Dictionary of films

1972·27.2 MB·English

by  Sadoul, Georges, 1904-1967

DICTIONARY OF
FILM MAKERS
This One
niiiiii
TJW0-BJ1-N8AD
TRANSLATED,EDITED,ANDUPDATEDBY
UNIVERSITYOFCALIFORNIAPRESS
BERKELEYANDLOSANGELES
UniversityofCaliforniaPress
BerkeleyandLosAngeles
© 1972byTheRegentsoftheUniversityofCalifornia
TranslatedwiththepermissionofEditionsduSeuil,
Paris.OriginallypublishedasDictionnairedes
Cinéastes,1965.
DesignedbyW.H.Snyder
LibraryofCongressCatalogCardNumber:78-136028
ISBN: 0-520-01864-8 (cloth)
0-520-02151-7 (paper)
Copyrightedmaterial
BYGEORGESSADOUL
For this Dictionary we used the definition of "Film Maker" given by
Louis Delluc in 1922, to include "Organizers, directors, artists, industri-
alists who have contributed something to the artistic industry of the
cinema."
The present volume contains a thousand entries devoted to directors,
scriptwriters,cinematographers,artdirectors,composers,producers,inven-
tors—butnotactors andactresses.Atleast 10,000entrieswouldbe nec-
essary—not for an international Who's Who which would require at
least 100,000 names, butjustinordertoinclude all thosewhohavecon-
tributedtotherapidworldwidedevelopmentoftheartofthecinemasince
1895.ThisDictionarydoesnotpretendtobe"exhaustive."Inordertobe
accessible to everyone, both in format and in price, it could not attempt
to emulate the monumental ItalianFilmlexicon degli Autori whose seven
volumescontainwellover50,000entries,includingactors.
The necessity of making a selection has led us to choose, sometimes
arbitrarily, onefilmmakeroveranotherofequalimportance;butwehave
attemptedtoincludeheretherepresentativesof60countrieswithoutlimit-
ingourselvestothebest-knownfilmindustries.Twenty-fiveyearsdevotedto
filmhistory, numerousstudytravelsinfourcontinents, devoted collabora-
torsandexcellentFrenchandforeignreferenceworks havenotprevented
errors and gaps in a volume whichcontains about 20,000 dates and film
titles. Certainomissions (rightlyorwrongly) aredeliberate.Othersnot. If
oneattemptedtobringtothepubliconlyàperfectworkone wouldnever
beabletoprintthemanuscriptPublicationisthebestmeansofprovoking
corrections and additional information. We appeal to readers to send us
these so that one day a revised and corrected edition can be published.
Ourpredecessorsproceedednodifferently.
Hereisthemethodwehavefollowed.Thedateofafilmisinprinciple
that ofthe firstpublic screening, not ofits conception, beginning or end
ofproduction,orprivatescreening.Inthiswehavefollowedthehistorians
Copyrightedmaterial
ofliteraturewhousethedateofthefirstedition,ofabook'sreleasetothe
public,astheidentifyingone.
Eachofourentries (apartfromthoseofafewlines) iscomprised ofa
critical appraisal, followedby afilmography. All havebeenabridged and
manydonotlistallthefilmsofaprolificfilmmaker.
Thedirector'sfilmographiesarethekeytothisDictionary.Forotherfilm
makersweciteonlyfilmtitleswiththeirdirectors,whoseentriesshouldbe
referred to for additional information. This part has been retained to
facilitate consultation but it does not signify that we have pretended to
settle the old question about the "author" ofa film. Incertaincases, the
principal "author"mightbelessthecrediteddirector thanastar (such as
DouglasFairbanks),aproducer (suchasZanuck),ascriptwriter (such as
Zavattini),orevenawriterwhoseliteraryworkhasbeenadapted (suchas
VictorHugo). Afilmisalmostalwaysacollectivecreationandeachcol-
laborator, fromtheleasttechniciantothemostfamousstar, insmallpart
orlarge, isoneofthe authors.Moreover,certainmajorcomedianscanbe
considered astheprincipalauthorsoffilmswhichthey themselvesdidnot
always "direct." Thus, we have included briefentries for Buster Keaton,
MaxUnder,HaroldLloyd,andothers.
In the entries forimportantdirectorswehave quite often quoted from
interviews, statements,orcriticalarticles. Sometimeswehavehadtopara-
phrasethesewhilerespectingthespirit.Inthefilmographieswehavegiven
(wheneverpossible) original-languagetitlesandtheFrenchtitleswhichare
notoftenAaliteraltranslationbutthetitlechosen,forgoodorill,bythedis-
tributor. thousandimportantfilmshavebeengivenonlybytitle,followed
byan asterisk, indicatingthatthisworkisdescribedinmoredetailinour
complementaryDictionaryofFilms.
Inordertobeabletopublishavolumeforwidedistributionitwasnec-
essary to accept limitations on the number of entries and therefore to
eliminatesomecategoriesoffilmmakers.Wehavenotincludedtechnicians
thoughweknow that they are ofmajor importance (editors, sound engi-
neers, and camera operators). We have cited few producers and no ex-
hibitors,distributors,orexporters.
Itisourho—pethatthispresentvolume,suchasitis,willbeofassistance
to cinéphiles thatelite ofspectators who now countthemselvesin mil-
lionsaroundtheworld.
vi
Copyrightedmaterial
TOTHEENGLISHEDITION
BYPETERMORRIS
IampleasedtohavehadtheopportunityofbringingGeorgesSadoul'sval-
uableDictionaryofFilmMakerstoEnglish-speakingreaders.Inpreparing
thiseditionIhavetakenadvantage ofhisinvitationto revise and correct
factualinformationintheoriginal.Inparticularmanyofthefilmographies
havebeenexpanded and additional biographicalinformationhasbeenin-
cludedinmanyoftheentries.
Morerecentdevelopmentofcertainfilmmakers'workhasledmetorevise
completelyseveraloftheentries.Ihavealsoaddedmanynewentries,no-
tably for directors who established their reputations in the sixties (e.g.,
Bertolucci,Forman,Skolimowski) butalsoforcertaincameramen,writers,
andcomposerswhoseworkseemedtometomeritinclusion. Ineachcase
entries authoredbyme areindicatedbyanasterisk. InsomecasesIhave
addedadditionalinformationoracriticalappraisalofthefilmmaker'sre-
centwork;theseareindicatedinthetextbysquarebrackets[].Inall,the
Dictionaryhasbeenexpandedbysome15%.
The original format has been retained with minor revisions. The film
maker'snameisfollowedbyanindication (inparenthe=ses) ofhisoriginal
name or other names under which he worked (also also known as).
The arrangement is entirely alphabetical by letter. "Mc" and "Mac" are
interfiled as "Mac" as is now common practice though, of course, the
correct spelling has been retained. Certain names have been cross-refer-
encedforconvenience andtoavoidconfusionoversurnameprefixes (e.g.,
PhilippedeBrocaisenteredunder"Broca"butcross-referencedfrom"de
Broca,"andsimilarlywithErichvonStroheim,andothers).
The filmographies for many entries have been expanded and in every
caseup-dated;forsome directors the filmographies havebeencompleted.
Filmographies whichare notcomplete have beenindicated by the use of
"notably"precedingthefilmography, toindicatethataselectionhasbeen
made. Original-language filmtitles have been used in directors' filmogra-
vii
UopyriQhtodmstcnsl
phieswhereverpossiblebutnotforotherfilmmakerswhereacrossreference
tothedirectorispossible.Forreasonsofspace,titlesincommonlanguages
(French, German, Italian) have not been translated when the English
releasetitleismerelyatranslationoftheoriginal;ithasusuallybeengiven
when it substantially differs. For other languages (Russian, Swedish,
Japanese, etc.) an English title is given even though this may only be a
literaltranslationandnotareleasetitle.
Filmdates, giveninparentheses afterthe title andwithoutthe "19," do
not include thecountryoforiginexceptwhere thisisnotthesameas that
inwhichthefilmmakernormallyworked.Forfilmmakerswhoworkedon
a group of films in one country and later in another country, the films'
country of origin isgiven only at the beginning and end ofeach series of
films (e.g., Lubitsch). In any case, thefilms' nationality isoften indicated
bythelanguageofthetides.
As Sadoul pointsout,publication is a means ofprovoking emendations
and Ijoinwithhiminwelcomingcorrectionsoradditionalinformationfor
inclusioninalateredition.
Inevitably not everyone will agree with Sadoul's assessment of certain
film makers, nor with mine. But the particular merit of the original over
otherdictionariesisitscriticalandhistoricalappraisalsratherthanitsbeing
onlyan assemblageoffacts. ItisthisqualitywhichIhopeIhaveretained
in this edition. I amindebted to the CanadianFilm Institute'sFilm Study
Center and the British Film Institute's Information Department, without
accesstowhichthepreparationofthisvolumewouldhavebeenimpossible.
viii
Copyrightedmaterial
ALSO Alsoknownas ED Editor
ANIM Animator MUS Composer
ART DIR ArtDirector/Production PHOTOG DirectorofPhotography
Designer PROD Producer/Executive
ASSIST Assistant Producer
CHOREOG Choreographer/Dance PSEUD Pseudonym
Director Q.V. See
DIR Director SCEN Scenarist/Script-writer
Filmmakers arelisted undertheirprofessionalnames. Actual oralternate
namesfollowinparentheses.
Anasteriskfollowingatitleindicatesafilmdescribedinthecompanion
DictionaryofFilms.Anasteriskprecedinganentryindicatesthattheentry
wasaddedorsignificantlyexpandedbythetranslator.
COUNTRY ABBREVIATIONSUSEDIN FILMOGRAPHIES
Aust Austria Gr Greece
Austral Australia Hung Hungary
Belg Belgium It Italy
Brit Britain Mex Mexico
Bulg Bulgaria Neth Netherlands
Czech Czechoslovakia Nor Norway
Den Denmark Pol Poland
Fin Finland Rum Rumania/Romania
Fr France Sp Spain
Ger Germany Swed Sweden
GDR GermanDemocraticRepublic/ Switz Switzerland
EastGermany Yugos Yugoslovia
GFR GermanFederalRepublic/
WestGermany
Copyrightedmaterial
AAES, Erik (also, In France, Eric Aèss) ART Cannes, a compassionate and expressive
DiR Denmark. (Nordby April 27, 1899- film in the realist tradition. Also, Some-
) Oneof the best art directors of in- body Else's Children (59) (co-dir:
ternational stature, asexemplifiedby his Djaparidze), Me, Grandmother, Iliko,
workwith Dreyer (q.v.) on Ordet* and andlllarion(63),ThePrayer(68).
Vredens dag* with Marcel L'Herbier
(q.v.) on Feu Mathias Pascal*, with ABU SAIF, Salah DIR Egypt. (April 12,
Cavalcanti (q.v.) on Yvette, En rade*, 1915- ) With the younger Youssef
and Le Capitaine Fracasse, and with Shahine (q.v.), he is the best director
Renoir (q.v.) on La Petite marchande of the modern Egyptian cinema. An ex-
d'allumettes*. Since 1929,hehaslargely pression of popular life and a feeling
confined his activities to the Danish for human truths characterize his best
cinema, with the exception of Caval- films: The Monster, A Woman's Youth,
canti's Herr Puntila und sein Knecht and TheBeginningand the End. He be-
Matti* (55), and André de Toth's Hid- gan his career in films as an editor and
denFear(57). becameadirectorafterthewar.
dir: Daiman Fi Kalbi/Always in My
SDtddkdabsAeafihirisrcuheBnraflreeedBeyd.eumenfngAhlrcaiS:eaotI(lmd,troaecnmPfidfdadNaossKarirnm(pa.ahenatcih6oayuwehneidp3s[kraresaas)Ajeet,liffarsEonsiiSSasaJlolawpsaeAmrumnatrndspnhetsnnho:ondahemedsdtra*fcapua,iD/ire7bIdjclhni,Taolnme(pauAsyshd4Ddtrrt.,a1ie6wInwhtn9a)raReaoitCni,1l/rrntri4CnSsyeseKi-cr*trClatuaie.,EutyrnimNaoenaBs)sl/SrLmnheahPaaodAgrnpBRaio,eiaoedOnf/svnnDCdtpbleg4hrtoao2ariitIhtowwt0ltnlhnieno-.h;yge--sr pSiEeHmCATW(((slehlei545hhantal370aaaenaFrKl)))rb,i,,ahmStASaaCatcd/HhbhlaLaov(MEaNoniawe4mluseEowda7naklesgam)/t/aa',hBTruWTnT(haa(raahYE4(5eheomahe95l1solmm/s)1()aomE,)5a,TAhMow,2rmofr/ua)ErpuaTnWEYE,nAlogthtlotlenahwyematH/ROaakSSuZAsa(trnPeanatb5M(yri'mkta65eloaals)re7/anenlBt,)H/rTsomda,TYwtah/hoaEohAenefsdlYwuebrsdMao(atel*tW5Aluuhhna7eavgFretS)As/eaaeF,(((bsLnPlkor545Dlaogcuir486eaLadveopne)))mya/aena-r,,-,
nddieuroc:reedMaluiwnsinmthaoa*untd(5st4oh)en,gsfmirusatcnhHdiniddnafinlcufeeisnl,cmedPparbroy-- FT(ia5r8)iI,kjaAzenal/aThMiHaeufsrdruaod/n/I'TmHhoelFirdeBaeayrr(e5(d95)8,),RBoiaEndlt
Cwdeieltsehis/tTiUahSleSPRaT,lraavcVee.ll(Me6r.6).(P]SrIo)nin(ccoo--pdriord)u,ctTihoen HSBAaeagbayoavnnteyansehloaafnrdS/LaAoEmvaoerGatirh(l5w(95ao)9f,),eSBleeLvdaeAawnryetdate/eenBwleatH(wu5eN9bee)/n-,
hayat/The Beginningandthe End (60),
ABULADZE, T.nghis DIR USSR. (Koutaissi, La Tutfi el Shems/The Sun Will Never
GGeeoorrggiiaan Jdairnecto3r1,wh1o92h4a-s d)irecYtoeudnga Sgehtool(a6/1L)e,tteRrefsrsaolmahanmUinnknoewmnraWaomMaan-
number of documentaries and made his (62),Cairo30(66),ElZawgaelSaniaf
firstfeatureasco-directorwithChkheidze The Second Wife (67), El Cadia 68/
[q.v.) on Lurdzha Magdany/Magdana's Case68 (68),AwditelRoh/TheReturn
Donkey* (55), awarded a prize at oftheSpirit(69).
Copyrightedmaterial
i