Download International Dictionary of Films and Filmmakers. Vol. 2: Directors PDF

TitleInternational Dictionary of Films and Filmmakers. Vol. 2: Directors
PublisherSt. James Press
ISBN 139781558624771
CategoryArts - Film
LanguageEnglish
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Document Text Contents
Page 1

International Dictionary of Films and Filmmakers- 2

DIRECTORS
FOURTH EDITION

EDITORS

TOM PENDERGAST
SARA PENDERGAST

Page 2

International Dictionary of Films and Filmmakers-2

DIRECTORS

Page 662

MANNDIRECTORS, 4th EDITION

653

Tesson, Charles, ‘‘All about Mankiewicz,’’ in Cahiers du CinØma
(Paris), October 1980.

Charbonnier, A., ‘‘Dossier-auteur (II): Joseph L. Mankiewicz—le
temps et la parole,’’ in CinØma (Paris), July/August 1981.

Farber, S., and M. Green, ‘‘Family Plots,’’ in Film Comment (New
York), July/August 1984.

Buckley, M., and J. Nangle, ‘‘The Regency Salutes the Brothers
Mankiewicz,’’ in Films in Review (New York), October and
November 1984.

‘‘Joseph L. Mankiewicz,’’ in Film Dope (London), December 1987.
Obituary in CinØma (Paris), no. 504, 15 February 1993.
Obituary in TØlØrama (Paris), no. 2249, 17 February 1993.
Obituary in Mensuel du CinØma, no. 4, March 1993.
TMoullet, L., and P. Merigeau, ‘‘Mankiewicz: l’art de le machina-

tion,’’ in Cahiers du CinØma (Paris), no. 465, March 1993.
Obituary in EPD Film (Frankfurt), vol. 10, no. 4, April 1993.
Kazan, Elia, and V. Amiel, ‘‘Joe Mankiewicz en son île d’Elbe /

Mankiewicz, ou le geste interdit,’’ in Positif (Paris), no. 386,
April 1993.

* * *

Few of Joseph Mankiewicz’s contemporaries experimented so
radically with narrative form. In The Barefoot Contessa, Mankiewicz
(who wrote most of the films he directed) let a half-dozen voice-over
narrators tell the Contessa’s story, included flashbacks within flash-
backs, and even showed one event twice (the slapping scene in the
restaurant) from two different points of view. Multiple narrators tell
the story in All about Eve, too, and in the non-narrated framing story
for that film, Mankiewicz uses slow motion to make it seem as if the
elapsed time between the beginning of the film and the end is only
a few seconds. For much of the film, The Quiet American also has
a narrator, and he seems almost totally omniscient. Apparently, he
looks back at events with a firm understanding of their development
and of the motivation of the people involved. But in the end, we find
out that the narrator was wrong about practically everything, and so
gave us an inaccurate account of things. A Letter to Three Wives is
made up, primarily, of several lengthy flashbacks, and hallucinogenic
flashback sequences provide the payoff to the story in Mankiewicz’s
adaption of the Tennessee Williams play Suddenly Last Summer.
Mankiewicz’s films, then, stand out in part because of the way they
tell their stories. But there are also thematic motifs that turn up again
and again, and one of the most important is the impact of the dead
upon the living. Frequently, a dead character is more important in
a Mankiewicz film than any living one. The Late George Apley, of
course, concerns someone who has already died. Understanding
a mother’s dead son is the key for the psychiatrist in Suddenly Last
Summer. In The Ghost and Mrs. Muir, it is the presence of the non-
corporeal sea captain that makes the film so entertaining. The Bare-
foot Contessa opens with the Contessa’s funeral, and then various
mourners tell us what they know about the woman who has just been
buried. And, of course, a famous funeral scene forms the centerpiece
of another Mankiewicz film: Mark Antony’s oration in Julius Caesar.
It is Antony’s stirring performance as a eulogist that turns his
countrymen against Brutus.

Indeed, Mankiewicz’s films deal constantly with the notion of
effective and highly theatrical performance. All about Eve, for in-
stance, is all about performing, since it concerns people who work on
the Broadway stage. The barefoot contessa goes from cabaret dancer

to Hollywood star. In The Honey Pot, an aging man pretends to be
dying, to see how it affects his mistress. And in Sleuth, one marvels at
the number of disguises worn by one man in his attempt to gain
revenge on another.

Perhaps because he began as a screenwriter, Mankiewicz has often
been thought of as a scenarist first and a director only second. But not
only was he an eloquent scriptwriter, he was also an elegant visual
stylist whose talents as a director far exceeded his reputation. He is
one of the few major American directors who was more appreciated
during the early years of his career than during the later stages. He
won consecutive Best Director Academy Awards in 1949 and 1950
(for A Letter to Three Wives and All about Eve), but after the 1963
disaster Cleopatra, Mankiewicz’s standing as a filmmaker declined
rapidly.

—Eric Smoodin

MANN, Anthony

Nationality: American. Born: Anton or Emil Bundsmann in Point
Loma or San Diego, California, 1907. Education: Educated in New
York City public schools. Family: Married 1) Mildred Kenyon, 1931
(divorced 1956), one son, one daughter; 2) Sarita Montiel, 1957
(marriage annulled 1963); 3) Anna (Mann), one son. Career: Began
work in theatre following father’s death, 1923; production manager
for Theater Guild, New York, from late 1920s, then director, 1933;

Anthony Mann

Page 663

MANN DIRECTORS, 4th EDITION

654

director for Federal Theater Project, New York, 1936–38; talent scout
for David Selznick, and casting director, Hollywood, 1938; assistant
director at Paramount, 1939; signed to Republic Pictures, 1943, to
RKO, 1945, then to MGM, 1949; withdrew from Spartacus after
quarrelling with Kirk Douglas, 1960. Died: During shooting of last
film, in Germany, 29 April 1967.

Films as Director:

1942 Dr. Broadway; Moonlight in Havana
1943 Nobody�s Darling
1944 My Best Gal; Strangers in the Night
1945 The Great Flamarion; Two o�Clock Courage; Sing Your Way

Home
1946 Strange Impersonation; The Bamboo Blonde
1947 Desperate; Railroaded
1948 T-Men (+ co-sc, uncredited); Raw Deal; He Walked by Night

(co-d, uncredited)
1949 Reign of Terror (The Black Book); Border Incident
1950 Side Street; Devil�s Doorway; The Furies; Winchester �73
1951 The Tall Target
1952 Bend of the River
1953 The Naked Spur; Thunder Bay
1954 The Glenn Miller Story
1955 The Far Country; Strategic Air Command; The Man from

Laramie; The Last Frontier
1956 Serenade
1957 Men in War; The Tin Star
1958 God�s Little Acre; Man of the West
1961 Cimarron; El Cid
1964 The Fall of the Roman Empire
1965 The Heroes of Telemark
1968 A Dandy in Aspic (co-d)

Publications

By MANN: articles—

Interview, in Cahiers du CinØma (Paris), March 1957.
‘‘Now You See It: Landscape and Anthony Mann,’’ interview with

J.H. Fenwick and Jonathan Green-Armytage, in Sight and Sound
(London), Autumn 1965.

‘‘A Lesson in Cinema,’’ interview with Jean-Claude Missiaen, in
Cahiers du CinØma in English (New York), December 1967.

Interview with Christopher Wicking and Barrie Pattison, in Screen
(London), July/October 1969.

‘‘Empire Demolition,’’ in Hollywood Directors 1941�1976, edited
by Richard Koszarski, New York, 1977.

On MANN: books—

Missiaen, Jean-Claude, Anthony Mann, Paris, 1964.
Kitses, Jim, Horizons West, Bloomington, Indiana, 1970.
Wright, Will, Sixguns and Society, Berkeley, California, 1975.
Basinger, Jeanine, Anthony Mann, Boston, 1979.

On MANN: articles—

Reid, J.H., ‘‘Mann and His Environment,’’ in Films and Filming
(London), January 1962.

Reid, J.H., ‘‘Tension at Twilight,’’ in Films and Filming (London),
February 1962.

Wagner, Jean, ‘‘Anthony Mann,’’ in Anthologie du CinØma (Paris),
vol. 4, 1968.

Handzo, Stephen, ‘‘Through the Devil’s Doorway: The Early Westerns
of Anthony Mann,’’ in Bright Lights (Los Angeles), Summer 1976.

Smith, Robert, ‘‘Mann in the Dark,’’ in Bright Lights (Los Angeles),
Fall 1976.

‘‘Special Mann Double Issue’’ of Movietone News (Seattle), Fall 1978.
Miller, Don, ‘‘Eagle-Lion: The Violent Years,’’ in Focus on Film

(London), November 1978.
Willeman, Paul, ‘‘Anthony Mann—Looking at the Male,’’ in Frame-

work (Norwich, England), Summer 1981.
Pulleine, Tim, ‘‘History, Drama, Abstraction: Mann’s Route to

Madrid,’’ and ‘‘Mann’s Route to Madrid, Part II,’’ in Monthly
Film Bulletin (London), March and April 1982.

‘‘Anthony Mann,’’ in Film Dope (London), December 1987.
Boujut, M., ‘‘A l’Ouest, l’éden,’’ in TØlØrama (Paris), no. 2268, 30

June 1993.
Saada, N., ‘‘Les westerns fiévreux d’Anthony Mann,’’ in Cahiers du

CinØma (Paris), no. 470, July-August 1993.
Bénoliel, Bernard, ‘‘Anthony Mann: en quête d’innocence,’’ in

Mensuel du CinØma, no. 9, September 1993.
Everschor, Franz, ‘‘‘On Some Men It Shows,’’’ in Film-Dienst

(Cologne), vol. 49, no. 3, June 1996.
Kemp, Philip, ‘‘‘The Story of All Wars’: Anthony Mann’s Men in

War,’’ in Film Comment (New York), vol. 32, no. 4, July-
August 1996.

* * *

Though he incidentally directed films in various genres (the
musical, the war movie, the spy drama), Anthony Mann’s career falls
into three clearly marked phases: the early period of low-budget, B-
feature films noir; the central, most celebrated period of westerns,
mostly with James Stewart; and his involvement in the epic (with
Samuel Bronston as producer). All three periods produced distin-
guished work (in particular, El Cid has strong claims to be considered
the finest of all the wide–screen historical epics of the 1950s and
1960s, and the first half of The Fall of the Roman Empire matches it),
but it is the body of work from the middle period in which Mann’s
achievement is most consistent and on which his reputation largely
depends.

The first of the Stewart westerns, Winchester �73, contains most of
the major components Mann was to develop in the series that
followed. There is the characteristic use of landscape—never for the
superficial beauty or mere pictorial effect that is a cliché of the genre,
nor to ennoble the human figures through monumental grandeur and
harmonious man-in-nature compositions, as in the classical westerns
of Ford. In Mann, the function of landscape is primarily dramatic, and
nature is felt as inhospitable, indifferent, or hostile. If there is
a mountain, it will have to be climbed, arduously and painfully; barren
rocks provide a favourite location for a shoot-out, offering partial
cover but also the continued danger of the ricochet. The preferred
narrative structure of the films is the journey, and its stages are often
marked by a symbolic progression in landscape, from fertile valley to

Page 1323

FILM TITLE INDEX DIRECTORS, 4th 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 Mladý muž 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
7��
����9��
!��
, 1939 (Ford)
Young Mr. Pitt, 1942 (Launder and Gilliat; Reed)
Young Nurses, 1972 (Corman)
Young Oldfield, 1924 (Mccarey)
Young One, 1960 (Buñuel)
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 Törless. See Junge Törless, 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 7�
������%� ��, 1935
Youth of “The Land of Angels.’’ See Angyalföldi fiatalok, 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)
7�
������%� ��, 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)

:, 1969 (Costa-Gavras)
Z čínskëo zápisniku, 1954 (Kachyňa)
Z miasta Lodzi, 1969 (Kieślowski)
Z punktu widzenia nocnego portiera, 1977 (Kieślowski)
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 život radostný, 1951 (Kachyňa)
Zabriskie Point, 1970 (Antonioni)
Zacharovannaya Desna, 1965 (Dovzhenko)
Zaczárowany rower, 1955 (Polanski)
Zadzwoncie do mojej zony, 1958 (Polanski)
Zagranichnii pokhod sudov Baltiiskogo flota kreisere “Aurora” i

uchebnogo sudna “Komsomolts,” August 8, 1925, 1925 (Vertov)
Zaida, die Tragödie 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)
:�
� %����
������ , 1939 (Mizoguchi)

Page 1324

FILM TITLE INDEXDIRECTORS, 4th EDITION

1329

Zanzibar, 1988 (Breillat)
Zaostřit, prosím, 1956 (Frič)
Zaporosch Sa Dunayem, 1938 (Ulmer)
Zapotecan Village, 1941 (Eisenstein)
Zappa, 1983 (August)
Zaproszenie do wnętrza, 1978 (Wajda)
Zardoz, 1973 (Boorman)
Zärtlichkeit der Wölfe, 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 (Kieślowski)
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)
:�����, 1930 (Dovzhenko)
Zemma, 1951 (Kinoshita)
Zendegi Edame Darad, 1991 (Kiarostami)
Zeni no odori, 1964 (Ichikawa)
:��%���, 1975 (Tarkovsky)
:#���
��!�

� ��, 1933 (Vigo)
Zero Murder Case. See Uncle Harry, 1945
Zert, 1968 (Jireš)
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)
Ziegfield Girl, 1941 (Berkeley)
Ziemia obiecana, 1974 (Wajda)
Zil pevcij drozd, 1972 (Ioseliani)
Zimba gibi delikanli, 1964 (Güney)
Zinker, 1931 (Frič)
Zipp, the Dodger, 1914 (Sennett)
Zire darakhatan zeyton, 1994 (Kiarostami)
Zitelloni, 1958 (de Sica)
Zivot je pes, 1933 (Frič)

Zivot Radina, 1987 (Kusturica)
Zlaté kapradí, 1963 (Weiss)
Zločin v šantánu, 1968 (Menzel)
Zločin v dívčí škole, 1965 (Menzel)
Zły chłopiec, 1950 (Wajda)
Znoy, 1963 (Shepitko)
Zo o kutta renchu, 1947 (Yoshimura)
Zoárd Mester, 1917 (Curtiz)
Zoceleni, 1950 (Frič)
Zoe bonne, 1966 (Chabrol)
Zoko minami no kaze, 1942 (Yoshimura)
Zoku Sugata Sanshiro, 1945 (Kurosawa)
Zöldár, 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 (Käutner)
Zu neuen Ufern, 1937 (Sirk)
Zubeidaa, 2000 (Benegal)
Zucker und Zimt, 1915 (Lubitsch)
Zuckerbaby, 1983 (Adlon)
Zuid Limburg, 1929 (Ivens)
Zulu’s Heart, 1908 (Griffith)
Zum Paradies der Damen, 1922 (Pick)
Zürcher Verlobung, 1957 (Käutner)
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 (Frič)
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)

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