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DIRECTORS (Page 3 of 4)

Stanley Donen

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Rex Harrison Contract

Original Contract from "Staircase"
Includes Poster above with contract Purchase

Stanley Donen

Date of birth (location)
13 April 1924,
Columbia, South Carolina, USA

Since he was a child Stanley Donan attended dance classes
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Filmography as: Director, Producer, Miscellaneous crew, Actor, Writer, Notable TV guest appearances
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Director - filmography
(1990s) (1980s) (1970s) (1960s) (1950s) (1940s)

Love Letters (1999) (TV)

"Moonlighting" (1985) TV Series
Blame It on Rio (1984)
Saturn 3 (1980)

Movie Movie (1978)
Lucky Lady (1975)
Little Prince, The (1974)

Staircase (1969)
Bedazzled (1967)
Two for the Road (1967)
Arabesque (1966)
Charade (1963)
Grass Is Greener, The (1960)
Surprise Package (1960)
Once More, with Feeling (1960)

Damn Yankees! (1958)
... aka What Lola Wants (1958) (UK)
Indiscreet (1958)
Kiss Them for Me (1957)
Pajama Game, The (1957)
Funny Face (1957)
It's Always Fair Weather (1955)
Kismet (1955) (uncredited)
Deep in My Heart (1954)
Seven Brides for Seven Brothers (1954)
Give a Girl a Break (1953)
Fearless Fagan (1952)
Love Is Better Than Ever (1952)
... aka Light Fantastic, The (1952) (UK)
Singin' in the Rain (1952)
Royal Wedding (1951)
... aka Wedding Bells (1951) (UK)

On the Town (1949)
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Filmography as: Director, Producer, Miscellaneous crew, Actor, Writer, Notable TV guest appearances
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Producer - filmography
(1980s) (1970s) (1960s) (1950s)

Blame It on Rio (1984) (producer)
Saturn 3 (1980) (producer)

Movie Movie (1978) (producer)
Little Prince, The (1974) (producer)

Staircase (1969) (producer)
Bedazzled (1967) (producer)
Two for the Road (1967) (producer)
Arabesque (1966) (producer)
Charade (1963) (producer)
Grass Is Greener, The (1960) (producer)
Surprise Package (1960) (producer)
Once More, with Feeling (1960) (producer)

Damn Yankees! (1958) (producer)
... aka What Lola Wants (1958) (UK)
Indiscreet (1958) (producer)
Pajama Game, The (1957) (producer)
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Filmography as: Director, Producer, Miscellaneous crew, Actor, Writer, Notable TV guest appearances
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Miscellaneous crew - filmography
(2000s) (1950s) (1940s)

Love's Labour's Lost (2000) (presenter: US release)
... aka Peines d'amour perdues (2001) (France)

Funny Face (1957) (song staging)
It's Always Fair Weather (1955) (choreographer)
Give a Girl a Break (1953) (musical numbers staging)
Singin' in the Rain (1952) (choreographer) (uncredited)

Kissing Bandit, The (1949) (choreographer)
Take Me Out to the Ball Game (1949) (choreographer)
... aka Everybody's Cheering (1949) (UK)
Date with Judy, A (1948) (choreographer)
Big City (1948) (choreographer)
Living in a Big Way (1947) (dance sequences)
This Time for Keeps (1947) (choreographer)
No Leave, No Love (1946) (choreographer)
Holiday in Mexico (1946) (choreographer)
Cover Girl (1944) (choreographer) (uncredited)
Best Foot Forward (1943) (assistant choreographer) (uncredited)
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Filmography as: Director, Producer, Miscellaneous crew, Actor, Writer, Notable TV guest appearances
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Actor - filmography
(1990s) (1980s) (1940s)

Making of 'Seven Brides for Seven Brothers', The (1997) (TV) .... Himself
Hollywood Fashion Machine, The (1995) (TV) .... Himself
Audrey Hepburn: Remembered (1993) (TV) .... Himself

Cary Grant: A Celebration of a Leading Man (1988) (TV) .... Himself
Salute to Gene Kelly, A (1985) (TV) .... Himself
... aka 13th American Film Institute Life Achievement Award: A Salute to Gene Kelly, The (1985) (TV) (USA: complete title)

Best Foot Forward (1943) (uncredited)
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Filmography as: Director, Producer, Miscellaneous crew, Actor, Writer, Notable TV guest appearances
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Writer - filmography

Take Me Out to the Ball Game (1949) (story)
... aka Everybody's Cheering (1949) (UK)
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Filmography as: Director, Producer, Miscellaneous crew, Actor, Writer, Notable TV guest appearances
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Notable TV guest appearances

"Inside the Actors Studio" (1994)

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Federico Fellini

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"Juliet of the Spirits"
Signed Original 3"x5" Photo & Original Lobby Card

Biography for
Federico Fellini

Mini biography
Life -- the women who both attracted and frightened him and an Italy dominated in his youth by Mussolini and Pope Pius XII -- inspired the dreams that Fellini started recording in notebooks in the 1960s. Life and dreams were raw material for his films. His native Rimini and characters like Saraghina (the devil herself said the priests who ran his school) -- and the Gambettola farmhouse of his paternal grandmother would be remembered in several films. His traveling salesman father Urbano Fellini showed up in Dolce vita, La (1960) and 8 1/2 (1963). His mother Ida Barbiani was from Rome and accompanied him there in 1939. He enrolled in the University of Rome. Intrigued by the image of reporters in American films, he tried out the real life role of journalist and caught the attention of several editors with his caricatures and cartoons and then started submitting articles. Several articles were recycled into a radio series about newlyweds "Cico and Pallina". Pallina was played by acting student Giulietta Masina, who became his real life wife from October 30, 1943, until his death half a century later. The young Fellini loved vaudeville and was befriended in 1940 by leading comedian Aldo Fabrizi. Roberto Rossellini wanted Fabrizi to play Don Pietro in Roma, cittą aperta (1946) and made the contact through Fellini. Fellini worked on that film's script and is on the credits for Rosselini's Paisą (1946). On that film he wandered into the editing room, started observing how Italian films were made (a lot like the old silent films with an emphasis on visual effects, dialogue dubbed in later). Fellini in his mid-20s had found his life's work.
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Spouse
Giulietta Masina (1943 - 1993) (widowed)
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Trivia

Inspired the word "Felliniesque"

Invented the word "Paparazzo" to describe photographers hunting celebrities.
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Personal quotes

"There is no end. There is no beginning. There is only the infinite passion of life."

"My work is my only relationship to everything."

"You exist only in what you do."

Biography from Leonard Maltin's Movie Encyclopedia:
Director, producer, screenwriter. (b. Jan. 20, 1920, Rimini, Italy; d. Oct. 31, 1993.) So distinctive and original is the vision of this Italian filmmaker that the adjective "Felliniesque," used to describe bizarre, colorful personages and events, has become almost commonplace. Indeed, it's even used by people who haven't seen a single Fellini film. This vision began taking shape early in the director's life when, as a youngster, he ran away from boarding school to join a circus. While he was retrieved after only a few days, the experience marked him for life; many of his best, most carefully realized works have the superabundant aura of a circus about them, and in 1971 he paid tribute to the big top in The Clowns. In his youth he also worked as a cartoonist, and maintained an interest in comic books even when he had become one of the world's most respected film directors.

A friendship with Italian actor Aldo Fabrizi led Fellini into the theater, and during the 1940s (a records snafu kept him out of the military) he worked as a radio and film scriptwriter. In the latter capacity he collaborated with neorealist director Roberto Rossellini, earning an Oscar nomination as one of the writers of the seminal Open City (1945) and later working for the maestro as assistant director. Fellini codirected Variety Lights (1950) with Alberto Lattuda, beginning his association with life-as-performance themes, then took solo credit for The White Sheik (1951), a farce about fumetti actors (fumetti are comic books with real actors in still photographs rather than hand-drawn panels) and a honeymooning couple. His third feature, I Vitelloni (1953), about a group of young men coming to terms with the approaching end of their easy adolescent lives, was an inspiration for many films to come, including Barry Levinson's Diner It was also the first Fellini film scored by Nino Rota, who composed haunting and memorable music for every one of the director's films thereafter, until Rota's death in 1979.

La Strada (1954), with Anthony Quinn as a brutish strongman who takes simpleminded Giulietta Masina (offscreen Mrs. Fellini) with him around the countryside, is generally acknowledged to be Fellini's first great film, and it won him his first Oscar for Best Foreign Language Film. It was followed by Il Bidone (1955) and, later, The Nights of Cabiria (1957, his second Oscar), a prostitute-with-heart-ofgold story that provided the inspiration for the Broadway (and film) musical "Sweet Charity." While La Strada contained more than its fair share of symbolism, most of Fellini's other works of the 1950s emphasized gritty realism, albeit with more than a touch of compassion and empathy. La Dolce Vita (1960) didn't explicitly enter the realm of the fantastic, but it marked the beginning of a period wherein the director's skewed sensibilities would be fully realized. It also marked the beginning of his longtime association with actor Marcello Mastroianni, who played a shallow reporter bored with the superficialities of contemporary Rome.

8 (1963, third Oscar), generally considered to be Fellini's masterpiece, presented a dizzying mix of memory, fantasy, and realism, and followed the travails of film director Guido (Mastroianni) as he attempted to get his latest movie off the ground. Widely regarded as autobiographical, it inspired imitations from directors as diverse as Paul Mazursky, Bob Fosse, and Woody Allen-none of whom, it must be added, have come close to duplicating the original's élan. Fellini's first color feature, Juliet of the Spirits (1965), did for leading character Masina, a bored, bourgeois housewife, what 8 did for film director Guido: open the door to a phantasmagorical inner world. This movie united Fellini's critical coterie worldwide, although a few observers responded more skeptically: director Luis Buńuel, for example, dismissed it as an exercise in "technical trickery."

Fellini contributed the best sequence to Spirits of the Dead (1968), entitled "Never Bet the Devil Your Head," and then made his name part of the title for his next effort, Fellini Satyricon (1969), a rib ald look at ancient Rome that featured then-corpulent fitness guru Richard Simmons (who at the time was appearing in Italian TV commercials) in a small role. Indeed, Fellini's films became a haven for all sorts of peculiar types, who were central to his hyperbolic way of looking at things.

In the 1970s critics began to accuse Fellini of self-parody, and indeed some of his films seemed like pale imitations of earlier works, but his vivid and nostalgic reminiscence, Amarcord (1974), was a great success, and earned him his fourth Academy Award. Fellini's Roma (1972), Fellini's Casanova (1976), and Orchestra Rehearsal (1979) were released to diminished critical enthusiasm and declining audiences. And the Ship Sails On (1984) didn't enjoy any more success than the director's 1970s films, but did at least feature some strikingg opening sequence. By the time of Ginger and Fred (1986), most of the talk was about Ginger Rogers' threatened lawsuit against Fellini for unauthorized use of first names (nothing ever came of it), and Woody Allen's reported intervention on Fellini's behalf to try and convince Irving Berlin to allow some of his songs to be used in the picture, a rather limp satire of television.

Fellini's star in the U.S. dimmed to the extent that his last picture, 1990's cute but decidedly minor La Voce de La Luna failed to secure U.S. distribution. His 1987 mock-documentary, Intervista which includes recreations of earlier Fellini films, finally saw American release in 1992. He wrote an autobiography, "Fellini on Fellini," in 1976. The legendary director received a special Academy Award honoring the body of his work in 1993.

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John Huston

Vintage 8"x10" Original

Huston has signed
"To those faithful to 'The Movies' my very best regards
John Huston"

THE SIGNED CONTRACT BELOW
OFFERED JULY 25 by
CHRISTIES AUCTION"

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John Huston Signed Contract
Please read as it covers most Huston Classics

Biography for
John Huston

Mini biography
'John Huston' was a man of many interests--painting, boxing, sculpture, gambling, fox-hunting, etc. He had four children: Tony and Angelica (with Ricki Soma), Danny (with another woman), and Allegra (Ricki with another man, but Huston raised the girl after Ricki died in a car crash). Huston wrote a somewhat sanitized autobiography in 1980 (friends who read it said, "Good book, John--who's it about?").
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Spouse
Evelyn Keyes (1946 - 1950) (divorced)
'Dorothy Harvey' (? - ?)
'Lesley Black' (? - ?)
'Ricki Soma' (? - ?)
'Celeste (Cici); Shane'
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Trade mark

Frequently gives his father Walter Huston a small role [father]
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Trivia

At one time he kept a pet monkey. His wife of the time, Evelyn Keyes, became fed up with the noise and the mess and told Huston that either she or the monkey would have to leave. "Honey, " replied Huston, "It's you!"

Son of the actor Walter Huston, whom he directed and with whom he bit-played in 'The Treasure of the Sierra Madre' (1948).

Son Tony Huston (I) appeared with him in 'The List of Adrian Messenger' (1963).

Appeared with daughter Anjelica Huston in 'A Walk with Love and Death' (1969).

Father of director Danny Huston.

(1983) American Film Institute Life Achievement Award

Interred at Hollywood Memorial Cemetery (now called Hollywood Forever), Hollywood, California, USA. Became an Irish citizen in 1964.
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Personal quotes

"Do it - try it - fight - write - act - direct - indulge - survive. John Huston can do it all. And he rubbed my back when I was sick." - Katharine Hepburn

Toward the end of his life he listed what he would change: 1) I would spend more time with my children. 2) I would make my money before spending it. 3) I would learn the joys of wine instead of hard liquor. 4) I would not smoke cigarettes when I had pneumonia. 5) I would not marry the fifth time.


Biography from Leonard Maltin's Movie Encyclopedia:
Director, screenwriter, actor. (b. Aug. 5, 1906, Nevada, Mo.; d. Aug. 28, 1987.) A restless man with seemingly boundless energy but diffuse ambitions, John Huston made his mark on movie history as a writer and director, with many enduring screen classics and an almost equal number of flops to his credit. Born into a family of actors (his father was the distinguished Walter Huston), he performed on stage with his parents at the age of three. A sickly child, Huston eventually achieved physical fitness and even took up boxing in his teens. Tiring of that, he flirted with an acting career and married his high-school sweetheart, only to abandon both for the promise of adventure in the Cavalry. He wrote his first play, "Frankie and Johnny," in 1928. With the help of his father, John was given a Universal screenwriting contract in 1932. He contributed dialogue to two of his father's films,A House Divided andLaw and Order as well asMurders in the Rue Morgue (all 1932), before leaving the studio abruptly to go to Europe. Virtually penniless, he wandered around London and Paris for months before returning to America, where he briefly edited a magazine and dabbled in acting once again.

In 1938 Huston, by now remarried and over 30 years old, decided to "settle down" and apply himself to a career. He resumed writing for the screen, landing a Warner Bros. contract in 1938. After contributing to scripts forJezebel (1938),Juarez (1939),Dr. Ehrlich's Magic Bullet (1940, for which he secured his first Academy Award nomination), andHigh Sierra (1941), Huston lobbied studio executives for a property to direct. He was given Dashiell Hammett's private-eye novel, "The Maltese Falcon," a studioowned property that had already been filmed twice in the last decade. Huston crafted a taut, no-nonsense screenplay that was more faithful to the novel than the previous two adaptations, and eagerly acceptedHigh Sierra star Humphrey Bogart as his leading man (after George Raft turned the part down). His father, still enjoying tremendous popularity, took a brief cameo for good luck.The Maltese Falcon (1941), a surprise hit, became the definitive private-eye picture, catapulting Bogart to major stardom, earning Huston another Oscar nod for the script, and cementing his status as a top director.

After writingSergeant York (also 1941), which netted Huston his third Academy Award nomination, and directing the Bogart vehicleAcross the Pacific and the domestic dramaIn This Our Life (both 1942), Huston went into the Signal Corps and turned out the wartime documentariesReport from the Aleutians (1943),The Battle of San Pietro andLet There Be Light (both 1945), which were among the finest produced during World War 2. (The latter, a straightforward study of psychological problems in the military, was banned and went unseen until the 1970s.) He saw action on both the Pacific and European fronts, and attained the rank of major.

Back in Hollywood after the conflict, he made uncredited contributions to the screenplays ofThe Killers andThe Stranger (both 1946) before resuming his career at Warner Bros. He initially tackled B. Traven's dense novelThe Treasure of the Sierra Madre for which he recruited Bogart, his father Walter, and RKO cowboy star Tim Holt. Filmed in 1946 but unreleased until 1948, the screen version of their ill-fated odyssey in search of gold in Mexico won Huston Oscars both for his direction and his screenplay (and won Walter a Best Supporting Actor statuette). John also contributed an amusing cameo near the beginning of the picture. His other Warners films of the period,Three Strangers (1946, for which he wrote the script),Key Largo (1948, also with Bogart), andWe Were Strangers (1949), were somewhat less successful, artistically if not commercially.

Huston moved to MGM, where he was immediately assigned to direct the Biblical spectacleQuo Vadis? a project for which he had no enthusiasm whatsoever. He persuaded studio head Louis B. Mayer to release him from that obligation, and then produced, wrote, and directedThe Asphalt Jungle (1950), a gritty urban crime drama that earned him more Oscar nominations and, ultimately, became a much-imitated classic of the film noir genre. Huston's next MGM film,The Red Badge of Courage (1951), faithfully adapted from Stephen Crane's harrowing Civil War novel, flopped miserably upon initial release but has since come to be recognized as one of Huston's best films. (He always despaired that it was taken from him and recut, however. The saga of its making, and unmaking, was recounted in Lillian Ross' classic 1952 book Picture) He collaborated with prominent film critic (and faithful Huston booster) James Agee on the script forThe African Queen (1951), which teamed Humphrey Bogart with Katharine Hepburn for unusually felicitous results. The film's critical and commercial success restored Huston's reputation and, once again, resulted in Oscar nods for his and Agee's screenplay and his direction; it also earned Bogey his only Academy Award.P>Moulin Rouge (1952), a lush, colorful biography of the artist Toulouse-Lautrec starring Jose Ferrer, also netted Huston a Best Director nomination and was well received. But the director's subsequent efforts were erratic (possibly reflecting tumultuous changes in his personal life during the period).Beat the Devil (1954), filmed in Italy, was something of an in joke for Huston and Humphrey Bogart, with a spoofy,Maltese Falcon-esque script by the director and Truman Capote. It took him three years to getMoby Dick (1956) on screens, and Huston's moody treatment of the Melville story seemed inaccessible to many. After that, the quality and success of Huston's output varied considerably:Heaven Knows, Mr. Allison (1957) gave him another Oscar nomination (for his script), butThe Barbarian and the Geisha, The Roots of Heaven (both 1958),The Unforgiven (1960),Freud (1962),The List of Adrian Messenger (1963),The Night of the Iguana (1964),The Bible (1966),Reflections in a Golden Eye (1967),Casino Royale (also 1967, codirected with several others),Sinful Davey, A Walk With Love and Death (both 1969, and both featuring his teenaged daughter Anjelica), andThe Kremlin Letter (1970) showed a progressive and precipitous decline. OnlyThe Misfits (1961) seemed up to Huston's earlier works-and even this film has achieved greater stature in the years since its initial release.

Huston began his screen acting career in 1963, earning an Oscar nod for his first supporting role, inThe Cardinal He also appeared in his ownAdrian Messenger, The Bible (as Noah),Casino Royale andA Walk With Love and Death (1969), and worked for other directors inCandy (1968),De Sade (1969),Myra Breckinridge (1970),The Deserter (1971),Battle for the Planet of the Apes (1973),Chinatown (1974, a standout as the film's heavy),Breakout, The Wind and the Lion (both 1975),Sherlock Holmes in New York (1976 telefilm),The Great Battle (1978),The Visitor (1979),Winter Kills (1979, as a Joseph P. Kennedy prototype), Lovesick (1983), andMomo (1986)
.

Huston directed and took a cameo role inThe Life and Times of Judge Roy Bean (1972), a muddled revisionist Western, and the forgettable The Mackintosh Man (1973).Fat City (1972), a gritty story about a washed-up boxer, helped rehabilitate his directorial reputation, andThe Man Who Would Be King (1975), a Kipling adventure story Huston originally hoped to film in the 1950s with Bogart and Clark Gable, restored him to critical favor with an Oscar nomination.Wise Blood (1979) showed the aging director more than equal to the task of adapting Flannery O'Connor's Southern Gothic. But these were small, personal films; his more mainstream studio filmsPhobia (1980),Victory (1981), andAnnie (1982, his only musical) were unmitigated disasters. What's more, Huston's health was failing. But he rebounded-physically and artistically-for a trio of films as mature and provocative as any he'd ever made, all of them adapted from unusual (even "difficult") novels:Under the Volcano (1984),Prizzi's Honor (1985), a black comedy about Mafia assassins that got Huston his final Oscar nod (and won daughter Anjelica an Oscar for Best Supporting Actress), andThe Dead (1987), a James Joyce story adapted by his son Tony (and which also featured Anjelica). (He also directed a special film commemorating America's Bicentennial,Independence in 1976.) At the time of his death Huston was handling preproduction chores and preparing the story forMr. North (1988), which was ultimately directed by his son Danny. His role in the film was assumed by Robert Mitchum.

Huston, who was as colorful as any character he depicted on film, wrote an autobiography, "An Open Book," in 1980. Screenwriter Peter Viertel's fictionalized chronicle of Huston directingThe African Queen "White Hunter, Black Heart," published in 1953, became a film in 1990, with Clint Eastwood doing a pretty fair imitation of the director. Huston is also the only person to direct both a parent and a child to Oscar-winning performances. In fact, the Huston family is the only one in the Academy annals with three generations of Oscar winners. He was once married to actress Evelyn Keyes.

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George Cukor

Famed Deceased Director of
Garbo, Hepburn, & Harlow Classics

8" X 10" Original Vintage Photograph
Authentically Signed

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Click to enlarge

Shooting Script  "Travels With My Aunt" 1972
Signed by George Cukor from a novel by Graham Greene (scroll down for his Bio)

Biography for
George Cukor

Height: 5' 9"
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Trivia

Frances Goldwyn, wife of mogul Samuel Goldwyn, is buried next to Cukor at her request because of her long, but unrequited love for him.

Cukor was replaced as director of Gone with the Wind (1939) because Clark Gable considered him better suited as a so-called woman's director.

Interred at Forest Lawn (Glendale), Glendale, California, USA, in the Garden of Honor, unmarked. (Private area. Not accessible to the general public).

Worked as Broadway director before going into the film business with Grumpy (1930).

Biography from Leonard Maltin's Movie Encyclopedia:
Director. (b. July 7, 1899, New York City; d. Jan. 24, 1983.) His unfair designation as a "woman's director" was Hollywood shorthand for the fact that Cukor was gay; in reality, he was a splendid director of both male and female actors, far more comfortable with pace and performance than visual technique, and his obvious skill and taste made him one of the aces of Hollywood's Golden Age. A distinguished theatrical director in the 1920s (who worked with Ethel Barrymore and Jeanne Eagels, among others), he migrated to Hollywood in 1929 with the first wave of Broadway talent "imported" during the early years of talkies. He was a dialogue director on All Quiet on the Western Front (1930), a job he also held on several early Paramount talkies before becoming a solo director with Tarnished Lady (1931). Shortly thereafter, Cukor met legendary producer David O. Selznick, then production chief for RKO; their professional association began with A Bill of Divorcement (the 1932 drama that introduced Katharine Hepburn to the screen), and continued when Selznick moved to MGM, where Cukor directed Dinner at Eight (1933) and David Copperfield (1935) for the producer, and also helmed the classics Romeo and Juliet (1936), Camille (1937, starring Greta Garbo), and Holiday (1938, again with Hepburn, and Cary Grant as well), before being assigned by Selznick to Gone With the Wind (1939). He was fired 10 days after the start of production-on some accounts due to star Clark Gable's resentment of having to work with a director who, aside from being homosexual, lavished most of his attention on female lead Vivien Leigh.

While the dismissal apparently remained a thorn in his side for the rest of his life, it didn't diminish Cukor's reputation or ability to make sparkling comedies and dramas. The Women (1939), with its all-star female cast headed by Norma Shearer and Joan Crawford, and The Philadelphia Story (1940), which reteamed him with Hepburn and Grant, proved that. He had several unfortunate assignments during the 1940s, including the 1941 Garbo fiasco Two-Faced Woman But Cukor's bounce back, beginning in the late years of the decade, was strong indeed; he helmed two of the finest Spencer Tracy-Katharine Hepburn vehicles, Adam's Rib (1949) and Pat and Mike (1952), both cowritten by Garson Kanin and Ruth Gordon. Other highlights from Cukor's later years include Born Yesterday (1950, the last great screwball comedy, starring Judy Holliday) and A Star Is Born (1954, remaking a 1937 Selznick production, with Judy Garland).

Cukor received his only Best Director Oscar for My Fair Lady (1964). That film aside, he seemed at sea for much of the decade, witness such misfires as the "frank" sex drama The Chapman Report (1962) and a faux-erotic adaptation of Lawrence Durrell's Justine (1969). His last big-screen effort, Rich and Famous (1981), was an ill-advised attempt to graft The Women's elegant bitchiness to a contemporary setting; the only thing critics praised was Cukor's stamina, since he made it at the ripe age of 82.

OTHER FILMS INCLUDE: 1931: Girls About Town 1932: What Price Hollywood? 1935: Sylvia Scarlett 1941: A Woman's Face 1942: Her Cardboard Lover, Keeper of the Flame 1944: Gaslight 1947: A Double Life 1952: The Marrying Kind 1953: The Actress 1957: Les Girls 1960: Let's Make Love 1976: The Blue Bird

BIOGRAPHY for GRAHAM GREENE

Graham Greene was born on October 2, 1904 to Charles Henry and Marion Raymond Greene, the fourth of six children.  Charles was the Head Master of Berkhamsted School.  Graham's brothers
included Hugh, who went on to become a Director General of the BBC, and Raymond, an accomplished mountaineer involved in the 1931 Kamet and 1933 Everest expeditions.  One of Marion's distant cousins happened to be a person called R. L. Stevenson.

Greene studied at the Berkhamstead School and Oxford ( in Balliol ) By all accounts, he had a pretty torrid time in Berkhamstead, having to balance all the time between his father and his schoolmates.

He wrote quite regularly in Student Magazines, and was an editor of The Oxford Outlook.  His first work, a collection of apparently forgettable poems, Babbling April, was published during his last
year at Oxford.

After graduation, he worked briefly for the Nottingham Journal. He was baptized a Catholic in February 1926.  In March, he returned to London, as the Sub Editor for The Times.

Greene married Vivienne ( later Vivien ) Dayrell-Browning in October 1927.  He had met her in early '25, after she had written correcting a small mistake ( Greene had talked of 'worshipping' the Virgin Mary, and Vivienne felt he ought to have used the word 'venerated' ) in one of his Outlook articles.

His first novel, The Man Within, came out in 1929, to public and critical acclaim.  A lucrative contract with Heinemann followed, for his next three novels, enabling him to resign from The Times, and devote
more time to his novels.  The Name of Action and Rumour at Night fall, his next two books, did not do very well.  The Greenes moved to the Cotswolds in 1931, and he had begun work on what was to
establish him as a significant literary figure.  Stamboul Train ( also known as Orient Express ) went on to become a commercial success, and a film ( by Twentieth Century Fox ).

"The Critic, as much as the film, is supposed to entertain ... "

Around this time, Greene started reviewing for The Spectator. His film criticism career actually stretched back to his Oxford days, with an Outlook article in 1925.  He also had written a few essays on films for The Times.  He remained an avid film goer for a long time, so much so that he reworked the character of , after watching Anna Sten in The Crime of Dmitri Karamazov ( by Feodor Ozep ).

In 1935, he added films to his book reviewing work at The Spectator. He continued to review films for over a decade, and is widely reg- arded one of the finest critics of his time, the Shirley Temple fiasco
notwithstanding ( His review of a 1937 film, Wee Willie Winkie, contained disparaging remarks about Ms. Temple's precocious body and it's alleged exploitation by Hollywood movie moghuls. The review
led to a messy lawsuit, and possibly the closing down of  Night and Day, for which Greene had written the piece ).

Vivien Greene gave birth to a daughter in December 1933, six months after they had moved again, this time to Oxford.

"Ways of Escape"

It's a Battlefield was published in early 1934.  Greene started travell -ing extensively in 1934 - brief trips to Germany, Latvia and Estonia preceding an arduous journey overland through Liberia, in the company of his cousin Barbara, which was chronicled in Journey without Maps. He returned in April 1937; England made Me, written before he had left, was published soon after.  A Gun for Sale came next,in 1936.

Francis Greene was born in September 1936.  In 1938, Brighton Rock came out.  In the same year, Greene made a trip to Mexico, to investigate into alleged atrocities against the Catholics.  The result of the journey was two books, The Lawless Roads in March 1939, and The Power
And The Glory, perhaps his finest book, in September 1939.  The latter won for him his first major literary prize, The Hawthornden;  the term Greeneland first appeared, at around this time, as a description of the atmosphere in his novels, in an Arthur Calder-Marshall article for The Horizon.

The outbreak of the Second World War led to Vivien and the children evacuating to Crowborough, and later Oxford.  Greene worked for the Ministry of Information, and then volunteered for the Air Raid Precautions Squad during the London Blitz.  He wrote four childrens' stories during this time, illustrated by a friend, Dorothy Glover; the books were published after the War.  Greene also managed to have The Confidential Agent published in September 1939.  The novel was an unusual Greene offering in that it's ending was unambiguously happy.

In August, 1941, Greene joined the SIS, and was assigned to Freetown, Sierra Leone, in December.  The job was by and large boring, and Greene livened it up by coming up with some innovative plans to recruit spies; one proposed a travelling brothel and another involved tricking a Left Wing official into escaping form Freetown prison with British agents, letting them cross over into Vichy Territory, and then luring him back to blackmail him into becoming a double agent. Unfortunately he did not obtain approval for these schemes.  In early 1943, Greene returned to London, to a job in Section V.  He was assigned to Counter Intelligence, Portugal, and reported to Kim Philby, who was then in charge of the area. They became good friends - after Philby's defection to the erstwhile USSR, his memoirs, My Silent War, contained laudatory references to Greene and Greene wrote it's Introduction.

An interesting sidelight of Greene's tenure in the SIS is the story of 'Garcia'. A double agent in Lisbon, he fed the Germans disinformation, pretending to control a ring of agents all over England, while all he was doing was inventing armed forces movements and operations from maps, guides and standard military references.  Garcia was the inspiration for Wormold a character in Our Man in Havana.

Greene left the Service in May 1944, and joined the Political Warfare Executive, editing a literary magazine intended for France.  After the War, Greene was commissioned to write a film treatment based on Vienna, a city occupied by the Four Powers at the time.  He collaborated with Carol Reed in writing The Third Man, a skillful tale of deception and drug trafficking. The film went on to win the First Prize at Cannes in 1949

 

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