Man, 1914 (Chaplin; Sennett) Prophecy, 1979 (Frankenheimer) Prophecy. See Jóslat, 1920 Propos sur le cinéma, 1986 (Kaboré) Proposition, 1998 (Branagh) Propre de l’homme, 1960 (Lelouch) Proprietà non è piú un furto, 1973 (Petri) Proschanie s Matyoroy, 1981 (Shepitko) Proscrit, L’oubliette, 1912/13 (Feuillade) Prosperity Race, 1962 (Zetterling) Prospero’s Books, 1991 (Greenaway) Prostitute. See Prostitutka, 1926 Prostitutka, 1926 (Donskoi) Prostiye Lyudi, 1945 (Kozintsev) Prostoi sluchai, 1932 (Pudovkin) Protéa, 1913 (Feyder) Protecting San Francisco from Fire, 1913 (Sennett) Protector, 1999 (Corman) Protégé. See Protegido, 1956 Protegido, 1956 (Torre Nilsson) Protest at 48 Years Old. See Yonjuhassai no teiko, 1956 Protsess Eserov, 1922 (Vertov) Protsess Mironova, 1919 (Vertov) Protsess o tryokh millionakh, 1926 (Barnet; Protazanov) Proud Flesh, 1925 (Vidor) Proud Ones. See Cheval d’Orgueil, 1980 Proud Rebel, 1958 (Curtiz) Prova de Fogo, 1980 (Diegues) Prova d’orchestra, 1978 (Fellini) Providence, 1977 (Resnais) Provincial Actors. See Aktorzy prowincjonalni, 1979 Provinciale, 1980 (Goretta) Prowler, 1951 (Aldrich; Losey) Proyekt inzhenera Praita, 1918 (Kuleshov) Prozess, 1947 (Pabst) Prstynek, 1944 (Fri?) Prudence of Broadway, 1919 (Borzage) Prude’s Fall, 1924 (Hitchcock) Prunella, 1918 (Tourneur) Prussian Cur, 1918 (Walsh) Prussian Spy, 1909 (Grif?th) Przaj?cie podziemne, 1973 (Kie?lowski) Przed rajdem, 1970 (Kie?lowski) Przek?adaniec, 1968 (Wajda) Przemysl, 1966 (Zanussi) Przesluchanie, 1982 (Holland) Prze?wietlenie, 1973 (Kie?lowski) Przy Jaciel, 1960 (Skolimowski) Przypadek, 1981 (Kie?lowski) Psohlavci, 1954 (Fri?) Psy, 1980 (de Broca) Psyche, Lysis, 1947 (Markopoulos) Psychiatry in Russia, 1955 (Maysles) Psycho, 1960 (Hitchcock) Psycho, 1998 (van Sant) Psycho IV: The Beginning, 1991 (Landis) P’Tang Yang, Kipperbang. See Kipperbang, 1983 P’tite Lilie, 1927 (Cavalcanti) Puberty Blues, 1982 (Beresford) Public Enemy, 1931 (Wellman) Public Eye, 1992 (Zemeckis) Public Eye. See Follow Me, 1972 Public Housing, 1997 (Wiseman) Public Prosecutor. See Prokuror, 1917 Publicity Pays, 1924 (Mccarey) Puce Moment, 1949 (Anger) Puce Women, 1948 (Anger) Puebla hoy, 1978 (Leduc) Pueblerina, 1948 (Fernández) Pueblito, 1961 (Fernández) Pueblo Legend, 1912 (Grif?th) Pueblos en armas, 1961 (Ivens) Puente, 1977 (Bardem) Pugilist. See Knock Out, 1914 Puits et le pendule, 1963 (Astruc) Puits mitoyen, 1913 (Tourneur) Pull Ourselves up or Die Out, 1985 (Marshall) Pullman Bride, 1917 (Sennett) Pulp Fiction, 1994 (Tarantino) Pulsating Giant, 1971 (Benegal) Pulse of Life, 1917 (Ingram) Puma Action. See Daihao meizhoubao, 1989 Pumpkin. See Kabocha, 1928 Pumpkin Eater, 1964 (Clayton) Punishment, 1912 (Grif?th) Punishment Island. See Shokei no shima, 1966 Punishment Room. See Shokei no heya, 1956 Punition, 1962 (Rouch) Punnascha, 1961 (Sen) Punt’a a ?ty?lístek, 1954 (Weiss) Punta and the Four-Leaf Clover. See Punt’a a ?ty?lístek, 1954 Punter’s Mishap, 1900 (Hepworth) Puntila, 1970 (Syberberg) Pupils of the Seventh Grade, 1938 (Protazanov) Puppe, 1919 (Lubitsch) Puppenmacher von Kiang-Ning, 1923 (Wiene) Puppetmaster, 1993 (Hou Hsiao-Hsien) Puppets, 1916 (Browning) Puppies. See Stěnata, 1957 Puppy Lovetime, 1926 (Sennett) Pur Sang, 1931 (Autant-Lara) Purchase Price, 1932 (Wellman) Pure Air. See Friluft, 1959 Pure Hell of St. Trinian’s, 1960 (Launder, Frank, and Sidney Gilliat) Purgation, 1910 (Grif?th) Purity and After, 1978 (Brakhage) Purple Heart, 1944 (Milestone) Purple Noon. See Plein soleil, 1959 Purple Rose of Cairo, 1985 (Allen) Pursued, 1947 (Walsh) Pursuit at Dawn. See Akatsuki no tsuiseki, 1950 Pursuit of Happiness, 1971 (Mulligan) Pursuit of the Graf Spee. See Battle of the River Plate, 1956 Pusher-in-the-Face, 1928 (Florey) Pushing Hands, 1991 (Lee) Pussycat. See Faster Pussycat! Kill! Kill!, 1965 Putting One Over. See Masquerader, 1914 Putting Pants on Philip, 1926 (Stevens) Puu-san, 1953 (Ichikawa) Pyaar, 1950 (Kapoor) Pyat vecheroc, 1979 (Mikhalkov) Pygmalion, 1938 (Lean) Pyramide des Sonnengottes, 1965 (Siodmak) Pyramide humaine, 1961 (Rouch) FILM TITLE INDEXDIRECTORS, 4 th EDITION 1273 Pyramides bleues, 1988 (Marker) Pytel blech, 1962 (Chytilová) Pytlákova schovanka, 1949 (Fri?) Q & A, 1990 (Lumet) Q-bec My Love. See Succès commercial, 1970 Qiang xing qi fei, 1984 (Chen Kaige) Qin yong, 1989 (Zhang Yimou) Qiu Jin, 1983 (Xie Jin) Qiu Ju da guan si, 1992 (Zhang Yimou) Quack Doctor, 1920 (Sennett) Quadrille, 1950 (Godard; Rivette) Quadrille réaliste, 1902 (Guy) Quai des brumes, 1938 (Carné) Quai des Orfèvres, 1947 (Clouzot) Quality Street, 1927 (Franklin; Lewin) Quality Street, 1937 (Stevens) Quand le rideau se lève, 1957 (Lelouch) Quand les feuilles tombent, 1911 (Feuillade) Quand minuit sonna, 1914 (Feyder) Quand tu liras cette lettre, 1953 (Melville) Quando a Carnaval chegar, 1972 (Diegues) Quando de donne avevano la coda, 1970 (Wertmuller) Quante volte. . .quella notte, 1972 (Bava) Quarrelsome Anglers, 1898 (Hepworth) Quarry Mystery, 1914 (Hepworth) Quarta pagina, 1942 (Fellini) Quartet, 1948 (Zetterling) Quartet, 1981 (Ivory) Quartieri alti, 1944 (Castellani) Quatorze Juillet, 1932 (Clair) Quatorze Juillet, 1954 (Gance) Quatre Aventures de Reinette et Mirabelle, 1987 (Rohmer) Quatre Cents Coups, 1959 (Demy; Truffaut) Quatre Cents Coups, 1959 (de Broca) Quatre Nuits d’un rêveur, 1971 (Bresson) Quatres Vagabonds, 1931 (Pick) Quatres vérités, 1962 (Clair) Que el viento se llevó, 1980 (Alvarez) Que hacer, 1970 (Ruiz) Que la bête meure, 1969 (Chabrol; Pialat) Que la fête commence, 1975 (Tavernier) Qué me hecho yo para merecer esto?, 1984 (Almodóvar) Que sont-ils devenus?, 1997 (Téchiné) Que Viva Mexico!, 1933 (Eisenstein) Que Viva Mexico!, 1939 (Eisenstein) Que Viva Mexico!, 1941 (Eisenstein) Que Viva Mexico!, 1958 (Eisenstein) Québec et aprés. See Confort et l’indifférence, 1982 Québec: Duplessis and After.... See Québec: Duplessis et après. . . , 1972 Québec: Duplessis et après. . . , 1972 (Arcand) Queen and the Cardinal. See Jérome Perreau, héro des barricades, 1936 Queen Bee. See Jo-bachi, 1978 Queen Christina, 1933 (Mamoulian) Queen Is Dead, 1986 (Jarman) Queen Kelly, 1928 (von Stroheim) Queen Margot. See Reine Margot, 1994 Queen of Apollo, 1970 (Leacock) Queen of Blood, 1966 (Corman) Queen of Modern Times. See Gendai no joo, 1924 Queen of Sin. See Sodom und Gomorrha, 1922 Queen of Spades, 1948 (Clayton) Queen of Spades. See Pikovaya dama, 1916 Queen of the Band, 1915 (Browning) Queen of the Circus. See Kyohubadan no joo, 1925 Queen of the Night. See Reina de la Noche, 1994 Queen’s Diamonds. See Three Musketeers, 1974 Queen’s Guards, 1961 (Powell, Michael, And Emeric Pressburger) Queen’s Necklace. See Affaire du collier de la Reine, 1946 Queen’s Secret. See Taina koroloevy, 1919 Queimada, 1969 (Pontecorvo) Quel bandito sono io, 1949 (Bava) Quelle joie de vivre. See Che gioia vivere, 1961 Quelques Jours avec moi, 1988 (Sautet) Quem e beta, 1972 (Pereira Dos Santos) Quemando tradiciones, 1971 (Alvarez) Quentin Crisp in America. See Resident Alien, 1991 Querelle, 1982 (Fassbinder) Querelle de jardins, 1982 (Ruiz) Querelle enfantine, 1895 (Lumière) Quest of Life, 1916 (Goulding) Qu’est-ce qu’on attend pour être heureux!, 1982 (Serreau) Questa volta parliamo di uomini, 1965 (Wertmuller) Questi fantasmi, 1967 (Castellani) Questi ragazzi, 1937 (de Sica) Question, 1977 (Tavernier) Question of Attribution, 1991 (Schlesinger) Question ordinaire, 1969 (Miller) Questions of Leadership, 1983 (Loach) Qui commande aux fusils, 1969 (Ivens) Quick, 1932 (Siodmak) Quick and the Dead, 1995 (Raimi) Quick Billy, 1970 (Baillie) Quick—K?nig der Clowns. See Quick, 1932 Quicksands, 1923 (Hawks) Quicksilver Highway, 1997 (Landis) Quién me quiere a mi?, 1936 (Bu?uel) Quiet American, 1958 (Mankiewicz) Quiet American, 2001 (Pollack) Quiet Day at the End of the War, 1970 (Mikhalkov) Quiet Days in Clichy. See Jours tranquilles a Clichy, 1990 Quiet Little Wedding, 1913 (Sennett) Quiet Man, 1952 (Ford) Quiet Place in the Country. See Tranquillo posto di campagna, 1968 Quiet Please, 1933 (Stevens) Quiet Revolution, 1975 (Benegal) Quiet Village. See Vaiennut kyla, 1997 Quills, 2000 (Kaufman) Quilombo, 1984 (Diegues) Quintet, 1979 (Altman) Quixote, 1964/65 (Baillie) Quiz Show, 1994 (Levinson; Scorsese) Qunian dongtian, 1995 (Hou Hsiao-Hsien) Quo Vadis?, 1951 (Huston; Leroy) R-Xmas, 2001 (Ferrara) R.I.P., Rest in Pieces, 1997 (Jarmusch) Raag Yaman Kalyan, 1972 (Benegal) Raat Bhore, 1956 (Sen) Raba lubvi, 1976 (Mikhalkov) Rabbia, 1963 (Pasolini) Rabbit Case. See Causa králík, 1979 Rabbit’s Moon, 1971 (Anger) Rabbit’s Moon. See Lune des Lapins, 1950 Rabi, 1992 (Kaboré) Rabi. See Rabi, 1992 Rabid, 1976 (Cronenberg) Rabid Dogs. See Cani arrabbiati, 1974 Rabindranath Tagore, 1961 (Ray) Rablélek, 1913 (Curtiz) Racconti Romani, 1955 (Rosi; de Sica) FILM TITLE INDEX DIRECTORS, 4 th EDITION 1274 Race, 1914 (Sennett) Race for a Bride, 1914 (Browning) Racetrack, 1985 (Wiseman) Rache einer Frau, 1921 (Wiene) Rache ist mein, 1918 (Lang) Rachel’s Sin, 1911 (Hepworth) Racines noires, 1985 (Faye) Racing. See Rennen, 1961 Racket, 1928 (Milestone) Racket, 1951 (Cromwell) Racket Busters, 1938 (Rossen) Racket Cheers, 1929 (Sennett) Radeau avec baigneurs, 1896-97 (Lumière) Radi neskol’kikh strochek. See For the Sake of a Few Lines, 1985 Radio Days, 1987 (Allen) Radio Kisses, 1930 (Sennett) Radioens Barndom, 1949 (Dreyer) Radioland Murders, 1994 (Lucas) Raduga, 1944 (Donskoi) Rafael Alberti, un retrato del poeta por Fernando Birri, 1983 (Birri) Raf?es, 1914 (Sennett) Ra?e de chiens, 1904 (Guy) Raga and the Emotions, 1971 (Benegal) Ragazza che sapeva troppo, 1963 (Bava) Ragazza di Piazza S. Pietro, 1958 (de Sica) Ragazza in vetrina, 1961 (Pasolini) Rage. See Rabid, 1976 Rage de dents, 1900 (Guy) Rage Net, 1988 (Brakhage) Ragged Flag. See Ranru no hata, 1974 Raging Bull, 1980 (Schrader; Scorsese) Ragtime, 1981 (Forman) Rah Hal-e Yek, 1978 (Kiarostami) Raiders of the Lost Ark (Spielberg), 1981 (Kasdan; Kaufman; Lucas; Spielberg) Rail Rider, 1916 (Tourneur) Rail-rodder, 1965 (Keaton) Railroad Man. See Ferroviere, 1956 Railroaded, 1947 (Mann) Railroaders. See Pályamunkások, 1957 Rain, 1932 (Milestone) Rain. See Regen, 1929 Rain. See Sadie Thompson, 1928 Rain Man, 1988 (Levinson) Rain or Shine, 1930 (Capra) Rain People, 1969 (Coppola) Rainbow. See Raduga, 1944 Rainbow Dance, 1936 (Cavalcanti) Rainbow Jacket, 1954 (Dearden) Rainbow of This Sky. See Kono ten no niji, 1958 Raining in the Mountain. See K’ung Shan Ling Y&udieresis;, 1979 Raining Stones, 1993 (Loach) Rainmaker, 1997 (Coppola) Rain’s Hat, 1978 (Zetterling) Raintree County, 1957 (Dmytryk) Rainy Knight, 1925 (Sennett) Raise Ravens. See Cria cuervos, 1976 Raise the Red Lantern. See Da hong deng long gao gao gua, 1991 Raising Arizona, 1987 (Coen) Raising Cain, 1992 (de Palma) Raja Harishchandra, 1913 (Phalke) Raja Harishchandra, 1916/17 (Phalke) Rajol ? Hayati, 1961 (Chahine) Rajtunk is mulik, 1960 (Mészáros) Rake’s Progress, 1945 (Launder, Frank, and Sidney Gilliat) Rakkii-san, 1952 (Ichikawa) Rakudai wa shita keredo, 1930 (Ozu) Rakugaki kokuban, 1959 (Shindo) Rallare, 1947 (Sj?str?m) Rally ‘round the Flag, Boys!, 1958 (Mccarey) Rambling Rose, 1991 (Coolidge) Rambo: First Blood Part II, 1984 (Cameron) Ramona and Julian. See Lonesome Cowboys, 1968 Rampage, 1992 (Friedkin) Ramuntcho, 1958 (de Broca) Ramuz, passage d’un poète, 1959 (Tanner) Ran, 1985 (Kurosawa) Ranch Detective, 1912 (Dwan) Ranch Girl, 1911 (Dwan) Ranch Life on the Range, 1912 (Dwan) Ranchero’s Revenge, 1913 (Grif?th) Ranchman’s Marathon, 1912 (Dwan) Ranchman’s Nerve, 1911 (Dwan) Rancho alegre, 1940 (Fernández) Rancho Notorious, 1952 (Lang) Random Harvest, 1942 (Franklin; Leroy) Random Hearts, 1999 (Pollack) Rangha, 1976 (Kiarostami) Rango, 1931 (Schoedsack) Rank and File Film, 1971 (Loach) Ranks and People. See Chiny i liudi, 1929 Ranru no hata, 1974 (Yoshimura) Ransom, 1996 (Howard) Ransom. See Tengoku to jigoku, 1963 Rape of Czechoslovakia, 1939 (Weiss) Rappel immédiat, 1939 (von Stroheim) Rapport du Gendarme, 1987 (Goretta) Rapt d’ enfant par les romanichels. See Volée par les bohémiens, 1904 Rapto, 1953 (Fernández) Rascal Dazzle, 1981 (Lewis) Rascal of Wol?sh Ways, 1915 (Sennett) Rashomon, 1950 (Kurosawa) Raskolnikow, 1923 (Wiene) Rasp, 1931 (Powell, Michael, And Emeric Pressburger) Raspberry Romance, 1925 (Sennett) Rasputin. See Tragédie impériale, 1938 Rastro de la Muerte, 1983 (Ripstein) Rastro de muerte, 1981 (Ripstein) Rastus and the Game-Cock, 1913 (Sennett) Rat Race, 1960 (Mulligan) Rated X, 2000 (Bogdanovich) R?tsel von Bangalor, 1917 (Leni) Ratten, 1955 (Siodmak) Rattlesnakes and Gunpowder and The Ranch Tenor, 1911 (Dwan) Raub der Mona Lisa, 1931 (Forst) R?uberbraut, 1916 (Wiene) Rausch; Madame DuBarry, 1919 (Lubitsch) Raven, 1963 (Corman) Raw Deal, 1948 (Mann) Rayon vert, 1986 (Rohmer) Raz, dwa, trzy, 1967 (Anderson) Razbitaya vaza, 1913 (Protazanov) Razbudite Lenochky, 1933 (Gerasimov) Razgrom Japonii, 1945 (Hei?tz) Razord in Old Kentucky, 1930 (Sandrich) Razor’s Edge, 1946 (Goulding) Razzle Dazzle, 1903 (Porter) Re-Inforcer, 1949 (Lewis) Reaching for the Moon, 1917 (Fleming) Reaching for the Moon, 1931 (Goulding) Reaching for the Sun, 1941 (Wellman) Ready Money, 1914 (de Mille) FILM TITLE INDEXDIRECTORS, 4 th EDITION 1275 Ready to Wear, 1995 (Altman) Real Adventure, 1922 (Vidor) Real End of the Great War. See Prawdziwy koniec wielkiej wojny, 1957 Real Estate Fraud, 1912 (Dwan) Real Genius, 1985 (Coolidge) Real Life, 1979 (Brooks; Spheeris) Real McTeague, 1994 (Altman) Real Presence. See Présence réelle, 1983 Real Woman. See Mulher de verdade, 1954 Realismo socialista, 1973 (Ruiz) Reap the Wild Wind, 1942 (de Mille) Rear Window, 1954 (Hitchcock) Reasons of State. See Recurso del método, 1975 Reazione a catena, 1971 (Bava) Rebecca, 1940 (Hitchcock) Rebecca of Sunnybrook Farm, 1938 (Dwan) Rebecca’s Daughter, 1990 (Forsyth) Rebecca’s Wedding Day, 1914 (Sennett) Rebel. See Amakusa shiro tokisada, 1962 Rebel without a Cause, 1955 (Ray) Rebelión de los colgados, 1954 (Fernández) Rebellion. See Joiuchi, 1967 Rebellion in Japan. See Utage, 1967 Rebound. See Rebound: The Legend of Earl ‘The Goat’ Manigault, 1996 Rebound: The Legend of Earl ‘The Goat’ Manigault, 1996 (Badham) Rebuilding of Ronne and Nex?. See R?nnes og Nex?s Genopbygning, 1954 Rece do gory, 1967 (Skolimowski) Recipe for a Crime. See P?ísně tajné premiéry, 1967 Récit du colonel, 1908 (Feuillade) Reckless, 1935 (Fleming) Reckless Moment, 1949 (Ophüls) Reckless Romeo, 1917 (Keaton) Reckless Rosie. See Naughty Baby, 1929 Reckoning, 1908 (Grif?th) Recognition, 1912 (Dwan) Reconstitution. See Anaparastassi, 1970 Reconstruction. See Anaparastassi, 1970 Record Breakers, 1914 (Browning) Record of a Living Being. See Ikimono no kiroku, 1955 Record of a Tenement Gentleman. See Nagaya no shinshi roku, 1947 Record of Love. See Aijo no keifu, 1961 Record of Love and Desire. See Aiyoku no ki, 1930 Record of Youth. See Shonen ki, 1951 Recreation, 1914 (Chaplin; Sennett) Récréation à la Martinière, 1895 (Lumière) Recta ?nal, 1964 (Fernández) Recuerdos del Porvenir, 1968 (Ripstein) Recurso del método, 1975 (Littin) Red, 1953 (Fernández) Red and Blue, 1968 (Richardson) Red and the Blue, 1983 (Loach) Red and the White. See Csillagosok, katonák, 1967 Red Badge of Courage, 1951 (Huston) Red Ball Express, 1952 (Boetticher) Red Baron. See Von Richthofen and Brown, 1971 Red Beard. See Hung Hu-Tzu, 1958 Red Beard. See Akahige, 1965 Red Dance, 1928 (Walsh) Red Desert. See Deserto rosso, 1964 Red Dust, 1932 (Fleming; Hawks) Red Elephant, 1982 (Tian Zhuangzhuang) Red Ensign, 1934 (Powell, Michael, And Emeric Pressburger) Red Girl, 1908 (Grif?th) Red-headed Woman, 1932 (Lewin) Red Heat, 1988 (Hill) Red Heels. See Celimene, Poupee de Montmartre, 1925 Red Hot Rhythm, 1929 (Mccarey) Red Hot Romance, 1913 (Sennett) Red Hot Romance, 1922 (Fleming) Red House, 1947 (Daves) Red Inn. See Auberge rouge, 1951 Red Italy, 1979 (Jarmusch) Red Kimono, 1925 (Arzner) Red Light. See Spinonen fra Tokio, 1910 Red Lily, 1924 (Niblo) Red Line 7000, 1965 (Hawks) Red Lob. See Palombella rossa, 1989 Red Margaret, Moonshiner, 1913 (Dwan) Red Mark, 1928 (Daves) Red May. See V?r?s Május, 1968 Red Pearls, 1930 (Launder, Frank, and Sidney Gilliat) Red Pony, 1949 (Aldrich; Milestone) Red Psalm. See Még kér a nép, 1972 Red Ribbon Blues, 1995 (Bartel) Red River, 1948 (Hawks) Red Samson. See A v?r?s Sámson, 1917 Red Shoes, 1948 (Powell, Michael, And Emeric Pressburger) Red Sorghum. See Hong gao liang, 1988 Red Tent. See Krasnaya palatka, 1971 Red Vase. See Kizil vazo, 1961 Redemption, 1930 (Niblo) Redes, 1934/35 (Zinnemann) Redhead Redhead, 1980 (Rogozhkin) Redl Ezredes, 1985 (Szabó) Redman and the Child, 1908 (Grif?th) Redman’s View, 1909 (Grif?th) Reed: Insurgent Mexico. See Reed: México insurgente, 1973 Reel Fine, 1998 (Brakhage) Reel Virginian, 1924 (Sennett) Reencuentro, 1985 (Alvarez) Re?ections in a Golden Eye, 1967 (Coppola; Huston) Re?ections in the Dark, 1994 (Corman) Re?ections of Murder, 1974 (Badham) Re?ections on Black, 1955 (Brakhage) Re?ections on Cinema. See Propos sur le cinéma, 1986 Re?ections on Citizen Kane, 1991 (Frankenheimer) Re?et de Claude Mercoeur, 1923 (Duvivier) Re?ex?lm, 1947 (Roos) Reformation. See Et Laereaar, 1914 Reformation of Sierra Smith, 1912 (Dwan) Reformers, 1913 (Grif?th) Refrain. See Refren, 1972 Refren, 1972 (Kie?lowski) Refugee, 1918 (Hepworth) Refugiados de la Cueva del Muertro, 1983 (Alvarez) Regain, 1937 (Pagnol) Régard des autres. See Mirada de los otros, 1979 Regard Picasso, 1967 (Kaplan) Regard sur le VIème FESPACO, 1979 (Kaboré) Regarde-moi quand je te quitte, 1993 (de Broca) Regarding Henry, 1991 (Nichols; Reiner) Regards sur la Belgique ancienne, 1936 (Storck) Régates de San Francisco, 1960 (Autant-Lara) Regen, 1929 (Ivens) Regeneration, 1915 (Walsh) Régime sans pain, 1986 (Ruiz) Régiment moderne, 1906 (Guy) Registered Nurse, 1933 (Florey) Règle du jeu, 1939 (Becker; Renoir) Regno di Napoli, 1978 (Schroeter) Regular Girl, 1919 (Goulding) FILM TITLE INDEX DIRECTORS, 4 th EDITION 1276 Regularly or Irregularly. See Be Tartib ya Bedoun-e Tartib, 1981 Réhabilitation, 1905 (Guy) Rehearsal, 1974 (Dassin) Rehearsal. See Plannbung, 1977 Reifezeugnis, 1982 (Petersen) Reign of Terror, 1949 (Mann) Reilly’s Wash Day, 1919 (Sennett) Reimei izen, 1931 (Kinugasa) Reina de la Noche, 1994 (Ripstein) Réincarnation de Serge Renaudier, 1920 (Duvivier) Reincarnation. See Ujraél?k, 1920 Reindeer Games, 2000 (Frankenheimer) Reine Margot, 1954 (Gance) Reine Margot, 1994 (Berri) Reise ins Licht, 1977 (Fassbinder) Reise nach Wien, 1973 (Kluge) Réjeanne Padovani, 1973 (Arcand; Lefebvre) Releasing the Spirits, 1990 (Asch) Relentless: Mind of a Killer, 1994 (Badham) Relentless Outlaw, 1912 (Dwan) Religieuse, 1966 (Rivette) Reluctant Debutante, 1958 (Minnelli) Reluctant Millionaire. See Mu? z neznáma, 1939 Reluctant Saint, 1962 (Dmytryk) Remains of the Day, 1993 (Ivory) Remarkable Mr. Kipps. See Kipps, 1941 Rembrandt, 1936 (Korda) Rembrandt, Etc. and Jane, 1976 (Brakhage) Rembrandt, Painter of Man. See Rembrandt, schilder van de mens, 1957 Rembrandt, schilder van de mens, 1957 (Haanstra) Remember Last Night, 1935 (Whale) Remember Mary Magdalene, 1914 (Dwan) Remember My Name, 1978 (Altman; Rudolph) Remember the Night, 1940 (Sturges) Remember When, 1925 (Capra; Sennett) Reminiscences of a Journey to Lithuania, 1972 (Mekas) Remorques, 1941 (Grémillon) Removal Party. See Sloane Square, A Room of One’s Own, 1976 Rencontre, 1914 (Feuillade) Rencontre avec le Président Ho Chi Minh, 1969 (Ivens) Rendez-vous, 1962 (Delannoy) Rendez-vous, 1976 (Lelouch) Rendez-vous, 1985 (Téchiné) Rendez-vous d’Anna, 1978 (Akerman) Rendez-vous de Cannes, 1929 (Becker) Rendez-vous de Juillet, 1949 (Becker) Rendez-vous de Paris, 1995 (Rohmer) Rendezvous at Orchard Bridge, 1954 (Xie Jin) Rendezvous in Paris. See Rendez-vous de Paris, 1995 Rendezvous with Annie, 1946 (Dwan) Renegade’s Heart, 1913 (Dwan) Renegades, 1930 (Fleming) Rennen, 1961 (Kluge) Renn?eber, 1917 (Dupont) Rent Jumpers, 1915 (Sennett) Renunciation, 1909 (Grif?th) Répétition dans un cirque, 1903 (Guy) Répétition générale. See Generalprobe, 1980 Repas de bébé, 1895 (Lumière) Repas en famille, 1896-97 (Lumière) Replacement Killers, 1998 (Woo) Réponses de femmes, 1975 (Varda) Report. See Gozaresh, 1977 Report from Millbrook, 1966 (Mekas) Report from the Aleutians, 1943 (Huston) Report on the Chairman of a Farmers’ Co-Operative. See Riport egy TSZ-eln?kr?l, 1960 Report on the Party and the Guests. See O slavnosti a hostech, 1966 Reportage sur Orly, 1964 (Godard) Reportaje, 1953 (Fernández) Reporters, 1972 (Apted) Repos du guerrier, 1962 (Vadim) Representative. See Pratinidhi, 1964 Republicans—The New Breed, 1964 (Leacock) Repulsion, 1964 (Polanski) Requiem, 1981 (Fábri) Requiem, 1998 (Tanner) Requiem for Those Who Overlived, 1992 (Jire?) Requiescat, 1966 (Pasolini) Resan bort, 1945 (Sj?berg) Rescate, 1974 (Alvarez) Rescued by Rover, 1905 (Hepworth) Rescued from an Eagle’s Nest, 1907 (Porter) Rescuers: Stories of Courage: Two Women, 1997 (Bogdanovich) Reserved for Ladies. See Service for Ladies, 1932 Reservoir Dogs, 1992 (Tarantino) Resident Alien, 1991 (Morrissey) Resourceful Lovers, 1911 (Sennett) Response in October. See Respuesta de Octobre, 1972 Responsive Eye, 1966 (de Palma) Respuesta de Octobre, 1972 (Guzmán) Rest ist Schweigen, 1959 (K?utner) Restaurant, 1965 (Warhol) Restless Breed, 1957 (Dwan) Restless Spirit, 1913 (Dwan) Restless Wives, 1924 (La Cava) Restless Years, 1958 (K?utner) Restoration, 1909 (Grif?th) Resultado ?nal, 1998 (Bardem) Resurrection, 1909 (Grif?th) Resurrection. See En Opstandelse, 1914 Résurrection, 1923 (L’herbier) Resurrection, 1999 (Cronenberg) Resurrection of Bronco Billy, 1970 (Carpenter) Resurrection of Love. See Ai ni yomigaeru hi, 1923 Resurrezione, 1958 (Castellani) Retenex-moi . . . ou je fais un malheur, 1984 (Lewis) Retour à la raison, 1924 (Ray) Retour à la terre, 1938 (Tati) Retour à la vie, 1949 (Clouzot) Retour à la vie. See Achraroumès, 1978 Retour d’Afrique, 1971 (Tanner) Retour de Don Camillo, 1953 (Duvivier) Retour de Manivel, 1916 (Feuillade) Retour des champs, 1899/1900 (Guy) Retour d’un amateur de bibliothèque, 1983 (Ruiz) Retour d’une promenade en mer, 1896-97 (Lumière) Retour Madrid, 1967 (Haanstra) Retrato, 1963 (Solas) Retroscena, 1939 (Germi) Retten sejrer, 1917 (Holger-Madsen) Return. See Rückkehr, 1990 Return Engagement, 1983 (Rudolph) Return of Frank James, 1940 (Lang) Return of Maxim. See Vozvrashcheniye Maksima, 1937 Return of the Edge of the World, 1978 (Powell, Michael, And Emeric Pressburger) Return of the Heroes. See Aslanlarin d?nüsü, 1966 Return of the Jedi, 1983 (Kasdan; Lucas; Marquand) Return of the Musketeers, 1989 (Lester) Return of the Prodigal Son. See Awdat al Ibn al Dal, 1976 FILM TITLE INDEXDIRECTORS, 4 th EDITION 1277 Return of the Secaucus Seven, 1980 (Sayles) Return of the Seven, 1965 (Fernández) Return of the Texan, 1952 (Daves) Return of Vasili Bortnikov. See Vozvrachenia Vassilya Bortnikov, 1953 Return Ticket to Madrid. See Retour Madrid, 1967 Return to Glennascaul, 1951 (Welles) Return to Mayberry, 1986 (Howard) Return to Reason. See Retour à la raison, 1924 Return to Treasure Island, 1954 (Dupont) Reunion, 1942 (Dassin) Reunion in France, 1942 (Mankiewicz) Reunion in France. See Reunion, 1942 Reunion in Vienna, 1933 (Franklin) Revanche, 1973 (Faye) Rêve du chasseur, 1904 (Guy) Réveil du jardinier, 1904 (Guy) Revenant, 1913 (Feuillade) Revenge Is Mine. See Rache ist mein, 1918 Revenge of Milady. See Four Musketeers, 1975 Revenge of the Colossal Beasts, 1962-70 (Carpenter) Revenge of the Creature, 1955 (Eastwood) Revenge of Yukinojo. See Yukinojo henge, 1935 Revenge of Yukinojo. See Yukinojo henge, 1963 Revenge, 1918 (Browning) Revenge. See Adauchi, 1964 Revenge. See Revanche, 1973 Revenge. See Fatto di sangue fra due uomini per causa di una vedova, 1978 Revengeful Spirit of Eros. See Erogami no onryo, 1930 Revêtement des routes, 1923 (Grémillon) Revisor, 1933 (Fri?) Reviziya VTiSK v Tverskoi Gubernii, 1919 (Kuleshov) Revizor, 1996 (Mikhalkov) Revolt in the Desert, 1937 (Korda) Revolt of Mamie Stover, 1956 (Walsh) Révolté des vivants. See Monde tremblera, 1939 Révolté, 1938 (Clouzot) Révoltée, 1947 (L’herbier) Révolte des vivants, 1939 (von Stroheim) Revolución, 1963 (Sanjinés) Revolution, 1967 (Greenaway) Revolution Marriage. See Revolutionsbryllup, 1914 Revolutionary. See Revolyutsioner, 1917 Revolutionary Romance, 1911 (Guy) Révolutionnaire, 1965 (Lefebvre) Revolutionsbryllup, 1909 (Blom) Revolutionsbryllup, 1914 (Blom) Revólver sangriento, 1963 (Fernández) Revolyutsioner, 1917 (Bauer) Revue Man and the Girl, 1911 (Grif?th) Revue Montmartroise, 1932 (Cavalcanti) Reward, 1965 (Fernández) Reward of Courage, 1913 (Dwan) Reward of the Faithless, 1917 (Ingram) Reward of Valor, 1912 (Dwan) Reworking the Devils. See Devils at the Elgin, 1974 Rey se divierte, 1944 (de Fuentes) Rhapsody in August. See Hachigatsu No Kyohshikyoku, 1991 Rhode Island Red, 1968 (Rainer) Rhyme of Vengeance. See Akuma no temari-uta, 1977 Rhythme de travail, 1976 (Rouch) Rice. See Kome, 1957 Rich and Famous, 1981 (Cukor; Morrissey) Rich and Strange, 1932 (Hitchcock) Rich in Love, 1993 (Beresford) Rich Kids, 1979 (Altman) Rich Man’s Folly, 1931 (Cromwell) Rich Revenge, 1910 (Grif?th) Richard III, 1974 (Kopple) Richard III, 1985 (Ruiz) Richard Lester!, 1998 (Lester) Richard Mortensens bevaegelige Maleri, 1944 (Roos) Richelieu, 1914 (Dwan) Richter und sein Henker, 1975 (Ritt) Riddance, Free Breathing. See Szabad lélegzet, 1973 Riddle of Lumen, 1972 (Brakhage) Riddle of the Stinson, 1987 (Miller) Ride Back, 1957 (Aldrich) Ride for a Bride, 1913 (Sennett) Ride in the Whirlwind, 1965 (Corman) Ride Lonesome, 1959 (Boetticher) Ride the High Country, 1962 (Peckinpah) Ride with the Devil, 1999 (Lee) Rideau cramoisi, 1953 (Astruc) Rider of the Law, 1919 (Ford) Rider on the Rain. See Passager de la pluie, 1969 Riders of the Purple Cows, 1924 (Sennett) Riders of Vengeance, 1919 (Ford) Ridicule, 1996 (Leconte) Ridicule and Tears. See L? jen och t?rar, 1913 Ridin’ for Love, 1926 (Wyler) Riding High, 1950 (Capra) Rien ne va plus, 1997 (Chabrol) Rien que les heures, 1926 (Cavalcanti) Riff-Raff, 1990 (Loach) Ri??. See Du Ri?? chez les hommes, 1955 Riget II, 1997 (Von Trier) Riget, 1994 (Von Trier) Right of Man. See Propre de l’homme, 1960 Right of Youth. See Ungdommens Ret, 1911 Right Stuff, 1983 (Kaufman) Rika, the Mixed-Blood Girl. See Konketsuji Rika, 1973 Rikos ja Pangaistus, 1983 (Kaurismaki) Rikugun, 1944 (Kinoshita) Riley and Schultz, 1912 (Sennett) Riley the Cop, 1928 (Ford) Rimal min Zahab, 1966 (Chahine) Rincón de las Virgenes, 1972 (Fernández) Ring, 1927 (Hitchcock) Ring Seller. See Baya el Khawatim, 1965 Ring with the Crowned Eagle, 1993 (Wajda) Ring-a-Ding Rhythm. See It’s Trad, Dad, 1962 Ringer, 1950 (Zetterling) Rings on Her Fingers, 1942 (Mamoulian) Rink, 1916 (Bacon; Chaplin) Rio, 40 Degrees. See Rio, quarenta graus, 1955 Rio Bravo, 1959 (Hawks) Rio das Mortes, 1970 (Fassbinder) Río Escondido, 1947 (Fernández) Rio Grande, 1950 (Ford) Rio Lobo, 1970 (Hawks) Rio Vengeance. See Motorpsycho, 1965 Rio y la muerte, 1954 (Bu?uel) Rio, quarenta graus, 1955 (Pereira Dos Santos) Rio, zona norte, 1957 (Pereira Dos Santos) Rio, zone nord. See Rio, zona norte, 1957 Riot, 1969 (Rudolph) Rio’s Love Songs, 1994 (Diegues) Riot in Cell Block 11, 1954 (Siegel) Rip & Stitch, Tailors, 1919 (Sennett) Rip Girls, 2000 (Coolidge) Ripa Hits the Skids. See Ripa ruostuu, 1993 FILM TITLE INDEX DIRECTORS, 4 th EDITION 1278 Ripa ruostuu, 1993 (Kaurismaki) Ripe Earth, 1938 (Boulting) Riport egy TSZ-eln?kr?l, 1960 (Mészáros) Riptide, 1934 (Goulding) Rise and Fall of a Little Film Company. See Grandeur et Decadence d’un Petit Commerce du Cinema, 1986 Rise and Fall of Legs Diamond, 1960 (Boetticher) Rise and Shine, 1941 (Dwan) Rise of Jennie Cushing, 1917 (Tourneur) Rise of Louis XIV. See Prise de pouvoir par Louis XIV, 1966 Rising of the Moon, 1957 (Ford) Rising Sun, 1993 (Kaufman) Rising Tide, 1933 (Rotha) Risk. See Suspect, 1960 Rita. See Lettere di una novizia, 1960 Rita la zanzara, 1966 (Wertmuller) Rita the Mosquito. See Rita la zanzara, 1966 Rita’s Legends. See Stille nach dem Schu?, 1999 Rite. See Riten, 1969 Rite of Passage, 1972 (Marshall)Rite of Passage, 1972 (Marshall) Riten, 1969 (Bergman) Ritorna Za-la-mort. See Fumeria d’oppio, 1947 Ritorno di Don Camillo. See Retour de Don Camillo, 1953 Ritual in Trans?gured Time, 1946 (Deren) Ritual. See Riten, 1969 Ritz, 1976 (Lester) Riusciranno i nostri eroi a trovare il loro amico misteriosamente scomparso in Africa?, 1968 (Scola) Rival Mashers. See Those Love Pangs, 1914 Rival Servants. See To Tjenestepiger, 1910 Rival Sisters. See Zhizn’ za Zhizn’, 1916 Rival Suitors. See Fatal Mallet, 1914 Rival World, 1955 (Haanstra) Rivals, 1912 (Sennett) Rivals, 1916 (Franklin) Rive Gauche, 1931 (Korda) River, 1929 (Borzage) River, 1937 (Lorentz) River, 1951 (Renoir) River Fuefuki. See Fuefuki-gawa, 1960 River of No Return, 1954 (Preminger) River of Romance, 1929 (Cukor) River Rat, 1984 (Apted) River Solo Flows. See Bungawan Solo, 1951 River without Bridges. See Hashi no nai kawa, 1969 River without Bridges II. See Hashi no nai kawa, 1970 River’s Edge, 1957 (Dwan) River’s End, 1930 (Curtiz) RKO 281, 1999 (Scott) Road Back, 1937 (Whale) Road Home. See Wo de fu qin mu qin, 1999 Road of Truth, 1956 (Gerasimov) Road Sign. See Wegweiser, 1920 Road to Bresson. See De Weg waar Bresson, 1984 Road to Corinth. See Route de Corinthe, 1967 Road to El Dorado, 2000 (Branagh; Spielberg) Road to Fort Alamo. See Strada per Fort Alamo, 1964 Road to Glory, 1926 (Hawks) Road to Glory, 1936 (Hawks) Road to God. See Kami e no michi, 1928 Road to Happiness. See Goldene Schmetterling, 1926 Road to Happiness. See Lykken, 1916 Road to Heaven. See Himlaspelet, 1942 Road to Hell. See Tol’ko Raz v Godu, 1914 Road to Mandalay, 1926 (Browning) Road to Peace. See A béke ut ja, 1917 Road to Ruin, 1913 (Dwan) Road to Success, 1913 (Dwan) Road to the Heart, 1909 (Grif?th) Road to Wellville, 1994 (Parker) Road to Yesterday, 1925 (de Mille) Road Trip, 2000 (Spielberg) Road Warrior. See Mad Max II, 1981 Roadhouse Queen, 1933 (Sennett) Roadie, 1980 (Rudolph) Roads across Britain, 1939 (Rotha) Roads of Exile. See Chemines de l’Exile ou Les Dernières Années de Jean-Jacques Rousseau, 1978 Roadways, 1937 (Cavalcanti) Roaring Twenties, 1939 (Rossen; Walsh) Roaring Years. See Anni ruggenti, 1962 Robber Spider. See Rovedderkoppen, eller Den r?de Enke, 1916 Robber Symphony, 1936 (Wiene) Robby the Coward, 1911 (Grif?th) Robert et Robert, 1978 (Lelouch) Robert Frost: A Lover’s Quarrel with the World, 1963 (Clarke) Robert Macaire et Bertrand, 1904 (Guy) Robert und Bertram, 1915 (Lubitsch) Robert Zemeckis Presents: The Frighteners. See Frighteners, 1996 Robin and Marian, 1976 (Lester) Robin Hood, 1922 (Dwan; Florey) Robin Hood of Eldorado, 1936 (Wellman) Robin Hood: Men in Tights, 1993 (Brooks) Robinson Crusoe, 1910 (Blom) Robinson Girl. See Robinsonka, 1974 Robinsonka, 1974 (Kachyňa) Robocop, 1987 (Verhoeven) Robotnicy 71 nic o nas bez nas, 1972 (Kie?lowski) Robust Romeo, 1914 (Sennett) Rocco and His Brothers. See Rocco e i suoi fratelli, 1960 Rocco Papaleo. See Permette? Rocco Papaleo, 1971 Rock All Night, 1957 (Corman) Rock in Reykjavik. See Rokk in Reykjavik, 1982 Rock ‘n’ Roll High School, 1979 (Bartel; Corman; Dante) Rock ‘n’ Roll High School Forever, 1991 (Corman) Rock ‘n’ Roll Kids, 1988 (Tian Zhuangzhuang) Rock of Ages, 1902 (Porter) Rock of Riches, 1916 (Weber) Rockabye, 1932 (Cukor) Rock-a-Bye Baby, 1958 (Lewis) Rock-a-bye Baby, 1958 (Sturges) Rock-a-Bye Baby, 1958 (Tashlin) Rock-a-bye Cowboy, 1933 (Stevens) Rock-Cut Temples of Ellora, 1914/15 (Phalke) Rocket Busters, 1938 (Bacon) Rocket Man, 1954 (Rudolph) Rockets Galore, 1958 (Dearden) Rocky Road, 1909 (Grif?th) Rocky Road to Dublin, 1968 (Huston) Rodelkavalier, 1918 (Lubitsch) Rodeo, 1929 (Sennett) Rodin, 1995 (Jire?) Rodina Electrichestva. See Homeland of Electricity, 1987 Rodnya, 1982 (Mikhalkov) Roei no uta, 1938 (Mizoguchi) Roger Touhy, Gangster, 1943 (Florey) RoGoPaG, 1962 (Godard) Rogopag, 1962 (Rossellini) Rogopag, 1963 (Pasolini; Welles) Rogue Regiment, 1948 (Florey) Rogue’s, 1919 (Franklin) Rogues’ Gallery, 1913 (Sennett) FILM TITLE INDEXDIRECTORS, 4 th EDITION 1279 Rogues of Paris, 1913 (Guy) Rogues of Rajasthan. See Mewad No Mawali, 1930 Roi de coeur, 1966 (de Broca) Roi de Thulé, 1910 (Feuillade) Roi des Champs-Elysées, 1934 (Delannoy; Keaton) Roi des palaces, 1932 (Clouzot) Roi des parfums, 1910 (Gance) Roi Lear au village, 1911/13 (Feuillade) Rok spokojnego slonca, 1984 (Zanussi) Rokk in Reykjavik, 1982 (Fridriksson) Rola, 1971 (Zanussi) Role. See Bhumika, 1977 Rolle. See Rola, 1971 Roller Skate, 1963 (Warhol) Rollerball, 1975 (Jewison) Rolling Home, 1935 (Launder, Frank, and Sidney Gilliat) Rolling Thunder, 1977 (Schrader) Rollover, 1981 (Pakula) Roly-Poly. See Przek?adaniec, 1968 Roma, 1972 (Fellini) Roma ‘90, 1989 (Antonioni) Roma, città aperta, 1945 (Rossellini; Fellini) Roma città libera, 1946 (de Sica) Roma coma Chicago, 1969 (Cassavetes) Roma ore undici, 1952 (Petri) Római szonáta, 1996 (Gaál) Roman aus den Bergen. See Geier-Wally, 1921 Roman Candles, 1966 (Waters) Roman de S?ur Louise, 1908 (Feuillade) Roman de Werther. See Werther, 1938 Roman d’un jeune homme pauvre, 1935 (Gance) Roman Holiday, 1953 (Wyler) Roman Numeral Series, 1981 (Brakhage) Roman Scandals, 1933 (Berkeley) Romance, 1913 (Dwan) Romance, 1919 (Franklin) Romance, 1999 (Breillat) Romance at the Studio: Guidance to Love. See Satsueijo romansu: Renai annai, 1932 Romance of a Horsethief, 1971 (Polonsky) Romance of a Jewess, 1908 (Grif?th) Romance of a War Nurse, 1908 (Porter) Romance of a Will. See Kaerlighedens Triumf, 1914 Romance of Happy Valley, 1919 (Grif?th) Romance of the Redwoods, 1917 (de Mille) Romance of the Western Hills, 1910 (Grif?th) Romance of Yushima. See Yushima no shiraume, 1955 Romance on the High Seas, 1948 (Curtiz) Romance sentimentale, 1930 (Eisenstein) Romancing the Stone, 1984 (Zemeckis) Romantic Age, 1927 (Florey) Romantic Age, 1949 (Zetterling) Romantic Englishwoman, 1975 (Losey) Romantic Prince, 1932 (Mehboob Khan) Romantica avventura, 1940 (Castellani) Romantiki, 1941 (Donskoi) Romany Tragedy, 1911 (Grif?th) Romanze in Moll, 1943 (K?utner) Romanzo di un Giovane Povero, 1995 (Scola) Rome Adventure, 1962 (Daves) Rome Eleven O’Clock. See Roma ore undici, 1952 Rome Express, 1932 (Launder, Frank, and Sidney Gilliat) Rome, Open City. See Roma, città aperta, 1945 Romeo and Juliet, 1924 (Sennett) Romeo and Juliet, 1936 (Cukor) Romeo and Juliet. See Giulietta e Romeo, 1954 Romeo and Juliet, 1968 (Zef?relli) Roméo pris au piége, 1905 (Guy) Romeo und Julia im Schnee, 1920 (Lubitsch) Romeo, Julie a tma, 1960 (Weiss) Romeo, Juliet and the Darkness. See Romeo, Julie a tma, 1960 Romona, 1910 (Grif?th) Romp of Fanny Hill. See Fanny Hill, 1964 Romuald et Juliette, 1989 (Serreau) Romy. Anatomie eines Gesichts, 1965 (Syberberg) Romy. Anatomy of a Face. See Romy. Anatomie eines Gesichts, 1965 Ronde, 1950 (Ophüls) Ronde, 1964 (Vadim) Ronde enfantine, 1896-97 (Lumière) Ronin, 1998 (Frankenheimer) R?nnes og Nex?s Genopbygning, 1954 (Dreyer) Roof. See Tetto, 1956 Roof Needs Mowing, 1971 (Armstrong) Rooftops, 1989 (Wise) Rookie, 1990 (Eastwood) Room, 1987 (Altman) Room 666, 1984 (Wenders) Room at the Top, 1958 (Clayton) Room in Town. See Chambre en ville, 1982 Room Mates, 1933 (Stevens) Room with a View, 1986 (Ivory) Rooster, 1981 (Hallstrom) Root of Evil, 1911 (Grif?th) Roots of Heaven, 1958 (Huston; Welles) Rope, 1948 (Hitchcock) Rope. See Mudhoney, 1965 Rope of Flesh. See Mudhoney, 1965 Roped, 1919 (Ford) Roping Her Romeo, 1917 (Sennett) Roquevillard, 1922 (Duvivier) Rosa (d only), 1992 (Greenaway) Rosa blanca, 1953 (Fernández) Rosa de los vientos, 1983 (Guzmán) Rosa Luxemburg, 1986 (Von Trotta) Rosalie Goes Shopping, 1988 (Adlon) Rose Bernd, 1957 (Staudte) Rose blanche, 1913 (Feuillade) Rose des vents, 1982 (Birri) Rose et Landry, 1963 (Rouch) Rose in the Mud. See Warui yatsu hodo yoku nemuru, 1960 Rose King. See Rosenk?nig, 1985 Rose Marie, 1954 (Berkeley; Leroy) Rose o’ Salem Town, 1910 (Grif?th) Rose o’ the Sea, 1922 (Niblo) Rose of Kentucky, 1911 (Grif?th) Rose of Old Mexico, 1913 (Dwan) Rose of the Circus, 1911 (Guy) Rose of the Rancho, 1914 (de Mille) Rose of the Rancho, 1935 (Florey) Rose of the Sea. See Umi no bara, 1945 Rose of the Winds. See Rosa de los vientos, 1983 Rose of the World, 1918 (Tourneur) Rose of Thistle Island. See R?sen p? Tistel?n, 1916 Rose on His Arm. See Taiyo to bara, 1956 Rose scarlatte, 1940 (de Sica) Rose-France, 1918 (L’herbier) Roseaux sauvages, 1994 (Téchiné) Rosebud, 1975 (Attenborough; Preminger) Roseland, 1977 (Ivory) Roselyne et les lions, 1989 (Beineix) Rosemary’s Baby, 1968 (Cassavetes; Polanski) Rosen für Bettina, 1956 (Pabst) FILM TITLE INDEX DIRECTORS, 4 th EDITION 1280 Rosen für den Staatsanwalt, 1959 (Staudte) R?sen p? Tistel?n, 1916 (Sj?str?m) Rosenkavalier, 1925 (Wiene) Rosenk?nig, 1985 (Schroeter) Roses de vie, 1962 (Eustache) Roses for the Prosecutor. See Rosen für den Staatsanwalt, 1959 Rosewood, 1997 (Singleton) Rosier de Madame Husson, 1950 (Pagnol) Rosière de Pessac , 1979 (Eustache) Rosière de Pessac, 1969 (Eustache) Rosita, 1923 (Lubitsch) Roslyn Romance (Is It Really True?): Intro. I and II, 1978 (Baillie) Roslyn Romance, 1971-present (Baillie) Rossa. See Rote, 1962 Rossetto, 1960 (Germi) Rosso segno della follia, 1969 (Bava) Rosso, 1985 (Kaurismaki) Rotation, 1949 (Staudte) Rote, 1962 (K?utner) Rothenburger, 1918 (Pick) Roti, 1942 (Mehboob Khan) Rotten to the Core, 1965 (Boulting) Rotterdam-Europoort, 1966 (Ivens) Rotterdam-Europort. See Rotterdam-Europoort, 1966 Roue de la fortune, 1938 (Storck) Roué, 1923 (Gance) Roué’s Heart, 1909 (Grif?th) Rouge est mis, 1953 (Cocteau) Rouge et le blanc, 1971 (Autant-Lara) Rouge et le noir, 1954 (Autant-Lara) Rough and the Smooth, 1959 (Siodmak) Rough Cut, 1980 (Siegel) Rough House, 1917 (Keaton) Rough Idea of Love, 1929 (Sennett) Rough Riders, 1927 (Fleming) Rough Treatment. See Bez znieczulenia, 1978 Roughhouse, 1988 (Coolidge) Roughly Speaking, 1945 (Curtiz) Roulement à billes, 1924 (Grémillon) Rouletabille I: Le Mystère de la chambre jaune, 1914 (Tourneur) Rouletabille II: La Dernière Incarnation de Larson, 1914 (Tourneur) Round Midnight, 1986 (Tavernier) Round Trip. See Volta redonda, 1952 Round Up, 1920 (Keaton) Round-up. See Szegénylegények, 1965 Rounders, 1914 (Chaplin; Sennett) Roustabout. See Property Man, 1914 Route de Corinthe, 1967 (Chabrol) Route de l’Ouest, 1965 (Arcand) Route est belle, 1929 (Florey) Route impériale, 1935 (L’herbier) Route Napoléon, 1953 (Delannoy) Rovedderkoppen, 1915 (Blom) Rovedderkoppen, eller Den r?de Enke, 1916 (Dreyer) Row-Boat Romance, 1914 (Sennett) Rower, 1955/57 (Polanski) Roxanne, 1987 (Schepisi) Roxie Hart, 1942 (Wellman) Roy Colt and Winchester Jack. See Roy Colt e Winchester Jack, 1970 Roy Colt e Winchester Jack, 1970 (Bava) Royal Family of Broadway, 1930 (Cukor; Dmytryk) Royal Flash, 1975 (Lester) Royal Hunt. See Kungajakt, 1944 Royal Hunt. See Mrigaya, 1976 Royal Razz, 1924 (Mccarey) Royal Remembrances, 1929 (Hepworth) Royal Rogue, 1917 (Sennett) Royal Scandal, 1945 (Preminger) Royal Waltz. See K?nigswalzer, 1935 Royal Wedding, 1951 (Donen) Royale goumbé, 1958 (Rouch) Rozbijemy zabawe, 1958 (Polanski) Rozmarné leto, 1968 (Menzel) RPM, 1970 (Kramer) RR, 1981 (Brakhage) Rte.: Nicaragua, 1984 (Birri) Rube and the Baron, 1913 (Sennett) Rubens, 1947-48 (Storck) Ruby Bridges, 1998 (Palcy) Ruby Gentry, 1952 (Vidor) Rückkehr, 1990 (Von Trotta) Rude Hostess, 1909 (Grif?th) Rue cases nègres, 1983 (Palcy) Rue de l’Estrapade, 1953 (Becker) Rue des archives 79, 1979 (Ruiz) Rue du pied de Grue, 1979 (Tavernier) Ruggles of Red Gap, 1935 (Dmytryk; Mccarey) Ruins. See Khandahar, 1983 Ruisseau, 1938 (Autant-Lara) Rules of Engagement, 2000 (Friedkin) Rules of the Game. See Règle du jeu, 1939 Ruling Passion, 1911 (Grif?th) Ruling Passion. See Reward of the Faithless, 1917 Rullesk?jterne, 1908 (Holger-Madsen) Rum and Wall Paper, 1915 (Sennett) Rumaensk Blod or S?strene Corrodi, 1913 (Christensen) Rumble Fish, 1983 (Coppola) Rumble in the Streets, 1996 (Corman) Rumyantsev Case. See Dyelo Rumyantseva, 1956 Run for Cover, 1955 (Ray) Run for the Sun, 1956 (Boulting) Run of the Arrow, 1957 (Fuller) Run Silent, Run Deep, 1958 (Wise) Run Tiger Run, 1985 (Woo) Run, Girl, Run, 1928 (Sennett) Runaway Daughters, 1994 (Dante) Runaways, 1916 (Franklin) Runaways Girls, 1928 (Sandrich) Runner Stumbles, 1979 (Kramer) Running Fence, 1977 (Maysles) Running Man, 1963 (Reed) Running on Empty, 1988 (Lumet) Running Wild, 1927 (La Cava) Running Woman, 1998 (Corman) Running, Jumping, and Standing Still Film, 1959 (Lester) Rupture, 1970 (Chabrol) Rural Areas. See Utilisation des énergies nouvelles en milieu rural, 1980 Rural Demon, 1914 (Sennett) Rural Elopement, 1908 (Grif?th) Rural Institute. See Selskaya uchitelnitsa, 1947 Rural Third Degree, 1913 (Sennett) Ruri no kishi, 1956 (Shindo) Ruscello di Ripasottile, 1941 (Rossellini) Rush to Judgment, 1966 (de Antonio) Rushing Rain of Last Night. See Tso Yeh Yü Hsiao Hsiao, 1978 Russ Meyer’s Vixen. See Vixen!, 1968 Russia House, 1990 (Schepisi) Russia—the Land of Oppression, 1910 (Porter) Russians Are Coming, the Russians Are Coming, 1966 (Ashby; Jewison) Rustler Sheriff, 1911 (Dwan) Rustlers, 1919 (Ford) Ruthless, 1948 (Ulmer) FILM TITLE INDEXDIRECTORS, 4 th EDITION 1281 Ruthless Romance. See Jestoki romans, 1984 Ruy Blas, 1947 (Cocteau) Ryan’s Daughter, 1970 (Lean) Rynox, 1931 (Powell, Michael, And Emeric Pressburger) Ryoju, 1961 (Gosho) Rysopis, 1964 (Skolimowski) Ryzhaiapryzhaia. See Redheadp Redhead, 1980 S vylou?ením ve?ejnosti, 1933 (Fri?) S.O.S. Eisberg, 1933 (Riefenstahl) S.O.S. hélicoptère, 1959 (Lelouch) S.O.S. Kindtand, 1943 (Henning-Jensen) S.O.S. Molars. See S.O.S. Kindtand, 1943 S.O.S. Noronha, 1956 (Demy; Guerra) SOS Paci?c, 1959 (Attenborough) SS Ionian, 1939 (Jennings) S.V.D., 1927 (Gerasimov; Kozintsev) ￡20 a Ton, 1955 (Anderson) Sa iro lu. See Ben ?ldükce yasarim, 1965 Sa Tête, 1929 (Epstein) S? vit som sn?, 2000 (Troell) Sa zimbeasca toti copiii, 1957 (Mészáros) Saadia, 1954 (Lewin) Sabishi mura, 1924 (Kinugasa) Sabishiki ranbomono, 1927 (Gosho) Sabotage, 1936 (Hitchcock) Saboteur, 1942 (Hitchcock) Sabotier du Val de Loire, 1956 (Demy) Sabrina, 1954 (Wilder) Sabrina, 1995 (Pollack) Sabte yar, 1972 (Güney) Sabú principle ladro. See Buongiorno elefante!, 1952 Sacco in Plypac, 1961 (Olmi) Sacred Protector. See Hito hada Kannon, 1937 Sacri?ce, 1908 (Grif?th) Sacri?ce. See Offret, 1986 Sacri?ce d’honneur. See Veille d’armes, 1935 Sad Idiot. See Kanashiki hakuchi, 1924 Sad Sack, 1957 (Lewis) Sad Story of a Barmaid. See Jokyu aishi, 1931 Saddle the Wind, 1958 (Cassavetes) Sadgati, 1981 (Ray) Sadie Thompson, 1928 (Walsh) Sadko, 1962 (Corman) Sadness of Autumn. See Pei Chih Ch’iu, 1977 Sado’s Ondeko-za. See Sadono kuni ondeko-za, 1976 Sadono kuni ondeko-za, 1976 (Shinoda) Safar, 1994 (Kiarostami) Safari, 1940 (Daves) Safe, 1995 (Haynes) Safe Cracker. See Kasa?, 1973 Safe in Hell, 1931 (Wellman) Safe in Jail, 1913 (Sennett) Safe Place, 1971 (Welles) Safe Place, 1993 (Sayles) Safety, 1918 (Franklin) Safety First Ambrose, 1916 (Sennett) S’affranchir, 1911/13 (Feuillade) Saga of Anatahan. See Anatahan, 1953 Saga of the Great Buddha. See Daibutsu kaigen, 1952 Saga of the Vagabond. See Sengoku guntoden, 1960 Saga of the Viking Women and Their Voyage to the Waters of the Great Sea Serpent, 1957 (Corman) Sage-femme de première classe, 1902 (Guy) Sage of the Vagabond. See Sengoku gunto den, 1937 Sagebrush Phrenologist and The Elopements on Double L Ranch, 1911 (Dwan) Sagolandet, 1988 (Troell) Sahara, 1943 (Korda) Saheiji Finds a Way. See Bakumatsu Taiyoden, 1958 Said the Preacher, 1972 (Apted) Saigon: Year of the Cat, 1983 (Frears) Saikaku ichidai onna, 1952 (Mizoguchi) Sailor Beware, 1952 (Lewis) Sailor Beware!, 1956 (Clayton) Sailor from Gibraltar, 1967 (Richardson; Welles) Sailor of the King. See Single-handed, 1953 Sailor’s Lady, 1940 (Dwan) Sailor’s Luck, 1933 (Walsh) Sailor’s Sweetheart, 1927 (Bacon) Sailor’s Three Crowns. See Trois Couronnes du Matelot, 1982 Saimma Gesture. See Saimma Ilmio, 1981 Saimma Ilmio, 1981 (Kaurismaki) Saint Jack, 1979 (Bogdanovich; Corman) Saint Joan, 1957 (Preminger) Saint-Tropez blues, 1960 (Chabrol) Saint-Tropez, devoir de vacances, 1952 (Resnais) Saintly Switch, 1999 (Bogdanovich) Sait-on jamais?, 1957 (Vadim) Sakpata, 1958 (Rouch) Sakur Tai 8-6, 1988 (Shindo) Sakura Dance. See Sakura Ondo, 1934 Sakura no mori no mankai no shita, 1975 (Shinoda) Sakura Ondo, 1934 (Gosho) Sal gorda, 1984 (Stillman) Sál ztracenych kroku, 1960 (Jire?) Salaam Bombay!, 1988 (Nair) Salaam Cinema, 1994 (Makhmalbaf) Saladin. See Naser Salah el Dine, 1963 Salaire de la peur, 1952 (Clouzot) Salamander. See Salamandre, 1971 Salamandre, 1971 (Tanner) Salavat Yulayev, 1941 (Protazanov) Sale comme un ange, 1990 (Breillat) Sale destin!, 1987 (Chabrol) Sale histoire, 1977 (Eustache) Salem’s Lot: The Movie, 1979 (Hooper) Salesman, 1969 (Maysles) Salesmanship. See Az eladás müvészete, 1960 Saliut Maria!, 1970 (Hei?tz) Salle des pas perdus, 1960 (Jire?) Sally, 1925 (Leroy) Sally, Irene and Mary, 1925 (Goulding) Sally of the Sawdust, 1925 (Grif?th) Salmonberries, 1989 (Adlon) Salò o le 120 giornate di Sodoma, 1975 (Bellocchio; Pasolini) Salo—The 120 Days of Sodom. See Salò o le 120 giornate di Sodome, 1975 Salome, 1971 (Schroeter) Salome, 1978 (Almodóvar) Salome, 1980 (Brakhage) Salome and Delilah, 1963 (Warhol) Salome vs. Shenandoah, 1919 (Sennett) Salón México, 1948 (Fernández) Salon nautique, 1954 (de Broca) Salonique, nid d’espions. See Mademoiselle Docteur, 1936 Salonwagen E 417, 1939 (K?utner) Salt to the Devil. See Gives Us This Day, 1949 Salto Mortale, 1931 (Dupont) Salto nel vuoto, 1979 (Bellocchio) Salty O’Rourke, 1944 (Walsh) FILM TITLE INDEX DIRECTORS, 4 th EDITION 1282 Salut à France. See Salute to France, 1944 Salut les Cubains, 1963 (Varda) Saluta e malato o I poveri muorioro prima, 1971 (Bertolucci) Salutary Lesson, 1910 (Grif?th) Salute, 1929 (Ford) Salute, Maria. See Saliut Maria!, 1970 Salute to Cuba. See Salut les Cubains, 1963 Salute to France, 1944 (Renoir) Salvador, 1986 (Stone) Salvage with a Smile, 1940 (Cavalcanti) Salvation Army Lass, 1908 (Grif?th) Salvation Hunters, 1925 (von Sternberg) Salvatore Giuliano, 1961 (Rosi) Sam Suf?t, 1992 (Chabrol) Samaritan. See Du skal elske din Naeste, 1915 Samba Traoré, 1993 (Ouedraogo) Same Old Song. See On conna?t la chanson, 1997 Same Player Shoots Again, 1967 (Wenders) Same Time, Next Year, 1979 (Mulligan) Samidare zoshi, 1924 (Mizoguchi) Samma no aji, 1962 (Ozu) Sammy and Rosie Get Laid, 1987 (Frears) Sammy Going South, 1963 (Mackendrick) Samourai, 1967 (Melville) Samson, 1936 (Tourneur) Samson, 1961 (Wajda) Samson and Delilah. See Samson und Delilah, 1922 Samson and Delilah, 1949 (de Mille) Samson and Delilah, 1996 (Roeg) Samson und Dalila, 1923 (Curtiz) Samson und Delilah, 1922 (Korda) Samuel de Champlain: Québec 1603, 1964 (Arcand) Samurai no ko, 1963 (Imamura) Samurai Spy. See Ibun sarutobi sasuke, 1965 Samvittighedsnag. See Hvem var Forbryderen?, 1912 San Antonio, 1944 (Walsh) San Diego, 1912 (Dwan) San Diego, I Love You, 1944 (Keaton) San Domingo, 1970 (Syberberg) San Francisco, 1936 (von Stroheim) San Francisco Celebration, 1913 (Sennett) San Massenza, 1955 (Olmi) San Michele aveva un gallo, 1971 (Taviani) San Miniato, luglio ‘44, 1954 (Taviani) San Pietro, 1945 (Huston) San Quentin, 1937 (Bacon) Sanbyaku rokujugo-ya, 1948 (Ichikawa) Sanctuary. See Santuario, 1951 Sanctuary, 1961 (Richardson) Sand of Gold. See Rimal min Zahab, 1966 Sand Pebbles, 1966 (Attenborough; Wise) Sand under the Pavement. See Unter dem p?aster ist der strand, 1975 Sanders of the River, 1935 (Crichton; Korda) Sandino, 1990 (Littin) Sandpiper, 1965 (Minnelli) Sandra. See Vaghe stelle dell’orsa, 1965 Sands of Dee, 1912 (Grif?th) Sands of Iwo Jima, 1949 (Dwan) Sandwich Man. See Erh Tzu Tê Ta Wan Ou, 1983 Sane Asylum, 1912 (Porter) Sanford Meisner: The American Theatre’s Best Kept Secret, 1984 (Kazan) Sanford Meisner—The Theater’s Best Kept Secret, 1984 (Pollack) Sang des autres, 1983 (Chabrol) Sang d’un poète, 1930 (Cocteau) Sang-o shisheh, 1994 (Makhmalbaf) Sangam, 1964 (Kapoor) S?ngen om den eldr?da blomman, 1918 (Stiller) Sangre y luces (Mu?oz) (sc) (Spanish–language version of Georges Rouquier’s Sang et lumières, 1953 (García Berlanga) Sanjuro, 1962 (Kurosawa) Sanka, 1972 (Shindo) Sankofa, 1994 (Gerima) Sans le joug, 1911 (Feuillade) Sans lendemain, 1940 (Ophüls) Sans soleil, 1983 (Marker) Sans tambour ni trompette. See Gans von Sedan, 1959 Sans Titre, 1997 (Carax) Sans Toit ni loi,. See Vagabonde, 1986 Sanshiro of Ginza. See Ginza Sanshiro, 1950 Sanshiro Sugata, Judo Saga. See Sugata Sanshiro, 1943 Sanshiro Sugata—Part 2. See Zoku Sugata Sanshiro, 1945 Sansho dayu, 1954 (Mizoguchi) Sansho the Bailiff. See Sansho dayu, 1954 S?nt h?nder inte h?r, 1950 (Bergman) Santa Anna Winds, 1988 (Cimino) Santa Catalina Islands, 1914 (Sennett) Santa Catalina, Magic Isle of the Paci?c, 1911 (Dwan) Santa Claus Has Blue Eyes. See Père No?l a les yeux bleus, 1966 Santa Fe Trail, 1940 (Curtiz) Santa notte, 1947 (Bava) Sante est malade ou Les Pauvres meurent les premiers. See Saluta e malato o I poveri muorioro prima, 1971 Sant’Elena piccola isola, 1943 (Bava) Santo de la espada, 1969 (Torre Nilsson) Santo O?cio, 1974 (Ripstein) Santuario, 1951 (Cavalcanti) Saphead, 1920 (Keaton) Sapnon Ka Saudgar, 1968 (Kapoor) Sapovnela, 1959 (Ioseliani) Sapphire, 1959 (Dearden) Sapporo Orimpikku, 1972 (Shinoda) Sapporo Winter Olympic Games. See Sapporo Orimpikku, 1972 Saraband. See Saraband for Dead Lovers, 1948 Saraband for Dead Lovers, 1948 (Dearden) Sarah, 1981 (Lee) Sarah and Son, 1930 (Arzner; Cavalcanti) Sarari be Diare Mosafer, 1993 (Kiarostami) Saratoga-Koffer, 1918 (Dupont) Sargam, 1950 (Kapoor) Sarikat Sayfeya, 1986 (Chahine) Sartre par lui-même, 1976 (Astruc) Sarutobi. See Ibun sarutobi sasuke, 1965 Sasameyuki, 1983 (Ichikawa; Itami) Sasek a kralovna, 1987 (Chytilová) Sasha, 1930 (Kuleshov) Saskatchewan, 1954 (Walsh) S?som i en spegel, 1961 (Bergman) Satan Never Sleeps, 1961 (Mccarey) Satan Triumphant. See Satana likuyushchii, 1917 Satan’s Brew. See Satansbraten, 1976 Satana likuyushchii, 1917 (Protazanov) Satanas, 1915/16 (Feuillade) Satanas, 1920 (Murnau; Wiene) Satansbraten, 1976 (Fassbinder) Satdee Night, 1973 (Armstrong) Sati Anjana, 1934 (Mehboob Khan) Sati Mahananda, 1923 (Phalke) Satin Slipper. See O Sapato de cetim, 1985 Sato-gashi ga kazureru toki, 1967 (Imai) Satsueijo romansu: Renai annai, 1932 (Gosho) Satsujinsha no kao, 1949 (Kinugasa) FILM TITLE INDEXDIRECTORS, 4 th EDITION 1283 Saturday Afternoon, 1925 (Capra; Sennett) Saturday, July 27, 1963. See 1963.julius 27.szombat, 1963 Saturday Night, 1922 (de Mille) Saturday Night and Sunday Morning, 1960 (Reisz; Richardson) Saturday Night Fever, 1977 (Badham) Saturday, Sunday, Monday, 1990 (Wertmuller) Saturday the 14th Strikes Back, 1988 (Corman) Saturday’s Children, 1929 (La Cava) Saturday’s Shopping, 1903 (Hepworth) Saturn 3, 1980 (Donen) Saturnin, 1921 (Florey) Saturnin ou le bon allumeur, 1921/22 (Feuillade) Satyajit Ray, 1985 (Benegal) Satyam Shivam Sundaram, 1978 (Kapoor) Satyricon, 1969 (Fellini) Saucy Madeline, 1918 (Sennett) Sausalito, 1967 (Warhol) Saut à la couverture, 1895 (Lumière) Saut humidi?é de M. Plick, 1900 (Guy) Saut, Le Voyage du silence. See O Salto, 1967 Saute ma vie, 1968 (Akerman) Sauve qui peut, 1980 (Godard) Savage Brigade. See Brigade sauvage, 1938 Savage Gringo. See Spie vengono dal semifreddo, 1966 Savage Innocents, 1959 (Ray) Savage/Love, 1981 (Clarke) Savage Messiah, 1972 (Jarman) Savage Triangle. See Gar?on sauvage, 1951 Savages, 1972 (Ivory) Save the Children Fund Film, 1971 (Loach) Saved by Love, 1908 (Porter) Saved by Wireless, 1915 (Sennett) Saved from Himself, 1911 (Grif?th) Savetier et le ?nancier, 1909 (Feuillade) Saving Mabel’s Dad, 1913 (Sennett) Saving of Bill Blewett, 1936 (Cavalcanti; Grierson) Saving Private Ryan, 1998 (Spielberg) Saving the Family Name, 1916 (Weber) Savior, 1998 (Stone) Savitri Stayavan, 1914 (Phalke) Sawdust and Tinsel. See Gycklarnas afton, 1953 Say It Again, 1926 (La Cava) Say It with Sables, 1928 (Capra) Say It with Songs, 1929 (Bacon) Say One for Me, 1959 (Tashlin) Sayat nova, 1969 (Paradzhanov) Sayidet el Kitar, 1952 (Chahine) Sayili kabadayilar, 1965 (Güney) Sayonara, konnichiwa, 1959 (Ichikawa) Sbaglio di essere vivo, 1945 (de Sica) Sbanditi, 1955 (Birri) Sbarco di Anzio, 1968 (Dmytryk) Sbatti il mostro in prima pagina, 1972 (Bellocchio) Scalphunters, 1968 (Pollack) Scamp, 1957 (Attenborough) Scampolo, ein Kind der Strasse, 1932 (Wilder) Scandal, 1915 (Weber) Scandal. See Shubun, 1950 Scandal in Paris, 1946 (Sirk) Scandal Mongers, 1918 (Stahl; Weber) Scandal Sheet, 1931 (Cromwell) Scandal Sheet, 1952 (Fuller) Scandale, 1934 (L’herbier) Scandale, 1967 (Chabrol) Scandale au village, 1913 (Feuillade) Scandalous Adventures of Buraikan. See Buraikan, 1970 Scandalous Eva. See Skandal um Eva, 1930 Scanners, 1979 (Cronenberg) Scapolo, 1956 (Scola) Scar. See Blizna, 1976 Scarabea—How Much Land Does a Man Need?. See Scarabea—Wieviel Erde braucht der Mensch?, 1968 Scarabea—Wieviel Erde braucht der Mensch?, 1968 (Syberberg) Scaramouche, 1923 (Ingram; Tourneur) Scarecrow, 1920 (Keaton) Scarecrow, 1973 (Pollack) Scared Stiff, 1953 (Lewis) Scarem Much, 1924 (Sennett) Scarf, 1951 (Dupont) Scarface: The Shame of a Nation, 1932 (Hawks) Scarface, 1983 (Stone; de Palma) Scarlet Days, 1919 (Grif?th) Scarlet Drop, 1918 (Ford) Scarlet Empress, 1934 (von Sternberg) Scarlet Honeymoon, 1925 (Goulding) Scarlet Hour, 1956 (Curtiz; Tashlin) Scarlet Letter, 1927 (Sj?str?m) Scarlet Letter. See Scharlachrote Buchstabe, 1972 Scarlet Letter, 1995 (Joffé) Scarlet Street, 1945 (Lang) Scary Time, 1960 (Clarke) Scattered Body and the World Turned Upside Down. See Cuerpo repartido y el mundo al revez, 1975 Scavengers, 1959 (Cromwell) Scavengers. See I recuperanti, 1969 Sceicco Bianco, 1951 (Fellini) Scène d’escamotage, 1897/98 (Guy) Scène en cabinet particulier vue à travers le trou de la serrure, 1902 (Guy) Scene of the Crime. See Lieu du crime, 1986 Scenens B?rn, 1913 (Christensen) Scener ur ett ?ktenskap, 1973 (Bergman) Scènes d’enfants, 1896-97 (Lumière) Scènes Directoire, 1904 (Guy) Scenes from a Mall, 1991 (Allen) Scenes from a Marriage. See Scener ur ett ?ktenskap, 1973 Scenes from the Class Struggle in Beverly Hills, 1989 (Bartel) Scenes from the Life of Andy Warhol, 1990 (Mekas) Scenes from under Childhood, 1970 (Brakhage) Scenes in an Orphans’ Asylum, 1903 (Porter) Scent of Incense. See Koge, 1964 Scenting a Terrible Crime, 1913 (Browning) Schaatsenrijden, 1929 (Ivens) Schakel met het verleden. See Paleontologie, 1959 Scharlachrote Buchstabe, 1972 (Wenders) Scharlatan. See Namenlos, 1923 Schast’e Vechnoi Nochi, 1915 (Bauer) Schatten, 1918 (Dupont) Schatten der Engel, 1976 (Fassbinder) Schatz, 1923 (Pabst) Schatz der Azteken, 1965 (Siodmak) Schaukel, 1982 (Adlon) Schaupl?tze, 1967 (Wenders) Schedroe leto, 1950 (Barnet) Scheherazade. See 1001 nuits, 1990 Schehérézade, 1963 (Godard) Schéma d’une identi?cation, 1946 (Resnais) Scherben, 1921 (Pick) Scherzo del destinoin aqquato dietro l’angelo come un brigante di strada, 1983 (Wertmuller) Scheusal. See Dùvad, 1959 Schicksal aus zweiter Hand, 1949 (Staudte) FILM TITLE INDEX DIRECTORS, 4 th EDITION 1284 Schiff der verlorene Menschen, 1929 (Tourneur) Schiff in Not, 1936 (Ruttmann) Schimbul de miine, 1959 (Mészáros) Schinderhannes, 1958 (K?utner) Schindler’s List, 1993 (Spielberg) Schirm mit dem Schwan, 1915 (Wiene) Schiscksal derer von Hapsburg, 1929 (Riefenstahl) Schizopolis, 1996 (Soderbergh) Schlangenei, 1977 (Bergman) Schlemihl, 1915 (Pick) Schlock, 1971 (Landis) Schloss im Süden, 1933 (Clouzot) Schloss Vogel?d, 1921 (Murnau) Schlussakkord, 1936 (Sirk) Schneider Wibbel, 1939 (K?utner) Schneider’s Anti-Noise Crusade, 1909 (Grif?th) Schnitz the Tailor, 1913 (Sennett) Schock, 1977 (Bava) Sch?nste Geschenk, 1916 (Lubitsch) School Daze, 1988 (Lee) School for Deafmutes. See Escuela de sordomudos, 1967 School for Secrets, 1946 (Attenborough) School Ma’am, 1916 (Franklin) School Ma’am of Snake and The Ranch Chicken, 1911 (Dwan) School Master. See Maitre d’ecole, 1981 School of Echoes. See Yamabiko gakko, 1952 School, the Basis of Life. See Skola, základ ?ivota, 1938 Schoolteacher and the Waif, 1912 (Grif?th) Schpountz, 1938 (Pagnol) Schr?ge V?gel, 1968 (Von Trotta) Schrecken. See Januskopf, 1920 Schrie aus Stein, 1991 (Herzog) Schuhpalast Pinkus, 1916 (Lubitsch) Schuld der Lavinia Morland, 1920 (Leni) Schuld und Sühne. See Raskolnikow, 1923 Schut, 1964 (Siodmak) Schwabem?dle; Die Austernprinzessin, 1919 (Lubitsch) Schwarz und Weiss wie Tage und Nachte, 1978 (Petersen) Schwarze Engel, 1974 (Schroeter) Schwarze Moritz, 1915 (Lubitsch) Schwarze Sunde, 1989 (Straub, Jean-Marie, And Danièle Huillet) Schwarzer J?ger Johanna, 1950 (Staudte) Schweik’s New Adventures, 1943 (Attenborough) Schweinegeld, Ein Marchen der Gebruder Nimm, 1989 (Kluge) Schwestern oder Die Balance des Glücks, 1979 (Von Trotta) Schwur des Soldaten Pooley, 1962 (Anderson) Science Friction, 1959 (Vanderbeek) Science Goes with People. See Věda jde s lidem, 1952 Sciuscia, 1946 (de Sica) Scoffer, 1921 (Dwan) Sconosciuto di San Marino, 1948 (de Sica) Scorpio Rising, 1962/63 (Anger) Scorpion. See A skorpió, 1918 Scotch, 1929 (Sennett) Scotland Yard Investigation, 1945 (von Stroheim) Scoundrel. See Akuto, 1965 Scoundrel’s Toll, 1916 (Sennett) Scout, 1994 (Brooks) Scrapper, 1917 (Ford) Scratch-As-Catch-Can, 1931 (Sandrich) Scream, 1996 (Craven) Scream 2, 1997 (Craven) Scream 3, 2000 (Corman; Craven; Smith) Scream of Stone. See Schrie aus Stein, 1991 Screen Director, 1951 (Kazan) Screen Directors Playhouse, 1955 (Ford) Screen of Death. See Clum perdesi, 1960 Screen Snapshots, No. 3, 1922 (Keaton) Screen Test I, 1965 (Warhol) Screen Test II, 1965 (Warhol) Screen Tests, 1977 (Holland) Scribe, 1966 (Keaton) Scrubbers, 1983 (Zetterling) Scuola elementare, 1954 (Lattuada) Scwarzer Kies, 1961 (K?utner) Se io fossi onesto!, 1942 (de Sica) Se ki, se be, 1919 (Korda) Se permette parliamo di donne, 1964 (Scola) Sea Devil. See Havets Dj?vul, 1935/36 Sea Devils, 1953 (Walsh) Sea Dog’s Tale, 1926 (Sennett) Sea Eagle. See R?sen p? Tistel?n, 1916 Sea Fever. See En rade, 1927 Sea Fort, 1940 (Cavalcanti) Sea Going Birds, 1932 (Sennett) Sea Gull. See A Woman of the Sea, 1926 Sea Hawk, 1940 (Curtiz) Sea Horses, 1926 (Dwan) Sea Nymphs, 1914 (Sennett) Sea of Grass, 1947 (Kazan) Sea of Sand, 1958 (Attenborough) Sea Squaw, 1925 (Sennett) Sea Squawk, 1925 (Capra) Sea Trial, 1985 (Friedkin) Sea Wall, 1958 (Clément) Sea Wolf, 1941 (Curtiz; Rossen) Sea Wolf, 1997 (Corman) Seafarers, 1953 (Kubrick) Seagull, 1968 (Lumet) Seagulls over Sorrento, 1954 (Boulting) Seal. See Pe?at, 1955 Sealed Hearts, 1919 (Goulding) Sealed Lips. See Lèvres closes, 1906 Sealed Room, 1909 (Grif?th) Seamstress. See Svadlenka, 1936 Séance on a Wet Afternoon, 1964 (Attenborough) Search, 1947 (Zinnemann) Search and Destroy, 1995 (Scorsese) Search for Oil. See De opsporing van aardolie, 1954 Searchers, 1956 (Ford) Seas Beneath, 1931 (Ford) Seashell and the Clergyman. See Coquille et le clergyman, 1927 Seashore Frolics, 1903 (Porter) Seaside Girl, 1907 (Hepworth) Season of the Witch. See Hungry Wives, 1973 Seasons of Meiji. See Meiji haruaki, 1968 Seasons We Walked Together. See Futari de aruita iku-haru-aki, 1962 Seawards the Great Ships, 1959 (Grierson) Seawolf, 1973 (Staudte) Sebastian, 1968 (Powell, Michael, And Emeric Pressburger) Sebastiane, 1976 (Jarman) Sebastiane Wrap, 1975 (Jarman) Sécheresse à Simiri, 1973 (Rouch) Seclusion Near a Forest. See Na samote u lesa, 1977 Second Awakening of Christa Klages. See Zweite Erwachen der Christa Klages, 1977 Second Civil War, 1997 (Corman; Levinson) Second Civil Was, 1997 (Dante) Second Hand Hearts, 1981 (Ashby) Second Hundred Years, 1927 (Mccarey) Second Shot. See Zweite Schuss, 1943 Second Tour. See Druhá směna, 1940 FILM TITLE INDEXDIRECTORS, 4 th EDITION 1285 Seconda volta, 1996 (Moretti) Seconds, 1966 (Frankenheimer) Secours aux naufragés, 1903/04 (Guy) Secret Agent, 1936 (Hitchcock) Secret beyond the Door, 1948 (Lang) Secret Ceremony, 1968 (Losey) Secret Cinema, 1969 (Bartel) Secret de Mayerling, 1949 (Delannoy) Secret defense, 1998 (Rivette) Secret Defense. See Secret defense, 1998 Secret du for?at, 1913 (Feuillade) Secret Flight. See School for Secrets, 1946 Secret Garden, 1993 (Coppola; Holland) Secret Honor, 1984 (Altman) Secret Honor: A Political Myth. See Secret Honor, 1984 Secret Honor: The Political Testament of Richard M. Nixon. See Secret Honor, 1984 Secret Invasion, 1964 (Corman) Secret Journey: Lives of Saints and Sinners, 1994 (Ruiz) Secret Man, 1917 (Ford) Secret Marriage. See Ett Hemligt gifterma?l, 1912 Secret of a Wife. See Tsuma no himitsu, 1924 Secret of Blood. See Tajemství krve, 1953 Secret of Roan Inish, 1994 (Sayles) Secret of Santa Vittoria, 1969 (Kramer) Secret of St. Job Forest. See A Szentjóbi erd? titka, 1917 Secret of the America Dock. See Geheimnis des Amerika-Docks, 1917 Secret of the Old Forest. See Segreto del bosco vecchio, 1993 Secret of the Pavilion. See Pavillonens Hemmelighed, 1916 Secret of the Sahara. See Steel Lady, 1953 Secret of the Writing Desk. See Chatollets Hemmelighed, eller Det gamle chatol, 1913 Secret Partner, 1960 (Dearden) Secret Policeman’s Private Parts, 1984 (Gilliam) Secret Treaty. See Den tredie Magt, 1912 Secrets, 1924 (Borzage) Secrets, 1933 (Borzage) Secrets. See Secrets of the Lone Wolf, 1941 Secrets and Lies, 1996 (Leigh) Secrets d’alc?ve, 1953 (de Sica) Secrets de la prestidigitation dévoilés, 1904 (Guy) Secrets of a Beauty Parlor, 1917 (Sennett) Secrets of a Soul. See Geheimnesse einer Seele, 1925 Secrets of the Lone Wolf, 1941 (Dmytryk) Secrets of Women. See Kvinnors v?ntan, 1952 Section speciale, 1975 (Costa-Gavras) Secuestrador, 1958 (Torre Nilsson) Seddok, l’erede di Satana, 1960 (Bava) Sedmikrásky, 1966 (Chytilová) Sedotta e abbandonata, 1964 (Germi) Seducation of Mimi. See Mimi metallurgio ferito nell’onore, 1972 Seducción, 1983 (Ripstein) Seduced and Abandoned. See Sedotta e abbandonata, 1964 Seducer. See Yuri Nagornyi, 1915 Seduction. See Yuwaku, 1948 See, Saw, Seems, 1967 (Vanderbeek) See You at Mao. See British Sounds, 1969 See You in the Morning, 1989 (Pakula) See You Tomorrow. See Do Widzenia do Jutra, 1960 See You Tonight, 1933 (Sennett) Seed, 1931 (Stahl) Seedling. See Ankur, 1974 Seeing Nellie Home, 1924 (Mccarey) Seeing Stars, 1938 (Boulting) Seeking Refuge in God. See Este’aze, 1984 Seelenverk?ufer, 1919 (Pick) Seemabaddha, 1971 (Ray) Segno di Venere, 1955 (de Sica) Segretaria per tutti, 1932 (de Sica) Segreto del bosco vecchio, 1993 (Olmi) Segunda Declaracion de la Habana, 1965 (Alvarez) Sehnsucht, 1920 (Murnau) Sehnsucht der Veronika Voss, 1982 (Fassbinder) Sehnsucht nach Afrika, 1939 (Sirk) Sei donne per l’assassino, 1964 (Bava) Sei no kigen, 1967 (Shindo) Seigneurs de la forêt, 1958 (Storck; Welles) Seikatsu to mizu, 1952 (Hani) Seine a rencontré Paris, 1957 (Ivens) Seine Frau, die Unbekannte, 1923 (Christensen) Seine Majest?t das Bettelkind, 1920 (Korda) Seine neue Nase, 1916 (Lubitsch) Seine sch?ne Mama. See Flucht der Sch?nheit, 1915 Seishu Hanaoka’s Wife. See Hanaoko Seishu no tsuma, 1967 Seishun, 1925 (Gosho) Seishun kaidan, 1955 (Ichikawa) Seishun no kiryu, 1942 (Kurosawa) Seishun no yume ima izuko, 1932 (Ozu) Seishun no yumeji, 1923 (Mizoguchi) Seishun zankoku monogatari, 1960 (Oshima) Seishun Zenigata Heiji, 1953 (Ichikawa) Seitensprünge, 1930 (Wilder) Seizure, 1974 (Stone) Sekishun-cho, 1959 (Kinoshita) Sekret?r der K?nigen, 1916 (Wiene) Selbe and So Many Others. See Selbé et tant d’autres, 1982 Selbé et tant d’autres, 1982 (Faye) Selena, 1997 (Nava) Self-Portrait, 1990 (Mekas) Selinunte, 1951 (Birri) Selma, Lord, Selma, 1999 (Burnett) Selon Mathieu, 2000 (Breillat) Selskaya uchitelnitsa, 1947 (Donskoi) Selskiy vrach, 1951 (Gerasimov) Seltsame Nacht, 1926 (Holger-Madsen) Seltsame Nacht der Helga Wansen, 1928 (Holger-Madsen) Seltsamen Abenteuer des Herrn Fridolin B, 1948 (Staudte) Selva de fuego, 1945 (de Fuentes) Semaine de vacances, 1981 (Tavernier) Semero smelykh, 1936 (Gerasimov) Seminole, 1953 (Boetticher) Semya tarassa. See Nepokorenniye, 1945 Senba-zuru, 1953 (Yoshimura) Send Me No Flowers, 1964 (Jewison) Sendung des Yoghi, 1921 (Lang) Sengoku gunto den, 1937 (Kurosawa) Sengoku guntoden, 1960 (Kurosawa) Seni kaybederesen, 1961 (Güney) Senka no hate, 1950 (Yoshimura) Senor muy viejo con unas alas enormes, 1988 (Birri) Se?ora de Nadie, 1982 (Bemberg) Sens de la mort, 1921 (Clair; Protazanov) Sensation. See Szenzáció, 1922 Sensation Seekers, 1927 (Weber) Sense and Sensibility, 1995 (Lee; Pollack) Sense of History, 1992 (Leigh) Senseless, 1998 (Spheeris) Senso, 1954 (Rosi; Visconti; Zef?relli) Senso to Seishun, 1991 (Imai) Sensual Paradise. See Together, 1971 Sentinels of Silence, 1971 (Welles) Senza pietà, 1948 (Fellini; Lattuada) FILM TITLE INDEX DIRECTORS, 4 th EDITION 1286 Separation, 1994 (Berri) Separation. See Separation, 1994 Seppuku, 1962 (Kobayashi) Sept fois femmes. See Woman Times Seven, 1967 Sept morts sur ordonnance, 1975 (Serreau) Sept P., Cuis., S. de B., . . . a saisir, 1984 (Varda) Sept Péchés capitaux, 1962 (Berri; Chabrol; de Broca; Demy; Godard; Vadim) Sept péchés capitaux, La nativité, 1910/11 (Feuillade) Sept pièces pour cinéma noir et blanc, 1983 (Ioseliani) September, 1984 (Tian Zhuangzhuang) September, 1988 (Allen) Sequence of Feelings. See Kolejnosc uczuc, 1993 Sera’a ?l Mina, 1955 (Chahine) Sera’a ?l Wadi, 1953 (Chahine) Sera?no, 1968 (Germi) Séraphin ou les jambes nues, 1921/22 (Feuillade) Seraphita’s Diary, 1982 (Wiseman) Serdtse materi, 1966 (Donskoi) Serenade, 1921 (Walsh) Serenade, 1937 (Forst) Serenade, 1956 (Mann) Serenity, 1955-61 (Markopoulos) Sergeant Deadhead, 1965 (Keaton) Sergeant Madden, 1939 (von Sternberg) Sergeant Rutledge, 1960 (Ford) Sergeant York, 1941 (Hawks; Huston) Sergo Ordzhonikidze, 1937 (Vertov) Serial Mom, 1994 (Waters) Série noire, 1955 (von Stroheim) Serious Sixteen, 1910 (Grif?th) Seriously Ill. See Daibyonin, 1995 Serp i molot, 1921 (Pudovkin) Serpent, 1916 (Walsh) Serpent and the Rainbow, 1988 (Craven) Serpent’s Egg. See Schlangenei, 1977 Serpico, 1973 (Lumet) Servant, 1963 (Losey) Service de sauvetage sur la c?te belge, 1930 (Storck) Service for Ladies, 1932 (Korda) Service précipité, 1903 (Guy) Sesame Street Presents “Follow That Bird’’, 1985 (Bartel) Sestra Angelika, 1932 (Fri?) Sestricky, 1983 (Kachyňa) Sestry-Sopernitsy. See Zhizn’ za Zhizn’, 1916 Set Free, 1918 (Browning) Set-Up, 1949 (Wise) Set-Up, 1978 (Bigelow) Setenta veces siete, 1962 (Torre Nilsson) Setkání v ?ervenci, 1977 (Kachyňa) Setouchi munraito serenade, 1997 (Shinoda) Setouchi shonen yakyu dan , 1984 (Itami; Shinoda) Sette canne e un vestito, 1950 (Antonioni) Sette contro la morte, 1964 (Ulmer) Settima Stanza. See Siódmy Pokój, 1995 Settled at the Seaside, 1915 (Sennett) Setu Bandhan, 1932 (Phalke) Seul ou avec d’autres, 1962 (Arcand) Seule, Georgie, 1994 (Ioseliani) Se7en, 1995 (Fincher) Seven. See Se7en, 1995 Seven Ages, 1905 (Porter) Seven Beauties, 1976 (Wertmuller) Seven Brides for Seven Brothers, 1954 (Donen) Seven Capital Sins, The Seven Deadly Sins. See Sept peches capitaux, 1962 Seven Chances, 1925 (Keaton) Seven-Colored Ring. See Nanairo yubi wa, 1918 Seven Days in January. See 7 Dias de enero, 1979 Seven Days in May, 1963 (Frankenheimer) Seven Days’ Leave, 1930 (Cromwell) Seven Days to Noon, 1950 (Boulting) Seven Deadly Sins. See 7 Péchés capitaux, 1952 Seven Deadly Sins. See Sept Péchés capitaux, 1962 Seven Footprints to Satan, 1929 (Christensen) Seven Kinds of Trouble. See Belanin yedi türlüsü, 1969 Seven Madmen. See Siete locos, 1973 Seven Men from Now, 1956 (Boetticher) Seven Miles from Alcatraz, 1942 (Dmytryk) Seven Minutes, 1971 (Meyer) Seven No-goods. See Yedi belalilar, 1970 Seven of Clubs. See Makkhetes, 1916 Seven Pieces for Black and White Cinema. See Sept pièces pour cinéma noir et blanc, 1983 Seven Samurai. See Shichinin no samurai, 1954 Seven Sinners, 1925 (Milestone) Seven Sinners, 1936 (Launder, Frank, and Sidney Gilliat) Seven Songs for Malcolm X, 1993 (Lee) Seven Sweethearts, 1942 (Borzage) Seven Waves Away. See Abandon Ship, 1956 Seven Wild Lions. See Yedi da in aslani, 1966 Seven Women, 1966 (Ford) Seven Women, Seven Sins, 1987 (Akerman) Seven Women of Various Ages. See Siedem kobiet w ró?nym wieku, 1978 Seven Year Itch, 1955 (Wilder) Seventeenth Parallel. See Dix-septième parallèle, 1968 Seventh Age. See De Gamle, 1947 Seventh Anniversary of the Red Army. See Zagranichnii pokhod sudov Baltiiskogo ?ota kreisere “Aurora” i uchebnogo sudna “Komsomolts,” August 8, 1925, 1925 Seventh Cross, 1944 (Zinnemann) Seventh Day, 1909 (Grif?th) Seventh Day, 1922 (Goulding) Seventh Heaven, 1927 (Borzage) Seventh Room. See Siódmy Pokój, 1995 Seventh Seal. See Det sjunde inseglet, 1957 Seventh Sin, 1957 (Minnelli) Seventy-?ve Years of Cinema Museum, 1972 (Daves) Several Days in the Life of I. I. Oblomov. See Oblomov, 1980 Several Friends, 1969 (Burnett) Severed Head, 1971 (Attenborough) Severed Heads. See Cabezas cortadas, 1970 Severo Torelli, 1914 (Feuillade) Sevgili muha?zin, 1970 (Güney) Sevillanas, 1992 (Saura) Sevodiva, 1923-25 (Vertov) Sewer, 1912 (Guy) Sewer. See Kana?, 1957 Sex, 1920 (Niblo) Sex-Business—Made in Passing, 1969 (Syberberg) Sex Comes and Goes. See Sexo va: Sexo vienne, 1977 Sex Hygiene, 1941 (Ford) Sex, lies, and videotape, 1989 (Soderbergh) Sex Shop, 1973 (Berri) Sex Shop, 1983 (Haynes) Sexe faible, 1933 (Siodmak) Sexo va: Sexo vienne, 1977 (Almodóvar) Sexta parte del mundo, 1977 (Gutiérrez Alea) Sexual Meditation: Faun’s Room Yale, 1972 (Brakhage) Sexual Meditation: Hotel, 1972 (Brakhage) Sexual Meditation No. 1: Motel, 1972 (Brakhage) FILM TITLE INDEXDIRECTORS, 4 th EDITION 1287 Sexual Meditation: Of?ce Suite, 1972 (Brakhage) Sexual Meditation: Open Field, 1972 (Brakhage) Sexual Meditation: Room with View, 1972 (Brakhage) Sexual Meditations, 1972 (Brakhage) Seytan kayaliklari, 1970 (Güney) Seytanin o lu, 1967 (Güney) Seyyit Han “Topragin Gelini’’, 1968 (Güney) Seyyit Khan, Bride of the Earth. See Seyyit Han “Topragin Gelini’’, 1968 S?da, 1958 (Rosi) Shabhaye Zayendeh-Rood, 1991 (Makhmalbaf) Shadow. See Cién, 1956 Shadow Dancer, 1997 (Corman) Shadow Line. See Smuga cienia, 1976 Shadow of a Doubt, 1943 (Hitchcock) Shadow of Angels. See Schatten der Engel, 1976 Shadow on the Mountain, 1931 (Grierson) Shadow Warrior. See Kagemusha, 1980 Shadowlands, 1993 (Attenborough) Shadows, 1960 (Cassavetes) Shadows and Fog, 1992 (Allen) Shadows in Paradise. See Varjoja Paratiisissa, 1986 Shadows of Fear. See Thérèse Raquin, 1928 Shadows of Love. See Teni lyubvi, 1917 Shadows of Our Forgotten Ancestors. See Teni zabytykh predkov, 1965 Shadows of Paris. See Paris, 1925 Shadows of the Moulin Rouge, 1913 (Guy) Shadrach, 1998 (Demme) Shaft, 1971 (Parks) Shaft, 2000 (Parks; Singleton) Shaft’s Big Score!, 1972 (Parks) Shagai, Soviet!, 1926 (Vertov) Shaitan el Sahara, 1954 (Chahine) Shakedown, 1929 (Huston; Wyler) Shakedown, 1988 (Bartel) Shakespeare og Kronborg, 1950 (Dreyer; Roos) Shakespeare Wallah, 1965 (Ivory) Shakha Proshakha, 1990 (Ray) Shakhmatnaya goryachka, 1925 (Barnet; Pudovkin) Shalako, 1968 (Dmytryk) Shall We Dance?, 1937 (Sandrich) Shame. See Skammen, 1968 Shame of Mary Boyle. See Juno and the Paycock, 1929 Shameful Dream. See Hazukashii yume, 1927 Shamisen to otobai, 1961 (Shinoda) Shampoo, 1975 (Ashby) Shamrock Handicap, 1926 (Ford) Shan Chung Ch’uan Chi, 1978 (King) Shane, 1953 (Stevens) Shanghai Express, 1932 (von Sternberg) Shanghai Gesture, 1941 (von Sternberg) Shanghai Orchid, 1934 (Florey) Shanghai Triad. See Yao a yao yao dao waipo qiao, 1995 Shanghaied, 1915 (Chaplin) Shanghaied Jonah, 1917 (Sennett) Shanghaied Ladies, 1924 (Sennett) Shanghaied Lovers, 1924 (Capra) Sharada, 1958 (Kapoor) Sharaku, 1995 (Shinoda) Share Cropper. See Hari Hondal Bargadar, 1980 Shark Reef. See She-Gods of Shark Reef, 1957 Sharon vestida de rojo, 1968 (García Berlanga) Shatranj Ke Khiladi, 1977 (Attenborough; Ray) Shattered. See Scherben, 1921 Shattered, 1991 (Petersen) Shattered Image, 1998 (Ruiz) Shattered Vase. See Razbitaya vaza, 1913 Shchors, 1939 (Dovzhenko) She, 1908 (Porter) She. See Kanojo, 1926 She and He. See Kanojo to kare, 1963 She and the Three. See Sie und die Drei, 1922 She Conquered. See Hon segrade, 1916 She Couldn’t Say No, 1930 (Bacon) She Couldn’t Say No, 1954 (Bacon) She-Devil, 1989 (Seidelman) She-Gods of Shark Reef, 1957 (Corman) She Had to Say Yes, 1933 (Berkeley) She Has Lived Her Destiny. See Kanojo to unmei, 1924 She Loved a Sailor, 1916 (Sennett) She Loved Him Plenty, 1918 (Sennett) She Married an Artist, 1937 (Daves) She Married Her Boss, 1935 (La Cava) She Needed a Doctor, 1917 (Sennett) She Played with Fire. See Fortune Is a Woman, 1956 She Sighed by the Seaside, 1921 (Sennett) She-Wolf. See Lupa, 1953 She Wore a Yellow Ribbon, 1949 (Ford) She’s Gotta Have It, 1986 (Lee) She’s Oil Mine, 1941 (Keaton) Sheba, 1919 (Hepworth) Sheepman’s Daughter, 1911 (Dwan) Sheer Madness. See Heller Wahn, 1983 Shelf Life, 1993 (Bartel) Sheltering Sky, 1990 (Bertolucci) Shepherd, 1999 (Corman) Sheriff, 1914 (Franklin) Sheriff Nell’s Tussle, 1918 (Sennett) Sheriff of Fractured Jaw, 1958 (Walsh) Sheriff’s Baby, 1913 (Grif?th) Sheriff’s Sisters, 1911 (Dwan) Sherlock Holmes I, 1908 (Holger-Madsen) Sherlock Holmes III, 1908 (Holger-Madsen) Sherlock Holmes in New York, 1976 (Huston) Sherlock Holmes Jr., 1911 (Porter) Sherlock Jr., 1924 (Keaton) Shestaya chast’ mira, 1926 (Vertov) Shichimencho no yukue, 1924 (Mizoguchi) Shichinin no samurai, 1954 (Kurosawa) Shiga Naoya, 1958 (Hani) Shiiku, 1961 (Oshima) Shikamo karera wa yuku, 1931 (Mizoguchi) Shima to ratai jiken, 1931 (Gosho) Shimmy lagarno tarantelle e vino, 1978 (Wertmuller) Shin Heike monogatari, 1955 (Mizoguchi) Shin josei kagami, 1929 (Gosho) Shin ono ga tsumi, 1926 (Mizoguchi) Shindo, 1936 (Gosho) Shinel, 1926 (Gerasimov; Kozintsev) Shining, 1980 (Kubrick) Shining, 1997 (Raimi) Shining Hour, 1938 (Borzage; Mankiewicz) Shining in the Red Sunset. See Akai yuhi ni terasarete, 1925 Shining Sun Becomes Clouded. See Teru hi kumoru hi, 1926 Shinju ten no Amijima, 1969 (Shinoda) Shinju yoimachigusa, 1925 (Kinugasa) Shinjuku dorobo nikki, 1969 (Oshima) Shinkei gyogun, 1956 (Oshima) Shinsetsu, 1942 (Gosho) Ship. See Baten, 1961 Ship Bound for India. See Skepp till Indialand, 1947 Ship Cafe, 1935 (Florey) Ship of Fools, 1965 (Kramer) FILM TITLE INDEX DIRECTORS, 4 th EDITION 1288 Ship Safety. See Watertight, 1943 Ship That Died of Shame, 1955 (Attenborough; Dearden) Shipmates, 1931 (Daves) Shipmates Forever, 1935 (Borzage; Daves) Shipyard, 1933 (Rotha) Shirasagi, 1957 (Kinugasa) Shirayuri wa nageku, 1925 (Mizoguchi) Shirins hochzeit, 1976 (Sanders-Brahms) Shirin’s Wedding. See Shirins hochzeit, 1976 Shiro Tokisada from Amakusa. See Amakusa shiro tokisada, 1962 Shiroi gake, 1960 (Imai) Shiroi kiba, 1960 (Gosho) Shito no densetsu, 1963 (Kinoshita) Shitoyakana kemono, 1963 (Shindo) Shitto, 1949 (Shindo; Yoshimura) Shivers, 1975 (Cronenberg) Shizukanaru ketto, 1949 (Kurosawa) Shoah, 1985 (Lanzmann) Shock. See Schock, 1977 Shock Corridor, 1963 (Fuller) Shock Troops. See Homme de trop, 1968 Shocker, 1989 (Craven) Shocking Miss Pilgrim, 1946 (Goulding) Shockproof, 1949 (Fuller; Sirk) Shodo satsujin: Musukoyo, 1979 (Kinoshita) Shoe Store, 1999 (Bogdanovich) Shoes, 1916 (Weber) Shoes of the Fisherman, 1968 (de Sica) Shoes That Danced, 1918 (Borzage) Shoeshine. See Sciuscia, 1946 Shohin, 1924 (Kinugasa) Shojo no shi, 1927 (Gosho) Shojo nyuyo, 1930 (Gosho) Shojo yo sayonara, 1933 (Gosho) Shokei no heya, 1956 (Ichikawa) Shokei no shima, 1966 (Shinoda) Shokkaku, 1970 (Shindo) Shokutaku no nai ie, 1985 (Kobayashi) Shonen, 1969 (Oshima) Shonen ki, 1951 (Kinoshita) Shonnenjidai, 1990 (Shinoda) Shoot!. See Dispara!, 1993 Shoot the Moon, 1981 (Parker) Shoot the Piano Player. See Tirez sur le pianist, 1960 Shooting, 1965 (Corman) Shooting Wild, 1927 (Sandrich) Shootist, 1976 (Howard; Siegel) Shop around the Corner, 1940 (Lubitsch) Shop on Main Street. See Obchod na korze, 1965 Shop on the High Street. See Obchod na korze, 1965 Shopping with Wife, 1932 (Sennett) Shopworn Angel, 1938 (Mankiewicz) Shore Acres, 1920 (Ingram) Shores of Phos: A Fable, 1972 (Brakhage) Short and Curlies, 1987 (Leigh) Short Circuit, 1986 (Badham) Short Cut. See Postri?ny, 1980 Short Cuts, 1993 (Altman) Short Film about Killing. See Krótki ?lm o zabi janiu, 1988 Short Film about Love. See Krótki ?lm o miló?ci, 1988 Short Films: 1975, 1975 (Brakhage) Short Films: 1976, 1976 (Brakhage) Short History of France. See Petit Manuel d’histoire de France, 1979 Short Is the Summer. See Kort ?r sommaren, 1962 Short Working Day. See Krótki dzień pracy, 1981 Shot. See Skottet, 1914 Shot, 1996 (Ward) Shot in the Excitement, 1914 (Sennett) Shotgun Wedding, 1963 (Wood, Edward D., Jr.) Shotguns That Kick, 1914 (Sennett) Should a Husband Forgive, 1919 (Walsh) Should a Mother Tell?, 1915 (Ingram) Should Crooners Marry, 1933 (Stevens) Should Husbands Be Watched?, 1925 (Mccarey) Should Husbands Marry, 1926 (Sennett) Should Married Men Go Home?, 1928 (Mccarey) Should Sleepwalkers Marry, 1927 (Sennett) Should Women Drive?, 1928 (Mccarey) Shoulder, 1964 (Warhol) Shoulder Arms, 1918 (Chaplin) Shout, 1978 (Skolimowski) Show, 1927 (Browning) Show Leader, 1966 (Baillie) Show Me a Strong Town and I’ll Show You a Strong Bank, 1966 (de Palma) Show People, 1928 (Chaplin; Vidor) Showboat, 1936 (Whale) Showgirl in Hollywood, 1930 (Leroy) Showgirls, 1995 (Verhoeven) Showman, 1962 (Maysles) Shozo, 1948 (Kinoshita; Kurosawa) Shree Krishna Janma, 1918 (Phalke) Shri 420, 1955 (Kapoor) Shriek of Araby, 1923 (Sennett) Shriman Satyavadi, 1960 (Kapoor) Shrine of Victory. See Greek Testament, 1942 Shruti and Graces of Indian Music, 1972 (Benegal) Shubun, 1950 (Kurosawa) Shukujo to hige, 1931 (Ozu) Shukujo wa nani o wasuretaka, 1937 (Ozu) Shukuzu, 1953 (Shindo) Shunsetsu, 1950 (Yoshimura) Shurajo hibun, 1952 (Kinugasa) Shurochka, 1982 (Hei?tz) Shusoku. See Shohin, 1924 Shuto. See Shohin, 1924 Si c’était à refaire, 1976 (Lelouch) Si j’avais quatre dromadaires, 1966 (Marker) Si j’etais un espion, 1967 (Blier) Si le soleil ne revenais pas, 1987 (Goretta) Si l’Empereur savait ?a, 1930 (Feyder) Si signora, 1942 (Lattuada) Si tous les gars du monde . . . , 1955 (Clouzot) Si usted no puede, yo sí, 1950 (Bu?uel) Si Versailles m’était conté, 1953 (Welles) Si vous ne m’aimez pas, 1916 (Feuillade) Siamo donne, 1953 (Rossellini; Visconti) Siamo tutti in libertà provvisoria, 1972 (de Sica) Sib, 1998 (Makhmalbaf) Siberiade, 1978 (Mikhalkov) Siberian Lady Macbeth. See Sibirska Ledi Magbet, 1972 Siberians. See Sibiriaki, 1940 Sibiriaki, 1940 (Kuleshov) Sibirska Ledi Magbet, 1972 (Wajda) Sibirskij tsiryulnik, 1998 (Mikhalkov) Sicario, 1961 (Germi) Sicilia!, 1999 (Straub, Jean-Marie, And Danièle Huillet) Sicilian, 1987 (Cimino) Sickle and Hammer. See Serp i molot, 1921 Side Lights of the Sawdust Ring. See Det store Hjerte, 1924 Side Street, 1950 (Mann) Sidewalks of New York, 1931 (Keaton) FILM TITLE INDEXDIRECTORS, 4 th EDITION 1289 Sidney’s Joujoux, 1900 (Guy) Sie und die Drei, 1922 (Dupont) Siedem kobiet w ró?nym wieku, 1978 (Kie?lowski) Sieg des Glaubens, 1933 (Riefenstahl) Siegfrieds Tod, 1924 (Lang) Siempre Tuya, 1950 (Fernández) Siete locos, 1973 (Torre Nilsson) Siglo de las luces, 1992 (Solas) Sign of Leo. See Signe du lion, 1959 Sign of the Cross, 1932 (de Mille) Sign of the Gladiator. See Nel segno di Roma, 1958 Sign of the Lion. See Signe du lion, 1959 Sign of the Pagan, 1954 (Sirk) Sign Please, 1933 (Launder, Frank, and Sidney Gilliat) Signal rouge, 1948 (von Stroheim) Signe du lion, 1959 (Godard; Rohmer) Signor Max, 1937 (de Sica) Signora di tutti, 1934 (Ophüls) Signora senza camelie, 1953 (Antonioni) Signore desidera?, 1933 (de Sica) Signore e signori, 1965 (Germi) Signori e signore, buonanotte, 1976 (Scola) Signs of Life. See Lebenszeichen, 1967 Sigui 1968—les danseurs de Tyogou, 1968 (Rouch) Sigui 1969—la caverne de Bongo, 1969 (Rouch) Sigui 1970—Les clameurs d’Amani, 1970 (Rouch) Sigui 1971—la dune d’Idyeli, 1971 (Rouch) Sigui 1972—les pagnes de lame, 1972 (Rouch) Sigui 1973—l’auvent de la circoncision, 1974 (Rouch) Sigui année zero, 1966 (Rouch) Sigui: l’enclume de Yougo, 1967 (Rouch) Sikkim, 1971 (Ray) Silaha yeminliydim, 1965 (Güney) Silahlarin kanunu, 1966 (Güney) Silence. See Chinmoku, 1971 Silence. See Tystnaden, 1963 Silence. See Sokhout, 1998 Silence and Cry. See Csend és kiáltás, 1968 Silence de la mer, 1948 (Melville) Silence est d’or, 1947 (Clair) Silence of the Hams. See Silenzio dei prosciutti, 1994 Silence of the Lambs, 1991 (Corman; Demme; Romero) Silencioso, 1966 (Fernández) Silent Cry. See Nema Kiáltás, 1982 Silent Duel. See Shizukanaru ketto, 1949 Silent Fall, 1994 (Beresford) Silent Lie, 1917 (Walsh) Silent Movie, 1976 (Brooks; Levinson) Silent Partner, 1917 (Goulding) Silent Partner, 1927 (Wyler) Silent Predators, 1999 (Carpenter) Silent Raid. See De Overval, 1962 Silent Running, 1972 (Cimino) Silent Shelby. See Land o’ Lizards, 1916 Silent Shelby, 1922 (Borzage) Silent Signal, 1911 (Guy) Silent Sound Sense Stars Subotnick and Sender, 1962 (Brakhage) Silent Touch, 1992 (Zanussi) Silent Village, 1943 (Jennings) Silent Wife, 1948 (Xie Jin) Silent World. See Monde du silence, 1956 Silenzio dei prosciutti, 1994 (Brooks; Carpenter; Dante; Landis) Silk 2, 1990 (Corman) Silk Hosiery, 1921 (Niblo) Silk Stocking Girl, 1924 (Browning) Silk Stocking Sal. See Silk Stocking Girl, 1924 Silk Stockings, 1957 (Mamoulian) Silken Spider, 1916 (Borzage) Silkwood, 1983 (Nichols) Silver City, 1968 (Wenders) Silver Cord, 1933 (Cromwell) Silver Double Suicide. See Gin-Shinju, 1956 Silver Goat. See Az ezust kecske, 1916 Silver Lode, 1954 (Dwan) Silver-plated Gun, 1913 (Dwan) Silver Queen, 1942 (Bacon) Silver River, 1948 (Walsh) Silver Wings, 1922 (Ford) Silverado, 1985 (Kasdan) Simao o caolho, 1952 (Cavalcanti) Siméon, 1992 (Palcy) Simi Siddo Kuma, 1978 (Rouch) Simon del desierto, 1965 (Bu?uel) Simon the One-Eyed. See Simao o caolho, 1952 Simparele, 1974 (Solas) Simple Case. See Prostoi sluchai, 1932 Simple Charity, 1910 (Grif?th) Simple Formality, 1995 (Polanski) Simple Love, 1912 (Dwan) Simple Men, 1992 (Hartley) Simple Plan, 1998 (Raimi) Sin. See Grekh, 1916 Sin of Martha Queed, 1921 (Dwan) Sin That Was His, 1920 (Goulding) Sinai Field Mission, 1979 (Wiseman) Since You Went Away, 1944 (Cromwell) Sincere Heart. See Magokoro, 1953 Sincerity. See Magokoro, 1953 Sincerity, 1973 (Brakhage) Sincerity II, 1975 (Brakhage) Sincerity III, 1978 (Brakhage) Sincerity IV, 1980 (Brakhage) Sincerity V, 1980 (Brakhage) Sinegoriya, 1946 (Barnet) Sinful Davey, 1969 (Huston) Sing a Song of Sex. See Nihon shunka-ko, 1967 Sing, Bing, Sing, 1933 (Sennett) Sing, Young People!. See Utae, wakodo-tachi, 1963 Sing Your Way Home, 1945 (Mann) Singaree, 1910 (Blom) Singer and the Dancer, 1976 (Armstrong) Singin’ in the Rain, 1952 (Donen) Singing Blacksmith, 1938 (Ulmer) Singing Boxer, 1933 (Sennett) Singing Fool, 1928 (Bacon) Singing Lesson. See Raz, dwa, trzy, 1967 Singing Marine, 1937 (Berkeley; Daves) Singing Plumber, 1932 (Sennett) Singing the Blues in Red. See Fatherland, 1986 Single-handed, 1953 (Boulting; Schlesinger) Singles. See Ma femme’s appelle reviens, 1982 Singles, 1992 (Burton) Sinhasta or The Path to Immortality, 1968 (Benegal) Sinhasta Parvani, 1914/15 (Phalke) Sinister Urge, 1960 (Wood, Edward D., Jr.) Sinner. See Sünderin, 1951 Sinner in Paradise. See Kaettekita yopparai, 1968 Sinners in Paradise, 1938 (Whale) Sins of Casanova. See Avventure di Giacomo Casanova, 1954 Sins of Lola Montes. See Lola Montès, 1955 Sins of the Children. See B?rnenes Synd, 1916 Siódmy Pokój, 1995 (Mészáros) FILM TITLE INDEX DIRECTORS, 4 th EDITION 1290 Sir Arne’s Treasure. See Herr Arnes Pengar, 1919 Sir Arthur Conan Doyle’s The Lost World. See Lost World, 1998 Sir Thomas Lipton out West, 1913 (Sennett) Siren of Impulse, 1912 (Grif?th) Sirène, 1907 (Feuillade) Sirène des tropiques, 1927 (Bu?uel) Sirène du Mississippi, 1969 (Miller; Truffaut) Sirius Remembered, 1959 (Brakhage) Sirokkó, 1969 (Jancsó) Sisimiut, 1966 (Roos) Sista paret ut, 1956 (Bergman; Sj?berg) Sista skriket, 1995 (Bergman) Sister. See Bahen, 1941 Sister Angelica. See Sestra Angelika, 1932 Sister Cecilia. See Hvor Sorgerne glemmes, 1916 Sister of Six, 1916 (Franklin) Sisters, 1973 (de Palma) Sister’s Love, 1911 (Grif?th) Sisters of Darkness. See Entre tinieblas, 1983 Sisters of Nishijin. See Nishijin no shimai, 1952 Sisters of the Gion. See Gion no shimai, 1936 Sisters, or The Balance of Happiness. See Schwestern oder Die Balance des Glücks, 1979 Sit Tight, 1931 (Bacon) Sittin’ Pretty, 1924 (Mccarey) Six-Day Bike Rider, 1934 (Bacon) Six Days. See 6-dagesl?bet, 1958 Six Days, Six Nights. See à la folie, 1994 Six Degrees of Separation, 1993 (Schepisi) Six et demi onze, 1927 (Epstein) Six Hundred Million People Are with You, 1958 (Ivens) Six in Paris. See Paris vu par . . . , 1965 Six Juin à l’aube, 1945 (Grémillon) Six of a Kind, 1934 (Mccarey) Six Shooter Andy, 1918 (Franklin) Six-Thirty Collection, 1934 (Grierson) Sixième Face du Pentagone, 1968 (Marker) Sixth of June at Dawn. See Six Juin à l’aube, 1945 Sixth of the World. See Shestaya chast’ mira, 1926 Sjaeletyven, 1915 (Holger-Madsen) Sjecas li se Dolly Bell?, 1981 (Kusturica) Skaebnebaeltet, 1912 (Christensen) Skaebnens Veje, 1913 (Holger-Madsen) Skammen, 1968 (Bergman) Skandal um Eva, 1930 (Pabst) Skaredá dědina, 1975 (Kachyňa) Skaters. See Schaatsenrijden, 1929 Skating. See Schaatsenrijden, 1929 Skein, 1974 (Brakhage) Skeletons, 1996 (Bartel) Skeleton’s Hand. See Juvelerernes Skr?k, eller Skelethaanden, eller Skelethaandens sidste bedrift, 1915 Skepp som motas, 1916 (Sj?str?m) Skepp till Indialand, 1947 (Bergman) Sketches, 1976 (Brakhage) Ski Raiders. See Snow Job, 1972 Ski Troop Attack, 1960 (Corman) Skidding Hearts, 1917 (Sennett) Skidoo, 1968 (Preminger) Skilsmissens B?rn, 1939 (Christensen) Skin Game, 1931 (Hitchcock) Skinners in Silk, 1925 (Sennett) Skinny’s Finish, 1908 (Porter) Skipper & Co., 1974 (Henning-Jensen) Skippy, 1931 (Mankiewicz) Skola, základ ?ivota, 1938 (Fri?) Skomakare bliv vid din l?st, 1915 (Sj?str?m) Sk?nheden og udyret, 1983 (Malmros) Sk?nhetsv?rd i djungeln, 1935/36 (Fej?s) Skottet, 1914 (Stiller) Skrivánci na niti, 1969 (Menzel) Skullduggery, 1960 (Vanderbeek) Sky Boy, 1929 (Mccarey) Sky Bride, 1932 (Mankiewicz) Sky Line. See Línea del cielo, 1983 Sky Party, 1965 (Corman) Sky Pilot, 1921 (Vidor) Sky Pirate, 1914 (Sennett) Sky, the Earth. See Ciel, la terre, 1966 Sky without Limits, 1989 (Fridriksson) Skylark, 1941 (Sandrich) Skylarking, 1923 (Sennett) Skyldig—ikke skyldig, 1953 (Roos) Skyscraper, 1958 (Clarke) Skyscraper Symphony, 1928 (Florey) Skyscrapers and Brassieres, 1963 (Meyer) Skytturnar, 1987 (Fridriksson) Skyward, 1980 (Howard) Slacker, 1991 (Linklater) Slaedepatruljen Sirius, 1980 (Roos) Slant, 1958 (Romero) Slapstick, 1982 (Lewis) Slapstick of Another Kind, 1984 (Lewis) Slate. See Klaps, 1976 Slattery’s Mounted Foot, 1970 (Apted) Slava Nam—Smert’ Vagram, 1914 (Bauer) Slava Sovetskim Geroiniam, 1938 (Vertov) Slave, 1909 (Grif?th; Sennett) Slave Girl, 1915 (Browning) Slave of Love. See Raba lubvi, 1976 Slavenk?nigin, 1924 (Curtiz) Slaves. See Blacksnake!, 1973 Slaves of New York, 1989 (Ivory) Slaves of the Night. See Az éjszaka rabjai, 1914 Slavnosti sne?enek, 1983 (Menzel) Sleep, 1963 (Warhol) Sleep My Love, 1948 (Sirk) Sleep with Me, 1994 (Tarantino) Sleeper, 1973 (Allen; Schumacher) Sleepers, 1996 (Levinson) Sleeping Beauty. See Nemureru bijo, 1968 Sleeping Car Murders. See Compartiment tueurs, 1966 Sleeping Tiger, 1954 (Losey) Sleepless in Seattle, 1993 (Reiner) Sleepwalk, 1984 (Jarmusch) Sleepwalkers, 1992 (Dante; Hooper; Landis) Sleepy Hollow, 1999 (Burton; Coppola) Slender Thread, 1965 (Pollack) Slesar i kantzler, 1923 (Pudovkin) Sleuth, 1972 (Mankiewicz) Sleuths, 1918 (Sennett) Sleuths at the Floral Parade, 1913 (Sennett) Sleuth’s Last Stand, 1913 (Sennett) Slide, Speedy, Slide, 1931 (Sennett) Sliding Doors, 1998 (Pollack) Slight Case of Murder, 1938 (Bacon) Slightly French, 1949 (Sirk) Slightly Pregnant Man. See évènement le plus important depuis que l’homme a marché sur la lune, 1973 Slightly Scarlet, 1930 (Mankiewicz) Slightly Scarlet, 1956 (Dwan) Slikovnica p?elara, 1958 (Makavejev) FILM TITLE INDEXDIRECTORS, 4 th EDITION 1291 Slim, 1937 (Daves) Sling Blade, 1996 (Jarmusch) Slinger. See Prá?e, 1960 Slip at the Switch, 1932 (Sandrich) Sloane Square, A Room of One’s Own, 1976 (Jarman) Sloppy Bill of the Rollicking R, 1911 (Dwan) Slow Burn, 1986 (Schumacher) Sluchai v vulkane, 1940 (Kuleshov) Sluggard’s Surprise, 1900 (Hepworth) Slugger’s Wife, 1984 (Ashby; Ritt) Sluice, 1978 (Brakhage) Slum, 1952 (Roos) Slumber Party Massacre, 1987 (Corman) Slump Is Over. See Crise est ?nie, 1934 Slyakot’ bulvarnaya, 1918 (Kuleshov) Smaeklaasen, 1908 (Holger-Madsen) Small Adventure. See Chiisana boken ryoko, 1964 Small Back Room, 1949 (Powell, Michael, And Emeric Pressburger) Small Change. See Argent de poche, 1976 Small Leaders of the “Big Leap’’, 1958 (Xie Jin) Small Soldiers, 1998 (Dante; Spielberg) Small Stories of a Big Storm, 1958 (Xie Jin) Small Time Crooks, 2000 (Allen; Spielberg) Small Town Act, 1913 (Sennett) Small–Town Girl, 1914 (Dwan) Small Town Girl, 1936 (Wellman) Small Town Girl, 1953 (Berkeley) Small Town Idol, 1921 (Sennett) Small-Town Princess, 1927 (Sennett) Smallest Show on Earth, 1957 (Dearden; Launder, Frank, and Sidney Gilliat) Smart Woman, 1931 (La Cava) Smarty, 1933 (Florey) Smelchak, 1919 (Kuleshov) Smě?ny pán, 1969 (Kachyňa) Smic Smac Smoc, 1971 (Lelouch) Smierc prowincjala, 1966 (Zanussi) ?mier? Prezydenta, 1977 (Kawalerowicz) Smil, 1916 (Holger-Madsen) Smile. See Sourire, 1994 Smile 61. See Osmjeh 61, 1961 Smile of a Child, 1911 (Grif?th) Smile Please, 1924 (Capra; Sennett) Smiles of a Summer Night. See Sommarnattens leende, 1955 Smilin’ Through, 1922 (Franklin) Smilin’ Through, 1932 (Franklin; Lewin) Smilin’ Through, 1941 (Borzage) Smiling Again. See Ujra mosolyognak, 1954 Smiling Lieutenant, 1931 (Lubitsch) Smiling Life. See Hohoemu jinsei, 1930 Smiling Madame Beudet. See Souriante Madame Beudet, 1923 Smiling Star. See Lachende Stern, 1983 Smilla’s Sense of Snow, 1997 (August) Smith Fishing Trip, 1927 (Sennett) Smith’s Army Life, 1928 (Sennett) Smith’s Baby, 1926 (Sennett) Smith’s Burglar. See Burglar, 1928 Smith’s Candy Shop, 1927 (Sennett) Smith’s Catalina Rowboat Race, 1928 (Sennett) Smith’s Cook, 1927 (Sennett) Smith’s Cousin, 1927 (Sennett) Smith’s Customer, 1927 (Sennett) Smith’s Farm Days, 1928 (Sennett) Smith’s Holiday, 1928 (Sennett) Smith’s Kindergarten, 1927 (Sennett) Smith’s Landlord, 1926 (Sennett) Smith’s Modiste Shop, 1927 (Sennett) Smith’s New Home, 1927 (Sennett) Smith’s Pets, 1927 (Sennett) Smith’s Picnic, 1926 (Sennett) Smith’s Pony, 1927 (Sennett) Smith’s Restaurant, 1928 (Sennett) Smith’s Surprise, 1927 (Sennett) Smith’s Uncle, 1926 (Sennett) Smith’s Vacation, 1926 (Sennett) Smith’s Visitor, 1926 (Sennett) Smithereens, 1982 (Seidelman) Smog, 1972 (Petersen) Smoke, 1970 (Howard) Smoke. See Füst, 1970 Smoke Menace, 1937 (Grierson) Smoke of the 45, 1911 (Dwan) Smoked Husband, 1908 (Grif?th) Smokes and Lollies, 1975 (Armstrong) Smokey Bites the Dust, 1981 (Corman) Smokey Smokes (and) Lampoons, 1920 (La Cava) Smoking, 1993 (Resnais) Smorgasbord. See Cracking Up, 1982 Smrt krásnych srncu, 1986 (Kachyňa) Smrt mouchy, 1975 (Kachyňa) Smrt pana Baltisbergra, 1965 (Menzel) Smrt si ?iká Engelchen, 1963 (Kadár) Smuga cienia, 1976 (Wajda) Smuggler and the Girl, 1911 (Dwan) Smugglers. See P?livets ?desv?ger, 1913 Smugglers. See Man Within, 1947 Smultronst?llet, 1957 (Bergman; Sj?str?m) Snake Eyes, 1998 (de Palma) Snake Eyes. See Dangerous Game, 1993 Snake Princess. See Hebi himesama, 1940 Snakes and Ladders. See Jeu de l’oie, 1980 Snapper, 1993 (Frears) Snapshots of the City, 1961 (Vanderbeek) Snatched from a Burning Death, 1915 (Ingram) Sneaking. See Nukiashi sashiashi, 1934 Sneepings, 1933 (Cromwell) Sneezing Breezes, 1925 (Sennett) Sniper, 1952 (Dmytryk; Kramer) Snobs, 1915 (de Mille) Snow Cure, 1916 (Sennett) Snow Festival. See Yuki matsuri, 1952 Snow Flurry. See Kazabana, 1959 Snow Job, 1972 (de Sica) Snowy Heron. See Shirasagi, 1957 So Big, 1932 (Wellman) So Big, 1953 (Wise) Social Club, 1916 (Sennett) Social Error, 1922 (La Cava) Social Secretary, 1916 (Fleming) Society Scandal, 1924 (Dwan) Society Sinner. See Tyven, 1910 So Close to Life. See N?ra livet, 1958 So ein M?del vergisst man nicht, 1932 (Forst) So endete eine Liebe, 1934 (Forst) So Ends Our Night, 1940 (Cromwell; Lewin; von Stroheim) So Far from India, 1982 (Nair) So I Can. See Man ham Mitoumam, 1975 So Long Letty, 1929 (Bacon) So Near, Yet So Far, 1912 (Grif?th) So Proudly We Hail!, 1943 (Sandrich) So Red the Rose, 1935 (Vidor) So sind die Menschen. See Abschied, 1930 FILM TITLE INDEX DIRECTORS, 4 th EDITION 1292 So This Is College, 1929 (Daves) So This Is Hamlet?, 1923 (La Cava) So This Is Harris, 1933 (Sandrich) So This Is Hollywood. See In Hollywood with Potash and Perlmutter, 1924 So This Is London, 1933 (Grierson) So This Is Love, 1928 (Capra) So This Is New York, 1948 (Aldrich; Kramer) So This Is Paris, 1926 (Lubitsch) So Well Remembered, 1947 (Dmytryk) So You Won’t Squawk, 1941 (Keaton) So You Won’t Talk, 1935 (Launder, Frank, and Sidney Gilliat) So’s Your Old Man, 1926 (La Cava) Soap Opera, 1964 (Warhol) Soapsuds Lady, 1925 (Sennett) Sobre el problema fronterizo entre Kampuchea y Vietnam, 1978 (Alvarez) Sobre horas extras y trabajo voluntario, 1973 (Gómez) Sobrevivientes, 1979 (Gutiérrez Alea) Social Lion, 1930 (Mankiewicz) Social Secretary, 1916 (von Stroheim) Socialist Realism. See Realismo socialista, 1973 Società Ovesticino-Dinamo, 1955 (Olmi) Society and Chaps, 1912 (Dwan) Society for Sale, 1918 (Borzage) Society Goes Spaghetti, 1930 (Sandrich) Society Secrets, 1921 (Browning; Mccarey) Socrate, 1970 (Rossellini) Socrates. See Socrate, 1970 Sodom and Gomorrah. See Sodoma e Gomorra, 1962 Sodom und Gomorrah, 1922 (Curtiz) Sodom und Gomorrah: Part II. Die Strafe, 1923 (Curtiz) Sodom und Gomorrha, 1922 (Forst) Sodoma e Gomorra, 1962 (Leone; Aldrich) Sodrásban, 1964 (Gaál) Soeurs Bront?, 1979 (Téchiné) Soeurs enemies, 1915 (Dulac) Soft Beast. See Shitoyakana kemono, 1963 Soft Beds and Hard Battles, 1974 (Boulting) Soft Fruit, 1999 (Campion) Soft Skin. See Peau douce, 1964 Sogni d’oro, 1981 (Moretti) Sogni infranti, 1995 (Bellocchio) Sogno de Giovanni Bassain, 1953 (Gutiérrez Alea) Sogno della Farfalla, 1994 (Bellocchio) Soif d’amour. See Fome de amor, 1968 Soigne ta droite, 1987 (Godard) Soigne ton gauche, 1936 (Clément; Tati) Soir de Ra?e, 1931 (Clouzot) Soiuzkinozhurnal No. 77, 1941 (Vertov) Soiuzkinozhurnal No. 87, 1941 (Vertov) Sokakta kan vardi, 1965 (Güney) Sokhout, 1998 (Makhmalbaf) Sol, 1974 (Brakhage) Sol no se puede tapar con un dedo, 1976 (Alvarez) Sol over Danmark, 1936 (Holger-Madsen) Solarbabies, 1986 (Brooks) Solaris. See Solyaris, 1971 Sold, 1915 (Porter) Sold to Thieves. See De smaa Landstrygere, 1908 Soldados do fogo, 1958 (Pereira Dos Santos) Soldier in Skirts. See Triple Echo, 1973 Soldier Man, 1926 (Capra; Sennett) Soldier of Fortune, 1955 (Dmytryk) Soldier of Orange, 1979 (Verhoeven) Soldiers and Other Cosmic Objects, 1977 (Brakhage) Soldier’s Daughter Never Cries, 1998 (Ivory) Soldiers of Fortune, 1919 (Dwan) Soldiers of Misfortune, 1914 (Sennett) Soldier’s Pay. See A Soldier’s Plaything, 1930 Soldier’s Plaything, 1930 (Curtiz) Soldier’s Story, 1984 (Jewison) Sole anche di notte, 1990 (Taviani) Sole sorge ancora, 1946 (Pontecorvo) Soledad de los dioses, 1985 (Alvarez) Soleil dans l’oeil, 1961 (Godard) Soleil des voyous, 1967 (Delannoy) Soleil noir, 1918 (Gance) Soleils de l’Ile de Paques, 1971 (Guerra) Solidaridad Cuba y Vietnam, 1965 (Alvarez) Solitude. See Lonesome, 1928 Solomon and Sheba, 1959 (Vidor) Solomon Northrup’s Odyssey, 1984 (Parks) Solomon’s Heart, 1932 (Gerasimov) Solstik, 1953 (Henning-Jensen) Solution No.1. See Rah Hal-e Yek, 1978 S?lv, 1956 (Roos) S?lvdaasen med Juvelerne, 1910 (Blom) Solyaris, 1971 (Tarkovsky) Some Came Running, 1959 (Minnelli) Some Like It Hot, 1939 (Dmytryk) Some Like It Hot, 1959 (Wilder) Some Mother’s Son, 1996 (Sheridan) Some Nerve, 1913 (Sennett) Some Nerve. See Gentlemen of Nerve, 1914 Some Scout, 1927 (Sandrich) Somebody to Love, 1994 (Tarantino) Somebody up There Likes Me, 1956 (Wise) Someday, 1935 (Powell, Michael, And Emeric Pressburger) Someone Else’s Jacket, 1927 (Gerasimov) Someone to Love, 1987 (Welles) Someone to Remember, 1943 (Siodmak) Someone to Watch over Me, 1987 (Scott) Someone’s Watching Me!, 1978 (Carpenter) Something Always Happens, 1934 (Powell, Michael, And Emeric Pressburger) Something Different. See O ně?em jiném, 1963 Something Else. See O ně?em jiném, 1963 Something Evil, 1972 (Spielberg) Something for Something, 1977 (Holland) Something for the Birds, 1952 (Wise) Something Is Drifting on the Water. See Touha zvaná Anada, 1971 Something to Live For, 1952 (Stevens) Something to Talk About, 1995 (Hallstrom) Something to Think About, 1920 (de Mille) Something Wicked This Way Comes, 1983 (Clayton) Something Wild, 1986 (Demme; Sayles; Waters) Somewhere in France. See Foreman Went to France, 1941 Somewhere in the Night, 1946 (Mankiewicz) Somewhere under the Broad Sky. See Kono hiroi sora no dokoka ni, 1954 Sommaren med Monika, 1953 (Bergman) Sommarlek, 1951 (Bergman) Sommarnattens leende, 1955 (Bergman) Sommartag, 1961 (Troell) Sommeil d’Albertine, 1945 (Resnais) Somnambulist. See S?vngaengersken, 1914 Son Comes Home, 1936 (Dupont) Son kizgin adam, 1970 (Güney) Son Nom de Venises dans Calcutta desert, 1976 (Duras) Son o’ My Heart, 1930 (Borzage) Son of a Sailor, 1933 (Bacon) Son of a Samurai. See Samurai no ko, 1963 Son of Destiny. See Madame de Thèbes, 1915 FILM TITLE INDEXDIRECTORS, 4 th EDITION 1293 Son of Dracula, 1943 (Siodmak) Son of Fate. See M?stertjuven, 1915 Son of Fury, 1942 (Cromwell) Son of Gascogne, 1994 (Leconte) Son of His Father, 1925 (Fleming) Son of India, 1931 (Autant-Lara; Feyder) Son of India, 1962 (Mehboob Khan) Son of Kong, 1933 (Schoedsack) Son of Lifeboat, 1949 (Lewis) Son of Paleface, 1951 (de Mille; Tashlin) Son of Satan, 1924 (Micheaux) Son of Spellbound, 1949 (Lewis) Son of the “Star’’. See Hijo del crack, 1953 Son Tarasa, 1919 (Kuleshov) Sonad oskuld, 1915 (Sj?str?m) So?ador del Kremlin, 1984 (Alvarez) Sonar Kella, 1974 (Ray) Sonatas, 1959 (Bardem) Sonate à Kreutzer, 1956 (Rohmer) Sondagsbarn, 1992 (Bergman) Song 27 (Part II) Rivers, 1969 (Brakhage) Song about Flowers. See Sapovnela, 1959 Song about Happiness. See Pesnya o shchastye, 1934 Song and Dance Man, 1936 (Dwan) Song Is Born (remake of Ball of Fire, 1947 (Hawks) Song Is Ended. See Lied ist aus, 1930 Song of a Sad Country, 1937 (Weiss) Song of Bwana Toshi. See Bwana Toshi no uta, 1965 Song of Ceylon, 1934 (Cavalcanti; Grierson) Song of Hate, 1915 (Ingram) Song of Heroes. See Pesn o Gerojach, 1932 Song of Home. See Furusato no uta, 1925 Song of Life, 1922 (Stahl) Song of Manchuk. See Pesnya Manshuk, 1971 Song of Remembrance. See Chanson du souvenir, 1936 Song of Soho, 1930 (Launder, Frank, and Sidney Gilliat) Song of Songs, 1933 (Mamoulian) Song of Steel. See Pesn o metallye, 1928 Song of the Camp. See Roei no uta, 1938 Song of the Flower Basket. See Hanakago no uta, 1937 Song of the Meet, I and II. See Píseň o sletu I, II, 1949 Song of the Mountain Pass. See Toge no uta, 1924 Song of the Rivers. See Lied der Str?me, 1954 Song of the Scarlet Flower, The Flame of Life. See S?ngen om den eldr?da blomman, 1918 Song of the Sea. See O canto do mar, 1953 Song of the Shirt, 1908 (Grif?th; Sennett) Song of the Wildwood Flute, 1910 (Grif?th) Song Which Grandmother Sang, 1912 (Blom) Song without End, 1960 (Cukor) Songhays, 1963 (Sembene) Songs, 1969 (Brakhage) Songwriter, 1984 (Pollack; Rudolph) S?nnen, 1914 (Blom) Sonnenstrahl, 1933 (Fej?s) Sonntag des Lebens, 1930 (Goulding) Sono stato io, 1973 (Lattuada) Sono yo no tsuma, 1930 (Ozu) Sono yo wa wasurenai, 1962 (Yoshimura) Sonrisa del Diablo, 1996 (Ripstein) Sons and Daughters of the Good Earth. See Ta Ti Erh Nü, 1964 Son’s Big Doll. See Erh Tzu Tê Ta Wan Ou, 1983 Sons o’ Guns, 1936 (Bacon) Sons of Haji Omar, 1978 (Asch) Sons of Ingmar. See Ingmars?nerna, Parts I and II, 1919 Sons of Liberty, 1939 (Curtiz) Son’s Return, 1909 (Grif?th) Sooky, 1931 (Mankiewicz) Sophie’s Choice, 1982 (Pakula) Sophomore, 1929 (Mccarey) Sopralluoghi in Palestina, 1964 (Pasolini) Sora wa haretari, 1925 (Gosho) Sorcerer. See Yoso, 1963 Sorcerer, 1977 (Friedkin) Sorcerer from Outer Space, 1962-70 (Carpenter) Sorceror’s Apprentice, 1955 (Powell, Michael, And Emeric Pressburger) Sorciere, 1988 (Bellocchio) Sorok pervyi, 1927 (Protazanov) Sorok serdets, 1930 (Kuleshov) Sorority Girl, 1957 (Corman) Sorority House Massacre 2, 1992 (Corman) Sorpasso, 1962 (Scola) Sorrow Is Only for Women. See Kanashimi wa onna dakeni, 1958 Sorrowful Example, 1911 (Grif?th) Sorrowful Shore, 1913 (Grif?th) Sorrows of Satan, 1926 (Grif?th) Sorrows of the Unfaithful, 1910 (Grif?th) Sortie de secours, 1970 (Chabrol) Sortie de Secours, 1983 (van Dormael) Sortie des usines, 1894 (Lumière) Sortie des usines, 1895 (Lumière) Sortie du port. See Barque sortant du port, 1895 Soseiji gakkyu, 1956 (Hani) Soshun, 1956 (Ozu) Sosie, 1915 (Feuillade) S?ster Cecilies Offer. See Hvor Sorgerne glemmes, 1916 Sostyazanie, 1964 (Gerasimov) Sotelo, 1976 (Ruiz) Sotto il segno dello scorpione, 1969 (Taviani) Sotto il sole di Roma, 1948 (Castellani) Sotto, Sotto, 1984 (Wertmuller) Souf?e au coeur, 1971 (Malle) Soufrière, 1977 (Herzog) Soul Herder, 1917 (Ford) Soul of a Painter. See Hua hun, 1993 Soul of a Thief, 1913 (Dwan) Soul of the Violin. See En Kunstners Gennembrud, 1915 Soulagna Rasa, 1914/15 (Phalke) Soulier de satin. See O Sapato de cetim, 1985 Souliers de Saint-Pierre. See Shoes of the Fisherman, 1968 Souls for Sale, 1923 (Chaplin) Souls under the Sun. See ames au soleil, 1981 Souna Kouma, 1975 (Rouch) Sound and the Fury, 1959 (Ritt) Sound Barrier, 1952 (Lean) Sound of Music, 1965 (Wise) Sound of Trumpets. See Posto, 1961 Sound Sleeper, 1909 (Grif?th) Sounder, 1971 (Ritt) Source, 1900 (Guy) Source de beauté. See Fioritures, 1916 S?urette, 1913 (Tourneur) Souriante Madame Beudet, 1923 (Dulac) Sourire, 1994 (Miller) Sourire d’or. See Det gyldne Smil, 1935 Souris blanche, 1911/13 (Feuillade) Sous le ciel de Paris, 1950 (Duvivier) Sous le soleil de Satan, 1987 (Berri; Pialat) Sous les toits de Paris, 1930 (Clair) Sous un autre soleil, 1955 (de Broca) Sousto, 1960 (Nemec) South. See Sud, 1999 FILM TITLE INDEX DIRECTORS, 4 th EDITION 1294 South Advancing Women. See Nanshin josei, 1939 South Central, 1992 (Stone) South Limburg. See Zuid Limburg, 1929 South Sea Adventure, 1959 (Welles) South Sea Rose, 1929 (Dwan) South Wind. See Minami ni kaze, 1942 South Wind: Sequel. See Zoko minami no kaze, 1942 Southern Comfort, 1981 (Hill) Southern Star, 1968 (Welles) Southerner, 1945 (Aldrich; Renoir) Southerners, 1914 (Ingram) Souvenir. See Aux yeux du souvenir, 1948 Souvenir de Paris, 1955 (Guerra) Souvenir d’Italie, 1957 (de Sica) Souvenirs d’en France, 1974 (Téchiné) Sovetskie igrushki, 1924 (Vertov) Soviet Toys. See Sovetskie igrushki, 1924 Soviet Village, 1944 (Rotha) S?vngaengersken, 1914 (Holger-Madsen) Sovversivi, 1967 (Taviani) Sowing the Wind, 1916 (Hepworth) Sowing the Wind, 1920 (Stahl) Soypuro mexicano, 1942 (Fernández) Soyuz Velikogo Dela. See S.V.D., 1927 Space, 1965 (Morrissey; Warhol) Space Cowboys, 2000 (Eastwood) Space Raiders, 1983 (Corman) Spaceballs, 1987 (Brooks) Spacejacked, 1997 (Corman) Spaedbarnet, 1953 (Roos) Spaniard, 1925 (Walsh) Spaniard and Indian, 1941 (Eisenstein) Spanish Affair, 1957 (Siegel) Spanish Dilemma, 1911 (Sennett) Spanish Earth, 1937 (Ivens; Renoir; Welles) Spanish Gypsy, 1911 (Grif?th) Spanish Jade, 1922 (Hitchcock) Spanish Main, 1945 (Borzage) Spanish Shotgun. See Escopeta nacional, 1978 Spanking Breezes, 1926 (Sennett) Spare a Copper, 1940 (Dearden) Spare Time, 1939 (Cavalcanti; Jennings) Spark. See Hibana, 1922 Spark. See Hibana, 1956 Sparkle, 1976 (Schumacher) Sparrow. See Al Asfour, 1973 Sparrow, 1993 (Zef?relli) Spartacus, 1960 (Kubrick) Spawn of the North, 1938 (Lewin) Spawning. See Pirhana II: The Spawning, 1981 Speak Easily, 1932 (Keaton) Speak Easy, 1919 (Sennett) Speaking from America, 1939 (Cavalcanti; Jennings) Speaking of Glass. See Over glas gesproken, 1958 Speaking Parts, 1989 (Egoyan) Spear and Sword, 1988 (Asch) Special Boy Soldiers of the Navy. See Kaigun tokubetsu shonen hei, 1972 Special Charm. See Anokhi Ada, 1948 Special Day. See Giornata particolare, 1977 Special Section. See Section speciale, 1975 Specialistes, 1985 (Leconte) Specialists. See Specialistes, 1985 Spectre, 1915/16 (Feuillade) Spectre vert, 1930 (Feyder) Speed, 1931 (Sennett) Speed Demon, 1911 (Sennett) Speed in the Gay Nineties, 1932 (Sennett) Speed Kings, 1913 (Sennett) Speed Queen, 1913 (Sennett) Speedway Junkie, 1999 (van Sant) Spell of the Ball. See A labda varásza, 1962 Spell of the Poppy, 1915 (Browning) Spellbound, 1945 (Hitchcock) Spencer’s Mountain, 1963 (Daves) Spendthrift, 1936 (Walsh) Sperduti nel buio, 1947 (de Sica) Spetters, 1980 (Verhoeven) Sphere, 1998 (Levinson) Spherical Space No.1, 1967 (Vanderbeek) Sphinx, 1981 (Schaffner) Spiaggia, 1954 (Lattuada) Spider-Man, 2001 (Raimi) Spider’s Stratagem. See Strategia del ragno, 1969 Spiders. See Spinnen, 1919 Spiders. See Spinnen, 1920 Spie vengono dal semifreddo, 1966 (Bava) Spiegel van Holland, 1950 (Haanstra) Spiel im Sand, 1964 (Herzog) Spiel im Sommerwind, 1950 (Staudte) Spiel mit den Feuer, 1921 (Wiene) Spiel ums Leben, 1924 (Curtiz) Spieler aus Leidenschaft. See Bild der Zeit, 1921/22 Spielzeug von Paris. See Celimene, Poupee de Montmartre, 1925 Spies. See Spione, 1928 Spies like Us, 1985 (Apted; Costa-Gavras; Gilliam; Landis; Raimi) Spike of Bensonhurst, 1988 (Morrissey) Spikes Gang, 1974 (Howard) Spina nel cuore, 1987 (Lattuada) Spinnen, 1919 (Lang) Spinnen, 1920 (Lang) Spinonen fra Tokio, 1910 (Blom) Spinsters. See Para vestir, 1955 Spione, 1919 (Dupont) Spione, 1928 (Lang; Pick) Spiral. See Spirala, 1978 Spiral Road, 1962 (Mulligan) Spiral Staircase, 1945 (Siodmak) Spirala, 1978 (Zanussi) Spirale, 1976 (Marker) Spirit and the Clay, 1914 (Ingram) Spirit Awakened, 1912 (Grif?th) Spirit of St. Louis, 1957 (Wilder) Spirit of the Flag, 1913 (Dwan) Spirit of the People. See Abe Lincoln in Illinois, 1940 Spirit of the Pond. See Ma no ike, 1923 Spiritisten, 1914 (Holger-Madsen) Spirits of the Dead. See Histoires extraordinaires, 1968 Spiste horisonter, 1950 (Roos) Spite Marriage, 1929 (Keaton) Spitzen, 1926 (Holger-Madsen) Splash, 1984 (Howard) Splendor, 1989 (Scola) Splendor, 1999 (Araki) Splendour in the Grass, 1961 (Kazan) Split Screen: Peace in Northern Ireland, 1989 (Loach) Sp?gelset i Gravkaelderen, 1910 (Blom) Spoiled Children. See Des enfants gatés, 1977 Spokój, 1976 (Kie?lowski) Spomenicima ne treba verovati, 1958 (Makavejev) Spongers, 1978 (Joffé) Spontaneous Combustion, 1989 (Hooper; Landis) Spook Speaks, 1940 (Keaton) FILM TITLE INDEXDIRECTORS, 4 th EDITION 1295 Sporck’schen J?ger, 1926 (Holger-Madsen) Sport Sport Sport, 1971 (Mikhalkov; Shepitko) Sporting Fame. See Sportivnaya slava, 1950 Sporting Life, 1918 (Tourneur) Sporting Life, 1925 (Tourneur) Sportivnaya slava, 1950 (Donskoi) Sports Illustrated: Swimsuit ‘92, 1992 (Maysles) Sposa bella. See Angel Wore Red, 1960 Spot in the Rug, 1932 (Sennett) Spot in the Shade, 1949 (Lewis) Spotkanie na Atlantyku, 1979 (Kawalerowicz) Spotlight on a Massacre: Ten Films against Land Mines, 1998 (van Dormael) Sprengbagger 1010, 1929 (Zinnemann) Spring. See Izumi, 1956 Spring Banquet. See Haru koro no hana no en, 1958 Spring Comes from the Ladies. See Haru wa gofujin kara, 1932 Spring Comes to England, 1934 (Grierson) Spring Cycle, 1995 (Brakhage) Spring Dreams. See Haru no yume, 1960 Spring Fever. See Recreation, 1914 Spring Fever, 1927 (Lewin) Spring in Moscow. See Vesna v Moskve, 1953 Spring in the Land of Waters, 1955 (Xie Jin) Spring in the Pastures of Dalby. See Var i Dalby hage, 1962 Spring in Wintertime. See Tavasz a télben, 1917 Spring Lock. See Smaeklaasen, 1908 Spring of Southern Island. See Nanto no haru, 1925 Spring Offensive, 1939 (Cavalcanti; Jennings) Spring on the Farm, 1934 (Grierson) Spring Snow. See Shunsetsu, 1950 Springende Hirsch, 1915 (Wiene) Sputnik Speaking, 1959 (Gerasimov) Sputnik Speaks. See Sputnik Speaking, 1959 Spy, 1931 (Zinnemann) Spy Has Not Yet Died. See Kancho mada shinazu, 1942 Spy in Black, 1939 (Powell, Michael, And Emeric Pressburger) Spy Who Came in from the Cold, 1966 (Ritt) Spy Within, 1995 (Corman) Squadron 992, 1940 (Cavalcanti) Squall, 1929 (Korda) Square. See Tér, 1971 Square Ring, 1953 (Dearden) Square Shooter, 1927 (Wyler) Squarehead. See Mabel’s Married Life, 1914 Squaw Man, 1914 (de Mille) Squaw Man, 1918 (de Mille) Squaw Man, 1931 (de Mille) Squaw’s Love, 1911 (Grif?th) Squeeze, 1976 (Apted) Srub, 1965 (Jire?) Ssaki, 1962 (Polanski) St. Benny the Dip, 1951 (Ulmer) St. Elmo’s Fire, 1985 (Schumacher) St. Louis Blues, 1939 (Walsh) St. Matthew’s Passion, 1951 (Flaherty) St. Peter’s Umbrella. See Szent Péter eserny?je, 1917 St. Valentine’s Day Massacre, 1967 (Corman) Staalkongens Vilje. See Det m?rke Punkt, 1913 Stachka, 1925 (Eisenstein) Stad, 1960 (Troell) Stade 81, 1981 (van Dormael) Stadt im tal, 1974 (Petersen) Stadt in Sicht, 1923 (Pick) Stadt Stuttgart, 100. Cannstatter Volksfest, 1935 (Ruttmann) Stadtstreicher, 1965 (Fassbinder) Stage Door, 1937 (La Cava) Stage Door Canteen, 1943 (Borzage; Daves) Stage Fright, 1949 (Hitchcock) Stage Robbers of San Juan, 1911 (Dwan) Stage Struck, 1925 (Dwan) Stage Struck, 1936 (Berkeley) Stage Struck, 1958 (Lumet) Stagecoach, 1939 (Ford) Staircase, 1969 (Donen) Stairs 1 Geneva, 1995 (Greenaway) Stairway to Heaven. See A Matter of Life and Death, 1946 Stairway to Heaven, 1998 (Morris) Stake out on Dope Street, 1958 (Corman) Stakeout, 1987 (Badham) Stakeout 2. See Another Stakeout, 1993 Stalag 17, 1953 (Preminger; Wilder) Stalker, 1979 (Tarkovsky) Stalking Moon, 1968 (Mulligan; Pakula) Stallion Road, 1947 (Walsh) Stalowe serca, 1948 (Kawalerowicz) Stammen Lever an, 1937/38 (Fej?s) Stampede, 1911 (Guy) Stan Posiadania, 1989 (Zanussi) Stan the Flasher, 1990 (Berri) Stand, 1994 (Landis) Stand by Me, 1986 (Reiner) Stand der Dinge, 1982 (Corman; Jarmusch; Wenders) Stand under the Dark Clock, 1989 (Zinnemann) Stand up and Fight, 1938 (Leroy) Standhafte Benjamin, 1917 (Wiene) Stanley and Iris, 1989 (Ritt) Stanza del ?glio, 2000 (Moretti) Staphylokok-faren, 1960 (Roos) Star!, 1968 (Wise) Star 80, 1983 (Fosse) Star Boarder, 1914 (Chaplin; Sennett) Star Boarder, 1920 (Sennett) Star Child, 1983 (Corman) Star Garden, 1974 (Brakhage) Star in the Dust, 1956 (Eastwood) Star in the Night, 1945 (Siegel) Star Is Born, 1937 (Fleming; Wellman) Star Is Born, 1954 (Cukor) Star Named Wormwood. See Hvězda zvaná Pelyněk, 1964 Star of India, 1913 (Guy) Star of Married Couples. See Meoto boshi, 1926 Star Reporter, 1931 (Powell, Michael, And Emeric Pressburger) Star Spangled Rhythm, 1942 (de Mille) Star Trek: The Motion Picture, 1979 (Wise) Star Wars, 1977 (Lucas) Star Wars: Episode I—The Phantom Menace, 1999 (Lucas) Star Wars: Episode II, 2002 (Lucas) Star Wars: Episode III, 2005 (Lucas) Star Wars: Episode VI—Return of the Jedi, 1983 (Fincher) Star Witness, 1931 (Wellman) Stará ?inská opera, 1954 (Kachyňa) Stardom, 2000 (Arcand) Stardust, 1974 (Apted) Stardust Memories, 1980 (Allen) Star?sh. See étoile de mer, 1928 Starinnaja gruzinskaja pesnja, 1969 (Ioseliani) Stark Mad, 1929 (Bacon) Starke Ferdinand, 1975 (Kluge) St?rker als Paragraphen, 1950 (Staudte) Starman, 1984 (Carpenter) Staroe i novoe, 1929 (Eisenstein) FILM TITLE INDEX DIRECTORS, 4 th EDITION 1296 Starquest II, 1997 (Corman) Starry Is the Night, 1989 (Woo) Stars. See Estrella, 1976 Stars and Bars, 1917 (Sennett) Stars Are Beautiful, 1974 (Brakhage) Stars in My Crown, 1950 (Tourneur) Stars Look Down, 1939 (Reed) Stars of Eger. See Egri csillagok, 1923 Stars over Broadway, 1935 (Berkeley) Stars Shine. See Es leuchten die Sterne, 1938 Starship Troopers, 1997 (Verhoeven) Starstruck, 1982 (Armstrong) Start the Revolution without Me, 1970 (Welles) Starting Over, 1979 (Pakula) Staryi nayezdnik, 1940 (Barnet) State of Siege. See Etat de siège, 1973 State of Siege, 1978 (Ward) State of the Union, 1948 (Capra) State of Things. See Stand der Dinge, 1982 State Secret, 1950 (Launder, Frank, and Sidney Gilliat) Station. See Dworzec, 1980 Station for Two. See Vokzal dla dvoish, 1983 Statue, 1905 (Guy) Statue Parade, 1937 (Rotha) Statues meurent aussi, 1953 (Marker; Resnais) Stavisky, 1974 (Resnais) Stay Hungry, 1977 (Rafelson) Stazione Termini, 1953 (de Sica) Stealing Beauty, 1996 (Bertolucci) Steam Heat. See Immoral Teas, 1959 Steamboat Bill Jr., 1928 (Keaton) Steamboat round the Bend, 1935 (Ford) Steaming, 1985 (Losey) Steamroller and the Violin. See Katok i skripka, 1960 Steel Hearts. See Stalowe serca, 1948 Steel Helmet, 1950 (Fuller) Steel King’s Last Wish. See Det m?rke Punkt, 1913 Steel Lady, 1953 (Dupont) Steel Rolling Mill, 1914 (Sennett) Steel Town. See Zoceleni, 1950 Steel Trap, 1952 (Aldrich) Steel: A Whole New Way of Life, 1971 (Benegal) Stella, 1955 (Cacoyannis) Stella Dallas, 1937 (Vidor) Stellar, 1993 (Brakhage) Stellenweise glatteis, 1975 (Petersen) Stemning i April, 1947 (Henning-Jensen) Stěnata, 1957 (Forman) Step Forward, 1922 (Sennett) Stepkids. See Big Girls Don’t Cry . . . They Get Even, 1992 Stepmonster, 1993 (Corman) Stepmother. See Svend Dyrings Hus, 1908 Stepmother, 1912 (Dwan) Steppa, 1962 (Lattuada) Stepping Out, 1919 (Niblo) Sterbende Perlen, 1917 (Dupont) Sterbende Stadt. See Den dvende Stad, 1921 Stereo, 1969 (Cronenberg) Sterile Cuckoo, 1969 (Pakula) Stern von Damaskus, 1920 (Curtiz) Steve McQueen: The King of Cool, 1998 (Jewison) Stigmate, 1924 (Feuillade) Stigmatized One. See Gezeichneten, 1922 Stikkfri, 1997 (Fridriksson) Still Alarm, 1903 (Porter) Still Life, 1966 (Baillie) Still of the Night, 1982 (Benton) Still We Live. See Dokkoi ikiteiru, 1951 Stille nach dem Schu?, 1999 (Schl?ndorff) Stillness. See Spokój, 1976 Stilts. See Zancos, 1984 Stimme aus dem ?ther, 1939 (K?utner) Stimme ?sterreichs, 1949 (Forst) Stingaree, 1934 (Wellman) Sto je radni?ki savjet?, 1959 (Makavejev) Stockbroker. See F?r sin k?rleks skull, 1913 Stockez et conservez les grains, 1978 (Kaboré) Stockholm, 1977 (Zetterling) St?j, 1965 (Roos) Stolen Affections. See Révoltée, 1947 Stolen Bride, 1927 (Korda) Stolen by Gypsies, 1905 (Porter) Stolen Desire. See Nusumareta yokujo, 1958 Stolen Frontier. See Uloupená hranice, 1947 Stolen Glory, 1912 (Sennett) Stolen Goods, 1924 (Mccarey) Stolen Holiday, 1936 (Curtiz) Stolen Jewels, 1908 (Grif?th) Stolen Kisses. See Baisers volés, 1968 Stolen Love. See Nusumareta koi, 1951 Stolen Magic, 1915 (Sennett) Stolen Purse, 1913 (Sennett) Stolen Ranch, 1926 (Wyler) Stolz der Firma, 1914 (Lubitsch) Stone and Glass. See Sang-o shisheh, 1994 Stooge, 1953 (Lewis) Stop Making Sense (doc), 1984 (Demme) Stop the Old Fox. See Kagero ezu, 1959 Stopover in the Marshland. See Uppehall i myrlandet, 1965 Stopy, 1960 (Jire?) Store. See Floorwalker, 1916 Store, 1983 (Wiseman) Store and Conserve the Grain. See Stockez et conservez les grains, 1978 Store Klaus og Lille Klaus, 1913 (Christensen) Storefront Hitchcock, 1998 (Demme) Storia de fratelli e de cortelli, 1973 (de Sica) Storia di una Capinera, 1992 (Zef?relli) Storia milanese, 1962 (Olmi) Storie scellerate, 1973 (Pasolini) Stories about Things. See April, 1961 Stories of the Revolution. See Historias de la revolución, 1960 Stork Caliph. See A gólyakalifa, 1917 Storm, 1930 (Huston; Wyler) Storm. See Vihar, 1952 Storm at Balaton. See Itél a Balaton, 1932 Storm Clouds of Venus. See Planeta Burg, 1966 Storm in Summer, 2000 (Wise) Storm of Passion. See Stürme der Leidenschaft, 1932 Storm over Asia. See Potomok Chingis-khan, 1928 Storm over Lisbon, 1944 (von Stroheim) Storm over the Nile, 1955 (Korda) Stormf?geln, 1914 (Stiller) Storms of Life. See Livets Storme, 1910 Stormy Petrel. See Stormf?geln, 1914 Storstr?msbroen, 1950 (Dreyer) Story from Chikamatsu. See Chikamatsu monogatari, 1954 Story in the Rocks. See Paleontologie, 1959 Story of a Blackcap. See Storia di una Capinera, 1992 Story of a Love Affair. See Cronaca di un amore, 1950 Story of a Man. See Historien om en Mand, 1944 Story of a Penny. See Egy krajcár t?rténete, 1917 Story of a Potter. See Potterymaker, 1925 FILM TITLE INDEXDIRECTORS, 4 th EDITION 1297 Story of a Story, 1915 (Browning) Story of Adele H.. See Histoire d’Adèle H., 1975 Story of Dr. Carver, 1938 (Zinnemann) Story of Dr. Ehrlich’s Magic Bullet, 1940 (Huston) Story of Dr. Wassell, 1944 (de Mille) Story of Esther Costello, 1957 (Clayton) Story of Floating Weeds. See Ukigusa monogatari, 1934 Story of Four Loves. See Yottsu no koi no monogatari, 1947 Story of G.I. Joe, 1945 (Aldrich; Wellman) Story of Gilbert and Sullivan, 1953 (Launder, Frank, and Sidney Gilliat) Story of G?sta Berling. See G?sta Berlings saga, 1923 Story of Israel. See Thus Spake Theodor Herzl, 1967 Story of Little Mook. See Geschichte des kleinen Muck, 1953 Story of Mandy. See Mandy, 1952 Story of Michelangelo, 1949 (Flaherty) Story of My Loving Wife. See Aisai monogatari, 1951 Story of Private Pooley, 1962 (Anderson) Story of Pure Love. See Junai monogatari, 1957 Story of Qiu Ju. See Qiu Ju da guan si, 1992 Story of Sue San. See Yü T’ang Ch’un, 1962 Story of Tank Commander Nishizumi. See Nishizumi sanshacho den, 1940 Story of the Count of Monte Cristo. See Comte de Monte Cristo, 1961 Story of the Last Chrysanthemum. See Zangiku monogatari, 1939 Story of the London Fog, 1926 (Hitchcock) Story of the Turbulent Years. See Povest plamennykh let, 1961 Story of the Wheel, 1934 (Jennings) Story of Three Loves, 1953 (Franklin; Minnelli) Story of Tosca. See Tosca, 1941 Story of Us, 1999 (Reiner) Story of Will Rogers, 1952 (Curtiz) Story of Women. See Affaire des femmes, 1989 Story of X, 1998 (Meyer) Stout Heart but Weak Knees, 1914 (Sennett) Strada, 1954 (Fellini) Strada lunga un anno. See Cesta duga godinu dana, 1958 Strada per Fort Alamo, 1964 (Bava) Strahovská demonstrace, 1991 (Nemec) Straight Road, 1914 (Dwan) Straight Shootin’, 1927 (Wyler) Straight Shooting, 1917 (Ford) Straight Story, 1999 (Lynch) Straight Talk, 1992 (Sayles) Straight through the Heart. See Mitten ins herz, 1983 Straight Time, 1978 (Mann) Straight to Hell, 1986 (Jarmusch) Straightforward Boy. See Tokkan kozo, 1929 Straits of Love and Hate. See Aienkyo, 1937 Strakoff the Adventurer. See Hvem er Gentlemantyven, 1915 Strana rodnaya, 1946 (Dovzhenko) Stranded, 1935 (Borzage; Daves) Strandgut, 1924 (Forst) Strange Affair of Uncle Harry. See Uncle Harry, 1945 Strange Affection. See Scamp, 1957 Strange Birds, 1930 (Sennett) Strange Boarders, 1938 (Launder, Frank, and Sidney Gilliat) Strange Cargo, 1940 (Borzage; Mankiewicz) Strange Case of the Cosmic Rays, 1957 (Capra) Strange Days, 1995 (Bigelow) Strange Illusion, 1945 (Ulmer) Strange Impersonation, 1946 (Mann) Strange Lady in Town, 1955 (Leroy) Strange Love of Martha Ivers, 1946 (Aldrich; Milestone; Rossen) Strange Love of Molly Louvain, 1932 (Curtiz) Strange Meeting, 1909 (Grif?th) Strange Story of Oyuki. See Bokuto Kidan, 1993 Strange Woman, 1946 (Ulmer) Stranger, 1946 (Huston; Welles) Stranger among His Own People. See Svoi sriedi chougikh, 1974 Stranger among Us, 1992 (Lumet) Stranger at Coyote, 1912 (Dwan) Stranger in Between. See Hunted, 1951 Stranger in My Arms, 1958 (K?utner) Stranger in Our House , 1978 (Craven) Stranger on Horseback, 1955 (Tourneur) Stranger on the Prowl, 1952 (Losey) Stranger on the Run, 1967 (Siegel) Stranger than Paradise, 1984 (Jarmusch) Stranger than Paradise, Part One. See New World, 1982 Strangers in the Night, 1944 (Mann) Strangers of the Night, 1923 (Niblo) Strangers on a Honeymoon, 1936 (Launder, Frank, and Sidney Gilliat) Strangers on a Train, 1951 (Hitchcock) Stranger’s Return, 1933 (Vidor) Strangling Threads, 1922 (Hepworth) Strangulation Blues, 1980 (Carax) Straniero, 1967 (Visconti) Stranitsy zhizni, 1948 (Barnet) Strapped, 1993 (Apted) Strasphere, 1983 (Zef?relli) Strass et compagnie, 1916 (Gance) Strategia del ragno, 1969 (Bertolucci) Strategic Air Command, 1955 (Mann) Strategija svrake, 1987 (Kusturica) Strausskiste, 1999 (Adlon) Strauss’s Great Waltz. See Waltzes from Vienna, 1933 Stravinsky Portrait, 1964 (Leacock) Straw Dogs, 1971 (Peckinpah) Straw Man, 1916 (Franklin) Strawberries and Gold, 1980 (Coolidge) Strawberry and Chocolate. See Fresa y chocolate, 1993 Strawberry Blonde, 1941 (Walsh) Straw?re. See Strohfeuer, 1971 Stray Bullet, 1998 (Corman) Stray Dog. See Nora inu, 1949 Stream. See Sodrásban, 1964 Streamers, 1983 (Altman) Streamlined Swing, 1938 (Keaton) Street Angel, 1928 (Borzage) Street Girls, 1974 (Corman; Levinson) Street Meat, 1959 (Vanderbeek) Street of Chance, 1930 (Cromwell) Street of Childhood. See Barndommens gade, 1986 Street of No Return, 1989 (Fuller) Street of Shame. See Akasen chitai, 1956 Street of Sin, 1928 (Stiller) Street Scene, 1931 (Vidor) Street Scenes, 1970 (Scorsese) Street Sketches. See Gaijo no suketchi, 1925 Streetcar Named Desire, 1952 (Kazan) Streets, 1990 (Corman) Street?ghter. See Hard Times, 1975 Streets of Fire, 1984 (Hill) Streets of Laredo, 1948 (Wood, Edward D., Jr.) Streetwalkin’, 1985 (Corman) Streghe, 1966 (de Sica; Eastwood; Pasolini; Visconti) Strejda, 1959 (Jire?) Strejken, 1915 (Sj?str?m) Strength of the Hungarian Soil. See A Magyar f?ld ereje, 1916 Stress es tres, tres, 1968 (Saura) Stress Is Three, Three. See Stress es tres, tres, 1968 Stress of Youth. See Trápeni, 1961 FILM TITLE INDEX DIRECTORS, 4 th EDITION 1298 Strictly Dishonorable, 1931 (Stahl; Sturges) Strictly Dishonorable, 1951 (Sturges) Strictly Secret Previews. See P?ísně tajné premiéry, 1967 Stride, Soviet! See Shagai, Soviet!, 1926 Striden g?r vidare, 1941 (Sj?str?m) Strife of the Party, 1931 (Sandrich) Strijd zonder einde. See Rival World, 1955 Strike, 1909 (Porter) Strike. See Strejken, 1915 Strike. See Stachka, 1925 Strike the Monster on Page One. See Sbatti il mostro in prima pagina, 1972 Strike up the Band, 1940 (Berkeley) String of Pearls, 1911 (Grif?th) Stripped to Kill, 1987 (Corman) Stripped to Kill II, 1989 (Corman) Stripper, 1963 (Schaffner) Stripteaser II, 1997 (Corman) Strohfeuer, 1971 (Schl?ndorff; Von Trotta) Stromboli. See Stromboli, terra di dio, 1947 Stromboli, terra di dio, 1947 (Rossellini) Strong Boy, 1929 (Ford) Strong Man, 1926 (Capra) Strong Revenge, 1913 (Sennett) Strong Woman and Weak Man. See Tsuyomushi onna (&) yawamushi otoko, 1968 Stronger Man, 1911 (Dwan) Stronger than Death, 1920 (Guy) Stronger than the Sun, 1977 (Apted) Strongest, 1920 (Walsh) Strongest. See Den starkaste, 1929 Strongman Ferdinand. See Starke Ferdinand, 1975 Strop, 1962 (Chytilová) Stroszek, 1978 (Herzog) Structure of Crystals. See Struktura krsztalu, 1969 Student’s Song from Heidelberg. See Burschenlied aus Heidelberg, 1930 Study in Choreography for Camera, 1945 (Deren) Study in Scarlet, 1932 (Florey) Struggle, 1931 (Grif?th) Struggle against Cancer. See Kampen Mod Kraeften, 1947 Struggle for His Heart. See Kampen om hans hj?rta, 1916 Struggle in the Valley. See Sera’a ?l Wadi, 1953 Struggle on the Pier. See Sera’a ?l Mina, 1955 Struggling Hearts. See Verg?d? szívek, 1916 Struktura krsztalu, 1969 (Zanussi) Stryker’s War, 1985 (Raimi) Stubbs’ New Servants, 1911 (Sennett) Student Affairs, 1999 (Howard) Student Nurses, 1970 (Corman) Student Prince in Old Heidelberg, 1927 (Lubitsch) Student Teachers, 1973 (Corman) Studies for Louisiana Story (+ sc, ph) (?fteen hours of outtakes from Louisiana Story, 1967 (Flaherty) Studio Bankside, 1971 (Jarman) Study in Color and Black and , 1993 (Brakhage) Stuff Heroes Are Made Of, 1911 (Grif?th) Stuf?e, 1940 (Zinnemann) Stunt Man, 1924 (Sennett) Stuntwoman. See Animal, 1977 Stupid Young Brother and Wise Old Brother. See Gutei kenkei, 1931 Stupids, 1996 (Costa-Gavras; Egoyan; Jewison; Landis) Stürme der Leidenschaft, 1932 (Siodmak) Stürme über dem Montblanc, 1930 (Riefenstahl) Sturm?ut, 1917 (Dupont) Stuttgart, die Grossstadt zwischen Wald und Reben, 1935 (Ruttmann) Stutzen der Gesellschaft, 1935 (Sirk) Style. See Andaz, 1949 Style of the Countess, 1972 (Apted) Su 13, 1969 (Welles) Su tredici, 1969 (de Sica) Subarashiki nichiyobi, 1947 (Kurosawa) Subida al cielo, 1951 (Bu?uel) Subjektive Faktor, 1981 (Sanders-Brahms) Subliminal Seduction, 1996 (Corman) Submarine, 1928 (Capra) Submarine D-1, 1937 (Bacon) Submarine Patrol, 1938 (Ford) Submarine Pirate, 1915 (Sennett) Submissive. See Untertan, 1949 Suburbia, 1983 (Corman; Spheeris) SubUrbia, 1997 (Linklater) Subway, 1985 (Besson) Subway Stories: Tales from the Underground, 1997 (Demme; Ferrara) Succès commercial, 1970 (Lefebvre) Success Is the Best Revenge, 1984 (Skolimowski) Successful Man. See Hombre de exito, 1986 Such a Cook, 1914 (Sennett) Such a Girl Is Unforgettable. See So ein M?del vergisst man nicht, 1932 Such a Gorgeous Kid like Me. See Belle Fille comme moi, 1972 Such a Little Queen, 1914 (Porter) Such Good Friends, 1971 (Preminger) Such is Life. See Así es la vida, 2000 Sud, 1999 (Akerman) Sudden Fortune of the Poor People of Kombach. See Pl?tzlicher Reichtum der armen Leute von Kombach, 1970 Sudden Impact, 1983 (Eastwood) Sudden Terror, 1970 (Demme) Suddenly, Last Summer, 1959 (Mankiewicz) Sue?o del Pongo, 1970 (Alvarez) Sue?os y realidades, 1961 (Sanjinés) Suez, 1938 (Dwan) Suffragette. See Den moderna suffragetten, 1913 Sugar. See Sukker, 1942 Sugar Cane Alley, Black Shack Ally. See Rue cases nègres, 1983 Sugar Cookies, 1973 (Stone) Sugar Cottage. See Cukrová bouda, 1980 Sugar Plum Papa, 1929 (Sennett) Sugarbaby. See Zuckerbaby, 1983 Sugarland Express, 1974 (Spielberg) Sugata Sanshiro, 1943 (Kurosawa) Suicide, 1965 (Warhol) Suicide, 1978 (Haynes) Suicide Club, 1909 (Grif?th) Suicide Club, 2000 (Corman) Suicide Troops of the Watch Tower. See Boro no kesshitai, 1943 Suit for Wedding. See Lebassi Baraye Arossi, 1976 Suito homu, 1989 (Itami) Sukinareba koso, 1928 (Gosho) Sukker, 1942 (Henning-Jensen) Sullivan’s Travels, 1941 (Sturges) Sulphur. See Art of Mirrors, 1973 Sultans, 1965 (Delannoy) Sultan’s Wife, 1917 (Sennett) Sumerki Zhenskoi Dushi, 1913 (Bauer) Sumka dipkuryera. See Teka dypkuryera, 1927 Summer at Grandpa’s. See Tung Tung Te Chia Ch’i, 1984 Summer Bachelors, 1926 (Dwan) Summer Battle of Osaka. See Osaka natsu no jin, 1937 Summer Camp Nightmare, 1987 (Spheeris) Summer Clouds. See Bolond április, 1957 Summer Girls, 1918 (Sennett) Summer Holiday, 1948 (Mamoulian) FILM TITLE INDEXDIRECTORS, 4 th EDITION 1299 Summer Idyll, 1910 (Grif?th) Summer in the City, 1970 (Wenders) Summer in the Country. See Pastoral, 1976 Summer in the Fields, 1970 (Haanstra) Summer Interlude. See Sommarlek, 1951 Summer Lightning. See Strohfeuer, 1971 Summer Lightning, 1988 (Costa-Gavras) Summer Madness, 1955 (Lean) Summer Night with Greek Pro?le, Almond Eyes, and Scent of Basil. See Notte d’estate, con pro?lo Greco, occhi amandorla e odore di basilico, 1986 Summer of ‘42, 1971 (Mulligan) Summer of Fear. See Stranger in Our House , 1978 Summer of Sam, 1999 (Lee) Summer Paradise. See Paradistorg, 1976 Summer Place, 1959 (Daves) Summer Rain. See Chuvas de verao, 1977 Summer School Teachers, 1975 (Corman) Summer Showers. See Chuvas de verao, 1977 Summer Sister. See Natsu no imoto, 1972 Summer Skin. See Piel de verano, 1961 Summer Storm, 1944 (Sirk) Summer Tale. See En sommarsaga, 1912 Summer Train. See Sommartag, 1961 Summer with Monika. See Sommaren med Monika, 1953 Summer World, 1961 (Schaffner) Summer’s Tale. See Conte d’ete, 1996 Summertime. See Summer Madness, 1955 Summertree, 1971 (Reiner) Summit, 1961-62 (Vanderbeek) Sumurun, 1920 (Lubitsch) Sun. See Nichirin, 1925 Sun Legend of the Shogunate’s Last Days. See Bakumatsu Taiyoden, 1958 Sun Shines Bright, 1953 (Ford) Sun-up, 1925 (Goulding) Sun Was Setting, 1951 (Wood, Edward D., Jr.) Sunbeam, 1911 (Grif?th) Sunchaser, 1996 (Cimino) Sunday, 1961 (de Antonio) Sunday Afternoon. See Tarde del domingo, 1957 Sunday, Bloody Sunday, 1971 (Schlesinger) Sunday Children. See Niedzielne Dzieci, 1976 Sunday Dinner for a Soldier, 1944 (Bacon) Sunday in the Country. See Dimanche à la campagne, 1984 Sunday Pursuit, 1990 (Zetterling) Sunday’s Children. See Sondagsbarn, 1992 Sünderin, 1951 (Forst) Sundown. See Summer Lightning, 1988 Sundowners, 1960 (Zinnemann; Roeg) Sunehere Din, 1949 (Kapoor) Sun?ower. See I girasoli, 1970 Sunken Rocks, 1919 (Hepworth) Sunless. See Sans soleil, 1983 Sunnyside, 1919 (Chaplin) Sunrise, 1927 (Murnau; Ulmer) Sunrise: A Song of Two Humans. See Sunrise, 1927 Sun’s Burial. See Taiyo no hakaba, 1960 Sunset across the Bay, 1975 (Frears) Sunset Beach on Long Island, 1967 (Warhol) Sunset Boulevard, 1950 (Keaton; von Stroheim; Wilder; de Mille) Sunset Warrior, 1983 (Woo) Sunshine, 1916 (Sennett) Sunshine, 1999 (Szabó) Sunshine Dad, 1916 (Browning) Sunshine Follows Rain. See Driver dagg faller Regn, 1946 Sunshine Molly, 1915 (Weber) Sunshine Sue, 1910 (Grif?th) Sunshine through the Dark, 1911 (Grif?th) Supa no onna, 1996 (Itami) Super Cops, 1974 (Parks) Super Force, 1993 (Lewis) Super-Hooper-Dyne Lizzies, 1925 (Sennett) Super-Imposition, 1968 (Vanderbeek) Super Shylock. See Hendes Moders L?fte, 1916 Superartist, 1967 (Morrissey) Supergirl, 1970 (Fassbinder) Superloco, 1936 (Fernández) Superman, 1978 (Benton) Superman II, 1980 (Lester) Superman III, 1983 (Lester) Supermarket Woman. See Supa no onna, 1996 Supernova, 2000 (Hill) Superstar: The Karen Carpenter Story, 1987 (Haynes) Superstition, 1922 (Dwan) Supervixens, 1975 (Meyer) SuperVixens Eruption. See Supervixens, 1975 Supply. See Abastecimiento, 1973 Sur, 1988 (Solanas, Fernando E., And Octavio Getino) Sur la barricade, 1907 (Guy) Sur la Terre Comme au Ciel (Between Heaven and Earth), 1992 (van Dormael) Sur les bords de la caméra, 1932 (Storck) Sur les routes de l’ete, 1936 (Storck) Sur, sureste 2604, 1974 (Leduc) Sur un air de Charleston, 1927 (Renoir) Suraj Ka Satvan Ghoda, 1993 (Benegal) Sure Fire, 1921 (Ford) Sure Thing, 1985 (Reiner) Surf Girl, 1916 (Sennett) Surfacemen. See Pályamunkások, 1957 Suri Lanka no ai to wakare, 1976 (Kinoshita) Surprise Package, 1960 (Donen) Surprise Packet. See Aegteskab og Pigesjov, 1914 Surprise Party, 1983 (Vadim) Surprises de l’af?chage, 1903/04 (Guy) Surrender, 1950 (Dwan) Surrounded House. See Det omringgade huset, 1922 Sürü, 1978 (Güney) Survival 67, 1967 (Dassin) Surviving Desire, 1991 (Hartley) Surviving Picasso, 1996 (Ivory) Surviving Shinsengumi. See Ikinokata Shinsengumi, 1932 Survivors. See Sobrevivientes, 1979 Susan and God, 1940 (Cukor) Susan Slade, 1961 (Daves) Susan Slept Here, 1953 (Tashlin) Susana, 1950 (Bu?uel) Susanne im Bade, 1950 (Staudte) Susan’s Plan, 1998 (Landis) Susman, 1986 (Benegal) Suspect, 1945 (Siodmak) Suspect, 1960 (Boulting) Suspended Ordeal, 1914 (Sennett) Suspended Sentence, 1913 (Dwan) Suspended Step of the Stork, 1991 (Angelopoulos) Suspended Vocation. See Vocation suspendue, 1977 Suspicion, 1918 (Stahl) Suspicion, 1941 (Hitchcock) Suspicious Wives, 1922 (Stahl) Susume dokuritsuki, 1943 (Kinugasa) Sutter’s Gold, 1936 (Hawks) FILM TITLE INDEX DIRECTORS, 4 th EDITION 1300 Suture, 1993 (Soderbergh) Suvorov, 1941 (Pudovkin) Suzanna, 1923 (Sennett) Suzanne au bain, 1930 (Storck) Suzanne Simonin, la religieuse de Denis Diderot. See Religieuse, 1966 Suzanne’s Profession. See Carrière de Suzanne, 1963 Svadlenka, 1936 (Fri?) Svarta Horisonter, 1935/36 (Fej?s) Svend Dyrings Hus, 1908 (Holger-Madsen) Svět Alfonso Muchy, 1980 (Jire?) Svět pat?í nám, 1937 (Fri?) Svitati, 1999 (Brooks) Svoi sriedi chougikh, 1974 (Mikhalkov) Swain, 1950 (Markopoulos) Swamp Thing, 1982 (Craven) Swamp Water, 1941 (Renoir) Swamp Woman, 1956 (Corman) Swan, 1984 (Jire?) Swan Princess, 1928 (Sennett) Swan Song, 1980 (Mann) Swan Song, 1992 (Branagh) Swann in Love, 1984 (Schl?ndorff) Sweet Adeline, 1935 (Leroy) Sweet and Lowdown, 1999 (Allen; Waters) Sweet and Twenty, 1909 (Grif?th) Sweet Bird of Youth, 1989 (Roeg) Sweet Charity, 1968 (Fosse) Sweet Cookie, 1933 (Sennett) Sweet Country, 1987 (Cacoyannis) Sweet Daddy, 1924 (Mccarey) Sweet Dreams. See Sogni d’oro, 1981 Sweet Dreams, 1985 (Reisz) Sweet Emma, Dear Bobe, 1992 (Szabó) Sweet Hereafter, 1997 (Egoyan) Sweet Home. See Suito homu, 1989 Sweet Hours. See Dulces horas, 1981 Sweet Hunters, 1969 (Guerra) Sweet Lavender, 1915 (Hepworth) Sweet Light in the Dark Window. See Romeo, Julie a tma, 1960 Sweet Movie, 1974 (Makavejev) Sweet Pickle, 1925 (Sennett) Sweet Revenge, 1909 (Grif?th) Sweet Revenge, 1987 (Corman) Sweet Secret. See Amai himitsu, 1971 Sweet Smell of Success, 1957 (Mackendrick) Sweet Suzy. See Blacksnake!, 1973 Sweet Toronto, 1971 (Leacock) Sweetheart Days, 1921 (Sennett) Sweetheart of the Campus, 1941 (Dmytryk) Sweethearts on Parade, 1953 (Dwan) Sweetie, 1989 (Campion) Swell Season. See Prima sezona, 1994 Swept Away.... See Travolti da un insolito destino nell’azzurro mare d’agosto, 1974 Swept Away. . .by an Unusual Destiny in the Blue Sea of August. See Travolti da un insolito destino nell’azzurro mare d’agosto, 1974 Swim Princess, 1928 (Capra) Swimmer, 1968 (Pollack) Swimming to Cambodia, 1987 (Demme) Swindle. See Rien ne va plus, 1997 Swing, 1936 (Micheaux) Swing. See Schaukel, 1982 Swing Kids, 1993 (Branagh) Swing Shift, 1984 (Corman; Demme) Swing Time, 1936 (Stevens) Swiss Family Robinson, 1940 (Welles) Switchboard Operator. See Ljubavni Slu?aj, tragedija sluzbenice PTT, 1967 Switzerland, 1986 (van Sant) Swoon, 1992 (Haynes) Sword and the Flute, 1959 (Ivory) Sword and the Sumo Ring. See Ippan gatana dohyoiri, 1934 Sword of D’Artagnan, 1951 (Boetticher) Sword of Penitence. See Zange no yaiba, 1927 Sword Points, 1928 (Sandrich) Swords and Hearts, 1911 (Grif?th) Swordsman. See Hsiao Ao Chiang Hu, 1989 Syberberg Films Brecht. See Syberberg ?lmt Brecht, 1993 Syberberg ?lmt Brecht, 1993 (Syberberg) Sydney: A Story of a City, 1999 (Beresford) Sylvester, 1923 (Pick) Sylvesternacht, 1977 (Sirk) Sylvia of the Secret Service, 1917 (von Stroheim) Sylvia Scarlett, 1936 (Cukor) Sylvie and the Phantom. See Sylvie et le fant?me, 1944 Sylvie et le fant?me, 1944 (Autant-Lara; Tati) Sylvie’s Ark. See Housekeeping, 1987 Symmetricks, 1972 (Vanderbeek) Sympathy for the Devil. See One Plus One, 1968 Symphonie d’amour. See Grand Refrain, 1936 Symphonie industrielle, Industrial Symphony. See Philips-Radio, 1931 Symphonie pastorale, 1946 (Delannoy) Symphonie paysanne, 1942-44 (Storck) Symphony of Six Million, 1932 (La Cava) Syndens Datter, 1915 (Blom) Syndig Kaerlighed, 1915 (Blom) Synnove Solbakken, 1934 (Sj?str?m) System, 1964 (Roeg) Système du Docteur Goudron et du Professeur Plume, 1912 (Tourneur) Szabad lélegzet, 1973 (Mészáros) Szamárb?r, 1918 (Curtiz) Szegénylegények, 1965 (Jancsó) Szent Péter eserny?je, 1917 (Korda) Szentendre—Town of Painters. See Fest?k városa—Szentendre, 1964 Szenzáció, 1922 (Fej?s) Szép Iányok, ne sirjatok, 1970 (Mészáros) Szerelmem, Elektra, 1975 (Jancsó) Szerelmes?lm, 1970 (Szabó) Szeressük egymást gyerekek!, 1996 (Jancsó) Szeretet, 1963 (Mészáros) Szerkezettervezés, 1960 (Jancsó) Színfoltok Kínab?l, 1957 (Jancsó) Szivdobogás, 1961 (Mészáros) Sz?rnyek Evadja, 1987 (Jancsó) Szovjet mez?gazdasági küld?ttsek tanításai, 1951 (Jancsó) Szpital, 1976 (Kie?lowski) T-Bird Gang, 1959 (Corman) T-Group, 1973 (Marshall) T-Men, 1948 (Mann) TG Psychic Rally in Heaven, 1981 (Jarman) T.G.M.—Osvoboditel, 1990 (Chytilová) THX 1138, 1971 (Coppola; Lucas) THX 1138:4EB, 1965-67 (Lucas) TNT Jackson, 1974 (Corman) T.V. Interview, 1967 (Vanderbeek) T2. See Terminator 2: Judgment Day, 1991 T2 3-D: Battle across Time, 1996 (Cameron) Ta Lun Hui, 1983 (King) Ta Ti Erh Nü, 1964 (King) Ta Tsui Hsia, 1965 (King) Tabu, 1931 (Flaherty; Murnau) FILM TITLE INDEXDIRECTORS, 4 th EDITION 1301 Tacchino prepotente, 1939 (Bava; Rossellini) Taches, 1964 (Eustache) Tacomes lejanos, 1991 (Almodóvar) Tadjrebeh, 1973 (Kiarostami) Tag der Freiheit: unsere Wermacht, 1935 (Riefenstahl) Tag der Idioten, 1982 (Schroeter) Tagebuch des Dr. Hart, 1916 (Leni) Tagebuch einer Verlorenen, 1929 (Pabst) Taiheiyo hitoribotchi, 1963 (Ichikawa) Tail Lights Fade, 1999 (Smith) Tailor from Torzhok. See Zakroichik iz Torzhka, 1925 Taina koroloevy, 1919 (Protazanov) Tainted Horseplay. See Kopytem Sem, Kopytem Tam, 1987 Taipei Story, 1985 (Yang) Taiyo no hakaba, 1960 (Oshima) Taiyo to bara, 1956 (Kinoshita) Tajemství krve, 1953 (Fri?) Tajiko mura, 1940 (Imai) Takara no yama, 1929 (Ozu) Take Care of Your Scarf, Tatiana. See Pida huivsta kiinnim Tatjana, 1994 Take Five, 1987 (Howard) Take It out in Trade, 1970 (Wood, Edward D., Jr.) Take Me out to the Ball Game, 1949 (Berkeley; Donen) Take Me to Town, 1952 (Sirk) Take My Tip, 1937 (Launder, Frank, and Sidney Gilliat) Take the Money and Run, 1969 (Allen; Hill) Take Your Medicine, 1930 (Sennett) Take Your Time, 1925 (Sennett) Takekurabe, 1955 (Gosho) Takeshi. See Shonnenjidai, 1990 Taketori Monogatari, 1987 (Ichikawa) Takhte Siah, 2000 (Makhmalbaf) Taki no Shiraito, 1933 (Mizoguchi) Taki no Shiraito, the Water Magician. See Taki no Shiraito, 1933 Taking His Medicine, 1911 (Sennett) Taking Off, 1970 (Forman) Taková láska, 1959 (Weiss) Tal vez ma?ana. See Uomo dai calzoni corti, 1958 Tala and Rhythm, 1972 (Benegal) Tale of Africa. See Afurika monogatari, 1981 Tale of Genji. See Genji monogatari, 1951 Tale of Springtime. See Conte de printemps, 1989 Tale of Sweeney Todd, 1998 (Schlesinger) Tale of Sweety Barrett, 1998 (Fridriksson) Tale of the Black Eye, 1913 (Sennett) Tale of the Wilderness, 1911 (Grif?th) Tale of Winter. See Conte d’hiver, 1992 Talegaon, 1914/15 (Phalke) Talent Competition. See Konkurs, 1963 Talented Mr. Ripley, 1999 (Pollack) Tales, 1990 (Fuller) Tales from a Country by the Sea. See Kaikokuki, 1928 Tales from Capek. See Capkovy povídky, 1947 Tales from the Crypt, 1989 (Hill) Tales from the Crypt Presents: Bordello of Blood. See Bordello of Blood, 1996 Tales from the Crypt Presents: Demon Knight. See Demon Knight, 1995 Tales from the Dark Side—The Movie (“Cat from Hell” episode), 1990 (Romero) Tales from the Hood, 1995 (Lee) Tales of Erotica, 1995 (Rafelson; Seidelman) Tales of Hoffman, 1951 (Powell, Michael, And Emeric Pressburger) Tales of Kish. See Ghessé hayé kish, 1999 Tales of Manhattan, 1942 (Duvivier) Tales of Terror, 1962 (Corman) Tales of the Typewriter. See Mesék az írógépr?l, 1916 Talí?e nad Velkym Malíkovem, 1977 (Jire?) Talk of Hollywood, 1929 (Sandrich) Talk of the Devil, 1936 (Reed) Talk of the Town, 1942 (Stevens) Talk Radio, 1988 (Stone) Talk to Me like the Rain, 1975 (Sirk) Talking Heads. See Gadajace g?owy, 1980 Talking Turkey, 1930 (Sandrich) Tall Headlines, 1952 (Zetterling) Tall Men, 1955 (Walsh) Tall T, 1957 (Boetticher) Tall Target, 1951 (Mann) Taller de la vida, 1985 (Alvarez) Ta’m e guilass, 1997 (Kiarostami) Tam na kone?né, 1957 (Kadár) Tam za lesem, 1962 (Forman) Tama?o natural, 1973 (García Berlanga) Tamara la complaisante, 1937 (Delannoy) Tambora, 1937/38 (Fej?s) Tambours de pierre, 1965 (Rouch) Taming a Husband, 1910 (Grif?th) Taming Mrs. Shrew, 1912 (Porter) Taming of Dorothy. See Quel bandito sono io, 1949 Taming of the Shrew, 1908 (Grif?th) Taming of the Shrew. See Trold kan taemmes, 1914 Taming of the Shrew, 1966 (Zef?relli) Taming of the Snood, 1940 (Keaton) Taming Target Center, 1917 (Sennett) Tampico. See Gran Casino, 1947 Tampopo, 1986 (Itami) Tanda Singui, 1972 (Rouch) Tandem, 1986 (Leconte) Tangled Affair, 1913 (Sennett) Tango, 1993 (Leconte) Tango, 1998 (Saura) Tango del viudo, 1967 (Ruiz) Tango for You. See Tango für Dich, 1930 Tango für Dich, 1930 (Forst) Tango Tangles, 1914 (Chaplin; Sennett) Tangos—el exilio de Gardel, 1986 (Solanas, Fernando E., And Octavio Getino) Tangos—l’exil de Gardel. See Tangos—el exilio de Gardel, 1986 Tank Commando, 1959 (Corman) Tank Commandos. See Tank Commando, 1959 Tanks Are Coming, 1951 (Fuller) Tannenberg, 1950 (Staudte) Tanner ‘88, 1988 (Altman) Tansy, 1921 (Hepworth) Tant que vous serez heureux, 1911/13 (Feuillade) T?nzer meiner Frau, 1925 (Korda; Leni) T?nzerin; The Dancer. See Maihime, 1989 Tao Hua Neu Tou Chao Kung, 1975 (Hou Hsiao-Hsien) Tap on the Shoulder, 1965 (Loach) Tapage nocturne, 1979 (Breillat) Tapir Distribution, 1975 (Asch) Taqdeer, 1943 (Mehboob Khan) Tarantelle, 1900 (Guy) Tarantula, 1955 (Eastwood) Taras’ Dream. See Son Tarasa, 1919 Tarde del domingo, 1957 (Saura) Tare, 1911/13 (Feuillade) Tares, 1918 (Hepworth) Target, 1985 (Penn) Target for Tonight, 1941 (Hitchcock) Target of an Assassin, 1976 (Boorman) Targets, 1967 (Bogdanovich; Corman) FILM TITLE INDEX DIRECTORS, 4 th EDITION 1302 Taris, 1931 (Vigo) Taris roi de l’eau. See Taris, 1931 Tarnished Angels, 1957 (Sirk) Tarnished Lady, 1931 (Cukor) Tarnished Reputation, 1920 (Guy) Tarot, 1972 (Jarman) Tars & Stripes, 1935 (Keaton) Tartarin de Tarascon, 1934 (Pagnol) Tartüff, 1926 (Murnau) Tarzan and Jane Regained . . . Sort Of, 1963 (Warhol) Tarzan and the Mermaids, 1947 (Florey) Task Force, 1949 (Daves) Taste of Cherry. See Ta’m e guilass, 1997 Taste of Honey, 1961 (Richardson) Tasveer Apni Apni, 1985 (Sen) Tatárjárás, 1917 (Curtiz) Tateshi danpei, 1950 (Kurosawa) Tateshina no shiki, 1966 (Shindo) Tatli-Bela, 1961 (Güney) Tausend Augen des Dr. Mabuse, 1960 (Lang) Tauw, 1970 (Sembene) Tavasz a télben, 1917 (Curtiz) Tavaszi zápor, 1932 (Fej?s) Tavern Keeper’s Daughter, 1908 (Grif?th) Taw. See Tauw, 1970 Taxi, 1953 (Cassavetes) Taxi, 1996 (Saura) Taxi, 1998 (Besson) Taxi 2, 2000 (Besson) Taxi Beauties, 1928 (Sennett) Taxi Boy, 1986 (Besson) Taxi Dolls, 1929 (Sennett) Taxi Driver, 1976 (Brooks; Schrader; Scorsese) Taxi for Two, 1928 (Sennett) Taxi Scandal, 1928 (Sennett) Taxi Spooks, 1929 (Sennett) Taxi Troubles, 1931 (Sennett) Taxidi sta Kithira, 1984 (Angelopoulos) Taxing Woman. See Marusa no onna, 1987 Taxing Woman Returns. See Marusa no onna II, 1988 Taylor Mead Dances, 1963 (Morrissey) Taylor Mead’s Ass, 1964 (Warhol) Taza, Son of Cochise, 1953 (Sirk) Tchao, pantin!, 1983 (Berri) Te, 1963 (Szabó) Te o tsunagu kora, 1962 (Hani) Tě?ky ?ivot dobrodruha, 1941 (Fri?) Tea and Sympathy, 1956 (Minnelli) Tea in the Harem. See Thé au harem d’Archimede, 1985 Tea with Mussolini, 1999 (Zef?relli) Teacher. See Uchitel, 1939 Teacher Kartashova. See Uchitelnitsa Kartashova, 1942 Teacher of Dance, 1994 (Jire?) Teachers in Transformation. See Lehrer im Wandel, 1963 Teaching Dad to Like Her, 1911 (Grif?th) Teachings of a Soviet Agricultural Deputation. See Szovjet mez?gazdasági küld?ttsek tanításai, 1951 Tear for Every Drop of Blood. See Zhizn’ za Zhizn’, 1916 Tears on the Lion’s Mane. See Namida o shishi no tategami ni, 1962 Tebe, Front: Kazakhstan Front, 1943 (Vertov) Teddy at the Throttle, 1917 (Sennett) Teddy Bears, 1907 (Porter) Tee for Two, 1925 (Sennett) Teen Kanya, 1961 (Ray) Teenage Caveman, 1958 (Corman) Teenage Doll, 1957 (Corman) Teenage Rebel, 1956 (Goulding) Teenage Rebellion. See Mondo Teeno, 1967 Teesri Kasam, 1966 (Kapoor) Tehlikeli adam, 1965 (Güney) Teka dypkuryera, 1927 (Dovzhenko) Tekichu odan sanbyakuri, 1957 (Kurosawa) Tekka bugyo, 1954 (Kinugasa) Tekki kushu, 1943 (Yoshimura) Tel est pris qui croyait prendre, 1901 (Guy) Telefon, 1977 (Siegel) Telephone Girl and the Lady, 1912 (Grif?th) Telephone Rings in the Evening. See Denwa wa yugata ni naru, 1959 Telephone Workers, 1933 (Grierson) Teletests, 1980 (Ruiz) Television Spy, 1939 (Dmytryk) Teli sirokkó lek. See Sirokkó, 1969 Tell ‘em Nothing, 1926 (Mccarey) Tell It to Sweeney, 1927 (La Cava) Tell It to the Judge, 1928 (Mccarey) Tell Me That You Love Me, Junie Moon, 1970 (Preminger) Tell Them Willie Boy Is Here, 1970 (Polonsky) Tell Your Children, 1922 (Hitchcock) Tell-Tale Heart, 1941 (Dassin) Tell-Tale Shells, 1912 (Dwan) Telltale Light, 1913 (Sennett) Témoin, 1912 (Feuillade) Tempeldanserindens Elskov, 1914 (Holger-Madsen) Temperamental Husband, 1912 (Sennett) Tempered Steel. See Zoceleni, 1950 Tempest, 1927 (von Stroheim) Tempest. See Stürme der Leidenschaft, 1932 Tempest. See Tempesta, 1958 Tempest. See Trikimia, 1974 Tempest, 1979 (Jarman) Tempest, 1982 (Cassavetes) Tempesta, 1958 (Lattuada) Tempestaire, 1947 (Epstein) Tempète sur Paris, 1939 (von Stroheim) Tempi nostri, 1952 (de Sica) Tempo di villegiatura, 1956 (de Sica) Tempo massimo, 1934 (de Sica) Tempo si è fermato, 1959 (Olmi) Temporary Truce, 1912 (Grif?th) Temps retrouvé, 1999 (Ruiz) Temptation, 1916 (de Mille) Temptation, 1936 (Micheaux) Temptation. See Yuwaku, 1948 Temptation. See Poku?eni, 1957 Temptations of a Great City. See Ved Faengslets Port, 1911 Tempting of Mrs. Chestney. See Guldets Gift, 1915 Temptress, 1926 (Niblo; Stiller) Temptress Moon. See Feng yue, 1996 Ten Commandments, 1923 (de Mille) Ten Commandments, 1956 (de Mille) Ten Dark Women. See Kuroi junin no onna, 1961 Ten Days That Shook the World. See Oktiabr, 1928 Ten Days to Die. See Letzte Akt, 1955 Ten Days’ Wonder. See Décade prodigieuse, 1972 Ten Dollars or Ten Days, 1920 (Sennett) Ten Dollars or Ten Days, 1924 (Sennett) Ten-Minutes Egg, 1924 (McCarey) Ten Minutes to Live, 1932 (Micheaux) Ten Rillington Place, 1971 (Attenborough) Ten Seconds to Hell, 1959 (Aldrich) Tenant. See Locataire, 1976 Tenda dos milagres, 1974 (Pereira Dos Santos) FILM TITLE INDEXDIRECTORS, 4 th EDITION 1303 Tender Barbarian, 1990 (Menzel) Tender Comrade, 1943 (Dmytryk) Tender Enemy. See Tendre Ennemie, 1936 Tender Hearted Boy, 1912 (Grif?th) Tender Hearts, 1909 (Grif?th) Tender Loving Care, 1973 (Corman) Tender Mercies, 1983 (Beresford) Tenderfoot Courage, 1927 (Wyler) Tenderloin, 1928 (Curtiz) Tendre Ennemie, 1936 (Ophüls) Tendre Poulet, 1977 (de Broca) Tenga, 1985 (Ouedraogo) Tengo fe en ti, 1979 (Alvarez) Tengoku ni musubu koi, 1932 (Gosho) Tengoku to jigoku, 1963 (Kurosawa) Teni lyubvi, 1917 (Kuleshov) Teni zabytykh predkov, 1965 (Paradzhanov) Tenichibo to iganosuke, 1933 (Kinugasa) Tenkawa Densetsu Satsujin Jiken, 1991 (Ichikawa) Tenkrát o vánocich, 1958 (Kachyňa) Tennessee’s Partner, 1955 (Dwan) Tennis, 1949 (Cocteau) Tent of Miracles. See Tenda dos milagres, 1974 Tentacles. See Shokkaku, 1970 Tentacles, 1977 (Huston) Tentative d’assassinat en chemin de fer, 1904 (Guy) Tentative de ?lms abstraits, 1930 (Storck) Tenth Victim. See Decima vittima, 1965 Tenue de soirée, 1986 (Blier) Teorema, 1968 (Pasolini) Tepepa, 1969 (Welles) Tequila Sunrise, 1988 (Boetticher) Tér, 1971 (Szabó) Teresa Venerdi, 1941 (de Sica) Teresa, 1951 (Aldrich; Zinnemann) Terje Vigen, 1917 (Sj?str?m) Termination, 1966 (Baillie) Terminator, 1984 (Cameron) Terminator 2: 3. See T2 3-D: Battle across Time, 1996 Terminator 2: Judgment Day, 1991 (Cameron) Terminus, 1961 (Schlesinger) Terminus des anges, 2000 (Téchiné) Terra di fuoco, 1938 (L’herbier) Terra em transe, 1967 (Diegues; Rocha) Terra sempere terra, 1951 (Cavalcanti) Terra trema, 1947 (Rosi; Visconti; Zef?relli) Terrace. See Terraza, 1962 Terracotta Warrior. See Qin yong, 1989 Terrain vague, 1960 (Carné) Terraza, 1962 (Torre Nilsson) Terrazza, 1980 (Scola) Terre, 1920 (Duvivier) Terre de feu, 1938 (L’herbier) Terre de Flandre, 1938 (Storck) Terreur des Batignolles, 1931 (Clouzot) Terrible Discovery, 1911 (Grif?th) Terrible Lesson, 1912 (Guy) Terrible Night, 1912 (Guy) Terrible Ordeal. See En Ildpr?ve, 1915 Terrible Teddy the Grizzly King, 1901 (Porter) Territoire, 1981 (Ruiz) Territory. See Territoire, 1981 Terror, 1963 (Coppola; Corman) Terror Circus, 1973 (Rudolph) Terror from Space, 1962-70 (Carpenter) Terror Within, 1989 (Corman) Terror Within II, 1991 (Corman) Terrore nello spazio, 1965 (Bava) Terrorizer, 1986 (Yang) Teru hi kumoru hi, 1926 (Kinugasa) Terza liceo, 1954 (Bava) Tesatura meccanica della linea a 220.000 volt, 1955 (Olmi) Tesito, 1989 (Faye) Tesla, 1979 (Welles) Tesoro del Amazonas, 1983 (Fernández) Tess, 1979 (Berri; Polanski) Tess of the Storm Country, 1914 (Porter) Test, 1909 (Grif?th) Test, 1911 (Dwan) Test of Friendship, 1908 (Grif?th) Test Pilot, 1938 (Fleming; Hawks) Testament de Pierrot, 1904 (Guy) Testament des Dr. Mabuse, 1933 (Lang) Testament d’Orphée, 1960 (Cocteau) Testament du Docteur Cordelier, 1959 (Renoir) Testament of Dr. Cordelier. See Testament du Docteur Cordelier, 1959 Testament of Dr. Mabuse. See Testament des Dr. Mabuse, 1933 Testamentet. See Kaerlighedens Triumf, 1914 Testamentets Hemmelighed, 1916 (Holger-Madsen) Testimone, 1946 (Germi) Tête coupée, 1915/16 (Feuillade) Tête de turc, 1935 (Becker) Tête d’un homme, 1932 (Duvivier) Tête qui rapporte. See Tête de turc, 1935 Têtes de femmes, femmes de tête, 1916 (Feyder) Tetsu ‘Jilba’. See Jiruba no Tetsu, 1950 Tetto, 1956 (de Sica) Teufel, 1918 (Dupont) Teufelsreporter, 1929 (Wilder) Texan, 1930 (Cromwell) Texas Chainsaw Massacre, 1974 (Hooper) Texas Chainsaw Massacre, Part 2, 1986 (Hooper) Texas Project. See Places in the Heart, 1984 Texas Rangers, 1936 (Vidor) Texasville, 1990 (Bogdanovich) Text of Light, 1974 (Brakhage) Thank You, 1925 (Ford) Thanks, Life. See Merci la vie, 1991 That Certain Thing, 1928 (Capra) That Certain Woman, 1937 (Goulding) That Chink at Golden Gulch, 1910 (Grif?th) That Christmas. See Tenkrát o vánocich, 1958 That Cold Day in the Park, 1969 (Altman) That Dare Devil, 1911 (Sennett) That Day, on the Beach, 1983 (Yang) That Gal of Burke’s, 1916 (Borzage) That Hamilton Woman, 1941 (Korda) That Happy Couple. See Esa pareja feliz, 1951 That Happy Pair. See Esa pareja feliz, 1951 That I May Live, 1937 (Dwan) That Is the Port Light. See Are ga minato no hikari da, 1961 That Kind of Love. See Taková láska, 1959 That Kind of Woman, 1959 (Lumet) That Lady in Ermine, 1948 (Lubitsch; Preminger) That Little Band of Gold, 1915 (Sennett) That Mad Mr. Jones. See Fuller Brush Man, 1947 That Man from Rio. See Homme de Rio, 1963 That Minstrel Man, 1914 (Sennett) That Model from Paris, 1926 (Florey) That Mothers Might Live, 1938 (Zinnemann) That Navy Spirit. See Hold ‘em Navy, 1937 That Night, 1917 (Sennett) FILM TITLE INDEX DIRECTORS, 4 th EDITION 1304 That Night, 1928 (Mccarey) That Night with You, 1945 (Keaton) That Night’s Wife. See Sono yo no tsuma, 1930 That Obsure Object of Desire. See Cet obscur objet du desir, 1977 That Ragtime Band, 1913 (Sennett) That Royle Girl, 1926 (Grif?th) That Sinking Feeling, 1979 (Forsyth) That Springtime Fellow, 1915 (Sennett) That Tender Age. See Veuves de quinze ans, 1964 That They May Live. See J’accuse, 1937 That Uncertain Feeling, 1941 (Lubitsch) Thatch of Night, 1990 (Brakhage) That’s Adequate, 1989 (Coolidge) That’s My Boy, 1951 (Lewis) That’s My Man, 1947 (Borzage) That’s Sexploitation, 1973 (Meyer) That’s the Spirit, 1945 (Keaton) That’s Where the Action Is, 1965 (de Antonio) Thaw. See Ledolom, 1931 The, 1931 (Sandrich) Theater in Trance, 1981 (Fassbinder) Theft of Sight. See Krazha zreniya, 1934 Theft of the Mona Lisa. See Raub der Mona Lisa, 1931 Their Fates Sealed, 1911 (Sennett) Their First Divorce Case, 1911 (Sennett) Their First Execution, 1913 (Sennett) Their First Kidnapping Case, 1911 (Sennett) Their Hero Son, 1912 (Dwan) Their Husbands, 1913 (Sennett) Their Masterpiece, 1913 (Dwan) Their Secret Affair. See Top Secret Affair, 1957 Their Social Splash, 1915 (Sennett) Their Ups and Downs, 1914 (Sennett) Thelema Abbey, 1955 (Anger) Thelma and Louise, 1991 (Scott) Thelma Jordan, 1950 (Siodmak) Thelonius Monk: Straight No Chaser, 1988 (Eastwood) Thèmes et variations, 1928 (Dulac) Then the Light Fades, 1913 (Dwan) Theodor Hierneis oder: Wie man ehem. Hofkoch wird, 1972 (Syberberg) Theory of Achievement, 1991 (Hartley) Theory of Flight, 1998 (Branagh) There He Goes, 1925 (Capra; Sennett) There Lived a Thrush. See Zil pevcij drozd, 1972 There Must Be a Way Out: The Film World of Alexander Kluge, 1986 (Kluge) There Was a Crooked Man, 1970 (Benton; Mankiewicz) There Was a Father. See Chichi ariki, 1942 There Was a Singing Blackbird. See Zil pevcij drozd, 1972 There We Are John, 1993 (Jarman) There Were Days and Moons. See Y a des Jours . . . et des Lunes, 1990 There Will Be No Leave Today, 1959 (Tarkovsky) There’s a Girl in My Soup, 1970 (Boulting) There’s Always Tomorrow, 1955 (Sirk) There’s Always Vanilla, 1972 (Romero) There’s No Place like Home, 1917 (Weber) Therese, 1916 (Sj?str?m) Thérèse Raquin, 1919 (Kuleshov) Thérèse Raquin, 1928 (Feyder) Thérèse Raquin, 1953 (Carné) These Are the Damned. See Damned, 1963 These Boots, 1993 (Kaurismaki) These Children Survive Me. See Kono ko o nokoshite, 1983 These Foolish Things. See Daddy Nostalgie, 1990 These Three, 1936 (Wyler) They All Came Out, 1939 (Tourneur) They All Laughed, 1983 (Bogdanovich) They Came by Night, 1940 (Launder, Frank, and Sidney Gilliat) They Came from Within. See Shivers, 1975 They Came to a City, 1944 (Dearden) They Came to Cordura, 1959 (Rossen) They Caught the Ferry. See De Naaede Faergen, 1948 They Dare Not Love, 1941 (Whale) They Died with Their Boots On, 1941 (Walsh) They Drive by Night, 1940 (Walsh) They Got Me Covered, 1942 (Preminger) They Had to See Paris, 1929 (Borzage) They Know What to Do. See Vedeli si rady, 1950 They Live, 1988 (Carpenter) They Live Again, 1938 (Zinnemann) They Live by Night, 1948 (Ray) They Loved Life. See Kana?, 1957 They Made Me a Criminal, 1939 (Berkeley) They Made Me a Fugitive, 1947 (Cavalcanti) They Serve Abroad, 1942 (Boulting) They Shoot Horses, Don’t They?, 1969 (Pollack) They Staked Their Lives. See Med livet som insats, 1940 They Were Expendable, 1945 (Ford) They Who Dare, 1953 (Milestone) They Won’t Forget, 1937 (Leroy; Rossen) They Would Elope, 1909 (Grif?th) They’re a Weird Mob, 1966 (Powell, Michael, And Emeric Pressburger) Thick-walled Room. See Kabe atsuki heya, 1956 Thief, 1981 (Mann) Thief and the Girl, 1911 (Grif?th) Thief Catcher, 1914 (Sennett) Thief of Bagdad, 1924 (Walsh) Thief of Bagdad, 1940 (Crichton; Korda; Powell, Michael, And Emeric Pressburger) Thief of Hearts. See Hjertetyven, 1943 Thief of Paris. See Voleur, 1967 Thief Who Came to Dinner, 1973 (Hill) Thief’s Wife, 1912 (Dwan) Thieves after Dark, 1983 (Fuller) Thieves’ Gold, 1918 (Ford) Thieves’ Highway, 1949 (Dassin) Thieves like Us, 1974 (Altman) Thieves, 1918 (Franklin) Thieves, 1976 (Fosse) Thieves. See Voleurs, 1996 Thigh Line Lyre Triangular, 1961 (Brakhage) Thin Blue Line, 1988 (Morris) Thin Red Line, 1998 (Malick) Thing, 1951 (Hawks) Thing, 1982 (Carpenter) Thing. See Cosa, 1990 Thing Called Love, 1993 (Bogdanovich) Thing from Another World. See Thing, 1951 Thing in Bob’s Garage, 1998 (Spheeris) Things of Life. See Choses de la vie, 1970 Things to Come, 1935 (Crichton) Third Bank of the River. See A Terceira margem do rio, 1994 Third Degree, 1926 (Curtiz) Third Generation. See Dritte Generation, 1979 Third Lover. See ?il du malin, 1962 Third Man, 1949 (Reed; Welles) Third Miracle, 1999 (Coppola; Holland) Third Planet, 1991 (Rogozhkin) Third Secret, 1964 (Attenborough; Crichton) Thirst, 1917 (Sennett) Thirst. See T?rst, 1949 Thirteen Most Beautiful Boys, 1965 (Warhol) FILM TITLE INDEXDIRECTORS, 4 th EDITION 1305 Thirteen Most Beautiful Women, 1965 (Warhol) Thirteenth Chair, 1929 (Browning) Thirteenth Letter, 1950 (Preminger) Thirty-Day Princess, 1934 (Sturges) Thirty-nine Steps, 1935 (Hitchcock) Thirty Seconds over Tokyo, 1945 (Leroy) Thirty Years of Fun, 1963 (Keaton) This Angry Age, 1958 (Clément) This Could Be the Night, 1957 (Wise) This Day and Age, 1933 (de Mille) This Doesn’t Happen Here. See S?nt h?nder inte h?r, 1950 This Dusty World. See Jinkyo, 1924 This Happy Breed, 1944 (Lean) This Is Cinerama, 1952 (Schoedsack) This Is England. See Heart of Britain, 1941 This Is Korea!, 1951 (Ford) This Is Spinal Tap, 1984 (Reiner) This Is the Army, 1943 (Curtiz) This Is the Life, 1917 (Walsh) This Land Is Mine, 1943 (Renoir) This Man Is News, 1938 (Dearden) This Man Must Die. See Que la bête meure, 1969 This Man’s Navy, 1945 (Wellman) This Property Is Condemned, 1966 (Coppola; Pollack) This Reckless Age, 1932 (Mankiewicz) This Song Remains with You. See Dieses Lied bleibt bei Dir, 1954 This Special Friendship. See Amitiés particulières, 1964 This Sporting Life, 1963 (Anderson; Reisz) This Sweet Sickness. See Dites-lui que je l’aime, 1977 This Time for Keeps, 1947 (Donen) This Time Let’s Talk about Men. See Questa volta parliamo di uomini, 1965 This Way Please, 1937 (Florey) This Way, That Way. See Ano te kono te, 1952 This Wine of Love. See Elisir d’amore, 1946 This Year’s Love. See Kotoshi no koi, 1962 Thomas Crown Affair, 1968 (Ashby; Hill; Jewison; Wiseman) Thomas Graals b?sta barn, 1914 (Sj?str?m) Thomas Graals b?sta barn, 1918 (Stiller) Thomas Graals b?sta ?lm, 1914 (Sj?str?m) Thomas Graals b?sta ?lm, 1917 (Stiller) Thomas Graal’s Best Picture. See Thomas Graals b?sta ?lm, 1917 Thomas Graal’s First Child. See Thomas Graals b?sta barn, 1918 Thomas l’imposteur, 1965 (Cocteau) Thorvaldsen, 1949 (Dreyer) Those Athletic Girls, 1918 (Sennett) Those Awful Hats, 1909 (Grif?th) Those Bitter Sweets, 1915 (Sennett) Those Blasted Kids. See De pokkers unger, 1947 Those Boys, 1909 (Grif?th) Those College Girls, 1915 (Sennett) Those Country Kids, 1914 (Sennett) Those Damned Savages. See Maudits sauvages, 1971 Those Gentlemen Who Have a Clean Sheet. See Herren mit der weissen Weste, 1970 Those Good Old Days, 1913 (Sennett) Those Happy Days, 1914 (Sennett) Those Hicksville Boys, 1911 (Sennett) Those Love Pangs, 1914 (Chaplin; Sennett) Those We Love, 1932 (Florey) Those Were the Days, 1991 (Kaurismaki) Those Who Make Tomorrow. See Asu o tsukuru hitobito, 1946 Thot Fal’n, 1978 (Brakhage) Thou Shalt Honor Thy Wife. See Du Skal Aere Din Hustru, 1925 Thou Shalt Not, 1910 (Grif?th) Thou Shalt Not Kill. See Tu ne tueras point, 1961 Thousand and One Nights. See Fiore delle mille e una notte, 1974 Thousand and Second Ruse. See Tysyacha Vtoraya Khitrost, 1915 Thousand Cranes. See Senba-zuru, 1953 Thousand Dollars a Touchdown, 1939 (Daves) Thousand Eyes of Dr. Mabuse. See Tausend Augen des Dr. Mabuse, 1960 Thread of Destiny, 1910 (Grif?th) Thread of Life, 1912 (Dwan) Threatening Sky, 1965 (Anderson) Three Ages, 1923 (Keaton) Three American Beauties, 1906 (Porter) Three American LPs. See Drei amerikanische LPs, 1969 Three Amigos!, 1986 (Landis) Three Bad Men, 1926 (Ford) Three Bad Men and a Girl, 1915 (Ford) Three Bad Men in a Hidden Fortress. See Kakushi toride no san- akunin, 1958 Three Bewildered People in the Night, 1987 (Araki) Three Brothers. See Tre fratelli, 1981 Three Cases of Murder, 1954 (Welles) Three Cheers for Love, 1936 (Dmytryk) Three Cheers for the Irish, 1940 (Bacon) Three Children of Nobody. See Drei Niemandskinder, 1927 Three Clear Sundays, 1965 (Loach) Three Colours: Blue. See Trois couleurs Bleu, 1993 Three Colours: Red. See Trois couleurs Rouge, 1993 Three Colours: White. See Trois couleurs Blanc, 1993 Three Comrades. See De tre Kammerater, 1912 Three Comrades, 1938 (Borzage; Mankiewicz) Three Daughters of the West and Caves of La Jolla, 1911 (Dwan) Three Days’ Life. See Zhizn’trekh dnei, 1917 Three Days of the Condor, 1975 (Pollack) Three Domestics, 1971 (Marshall) Three Encounters. See Tri vstrechi, 1948 Three Faces East, 1930 (von Stroheim) Three Films, 1965 (Brakhage) Three Foolish Wives, 1924 (Sennett) Three Friends, 1912 (Grif?th) Three Generations of Danjuro. See Danjuro sandai, 1944 Three Godfathers, 1936 (Mankiewicz) Three Godfathers, 1948 (Ford) Three Golden Hairs of Old Man Know-All. See T?i zlaté vlasy děda V?evěda, 1963 Three Good Friends. See Drei von der Tankstelle, 1955 Three Heroines. See Tri geroini, 1938 Three Homerics, 1993 (Brakhage) Three Hundred Miles through Enemy Lines. See Tekichu odan sanbyakuri, 1957 Three Installations, 1952 (Anderson) Three Jumps Ahead, 1923 (Ford) Three Little Ghosts, 1922 (Goulding) Three Live Ghosts, 1922 (Hitchcock) Three Lives, 1953 (Dmytryk) Three Lives and Only One Death. See Trois vies et une seule mort, 1996 Three Loves. See Mittsu no ai, 1954 Three Married Men, 1936 (Dmytryk) Three Men and a Baby, 1989 (Serreau) Three Men and a Cradle. See Trois hommes et un couf?n, 1985 Three Men in a Boat, 1956 (Clayton) Three Men in a Boat, 1975 (Frears) Three Men on a Horse, 1936 (Leroy) Three Million Case. See Protsess o tryokh millyonakh, 1926 Three Million Dollars, 1911 (Dwan) Three Millions Trial. See Protsess o trekh millionakh, 1926 Three Mounted Men, 1918 (Ford) Three Musketeers, 1921 (Niblo) Three Musketeers, 1939 (Dwan) FILM TITLE INDEX DIRECTORS, 4 th EDITION 1306 Three Musketeers, 1974 (Lester) Three Nights of Love. See Tre notti di amore, 1964 Three on a Couch, 1966 (Lewis) Three on a Limb, 1936 (Keaton) Three on a Match, 1932 (Leroy) Three on a Week-End. See Bank Holiday, 1938 Three Passions, 1929 (Ingram) Three Places for the 26th. See Trois Places pour le 26, 1988 Three Resurrected Drunkards. See Kaettekita yopparai, 1968 Three Ring Circus, 1954 (Lewis) Three Sad Tigers. See Tres triste tigres, 1968 Three Secrets, 1950 (Wise) Three Shell Game, 1911 (Dwan) Three Sinners, 1928 (Daves) Three Sisters, 1910 (Grif?th) Three Sisters/Love and Fear. See Paura e amore, 1988 Three Slims, 1916 (Sennett) Three Soldiers, 1932 (Gerasimov) Three Songs of Lenin. See Tri pensi o Lenine, 1934 Three Stars. See Három csillág, 1960 Three Stories. See Trzy opowiesci, 1953 Three Strange Loves. See T?rst, 1949 Three Strangers, 1946 (Huston) Three to Go, 1970 (Weir) Three Ways to Love. See Cherry, Harry, and Raquel!, 1969 Three Wise Fools, 1923 (Vidor) Three Wishes. See T?i p?ání, 1958 Three Wishes, 1995 (Coolidge) Three Women, 1977 (Altman; Cromwell) Three Women around Yoshinaka. See Yoshinaka o meguru sannin no onna, 1956 Three Women; Forbidden Paradise, 1924 (Lubitsch) Three years ?ve months. See 3 ans 5 mois, 1983 Threepenny Opera. See Dreigroschenoper, 1931 Threepenny Opera. See Dreigroschenoper, 1963 Thrill of It All, 1963 (Jewison) Thriller, 1983 (Landis) Thrilling, 1965 (Scola) Throne of Blood. See Kumonosu-jo, 1957 Through a Glass Darkly. See S?som i en spegel, 1961 Through a Lens Brightly: Mark Turby?ll, 1966 (Markopoulos) Through Darkened Vales, 1911 (Grif?th) Through Dumb Luck, 1911 (Sennett) Through His Wife’s Picture, 1911 (Sennett) Through the Breakers, 1909 (Grif?th) Through the Magic Pyramid, 1981 (Howard) Through the Olive Trees. See Zire darakhatan zeyton, 1994 Throw Momma from the Train, 1987 (Reiner) Thru Thin and Thicket; or, Who’s, 1933 (Sandrich) Thunder and Lightning, 1977 (Corman) Thunder and Mud, 1990 (Spheeris) Thunder Bay, 1953 (Mann) Thunder Birds, 1942 (Wellman) Thunder on the Hill, 1951 (Sirk) Thunder over Mexico, 1933 (Eisenstein) Thunder over Texas, 1934 (Ulmer) Thunder Riders, 1928 (Wyler) Thunder Rock, 1942 (Boulting) Thunder-Bolt, 1947 (Wyler) Thunderbolt and Lightfoot, 1974 (Cimino; Eastwood) Thunderbolt, 1929 (von Sternberg) Thunderheart, 1992 (Apted) Thune, 1992 (Breillat) Thursday’s Children, 1953 (Anderson) Thursday’s Game, 1974 (Reiner) Thursdays, Miracle. See Jueves, milagro, 1957 Thus Another Day. See Kyo mo mata kakute arinan, 1959 Thus Ended a Love) . See So endete eine Liebe, 1934 Thus Spake Theodor Herzl, 1967 (Cavalcanti) Thy Name Is Woman, 1924 (Niblo) Thy Soul Shall Bear Witness. See K?rkarlen, 1921 Ti I Ya, 1971 (Shepitko) Tía Alejandra, 1979 (Ripstein) Tia Alexandra, 1980 (Ripstein) Tic, 1908 (Feuillade) Tidbits. See Leckerbissen, 1948 Tide of Empire, 1929 (Dwan) Tie Me up, Tie Me Down!. See Atame!, 1990 Tie?and, 1944 (Riefenstahl) Tiempo de Morir, 1965 (Ripstein) Tiempo es el viento, 1976 (Alvarez) Tiempo libre a la roca, 1981 (Alvarez) T’ien Liang Hao Kê Ch’iu, 1979 (Hou Hsiao-Hsien) Tiens, vous êtes à Poitiers?, 1916 (Feyder) Tierra de Fuego se apaga, 1955 (Fernández) Tierra del Fuego, 1999 (Littin) Tierra prometida, 1973 (Littin) Ties. See Legato, 1977 Tieta do Agreste, 1996 (Diegues) Tieta of Agreste. See Tieta do Agreste, 1996 Tiger Leaped and Killed, But He Will Die, He Will Die. See Tigre salto y mato . . . pero morira . . . morira, 1973 Tiger Likes Fresh Blood. See Tigre aime la chair fra?che, 1964 Tiger Love, 1924 (Hawks) Tiger Morse, 1967 (Warhol) Tiger of Bengal. See Tiger von Eschnapur, 1959 Tiger Rose, 1923 (Franklin; Goulding) Tiger Shark, 1932 (Hawks) Tiger von Eschnapur, 1921 (Lang) Tiger von Eschnapur, 1959 (Lang) Tigerland, 2000 (Schumacher) Tight Little Island. See Whisky Galore, 1949 Tightrope, 1984 (Eastwood) Tigra, 1953 (Torre Nilsson) Tigre aime la chair fra?che, 1964 (Chabrol) Tigre de Yautepec, 1933 (de Fuentes) Tigre reale, 1916 (Pastrone) Tigre salto y mato . . . pero morira . . . morira, 1973 (Alvarez) Tigre se parfume à la dynamite, 1965 (Chabrol) Tigrero: A Film That Was Never Made, 1994 (Jarmusch) Tigress, 1914 (Guy) Tigress. See Tigra, 1953 Tih Minh, 1918 (Feuillade) Tikhy Don, 1957/58 (Gerasimov) ’Til We Meet Again, 1922 (Goulding) ’Til We Meet Again, 1940 (Goulding) Tila?, 1990 (Ouedraogo) Tilki Selim, 1966 (Güney) Till Divorce Do You Part. See Castagne sono buone, 1970 Till Gl?dje, 1950 (Bergman; Sj?str?m) Till I Come Back to You, 1918 (de Mille) Till the Clouds Roll By, 1947 (Minnelli) Till the End of Time, 1946 (Dmytryk) Till Victory. See Jusqu’à la victoire, 1970 Till Victory Always. See Hasta la victoria siempre, 1967 Till We Meet Again, 1936 (Florey) Till We Meet Again, 1944 (Borzage) Tillie’s Nightmare. See Tillie’s Punctured Romance, 1914 Tillie’s Punctured Romance, 1914 (Chaplin; Sennett) Tilly the Tomboy, 1909 (Hepworth) Tim Burton’s The Nightmare before Christmas, 1993 (Burton) Timber Industry. See Timmerfabriek, 1930 FILM TITLE INDEXDIRECTORS, 4 th EDITION 1307 Timbuktu, 1959 (Tourneur) Time. See Waati, 1995 Time & Fortune Vietnam Newsreel, 1969 (Mekas) Time Bandits, 1981 (Gilliam) Time for Dying, 1971 (Boetticher) Time for Killing, 1967 (Corman) Time Gentlemen Please, 1952 (Grierson) Time Has Stopped. See Tempo si è fermato, 1959 Time in the Sun, 1939 (Eisenstein) Time Is on Our Side, 1983 (Ashby) Time of Destiny, 1988 (Nava) Time of Love. See Nobat e Asheqi, 1990 Time of Reckoning. See Fushin no toki, 1968 Time of the Gypsies. See Dom za vesanje, 1988 Time Out of Mind, 1947 (Siodmak) Time Stood Still. See Tempo si è fermato, 1959 Time the Comedian, 1924 (Florey) Time the Great Healer, 1914 (Hepworth) Time to Die. See Tiempo de Morir, 1965 Time to Kill, 1996 (Schumacher) Time to Live and a Time to Die. See T’ung Nein Wang Shih, 1985 Time to Live, a Time to Die. See Feu follet, 1963 Time to Love and a Time to Die, 1958 (Sirk) Time Trackers, 1989 (Corman) Time without Pity, 1957 (Losey) Time You Need a Friend, 1984 (Woo) Timecop, 1994 (Raimi) Timekeeper,. See From Time to Time, 1992 Timely Interception, 1913 (Grif?th) Times of Joy and Sorrow. See Yorokobi mo kanashimi mo ikutoshitsuki, 1957 Timetable. See Gozenchu no jikanwari, 1972 Timid Young Man, 1935 (Keaton; Sennett) Timmerfabriek, 1930 (Ivens) Timur’s Oath. See Klyatva Timura, 1942 Tin Drum. See Blechtrommel, 1979 Tin Gods, 1926 (Dwan) Tin Hats, 1926 (Lewin) Tin Men, 1987 (Levinson) Tin Star, 1957 (Mann) Tinsel Tree, 1941/42 (Anger) Tinted Venus, 1921 (Hepworth) Tipo difícil de matar, 1965 (Fernández) Tire au ?anc, 1928 (Renoir) Tire die, 1960 (Birri) Tirez sur le pianist, 1960 (Truffaut) Tis an Ill Wind That Blows No Good, 1909 (Grif?th) Tisza—Autumn Sketches. See Tisza—?szi vázlatok, 1962 Tisza—?szi vázlatok, 1962 (Gaál) Titan, 1949 (Flaherty) Titanic, 1997 (Cameron) Titanic Bar. See Bife Titanic, 1980 Tit?eld Thunderbolt, 1952 (Crichton) Titicut Follies, 1967 (Marshall; Wiseman) Tivoli Garden Games. See Tivoligarden spiller, 1954 Tivoligarden spiller, 1954 (Henning-Jensen) Tiz éves Kuba, 1969 (Gaál) Tlatsche, 1939 (Ulmer) To and Fro. See Oda—vissza, 1962 To Be a Crook. See Fille et des fusils, 1964 To Be or Not to Be, 1942 (Lubitsch) To Be or Not to Be, 1983 (Brooks) To Be Young. See Naar man kun er ung, 1943 To Catch a Cop. See Retenex-moi . . . ou je fais un malheur, 1984 To Catch a Thief, 1954 (Hitchcock) To Die For, 1995 (van Sant) To Dig a Pit. See Cavar un foso, 1966 To Forget Palermo. See Dimenticare Palermo, 1990 To Have and Have Not, 1944 (Hawks) To Hear Your Banjo Play, 1940 (Leacock) To Hell with the Devil, 1981 (Woo) To Hold Our Ground, 1990 (Marshall) To Joy. See Till gl?dje, 1950 To Kill a Mockingbird, 1957 (Pakula) To Kill a Mockingbird, 1962 (Mulligan) To Kill a Priest, 1988 (Holland) To Live. See Huozhe, 1994 To Live and Die in L.A., 1985 (Friedkin) To Live, Doomed. See Ikiru, 1952 To Love Again. See Ai futatabi, 1972 To maend i ?demarken, 1972 (Roos) To Mary with Love, 1936 (Cromwell) To New Shores, Paramatta, Bagne de femmes. See Zu neuen Ufern, 1937 To Our Loves. See A nos amours, 1983 To Parsifal, 1963 (Baillie) To Please One Woman, 1921 (Weber) To Sail Is Necessary. See Att Segla ?r N?dv?ndigt, 1937/38 To Save Her Soul, 1909 (Grif?th) To Sir with Love 2, 1996 (Bogdanovich) To Sleep with a Vampire, 1993 (Corman) To Sleep with Anger, 1990 (Burnett) To the End of the Silver Mountains. See Ginrei no hate, 1947 To the Last Man, 1923 (Fleming) To the Rhythm of My Heart. See Au Rythme de mon coeur, 1983 To the Victor, 1948 (Daves) To the Western World, 1981 (Huston) To the White Sea, 2000 (Coen) To Tjenestepiger, 1910 (Blom) To Wong Foo, Thanks for Everything, Julie Newmar, 1995 (Spielberg) Toast to a Young Miss. See Ojosan kanpai, 1949 Tobacco Road, 1941 (Ford) Tobe Hooper’s Night Terrors, 1993 (Hooper) Tobeh Nosuh, 1982 (Makhmalbaf) Tobias Buntschuh, 1921 (Holger-Madsen) Toboy Tobaye, 1974 (Rouch) Toby and the Tall Corn, 1954 (Leacock) Tod der Maria Malibran, 1972 (Schroeter) Tod des Empedokles, 1987 (Straub, Jean-Marie, And Danièle Huillet) Tod für fünf Stimmen, 1995 (Herzog) Toda-ke no kyodai, 1941 (Ozu) Today. See Sevodiva, 1923-25 Today and Tomorrow. See Ma es holnap, 1912 Today for the Last Time. See Dnes naposled, 1958 Today We Live, 1933 (Hawks) Today We Live, 1937 (Rotha) Todessmaragd. See Knabe in Blau, 1919 Todo modo, 1976 (Petri) Todo sobre mi madre, 1999 (Almodóvar) Todos a la cárcel, 1993 (García Berlanga) Toge no uta, 1924 (Mizoguchi) Together, 1956 (Anderson) Together, 1971 (Craven) Toho senichi-ya, 1947 (Ichikawa) Tohoku no zummu-tachi, 1957 (Ichikawa) Toi kumo, 1955 (Kinoshita) Toina no Ginpei, 1933 (Kinugasa) Tojin okichi, 1930 (Kinugasa; Mizoguchi) Tokai kokyogaku, 1929 (Mizoguchi) Toki no ujigami, 1932 (Mizoguchi) Tokkan kozo, 1929 (Ozu) Tokyo 1958, 1958 (Hani) Tokyo boshoku, 1957 (Ozu) FILM TITLE INDEX DIRECTORS, 4 th EDITION 1308 Tokyo Chorus. See Tokyo no gassho, 1931 Tokyo-Ga, 1985 (Wenders) Tokyo koshinkyoku, 1929 (Gosho; Mizoguchi) Tokyo March. See Tokyo koshinkyoku, 1929 Tokyo monogatari, 1953 (Imamura; Ozu) Tokyo no gassho, 1931 (Ozu) Tokyo no onna, 1933 (Ozu) Tokyo no yado, 1935 (Ozu) Tokyo Olympiad. See Tokyo Orimpikku, 1965 Tokyo Orimpikku, 1965 (Ichikawa) Tokyo saiban, 1983 (Kobayashi) Tokyo senso sengo hiwa, 1970 (Oshima) Tokyo Story. See Tokyo monogatari, 1953 Tokyo Trials. See Tokyo saiban, 1983 Tokyo Woman. See Tokyo no onna, 1933 Tol’able David, 1921 (Goulding) Tol’ko Raz v Godu, 1914 (Bauer) Tolle Heirat von Laló, 1918 (Pick) Tom Brown of Culver, 1932 (Wyler) Tom Jones, 1963 (Richardson) Tom Sawyer, 1930 (Cromwell) Tomas G. Masaryk—The Liberator. See T.G.M.—Osvoboditel, 1990 Tomb of Ligeia, 1964 (Corman) Tombeau sous L’Arc de Triomphe, 1927 (Wiene) Tomboy Bessie, 1911 (Sennett) Tombs of Our Ancestors. See V?ra Faders Gravar, 1935/36 Tommy, 1931 (Protazanov) Tomorrow Begins Today, 1976 (Benegal) Tomorrow Is Forever, 1945 (Welles) Tomorrow Is the Final Day. See Yarin son gündür, 1971 Tomorrow We Live, 1942 (Ulmer) Tomorrow’s Island, 1968 (Crichton) Tondeur de chiens, 1899/1900 (Guy) Tongues, 1982 (Clarke) Tongues Untied, 1991 (Riggs) Toni, 1928 (Launder, Frank, and Sidney Gilliat) Toni, 1935 (Becker; Renoir) Tonight for Sure, 1962 (Coppola) Tonight or Never, 1930 (Leroy) Tonnelier, 1899/1900 (Guy) Tonnerre, 1921 (Epstein) Tony Freunde, 1967 (Fassbinder) Too Beautiful for You. See Trop belle pour toi, 1989 Too Early, Too Late. See Trop tot, trop tard, 1983 Too Late Blues, 1961 (Cassavetes) Too Late the Hero, 1969 (Aldrich) Too Many Brides, 1914 (Sennett) Too Many Burglars, 1911 (Sennett) Too Many Girls, 1910 (Porter) Too Many Highballs, 1933 (Sennett) Too Many Husbands, 1931 (Sennett) Too Many Mamas, 1924 (Mccarey) Too Many Parents, 1936 (Dmytryk) Too Many Women. See God’s Gift to Women, 1931 Too Much for One Man. See Immorale, 1967 Too Much Harmony, 1933 (Mankiewicz) Too Much Johnson, 1938 (Welles) Too Wise Wives, 1921 (Weber) Too Young to Marry, 1930 (Leroy) Tooki Rakujitsu, 1993 (Shindo) Toonslyvania, 1998 (Spielberg) Toothache. See Dandan Dard, 1983 Tootsie, 1982 (Pollack) Top Hat, 1935 (Sandrich) Top Secret Affair, 1957 (Cromwell) Top Speed, 1930 (Leroy) Topaz, 1969 (Hitchcock) Topaze, 1933 (Pagnol) Topaze, 1936 (Pagnol) Topaze, 1951 (Pagnol) Topio stia Omichli, 1988 (Angelopoulos) Topkapi, 1964 (Dassin) Toplitsky and Company, 1913 (Sennett) Toppo Gigio and the Missile War. See Toppo Jijo no botan senso, 1967 Toppo Jijo no botan senso, 1967 (Ichikawa) Topsy-Turvy, 1999 (Leigh) Topsy Turvy Villa, 1900 (Hepworth) Tora no o o fumu otokotachi, 1945 (Kurosawa) Torch. See Del odio nació el amor, 1949 Torero, 1954 (Bardem) Torino nei centi’anni, 1961 (Rossellini) Torment, 1924 (Tourneur) Torment. See Hets, 1944 Tormented Flame. See Joen, 1959 Tormento, 1950 (Rosi) Torn Curtain, 1966 (Hitchcock) Tornado, 1917 (Ford) Tornyai János, 1962 (Mészáros) Toro, 1994 (Lattuada) Torpedo Squadron, 1942 (Ford) Torpido Yilmaz, 1965 (Güney) Torre del Piacere. See Tour de Nesle, 1954 Torrent, 1917 (L’herbier) Torrent. See Honryu, 1926 Torrents of Spring, 1989 (Skolimowski) T?rst, 1949 (Bergman) Tortilla Flat, 1942 (Fleming) Tortue sur le dos, 1978 (Eustache; Miller) Tortura, 1968 (Guzmán) Torture. See Tortura, 1968 Tortured Dust, 1984 (Brakhage) Tosca, 1940 (Renoir; Visconti) Tosei tamatebako, 1925 (Gosho) T?sen fr?n stormyrtorpet, 1918 (Sj?str?m) Toss Me a Dime. See Tire die, 1960 Total Balalaika Show, 1994 (Kaurismaki) Total Eclipse, 1995 (Holland) Total Recall, 1990 (Verhoeven) Total War in Britain, 1945 (Rotha) Totally F */*/* ed Up, 1993 (Araki) Totentanz, 1919 (Lang) T?tet nicht mehr!, 1919 (Pick) Toth Family. See Isten hozta, ?rnagy úr!, 1969 Toto, 1925 (Florey) Toto, 1933 (Tourneur) Totò, Vittorio e la dottoressa, 1957 (de Sica) Toto le Heros (Toto the Hero), 1991 (van Dormael) Toton, 1919 (Borzage) Totsugu hi, 1956 (Yoshimura) Totsuseki iseki, 1966 (Shindo) Touch. See Ber?ringen, 1971 Touch. See Dotkniecie, 1990 Touch, 1997 (Schrader) Touch and Go. See Poudre d’escampette, 1971 Touch of a Child, 1918 (Hepworth) Touch of Evil, 1958 (Welles) Touch of Zen. See Hsia Nü, 1970 Touch Wood, 1980 (Armstrong) Touchez pas au Grisbi, 1954 (Becker; Sautet) Tough Guys Don’t Dance, 1987 (Coppola) Touha zvaná Anada, 1971 (Kadár) Touki Bouki, 1973 (Mambety) FILM TITLE INDEXDIRECTORS, 4 th EDITION 1309 Tour, 1928 (Clair) Tour au large, 1926 (Grémillon) Tour de chant, 1933 (Cavalcanti) Tour de Nesle, 1954 (Gance; Straub, Jean-Marie, And Danièle Huillet; Kaplan) Tour du monde en bateau-stop, 1954 (Storck) Tour Eiffel, 1900 (Lumière) Tourbillon de Paris, 1928 (Duvivier) Touristes revenant d’une excursion, 1896-97 (Lumière) Tourists, 1911 (Sennett) Tourment, 1912 (Feuillade) Tournoi. See Tournoi dans la cité, 1928 Tournoi dans la cité, 1928 (Renoir) Tourou et Bitti, 1967 (Rouch) Tous les gar?ons et les ?lles de leur age. See Chêne et le roseau, 1994 Tous peuvent me tuer, 1957 (de Broca) Tout ca . . . pour ca!, 1993 (Lelouch) Tout ?a ne vaut pas l’amour, 1931 (Tourneur) Tout l’or du monde, 1961 (Clair) Tout pour l’amour, 1933 (Clouzot) Tout pour le tout, 1958 (Guerra) Tout va bien, 1972 (Godard) Toute la mémoire du monde, 1956 (Resnais) Toute la ville danse. See Great Waltz, 1938 Toute révolution est un coup de dés, 1977 (Straub, Jean-Marie, And Danièle Huillet) Toute sa vie, 1930 (Cavalcanti) Toute une nuit, 1982 (Akerman) Toute une vie, 1974 (Lelouch) Tovaritch, 1935 (Delannoy) Toward the Light. See Mod Lyset, 1918 Toward the Unknown, 1956 (Leroy) Tower of Lies, 1925 (Sj?str?m) Tower of Lilies. See Himeyuri no to, 1953 Tower of London, 1962 (Coppola; Corman) Towjeeh, 1981 (Makhmalbaf) Town, 1943-44 (von Sternberg) Town and Its Drains. See Machi to gesui, 1953 Town in the Awkward Age. See Kamaszváros, 1962 Town in the Valley. See Stadt im tal, 1974 Town of Love and Hope. See Ai to kibo no machi, 1959 Town People. See Machi no hitobito, 1926 Toymaker on the Brink and the Devil, 1910 (Porter) Toys, 1992 (Levinson) Toys of Fate, 1909 (Porter) Trachoma. See Trakom, 1964 Track 29, 1988 (Roeg) Track of the Cat, 1954 (Wellman) Tracking the Sleeping Death, 1938 (Zinnemann) Trade Tattoo, 1936 (Grierson) Trader Ginsburg, 1930 (Sandrich) Tr?dgárrdsma?staren, 1912 (Sj?str?m) Trading Places, 1983 (Landis) Traf?c. See Tra?c, 1971 Traf?c, 2000 (Soderbergh) Traf?c in Souls. See Cargaison blanche, 1937 Tra?c, 1970 (Haanstra; Tati) Tra?quant, 1911 (Feuillade) Tragedia di un uomo ridicolo, 1981 (Bertolucci) Tragedie d’un homme ridicule. See Tragedia di un uomo ridicolo, 1981 Tragédie impériale, 1938 (L’herbier) Tragedy in the House of Hapsburg. See Trag?die im Hause Habsburg, 1924 Tragedy of a Dress Suit, 1911 (Sennett) Tragedy of a Ridiculous Man. See Tragedia di un uomo ridicolo, 1981 Tragedy of Whispering Creek, 1914 (Dwan) Tragic Love, 1908 (Grif?th) Tragic Ship. See Eld ombord, 1923 Tragique Amour de Mona Lisa, 1910 (Gance) Trag?die der Liebe, 1923 (Leni) Trag?die eines Verschollenen Fürstensohnes. See Versunkene Welt, 1922 Trag?die im Hause Habsburg, 1924 (Korda) Tragoedia, 1976 (Brakhage) Traidores de San Angel, 1966 (Torre Nilsson) Trail Mix-up, 1993 (Spielberg) Trail of ‘98, 1929 (Tourneur) Trail of Hate, 1917 (Ford) Trail of the Books, 1911 (Grif?th) Trail of the Eucalyptus, 1911 (Dwan) Trail of the Lonesome Pine, 1916 (de Mille) Trail of the Sword?sh, 1931 (Sennett) Trail of the Vigilantes, 1940 (Dwan) Trailing the Counterfeit, 1911 (Sennett) Train de la victoire. See Tren de la victoria, 1964 Train en marche, 1973 (Marker) Train of Events, 1949 (Crichton; Dearden) Train sans yeux, 1925 (Cavalcanti) Train to Heaven. See Vlak do stanice nebe, 1972 Train, 1964 (Frankenheimer) Train, 1966 (Greenaway) Trained Nurse at Bar Z, 1911 (Dwan) Trains de plaisir, 1930 (Storck) Traitor, 1914 (Weber) Traitor to His Country. See Forraederen, 1910 Traitors of San Angel. See Traidores de San Angel, 1966 Trakom, 1964 (Troell) Tramp, 1915 (Bacon; Chaplin) Tramp, Tramp, Tramp, 1926 (Capra) Tramp’s Gratitude, 1912 (Dwan) Tranquillo posto di campagna, 1968 (Petri) Trans, 1978 (Clarke) Transatlantique, 1997 (Téchiné) Transfer, 1966 (Cronenberg) Transformation of Mike, 1911 (Grif?th) Transformation of the World into Music. See Verwandlung der Welt in Musik, 1994 Transformations, 1899/1900 (Guy) Transformations, 1904 (Guy) Transforms, 1970 (Vanderbeek) Transgression of Manuel, 1913 (Dwan) Transmission de la division 59, 1964 (Miller) Transport of Fire. See Transport ognya, 1930 Transport ognya, 1930 (Hei?tz) Transylvania Twist, 1989 (Corman) Trap. See Past, 1950 Trap for Santa Claus, 1909 (Grif?th) Trap, Trap, Little Trap. See Pasti, pasti, pasticky, 1998 Trápeni, 1961 (Kachyňa) Trapeze, 1956 (Reed) Trash, 1970 (Morrissey; Warhol) Trastevere, 1971 (de Sica) Traum von Lieschen Müller, 1961 (K?utner) Traum, was sonst, 1994 (Syberberg) Travail, 1969 (Chabrol) Travailleurs de la mer, 1918 (Duvivier) Travaux du tunnel sous l’Escaut, 1932 (Storck) Traveller. See Mossafer, 1974 Traveller, 1981 (Jordan) Travelling Players. See O Thiasos, 1975 Travelling Players, 1986 (Tian Zhuangzhuang) Travels with My Aunt, 1972 (Cukor) Traversée de Paris, 1956 (Autant-Lara) FILM TITLE INDEX DIRECTORS, 4 th EDITION 1310 Traviata, 1982 (Zef?relli) Travolti da un insolito destino nell’azzurro mare d’agosto, 1974 (Wertmuller) Tre eccetera del colonello. See Trois etc . . . du colonel, 1959 Tre ?li ?no a Milano, 1958 (Olmi) Tre fratelli, 1981 (Rosi) Tre notti di amore, 1964 (Castellani) Tre Volti, 1965 (Antonioni) Treasure. See Schatz, 1923 Treasure Island, 1918 (Franklin) Treasure Island, 1920 (Tourneur) Treasure Island, 1934 (Fleming) Treasure Island, 1972 (Welles) Treasure Island. See Ile au trésor, 1986 Treasure Island, 1991 (Ruiz) Treasure Mountain. See Takara no yama, 1929 Treasure of Kalifa. See Steel Lady, 1953 Treasure of the Golden Condor, 1953 (Daves) Treasure of the Sierra Madre, 1948 (Huston) Treating ‘em Rough, 1919 (Sennett) Treatise on Japanese Bawdy Songs. See Nihon Shunka ko, 1967 Tree, 1966 (Greenaway) Tree Grows in Brooklyn, 1945 (Kazan) Tree of Knowledge. See Kundskabens tr?, 1981 Tree of the Wooden Clogs. See Albero degli zoccoli, 1978 Tree, The Mayor, and the Mediatheque. See Arbre, le maire et la Mediatheque, 1993 Tregua, 1996 (Rosi) Treize jours en France, 1968 (Lelouch) Trelawney of the Wells, 1916 (Hepworth) Trelawny of the Wells. See Actress, 1928 Tren de la victoria, 1964 (Ivens) Tren para las estrellas, 1987 (Diegues) Trenchcoat in Paradise, 1989 (Coolidge) Trent’s Last Case, 1929 (Hawks) Trent’s Last Case, 1953 (Welles) Tres cantos, 1948/49 (García Berlanga) Tres citas con el destino, 1953 (de Fuentes) Tres triste tigres, 1968 (Ruiz) Tres Tristes Tigres. See Tres triste tigres, 1968 Trésor d’Ostende, 1955 (Storck) Trespass, 1992 (Hill; Zemeckis) Tret’ia planeta. See Third Planet, 1991 Trevico-Torino . . . Viaggio nel Fiat Nam, 1973 (Scola) Trewey: Under the Hat. See Chapeaux à transformations, 1895 Tri geroini, 1938 (Vertov) Tri pensi o Lenine, 1934 (Vertov) T?i p?ání, 1958 (Kadár) Tri vstrechi, 1948 (Pudovkin) T?i zlaté vlasy děda V?evěda, 1963 (Fri?) Triage, 1940 (Clément) Trial. See Prozess, 1947 Trial. See Procès, 1962 Trial and Error. See Dock Brief, 1962 Trial by Jury, 1994 (Cronenberg) Trial of Joan of Arc. See Procès de Jeanne d’Arc, 1962 Trial of Mironov. See Protsess Mironova, 1919 Trial of the Social Revolutionaries. See Protsess Eserov, 1922 Trials of Celebrity. See Gudernes Yndling, 1919 Trials of Oscar Wilde, 1960 (Roeg) Triangle: The Bermuda Mystery. See Triangulo diabolico de la Bermudas, 1977 Triangulo de Cuatro, 1975 (Bemberg) Triangulo diabolico de la Bermudas, 1977 (Huston) Tribe Lives On. See Stammen Lever an, 1937/38 Tribu, 1934 (Fernández) Tribulations d’un chinois en Chine, 1965 (de Broca) Tribunal, 1969 (Jire?) Tribune Film: Break and Build. See De Tribune ?lm: Breken en bouwen, 1930 Tribute to a Bad Man, 1955 (Wise) Tribute to Alfred Lepetit. See Hommage à Alfred Lepetit, 2000 Tribute to the Teachers. See Bozorgdasht-e mo’Allem, 1977 T?icet jedna ve stínu, 1965 (Weiss) Tricheurs, 1958 (Carné) Trick or Treats, 1982 (Bartel) Trick That Failed, 1909 (Grif?th) Tri?ing Women, 1922 (Ingram) Trigger Happy. See Deadly Companions, 1961 Trikaal, 1985 (Benegal) Trikimia, 1974 (Powell, Michael, And Emeric Pressburger) Trilby, 1915 (Tourneur) Trilogy, 1994/95 (Brakhage) Trimmed in Gold, 1926 (Sennett) Trio, 1976 (Brakhage) Trio Film, 1968 (Rainer) Trio: Rubinstein, Heifetz and Piatigorsky, 1952 (Aldrich) Trip, 1967 (Bogdanovich) Trip to Door, 1971 (Brakhage) Trip to Mars. See Himmelskibet, 1917 Triple Echo, 1973 (Apted) Triple Play, 1981 (Scorsese) Triple Trouble, 1918 (Chaplin) Tristan Tzara, dadaismens fader, 1949 (Roos) Tristana, 1970 (Bu?uel) Triste Fin d’un vieux savant, 1904 (Guy) Triumph, 1924 (de Mille) Triumph des Willens, 1934 (Riefenstahl; Ruttmann) Triumph des Willens, 1940 (Bu?uel) Triumph of Lester Snapwell, 1963 (Keaton) Triumph of the Will. See Triumph des Willens, 1934 Triumph of Will, 1940 (Bu?uel) Triumph of Wings. See Tsubasa no gaika, 1942 Trixie, 2000 (Altman; Rudolph) Tro, hab og kaerlighed, 1984 (August) Trois Chambres à Manhattan, 1965 (Carné; Miller) Trois Chansons de la résistance, 1944 (Cavalcanti) Trois Chants pour la France. See Trois Chansons de la résistance, 1944 Trois couleurs: Blanc, 1993 (Kie?lowski) Trois couleurs: Bleu, 1993 (Holland; Kie?lowski) Trois couleurs: Rouge, 1993 (Holland; Kie?lowski) Trois Couronnes du Matelot, 1982 (Ruiz) Trois etc . . . du colonel, 1959 (de Sica) Trois freres, 1995 (Berri) Trois hommes et un couf?n, 1985 (Serreau) Trois-Mats, 1935 (Storck) Trois Passions. See Three Passions, 1929 Trois places pour le 26, 1988 (Berri; Demy) Trois vies et une seule mort, 1996 (Moretti; Ruiz) Trois Vies une corde, 1933 (Storck) Trojan Women, 1971 (Cacoyannis) Trold kan taemmes, 1914 (Holger-Madsen) Troll??jten, 1975 (Bergman) Trol?s, 1913 (Blom) Trol?sa, 2000 (Bergman) Trompé mais content, 1902 (Guy) Trop belle pour toi, 1989 (Blier) Trop tot, trop tard, 1983 (Straub, Jean-Marie, And Danièle Huillet) Tropisk Kaerlighed, 1911 (Blom) Trou, 1960 (Becker) Troubadour’s Triumph, 1912 (Weber) Trouble along the Way, 1953 (Curtiz) FILM TITLE INDEXDIRECTORS, 4 th EDITION 1311 Trouble at Spring Inn. See Ying Ch’un Ko Chih Fêng Po, 1973 Trouble in Mind, 1985 (Rudolph) Trouble in Morocco, 1937 (Schoedsack) Trouble in Paradise, 1932 (Lubitsch) Trouble in the Glen, 1955 (Welles) Trouble in the Morning. See Asa no hamon, 1952 Trouble with Harry, 1954 (Hitchcock) Troubles. See Making a Living, 1914 Troubles We’ve Seen: A History of Journalism in Wartime, 1994 (Tavernier) Troublesome Satchel, 1909 (Grif?th) Trout, 1982 (Losey) Trouvaille de B?chu, 1917 (Feyder) Truc du brésilien, 1932 (Cavalcanti) Truce. See Tregua, 1996 True Confession, 1937 (Lewin) True Crime, 1999 (Eastwood) True Glory, 1945 (Reed) True-Heart Susie, 1919 (Grif?th) True Lies, 1994 (Cameron) True Life of Antonio H.. See Vera vita di Antonio, 1994 True Romance, 1993 (Tarantino) True Stories: Peace in Our Time?, 1988 (Nemec) True Story of Jesse James, 1957 (Ray) True Story of Lilli Marlene, 1944 (Jennings) True Young Woman. See Vrai jeune ?lle, 1976 Truet Lykke, 1915 (Blom) Truman Show, 1998 (Weir) Trumpet Call. See Rough Riders, 1927 Trunk Conveyor, 1952 (Anderson) Trunk Crime, 1939 (Boulting) Trust [Les batailles de l’argent], 1911/13 (Feuillade) Trust, 1991 (Hartley) Truth. See Verite, 1960 Truth about Women, 1957 (Zetterling) Trying to Fool, 1911 (Sennett) Trying to Get Along, 1919 (Sennett) Trying to Get Arrested, 1909 (Grif?th) Tryst, 1929 (Launder, Frank, and Sidney Gilliat) Tryst Haunt, 1993 (Brakhage) Trzy opowiesci, 1953 (Polanski) Tsahal, 1995 (Lanzmann) Tsai Nei Ho P’an Ch’ing Ts’ao Ch’ing, 1982 (Hou Hsiao-Hsien) Tsao an Taipei, 1977 (Hou Hsiao-Hsien) Tsena cheloveka, 1928 (Donskoi) Tso Yeh Yü Hsiao Hsiao, 1978 (Hou Hsiao-Hsien) Tsubasa no gaika, 1942 (Kurosawa) Tsui Hsiang Nien Tê Chi Chieh, 1984 (Hou Hsiao-Hsien) Ts’ui Hu Han, 1977 (Hou Hsiao-Hsien) Tsuki no watari-dori, 1951 (Kinugasa) Tsukigata hanpeita, 1925 (Kinugasa) Tsukigata hanpeita, 1956 (Kinugasa) Tsukimiso, 1959 (Oshima) Tsukiwa noborinu, 1955 (Imamura) Tsuma no himitsu, 1924 (Kinugasa) Tsuma to onna no aida, 1976 (Ichikawa) Tsumiki no hako, 1968 (Kinugasa) Tsuyomushi onna (&) yawamushi otoko, 1968 (Shindo) Tsvetok no kamne, 1963 (Paradzhanov) Tu ne tueras point, 1961 (Autant-Lara) Tu ridi, 1998 (Taviani) Tucker: The Man and His Dream, 1988 (Coppola; Lucas) Tudor Rose, 1936 (Launder, Frank, and Sidney Gilliat) Tudzi, 1964 (Ioseliani) Tudor Princess, 1913 (Ingram) Tug of War, 1975 (Asch) Tugboat Annie, 1933 (Leroy) Tugboat Romeos, 1916 (Sennett) Tugthusfange No. 97, 1914 (Blom) Tuhlaajapoika, 1993 (Kaurismaki) Tul a Kálvin-téren, 1955 (Mészáros) Tulitikkutehtaan Tytto, 1989 (Kaurismaki) Tung, 1966 (Baillie) T’ung Nein Wang Shih, 1985 (Hou Hsiao-Hsien) Tung Tung Te Chia Ch’i, 1984 (Hou Hsiao-Hsien) Tuning His Ivories. See Laughing Gas, 1914 Tunisian Victory, 1944 (Boulting; Capra; Huston) Tunnel 28, 1962 (Siodmak) Turandot—At the Forbidden City of Bejing, 1999 (Zhang Yimou) Turbulent Corpse. See Lina Pod Ekspertizoi ili Buinyi Pokoinik, 1917 Turkeys in a Row. See Shichimencho no yukue, 1924 Turkish Delight, 1973 (Verhoeven) Turn in the Road, 1919 (Vidor) Turn off the Moon, 1937 (Dmytryk) Turn to the Right, 1921 (Ingram) Turned out Nice Again, 1941 (Dearden) Turning a Blind Eye, 1985 (Richardson) Turning to Hell. See Jigokuno magarikago, 1959 Turning Wind. See Barravento, 1962 Tut and Tuttle. See Through the Magic Pyramid, 1981 Tutta la città canta, 1943 (Fellini) Tutto a posto e niente in ordine, 1974 (Wertmuller) Tütün zamani, 1959 (Güney) Tutyu and Totyo. See Tutyu és Totyo, 1914 Tutyu és Totyo, 1914 (Korda) Tüzoltó utca 25, 1973 (Szabó) TV Dante, 1989 (Greenaway) TV Dante—Canto 5 , 1984 (Greenaway) Tv? Manniskor, 1945 (Dreyer) Twarza w twarz, 1968 (Zanussi) Twelfth Night. See Vizkereszet, 1967 Twelve Angry Men, 1957 (Lumet) Twelve Angry Men, 1997 (Friedkin) Twelve Chairs. See Dvanáct k?esel, 1933 Twelve Chairs. See Doce sillas, 1962 Twelve Chairs, 1970 (Brooks) Twelve Chapters on Women. See Josei ni kansuru juni-sho, 1954 Twelve Good Men, 1936 (Launder, Frank, and Sidney Gilliat) Twelve Monkeys, 1995 (Gilliam; Marker) Twentieth Century, 1934 (Hawks) Twenty-four Eyes. See Nijushi no hitomi, 1954 Twenty-four Hours of a Secret Life. See Chikagai nijuyo-jikan, 1947 Twenty-four-Dollar Island, 1927 (Flaherty) Twenty Hours. See Húsz óra, 1964 Twenty Minutes of Love, 1914 (Chaplin; Sennett) Twenty-one Days Together. See Twenty-one Days, 1937 Twenty-one Days, 1937 (Crichton) Twenty Thousand Years in Sing Sing, 1933 (Curtiz) Twenty-two Misfortunes, 1930 (Gerasimov) Twenty Years of Cinema. See Kino za XX liet, 1940 Twice a Man, 1963 (Markopoulos) Twice upon a Time, 1953 (Powell, Michael, And Emeric Pressburger) Twice upon a Time, 1982 (Lucas; Fincher) Twilight. See Alkony, 1971 Twilight. See Duelle, 1976 Twilight, 1998 (Benton) Twilight and Dawn. See Alkonyok és hajnalok, 1961 Twilight in Tokyo. See Tokyo boshoku, 1957 Twilight of a Woman’s Soul. See Sumerki Zhenskoi Dushi, 1913 Twilight Zone: The Movie, 1983 (Brooks; Dante; Landis; Miller; Spielberg) Twilight’s Last Gleaming, 1977 (Aldrich) FILM TITLE INDEX DIRECTORS, 4 th EDITION 1312 Twin Brothers, 1909 (Grif?th) Twin Peaks: Fire Walk with Me, 1992 (Lynch) Twin Sisters. See Soseiji gakkyu, 1956 Twin Sitters, 1994 (Bartel) Twinkletoes, 1926 (Leroy) Twins, 1916 (Sennett) Twins. See Dead Ringers, 1988 Twins from Suffering Creek, 1920 (Wellman) Twist. See Folies bourgeoises, 1976 Twist and Shout. See Tro, hab og kaerlighed, 1984 Twisted Love, 1995 (Corman) Twisted Nerve, 1968 (Boulting) Twisted Road, 1948 (Ray) Twisted Trail, 1910 (Grif?th) Twister, 1996 (Spielberg) Twitch of the Death Nerve. See Reazione a catena, 1971 Twixt Love and Fire, 1914 (Sennett) Two, 1965 (Ray) Two Arabian Knights, 1927 (Milestone) Two Brave Men. See Ikisi de cesurdu, 1963 Two Brothers, 1910 (Grif?th) Two Brothers. See Matira Manisha, 1967 Two Brothers, 1973 (Marshall) Two Buldis. See Dva-Buldi-Dva, 1929 Two by South, 1982 (Altman) Two Cents Worth of Hope. See Due Soldi di speranza, 1952 Two Convicts. See Eventyr paa Fodrejsen, 1911 Two: Creeley/McClure, 1965 (Brakhage) Two Crooks, 1917 (Sennett) Two Crowded Hours, 1931 (Powell, Michael, And Emeric Pressburger) Two Daughters. See Teen Kanya, 1961 Two Daughters of Eve, 1912 (Grif?th) Two Deaths, 1995 (Roeg) Two Down, One to Go, 1945 (Capra) Two English Girls. See Deux Anglaises et le continent, 1971 Two Evil Eyes. See Due occhi diabolici, 1990 Two-Faced Woman, 1941 (Cukor) Two Fister, 1927 (Wyler) Two Flags West, 1950 (Wise) Two Fools in a Canoe, 1898 (Hepworth) Two for the Road, 1967 (Donen) Two for the Seesaw, 1962 (Wise) Two Girls on Broadway, 1940 (Goulding) Two Gun Ginsburg, 1929 (Sandrich) Two Hearts in Waltz Time. See Zwei Herzen im Dreivierteltakt, 1930 Two in a Taxi, 1941 (Florey) Two Little Birds. See Niwa no kotori, 1922 Two Little Rangers, 1912 (Guy) Two Little Waifs, 1910 (Grif?th) Two Lovers, 1928 (Niblo) Two Memories, 1909 (Grif?th) Two Men and a Wardrobe. See Dwaj ludzie z szasa, 1958 Two Men of the Desert, 1913 (Grif?th) Two-Minute Warning, 1976 (Cassavetes) Two Mules for Sister Sara, 1970 (Boetticher; Eastwood; Siegel) Two Nights with Cleopatra. See Due notti con Cleopatra, 1954 Two Nudes Bathing, 1995 (Boorman) Two o’Clock Courage, 1945 (Mann) Two of a Kind. See Rounders, 1914 Two of Them. See ?k ketten, 1977 Two of Us, Claude, The Old Man and the Boy. See Vieil homme et l’enfant, 1967 Two Old Tars, 1913 (Sennett) Two Paths, 1910 (Grif?th) Two People. See Tv? Manniskor, 1945 Two People, 1971 (Wise) Two Plus One. See Pratinidhi, 1964 Two Rode Together, 1961 (Ford) Two Seconds, 1932 (Leroy) Two Sides, 1911 (Grif?th) Two Sightless Eyes. See Do Cheshman Beesu, 1984 Two Smart People, 1946 (Dassin) Two Solutions for One Problem. See Dow Rahehal Baraye yek Massaleh, 1975 Two Stage Sisters. See Wutai Jiemei, 1964 Two Stone Lanterns. See Futatsu doro, 1933 Two Tars, 1928 (Mccarey; Stevens) Two Thousand Women, 1944 (Launder, Frank, and Sidney Gilliat) Two Tickets to Broadway, 1951 (Berkeley) Two times 50 Years of French Cinema. See Deux fois cinquante ans de cinema Francais, 1995 Two to Tango, 1989 (Corman) Two Tough Tenderfeet, 1918 (Sennett) Two Trains a Day. See Naponta két vonat, 1977 Two Way Street, 1931 (Launder, Frank, and Sidney Gilliat) Two Weeks, 1920 (Franklin) Two Weeks in Another Town, 1962 (Minnelli) Two Weeks with Love, 1950 (Berkeley) Two White Arms, 1932 (Niblo) Two Whores, or, A Love Story that Ends in Marriage. See Dos putas, o, Historia de amor que termina en boda, 1974 Two Widows, 1913 (Sennett) Two Women. See Ciociara, 1960 Two Women and a Man, 1909 (Grif?th) Two Worlds, 1930 (Dupont) Typewriter, the Ri?e & the Movie Camera, 1996 (Jarmusch) Tyrannical Fiancée. See Den tryanniske f?stmannen, 1912 Tyrant’s Heart. See A zsranok szíve avagy Boccaccio Magyarországon, 1981 Tyrtée, 1912 (Feuillade) Tystnaden, 1963 (Bergman) Tysyacha Vtoraya Khitrost, 1915 (Bauer) Tyven, 1910 (Blom) U-Boat. See Spy in Black, 1939 U Krutovo Yara, 1962 (Gerasimov) U ozera, 1969 (Gerasimov) U samogo sinego morya, 1935 (Barnet) U snědeného krámu, 1933 (Fri?) U Turn, 1997 (Stone) U.S. Army in San Francisco, 1915 (Sennett) USA en vrac, 1953 (Lelouch) übernachtung in Tirol, 1973 (Schl?ndorff; Von Trotta) Ubitzi vykhodyat na dorogu, 1942 (Pudovkin) Uccellacci e uccellini, 1966 (Pasolini) Uchitel, 1939 (Gerasimov) Uchitelnitsa Kartashova, 1942 (Kuleshov) Ucho, 1969 (Kachyňa) Ucho, 1992 (Kachyňa) ücünüzü de mihlarim, 1965 (Güney) Uden Faedreland. See De Forviste, 1914 Ud?ytterne, 1972 (Roos) Uerreichbare, 1982 (Zanussi) Ugetsu. See Ugetsu monogatari, 1953 Ugetsu monogatari, 1953 (Mizoguchi) Ugly Boy. See A csunya ?u, 1918 Ugly Man. See Bir cirkin adam, 1969 Ugly Village. See Skaredá dědina, 1975 Ujra mosolyognak, 1954 (Mészáros) Ujraél?k, 1920 (Fej?s) Ukamau, 1966 (Sanjinés) Ukhod velikovo startza, 1912 (Protazanov) FILM TITLE INDEXDIRECTORS, 4 th EDITION 1313 Ukifune, 1957 (Kinugasa) Ukigusa, 1959 (Ozu) Ukigusa monogatari, 1934 (Ozu) Ukiyo-buro, 1929 (Gosho) Ukjent mann, 1952 (Henning-Jensen) Ukraine in Flames. See Nezabivaemoe, 1968 Ukrainian Rhapsody. See Ukrainskaia rapsodiia, 1961 Ukrainskaia rapsodiia, 1961 (Paradzhanov) Ula’s Chandelier. See Ula’s Fête, 1975 Ula’s Fête, 1975 (Jarman) Uli?ka v ráji, 1936 (Fri?) Uloupená hranice, 1947 (Weiss) Ulrik fortaeller en historie, 1972 (Roos) Ultima carrozzella, 1943 (Fellini) última cena, 1976 (Gutiérrez Alea) Ultima Thule, 1968 (Roos) Ultimatum, 1938 (Siodmak; von Stroheim; Wiene) Ultimatum, 1971 (Lefebvre) Ultimi cinque minuti, 1955 (de Sica) Ultimi giorni di Pompeii, 1959 (Leone) Ultimo dei Vikinghi, 1961 (Bava) Ultimo dia de la guerra, 1969 (Bardem) Ultimo tango a Parigi. See Last Tango in Paris, 1972 Ultra Violet, 1992 (Corman) Ulysse ou Les Mauvaises rencontres, 1949 (Astruc) Ulysse, 1983 (Varda) Ulysses’ Gaze, 1995 (Angelopoulos) Ulzana’s Raid, 1972 (Aldrich) Um das L?cheln einer Frau, 1919 (Wiene) Um dia na rampa, 1957 (Rocha) Um m?co de 74 anos, 1963 (Pereira Dos Santos) Uma, 1941 (Kurosawa) Umarete wa mita keredo, 1932 (Ozu) Umar?a klasa, 1977 (Wajda) Umberto D, 1952 (de Sica) Umbrellas, 1994 (Maysles) Umbrellas of Cherbourg. See Parapluies de Cherbourg, 1964 Umi no bara, 1945 (Kinugasa) Umi no hanabi, 1951 (Kinoshita) Umi no yarodomo, 1957 (Shindo) Umi wa ikiteiru, 1958 (Hani) Umirayushchii Lebed’, 1917 (Bauer) Umut, 1970 (Güney) Umutsuzlar, 1971 (Güney) Umweg zur Ehe, 1918 (Wiene) Unaccustomed as We Are, 1928 (Stevens) Unafraid, 1915 (de Mille) Unagi, 1997 (Imamura) Unbearable Lightness of Being, 1988 (Kaufman; Nemec) Unbekannte Morgen, 1923 (Korda) Unbelievable Truth, 1990 (Hartley) Unbeliever, 1918 (von Stroheim) Unbez?hmbare Leni Peickert, 1969 (Kluge) Unborn 2, 1994 (Corman) Uncertain Glory, 1944 (Walsh) Unchained Goddess, 1958 (Capra) Unchanging Sea, 1910 (Grif?th) Uncharted Waters, 1933 (Grierson) Uncle. See Strejda, 1959 Uncle Harry, 1945 (Siodmak) Uncle Jake, 1933 (Sennett) Uncle Josh at the Moving Picture Show, 1902 (Porter) Uncle Tom, 1929 (Sennett) Uncle Tom without the Cabin, 1919 (Sennett) Uncle Tom’s Cabin, 1903 (Porter) Uncle Yanco, 1967 (Varda) Unconquerable. See Invincible, 1943 Unconquered. See Nepokorenniye, 1945 Unconquered, 1947 (de Mille) Unconscious London Strata, 1982 (Brakhage) Undead, 1956 (Corman) Undeclared War. See Guerre sans non, 1991 Under a Texas Moon, 1930 (Curtiz) Under Age, 1941 (Dmytryk) Under Burning Skies, 1912 (Grif?th) Under Capricorn, 1949 (Hitchcock) Under Crimson Skies, 1920 (Ingram) Under False Pretences, 1912 (Dwan) Under Kaerlighedens Aag. See Skaebnens Veje, 1913 Under Mindernes Trae, 1913 (Holger-Madsen) Under Pressure, 1935 (Walsh) Under Satan’s Sun. See Sous le soleil de Satan, 1987 Under Savklingens Taender, 1913 (Holger-Madsen) Under Sheriff, 1914 (Sennett) Under Suspicion. See Garde à vue, 1981 Under Suspicion, 2000 (Miller) Under the Blue Sky. See Neel Akasher Neechey, 1959 Under the Cherry Blossoms. See Sakura no mori no mankai no shita, 1975 Under the Clock. See Clock, 1945 Under the Greenwood Tree, 1929 (Launder, Frank, and Sidney Gilliat) Under the Military Flag. See Gunki hatameku shitani, 1972 Under the Olive Trees. See Zire darakhatan zeyton, 1994 Under the Phrygian Star. See Pod gwiazda frygijska, 1954 Under the Red Robe, 1937 (Sj?str?m) Under the Sign of Scorpio. See Sotto il segno dello scorpione, 1969 Under the Sun of Rome. See Sotto il sole di Roma, 1948 Under the Sun of Satan. See Sous le soleil de Satan, 1987 Under the Volcano, 1983 (Fernández; Huston) Under Two Flags, 1922 (Browning) Under Your Spell, 1936 (Preminger) Undercover Man, 1949 (Rossen) Undercovers Hero. See Soft Beds and Hard Battles, 1974 Undercurrent, 1946 (Minnelli) Undercurrent. See Yoru no kawa, 1956 Undergraduate, 1971 (Wood, Edward D., Jr.) Underground, 1976 (de Antonio) Underground, 1995 (Kusturica) Underground U.S.A., 1980 (Jarmusch) Underneath, 1995 (Linklater; Soderbergh) Undertow, 1996 (Bigelow) Underworld, 1926 (Hawks) Underworld, 1927 (von Sternberg) Underworld, 1936 (Micheaux) Underworld. See Bas-Fonds, 1936 Underworld USA, 1960 (Fuller) Undia de vida, 1950 (Fernández) Undressed, 1999 (Joffé) Undying Flame, 1917 (Tourneur) Une chante l’autre pas, 1977 (Varda) Uneasy Moment. See Unheimlicher Moment, 1970 Uneasy Three, 1925 (Mccarey) Unendliche Fahrt—aber begrenzt, 1965 (Kluge) Unendliche Geschichte. See NeverEnding Story, 1984 Unentschuldigte Stunde, 1957 (Forst) Unerreichbare Nahe, 1984 (Von Trotta) Unexcused Hour. See Unentschuldigte Stunde, 1957 Unexpected Help, 1910 (Grif?th) Unexpected Santa Claus, 1908 (Porter) Unexpected Uncle, 1941 (Daves) Unfaithful, 1931 (Cromwell) Unfaithful. See Utro, 1966 FILM TITLE INDEX DIRECTORS, 4 th EDITION 1314 Unfaithful Wife. See Femme in?dèle, 1969 Unfaithfully Yours, 1948 (Sturges) Unfaithfully Yours, 1984 (Brooks; Levinson) Un?nished Business, 1941 (La Cava) Un?nished Journey, 1999 (Spielberg) Un?nished Love Song, 1919 (Kuleshov) Un?nished Piece for Mechanical Piano. See Neokontchennaya piesa dlia mekhanitcheskogo pianino, 1977 Un?nished Story. See Ek Adhuri Kahani, 1972 Un?nished Symphony. See Leise ?ehen meine Lieder, 1933 Un?t or The Strength of the Weak, 1914 (Hepworth) Unforgettable. See Nezabivaemoe, 1968 Unforgettable Richard Beckinsale, 2000 (Frears) Unforgiven, 1960 (Huston) Unforgiven, 1992 (Eastwood) Unfug der Liebe, 1928 (Forst; Wiene) Ungdom og Letsind. See Ekspeditricen, 1911 Ungdommens Ret, 1911 (Blom) Unglassed Windows Cast a Terrible Re?ection, 1953 (Brakhage) Unhappy Finish, 1921 (Sennett) Unheimliche Gast, 1922 (Duvivier) Unheimlicher Moment, 1970 (Schl?ndorff) Unhold, 1996 (Berri; Schl?ndorff) Unholy Desire. See Akai satsui, 1964 Unholy Night, 1930 (Feyder) Unholy Partners, 1941 (Leroy) Unholy Rollers, 1972 (Corman) Unholy Three, 1925 (Browning) Unico paese al mondo, 1994 (Moretti) Uninhibited. See Pianos mécanicos, 1965 Union Paci?c, 1939 (de Mille) Union sacrée, 1915 (Feuillade) Union Street. See Stanley and Iris, 1989 United Kingdom, 1981 (Joffé) Univermag, 1922 (Vertov) Universe de Jacques Demy, 1995 (Varda) Unizhennye I oskorblyonnye, 1991 (Mikhalkov) Unjustly Accused. See Ballettens Datter, 1913 Unkissed Man, 1929 (Mccarey) Unknown, 1927 (Browning) Unknown Man. See Ukjent mann, 1952 Unknown Tomorrow. See Unbekannte Morgen, 1923 Unknown Woman. See Den ok?nda, 1913 Unlawful Trade, 1914 (Dwan) Unos, 1952 (Kadár) Unpainted Woman, 1919 (Browning) Unprecedented Defense of the Fortress of Deutschkreuz. See Beispiellose Verteidigung der Festung Deutschkreuz, 1966 Unpublished Story, 1942 (Launder, Frank, and Sidney Gilliat) Unrecorded Victory. See Spring Offensive, 1939 Uns et les autres, 1981 (Lelouch) Unscrupulous Ones. See Os cafajestes, 1962 Unseen Enemy, 1912 (Grif?th) Unseen Forces, 1920 (Franklin) Unsere Leichen Leben Noch, 1981 (Preminger) Unspeakable, 1996 (Corman) Unsuspected, 1947 (Curtiz) Untel père et ?ls, 1940 (Duvivier) Unter dem p?aster ist der strand, 1975 (Sanders-Brahms) Unter den Brücken, 1945 (K?utner) Untertan, 1949 (Staudte) Until Dusk. See Yugure made, 1980 Until the Day We Meet Again. See Mata au hi made, 1932 Until the End of the World, 1991 (Wenders) Until They Get Me, 1917 (Borzage) Until They Sail, 1957 (Wise) Until We Meet Again. See Mata au hi made, 1950 Untitled Film of Geoffrey Holder’s Wedding, 1955 (Brakhage) Untitled Film on Pittsburgh, 1959 (Brakhage) Unto. See Nybyggarna, 1970 Untouchables, 1987 (de Palma) Unvanquished. See Nepokorenniye, 1945 Unvanquished. See Aparajito, 1956 Unveiling, 1911 (Grif?th) Unwelcome Guest, 1912 (Grif?th) Unwelcome Mrs. Hatch, 1914 (Dwan) Unwilling Sinner. See Sjaeletyven, 1915 Uomini che mascalzoni!, 1932 (de Sica) Uomini contro, 1970 (Rosi) Uomini e cieli, 1943 (Bava) Uomini e lupi, 1956 (Petri) Uomini e nobiluomini, 1959 (de Sica) Uomini in piú, 1950 (Antonioni) Uomini non guardano il cielo, 1951 (de Sica) Uomo che sorride, 1936 (de Sica) Uomo da bruciare, 1962 (Taviani) Uomo dai calzoni corti, 1958 (Bardem) Uomo della croce, 1943 (Rossellini) Uomo di paglia, 1957 (Germi) Uomo, la bestia e la virtu, 1953 (Welles) Uomo senza domenica, 1957 (Petri) Up!, 1976 (Meyer) Up at the Villa, 2000 (Pollack) Up, down, and Sideways, 1991 (Cacoyannis) Up from the Beach, 1965 (Lumet) Up in Alf’s Place, 1919 (Sennett) Up in Mabel’s Room, 1944 (Dwan) Up in the Clouds. See Akash Kusum, 1965 Up! Smokey. See Up!, 1976 Up the down Staircase, 1967 (Mulligan; Pakula) Up the Junction, 1965 (Loach) Up the River, 1930 (Ford) Up to a Certain Point. See Hasta cierto punto, 1984 Up to a Point. See Hasta cierto punto, 1984 Up to His Ears. See Tribulations d’un chinois en Chine, 1965 Upir z Feratu, 1981 (Menzel) Uppehall i myrlandet, 1965 (Troell) Upper Hand, 1914 (Ingram) Uppercut O’Brien, 1929 (Sennett) Upstream, 1927 (Ford) Upstream, 1931 (Grierson) Uptight!, 1968 (Dassin) Ural, 1919 (Kuleshov) Uranus, 1990 (Berri) Urban Justice, 1997 (Corman) Urbanisme africain, 1962 (Rouch) Urga, 1990 (Mikhalkov) Uruwashiki saigetsu, 1955 (Kobayashi) Urzad, 1967 (Kie?lowski) Us Two. See à nous deux, 1979 Use of New Energy in. See Utilisation des énergies nouvelles en milieu rural, 1980 Used Cars, 1980 (Spielberg; Zemeckis) Useful Sheep, 1912 (Sennett) Uso, 1963 (Kinugasa) Usual Suspects, 1995 (Bartel) Usurer, 1910 (Grif?th) Usurer’s Son. See Under Savklingens Taender, 1913 Uta andon, 1960 (Kinugasa) Utae, wakodo-tachi, 1963 (Kinoshita) Utage, 1967 (Gosho) FILM TITLE INDEXDIRECTORS, 4 th EDITION 1315 Utamaro and His Five Women. See Utamaro o meguru gonin no onna, 1946 Utamaro o meguru gonin no onna, 1946 (Mizoguchi) Utilisation des énergies nouvelles en milieu rural, 1980 (Kaboré) Utinapló, 1989 (Mészáros) Utk?zben, 1979 (Mészáros) Utószezon, 1967 (Fábri) Utro, 1966 (Henning-Jensen) Utsukushisa to kanashimi to, 1965 (Shinoda) Utvandrarna, 1970 (Troell) Uwasa no onna, 1954 (Mizoguchi) U? zase ská?u p?es kalu?e, 1970 (Kachyňa) V bolshom gorode, 1927 (Donskoi) V centru ?lmu—v temple domova, 1998 (Forman) V dni borbi, 1920 (Pudovkin) V gorakh Ala-Tau, 1944 (Vertov) V gorodye S, 1967 (Hei?tz) V ?áru královské lásky, 1991 (Nemec) V.I.P.s, 1963 (Welles) Va Savoir!, 2000 (Rivette) Vacances, 1938 (Storck) Vacances de Monsieur Hulot, 1953 (Tati) Vacances du diable, 1930 (Cavalcanti; Goulding) Vacanza, 1988 (Scola) Vacanza del diavolo, 1930 (Goulding) Vacanze a Ischia, 1957 (de Sica) Vacanze d’inverno, 1959 (de Sica) Vacanze in Valtrebbia, 1981 (Bellocchio) Vacation from Marriage. See Perfect Strangers, 1945 Vacation Loves, 1929 (Sennett) Vagabond, 1916 (Bacon; Chaplin) Vagabond. See Awara, 1951 Vagabond. See Vagabonde, 1986 Vagabond King, 1956 (Curtiz) Vagabond Trail, 1924 (Wellman) Vagabonde, 1986 (Varda) Vaghe stelle dell’orsa, 1965 (Visconti) Vagrant, 1992 (Brooks) Vagrant. See A tolonc, 1914 Vagrant Woman, 1971 (Marshall) Vagues, 1901 (Guy) Vaiennut kyla, 1997 (Kaurismaki) Vainqueur de la course pédestre, 1909 (Feuillade) Val d’enfer, 1943 (Tourneur) Választás elótt, 1953 (Jancsó) Valborgsma?ssoafton, 1935 (Sj?str?m) Vale Abraao, 1993 (Oliveira) Valehtelija (The Liar), 1980 (Kaurismaki) Valentin de las Sierras, 1967 (Baillie) Valentino en Angleterre, 1923 (Florey) Valerie a tyden divu, 1970 (Jire?) Valerie and a Week of Wonders. See Valerie a tyden divu, 1970 Valiant Ones. See Chung Lieh T’u, 1974 Valise enchantée, 1903 (Guy) Vallée Fant?me, 1987 (Tanner) Valley between Love and Death. See Ai to shi no tanima, 1954 Valley Girl, 1983 (Coolidge) Valley of Hell, 1927 (Stevens) Valley of Silent Men, 1922 (Borzage) Valmiki, 1946 (Kapoor) Valmont, 1989 (Berri; Forman) Valse brillante, 1936 (Ophüls) Valse de Paris, 1949 (Astruc) Valse royale, 1935 (Grémillon) Valseuses, 1973 (Blier) Vámhatár, 1977 (Gaál) Vámonos con Pancho Villa, 1935 (de Fuentes) Vamp, 1986 (Warhol) Vamping Venus. See Property Man, 1914 Vampire, 1915 (Guy) Vampire. See Vampyren, 1912 Vampire Ambrose, 1916 (Sennett) Vampire Dancer. See Vampyrdanserinden, 1911 Vampire in Brooklyn, 1995 (Craven) Vampirella, 1996 (Corman; Landis) Vampires, 1915 (Feyder) Vampires. See I Vampiri, 1956 Vampires, 1998 (Carpenter) Vampyr, 1932 (Dreyer) Vampyrdanserinden, 1911 (Blom) Vampyren, 1912 (Sj?str?m; Stiller) Van, 1996 (Frears) Van Der Valk and the Rich, 1973 (Petersen) Van Gogh, 1948 (Resnais) Van Gogh, 1991 (Pialat) Vanderbeekiana, 1968 (Vanderbeek) Vandet Pa L?ndet, 1946 (Dreyer) Vangelo 70, 1969 (Godard) Vangelo ‘70. See “Discutiamo discutiamo” episode of Amore e rabbia, 1969 Vangelo secondo Matteo, 1964 (Pasolini) Vanina Vanini, 1961 (Rossellini) Vanished World. See Versunkene Welt, 1922 Vanishing Corporal. See Caporal épinglé, 1962 Vanishing Race, 1912 (Dwan) Vanishing Virginian, 1942 (Borzage) Vanity’s Price, 1919 (von Sternberg) Vánoce s Al?bětou, 1968 (Kachyňa) Vanquished. See I Vinti, 1952 Vanya on 42nd Street, 1994 (Malle) Vaquaro’s Vow, 1908 (Grif?th) Vaquilla, 1985 (García Berlanga) Var Engang, 1922 (Dreyer) Var i Dalby hage, 1962 (Troell) V?ra Faders Gravar, 1935/36 (Fej?s) Varázskering?, 1918 (Curtiz) Vargtimmen, 1968 (Bergman) Varhaník v sv. Víta, 1929 (Fri?) Variációk egy témára, 1961 (Szabó) Variaciones, 1963 (Solas) Variation sur le geste, 1962 (Storck) Variations No.5, 1965 (Vanderbeek) Variations on a Theme. See Variációk egy témára, 1961 Variazioni sinfoniche, 1949 (Bava) Variété, 1925 (Dupont) Varietes, 1971 (Bardem) Varietes. See Variété, 1925 Variety. See Variété, 1925 Variety Girl, 1947 (Tashlin; de Mille) Variety Lights. See Luci del varietà, 1950 Varjoja Paratiisissa, 1986 (Kaurismaki) V?rldens mest Anv?ndbara Tr?d, 1935/36 (Fej?s) Várostérkép, 1977 (Szabó) Varsity Show, 1937 (Berkeley) Varsoí Világifjusági Találkoz? I-III. See A Varsoí vit, 1955 Varuj!, 1947 (Fri?) Varvara. See Selskaya uchitelnitsa, 1947 Varya, 1999 (Cacoyannis) Vásárhelyi szinek, 1961 (Mészáros) Vasens Hemmelighed, 1913 (Blom) Vasha znakomaya, 1927 (Kuleshov) FILM TITLE INDEX DIRECTORS, 4 th EDITION 1316 Vasya the Reformer. See Vasya-reformator, 1926 Vasya-reformator, 1926 (Dovzhenko) Vatel, 2000 (Joffé) Vaticano de Pio XII, 1940 (Bu?uel) Vaudeville. See Variété, 1925 Vcentru ?lmu-vteple domova, 1998 (Nemec) Vdova, 1918 (Kuleshov) Vecchia signora, 1932 (de Sica) Veces etaient fermes d’interieur, 1976 (Leconte) Ved Faengslets Port, 1911 (Blom) Věda jde s lidem, 1952 (Kachyňa) Vedeli si rady, 1950 (Kachyňa) Vedi come ... lo vedi come sei?!, 1939 (Fellini) Vedova, 1957 (Milestone) Vega$, 1978 (Mann) Veiled Lady. See For sin Faders Skyld, 1916 Veille d’armes, 1935 (L’herbier) Veilleur de nuit, 1996 (de Broca) Vein. See Three Films, 1965 Veinards, 1962 (de Broca) Velikii uteshitel, 1933 (Kuleshov) Velvet Goldmine, 1998 (Haynes) Velvet Paw, 1916 (Tourneur) Velvet Underground, 1966 (Morrissey; Warhol) Velvet Vampire, 1971 (Corman) Vem d?mer, 1922 (Sj?str?m) Vendanges, 1922 (Epstein) Vendémiaire, 1918 (Feuillade) Vendetta, 1946 (Ophüls) Vendetta, 1951 (Sturges) Venere di Ille, 1978 (Bava) Venere imperiale, 1962 (Castellani; Delannoy) Venezia città minore, 1958 (Olmi) Venga a prendere il caffe ... da noi, 1970 (Lattuada) Venganza, 1957 (Bardem) Vengeance. See Haevnet, 1911 Vengeance. See Venganza, 1957 Vengeance d’Edgar Poe, 1912 (Gance) Vengeance du sergent de ville, 1913 (Feuillade) Vengeance Is Mine. See Fukushu suruwa ware ni ari, 1979 Vengeance of the 47 Ronin. See Chushingura, 1932 Vengeance That Failed, 1912 (Dwan) Venice: Themes and Variations, 1957 (Ivory) Venice/Venice, 1992 (Landis) Venise et ses amants, 1950 (Cocteau) Venski Les, 1963 (Gerasimov) Vent de panique, 1987 (Miller) Vent d’est, 1970 (Godard) Vent souf?e où il veut. See Condamné a mort s’est échappé, 1956 Vénus aveugle, 1941 (Gance) Vénus de l’or, 1938 (Delannoy) Vénus et Adonis, 1900 (Guy) Vénus impériale. See Venere imperiale, 1962 Venus of Ille. See Venere di Ille, 1978 Venus Victrix, 1916 (Dulac) Ver There-Abouts, 1925 (Sennett) Vera Cruz, 1954 (Aldrich) Vera, nadezhda, krov’, 2000 (Mikhalkov) Vera vita di Antonio, 1994 (Bertolucci) Verboten!, 1958 (Fuller) Verbotene Stadt, 1920 (Wiene) Verbotene Weg, 1923 (Pick) Verdens Herkules, 1908 (Holger-Madsen) Verdens Undergang, 1915 (Blom) Verdict, 1946 (Siegel) Verdict, 1982 (Lumet) Verdugo, 1963 (García Berlanga) Verführte Heilige, 1919 (Wiene) Vergine moderna, 1954 (de Sica) Verg?d? szívek, 1916 (Korda) Vérité, 1960 (Clouzot) Vérité sur l’homme-singe, 1907 (Guy) Veritas Vincit, 1920 (Leni) Verite, 1960 (Berri) Verkaufte Braut, 1932 (Ophüls) Verliebte Firma, 1932 (Ophüls) Verlorene Ehre der Katharina Blum, 1975 (Schl?ndorff; von Trotta) Vermischte Nachrichten, 1987 (Kluge; Schl?ndorff) Věrni zustaneme, 1945 (Weiss) Vernon, Florida, 1982 (Morris) Vernost materi, 1967 (Donskoi) Verona, 1967 (Schroeter) Véronique et son cancre, 1958 (Rohmer) Verrat ist kein Gesselschaftsspiel, 1972 (Staudte) Versatile Villain, 1915 (Sennett) Verschw?hrung zu Genua. See Fiesco, 1921 Version latine, 1969 (Chabrol) Versprechen, 1994 (von Trotta) Versuchung, 1981 (Zanussi) Versuchung in Sommerwind, 1972 (K?utner) Versunkene Welt, 1922 (Korda) Vertical Features Remake (+ ph, ed), 1978 (Greenaway) Vertige, 1926 (L’herbier) Vertigo, 1957 (Hitchcock) Vertigo. See Závrat, 1962 Vertu de Lucette, 1912 (Feuillade) Verwandlung der Welt in Musik, 1994 (Herzog) Very Curious Girl. See Fiancée du Pirate, 1969 Very Eye of Night, 1959 (Deren) Very Honorable Guy, 1934 (Bacon) Very Late Afternoon of a Faun. See Faunovo prilis pozdni odpoledne, 1983 Very Private Affair. See Vie privée, 1962 Very Thought of You, 1944 (Daves) Very Unlucky Leprechaun, 1998 (Corman) Ves v pohrani?i, 1948 (Weiss) Vesna v Moskve, 1953 (Hei?tz) Vesnicko ma strediskova, 1985 (Menzel) Vessiolaia kanareika, 1929 (Pudovkin) Vesterhavsdrenge, 1950 (Henning-Jensen) Vestige. See Omokage, 1948 Vesyolaya kanareika, 1929 (Kuleshov) Veszprém—Town of Bells. See Harangok városa—Veszprém, 1966 Veter v litso, 1930 (Hei?tz) Veuve de Saint-Pierre, 2000 (Kusturica; Leconte) Veuves de quinze ans, 1964 (Rouch) VI, 1944 (Jennings) Vi haenger i en tr?d, 1962 (Roos) Via Crucis, 1918 (Blom) Via lattea. See Voie lactée, 1969 Via libre a la zafra del ‘64, 1964 (Alvarez) Viaccia, 1961 (Germi) Viagem ao principio do mundo, 1997 (Oliveira) Viaggio, 1974 (de Sica) Viaggio di Capitan Fracassa, 1991 (Scola) Viaggio in Italia, 1953 (Rossellini) Viaje, 1992 (Solanas, Fernando E., And Octavio Getino) Viale della speranza, 1953 (Bava) Vibes, 1988 (Howard) Vicar of Vejlby. See Praesten i Vejlby, 1920 Vice and Virtue. See Vice et la vertu, 1963 Vice et la vertu, 1963 (Vadim) FILM TITLE INDEXDIRECTORS, 4 th EDITION 1317 Vice Squad, 1931 (Cromwell) Vices and Pleasures. See Vizi privati, pubbliche virtù, 1976 Vichitra Shilpa, 1914/15 (Phalke) Vicious Circle. See Cadena Perpetua, 1978 Vicious Years, 1950 (Florey) Vicoli e delitti; Un complicato intrigo di donne, vicoli e delitti; The Naples Connection. See Camorra, 1986 Vicomte de Bragelonne, 1954 (Astruc) Victim, 1961 (Dearden) Victim Five, 1964 (Roeg) Victim of a Character. See Potifars Hustru, 1911 Victim of Circumstances, 1911 (Sennett) Victim of Jealousy, 1910 (Grif?th) Victimas del pecado, 1950 (Fernández) Victims of the Mormon. See Mormonens Offer, 1911 Victor I, 1968 (Wenders) Victor Brockdorff—en portr?tskitse, 1989 (Roos) Victory, 1919 (Tourneur) Victory, 1940 (Cromwell) Victory, 1981 (Huston) Victory. See Pobeda, 1938 Victory in Right-Bank Ukraine and the Expulsion of the Germans from the Boundaries of the Ukrainian Soviet Earth. See Pobeda na pravoberezhnoi Ukraine i izgnanie Nemetskikh zakhvatchikov za predeli Ukrainskikh Sovetskikh zemel, 1945 Victory of the Faith. See Sieg des Glaubens, 1933 Victory of Women. See Josei no shori, 1946 Victory Song. See Hisshoka, 1945 Vida Criminal de Archibaldo de La Cruz. See Ensayo de un crimen, 1955 Vidas secas, 1963 (Pereira Dos Santos) Videodrome, 1982 (Cronenberg) Videospace, 1972 (Vanderbeek) Vie, 1958 (Astruc; Straub, Jean-Marie, And Danièle Huillet) Vie. See Sauve qui peut, 1980 Vie de Bohême, 1943 (L’herbier) Vie de Boheme, 1992 (Kaurismaki) Vie de Christ, 1906 (Guy) Vie del Petrolio, 1965/66 (Bertolucci) Vie des travailleurs italiens en France, 1926 (Grémillon) Vie devant soi, 1977 (Costa-Gavras) Vie du Christ, 1898/99 (Guy) Vie du marin, 1906 (Guy) Vie d’un grand journal, 1934 (Epstein) Vie d’un poète), 1930 (Cocteau) Vie est à nous, 1936 (Becker; Renoir) Vie est un roman, 1983 (Resnais) Vie est un songe, 1987 (Ruiz) Vie et rien d’autre, 1989 (Tavernier) Vie fant?me , 1992 (Arcand) Vie, l’amour, la mort, 1968 (Lelouch) Vie miraculeuse de Thérèse Martin, 1929 (Duvivier) Vie ou la mort, 1912 (Feuillade) Vie parisienne, 1936 (Siodmak) Vie privée, 1962 (Malle) Vie sans joie. See Catherine, 1927 Vieil homme et l’enfant, 1967 (Berri) Vieilles Estampes, 1904 (Guy) Vieilles Femmes de l’Hospice, 1917 (Feyder) Vienna Blood. See Wiener Blut, 1942 Vienna Burgtheater. See Burgtheater, 1936 Vienna, City of my Dreams). See Wien—du Stadt meiner Tr?ume, 1957 Vienna Woods. See Venski Les, 1963 Viennese Maidens. See Wiener M?del, 1944/49 Viens chez moi, j’habite chez une copine, 1981 (Leconte) Vier genen die bank, 1976 (Petersen) Vier um die Frau. See K?mpfende Herzen, 1920 Vierge d’Argos, 1910/11 (Feuillade) Vierzehn Menschenleben. See Eletjel, 1954 Vietnam! Vietnam!, 1971 (Ford) Vieux Chaland, 1932 (Epstein) Vieux gar?on, 1931 (Tourneur) Vieux Pays ou Rimbaud est mort, 1977 (Lefebvre) Viewing Sherman Institute for Indians at Riverside, 1915 (Sennett) View from the Bridge, 1962 (Lumet) Vig ?zvegy, 1918 (Curtiz) Vigil, 1984 (Ward) Vigil in the Night, 1940 (Stevens) Vigile, 1960 (de Sica) Vihar, 1952 (Fábri) Viimeiset rotannahat, 1985 (Kaurismaki) Viking Women. See Saga of the Viking Women and Their Voyage to the Waters of the Great Sea Serpent, 1957 Viking Women and the Sea Serpent. See Saga of the Viking Women and Their Voyage to the Waters of the Great Sea Serpent, 1957 Vikings, 1958 (Welles) Vildf?glar, 1955 (Sj?berg) Vildledt Elskov, 1911 (Blom) Vildspor, 1998 (Fridriksson) Villa Borghese, 1953 (Bava; de Sica) Villa dei mostri, 1950 (Antonioni) Villa Destin, 1920 (Autant-Lara; L’herbier) Villa dévalisée, 1905 (Guy) Villa of the Movies, 1917 (Sennett) Villa Santo-Sospir, 1952 (Cocteau) Village Blacksmith, 1916 (Sennett) Village Blacksmith, 1922 (Ford) Village Bride. See Mura no hanayome, 1928 Village Chestnut, 1918 (Sennett) Village dans Paris, 1939 (Clair) Village Hero, 1911 (Sennett) Village Mill. See Gromada, 1952 Village Near the Pleasant Fountain. See Byn vid den Trivsamma Brunnen, 1937/38 Village of Tajiko. See Tajiko mura, 1940 Village of the Damned, 1995 (Carpenter) Village of the Giants, 1965 (Howard) Village on the Frontier. See Ves v pohrani?i, 1948 Village Scandal, 1915 (Sennett) Village School-Teacher. See Selskaya uchitelnitsa, 1947 Village Smithy, 1919 (Sennett) Village Vampire, 1916 (Sennett) Villain Foiled, 1911 (Sennett) Villain Still Pursued Her, 1940 (Keaton) Villanelle des Rubans, 1932 (Epstein) Ville à Chandigarh, 1966 (Tanner) Ville della Brianza, 1955-59 (Taviani) Ville des pirates, 1983 (Ruiz) Ville nouvelle, 1980 (Ruiz) Vincent, 1982 (Burton) Vincent and Theo, 1990 (Altman) Vincent the Dutchman, 1971 (Zetterling) Vindicta, 1923 (Feuillade) Vine Bridge, 1965 (Zetterling) Vingarne, 1916 (Stiller) Vingeskudt, 1913 (Christensen) Vingt-quatre heures d’amant, 1964 (Lelouch)Vingt quatre heures de la vie d’un clown, 1946 (Melville) Vinterb?rn, 1978 (Henning-Jensen) Vinyl, 1965 (Warhol) Violence. See Boryoku, 1952 Violence. See Gewalt, 1971 Violence at Noon. See Hakuchu no torima, 1966 FILM TITLE INDEX DIRECTORS, 4 th EDITION 1318 Violent City; The Family. See Citta violenta, 1970 Violence in the Cinema: Part I, 1971 (Miller) Violent Playground, 1958 (Dearden) Violent Years, 1956 (Wood, Edward D., Jr.) Violette. See Violette Nozière, 1978 Violette Nozière, 1978 (Chabrol) Violin Concert. See Houslovy koncert, 1962 Violin Maker of Cremona, 1909 (Grif?th) Violin Maker of Nuremberg, 1911 (Guy) Vipères, 1911/13 (Feuillade) Virgin. See 36 ?llette, 1988 Virgin, Goodbye. See Shojo yo sayonara, 1933 Virgin Island, 1958 (Cassavetes) Virgin of Pessac. See Rosière de Pessac, 1969 Virgin of Stamboul, 1920 (Browning) Virgin Spring. See Jungfruk?llen, 1960 Virgin Suicides, 1999 (Coppola) Virgin Wanted. See Shojo nyuyo, 1930 Virginia City, 1940 (Curtiz) Virginia Hill Story, 1974 (Schumacher) Virginian, 1914 (de Mille) Virginian, 1929 (Fleming) Virginia’s Death, 1968 (Schroeter) Viridiana, 1961 (Bardem; Bu?uel) Virtuous Dames of Pardubice. See Po?estné paní pardubické, 1944 Virtuous Sin, 1930 (Cukor) Virtuous Thief, 1919 (Niblo) Virus Story, 1953/55 (Rotha) Visages d’enfants, 1925 (Feyder) Visages Suisse, 1990 (Godard; Goretta) Vision of the Fire Tree, 1990 (Brakhage) Visionarium. See From Time to Time, 1992 Visionè del sabba, 1987 (Bellocchio) Visioniii, 1958 (Vanderbeek) Visions in Meditation No. 1, 1989 (Brakhage) Visions in Meditation No. 2, 1990 (Brakhage) Visions of Eight, 1972 (Forman; Ichikawa; Lelouch; Penn; Schlesinger; Zetterling) Visions of Sabbath. See Visionè del sabba, 1987 Visit from Miss Protheroe, 1978 (Frears) Visit to a Small Planet, 1960 (Lewis) Visita, 1963 (Scola) Visitatore, 1978 (Huston; Peckinpah) Visite, 1955 (Rivette; Truffaut) Visite à César Domela, 1947 (Resnais) Visite à Félix Labisse, 1947 (Resnais) Visite à Hans Hartung, 1947 (Resnais) Visite à Lucien Coutaud, 1947 (Resnais) Visite à Oscar Dominguez, 1947 (Resnais) Visiteurs du soir, 1942 (Carné) Visitor. See Agantuk, 1991 Visitor. See Visitatore, 1978 Visitor from the Living, 1997 (Lanzmann) Visitors, 1972 (Kazan) Viskningar och rop, 1973 (Bergman) Vispa Teresa, 1939 (Rossellini) Vita da cani, 1950 (Bava) Vittel, 1926 (Autant-Lara) Vittorio De Sica, il Regista, l’attore, l’uomo, 1974 (de Sica) Viuda de Montiel, 1980 (Littin) Viuda negra, 1977 (Ripstein) Viva el Presidente. See Recurso del método, 1975 Viva Italia!. See I nuovi mostri, 1977 Viva la libertad, 1965 (Guzmán) Viva l’Italia, 1960 (Rossellini) Viva Maria, 1965 (Malle) Viva Villa!, 1934 (Hawks) Viva Zapata!, 1952 (Kazan) Vivacious Lady, 1938 (Stevens) Vivan los novios, 1969 (García Berlanga) Vive Henri IV ... Vive l’amour, 1962 (Autant-Lara; de Sica) Vive la musique et la liberté, 1989 (Jire?) Vive la Vie!, 1984 (Lelouch) Vive la vie, 1937 (Epstein) Vive le sabotage, 1907 (Feuillade) Vivement dimanche!, 1984 (Truffaut) Vivre pour vivre, 1967 (Lelouch) Vivre sa vie, 1962 (Godard) Vixen!, 1968 (Meyer) Vixens. See Supervixens, 1975 Vizi privati, pubbliche virtù, 1976 (Jancsó) Vizivárosi Nyár, 1965 (Fábri) Vizkereszet, 1967 (Gaál) Vladimir et Rosa, 1971 (Godard) Vladimir Horowitz: The Last Romantic, 1986 (Maysles) Vlak do stanice nebe, 1972 (Kachyňa) Vl?í jáma, 1957 (Weiss) Vlci bouda, 1986 (Chytilová) Vlyudyakh, 1939 (Donskoi) Vo imya rodini, 1943 (Pudovkin) Vo imya zhizni, 1946 (Hei?tz) Vocation. See Kallelsen, 1974 Vocation irrésistible, 1934 (Delannoy) Vocation suspendue, 1977 (Ruiz) Voce del silenzio, 1952 (Pabst) Voce della luna, 1990 (Fellini) Vogt dig for dine Venner. See Hendes Helt, 1917 Voice from the Dead, 1908 (Porter) Voice from the Deep, 1911 (Sennett) Voice from the Past. See Spiritisten, 1914 Voice of Austria. See Stimme ?sterreichs, 1949 Voice of Bergman. See Bergmans r?st, 1997 Voice of the Blood. See Blodets r?st, 1913 Voice of the Child, 1911 (Grif?th) Voice of the Dead. See Testamentets Hemmelighed, 1916 Voice of the Moon. See Voce della luna, 1990 Voice of the Peasant. See Kaddu beykat, 1975 Voice of the Violin, 1909 (Grif?th) Voice of the Water. See De stem van het water, 1966 Voice of the World, 1932 (Grierson) Voici le temps des assassins, 1956 (Duvivier) Voie lactée, 1969 (Bu?uel) Voina i mir, 1915 (Protazanov) Voiture cellulaire, 1906 (Guy) Voix du large, 1971 (Miller) Voix du printemps. See Frühlingsstimmen, 1933 Voix humaine, 1948 (Cocteau) Vokzal dla dvoish, 1983 (Mikhalkov) Volée par les bohémiens, 1904 (Guy) Voleur, 1934 (Tourneur) Voleur, 1967 (Malle) Voleur de femmes, 1936 (Gance) Voleur sacrilège, 1903 (Guy) Voleurs, 1996 (Téchiné) Voleuse, 1966 (Duras) Volga Boatman, 1926 (de Mille) Volleyball, 1966 (Arcand; Rainer) Volpone, 1940 (Tourneur) Volta redonda, 1952 (Cavalcanti) Volte sempre, Abbas!, 1999 (Kiarostami) Voltera, comune medievale, 1955 (Taviani) Voltige, 1895 (Lumière) FILM TITLE INDEXDIRECTORS, 4 th EDITION 1319 Volunteer, 1943 (Powell, Michael, And Emeric Pressburger) Voluptuous Vixens II, 1998 (Meyer) Von heute auf morgen, 1997 (Straub; Huillet) Von Richthofen and Brown, 1971 (Corman) Von romantik keine spur, 1980 (D?rrie) Von uns beiden, 1973 (Petersen) Voor Recht en Vrijheid te Kortrijk, 1939 (Storck) V?r?s Május, 1968 (Jancsó) Vormund und sein Dichter, 1978 (Adlon) Voruntersuchung, 1931 (Siodmak) Voshojdenie, 1977 (Shepitko) Vous verrez la semaine prochaine, 1929 (Cavalcanti) Voyage. See Viaggio, 1974 Voyage autour d’une main, 1983 (Ruiz) Voyage des comédiens. See O Thiasos, 1975 Voyage en Espagne, 1906 (Guy) Voyage imaginaire, 1925 (Clair) Voyage of the Damned, 1976 (Welles) Voyage to Cythera. See Taxidi sta Kithira, 1984 Voyage to Italy, Strangers. See Viaggio in Italia, 1953 Voyage to the Beginning of the World. See Viagem ao principio do mundo, 1997 Voyage to the Planet of the Prehistoric Women, 1966 (Bogdanovich) Voyager. See Last Call from Passenger Faber, 1991 Voyou, 1970 (Lelouch) Vozvrachenia Vassilya Bortnikov, 1953 (Pudovkin) Vozvrashcheniye Maksima, 1937 (Kozintsev) Vpervye zamuzhem, 1979 (Hei?tz) Vrai jeune ?lle, 1976 (Breillat) Vra?da po na?em, 1966 (Weiss) Vredens Dag, 1943 (Dreyer) Vringsveedel Tryptych. See Vringsveedeler triptichon, 1980 Vringsveedeler triptichon, 1980 (Sanders-Brahms) Vroeger kon je lachen, 1983 (Haanstra) V?e pro lásku, 1930 (Fri?) Vserusski starets Kalinin, 1920 (Vertov) Vskrytie moschei Sergeia Radonezhskogo, 1919 (Kuleshov; Vertov) Vspomnim, Tovarisc, 1987 (Hei?tz) Vstanou noví bojovníci, 1950 (Weiss) Vtěky domü, 1980 (Jire?) VTIK Train. See Agitpoezd VTsIK, 1921 VTiSK Inspection in the Tver Province. See Reviziya VTiSK v Tverskoi Gubernii, 1919 Vulgar, 1998 (Smith) Vurguncular, 1971 (Güney) VVVC Journal, 1931 (Ivens) VW—Voyou, 1973 (Rouch) Vy chyo, starichyo, 1988 (Hei?tz) Vyborg Side. See Vyborgskaya storona, 1939 Vyborgskaya storona, 1939 (Gerasimov; Kozintsev) Vysoká zed, 1964 (Kachyňa) Vzlety a pády, 1986 (Chytilová) W.E.I.R.D. World, 1995 (Zemeckis) W Plan, 1930 (Launder and Gilliat) W.S. Burroughs. See Pirate Tape, 1982 Waati, 1995 (Cissé) Wachs?gurenkabinett, 1924 (Leni; Wiene) Wacky Adventures of Dr. Boris and Nurse Shirley, 1995 (Bartel) Wadaat Hobak, 1957 (Chahine) Waffen der Jugend, 1912 (Wiene) Waffenkammern Deutschland. See Deutsche Waffenschmiede, 1940 Wag the Dog, 1997 (Levinson) Waga ai, 1960 (Gosho) Waga koi no tabiji, 1961 (Shinoda) Waga koi wa moenu, 1949 (Mizoguchi; Shindo) Waga koiseshi otome, 1946 (Kinoshita) Waga kyokan, 1939 (Imai) Waga michi, 1974 (Shindo) Waga seishun ni kuinashi, 1946 (Kurosawa) Waga shogai no kagayakeru hi, 1948 (Shindo; Yoshimura) Wagahai wa neko de aru, 1975 (Ichikawa; Itami) Wagen in der Nacht, 1979 (Zanussi) Wager. See Kaerligheds-Vaeddemaalet, 1914 Wages for Wives, 1925 (Borzage) Wages of Fear. See Sorcerer, 1977 Wages of Virtue, 1924 (Dwan) Wagonmaster, 1950 (Ford) Waiter No. Five, 1910 (Grif?th) Waiter’s Ball, 1916 (Sennett) Waiter’s Picnic, 1913 (Sennett) Waiting for Godot, 1983 (Jarman) Waiting for the Rain. See Cekání na dé?t, 1978 Waiting for Woody, 1998 (Allen) Waiting People, 1953/55 (Rotha) Waiting Room. See Salle des pas perdus, 1960 Waiting Women. See Kvinnors v?ntan, 1952 Wakai hito, 1952 (Ichikawa) Wakai hitotachi, 1954 (Yoshimura) Wakaki hi, 1929 (Ozu) Wakaki hi no chuji, 1925 (Kinugasa) Wakaki hi no kangeki, 1931 (Gosho) Wakare-gumo, 1951 (Gosho) Wake Me When It’s Over, 1960 (Leroy) Wake Up and Dream, 1946 (Bacon) Wake up Lenochka. See Razbudite Lenochky, 1933 Wake?eld Express, 1952 (Anderson) Waking Life, 2000 (Linklater) Wakko’s Wish, 1999 (Spielberg) Wakodo no yume, 1928 (Ozu) Walden, 1968 (Mekas) Walk Cheerfully. See Hogaraka ni ayume, 1930 Walk in the Shadow. See Life for Ruth, 1962 Walk in the Sun, 1946 (Milestone; Rossen) Walk on the Wild Side, 1962 (Dmytryk) Walk through H, 1978 (Greenaway) Walk with Love and Death, 1969 (Huston) Walkabout, 1971 (Roeg) Walking Dead, 1936 (Curtiz) Walking down Broadway, 1933 (von Stroheim) Walking My Baby Back Home, 1953 (Bacon) Walkover. See Walkower, 1965 Walkower, 1965 (Skolimowski) Wall. See Mur, 1982 Wall. See Muro, 1947 Wall of Money, 1913 (Dwan) Wall Street, 1987 (Stone) Wall Street Blues, 1924 (Sennett) Wall Walls. See Mur Murs, 1980 Wallop, 1922 (Ford) Walls of Jericho, 1948 (Stahl) Walls of Malapaga. See Mura di Malapaga, 1948 Walter, 1982 (Frears) Waltz at Noon. See Mahiru no enbukyoku, 1949 Waltzes from Vienna, 1933 (Hitchcock) Walzerk?nig. See Heut Spielt der Strauss, 1928 Wanderer, 1912 (Dwan; Grif?th) Wanderer, 1925 (Walsh) Wanderers, 1979 (Kaufman) Wanderers. See Matatabi, 1973 Wandering, 1965 (Menzel) Wandering Gypsy, 1912 (Dwan) FILM TITLE INDEX DIRECTORS, 4 th EDITION 1320 Wandering Image. See Wandernde Bild, 1920 Wandering on Highways. See Országutak vándora, 1956 Wandering Willies, 1926 (Sennett) Wandernde Bild, 1920 (Lang) Wandernde Licht, 1916 (Wiene) Wann—wenn nicht jetzt?, 1987 (D?rrie) Wanted, a Child, 1909 (Grif?th) Wanters, 1923 (Stahl) Wanzerbe, 1968 (Rouch) War and Peace, 1956 (Vidor) War and Peace. See Krieg und Frieden, 1983 War and Peace. See Voina i mir, 1915 War and Youth. See Senso to Seishun, 1991 War between Boys and Girls. See Nan Hai Yü Nü Hai Tê Chan Chêng, 1976 War Correspondent. See Krigs-korrespondenten, 1913 War Game, 1961 (Zetterling) War Games, 1983 (Badham) War Gods of the Deep, 1965 (Tourneur) War Hunt, 1962 (Pollack) War Is Over. See Guerre est ?nie, 1966 War, Italian Style. See Due Marines e un Generale, 1967 War Lord, 1965 (Schaffner) War of the Gardens. See Querelle de jardins, 1982 War of the Satellites, 1958 (Corman) War Requiem, 1988 (Jarman) War Wagon, 1966 (Fernández) Warlock, 1959 (Dmytryk) Warm Current. See Danryu, 1939 Warning, 1982 (Bardem) Warning!. See Varuj!, 1947 Warnung vor einer heiligen Nutte, 1970 (Fassbinder) Warrens of Virginia, 1915 (de Mille) Warrior and the Demon, 1962-70 (Carpenter) Warrior and the Sorceress, 1983 (Corman) Warriors, 1979 (Hill)Warrior’s Rest. See Repos du guerrier, 1962 Wars of the Primal Tribes. See In Prehistoric Days, 1913 Warsaw World Youth Meeting I-III. See A Varsoí vit, 1955 Warui yatsu hodo yoku nemuru, 1960 (Kurosawa) Warum l?uft Herr R amok?, 1969 (Fassbinder) Was Frauen tr?umen, 1933 (Wilder) Was He a Coward?, 1911 (Grif?th) Was ist los mit Nanette, 1928 (Holger-Madsen) Was Justice Served?, 1909 (Grif?th) Wasei kenka tomodachi, 1929 (Ozu) Washington Square, 1997 (Holland) Wasp Nest, 1972 (Marshall) Wasp Woman, 1959 (Corman) Wastrel, 1960 (Cacoyannis) Wat Zein Ik. See Business Is Business, 1971 Watakushi-tachi no kekkon, 1962 (Shinoda) Watan, 1938 (Mehboob Khan) Watashi no subete o, 1954 (Ichikawa) Watashi wa Bellet, 1964 (Oshima) Watashi wa nisai, 1962 (Ichikawa) Watch on the Lime, 1949 (Lewis) Watch Out, 1924 (Sennett) Watch Out, The Rounds!. See Pozor vizita!, 1981 Watch the Birdie!. See Zaost?it, prosím, 1956 Watch Your Neighbors, 1918 (Sennett) Watchers, 1988 (Corman) Watchers II, 1990 (Corman) Watchers 3, 1994 (Corman) Watchers Reborn, 1998 (Corman) Water, 1975 (Greenaway) Water Dog, 1914 (Sennett) Water from the Land. See Vandet Pa L?ndet, 1946 Water in Our Life. See Seikatsu to mizu, 1952 Water Nymph, 1912 (Sennett) Water of Words, 1983 (Asch) Water Wagons, 1925 (Sennett) Water War, 1911 (Dwan) Water Wrackets, 1975 (Greenaway) Watercolor. See Akvarel, 1958 Waterloo, 1970 (Welles) Waterloo Bridge, 1931 (Whale) Waterloo Bridge, 1940 (Franklin; Leroy) Waterloo Road, 1944 (Launder and Gilliat) Waterproof, 1999 (Joffé) Watertight, 1943 (Cavalcanti) Wave. See Redes, 1934/35 Wave of Unrest, 1954 (Xie Jin) Wavelength. See E=mc2, 1996 Waxworks. See Wachs?gurenkabinett, 1924 Way. See Yol, 1981 Way Ahead, 1944 (Reed) Way down East, 1920 (Grif?th) Way in the Wilderness, 1940 (Zinnemann) Way into the Past. See Weg in die Vergangenheit, 1952 Way of a Gaucho, 1952 (Tourneur) Way of a Man, 1909 (Sennett) Way of All Fish, 1931 (Fleming; Sandrich) Way of Man, 1909 (Grif?th) Way of the Strong, 1928 (Capra) Way of the West, 1911 (Dwan) Way of the World, 1910 (Grif?th) Way out West, 1930 (Niblo) Way Past Cool, 2000 (Forman) Way to Paradise. See Chemin du paradis, 1956 Way to Shadow Garden, 1954 (Brakhage) Way to the Sea, 1936 (Rotha) Way to the Skies. See Droga do nieba, 1958 Way up Thar, 1935 (Sennett) Way Way Out, 1966 (Lewis) Way We Were, 1973 (Pollack) Wayne’s World, 1992 (Spheeris) Ways in the Night. See Wagen in der Nacht, 1979 Ways of Fate, 1913 (Dwan) We All Loved Each Other So Much. See C’eravamo tanto amati, 1974 We Are Building. See Wij Bouwen, 1929 We Are from the Urals. See My s Urala, 1944 We Are Not Alone, 1939 (Goulding) We Are Not Made out of Stone. See No somos de piedra, 1967 We Are the Lambeth Boys, 1959 (Reisz) We Can’t Have Everything, 1918 (de Mille) We Faw Down, 1928 (Mccarey) We har manje namn, 1976 (Zetterling) We Have Many Names. See We har manje namn, 1976 We Hold These, 1994 (Brakhage) We Hold These. See Trilogy, 1994/95 We Live Again, 1934 (Mamoulian; Sturges) We Live in Two Worlds, 1937 (Cavalcanti; Grierson) We Moderns, 1925 (Leroy) We Sail at Midnight, 1943 (Ford) We Slip Up. See We Faw Down, 1928 We Still Kill the Old Way. See A ciascuno il suo, 1967 We Three. See Hum Tum Aur Woh, 1938 We Took over the Cause of Peace. See Kezunbe vettuk a béke ugyét, 1950 We Were Strangers, 1949 (Huston) Weaker Brother, 1912 (Dwan) Wealth of Waters, 1953/55 (Rotha) FILM TITLE INDEXDIRECTORS, 4 th EDITION 1321 Wear a Very Big Hat, 1965 (Loach) Weary Death. See Müde Tod: Ein Deutsches Volkslied in Sechs Versen, 1921 Weather Forecast, 1934 (Grierson) Weather Wizards, 1939 (Zinnemann) Web of Passion. See A double tour, 1959 Webster Boy, 1962 (Cassavetes) Wedding, 1978 (Altman; Cromwell) Wedding, 1998 (Burnett) Wedding. See Wesele, 1972 Wedding Band, 1990 (Spheeris) Wedding Banquet. See Hsi Yen, 1993 Wedding Bells. See Royal Wedding, 1951Wedding Bells Out of Tune, 1921 (Sennett) Wedding Day. See Baishey Shravana, 1960 Wedding Dress, 1912 (Dwan) Wedding during the French Revolution. See Revolutionsbryllup, 1909 Wedding in Blood. See Noces rouges, 1973 Wedding in the Eccentric Club. See Hochzeit im Ekzentrik Klub, 1917 Wedding March, 1927 (von Stroheim) Wedding March. See Kekkon koshinkyoku, 1951 Wedding Night, 1935 (Vidor) Wedding Party, 1969 (de Palma) Wedding Rehearsal, 1933 (Korda) Wedding Ring. See Prstynek, 1944 Wedlock House: An Intercourse, 1959 (Brakhage) Wednesday Love, 1975 (Apted) Wee Geordie. See Geordie, 1955 Wee Lady Betty, 1917 (Borzage) Wee Willie Winkie, 1937 (Ford) Weeding the Garden, 1974 (Asch) Weekend, 1930 (Ruttmann) Weekend, 1967 (Godard; Miller) Weekend of a Champion, 1972 (Polanski) Weekend with Father, 1951 (Sirk) Weekend Wives, 1928 (Launder and Gilliat) Weekly Reels. See Kino-Nedelia, 1918-19 Week’s Vacation. See Semaine de vacances, 1981 Weg in die Vergangenheit, 1952 (Forst) Wege des Schreckens, 1921 (Curtiz) Wegweiser, 1920 (Forst) Weib des Pharao, 1922 (Lubitsch) Weight of Water, 2000 (Bigelow) Weir-Falcon Saga, 1970 (Brakhage) Weiss Rausch, 1931 (Riefenstahl) Weisse H?lle vom Pitz-Palu, 1929 (Pabst) Weisse Pfau, 1920 (Dupont; Leni) Weisse Reisse, 1980 (Schroeter) Weisse Schatten, 1951 (K?utner) Weisse Stadion, 1928 (Ruttmann) Weissen Rosen von Ravensberg, 1929 (Forst) Weisses H?lle vom Piz Palü, 1929 (Riefenstahl) Welcome Burglar, 1908 (Grif?th) Welcome Home, 1989 (Schaffner) Welcome Intruder, 1913 (Grif?th) Welcome, Mr. Marshall!. See Bienvenido, Mr. Marshall!, 1952 Welcome to L.A., 1976 (Altman; Rudolph) Welcome to the Dollhouse, 1995 (Solondz) Welfare, 1975 (Wiseman) Welfare of the Workers, 1940 (Jennings) We’ll Blow 3 x 27 Billion Dollars on a Destroyer. See Wir verbauen 3 x 27 Milliarden Dollar in einen Angriffs-schlachter, 1971 Well-Paid Stroll. See Dobrě placená procházka, 1965 Wellington Mystery. See A Wellingtoni rejtély, 1918 Welt am Draht, 1973 (Fassbinder) Weltspiegel, 1918 (Pick) Weltstrasse See—Welthafen Hamburg, 1938 (Ruttmann) Wen kümmert’s ..., 1960 (Schl?ndorff) Wend Kuuni, 1982 (Kaboré) Wenn vier dasselbe Tun, 1917 (Lubitsch) Went the Day Well?, 1942 (Cavalcanti) We’re Back: A Dinosaur’s Tail, 1993 (Spielberg) We’re No Angels, 1955 (Curtiz) We’re No Angels, 1989 (Jordan) We’re Not Married, 1952 (Goulding) Werther, 1922 (Dulac) Werther, 1938 (Ophüls) Wes Craven Presents Mind Ripper: Live in Horror, Die in Fear, 1995 (Craven) Wes Craven’s New Nightmare, 1994 (Craven) Wesele, 1972 (Wajda) West of Zanzibar, 1928 (Browning) West Point, 1927 (Dwan) West Point Widow, 1941 (Siodmak) West Side Story, 1961 (Wise) West Virginian. See Reel Virginian, 1924 Westbound, 1959 (Boetticher) Western Doctor’s Peril, 1911 (Dwan) Western History, 1971 (Brakhage) Western Love, 1913 (Guy) Western Union, 1941 (Lang) Western Waif, 1911 (Dwan) Westerner, 1940 (Wyler) Westfront 1918, 1930 (Pabst) Westward the Women, 1950 (Capra; Wellman) Wet, 1994 (Rafelson) Wet Parade, 1932 (Fleming) Whaddya Think?. See Como ves?, 1982 Whales of August, 1986 (Anderson) Whale’s Roof. See Het dak van de walvis, 1981 What!. See Frusta e il corpo, 1963 What?, 1973 (Polanski) What a Cold but Wonderful Autumn. See T’ien Liang Hao Kê Ch’iu, 1979 What a Life, 1939 (Wilder) What a Widow!, 1930 (Dwan) What are you waiting for to be happy!. See Qu’est-ce qu’on attend pour être heureux!, 1982 What Can It Be, 1993 (D?rrie) What Demoralized the Barber Shop, 1901 (Porter) What Did the Lady Forget?. See Shukujo wa nani o wasuretaka, 1937 What Do Men Want?, 1921 (Weber) What Do Young Films Dream About?. See à quoi rêvent les jeunes ?lms, 1924 What Dreams May Come, 1998 (Ward) What Drink Did, 1909 (Grif?th) What Every Woman Knows, 1934 (La Cava; Lewin) What Every Woman Learns, 1919 (Niblo) What Father Saw, 1913 (Sennett) What Have I Done to Deserve This?. See Qué me hecho yo para merecer esto?, 1984 What Is a Workers’ Council?. See Sto je radni?ki savjet?, 1959 What Lies Beneath, 2000 (Zemeckis) What Lola Wants. See Damn Yankees, 1958 What! No Beer!, 1933 (Keaton) What Planet Are You From?, 2000 (Nichols) What Price Glory, 1926 (Walsh) What Price Glory, 1952 (Ford) What Price Goofy?, 1925 (McCarey) What Price Hollywood?, 1932 (Cukor) What Shall We Do with Our Old?, 1910 (Grif?th) What the Birds Knew. See Ikimono no kiroku, 1955 FILM TITLE INDEX DIRECTORS, 4 th EDITION 1322 What the Daisy Said, 1910 (Grif?th) What the Doctor Ordered, 1911 (Sennett) What Who How, 1957 (Vanderbeek) What Will People Say?, 1916 (Guy) Whatever Happened to Aunt Alice?, 1969 (Aldrich) Whatever Happened to Baby Jane?, 1962 (Aldrich) Whatever Happened to Green Valley?, 1973 (Weir) What’s a Nice Girl like You Doing in a Place like This?, 1963 (Scorsese) What’s Eating Gilbert Grape, 1993 (Hallstrom) What’s Happened to Sugar, 1945 (Flaherty) What’s Happening: The Beatles in the USA, 1964 (Maysles) What’s His Name, 1914 (de Mille) What’s In It for Harry, 1969 (Corman) What’s New, Pussycat?, 1965 (Allen) What’s up Doc?, 1972 (Benton; Bogdanovich) What’s up, Tiger Lily?, 1966 (Allen) What’s Worth While?, 1921 (Weber) What’s Your Hurry, 1909 (Grif?th) Wheeeeels No. 1, 1958 (Vanderbeek) Wheeeeels No. 2, 1959 (Vanderbeek) Wheel of Life. See Ta Lun Hui, 1983 Wheels of Time. See Az id? kereke, 1961 When a Girl Loves, 1919 (Weber) When a Man Loves, 1910 (Grif?th) When a Man’s a Prince, 1926 (Sennett) When a Woman Loves. See Waga ai, 1960 When a Woman Won’t, 1913 (Dwan) When Ambrose Dared Walrus, 1915 (Sennett) When Angels Fall. See Gdy spadaja anioly, 1959 When Artists Love. See N?r konstn?rer ?lska, 1914 When Boys Leave Home. See Downhill, 1927 When Carnival Comes. See Quando a Carnaval chegar, 1972 When Comedy Was King, 1960 (Keaton) When Do We Eat?, 1918 (Niblo) When Dreams Come True, 1913 (Sennett) When East Comes West, 1911 (Dwan) When Father Was away on Business. See Otac na sluzbenoh putu, 1985 When Harry Met Sally, 1989 (Reiner) When Husbands Flirt, 1925 (Arzner; Wellman) When It Rains, 1995 (Burnett) When Kings Were the Law, 1912 (Grif?th) When Leaves Fall. See Listopad, 1966 When Love Is Blind, 1919 (Sennett) When Love Kills. See N?r k?rleken d?dar, 1913 When Love Took Wings, 1915 (Sennett) When Luck Changes, 1913 (Dwan) When Money Comes, 1929 (Mccarey) When Pigs Fly, 1993 (Jarmusch) When Reuben Fooled the Bandits, 1914 (Sennett) When Summer Comes, 1922 (Sennett) When Summons Comes, 1932 (Sandrich) When the Alarm Bell Rings. See N?r larmhlockan ljuder, 1913 When the Clouds Roll By, 1919 (Fleming) When the Cookie Crumbles. See Sato-gashi ga kazureru toki, 1967 When the Fire Bells Rang, 1911 (Sennett) When the Mother-in-Law Reigns. See N?r sv?rmor regerar, 1912 When the Wind Blows. See Make Way for Tomorrow, 1937 When Thief Meets Thief, 1937 (Walsh) When Tomorrow Comes, 1939 (Stahl) When Villains Wait, 1914 (Sennett) When Wifey Holds the Purse Strings, 1911 (Sennett) When Willie Comes Marching Home, 1950 (Ford) When Women Had Tails. See Quando de donne avevano la coda, 1970 When Women Lie. See Uso, 1963 When You and I Were Young, 1917 (Guy) When Your Lover Leaves, 1983 (Howard) When You’re Married. See Mabel’s Married Life, 1914 Where Are My Children?, 1916 (Weber) Where Broadway Meets the Mountains, 1912 (Dwan) Where Chimneys Are Seen. See Entotsu no mieru basho, 1953 Where Destiny Guides, 1913 (Dwan) Where Do We Go from Here, 1945 (Preminger) Where Eagles Dare, 1969 (Eastwood) Where East Is East, 1929 (Browning) Where Hazel Met the Villain, 1914 (Sennett) Where Is My Wandering Boy This Evening, 1923 (Sennett) Where Is Parsifal?, 1984 (Welles) Where Is the Friend’s House?. See Khane-ye Doust Kodjast?, 1987 Where Love Has Gone, 1964 (Dmytryk) Where Mountains Float. See Hvor bjergene sejler, 1955 Where Now Are the Dreams of Youth?. See Seishun no yume ima izuko, 1932 Where the Breakers Roar, 1908 (Grif?th) Where the Ganges Flows. See Jis Desh Me Ganga Behti Hai, 1960 Where the Green Ants Dream, 1983 (Herzog) Where the Heart Is, 1990 (Boorman) Where the Hot Winds Blow. See Legge, 1959 Where the Pavement Ends, 1922 (Ingram) Where the Sidewalk Ends, 1950 (Preminger) Where There’s a Heart, 1912 (Dwan) Where There’s a Will, 1936 (Launder and Gilliat) Where’s Poppa, 1970 (Reiner) Wherever We Are, 1987 (Zanussi) Which Is Which. See Hans rigtige Kone, 1916 Which Side Are You On?, 1984 (Loach) Which Way to the Front?, 1970 (Lewis) Which Woman, 1918 (Browning) While America Sleeps, 1939 (Zinnemann) While Paris Sleeps, 1923 (Tourneur) While Paris Sleeps, 1932 (Dwan) While the City Sleeps, 1956 (Lang) While the City Sleeps. See Medan staden sover, 1950 While You Sleep. See Kiedy ty ?pisz, 1950 Whip, 1917 (Tourneur) Whip and the Body. See Frusta e il corpo, 1963 Whirlpool, 1949 (Preminger) Whirls and Girls, 1929 (Sennett) Whisky Galore, 1949 (Mackendrick) Whispering Chorus, 1918 (de Mille) Whispering Whiskers, 1926 (Sennett) Whistle, 2000 (Lumet) Whistle at Eaton Falls, 1951 (Siodmak) Whistler, 1949 (Lewis) Whistle-Stop. See Polustanok, 1963 White, 1993 (Brakhage) White Balloon. See Badkonake se?d, 1995 White Banners, 1938 (Goulding) White Bus, 1967 (Anderson) White Caps, 1905 (Porter) White Christmas, 1954 (Curtiz) White Circle, 1920 (Tourneur) White Cliff. See Shiroi gake, 1960 White Cliffs of Dover, 1944 (Franklin) White Dawn, 1974 (Kaufman) White Devil. See Den Hvide Dj?vel, eller Dj?velens Protege, 1916 White Dog, 1982 (Bartel; Fuller) White Eagle. See Byelyi orel, 1928 White Fangs. See Shiroi kiba, 1960 White Feather, 1955 (Daves) White Flannels, 1927 (Bacon) White Ghost. See Den hvide Dame, 1913 White Heat, 1934 (Weber) FILM TITLE INDEXDIRECTORS, 4 th EDITION 1323 White Heat, 1949 (Walsh) White Heather, 1919 (Tourneur) White Hell of Pitz-Palu. See Weisse H?lle vom Pitz-Palu, 1929 White Heron. See Shirasagi, 1957 White Horse Inn. See Im Wei?en R??l, 1952 White Hotel, 2000 (Kusturica) White Hunter, Black Heart, 1990 (Eastwood) White Journey. See Weisse Reisse, 1980 White Knights, 1985 (Skolimowski) White Lies. See Mentiras Piadosos, 1989 White Lily Laments. See Shirayuri wa nageku, 1925 White Man. See Squaw Man, 1914 White Moth, 1924 (Tourneur) White Nights. See Fehér éjszakák, 1916 White Nights. See Notti bianche, 1957 White Palace, 1990 (Pollack) White Peacock. See Weisse Pfau, 1920 White Red Man, 1911 (Porter) White Rose, 1923 (Grif?th) White Rose of the Wilds, 1911 (Grif?th; Sennett) White Roses of Ravensberg. See Weissen Rosen von Ravensberg, 1929 White Sea of Yushima. See Yushima no shiraume, 1955 White Shadow, 1923 (Hitchcock) White Shadows. See White Shadow, 1923 White Sheep, 1924 (Stevens) White Sister, 1933 (Fleming) White Sister. See Bianco, rosso e ..., 1971 White Slave. See Den hvide Slavehandel I, 1910 White Slave Catchers, 1914 (Browning) White Slide. See Bilá spona, 1960 White Squall, 1996 (Scott) White Tiger, 1923 (Browning) White Tower, 1950 (Aldrich) White Treachery, 1912 (Dwan) White Warrior. See Agi Murad il diavolo bianco, 1959 White Whales. See Skytturnar, 1987 White Widow. See Rovedderkoppen, eller Den r?de Enke, 1916 White Wing’s Bride, 1925 (Capra) Whitechapel, 1920 (Dupont) Whity, 1970 (Fassbinder) Who Are You, Old People?. See Vy chyo, starichyo, 1988 Who Cares .... See Wen kümmert’s ..., 1960 Who Done It?, 1955 (Dearden) Who Framed Roger Rabbit?, 1988 (Spielberg; Zemeckis) Who Got Stung?. See Caught in the Rain, 1914 Who Got the Reward, 1911 (Sennett) Who Has Been Rocking My Dream Boat, 1941 (Anger) Who Ho Ray No.1, 1972 (Vanderbeek) Who Is Henry Jaglom?, 1996 (Bogdanovich; Forman; Landis) Who Is to Blame?, 1918 (Borzage) Who Killed Barno O’Neal. See Nattens Mysterium, 1916 Who Saw Him Die?. See Ole dole doff, 1968 Who Seeks the Gold Bottom. See Kdo hledá zlaté dno, 1975 Who So Loveth His Father’s Honor. See Hvo som elsker sin Fader or Faklen, 1915 Who Writes to Switzerland, 1937 (Cavalcanti) Whoever Says the Truth Shall Die. See Wie de Waarheid Zegt Moet Dood, 1981 Whole Town’s Talking, 1935 (Ford) Whole Truth, 1958 (Clayton) Whole Truth, 1964 (Loach) Who’ll Stop the Rain, 1978 (Reisz) Whom the Gods Destroy, 1919 (Borzage) Whoopee, 1930 (Berkeley) Who’s Afraid of the Avant-Garde, 1968 (Leacock) Who’s Afraid of Virginia Woolf?, 1966 (Nichols) Who’s Got the Black Box?. See Route de Corinthe, 1967 Who’s Minding the Store?, 1963 (Lewis; Tashlin) Who’s That Knocking at My Door?, 1968 (Scorsese) Who’s Who, 1978 (Leigh) Who’s Who in the Zoo, 1931 (Sennett) Who’s Your Lady Friend?, 1937 (Reed) Whose Baby, 1917 (Sennett) Whose Life Is It Anyway?, 1981 (Badham) Whose Little Wife Are You, 1918 (Sennett) Why?. See Pourquoi?, 1981 Why?. See Za chto?, 1995 Why Beaches Are Popular, 1919 (Sennett) Why Change Your Wife?, 1920 (de Mille) Why Do Fools Fall in Love?, 1998 (Nava) Why Does Herr R Run Amok?. See Warum l?uft Herr R amok?, 1969 Why Havel?, 1991 (Forman) Why He Gave Up, 1911 (Sennett) Why Husbands Go Mad, 1924 (McCarey) Why Is Plumber, 1929 (Mccarey) Why Men Leave Home, 1924 (Stahl) Why Men Work, 1924 (McCarey) Why Mrs. Jones Got a Divorce, 1900 (Porter) Why Not?. See Eijanaika, 1980 Why Not?. See Pourquoi pas?, 1977 Why We Fight (Part 1): Prelude to War, 1942 (Capra) Why We Fight (Part 2): The Nazis Strike, 1943 (Capra) Why We Fight (Part 3): Divide and Conquer, 1943 (Capra) Why We Fight (Part 4): The Battle of Britain, 1943 (Capra) Why We Fight (Part 5): The Battle of Russia, 1944 (Capra) Why We Fight (Part 6): The Battle of China, 1944 (Capra) Why We Fight (Part 7): War Comes to America, 1945 (Capra) Wichita, 1955 (Tourneur) Wicked, 1931 (Dwan) Wicked Darling, 1919 (Browning) Wide Open Faces, 1926 (Sennett) Widow. See Vdova, 1918 Widow. See Vedova, 1957 Widow of Saint-Pierre. See Veuve de Saint-Pierre, 2000 Wie de Waarheid Zegt Moet Dood, 1981 (Bertolucci) Wie ein Vogel auf dem Draht, 1974 (Fassbinder) Wie einst im Mai, 1926 (Leni) Wie Ich Ermordert Wurde, 1915 (Lubitsch) Wie man seinen Gatten los wird, 1970 (Weiss) Wielki tydzien, 1995 (Wajda) Wien—du Stadt meiner Tr?ume, 1957 (Forst) Wiener Blut, 1942 (Forst) Wiener M?del, 1944/49 (Forst) Wife and Auto Troubles, 1916 (Sennett) Wife Lost. See Nyobo funshitsu, 1928 Wife of Monte Cristo, 1946 (Ulmer) Wife of the Centaur, 1925 (Vidor) Wife O’Riley, 1931 (Sandrich) Wife Wanted, 1913 (Sennett) Wigwam, 1911 (Ivens) Wij Bouwen, 1929 (Ivens) Wild and Wicked, 1923 (La Cava) Wild Angels, 1966 (Bogdanovich; Corman) Wild at Heart, 1990 (Lynch) Wild Beasts. See Dravci, 1948 Wild Bill, 1995 (Eastwood; Hill) Wild Birds. See Vildf?glar, 1955 Wild Blue Yonder, 1951 (Dwan) Wild Boys of the Road, 1933 (Wellman) Wild Bunch, 1969 (Fernández; Peckinpah) Wild Child. See Enfant sauvage, 1969 Wild Company, 1930 (McCarey) FILM TITLE INDEX DIRECTORS, 4 th EDITION 1324 Wild Country, 1971 (Howard) Wild Flowers. See Fleurs sauvages, 1982 Wild Gals of the Naked West!, 1962 (Meyer) Wild Game. See Wildwechsel, 1972 Wild Girl, 1914 (Browning) Wild Girl, 1932 (Walsh) Wild Goose Chase, 1915 (de Mille) Wild Goose Chase. See Course à l’échalote, 1975 Wild Goose Chaser, 1925 (Sennett) Wild Heart. See Gone to Earth, 1950 Wild Heather, 1921 (Hepworth) Wild Is the Wind, 1957 (Cukor) Wild Man Blues, 1998 (Allen; Kopple) Wild Man of Borneo, 1941 (Mankiewicz) Wild One, 1954 (Kramer) Wild Oranges, 1924 (Vidor) Wild Orchids, 1929 (Franklin) Wild Palms, 1993 (Bigelow; Stone) Wild Party, 1929 (Arzner) Wild Party, 1974 (Ivory) Wild Racers, 1967 (Corman) Wild Reeds. See Roseaux sauvages, 1994 Wild Ride, 1958 (Corman) Wild River, 1960 (Kazan) Wild Side. See Suburbia, 1984 Wild Strawberries. See Smultronst?llet, 1957 Wild Thing, 1987 (Sayles) Wild West Love, 1914 (Sennett) Wild Wild West, 1999 (Branagh) Wild Woman, 1918 (Ford) Wildcat. See De verkenningsboring, 1954 Wildcats of St. Trinian’s, 1980 (Launder and Gilliat) Wilder Napalm, 1993 (Levinson) Wild?ower, 1914 (Dwan) Wildside. See Vildspor, 1998 Wildwechsel, 1972 (Fassbinder) Wilfredo Lam, 1978 (Solas) Wilful Ambrose, 1915 (Sennett) Wilful Peggy, 1910 (Grif?th) Wilhelm von Kobell, 1966 (Syberberg) Will, 1968 (Vanderbeek) Will of His Grace. See Hans n?ds testamente, 1919 Will of James Waldron, 1912 (Dwan) Will Success Spoil Rock Hunter?, 1957 (Tashlin) Willi Tobler and the Wreck of the Sixth Fleet. See Willi Tobler und der Untergang der sechste Flotte, 1971 Willi Tobler und der Untergang der sechste Flotte, 1971 (Kluge) William Shakespeare’s Hamlet. See Hamlet, 1996 Willie Becomes an Artist, 1911 (Sennett) Willie Minds the Dog, 1913 (Sennett) Willow, 1988 (Howard; Lucas) Willow Springs, 1973 (Schroeter) Willows of Ginza. See Ginza no yanagi, 1932 Wilmington 10—USA 10,000, 1982 (Gerima) Winchester ‘73, 1950 (Mann) Wind, 1928 (Sj?str?m) Wind, 1992 (Coppola) Wind. See Finyé, 1982 Wind across the Everglades, 1958 (Ray) Wind and the Lion, 1975 (Huston) Wind Rose. See Windrose, 1957 Wind Will Carry Us. See Bad ma ra khabad bord, 1999 Windbag the Sailor, 1935 (Launder and Gilliat) Windfall in Athens, 1953 (Cacoyannis) Windmill in Barbados, 1933 (Cavalcanti; Grierson) Window, 1976 (Brakhage) Window Dummy, 1925 (Sennett) Window Suite of Children’s Songs, 1969 (Brakhage) Window Water Baby Moving, 1959 (Brakhage) Windows, 1975 (Greenaway) Windrose, 1955 (Cavalcanti; Ivens; Pontecorvo) Windtalkers, 2001 (Woo) Wine, 1913 (Sennett) Wine, 1923 (Florey) Wine of Youth, 1924 (Vidor) Winged Victory, 1944 (Cukor; Ritt) Wings, 1927 (Wellman) Wings. See Krylya, 1966 Wings. See Vingarne, 1916 Wings against the Wind, 2000 (Palcy) Wings and Wheels, 1916 (Sennett) Wings for the Eagle, 1942 (Bacon) Wings of Desire. See Himmel über Berlin, 1987 Wings of Eagles, 1957 (Ford) Wings of the Hawk, 1953 (Boetticher) Wings of the Navy, 1939 (Bacon) Winifred Wagner und die Geschichte des Hauses Wahnfried von 1914- 1975, 1975 (Syberberg) Winning Back His Love, 1910 (Grif?th) Winning Coat, 1909 (Grif?th) Winning of La Mesa, 1912 (Dwan) Winning Punch, 1916 (Sennett) Winter Children. See Vinterb?rn, 1978 Winter Kills, 1979 (Huston) Winter Light. See Nattvardsg?sterna, 1963 Winter Soldier, 1972 (Kopple) Winter Sports and Pastimes of Coronado Beach, 1912 (Dwan) Winter Wind. See Sirokkó, 1969 Winterkind, 1997 (von Trotta) Wiping Something off the Slate, 1900 (Hepworth) Wir Kinder der H?lle, 1977 (Syberberg) Wir machen Musik, 1942 (K?utner) Wir verbauen 3 x 27 Milliarden Dollar in einen Angriffs-schlachter, 1971 (Kluge) Wise Blood, 1979 (Huston) Wise Guys, 1986 (de Palma) Wise Kid, 1922 (Browning) Wiser Sex, 1932 (Zinnemann) Wish You Were There, 1985 (Anderson) Wish-Ful?llment. See Ichhapuran, 1970 Wished on Mabel, 1915 (Sennett) Wishing Ring, 1914 (Tourneur) Wishing Seat, 1913 (Dwan) Wishmaster, 1997 (Craven) Witch Hunt, 1994 (Schrader) Witch of the Range, 1911 (Dwan) Witch Woman. See Pr?st?nkan, 1920 Witchcraft through the Ages. See H?xan, 1922 Witches, 1989 (Roeg; Zetterling) Witches. See Streghe, 1966 Witches’ Cradle, 1943 (Deren) Witches of Eastwick, 1987 (Miller) With a Kodak, 1911 (Sennett) With Beauty and Sorrow. See Utsukushisa to kanashimi to, 1965 With Her Card, 1909 (Grif?th) With Love from Truman, 1966 (Maysles) Within Our Gates, 1920 (Micheaux) Within the Woods, 1978 (Raimi) Without a Country. See De Forviste, 1914 Without Anesthesia. See Bez znieczulenia, 1978 Without Dowry. See Bespridannitsa, 1937 Without Pity. See Senza pietà, 1948 FILM TITLE INDEXDIRECTORS, 4 th EDITION 1325 Without Reservations, 1946 (Leroy) Without Witness. See Bes svideteley, 1983 Witness, 1985 (Weir) Witness for the Prosecution, 1958 (Wilder) Witness to the Will, 1914 (Ingram) Wittgenstein, 1993 (Jarman) Wittold Lutoslawski, 1991 (Zanussi) Wives of Men, 1918 (Stahl) Wives under Suspicion, 1938 (Whale) Wiz, 1978 (Lumet; Schumacher) Wizard of Oz, 1939 (Fleming; Leroy) Wizards of the Lost Kingdom II, 1989 (Corman) Wo de fu qin mu qin, 1999 (Zhang Yimou) Wo Die Grünen Ameisen Traümen. See Where the Green Ants Dream, 1983 Wo ist mein Schatz?, 1916 (Lubitsch) Wo T’a Laong Erh Lai, 1978 (Hou Hsiao-Hsien) Wochenende. See Weekend, 1930 Wodaabe—Die Hirten der Sonne, 1988 (Herzog) Wold Shadow, 1972 (Brakhage) Wolf, 1994 (Nichols) Wolf. See Farkas, 1916 Wolf, Are You There?. See Loup y es-tu?, 1983 Wolf Hunters, 1949 (Boetticher) Wolf Song, 1929 (Fleming) Wolf Trap. See Vl?í jáma, 1957 Wolf’s Hole. See Vlci bouda, 1986 Wolkenbau und Flimmerstern, 1919 (Lang) Wolves. See Ookami, 1955 Woman, 1918 (Tourneur) Woman, 1915 (Chaplin) Woman. See Aurat, 1940 Woman. See Onna, 1948 Woman Alone, 1982 (Holland) Woman Alone. See Sabotage, 1936 Woman and the Law, 1918 (Walsh) Woman Basketball Player Number Five, 1957 (Xie Jin) Woman Between, 1931 (Launder and Gilliat) Woman by the Road. See Frau am Wege, 1948 Woman Disputed, 1927 (Florey) Woman from Mellon’s, 1909 (Grif?th) Woman from Monte Carlo, 1932 (Curtiz) Woman from the Property-owning Middle Class, Born 1908. See Besitzbürgerin, Jahrgang 1908, 1972 Woman from Warren’s, 1915 (Browning) Woman God Forgot, 1917 (de Mille) Woman Haters, 1913 (Sennett) Woman He Married, 1922 (Niblo) Woman Hunt, 1974 (Corman) Woman in His House, 1920 (Stahl) Woman in Red, 1934 (Florey) Woman in the Suitcase, 1920 (Niblo) Woman in the Window, 1944 (Lang) Woman in White. See Journal d’une femme en blanc, 1965 Woman Named En. See En to iu onna, 1971 Woman Next Door. See Femme d’à c?té, 1981 Woman of Bronze, 1923 (Vidor) Woman of Mystery, 1914 (Guy) Woman of Osaka. See Osaka no onna, 1958 Woman of Pale Night. See Oboro yo no onna, 1936 Woman of Paris, 1923 (Chaplin) Woman of Pleasure. See Kanraku no onna, 1924 Woman of Rose Hill. See Femme de Rose Hill, 1989 Woman of Straw, 1964 (Dearden) Woman of Summer. See Stripper, 1963 Woman of the Port. See Mujer del Puerto, 1992 Woman of the Osore Mountains. See Osore-zan no onna, 1964 Woman of the People. See En Kvinde af Folket, 1909 Woman of the Rumor. See Uwasa no onna, 1954 Woman of the Sea, 1926 (Chaplin; von Sternberg) Woman of the Sea. See Sea Gull, 1926 Woman of the Year, 1942 (Mankiewicz; Stevens) Woman on the Beach, 1947 (Renoir) Woman on Trial, 1927 (Stiller) Woman Opposite, 1968 (Polanski) Woman Possessed, 1958 (Roeg) Woman Racket. See Cargaison blanche, 1937 Woman Rebels, 1936 (Sandrich) Woman Scorned, 1911 (Grif?th) Woman Tempted Me. See Den frelsende Film, 1915 Woman They Almost Lynched, 1953 (Dwan) Woman Times Seven, 1967 (de Sica) Woman to Woman, 1923 (Hitchcock) Woman Trap, 1929 (Wellman) Woman under Oath, 1919 (Stahl) Woman under the In?uence, 1974 (Cassavetes) Woman Who Did. See Frau mit dem schlechten Ruf, 1924 Woman Who Is Waiting. See Machiboke no onna, 1946 Woman Who Killed a Vulture. See Geier-Wally, 1921 Woman Who Touched Legs. See Ashi ni sawatta onna, 1952 Woman with a Dagger. See Zhenshchina s kinzhalom, 1916 Woman with the Orchid. See Frau mit den Orchiden, 1919 Woman without a Face. See Kvinna utan ansikte, 1947 Woman, Wake Up, 1922 (Vidor) Woman, Ways of Love. See Amore, 1947 Woman-Wise, 1937 (Dwan) Womanhandled, 1925 (La Cava) Womanlight. See Clair de femme, 1979 Woman’s Decision. See Bilans kwartalny, 1975 Woman’s Decoration. See Onna no kunsho, 1961 Woman’s Descent. See Onna no saka, 1960 Woman’s Face, 1941 (Cukor) Woman’s Face. See Onna no kao, 1949 Woman’s Fool, 1918 (Ford) Woman’s Heresy. See Jashumon no onna, 1924 Woman’s Honor, 1913 (Dwan) Woman’s Past, 1915 (Ingram) Woman’s Place, 1921 (Fleming) Woman’s Secret, 1948 (Ray) Woman’s Testament, Part 2: Women Who Sell Things at High Prices. See Jokyo II: Mono o takaku uritsukeru onna, 1959 Woman’s Vengeance, 1948 (Korda) Woman’s Way, 1908 (Grif?th) Women, 1939 (Cukor) Women, 1973 (Brakhage) Women and Development, 1984 (Nair) Women and Miso Soup. See Onna no misoshiru, 1968 Women and War, 1913 (Dwan) Women Are No Angels. See Frauen sind keine Engel, 1943 Women Are Strong. See Josei wa tsuyoshi, 1924 Women Defend the Home!. See Onna koso ie o momore, 1939 Women, Do Not Shame Your Names. See Onna yo, kini no na o kegasu nakare, 1930 Women Everywhere, 1930 (Korda) Women in Cages, 1971 (Corman) Women in Limbo. See Limbo, 1972 Women in New York. See Frauen in New York, 1977 Women in Revolt, 1971 (Morrissey; Warhol) Women Left Alone, 1913 (Dwan) Women Love Diamonds, 1927 (Goulding) Women Men Forget, 1920 (Stahl) Women of all Nations, 1931 (Walsh) FILM TITLE INDEX DIRECTORS, 4 th EDITION 1326 Women of the Ginza. See Ginza no onna, 1955 Women of the Night. See Yoru no onnatachi, 1948 Women of Troy. See Trojan Women, 1971 Women on the Verge of a Nervous Breakdown. See Mujeres al borde de un ataque de nervios, 1988 Women Should Stay at Home. See Onna koso ie o momore, 1939 Women: So We Are Made. See Noi donne siamo fatte cosi, 1971 Women They Talk About, 1928 (Bacon) Women without Men. See Nessa bala Rejal, 1952 Women without Names, 1939 (Florey) Women’s Red Army Detachment, 1960 (Xie Jin) Women’s Scroll. See Jokei, 1960 Women’s Town. See Onna no machi, 1940 Won by a Fish, 1911 (Sennett) Won in a Closet, 1914 (Sennett) Won through a Medium, 1911 (Sennett) Wonder Bar, 1934 (Bacon; Berkeley) Wonder Ring, 1955 (Brakhage) Wonderful Adventure, 1915 (Ingram) Wonderful Crook. See Pas si méchant que ?a, 1975 Wonderful Eye, 1911 (Sennett) Wonderful Times. See Herrliche Zeiten, 1950 Wonderful Years. See Restless Years, 1958 Wonders of Aladdin. See Meraviglie di Aladino, 1961 Woo, 1998 (Singleton) Wood and Stone. See Mokuseki, 1940 Wooden Leg, 1909 (Grif?th) Woodstock, 1970 (Scorsese) Woodstock ‘94, 1998 (Kopple) Wooers of Mountain Kate, 1912 (Dwan) Word. See Ordet, 1955 Wordless Message, 1912 (Dwan) Words for Battle, 1941 (Jennings) Work, 1915 (Chaplin) Work. See Baara, 1977 Work or Profession?. See Munka vagy hivatás?, 1963 Worker and the Hairdresser. See Metal neccanico e parrucchiera in un turbine di sesso e di politica, 1996 Workers. See Gospordaze, 1972 Workers 71. See Robotnicy 71 nic o nas bez nas, 1972 Working Class Goes to Heaven. See Classe operaia va in paradiso, 1971 Working Girl, 1988 (Nichols) Working Girls, 1931 (Arzner) Working Girls, 1986 (Borden; Leacock) Working–Class Man. See Gung Ho, 1986 World and the Flesh, 1932 (Cromwell) World Championship of Air Models. See Mistrovstvi světa leteckych modelá?u, 1957 World Changes, 1933 (Leroy) World Flier, 1931 (Sennett) World for Ransom, 1954 (Aldrich) World in His Arms, 1952 (Walsh) World Is Not Enough, 1999 (Apted) World Is Ours. See Svět pat?í nám, 1937 World Is Rich, 1947 (Rotha) World Melody. See Melodie der Welt, 1929 World Moves On, 1934 (Ford) World of Alphonse Mucha. See Svět Alfonso Muchy, 1980 World of Apu. See Apur Sansar, 1959 World of Buster. See Busters verden, 1984 World of Film, 1993 (Hallstrom) World of Jacques Demy, 1995 (Tavernier) World of Plenty, 1943 (Rotha) World on a Wire. See Welt am Draht, 1973 World Within, World Without, 1991 (Sen) World Without End, 1953 (Rotha) World’s Best Bride. See Hanayome san wa sekai-ichi, 1959 Worlds in Struggle. See K?mpfende Welten, 1922 World’s Oldest Living Thing, 1914 (Sennett) Worse You Are the Better You Sleep. See Warui yatsu hodo yoku nemuru, 1960 Worst of Farm Disasters, 1941 (Ivens) Worst of Friends, 1916 (Sennett) Worthless. See Arvottomat, 1982 Woton’s Wake, 1963 (de Palma) Would Be Shriner, 1911 (Sennett) Would You Believe It?, 1929 (Launder and Gilliat) Would You Kindly Direct Me to Hell: The Infamous Dorothy Parker, 1994 (Rudolph) Would-be Heir, 1912 (Dwan) Wounded in Honour. See Mimi the Metalworker, 1972 Woyzeck, 1979 (Herzog) WR—Misterije organizma, 1971 (Makavejev) Wraki, 1957 (Polanski) Wreath in Time, 1908 (Grif?th) Wreath of Orange Blossoms, 1910 (Grif?th) Wrecks. See Wraki, 1957 Wrestler and the Clown. See Borets i kloun, 1957 Wrestlers, 1933 (Sennett) Wrestler’s Bride. See Wrestlers, 1933 Wrestling Sword?sh, 1931 (Sennett) Wrestling-Ring Festival. See Dohyo-matsuri, 1944 Wringing Good Joke, 1900 (Porter) Written on the Wind, 1956 (Sirk) Wrong Again, 1929 (McCarey) Wrong All Around, 1914 (Browning) Wrong Kid, 1973 (Marshall) Wrong Man, 1956 (Hitchcock) Wrong Movement. See Falsche Bewegung, 1974 Wrongdoers. See Vurguncular, 1971 Wszystko na sprzeda?, 1968 (Wajda) Würger der Welt, 1919 (Dupont) Wutai Jiemei, 1964 (Xie Jin) Wuthering Heights, 1939 (Wyler) Wuthering Heights. See Hurlevent, 1985 Wyatt Earp, 1994 (Kasdan) Wyscig pokoju Warszawa-Berlin-Praga, 1952 (Ivens) X, 1963 (Corman) Xala, 1974 (Sembene) Xica da Silva, 1976 (Diegues) X-Ray. See Prze?wietlenie, 1973 Y a des Jours ... et des Lunes, 1990 (Lelouch) Y a des pieds au plafond, 1912 (Gance) Y el cielo fue tomado por asalto, 1973 (Alvarez) Y tenemos sabor, 1967 (Gómez) Ya shagayu po Moskve, 1964 (Mikhalkov) Yaaba, 1989 (Ouedraogo) Yaban gülü, 1961 (Güney) Yabu no naka no kuroneko, 1968 (Shindo) Yabure daiko, 1949 (Kinoshita) Yagodko lyubvi. See Yahidka kokhannya, 1926 Yagua, 1940/41 (Fej?s) Yahidka kokhannya, 1926 (Dovzhenko) Yakoman to Tetsu, 1949 (Kurosawa) Yakuza, 1974 (Pollack; Schrader) Yalta Conference, 1944 (Gerasimov) Yam Daabo, 1986 (Ouedraogo) Yama no sanka: moyuru wakamono-tachi, 1962 (Shinoda) Yamabiko gakko, 1952 (Imai) Yamata, 1919 (Korda) FILM TITLE INDEXDIRECTORS, 4 th EDITION 1327 Yanapanacuna, 1970 (Alvarez) Yang + Yin: Gender in Chinese Cinema, 1996 (Chen Kaige) Yank at Oxford, 1937 (Launder, Frank, and Sidney Gilliat) Yankee Doodle Dandy, 1942 (Curtiz) Yankee Doodle Dude, 1926 (Sennett) Yankee Doodle in Berlin, 1919 (Sennett) Yanks, 1979 (Schlesinger) Yanomamo, 1974 (Asch) Yanomamo: A Multidisciplinary Study, 1971 (Asch) Yanomamo Myth of Naro as Told by Dedeheiwa, 1975 (Asch) Yanomamo Myth of Naro as Told by Kaobawa, 1975 (Asch) Yanqui No, 1960 (Leacock) Yao a yao yao dao waipo qiao, 1995 (Zhang Yimou) Yapian zhanzheng, 1997 (Xie Jin) Yaqui, 1968 (Fernández) Yaqui Cur, 1913 (Grif?th) Yarali kartal, 1965 (Güney) Yari no Gonza, 1986 (Shinoda) Yarin son gündür, 1971 (Güney) Yashagaike, 1979 (Shinoda) Yatsuhaka-mura, 1996 (Ichikawa) Yawar mallku, 1969 (Sanjinés) Ye Olde Saw Mill, 1935 (Sennett) Ye Olden Grafter, 1915 (Sennett) Yeah Yeah Yeah, The Beatles! The First U.S. Visit. See What’s Happening: The Beatles in the USA, 1964 Year My Voice Broke, 1988 (Miller) Year of Living Dangerously, 1982 (Weir) Year of the Dragon, 1985 (Cimino; Stone) Year of the Gun, 1991 (Frankenheimer) Year of the Horse, 1997 (Jarmusch) Year of the Quiet Sun. See Rok spokojnego slonca, 1984 Yearling, 1946 (Franklin) Yearning. See Akogare, 1935 Years Are So Long. See Make Way for Tomorrow, 1937 Years of Change. See New Frontier, 1950 Yedi belalilar, 1970 (Güney) Yedi da in aslani, 1966 (Güney) Yeelen, 1987 (Cissé) Yellow Caesar, 1940 (Cavalcanti; Crichton) Yellow Crow. See Kiiroi karasu, 1957 Yellow Earth. See Huang tu di, 1984 Yellow Horse, 1965 (Baillie) Yellow Lily, 1928 (Korda) Yellow Sky, 1949 (Wellman) Yellow Ticket, 1931 (Walsh) Yellow Traf?c, 1914 (Guy) Yen P’o Chiang Shang, 1977 (Hou Hsiao-Hsien) Yen Shuio Han, 1976 (Hou Hsiao-Hsien) Yenendi de Boukoki, 1972 (Rouch) Yenendi de Simiri, 1971 (Rouch) Yenendi de Yantalla, 1970 (Rouch) Yenendi Gengel, 1982 (Rouch) Yenendi: Les Hommes qui font la pluie, 1951 (Rouch) Yer Demir, Gok Bakir, 1987 (Wenders) Yes, Giorgio, 1982 (Schaffner) Yesterday Girl. See Abschied von gestern, 1966 Yesterday Goes on for Ever. See Brutalit?t in Stein, 1960 Yesterday, Today, and Tomorrow. See Ieri, oggi, domani, 1963 Yeuh Hsia Lao Jen, 1975 (Hou Hsiao-Hsien) Yeux ne veulent pas en tout temps se fermer ou Peut-être qu’un jour Rome se permettra de choisir à son tour. See Othon, 1969 Yeux ouverts, 1913 (Feuillade) Yeux qui fascinent, 1915/16 (Feuillade) Yeux qui meurent, 1912 (Feuillade) Yeux sans visages, 1959 (Sautet) Yevo prevosoditelstvo, 1927 (Donskoi) Yevo prizyv, 1925 (Protazanov) Yevo zovut Sukhe-Bator, 1942 (Hei?tz) Yi ge dou bu neng shao, 1999 (Zhang Yimou) Yi ge he ba ge, 1983 (Zhang Yimou) Yi it yarali olur, 1966 (Güney) Yi yi, 2000 (Yang) Yiddisher Cowboy and The Bronco Buster’s Bride, 1911 (Dwan) Ying Ch’un Ko Chih Fêng Po, 1973 (King) Yo, el valiente, 1964 (Fernández) Yo, la peor de todas, 1990 (Bemberg) Yo tenía un camarada, 1965 (Littin) Yoake mae, 1953 (Yoshimura) Yoba, 1976 (Imai) Yoidore tenshi, 1948 (Kurosawa) Yoiyami semareba, 1969 (Oshima) Yojimbo, 1960 (Kurosawa) Yokihi, 1955 (Mizoguchi) Yokina uramachi, 1939 (Yoshimura) Yoku, 1958 (Gosho) Yokubo, 1953 (Yoshimura) Yol, 1981 (Güney) Yolanda and the Thief, 1945 (Minnelli) Yonjuhassai no teiko, 1956 (Yoshimura) Yorokobi mo kanashima mo ikutoshitsuki, 1986 (Kinoshita) Yoru, 1923 (Mizoguchi) Yoru hiraku, 1931 (Gosho) Yoru no cho, 1957 (Yoshimura) Yoru no kawa, 1956 (Yoshimura) Yoru no mesuneko, 1929 (Gosho) Yoru no onnatachi, 1948 (Mizoguchi) Yoru no sugao, 1958 (Yoshimura) Yoru no tsuzumi, 1958 (Imai; Shindo) Yosemite, 1914 (Sennett) Yoshinaka o meguru sannin no onna, 1956 (Kinugasa) Yoshiwara, 1937 (Ophüls) Yoso, 1963 (Kinugasa) Yotsuya kaidan, I-II, 1949 (Kinoshita) Yottsu no koi no monogatari, 1947 (Kinugasa; Kurosawa) You ... . See Te, 1963 You and I. See Ti I Ya, 1971 You and Me, 1938 (Lang) You Are My Love. See Inta Habibi, 1956 You Are Not I, 1981 (Jarmusch) You Are The Woman Everybody Loves. See Frau, die jeder liebt, bist Du!, 1928 You Can’t Go Home Again, 1975 (Ray) You Can’t Sleep Here. See I Was a Male War Bride, 1949 You Can’t Take It with You, 1938 (Capra) You Do, I Do, We Do, 1972 (Vanderbeek) You hua hao hao shuo, 1997 (Zhang Yimou) You Laugh. See Tu ridi, 1998 You Never Know Women, 1926 (Wellman) You Only Live Once, 1937 (Lang) You Said a Mouthful, 1932 (Bacon) You Wasn’t Loitering, 1973 (Marshall) You Were like a Wild Chrysanthemum. See Nogiku no gotoki kimi nariki, 1955 You Were Meant for Me, 1948 (Bacon) You Were Never Lovelier, 1942 (Daves) You Wouldn’t Believe It, 1920 (Sennett) You’d Be Surprised, 1930 (Launder and Gilliat) Young America, 1932 (Borzage) Young America Flies, 1940 (Daves) Young and Innocent, 1937 (Hitchcock) Young and the Damned. See Olvidados, 1950 FILM TITLE INDEX DIRECTORS, 4 th EDITION 1328 Young as You Feel, 1931 (Borzage) Young Bess, 1953 (Franklin) Young Cassidy, 1965 (Ford) Young Doctors, 1961 (Ashby) Young Dragon, 1973 (Woo) Young Eagles, 1930 (Wellman) Young Emmanuelle. See Néa: A New Woman, 1976 Young Frankenstein, 1974 (Brooks) Young Girls, Crazy Guys. See Blázni a devcátka, 1989 Young Girls of Rochefort. See Demoiselles de Rochefort, 1967 Young Girls Turn 25. See Des demoiselles ont en 25 ans, 1993 Young Guard. See Molodaya gvardiya, 1947 Young Hercules, 1998 (Raimi) Young Ideas, 1943 (Dassin) Young Lions, 1958 (Dmytryk) Young Man and the White Whale. See Mlady mu? a bílá velryba, 1978 Young Man of Music. See Young Man with a Horn, 1950 Young Man with a Horn, 1950 (Curtiz) Young Man’s Fancy, 1920 (Sennett) Young Miss. See Ojosan, 1930 Young Mr. Lincoln, 1939 (Ford) Young Mr. Pitt, 1942 (Launder and Gilliat; Reed) Young Nurses, 1972 (Corman) Young Old?eld, 1924 (Mccarey) Young One, 1960 (Bu?uel) Young Onions, 1932 (Sennett) Young People, 1940 (Dwan) Young People. See Wakai hitotachi, 1954 Young People, Remember. See Emlékezz, ifjúság, 1955 Young People, Young Generation. See Wakai hito, 1952 Young Picasso: 1881-1906. See Joven Picasso, 1993 Young Racers, 1963 (Coppola; Corman) Young Samurai. See Samurai no ko, 1963 Young Savages, 1961 (Frankenheimer; Pollack) Young Scarface. See Brighton Rock, 1947 Young Sherlock Holmes, 1985 (Levinson; Spielberg) Young Sinners. See High School Big Shot, 1959 Young Stranger, 1957 (Frankenheimer) Young T?rless. See Junge T?rless, 1966 Young Toscanini. See Giovane Toscanini, 1988 Young Veteran, 1941 (Cavalcanti; Crichton; Dearden) Young Winston, 1972 (Attenborough) Young Wolves. See Jeunes Loups, 1967 Young World. See Monde nouveau, 1965 Youngblood Hawke, 1964 (Daves) Younger and Younger, 1988 (Adlon) Younger Generation, 1929 (Capra) Your Acquaintance. See Vasha znakomaya, 1927 Your Beer. See Anata no biru, 1954 Your Highness. See Kakka, 1940 Your Last Act, 1941 (Zinnemann) Your Name’s Not God, It’s Edgar, 1968 (Apted) Your Studio and You, 1995 (Singleton) You’re a Big Boy Now, 1966 (Coppola) You’re Human like the Rest of Them, 1967 (Beresford) You’re in the Army Now. See O.H.M.S., 1937 You’re My Everything, 1949 (Keaton) You’re Never Too Young, 1955 (Lewis) You’re Only Young Twice, 1952 (Grierson) You’re Telling Me!, 1941 (Launder and Gilliat) Yours Truly, Andrea G. Stern, 1976-77 (Seidelman) Youth, 1977 (Xie Jin) Youth. See Seishun, 1925 Youth and Jealousy, 1913 (Dwan) Youth and the Man of Property, 1973 (Marshall) Youth for Truth. See Last Party, 1993 Youth Gets a Break, 1941 (Losey) Youth in Fury. See Kawaita mizuumi, 1960 Youth in Poland, 1957 (Maysles) Youth of Heiji Zenigata. See Seishun Zenigata Heiji, 1953 Youth of Japan. See Nihon no seishun, 1968 Youth of Maxim. See Yunost Maksima, 1935 Youth of “The Land of Angels.’’ See Angyalf?ldi ?atalok, 1955 Youth on Trial, 1944 (Boetticher) Youth Speaks. See Pesn o Gerojach, 1932 Youth’s Oath. See Kliatva molodikh, 1944 You’ve Got to Live Dangerously. See Faut Vivre Dangereusement, 1974 You’ve Got to Walk It like You Talk It or You’ll Lose That Beat, 1971 (Craven) Yu Ma Ts’ai Tzu, 1984 (Hou Hsiao-Hsien) Yü T’ang Ch’un, 1962 (King) Yugure made, 1980 (Itami) Yuhi ni akai ore no kao, 1961 (Shinoda) Yuki Fujin ezu, 1950 (Mizoguchi) Yuki matsuri, 1952 (Hani) Yuki no yo ketto, 1954 (Kinugasa) Yukiko, 1955 (Imai) Yukinojo henge, 1935 (Kinugasa) Yukinojo henge, 1963 (Ichikawa) Yukinojo’s Revenge. See Yukinojo henge, 1935 Yukon Jake, 1924 (Sennett) Yukovsky, 1950 (Pudovkin) Yun shen Pu Chih Ch’u, 1974 (Hou Hsiao-Hsien) Yunbogi no nikki, 1965 (Oshima) Yunost Maksima, 1935 (Kozintsev) Yuri Nagornyi, 1915 (Bauer) Yushima no shiraume, 1955 (Kinugasa) Yuwaku, 1948 (Shindo; Yoshimura) Yuyake-gumo, 1956 (Kinoshita) Yvette, 1927 (Cavalcanti) Yvonne’s Perfume, 1993 (Leconte) Z, 1969 (Costa-Gavras) Z ?ínsk?o zápisniku, 1954 (Kachyňa) Z miasta Lodzi, 1969 (Kie?lowski) Z punktu widzenia nocnego portiera, 1977 (Kie?lowski) Za chto?, 1995 (Kawalerowicz) Za Kazhduyu slezu po Kable Krovi. See Zhizn’ za Zhizn’, 1916 Za Schast’em, 1917 (Bauer; Kuleshov) Za sciana, 1971 (Zanussi) Za ?ivot radostny, 1951 (Kachyňa) Zabriskie Point, 1970 (Antonioni) Zacharovannaya Desna, 1965 (Dovzhenko) Zaczárowany rower, 1955 (Polanski) Zadzwoncie do mojej zony, 1958 (Polanski) Zagranichnii pokhod sudov Baltiiskogo ?ota kreisere “Aurora” i uchebnogo sudna “Komsomolts,” August 8, 1925, 1925 (Vertov) Zaida, die Trag?die eines Modells, 1923 (Holger-Madsen) Zakazane piosenki, 1947 (Kawalerowicz) Zakoni Bolshoi zemli. See Alitet ukhodit v gory, 1949 Zakroichik iz Torzhka, 1925 (Protazanov) Zaliczenie, 1969 (Zanussi) Zan Boko, 1988 (Kaboré) Zancos, 1984 (Saura) Zander the Great, 1925 (Daves) Zandra Rhodes, 1981 (Greenaway) Zandunga, 1937 (de Fuentes) Zandy’s Bride, 1974 (Troell) Zange no yaiba, 1927 (Ozu) Zang-e Tafrih, 1972 (Kiarostami) Zangha, 1985 (Makhmalbaf) Zangiku monogatari, 1939 (Mizoguchi) FILM TITLE INDEXDIRECTORS, 4 th EDITION 1329 Zanzibar, 1988 (Breillat) Zaost?it, prosím, 1956 (Fri?) Zaporosch Sa Dunayem, 1938 (Ulmer) Zapotecan Village, 1941 (Eisenstein) Zappa, 1983 (August) Zaproszenie do wn?trza, 1978 (Wajda) Zardoz, 1973 (Boorman) Z?rtlichkeit der W?lfe, 1973 (Fassbinder) Zavallilar, 1975 (Güney) Závrat, 1962 (Kachyňa) Zaza, 1915 (Porter) Zaza, 1923 (Dwan) Zaza, 1939 (Cukor; Dmytryk; Lewin) Zaza, 1942 (Castellani) Zazie. See Zazie dans le Métro, 1960Zazie dans le Métro, 1960 (Malle) Zbabělec, 1962 (Weiss) Zdjecie, 1968 (Kie?lowski) Zdravstvuitye deti, 1962 (Donskoi) Zebrahead, 1992 (Stone) Zed and Two Noughts, 1985 (Greenaway) Zeedijk-Filmstudie, 1927 (Ivens) Zegen, 1987 (Imamura) Zelig, 1983 (Allen) Zelly and Me, 1988 (Lynch) Zemlya, 1930 (Dovzhenko) Zemma, 1951 (Kinoshita) Zendegi Edame Darad, 1991 (Kiarostami) Zeni no odori, 1964 (Ichikawa) Zerkalo, 1975 (Tarkovsky) Zéro de conduite, 1933 (Vigo) Zero Murder Case. See Uncle Harry, 1945 Zert, 1968 (Jire?) Zeyno, 1970 (Güney) Zezowate szczescie, 1960 (Polanski) Zhemchuzhnoe Ozherel’e, 1915 (Bauer) Zhenshchina s kinzhalom, 1916 (Protazanov) Zhivoi trup, 1928 (Barnet; Pudovkin) Zhivye dela, 1929 (Barnet) Zhizn, 1927 (Donskoi) Zhizn’ za Zhizn’, 1916 (Bauer) Zhizn’s idiotom. See Life with an Idiot, 1993 Zhizn’trekh dnei, 1917 (Kuleshov) Zhurnalist, 1967 (Gerasimov) Zidore ou les métamorphoses, 1921/22 (Feuillade) Ziegfeld Follies, 1946 (Minnelli) Zieg?eld Girl, 1941 (Berkeley) Ziemia obiecana, 1974 (Wajda) Zil pevcij drozd, 1972 (Ioseliani) Zimba gibi delikanli, 1964 (Güney) Zinker, 1931 (Fri?) Zipp, the Dodger, 1914 (Sennett) Zire darakhatan zeyton, 1994 (Kiarostami) Zitelloni, 1958 (de Sica) Zivot je pes, 1933 (Fri?) Zivot Radina, 1987 (Kusturica) Zlaté kapradí, 1963 (Weiss) Zlo?in v ?antánu, 1968 (Menzel) Zlo?in v dív?í ?kole, 1965 (Menzel) Z?y ch?opiec, 1950 (Wajda) Znoy, 1963 (Shepitko) Zo o kutta renchu, 1947 (Yoshimura) Zoárd Mester, 1917 (Curtiz) Zoceleni, 1950 (Fri?) Zoe bonne, 1966 (Chabrol) Zoko minami no kaze, 1942 (Yoshimura) Zoku Sugata Sanshiro, 1945 (Kurosawa) Z?ldár, 1965 (Gaál) Zolotaia pugovitsa. See Golden Button, 1986 Zolotye vorota, 1969 (Dovzhenko) Zombies, 1978 (Romero) Zona roja, 1975 (Fernández) Zone de la mort, 1917 (Gance) Zone Moment, 1956 (Brakhage) Zoo, 1962 (Haanstra) Zoo, 1993 (Wiseman) Zoo, 1999 (Bartel) Zoo. See Chiriakhana, 1967 Zoo in Africa?, 1933 (Sandrich) Zoo la nuit, 1987 (Arcand) Zoo Story. See Dobutsuen nikki, 1956 Zorba the Greek, 1964 (Cacoyannis) Zorro de Jalisco, 1940 (Fernández) Zsigmond Moricz 1879-1942. See Móricz Zsigmond, 1956 Ztracená stopa, 1956 (Kachyňa) Zu jung für die Liebe, 1961 (K?utner) Zu neuen Ufern, 1937 (Sirk) Zubeidaa, 2000 (Benegal) Zucker und Zimt, 1915 (Lubitsch) Zuckerbaby, 1983 (Adlon) Zuid Limburg, 1929 (Ivens) Zulu’s Heart, 1908 (Grif?th) Zum Paradies der Damen, 1922 (Pick) Zürcher Verlobung, 1957 (K?utner) Zuyderzee, 1933 (Ivens) Zuzu the Band Leader, 1913 (Sennett) Zvenyhora, 1928 (Dovzhenko) Zwei Erfahrungen Reicher, 1976 (Staudte) Zwei Herzen im Dreivierteltakt, 1930 (Forst) Zwei Katzen. See Verona, 1967 Zwei Welten, 1930 (Dupont) Zweite Erwachen der Christa Klages, 1977 (von Trotta) Zweite Schuss, 1943 (Fri?) Zwischengleis, 1978 (Staudte) Zwolfte Stunde—Eine Nacht des Grauens, 1930 (Murnau) Zycie jako smiertelna choroba przenoszona droga plciowa, 2000 (Zanussi) Zycie rodzinne, 1970 (Zanussi) Zycie Za Zycie, 1991 (Zanussi)