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   AAAA (Associated Actors and Artistes of America). The parent organization incorporating seven major unions and guilds representing actors and entertainers in the US, such as Actors Equity Association (AEA), the American Federation of Television and Radio Artists (AFTRA), the American Guild of Variety Artists (AGV A)and the Screen Actors Guild (SAG). Based in New York, City, the “four A’s” was organized in 1919 and is affiliated with the AFL-CIO. Membership is close to 200,000

  

   AADA. Commonly used abbreviation for the American Academy of Dramatic Arts, the oldest actors’ training school in the English-speaking world. The Academy was founded in 1884 in New York City by Franklin Haven Sargent and was first known as the Lyceum Theatre School for Acting, later changing its name to the New York School for Acting, and finally to its present name. The curriculum emphasizes dramatic stage training but also includes classes in television and film. A West Coast campus of the AADA was founded in 1974, in Pasadena, Calif. Famous alumni of the school include Armand ASSANTE, Lauren BACALL, Anne BANCROFT, John CASSAVETES, Hume CRONYN, Cecil B. DE MILLE, Danny DE VITO, Colleen DEWHURST, Kirk DOUGLAS, Nina FOCH, Ruth GORDON, Jennifer JONES, Garson KANIN, Grace KELLY, Agnes MOOREHEAD, Pat O’BRIEN, William POWELL, Robert REDFORD, Edward G. ROBINSON, Rosalind RUSSELL, Joseph SCHILDKRAUT, Annabella SCIORRA, Spencer TRACY, Claire TREVOR, Robert WALKER, and Peter WELLER.

   A and B Editing. A method of editing that requires the use of two rolls of film in the preparation of a master print. By alternating pictures from one of the rolls with a blank LEADER from the other roll, DISSOLVES and other effects can easily be achieved. Both rolls have a common CUE MARK. Roll A contains all the scenes up to the first dissolve, followed by a strip of blank leader for the scene to be dissolved. Roll B contains a blank leader up to the first dissolve, followed by the scene into which the dissolve is to be made. Until the next dissolve is reached, roll B then contains the picture scenes, while roll A consists of a blank leader. The process of alternating blank leaders and scenes is continued until all dissolves, FADES, and other effects have been introduced. The system is also useful in eliminating visible splices in the editing of 16mm film.

   Abbott, Bud. Actor. b. William A. Abbott, Oct. 2, 1895, Asbury Park, N.J. d. 1974 of cancer. Snide straight man of the ABBOTT AND COSTELLO comedy team. The son of a circus couple, he grew up on Coney Island and at age 15 was Mickey-Finned and shanghaied aboard a ship bound for Norway. Unsuccessful at repeated attempts to break into show business, it was while he was working as a cashier at a Brooklyn theater in 1931 that a new career began for him when he was asked to substitute for comedian Lou Costello’s ailing straight man. After the team split up in 1957, Abbott made a weak attempt at resuming his stage and TV career alone and with another partner. He suffered a series of strokes and spent his last years in retirement. See also ABBOTT AND COSTELLO; COSTELLO, LOU.

   Abbott, Diahnne. Actress. b. 1945, New York City. Stately, voluptuous African-American actress best known for supporting and character roles. She is the former wife of actor Robert DE NIRO, with whom She appeared in Taxi Driver, New York New York (where she sang “Honeysuckle Rose”), and The King of Comedy.

   FILMS INCLUDE: Taxi Driver 1976; New York New York, Welcome to L.A. 1977; The King of Comedy 1983; Love Streams 1984; Jo Jo Dancer, Your Life Is Calling 1986; Before Night Falls 2000; Soliloquy 2002.

   Abbott, George. Playwright, director, producer, screenwriter. b. June 25, 1887, Forestville, N.Y. d. 1995. ed. Rochester U.; Harvard. Legendary Broadway personality. Began his career as an actor in 1913. He later wrote numerous plays, often in collaboration, and directed and produced many others on Broadway. Several of his plays were adapted by others to the screen, including ‘Broadway,’ ‘Coquette,’ ‘Lilly Turner,’ ‘Three Men on a Horse,’ ‘On Your Toes,’ and ‘The Boys from Syracuse.’

He moved to Hollywood during the switch to sound, collaborated on the script of All Quiet on the Western Front (1930), and directed a number of films, usually supplying his own scripts. In 1931 he returned to the stage and subsequently directed only three films, two of them screen adaptations of his stage musicals, ‘The Pajama Game’ and ‘Damn Yankees.’ He also produced several films, including Boy Meets Girl (1938). Among the numerous hits he directed for the stage were ‘Twentieth Century’ (1932), ‘Boy Meets Girl’ (1935), ‘Room Service’ (1937), ‘Pal Joey’ (1940), ‘On the Town’ (1944), ‘Where’s Charley?’ (1948), ‘Call Me Madam’ (1950), ‘A Tree Grows in Brooklyn’ (1951), ‘Wonderful Town’ (1953), ‘The Pajama Game’ (1954), ‘Damn Yankees’ (1955), ‘Fiorello!’ (1959), and ‘A Funny Thing Happened on the Way to the Forum’ (1962). In 1983, at the age of 95 (!) he directed and co-produced a Broadway revival of ‘On Your Toes.’ In 1993, at 105, he joined in festivities celebrating Broadway’s 100th anniversary. Autobiography: Mister Abbott (1963).

   FILMS INCLUDE: As director—The Impostor 1918; Why Bring That Up? (also dial., co-scr.), Half-Way to Heaven (also scr.) 1929; Manslaughter (also scr.), The Sea God (also scr.) 1930; Stolen Heaven (also scr.), Secrets of a Secretary (also scr.), My Sin (also scr.), The Cheat (also scr.) 1931; Too Many Girls (also prod.) 1940; The Pajama Game (co-dir., co-prod. with Stanley Donen; also co- scr. with Richard Bissell from their own stage musical) 1957; Damn Yankees (co-dir., co-prod. With Donen; also scr. from the stage musical he co-wrote with Douglass Wallop) 1958.

   Abbott, L. B. Special effects technician. b. Lenwood Ballard Abbott, June 13, 1908, Pasadena, Calif., the son of a silent film cinematographer. d. 1985. Among Hollywood’s leading trick photography experts. He won Oscars for Dr. Doolittle (1967), Tora! Tora! Tora! (1970), The Poseidon Adventure (1972), and Logan’s Run (1976), as well as several Emmys for his TV work.

   FILMS INCLUDE: The Three Faces of Eve, The Enemy Below, Peyton Place 1957; The Long Hot Summer, The Roots of Heaven, South Pacific, The Fly, The Young Lions 1958; The Diary of Anne Frank, Journey to the Center of the Earth 1959; From the Terrace, The Lost World, North to Alaska 1960; V  oyage to the Bottom of the Sea 1961; Cleopatra 1963; The Agony and the Ecstasy, The Sound of Music 1965; Fantastic V   oyage, Our Man Flint 1966; Doctor Doolittle, Valley of the Dolls 1967; The Detective, Planet of the Apes 1968; Butch Cassidy and the Sundance Kid, Hello Dolly! 1969; Patton, Tora! Tora! Tora! 1970; The Poseidon Adventure 1972; The Towering Inferno 1974; Logan’s Run 1976; The Swarm 1978; When Time Ran Out 1980.

   Abbott and Costello. A highly successful comedy team of the 40s and early 50s. They first joined forces in 1931, with tall, slim Abbott playing straight man to short, chubby Costello, and soon were headliners on the vaudeville and burlesque circuit. They broke into radio in 1938 and the following year starred in the Broadway revue ‘Streets of Paris.’ Their first film, One Night in the Tropics (1940), was hardly noticed, but their next, Buck Privates (1941), grossed $10 million and firmly established the team. For the next decade they were included in every list of top-ten box-office grossers. In 1957, after more than 30 broad slapstick films and some success on television, the two broke up. See also ABBOTT, BUD; COSTELLO, LOU.

  FILMS INCLUDE: One Night in the Tropics 1940; Buck Privates, In the Navy, Hold That Ghost, Keep ’Em Flying 1941; Ride ’Em Cowboy, Rio Rita, Pardon My Sarong, Who Done It? 1942; It Ain’t Hay, Hit the Ice 1943; In Society, Lost in a Harem 1944; Here Come the Co-Eds, The Naughty Nineties, Abbott and Costello in Hollywood 1945; Little Giant, The Time of Their Lives 1946; Buck Privates Come Home, The Wistful Widow of Wagon Gap 1947; The Noose Hangs High, Abbott and Costello Meet Frankenstein, Mexican Hayride 1948; Africa Screams, Abbott and Costello Meet the Killer Boris Karloff 1949; Abbott and Costello in the Foreign Legion 1950; Abbott and Costello Meet the Invisible Man, Comin’ Round the Mountain 1951; Jack and the Beanstalk, Lost in Alaska, Abbott and Costello Meet Captain Kidd 1952; Abbott and Costello Go to Mars, Abbott and Costello Meet Dr. Jekyll and Mr. Hyde 1953; Abbott and Costello Meet the Keystone Kops, Abbott and Costello Meet the Mummy 1955; Dance With Me Henry 1956; The World of Abbott and Costello 1965 (compilation); Entertaining the Troops 1989 (archival footage).

  Abel, Alfred. Actor. b. 1880, Leipzig, Germany. d. 1937. He worked as a forest warden, businessman, bank clerk, and designer before being discovered by Asta Nielsen in 1913. He was an outstanding performer in German films of the classical period, ranking with Emil Jannings, Conrad Veidt, and Werner Krauss. In the early 30s he directed three films.

  FILMS INCLUDE: Sodoms Ende 1913(?); Kameraden 1919; Sappho 1921; Dr. Mabuse der Spieler/Dr. Mabuse the Gambler, Die Flamme/Montmartre 1922; Die Buddenbrooks 1923; Metropolis 1926; L’Argent (Fr.) 1928; Narcose (also dir.) 1929; Dolly macht Karriere/Dolly’s Way to Stardom 1930; Meine Frau die Hochstaplerin, Der Kongress tanzt/The Congress Dances 1931; Glückliche Reise (dir. only) 1933; Alles um eine Frau (dir. only) 1935; Kater Lampe 1936; Sieben Ohrfeigen 1937; Frau Sylvelin 1938.

  Abel, Walter. Actor. b. June 6, 1898, St. Paul, Minn. d. 1987. ed. AADA. On stage from 1919, he was an early interpreter of characters in plays of Eugene O’Neill. He played his first important film role in Liliom in 1930.

After being miscast as d’Artagnan in the 1935 version of The Three Musketeers, he settled for a career as a competent character actor, in both light and dramatic roles. In the 60s he was president of the American National Theater and Academy.

  FILMS INCLUDE: The North Wind’s Malice 1920; Liliom 1930; The Three Musketeers 1935; Fury 1936; Men with Wings 1938; Arise My Love 1940; Hold Back the Dawn, Skylark 1941; Holiday Inn, Wake Island 1942; Mr. Skeffington 1944; Kiss and Tell 1945; The Kid from Brooklyn, 13 Rue Madeleine 1946; That Lady in Ermine 1948; Night People 1954; Raintree County 1957; Mirage 1965; Zora 1971; Silent Night Bloody Night 1974; The Ultimate Solution of Grace Quigley/Grace Quigley 1984.

  above the line. That portion of a motion picture’s budget which covers major expenditures incurred or negotiated before the actual shooting begins. These normally include fees for rights on original property (novel, play, short story, etc.), wages and expenses of the producer, the director, and the screenwriter, and salaries of the stars. These are the costliest items in a film’s budget and are usually negotiable. Below-the-line expenditures include all other costs of production. They are usually fixed and comprise numerous items—payments to the remainder of the cast, wages of the technical crew, the use of technical equipment and studio facilities, travel and location expenses, etc.

   Abraham, F. (Fahrid) Murray. Actor. b. Oct. 24, 1939, Pittsburgh, Italian-Syrian origin. ed. U. of Texas. Craggy, pockmarked, highly intense yet remarkably controlled character player of the American stage and screen. Trained for the stage with Uta Hagen at the Herbert Berghof, he made his stage debut in Los Angeles in 1965 (‘The Wonderful Ice Cream Suit’) and in New York in 1966 (‘The Fantasticks’). As a struggling actor, his TV work included appearances on ‘All in the Family’ and Fruit of the Loom commercials. He was still largely unknown when, at the age of 45, he won a best actor Academy Award for his complex, virtuoso portrayal of composer Antonio Salieri in the film Amadeus. His subsequent film roles, however, offered far less rewarding opportunities.

   FILMS INCLUDE: They Might Be Giants 1971; Serpico 1973; The Prisoner of Second Avenue, The Sunshine Boys 1975; All the President’s Men, The Ritz 1976; The Big Fix, Madman (Isr.) 1978; Scarface 1983; Amadeus (as Salieri) 1984; The Name of the Rose (It./Fr./Ger.) 1986; An Innocent Man, Russicum/The Third Solution (It.), Slipstream (UK) 1989; The Bonfire of the Vanities 1990; Cadence, Mobsters 1991; By the Sword, Last Action Hero, National Lampoon’s Loaded Weapon I 1993; Jamila, Nostradamus, Surviving the Game 1994; Dillinger and Capone, Mighty Aphrodite 1995; Children of the Revolution, Fresh (unbilled), Looking for Richard 1996; Mimic 1997; Star Trek: Insurrection 1998; Muppets from Space 1999; Finding Forrester 2000; Knight of the Guest, Thirteen Ghosts 2001; Joshua 2002; Five Moons Plaza (It.), My Father: Rua Alguem 5555 (It.) 2003; The Bridge of San Luis Rey (Sp.) 2004; The Inquiry, Quiet Flows the Don 2006; Wine and Kisses/Come le Formiche (It.) 2007; Carnera (It.), A House Divided 2008; Perestroika, Sword of War (It.) 2009.

   Abrahams, Jim. Director, screenwriter, executive producer. b. May 10, 1944, Milwaukee. He was 26 and a private investigator in his native town when a chance meeting with childhood friends, David and Jerry ZUCKER, led to the trio’s founding of the Kentucky Fried Theatre in Madison, Wisc. The show was a multimedia presentation that combined live improvisational skits with filmed and videotaped satirical material. They then moved to Los Angeles, where their freewheeling shenanigans provided the core for John LANDIS’s The Kentucky Fried Movie (1977). Three years later the triumvirate scored a surprise box-office hit as the co-directors and co-screenwriters of Airplane!, a loony spoof of Airport and its sequels. Several other successful comedies followed, including the Naked Gun series, based on the team’s short-lived TV series ‘Police Squad!’ (1982).

   FILMS INCLUDE: The Kentucky Fried Movie (scr., act.) 1977; Airplane! (co-dir., co-scr.) 1980; Top Secret! (co-dir., co-scr.) 1984; Ruthless People (co-dir.) 1986; Big Business (dir.), Coming to America (act.), The Naked Gun: From the Files of Police Squad! (co-scr., co-exec. prod.) 1988; Cry- Baby (co-exec. prod.), Welcome Home Roxy Carmichael (dir.) 1990; Hot Shots! (dir., co-scr.), The Naked Gun 2½: The Smell of Fear (co-exec. prod.) 1991; Hot Shots! Part Deux (dir., co-scr.) 1993; Naked Gun 33⅓: The Final Insult 1994; Jane Austen’s Mafia (dir., scr.) 1998; Scary Movie 4 (scr.) 2006.

   absolute film. An experimental film that attempts to create new reality by freeing images from their narrative function. In Berlin: Symphony of a Great City (1927) and Melody of the World (1929), Walter RUTTMANN assembled pieces of film to form a unity based on rhythm and psychological continuity rather than on conventional narrative continuity. The early films of BUÑUEL and COCTEAU qualify as absolute films, although they appear to have more of a narrative thread than other absolute films. See also ABSTRACT FILM; AVANT-GARDE.

   abstract film. A film that attempts to communicate purely through visual expression, using nonrepresentational lines, patterns, shapes, and geometrical constructions to produce a psychological rather than a conscious impact on the viewer. Abstract films usually have no reference to concrete reality but may use real objects and actions within an abstract framework (like the repetitive shot of an old woman climbing stone steps in Fernand Léger’s Ballet mécanique). The abstract film has its foundations in the work of Viking EGGELING and Hans RICHTER, German painters who began putting abstract lines and geometrical shapes on film in the early 1920s. Other leading abstract filmmakers in the 20s include Man RAY (l’Étoile de Mer) and Henri Chomette (Five Minutes of Pure Cinema). Ralph Steiner made H2O, a film of light patterns on water, in the 30s. Others active during that period were Lewis Jacobs and Len Lye. The 50s and 60s saw a revitalization of this form of cinema with works such as Ian Hugo’s Bells of Atlantis and Francis Thompson’s N.Y., N.Y., the latter distorting the buildings of New York City into fantastic abstract shapes. The time paintings of Ed Emshwiller and the computer films of John Whitney are other examples of more recent experimentation with abstract film. See also AVANT-GARDE.

   Abuladze, Tengiz. Director, screenwriter. b. Jan. 31, 1924, Georgia, USSR. d. Mar. 6, 1994. Leading filmmaker of the Georgian branch of Soviet cinema. After graduating from the Tbilisi Railway School in 1943, he studied drama, then entered the Moscow Film Institute, where he was guided by Sergei YUTKEVICH and Mikhail ROMM. He directed several documentaries and fictional films with childhood friend and classmate Revaz Chkheidze (b. Dec. 8, 1926) before his solo debut in 1958. Their medium-length film Magdan’s Donkey won a prize at Cannes in 1956. Abuladze won the Lenin Prize for his trilogy The Plea, The Wishing Tree, and Repentance. He usually writes or collaborates on his own scripts.

   FILMS INCLUDE: Our Palace (doc.; co-dir.) 1953; Dimitry Arakishvili (doc.; co-dir.), Magdan’s Donkey (co-dir.) 1955; Someone Else’s Children/Stepchildren 1958; Me, Grandma, Iliko and Hillarion 1963; The Plea/The Entreaty 1969; A Necklace for My Beloved 1972; The Wishing Tree 1977; Repentance 1987 (release delayed from 1984); Khadzhi Murat 1989.

   Academy Awards. Annual awards of merit given since 1927 to film artists and technicians by the ACADEMY OF MOTION PICTURE ARTS AND SCIENCES (AMPAS), in the form of 13½-inch-high gold- plated statuettes known as OSCARS. Members of 13 art and craft branches select up to five nominees for awards in their particular area of specialty (actors select actors, directors select directors, editors select editors, etc.). The entire membership of more than 5,000 then votes in a secret ballot on the final winners in all categories.

   The Academy Award ceremony is a glittering annual affair now brought into American homes via an enormously popular television broadcast, reaching one billion viewers in about 100 countries. Originally hosted by academy presidents, the ceremony later came to be led by entertainers like Will ROGERS, Jack BENNY, Bob HOPE, Johnny Carson, David Letterman, Billy CRYSTAL, Whoopi GOLDBERG, Jon Stewart, Jake GYLLENHAAL, and Anne HATHAWAY.

   Although still the most coveted film award, the aura of the Oscar has become increasingly tainted. Since the 1960s the voting system has come under fire by members of the industry and outside critics as being influenced more by publicity and sentiment than by actual quality and merit. The event has been derisively termed a “popularity contest”. Many of the voting members have been inactive in the industry for years and few get to see all the films they vote on. The studio block vote is also a consistent problem. Actor George C. SCOTT expressed his disdain by refusing to accept the best actor award he won in 1970 for his performance in Patton. Over the years the Oscar ceremony has become a platform for political statements, on subjects ranging from treatment of Native Americans in the film industry to AIDS awareness and urban violence. Despite the varieties of dissent, the Academy Awards continue to carry weight in the economics of the film industry. A best picture award can be worth tens of millions of dollars more at the box office, and an individual Oscar can do wonders for a performer or filmmaker when negotiating a salary.

   Academy leader. A strip of film attached by the laboratory to the beginning and end of a RELEASE PRINT according to specifications set by the Academy of Motion Picture Arts and Sciences. The Academy leader contains a descending sequence of numbers, as well as cue marks and other information, to guide a projectionist in threading the projector and changing over from one reel to the next. The leader not only protects the film itself from unnecessary handling but also permits the projector to gain full sound speed before the first image reaches the picture gate. Since 1965, a standard projection guidance system called the UNIVERSAL LEADER has largely replaced the Academy leader. It was devised by the Society of Motion Picture and Television Engineers (SMPTE) for use both in motion picture theaters and in television transmission of motion pictures. See also ACADEMY MASK; ACADEMY STANDARDS.

   Academy mask. A device that obstructs a portion of the aperture of a motion picture camera. It came into use after the introduction of sound, when it was realized that the sound track printed on the side of the film strip distorted the proportion of the standard 35mm frame. The Academy of Motion Picture Arts and Sciences, after which the device was named, introduced the Academy mask in an effort to re-establish screen rectangularity at the then-standard aspect ratio of 1.33:1 (or 4:3). The area delineated by the mask is known as the Academy aperture. The Academy mask had outlived its purpose after the advent of the wide screen, when the question of standard screen rectangularity became, so to speak, “academic.” See also ACADEMY LEADER; ACADEMY STANDARDS.

   Academy of Motion Picture Arts and Sciences (AMPAS). A nonprofit organization established in 1927 to “improve the artistic quality of the film medium, provide a common forum for the various branches and crafts of the industry, foster cooperation in technical research and cultural progress, and pursue a variety of other stated objectives.” It is best known, however, for its annual presentation of the ACADEMY AWARDS. Membership, now over 5,000, is by invitation only. Members are categorized according to several areas of film craftsmanship, including actors, administrators, art directors, cinematographers, directors, executives, film editors, composers, producers, public relations people, short-subject filmmakers, sound technicians, and writers. Presidents of the Academy over the years have included Walter MIRISCH, Daniel TARADASH, Gregory PECK, Arthur FREED, George STEVENS, George SEATON, Charles BRACKETT, Jean HERSHOLT, Bette DAVIS, Walter WANGER, Frank CAPRA, Frank LLOYD, Conrad NAGEL, William DE MILLE, Douglas FAIRBANKS, SR., Karl MALDEN, Arthur HILLER, Robert Rheme, Sid GANIS, and Tom SHERAK.

   Academy standards. A set of technical requirements established by the Academy of Motion Picture Arts and Sciences to enforce standard practices throughout the film industry. They include the Academy aperture, the ACADEMY LEADER, and the ACADEMY MASK.

   accelerated motion. A technical effect that makes people or objects appear to be moving at a faster-than-normal rate during projection. Popularly known as “fast motion,” it is achieved by running the camera at a slower rate than the standard 24 frames per second.

   Accelerated motion has been used for comic effect since the early days of film and was a standard device in Mack Sennett’s comedies. It was used satirically by Eisenstein in Old and New (or The General Line) to depict bureaucrats jumping into action in the presence of a party functionary, and poetically by Georges Rouquier in Farrébique to show the blooming of flowers in a matter of seconds. The effect also has been widely used to speed up the pace of action and adventure films.

   Silent films, shot at a rate of 16 frames per second, appear accelerated today because they are projected on modern equipment operating at 24 frames per second. The opposite effect is SLOW MOTION.

   A.C.E. (American Cinema Editors). An honorary professional society founded in 1950 and dedicated to the promotion of better film editing. Membership, by invitation only, is about 500. Based in West Hollywood, the society publishes a periodical, The Cinemeditor, and bestows an annual award, the “Eddie.” Known by its full name, the Golden Eddie, the award recognizes achievement in filmmaking. A.C.E. also bestows two annual Career Achievement Awards to film editors and one annual Artistic Achievement Award for excellence in editing.

   acetate base. A film support made of a slow-burning chemical substance. Since coming into use in the late 40s, it has gradually replaced the nitrate base, which had been a constant fire hazard in editing rooms and projection booths. Film coated on an acetate base is known as SAFETY FILM.

   Achard, Marcel. Playwright, screenwriter, director. b. July 5, 1899, France. d. 1974 of diabetes. Before staging his first play in 1922, he was a teacher and journalist. After years of prolific work in the theater, highlighted by a number of hit “boulevard” comedies, he was elected to the French Academy (1959). His output includes numerous screenplays. He presided over the Cannes Film Festival in 1958 and 1959 and over the Venice Film Festival in 1960.

  FILMS INCLUDE: As writer, alone or in collaboration—Jean de la Lune 1931; Mistigri 1932; The Merry Widow (US) 1934; Folies-Bergère (dial. of French version; US) 1935; Mayerling 1936; L’Alibi, Gribouille/Heart of Paris (story only) 1937; Orage, L’Etrange M. Victor 1938; Untel Père et Fils/The Heart of a Nation, The Lady in Question (story basis only; US) 1940; L’Arlésienne, Félicie Nanteuil 1942; Les Petites du Quai aux Fleurs 1943; La Belle Aventure/Twilight 1945; Petrus 1946; Madame de . . . /The Earrings of Madame De 1953; La Garçonne 1957; La Femme et le Pantin/The Female 1959; Les Amours célèbres 1961; A Shot in the Dark (play basis only, ‘L’Idiot’; US/UK), Patate/Friend of the Family (play basis only) 1964. As director-writer—Jean de la Lune (remake) 1949; La Valse de Paris/The Paris Waltz 1950.

  Acin, Jovan. Director, screenwriter. b. May 23, 1941, Belgrade. d. Aug. 5, 1991. His first feature, The Concrete Rose (1975), so displeased the authorities that Acin was forced to leave the country. Years later, in annual reunions with friends and producers George Zecevic and Petar Jankovic, Acin reminisced about politics, life, and movie watching in Yugoslavia in the 1950s. The result was the semiautobiographical Hey Babu Riba (1986), which received wide distribution on the American art- house circuit.

  FILMS INCLUDE: The Concrete Rose, Do You Know Pavla Plesa? 1975; Hey Babu Riba/Dancing on Water (scr., dir.) 1986.

  Ackerman, Bettye. See JAFFE, Sam.

  Ackland, Joss. Actor. b. Feb. 29, 1928, London. Character player of British stage, TV and films.                                                                                           ,He made his stage debut in 1945 and his first screen appearance in 1950. In 1954, he abandoned acting to run a tea plantation in central Africa. He returned to England in 1957, soon joining the Old Vic, with which he toured Russia and the US. He has since appeared in numerous stage, screen, and TV productions, typically portraying characters of prominence, authority, and influence, often villainous. He starred as Juan Perón in the London stage production of ‘Evita.’

  FILMS INCLUDE: Seven Days to Noon 1950; Ghost Ship 1952; The Bridge (Ger.) 1960; Rasputin the Mad Monk 1966; Crescendo 1969; The House That Dripped Blood 1970; Villain 1971; The Happiness Cage/Mind Snatchers 1972; England Made Me, Hitler: The Last Ten Days 1973; The Black Windmill, The Little Prince, The Three Musketeers 1974; Royal Flash 1975; One of Our Dinosaurs Is Missing 1976; Who Is Killing the Great Chefs of Europe?/Too Many Chefs 1978; Saint Jack 1979; Rough Cut 1980; A Zed and Two Noughts 1985; Lady Jane 1986; The Sicilian, White Mischief 1987; It Couldn’t Happen Here 1988; Lethal Weapon 2 1989; Dimenticare Palermo/To Forget Palermo (It./Fr.), The Hunt for Red October 1990; Bill & Ted’s Bogus Journey, The Object of Beauty 1991; The Bridge, The Mighty Ducks, Once Upon a Crime 1992; Nowhere to Run 1993; Mad Dogs and Englishmen, Miracle on 34th Street, Mother’s Boys, Nostradamus, The Princess and the Goblin (v/o) 1994; A Kid in King Arthur’s Court 1995; D3: The Mighty Ducks, Surviving Picasso 1996; To the End of Time 1997; Firelight, The Mighty, Swept from the Sea 1998; Heat of the Sun 1999; The Mumbo Jumbo, Passion of Mind 2000; K-19: No Good Deed, The Widowmaker 2002; I’ll Be There 2003; A Different Loyalty 2004; Asylum 2005; Moscow Zero 2006; Flawless (UK) 2007; Prisoners of the Sun 2010; Katherine of Alexandria 2011.

  Ackland, Rodney. Screenwriter, playwright, actor. b. May 18, 1908, London. d. Dec. 6, 1991.

After studying drama and making his debut as an actor in 1924, he began writing for films and the

stage in 1930. In addition to writing numerous plays and a number of screenplays for British films, he

has directed one motion picture and played supporting parts in several. Autobiography: The Celluloid

Mistress; or the Custard Pie of Dr. Caligari (1958).

   FILMS INCLUDE: The Skin Game (act.) 1931; Number Seventeen (scr.) 1932; The Case of

Gabriel Perry (act.) 1935; Bank Holiday/Three on a Weekend (scr.) 1938; The Silent

Battle/Continental Express (scr.) 1939; 49th Parallel/The Invaders (scr.) 1941; Hatter’s Castle (scr.)

1942; The Alibi (act.), Thursday’s Child (scr., dir.) 1943; Love Story/A Lady Surrenders (act.) 1944;

Wanted for Murder (scr.) 1946; Bond Street (scr.), Temptation Harbor (scr.) 1947; The Queen of

Spades (scr.) 1949.

   Ackroyd, Barry. Cinematographer. b. May 12, 1954, Manchester, England. Gritty, intense

photographer often used to great effect by filmmaker Ken LOACH, his realistic style brought the

vagaries of the Iraqi war to vivid life in Kathryn BIGELOW’s Oscar-winning feature The Hurt Locker

(2008).

   FILMS INCLUDE: Riff-Raff 1991; Raining Stories 1993; Ladybird, Ladybird 1994; Land and

Freedom 1995; Carla’s Song 1996; Under the Skin 1997; My Name Is Joe 1998; Beautiful People,

The Lost Son 1999; Bread and Roses 2000; Dust, The Navigators 2001; Sweet Sixteen 2002; Love &

Hate 2005; United 93, The Wind That Shakes the Barley 2006; Battle in Seattle 2007; The Hurt

Locker 2008; Looking for Eric 2009; Green Zone 2010; Coriolanus 2011.

   Acord, Art. Actor. b. 1890, Stillwater, Okla. d. 1931. One of the few real cowpunchers to become

a screen cowboy, he started out as a rodeo performer in Wild West shows. In 1909 he became a

stuntman with the Bison Film Company of New Jersey in some of the earliest Western one-reelers. In

1914 he starred in Mutual two-reelers using the name Buck Parvin. Later he was billed as Art Acord

or sometimes Art Accord. After WW I service in France, he became Universal’s leading cowboy star

of the 20s. He married and divorced actresses Edythe Sterling and Louise Lorraine. His film career

ended with the coming of sound, and soon after he was arrested for bootlegging. He then went to

Mexico with a rodeo but went broke there from gambling. In 1931 he was found dead in a Mexican

hotel room, poisoned by cyanide. His death was ruled a suicide, but suspicions of murder were never

entirely dismissed.

   FILMS INCLUDE: The Squaw Man 1914; Buckshot John, A Man Afraid of His Wardrobe 1915;

The Battle of Life 1916; Cleopatra (as Kephren, in Theda Bara vers.) 1917; Headin’ South 1918; The

Moon Riders (serial) 1920; Winners of the West (serial) 1921; In the Days of Buffalo Bill (serial)

1922; The Oregon Trail (serial) 1923; Fighting for Justice 1924; The Call of Courage, The Circus

Cyclone, Pals 1925; The Man From the West, The Set-Up, The Terror 1926; Hard Fists, Loco Luck,

Spurs and Saddles 1927; Two Gun O’Brien 1928; The Arizona Kid, Bullets and Justice, Fighters of

the Saddle, The White Outlaw 1929.

   Acres, Birt. Inventor, pioneer British filmmaker. b. July 23, 1854, Richmond, Va. d. 1918. Among

his inventions: a camera with rapid-plate exposure (1893) and a primitive projector and movie

camera (1894). In 1895 he made what is considered the first British film, recording the Oxford-

Cambridge boat race. Collaborated with noted inventor and pioneer Robert W. PAUL.

   FILMS INCLUDE: Oxford-Cambridge Boat Race, The Derby, Inauguration of the Kiel Canal by

Kaiser Wilhelm II 1895; Boxing Match, The Arrest of a Pickpocket 1896; Pierrot and Pierrette 1897;

Briton vs. Boer 1900.

   acting, in cinema. Although an offshoot of the stage tradition, film acting gradually has evolved a

style all its own. The performers in the earliest films of Lumière and Edison were ordinary people

playing themselves; but then, with the development of the story film, the need for professional actors

arose. Stage actors in the 1900s scorned the new raw medium, so most of the performers recruited for

early film dramas were either amateurs or theater dropouts. They adopted a style of acting prevalent

on the stage at the time—a declamatory technique characterized by bombastic delivery and

exaggerated gestures.

   In 1908, Film d’Art, the French film company, induced the Comédie-Française to allow the filming

of some of its productions with the entire original casts, including such stage greats as Sarah

BERNHARDT, Gabrielle RÉJANE, and Max DEARLY. The success of these productions, notably The

Assassination of the Duke de Guise, helped remove the low-brow stigma from films but did little for

the development of motion picture art. Gestures and movements that were perfectly valid on the stage

were mercilessly exaggerated on film, and the result was often grotesque. However, the financial

returns on these films encouraged imitators, especially in Italy and in the US, where Adolph ZUKOR

soon launched his Famous Players in Famous Plays productions.

   D. W. GRIFFITH is credited with being the first director to recognize the need for a new style of

acting for the screen. He sensed that the size of the screen image and the camera’s tendency to

emphasize the slightest nuance required acting that was subtler and less stylized and concerned more

with the veracity of an emotion than with its projection. As early as 1909, Griffith gathered a group of

young actors and rehearsed them continually until he was able to achieve a new, restrained style of

acting, which was to have a lasting influence on the development of the cinema.

   There are basic differences in conditions under which actors perform on stage and on screen.

Although the stage actor is able to build and sustain a characterization throughout one performance,

the screen actor has both the advantage and disadvantage of film technique—short takes, out-of-

continuity shooting, angle variance, and endless repetition of scenes until they are just right. The art of

the screen actor, especially one who is typecast, is often further removed from that of his stage

counterpart since the former usually does not assume a character’s identity but rather presents a subtle

variation of his own personality that is only slightly camouflaged under the different guises he

assumes.

   A stage actor must make certain adjustments when appearing in films. Although he does not have to

memorize many lines or sustain a performance, he must be able to respond with a display of a given

emotion at the time it is needed and without the benefit of building to it gradually. Since scenes in a

film are shot out of continuity, he must have a firm grasp of the character he is portraying if the pieces

of his performance are to match.

   Most important, it is a great deal more difficult to fake an emotion on-screen than on stage because

of the closeness of the camera. The camera’s ability to capture and magnify the smallest flicker of

personality that flashes across an actor’s face has led some theoreticians to say that what was needed

in film was not acting but being.

   The nonprofessional actor has been used extensively in European cinema, particularly in the

Russian silent films of EISENSTEIN and PUDOVKIN. The latter called this use of nonprofessionals

“typage.” Though the practice has never been widely used, it reappears from time to time, notably in

the Italian neorealistic films of Vittorio DE SICA and in the later films of Robert BRESSON.

   The introduction of sound removed the last traces of stylization from film acting. The pantomimic

exaggeration of gesture and movement, made necessary by the absence of verbal communication, was

gone forever. Many of the silent era stars were unable to hold their own because of imperfections in

diction and voice quality. Stage actors, whom producers began to import in large numbers, were

successful to some degree, but many of them failed to make the transition because the screen

demanded a more natural way of speaking than did the theater.

   The contribution of acting to the total quality of a film varies from production to production.

Certain directors, such as Clarence BROWN, Sidney FRANKLIN, and George CUKOR, have been known

as “actors’ directors” because they tended to rely heavily on the talent and personality of their

performers. Others, such as Josef von STERNBERG and Alfred HITCHCOCK, tended to treat actors as

just another element of their MISE-EN-SCÈNE. Since the advent of AUTEUR THEORY in the 50s, public

opinion and critical thinking have swung toward the acceptance of the director as the primary force in

the creation of a film, with a resulting devaluation of the role of the actor. However, many of the most

talented directors since the 60s (beginning with Jean-Luc GODARD and François TRUFFAUT in France

and continuing with John CASSAVETES, Robert ALTMAN, and Martin SCORSESE in the US have achieved

their results partly by relinquishing control to the improvisational skill of their performers.

   The star system has been central to Hollywood film production since audiences first fell in love

with silent film actress Mary PICKFORD. Most movie stars are known not for their ability to play

different roles but for a consistent persona which carries over from film to film, accumulating

associations that deepen its significance. The star’s persona may be that of a hero, villain, or

eccentric, but it must always be interesting to watch. Because popular movie stars are presumed to

guarantee box-office receipts, they have wielded great power since the heyday of the studios. The

decline of rigid studio control has only increased the power of a handful of movie stars—ensuring

that many films are made as vehicles for a particular actor.

   action. Movement before the camera, the visual development of events and situations in a narrative

sense, including the interplay of characters and between characters and their surroundings.

   “action!” The command given by a director—once camera and sound recorder are up to normal

speed—to start the action in a scene.

   action still. A still photograph blown up directly from the negative of a motion picture, in contrast

to ordinary publicity stills which are shot during production with a still camera.

   Actors’ Equity Association (AEA). A union for actors in the legitimate theater, organized in 1913.

National membership is estimated to be over 45,000.

   Actors Studio. A rehearsal group for professional actors, established in New York City in 1947 by

Elia KAZAN, Robert Lewis, and Cheryl Crawford. Lee STRASBERG became its artistic director in

1949 and it soon became the center for advancing “the Method,” a technique of acting inspired by

Stanislavski’s teachings. The Studio exerted considerable influence on the American theater and

cinema of the 50s and nurtured the talents of such performers as Barbara BEL GEDDES, Marlon

BRANDO, Montgomery CLIFT, James DEAN, Ben GAZZARA, Julie HARRIS, Paul NEWMAN, Jack

PALANCE, Lee REMICK, Rod STEIGER, Eli WALLACH, Shelley WINTERS, and Joanne WOODWARD. Since

Strasberg’s death in 1982, artistic directors have included Ellen BURSTYN, Al PACINO, and Frank

Corsaro. Actors Studio West was founded in Los Angeles in 1966.

   ACTT (Association of Cinematograph, Television and Allied Technicians). The British

filmmakers’ union. Founded in 1931, it is the only trade union in the world that operates its own film

production unit, ACT Films.

   actual sound. Sound whose source is either visible on the screen or implied by the action in a

sequence, as distinguished from off-camera commentary, such as narration.

   acutance. The physical measurement of sharpness of a photographed image. A microdensitometer

is used to measure the spatial rate of change of density across the image, thus defining its sharpness

with scientific accuracy to verify an otherwise subjective judgment. It also helps to evaluate the

quality of emulsions and lenses.

   Adam, Ken. Art director, production designer. b. Feb. 5, 1921, Berlin. He went to England in 1934

where he studied architecture at London University and was an RAF pilot in WW II. After entering

the film industry in 1947 as a draftsman on This Was a Woman, he became an art director in the mid-

50s and a production designer in the early 60s. His work has been known for its stylish inventiveness

and sense of humor. Among his creations: the war room in Dr. Strangelove (1964) and the glittering

interior of Fort Knox in Goldfinger (1964). He won Oscars for the art direction of Kubrick’s Barry

Lyndon (1975) and The Madness of King George (1994), and has twice been nominated in the same

category for The Spy Who Loved Me (1977) and Addams Family Values (1993).

   FILMS INCLUDE: As assistant art director—Captain Horatio Hornblower 1951; The Crimson

Pirate 1952; Helen of Troy 1956. As art director or production designer—Around the World in 80

Days (European sets) 1956; Curse of the Demon 1958; The Trials of Oscar Wilde 1960; Dr. No, Dr.

Strangelove, Sodom and Gomorrah (It.) 1963; Goldfinger 1964; The Ipcress File, Thunderball 1965;

Funeral in Berlin 1966; You Only Live Twice 1967; Chitty Chitty Bang Bang 1968; Goodbye, Mr.

Chips 1969; The Owl and the Pussycat 1970; Diamonds Are Forever 1971; Sleuth 1972; The Last of

Sheila 1973; Barry Lyndon 1975; The Seven-Per-Cent Solution 1976; The Spy Who Loved Me 1977;

Moonraker 1979; Pennies from Heaven (assoc. prod., visual consultant) 1981; Agnes of God, King

David 1985; Crimes of the Heart 1986; The Deceivers 1988; Dead Bang 1989; The Freshman 1990;

Company Business, The Doctor 1991; Addams Family Values, Undercover Blues 1993; The Madness

of King George 1994; Boys on the Side, Leaving Las Vegas 1995; Bogus 1996; In and Out 1997; The

Out-of-Towners 1998; Taking Sides 2001.

   Adams, Amy. Actress. b. Aug. 20, 1973. The daughter of military parents, she was born on an

American base in Italy. Shortly thereafter, her family relocated to Colo. where she was raised.

Trained from childhood as a dancer, she appeared in local and regional theatre productions until

eventually, at age 25, she landed her first film role in Michael Patrick Jann’s beauty pageant send-up

Drop Dead Gorgeous (1999). A few years later, however, she put Hollywood at attention with her

turn as the innocent, sex-starved Brenda Strong opposite Leonardo DICAPRIO in Steven SPIELBERG’s

Catch Me If You Can (2002). She would soon reach greater heights with Oscar-nominated supporting

performances as the motor-mouthed sister-in-law in the indie hit Junebug (2005) and her turn as a

naïve nun in Doubt (2008).

   FILMS INCLUDE: Drop Dead Gorgeous 1999; Psycho Beach Party 2000; Catch Me If You Can,

Pumpkin, Serving Sara 2002; The Last Run 2004; Junebug, Standing Still, The Wedding Date 2005;

The Ex, Moonlight Serenade, Talladega Nights: The Ballad of Ricky Bobby, Tenacious D in the Pick

of Destiny 2006; Charlie Wilson’s War, Enchanted, Underdog (v/o) 2007; Doubt, Miss Pettigrew

Lives for a Day 2008; Julie & Julia, Night at the Museum 2 2009; The Fighter, Leap Year 2010; On

the Road 2011.

   Adams, Brooke. Actress. b. Feb. 8, 1949, New York City. ed. Dalton, N.Y., High School for

Performing Arts; Instit. of American Ballet; Lee Strasberg. Petite, perky, leading lady of American

TV and films. A stage performer from age six, she entered TV as a teenager, appearing regularly in

the short-lived series ‘O.K. Crackerby’ (1965–66). She acted in feature films from the mid-70s, most

notably as the center of the tragic love triangle in Days of Heaven (1978). TV roles in the 80s

included several guest appearances on ‘Moonlighting’ (1985–89). She is married to actor Tony

SHALHOUB.

   FILMS INCLUDE: The Great Gatsby, The Lords of Flatbush 1974; Car Wash 1976; Shock

Waves/Death Corps/Almost Human (release delayed from 1970) 1977; Days of Heaven, Invasion of

the Body Snatchers 1978; Cuba, A Man a Woman and a Bank/A Very Big Withdrawal 1979; Tell Me a

Riddle 1980; Utilities 1981; The Dead Zone, Haunted 1983; Almost You 1984; Key Exchange

(reprising her Broadway role), The Stuff 1985; Man on Fire (It./Fr.) 1987; The Unborn 1991; Gas

Food Lodging 1992; My Boyfriend’s Back, The Sandlot 1993; The Baby-Sitter’s Club 1995; Made-

Up 2002; At Last 2005; The Legend of Lucy Keyes 2006; The Accidental Husband 2008.

   Adams, Donna. See REED, Donna.

   Adams, Edie. Actress, singer. b. Elizabeth Edith Enke, Apr. 16, 1927, Kingston, Pa. d. Oct. 15,

2008. Glamorous blonde entertainer-comedienne of the American stage, TV and films. A graduate of

                                                                            ,

the Juilliard School of Music and the Columbia School of Drama, she entered show business via a

TV talent show, later winning the titles Miss New York TV and Miss US TV She gained popularity in

                                                                            .

the early 50s as a regular on the ‘Ernie Kovacs Show’ and in 1955 married Kovacs. She was

widowed in 1962. In addition to making many TV and nightclub appearances, she starred on

Broadway in ‘Wonderful Town’ (1953) and ‘Li’l Abner’ (Tony Award) (1956), in which she created

the role of Daisy Mae. Her effervescence enlivened a number of films in the 60s, usually in secondary

roles. In 1984 she portrayed Mae West in the TV biography ‘Ernie Kovacs: Between the Laughter.’

   FILMS INCLUDE: The Apartment 1960; Lover Come Back 1961; Call Me Bwana, It’s a Mad Mad

Mad Mad World, Under the Yum Yum Tree 1963; The Best Man, Love with the Proper Stranger 1964;

Made in Paris, The Oscar 1966; The Honey Pot 1967; Kovacs (compilation doc.) 1971; Up in Smoke

1978; Racquet 1979; The Happy Hooker Goes to Hollywood 1980; Boxoffice 1982.

   Adams, Julie. Actress. b. Betty May Adams, Oct. 17, 1926, Waterloo, Iowa. Leading lady of

Hollywood second features. A secretary before breaking into films, she was first billed as Betty

Adams before becoming Julie Adams. Married Ray DANTON.

   FILMS INCLUDE: As Betty Adams—The Dalton Gang, Red Hot and Blue 1949. As Julie Adams

—Bright Victory, Hollywood Story 1951; Bend of the River, Horizons West, The Lawless Breed

1952; The Mississippi Gambler, Wings of the Hawk, The Man from the Alamo 1953; The Creature

from the Black Lagoon 1954; The Private War of Major Benson, Six Bridges to Cross 1955; Away

All Boats 1956; Slaughter on Tenth Avenue 1957; Gunfight at Dodge City 1959; The Underwater City

1962; Tickle Me 1965; The Valley of Mystery 1967; The Last Movie 1971; McQ 1974; Psychic

Killer, The Wild McCullochs 1975; The Killer Inside Me 1976; Goodbye Franklin High 1978; The

Fifth Floor 1980; Champions (UK) 1984; Black Roses 1988; Catchfire 1990; World Trade Center

2006.

   Adams, Maud. Actress. b. Maude Wikstrum, Feb. 12, 1945, Lulea, Sweden. V        oluptuous leading

lady who used a successful modeling career as a springboard into films and TV Memorable in two

                                                                                 .

James Bond extravaganzas, especially the title role in Octopussy.

   FILMS INCLUDE: The Boys In the Band (bit) 1970; The Christian Licorice Store 1971; The Girl

in Blue, The Man with the Golden Gun (her first James Bond movie) 1974; Killer Force, Rollerball

1975; L’Uomo senza Pietà/The Merciless Man 1977; Tattoo 1980; Octopussy (title role) 1983; Hell

Hunters 1986; Jane and the Lost City, The Women’s Club 1987; Angel III: The Final Chapter 1988; La

Nuit du serail, Pasion de Hombre/A Man of Passion 1989; Ringer 1996; The Seekers 2008.

   Adams, Nick. Actor. b. Nicholas Adamshock, July 10, 1931, Nanticoke, Pa. d. 1968. ed. St.

Peter’s Coll. Played leads and supporting parts in many films of the 50s and 60s, often as a restive

young man, but he was best known to American audiences as star of ‘The Rebel’ TV series. He was

nominated for an Oscar as best supporting actor in Twilight of Honor (1963). His death was caused

by an overdose of drugs he was taking for a nervous disorder.

   FILMS INCLUDE: Somebody Loves Me 1952; Mister Roberts, Picnic, Rebel Without a Cause

1955; No Time for Sergeants, Teacher’s Pet 1958; The FBI Story, Pillow Talk 1959; Hell Is for

Heroes, The Interns 1962; The Hook, Twilight of Honor 1963; The Young Lovers 1964; Young

Dillinger, Die Monster Die! 1965; Frankenstein Conquers the World (Jap.) 1966; Fever Heat 1968.

   Addams, Dawn. Actress. b. Sept. 21, 1930, Felixstowe, England. d. 1985 of cancer. Educated in

England, India, and the US. Came to Hollywood in 1950. Her undistinguished career was highlighted

by a leading role in Chaplin’s A King in New York (1957), after which she appeared in routine

British and Continental films. At one time (1954–71) she was married to Italy’s Prince Vittorio

Massimo. After a second marriage to a businessman, she retired from the screen (and from a

notorious succession of love affairs) and lived in Malta, then resettled in the US.

   FILMS INCLUDE: In the US—Night Into Morning 1951; Singin’ in the Rain (bit), The Hour of 13,

Plymouth Adventure 1952; Young Bess, The Moon Is Blue, The Robe 1953; Khyber Patrol 1954. In

Europe—Secrets d’Alcove/Il Letto/The Bed (Fr./It.) 1954; Il Tesoro di Rommel/Rommel’s Treasure

(It.) 1955; A King in New York (UK) 1957; The Silent Enemy (UK) 1958; L’Ile du Bout du

Monde/Temptation (Fr.) 1959; The Two Faces of Dr. Jekyll/House of Fright (UK), Die tausend Augen

des Dr. Mabuse/ The 1000 Eyes of Dr. Mabuse (Ger./Fr./It.) 1960; Les Menteurs/ The Liars (Fr.)

1961; Come Fly with Me (US/UK) 1963; Ballad in Blue/Blues for Lovers (UK) 1965; Where the

Bullets Fly (UK) 1966; The Vampire Lovers (UK) 1970; The Vault of Horror (UK) 1973.

   Addinsell, Richard. Composer. b. Jan. 13, 1904, London. d. 1977. ed. Oxford. Composed many

scores for stage and screen. He is best known for his “Warsaw Concerto” from the film Dangerous

Moonlight/Suicide Squadron (1940).

   FILMS INCLUDE: Fire Over England 1937; Goodbye Mr. Chips 1939; Gaslight, Dangerous

Moonlight/Suicide Squadron 1940; Blithe Spirit 1945; Under Capricorn 1949; Tom Brown’s

Schooldays, A Christmas Carol 1951; Encore 1952; Beau Brummel 1954; The Prince and the

Showgirl 1957; A Tale of Two Cities 1958; The Waltz of the Toreadors 1962; Macbeth 1963; Life at

the Top 1965.

   Addison, John. Composer. b. Mar. 16, 1920, West Chobham, England. d. December 7, 1998. ed.

Wellington; Royal Coll. of Music. Prolific scorer of British films (from 1948), plays, ballets, and TV

dramas. He won an Oscar in 1963 for Tom Jones and was again nominated in 1972 for Sleuth.

   FILMS INCLUDE: Seven Days to Noon 1950; Pool of London 1951; Private’s Progress 1955; I

Was Monty’s Double 1958; Look Back in Anger 1959; The Entertainer 1960; A Taste of Honey 1961;

The Loneliness of the Long Distance Runner 1962; Tom Jones 1963; The Loved One 1965; A Fine

Madness 1966; The Honey Pot, Smashing Time 1967; The Charge of the Light Brigade 1968; Country

Dance/Brotherly Love 1970; Luther 1973; The Seven-Per-Cent Solution, Swashbuckler 1976; A

Bridge Too Far, Joseph Andrews 1977; Strange Invaders 1983; The Ultimate Solution of Grace

Quigley/Grace Quigley 1984; Code Name: Emerald 1985.

   Adjani, Isabelle. Actress. b. June 27, 1955, Paris, to an Algerian father of Turkish ancestry and a

German mother. At age 12 she won a prize for recitation at school and began appearing in amateur

stage productions; at 14 she made her film debut during a summer vacation. She appeared in a second

film two years later under similar circumstances, while continuing her high school education. By the

time she graduated, she was appearing on French TV and in provincial stage productions. In 1972,

with no previous formal training and just her limited acting experience, she became a member of the

Comédie-Française and began drawing ecstatic rave notices from critics for her performances in

plays by Molière, Lorca, and Giraudoux. She was called a phenomenon of her generation and the

greatest young actress to grace the French stage in years. The Comédie offered her a 20-year contract,

but she rejected it and instead accepted an invitation from François TRUFFAUT to play the title role in

his film L’Histoire d’Adèle H./The Story of Adele H. (1975).

   She gave a mature, intricate, and altogether magnificent performance in the complex role. She was

hailed by many critics as the most extraordinary screen personality to come along since Jeanne

MOREAU. She was nominated for an Oscar, and won several international awards for her work in that

film. Adjani went on to become France’s top female movie star. She was named best actress at

Cannes in 1981 for Possession and Quartet and won César Awards for Possession, L’Eté meurtrier

(1983), and Camille Claudel (1988). She also received the Berlin Film Festival best actress prize

and a second Oscar nomination for her brilliant portrayal in the latter film as the sculptress who was

the muse and the mistress of sculptor Auguste Rodin.

   FILMS INCLUDE: Le petit Bougnat 1969; Faustine et le bel Eté/Faustine and the Beautiful Summer

1971; La Gifle/The Slap 1974; L’Histoire d’Adèle H./The Story of Adele H. 1975; Barocco, Le

Locataire/The Tenant 1976; Violette et François 1977; The Driver, Nosferatu Phantom der

Nacht/Nosferatu the Vampyre 1978; Les Soeurs Brontë/The Brontë Sisters (as Emily Brontë) 1979;

Clara et les chic Types 1980; L’Année prochaine si tout va bien, Possession, Quartet 1981;

Antonietta, Tout Feu tout Flamme/All Fired Up 1982; L’Eté meurtrier/One Deadly Summer, Mortelle

randonnée/Deadly Circuit 1983; Subway 1985; Ishtar, Maladie d’Amour 1987; Camille Claudel (also

co-prod.) 1988; Lung Ta: Les Cavaliers du Vent 1990; Toxic Affair 1993; Queen Margot 1994;

Diabolique 1996; Paparazzi Passionment 1999; Adolphe, The Repentant 2002; Monsieur Ibrahim

2003; Bon V  oyage 2004; Le Journée de la Jupe 2008; Mammuth 2010; De Force 2011.

   Adler, Buddy. Producer. b. E. Maurice Adler, June 22, 1909, New York City. d. 1960. ed.

Columbia; Pennsylvania U. Son of the famous elevator-shoe merchant, he wrote ads for his father’s

business, then short stories for magazines. In 1935 he began writing short subjects for MGM, one of

which, Quicker ’n a Wink 1940, won an Academy Award. He was a lieutenant-colonel in the Army

Pictorial Service in WW II. In 1947 he became producer for Columbia and in 1953 won an Academy

Award for From Here to Eternity. He was named head of production for 20th Century-Fox in 1956,

succeeding Darryl Zanuck. He died during preproduction work on Cleopatra (1963). He was married

to Anita LOUISE.

   FILMS INCLUDE: The Dark Past 1948; A Woman of Distinction, No Sad Songs for Me 1950;

Salome, From Here to Eternity 1953; Violent Saturday, Soldier of Fortune, Love Is a Many

Splendored Thing, The Left Hand of God 1955; The Bottom of the Bottle, The Revolt of Mamie

Stover, Bus Stop, Anastasia 1956; Heaven Knows Mr. Allison, A Hatful of Rain 1957; South Pacific,

The Inn of the Sixth Happiness 1958.

   Adler, Luther. Actor. b. Lutha Adler, May 4, 1903, New York City. d. 1984. The descendant of a

well-known theatrical family, he made his debut at five in ‘Schmendrick’ on the Yiddish stage. He

remained basically a stage actor, but his infrequent films included some powerful, memorable

character portrayals. His brother Jay (d. 1978) was also in occasional films, and his sister Stella (d.

1992) was a well-known stage personality and acting teacher. He was the second husband (1938–47)

of Sylvia SIDNEY.

   FILMS INCLUDE: Lancer Spy 1937; Cornered 1945; Saigon, The Loves of Carmen, Wake of the

Red Witch 1948; House of Strangers 1949; D.O.A., Under My Skin, Kiss Tomorrow Goodbye 1950;

The Desert Fox, The Magic Face (as Hitler in both), M 1951; Hoodlum Empire 1952; The Tall Texan

1953; The Miami Story 1954; Crashout 1955; Hot Blood 1956; The Last Angry Man 1959; Cast a

Giant Shadow 1966; The Brotherhood 1968; Crazy Joe 1974; The Man in the Glass Booth 1975;

V oyage of the Damned 1976; The Three Sisters (as Chebutykin) 1977; Absence of Malice 1981.

   Adlon, Percy. Director, producer, screenwriter. b. June 1, 1935, Munich, Germany. ed. Munich U.

After getting his start in German repertory theatre and radio, he turned in the 70s to making television

documentaries. His first full-length work for TV The Guardian and the Poet (1978), garnered enough

                                                   ,

praise to allow him to direct and write his first feature, Celeste (1981), an account of Marcel Proust’s

last days. He gained international recognition with Sugarbaby (1985), as did Marianne SAGEBRECHT,

the star of this unusual love story between an overweight woman and a subway conductor. Sagebrecht

has starred in Adlon’s subsequent films, which are distinguished by their humor and the inventiveness

of their storylines and cinematic technique. Gentle in tone yet astute in their observations, his films

are favorites on the art-house circuit. His wife Eleanore frequently collaborates as co-producer and

co-screenwriter.

   FILMS INCLUDE: As director—Celeste (also scr.) 1981; Letze Funf Tage/The Last Five Days

1982; Die Schaukel/The Swing (also scr.) 1983; Zuckerbaby/Sugarbaby (also prod., scr., story) 1985;

Bagdad Cafe/Out of Rosenheim (also co-prod., co-scr., story) 1987; Rosalie Goes Shopping (also

co-scr., co-prod.) 1989; Salmonberries 1991; Younger and Younger 1993; Hawaiian Gardens (also

scr.) 2001; Mahler on the Couch (also scr.) 2010.

   Adolfi, John G. Director. b. Feb. 19, 1888, New York City. d. 1933. Entered films around 1910 as

an actor but soon after became a director. Turned out many films, mostly minor, during the silent era

for Reliance, Fox, and other companies. Shortly after the advent of sound, he formed a partnership

with George ARLISS and directed several of the famed actor’s stagey film vehicles. Also credited as

Jack Adolfi.

   FILMS INCLUDE: A Man and His Mate, A Child Of God 1915; The Man Inside, Little Miss

Happiness, The Ragged Princess, The Sphinx, Caprice of the Mountains, The Mischief Maker,

Merely Mary Ann, A Modern Thelma 1916; A Modern Cinderella, A Small Town Girl, Patsy, A Child

of the Wild 1917; The Heart of a Girl, Queen of the Sea, The Burden of Proof, The Woman the

Germans Shot/The Cavell Case 1918; Who’s Your Brother? 1919; The Amazing Woman, The Wonder

Man, The Little ’Fraid Lady 1920; The Darling of the Rich 1922; The Little Red Schoolhouse 1923;

What Shall I Do?, Chalk Marks 1924; The Scarlet West, Big Pal, Before Midnight, The Phantom

Express 1925; The Checkered Flag 1926; Husband Hunters, What Happened to Father? 1927; The

Devil’s Skipper, The Little Snob, Prowlers of the Sea, The Midnight Taxi, Sinner’s Parade 1928;

Fancy Baggage, Evidence, The Show of Shows, In the Headlines 1929; Dumbbells in Ermine,

Recaptured Love, Sinner’s Holiday, College Lovers 1930; The Millionaire, Alexander Hamilton,

Compromised 1931; The Man Who Played God, A Successful Calamity, Central Park 1932; The

King’s Vacation, The Working Man, V    oltaire 1933.

  Adorée, Renée. Actress. b. Jeanne de la Fonte, Sept. 30, 1898, Lille, France. d. 1933. A circus

performer from age five and later a chorine in Paris with the Folies-Bergère, she arrived in

Hollywood in 1920. Played routine leads before gaining sudden stardom as John Gilbert’s leading

lady in The Big Parade (1925). Her first husband (1921–24) was actor Tom MOORE. Her career was

cut short by tuberculosis, the cause of her death at 35.

  FILMS INCLUDE: l500 Reward (Austral.) 1918; The Strongest 1920; Made in Heaven 1921;

Monte Cristo, West of Chicago, Honor First 1922; The Eternal Struggle 1923; A Man’s Mate, Women

Who Give, The Bandolero 1924; Excuse Me, Man and Maid, Parisian Nights, Exchange of Wives,

The Big Parade 1925; The Black Bird, La Bohème, The Exquisite Sinner, Blarney, Tin Gods, The

Flaming Forest 1926; The Show, Heaven on Earth, Mr. Wu, On Ze Boulevard, Back to God’s Country

1927; The Cossacks, The Michigan Kid, Forbidden Hours, The Mating Call 1928; The Pagan, Tide of

Empire 1929; Redemption, Call of the Flesh 1930.

  Adrian (Gilbert A. Adrian). Costume designer. b. Adrian Adolph Greenberg, Mar. 3, 1903,

Naugatuck, Conn. d. 1959. Went to Hollywood after graduating from the New York School for

Applied and Fine Arts. After designing several productions for Valentino and De Mille, he became

chief costume designer for MGM, helping the “dream factory” glamorize such stars as Greta Garbo,

Norma Shearer, Joan Crawford, and Jean Harlow. In 1942 he opened his own establishment, serving

most major studios. He was married to Janet GAYNOR.

  FILMS INCLUDE: Her Sister from Paris, The Eagle 1925; Fig Leaves, Gigolo, The V       olga Boatman

1926; The Angel of Broadway, Chicago, The Country Doctor, The Forbidden Woman, Vanity, The

Wreck of the Hesperus 1927; The Blue Danube, The Mask of the Devil, Midnight Madness,

Skyscraper, A Woman of Affairs 1928; The Bridge of San Luis Rey, Dynamite, The Godless Girl, The

Kiss, The Last of Mrs. Cheyney, The Trial of Mary Dugan 1929; Anna Christie, The Divorcee, A

Lady’s Morals, Madam Satan, Our Blushing Brides 1930; A Free Soul, Private Lives 1931; Rasputin

and the Empress, Red Dust, Strange Interlude, Smilin’ Through, Grand Hotel 1932; Dinner at Eight,

Today We Live 1933; Nana, The Painted Veil, The Merry Widow, Queen Christina, The Barretts of

Wimpole Street 1934; China Seas, Broadway Melody of 1936, Naughty Marietta, Anna Karenina

1935; San Francisco, Rose Marie, Romeo and Juliet, The Great Ziegfeld, Camille 1936; Maytime

1937; Marie Antoinette 1938; Idiot’s Delight, Ninotchka, The Wizard of Oz, The Women 1939; Boom

Town, Pride and Prejudice, Waterloo Bridge, The Philadelphia Story 1940; Dr. Jekyll and Mr. Hyde,

Ziegfeld Girl, Two-Faced Woman 1941; Keeper of the Flame, Woman of the Year 1942; They Got Me

Covered 1943; Possessed 1947; Rope 1948; Lovely to Look At 1952.

  Adrian, Iris. Actress. b. Iris Adrian Hostetter, May 29, 1913, Los Angeles. d. Sept. 17, 1994.

Made her stage debut as a dancer in the Ziegfeld Follies after winning a 1929 beauty contest.

Beginning in the early 30s, she was a vivacious supporting player and occasional lead of some 100

Hollywood films. She typically played cheap, dumb blondes, talkative chorus girls, and gangsters’

molls. Married former football star “Fido” Murphy.

  FILMS INCLUDE: Paramount on Parade 1930; Rumba 1935; Gold Diggers of 1937, A Message to

Garcia 1936; Go West 1940; Road to Zanzibar 1941; Orchestra Wives, Roxie Hart, To the Shores of

Tripoli 1942; Action in the North Atlantic, His Butler’s Sister, Lady of Burlesque 1943; Shake Hands

with Murder, Swing Hostess, The Woman in the Window 1944; The Stork Club 1945; The Paleface

1948; Always Leave Them Laughing 1949; Once a Thief 1950; My Favorite Spy 1951; The Fast and

the Furious 1954; The Buccaneer 1958; Blue Hawaii 1961; The Errand Boy 1962; That Darn Cat

1965; The Love Bug, The Odd Couple 1968; The Apple Dumpling Gang 1975; The Shaggy D.A.

1976; Freaky Friday 1977; Herbie Goes Bananas 1980.

   advance. The distance between picture and sound gates on a projector, which must be taken into

consideration when making sound prints. The sound track on a strip of film is always printed ahead of

the corresponding picture so that sound and picture are synchronized during projection. The distance

is 20 frames for 35mm prints and 26 frames for 16mm.

   AEA. See ACTORS’ EQUITY ASSOCIATION.

   aerial image printer. See OPTICAL PRINTER.

   Affleck, Ben. Actor, director, screenwriter. b. Aug. 15, 1972, Berkeley, Calif. Young, handsome

leading man of American films who, after moving with his family to Massachusetts at an early age,

began acting on PBS, quickly graduating to TV movies in his early teens. He shot to stardom with the

release of Good Will Hunting (1997) opposite longtime friend/collaborator, actor Matt DAMON. The

two also co-wrote the screenplay, earning an Academy Award. After several well-publicized

relationships with Hollywood starlets such as Gwyneth PALTROW and, most notably the on-again-off-

again romance with and subsequent failed engagement to singer-actress Jennifer LOPEZ, Affleck

finally settled down to wed his co-star from Daredevil (2003), actress Jennifer GARNER.

   FILMS INCLUDE: Buffy the Vampire Slayer, School Ties 1992; Dazed and Confused 1993;

Mallrats 1995; Glory Daze 1996; Chasing Amy, Going All the Way, Good Will Hunting (also co-scr.)

1997; Armageddon, Phantoms, Shakespeare in Love 1998; 200 Cigarettes, Dogma, Forces of Nature

1999; Boiler Room, Bounce, Reindeer Games 2000; Daddy and Them, Jay and Silent Bob Strike

Back, Pearl Harbor 2001; Changing Lanes, The Sum of All Fears, The Third Wheel 2002; Daredevil,

Gigli, Paycheck 2003; Jersey Girl, Surviving Christmas 2004; Feast (ex-prod. only) 2005; Clerks II,

Hollywoodland, Man About Town, Smokin’ Aces 2006; Gone Baby Gone (dir., prod., scr.) 2007;

Extract, He’s Just Not That Into You, State of Play 2009; The Company Men, The Town (also dir.,

scr.) 2010.

   Affleck, Casey. Actor. b. Aug. 12, 1975, Falmouth, Mass. Astute, disarming leading and character

player of TV and feature films who, after working closely with older brother, filmmaker Ben

AFFLECK, clearly proved himself a capable and talented actor on his own with a breakout

performance as Robert Ford in The Assassination of Jesse James by the Coward Robert Ford (2007),

earning an Oscar nod in the supporting actor category.

   FILMS INCLUDE: To Die For 1995; Race the Sun 1996; Chasing Amy, Good Will Hunting 1997;

Desert Blue 1998; Attention Shoppers, Committed, Drowning Mona, Finding Forrester, Hamlet 2000;

American Pie 2, Ocean’s Eleven, Soul Survivors 2001; Gerry (also scr., edit.) 2002; Ocean’s Twelve

2004; Lonesome Jim 2005; The Last Kiss 2006; The Assassination of Jesse James by the Coward

Robert Ford, Gone Baby Gone, Ocean’s Thirteen 2007; I’m Still Here (also dir., scr., prod., cinema.),

The Killer Inside Me 2010; Tower Heist 2011; Cogan’s Trade 2012.

   Africa. Now the site of a diverse and innovative film industry, sub-Saharan Africa was slow to

develop a cinema of its own. Until the 50s, filmmaking was limited to North Africa, particularly

EGYPT, whose film industry (founded in the late 20s) has long dominated the Arab world. Other North

African countries, notably Algeria and Tunisia, also directed their films principally to the Arab

market. The 1953 film Mourani (Guinea), an adaptation of a traditional oral narrative, was the first

work by a sub-Saharan African filmmaker. However, the most seminal work of African film was

Borom Sarret, a 1963 short by Senegalese director Ousmane SEMBÈNE. Like much of his later work

and that of other African directors, the film focused on class conflict and the after-effects of European

colonialism in a newly independent country. In the decades since, African filmmakers have overcome

the obstacles posed by widespread poverty and political instability to produce an impressive body of

work.

   Most of the continent’s new cinema has emerged in France’s former colonies in West Africa, aided

by a tradition of government support for the arts and by financial support and training from France

itself. Sembène (Black Girl/La Noire de . . . , 1966; Mandabi/The Money Order, 1968; Guelwaar,

1992) and fellow Senegalese filmmaker Djibril Diop Mambéty (Touki-Bouki, 1973; Hyenas, 1992)

are among the most prominent names in the industry, as are two directors from BURKINA FASO, Idrissa

OUEDRAOGO (Yam Daabo, 1987; Yaaba, 1989) and Gaston KABORÉ (Wend Kuuni, 1981; Zan Boko,

1988). Med Hondo (Soleil O, 1969; Sarraounia, 1986) from Mauritania, Souleymane CISSÉ (Cinq

Jours d’une vie/Five Days in a Life, 1972; Yeelen/Brightness, 1987) from Mali, and Safi Faye (Letter

From My Village/Kaddu beykat, 1975; Man Say Yay/I Your Mother, 1980) from Senegal (the latter

one of Africa’s few women directors) are also major filmmakers. Other West African film-producing

countries (most but not all of which are Francophone) include Ghana, Guinea, Guinea-Bissau, Ivory

Coast, Niger, and Nigeria.

   Southern Africa, particularly Zimbabwe and South Africa, has long been a favored location site for

Western directors, who have usually brought their own cast and crew and done little to develop

indigenous talent. Potential filmmakers here have not received as much financial and educational

support from Britain (which formerly dominated most of the region) as France’s former colonies have

received from France. However, some enterprising filmmakers have arisen of late, notably Godwin

Mawuru of Zimbabwe and Michael Hammon of South Africa. Kenya and Tanzania in East Africa are

also producing films.

   Despite continuing heavy competition in African theatres from Western film producers (particularly

Hollywood), this continent has developed a unique and varied cinema, ranging in style from magical

realism rooted in folklore to affectionate humor, pointed satire, and documentary authenticity. Though

often bearing the traces of French influence, these films are utterly original. Many address persistent

tensions in African life, most notably the conflicts between modernity and tradition, rural and urban

lifestyles, and Western and indigenous influences. Critically acclaimed in Europe though still little

known in the US, the films are showcased annually at African film festivals held in alternating years

in Ouagadougou, Burkina Faso, and Carthage, Tunisia.

   AFTRA (American Federation of Television and Radio Artists). A labor union that negotiates

minimum wages, benefits, and working conditions for performers in television and radio. It is part of

the AAAA and associated with the AFL-CIO.

   Agar, John. Actor. b. Jan. 31, 1921, Chicago. d. April 7, 2002. Handsome but colorless leading

man of Hollywood films, which he entered after service in WW II. Better known as the former

husband (1946–49) of Shirley TEMPLE than for his film work, he failed to capitalize on an initial

career opportunity in the films of John FORD and drifted into routine action pictures. His career was

hampered by numerous arrests for drunken driving. Overcoming alcoholism, he retired from the

screen to become an insurance salesman, but returned in 1976 with a small role in King Kong, and

has appeared in occasional films since.

   FILMS INCLUDE: Fort Apache 1948; Adventure in Baltimore, She Wore a Yellow Ribbon 1949;

Breakthrough, Sands of Iwo Jima 1950; Along the Great Divide, The Magic Carpet 1951; Bait, The

Golden Mistress 1954; Revenge of the Creature, Tarantula 1955; The Mole People 1956; Daughter of

Dr. Jekyll 1957; Frontier Gun 1958; Journey to the Seventh Planet 1962; Law of the Lawless 1964;

Johnny Reno 1966; The St. Valentine’s Day Massacre 1967; The Undefeated 1969; Chisum 1970; Big

Jake 1971; King Kong 1976; How’s Your Love Life? 1977; Miracle Mile 1988; Fear, Night Breed

1990.

   Age and Scarpelli. The Italian cinema’s most famous screenwriting team. Age (b. Agenore

Incrocci, July 1919, Brescia, Italy. d. Nov. 2005) and Scarpelli (b. Furio Scarpelli, Dec. 1919,

Rome. d. Apr. 28, 2010), both began their careers writing for humor magazines. They started their

partnership in the late 40s, and for several years worked mainly on the popular ‘Toto’ comedies. They

earned international recognition in 1958 for their contribution to Mario Monicelli’s hilarious Big

Deal on Madonna Street, and were subsequently associated with many other hits. They wrote for all

genres, including spaghetti Westerns, but excelled most in comedy, to which they brought a robust

sense of humor, a knack for bright and lively dialogue, and a profound understanding of the

contemporary Italian social scene. Their partnership dissolved in the early 80s.

   FILMS INCLUDE: I Due Orfanelli/The Two Orphans (Age only) 1947; Toto’ cerca Casa 1950;

Casa Ricordi/House of Ricordi, Casta Diva 1954; Il Bigamo/The Bigamist 1956; Padri e

Figli/Fathers and Sons/The Tailor’s Maid 1957; Primo Amore, I Soliti ignoti/Big Deal on Madonna

Street 1958; La grande Guerra/The Great War 1959; Il Mattatore/Love and Larceny, Risate di

gioia/The Passionate Thief, Tutti a Casa/Everybody Go Home! 1960; I Due Nemici/The Best of

Enemies 1961; Il Commissario, Il Mafioso 1962; I Compagni/The Organizer, I Mostri/Opiate ’67/15

from Rome, Sedotta e abbandonata/Seduced and Abandoned 1963; L’Armata Brancaleone, Casanova

’70 1965; Il Buono il Brutto e il Cattivo/The Good, the Bad and the Ugly, Signore e Signori/The

Birds the Bees and the Italians 1966; Il Tigre/The Tiger and the Pussycat 1967; Dramma ella

Gelosia/The Pizza Triangle 1970; In Nome del Popolo Italiano/In the Name of the Italian People

1972; Teresa la Ladra 1973; Romanzo popolare 1974; C’eravamo tanto amati/We All Loved Each

Other So Much 1975; La Donna della Domenica/Sunday Woman 1976; I Nuovi Mostri 1977;

Temporale Rosy 1979; La Terrazza 1980; Camera d’Albergo, Nudo di Donna/Portrait of a Woman

Nude 1981; Spaghetti House 1982; Le Bal (Scarpelli only), Scherzo del Destino . . . /A Joke of

Destiny (Age only) 1983; Le Bon Roi Dagobert (Age only), Un Ragazzo e una Ragazza (Scarpelli

only) 1984; Maccheroni/Macaroni (Scarpelli only) 1985; I Soliti ignoti . . . vent’anni doppo/Big Deal

on Madonna Street . . . Twenty Years Later (Age only) 1986; La Famiglia/The Family (Scarpelli only)

1987; Affetuose Lontananze (Age only), Tempo di Uccidere/The Short Cut (Scarpelli only), Una

Botta di Vita/A Taste of Life (Age only) 1989; Briganti (Scarpelli only), Luisa Carlo Lorenzo e . . . le

Affetuose Lontananze (Age only), Il Viaggio di Capitan Fracasse (Scarpelli only) 1990; La Pagaille

(Age only) 1991; Il Postino/The Postman (Scarpelli only) 1994; An Eyewitness Account (Scarpelli

only) 1996; Porzus (Scarpelli only) 1997; Boom (Age only) 1999; Unfair Competition (Scarpelli

only) 2001; Opopomoz (Scarpelli only) 2003; Baciami Piccina/Three on the Road (Scarpelli only),

Lo e Napoleone/Napoleon and Me (Scarpelli only) 2006; Christine Cristina (Scarpelli only) 2009.

   Agee, James. Film critic, screenwriter, novelist. b. 1910, Knoxville, Tenn. d. 1955. A Harvard

graduate (he had edited The Advocate and was awarded the university’s poetry prize), he published a

volume of verse in 1934, then joined the staff of Fortune magazine as a feature writer. His highly

acclaimed film reviews appeared throughout the 40s in Time and Nation and were subsequently

published in book form as one of two volumes entitled Agee on Film. The other volume contains five

film scripts that Agee wrote after moving to Hollywood in 1948. One of his three novels, A Death in

the Family, was awarded a Pulitzer Prize in 1958. In 1963 it was turned into a film, All the Way

Home.

   FILMS INCLUDE: The Quiet One (narr. and dial.) 1949; The African Queen (co-scr.) 1951; Face

to Face (“The Bride Comes to Yellow Sky” episode) 1952; The Night of the Hunter 1955.

   agent. A person authorized by another to act on his behalf. In the US and most other Western

countries actors, directors, writers, and other creative personnel in the theater, TV and films have

                                                                                       ,

been traditionally represented by agents, who negotiate contracts, wages, fees, benefits, and working

conditions, usually in return for a percentage of the deal, normally 10 or 15 percent. In Hollywood,

agents must be franchised by one or more of the talent unions or guilds to negotiate for their clients.

   Agents have always provided an important link between talent and the film industry, but their

importance and influence have greatly increased since the 50s, when Hollywood gradually phased out

its roster of contract actors, directors, and writers. Studios and independent producers became more

and more dependent on agents to provide them with the talent and literary properties needed for the

production of each film, and many agents soon emerged as packagers of entire film productions who

share in a film’s profits in addition to the traditional percentage of the fees paid to the talent they

represent. One of the leading agencies, MCA, became a virtual entertainment empire; another,

William Morris, came to exert enormous influence on film and TV production. Many of Hollywood’s

top agents moved into production, including Ted Ashley, Bill Dozier, Leland Hayward, Myron

Selznick, Jules Stein, and Mike Ovitz.

   Agfacolor. A trichromatic film color process discovered in 1908 by the German chemists Fischer

and Homolka for the Neue Photographische Gesellschaft. The Agfa Company made it commercially

available in 1936 (reversible film) and in 1939 (negative film) as the first reliable subtractive

process with couplers incorporated into the emulsion layers. The first film in Agfacolor was Women

Are the Best Diplomats (Germany, 1940–41). See COLOR CINEMATOGRAPHY.

   Aghdashloo, Shohreh. Actress. b. May 11, 1952, Tehran, Iran. Distinguished, subtly powerful

Iranian-American actress who came to the fore in director Vadim PERELMAN’s House of Sand and Fog

(2003), earning an Academy Award nomination as supporting actress.

   FILMS INCLUDE: Twenty Bucks 1993; Surviving Paradise 2000; America So Beautiful 2001;

Maryam 2002; House of Sand and Fog 2003; The Exorcism of Emily Rose 2005; American Dreamz,

The Lake House, The Nativity Story, X-Men: The Last Stand 2006; The Sisterhood of the Traveling

Pants 2, The Stoning of Soraya M. 2008; On the Inside 2009; Lonesdale (Austral.) 2010; The

Adjustment Bureau 2011.

   Agnew, Robert (Bobby). Actor. b. 1899, Louisville, Ky. d. 1983. Juvenile player and romantic

lead of numerous Hollywood silents of the 20s. Retired shortly after the advent of sound.

   FILMS INCLUDE: The Valley of Doubt 1920; The Highest Law, The Passion Flower 1921;

Without Fear, Clarence, Kick In 1922; Prodigal Daughters, Bluebeard’s 8th Wife, The Marriage

Maker, The Spanish Dancer 1923; Those Who Dance, Wine, Broken Barriers, Wine of Youth, Gold

Heels 1924; Private Affairs, The Denial, The Great Love 1925; Racing Blood, The Taxi Mystery,

Dancing Days 1926; Snowbound, She’s My Baby, The College Hero, The Heart of Salome 1927; The

Heart of Broadway, The Midnight Taxi 1928; Extravagance 1930; The Naughty Flirt 1931; Gold

Diggers of 1933 1933.

   Agostini, Philippe. Director, director of photography. b. Aug. 11, 1910, Paris. d. Oct. 20, 2001. In

films as assistant cameraman from 1934, he later distinguished himself as one of France’s leading

cinematographers, collaborating with, among other directors, Bresson, Carné, Daquin, Grémillon, and

Max Ophüls. He has been far less successful in his efforts as a director since the late 50s. Married to

actress Odette JOYEUX.

   FILMS INCLUDE: As director of photography—Itto 1935; Un Carnet de Bal (co-phot.) 1937; Les

Deux Timides, Lettres d’Amour 1942; Les Anges du Péché/Angels of the Street, Douce/Love Story

1943; Les Dames du Bois de Boulogne/Ladies of the Park (co-phot.) 1945; Les Portes de la

Nuit/Gates of the Night, Sylvie et le Fantôme/Sylvie and the Phantom 1946; Topaze 1950; Le Plaisir

(co-phot.) 1952; Du Rififi chez les Hommes/Rififi 1955. As director—Ordinations (short) 1954; Le

Naïf aux Quarante Enfants (also co-scr.) 1958; Le Dialogue des Carmelites (co-dir. with R.

Bruckberger), Tu es Pierre (doc.) 1960; Rencontres 1961; La Soupe aux Poulets 1963; La Petite Fille

è la Recherche du Printemps 1971.

   Agutter, Jenny. Actress. b. Dec. 20, 1952, Taunton, England. She trained as a ballet dancer,

entered British films at the age of 12, and has since played leads and supporting roles in a number of

film, stage, and TV productions in Britain and the US. She won an Emmy (best supporting actress) for

her TV role in ‘The Snow Goose’ (1971) and the British Academy Award (also best supporting

actress) for the movie Equus (1977).

   FILMS INCLUDE: East of Sudan 1964; A Man Could Get Killed 1966; Gates to Paradise, Star!

1968; I Start Counting 1969; The Railway Children 1970; Walkabout (Austral.) 1971; Logan’s Run

1976; The Eagle Has Landed, Equus 1977; China 9—Liberty 37/Clayton and Catherine (It.) 1978;

Dominique, The Riddle of the Sands, Sweet William 1979; An American Werewolf in London, Amy,

The Survivor 1981; Secret Places 1984; Dark Tower 1988; Child’s Play 2, Darkman, King of the

Wind 1990; Freddie as F.R.O.7. (v/o) (UK) 1992; Blue Juice (UK) 1995; The Parole Officer (UK)

2001; Number One Longing Number Two Regret (UK) 2004; Heroes and Villains 2006; Act of God

(UK), Irina Palm 2007; Act of God (UK), Glorious (UK) 2009; Burke and Hare (UK), Golden Brown

(UK) 2010.

   AGVA (American Guild of Variety Artists). A union of the AFL-CIO, organized in 1939, for

cabaret, circus, and other variety artists.

   Aherne, Brian. Actor. b. May 2, 1902, King’s Norton, England. d. 1986. A child actor from the age

of eight, he resumed his stage career at 20 after studying architecture at Malvern Col. He gained

popularity in British silent films, then came to the US in 1931 to star in the Broadway production of

‘The Barretts of Wimpole Street.’ In Hollywood from 1933, he played many romantic leads, often

typecast as a tweedy, pipe-smoking gentleman of the British school. He was nominated for an Oscar

for Juarez (1939). An autobiography, A Proper Job (1969), discusses his long career and his short

(1939–45) marriage to Joan FONTAINE.

   FILMS INCLUDE: In the UK—The Eleventh Commandment 1924; Safety First 1926; Shooting

Stars, Underground 1928; The Constant Nymph 1933. In the US—Song of Songs 1933; Sylvia Scarlett

1935; Beloved Enemy 1936; The Great Garrick 1937; Merrily We Live 1938; Juarez (as Emperor

Maximilian), Captain Fury 1939; The Lady in Question, Hired Wife, My Son My Son 1940; Smilin’

Through, Skylark 1941; My Sister Eileen 1942; First Comes Courage, Forever and a Day, A Night to

Remember 1943; The Locket 1946; Smart Woman 1948; I Confess, Titanic 1953; Prince Valiant 1954;

The Swan 1956; The Best of Everything 1959; Susan Slade 1961; Rosie 1967.

   Aiello, Danny. Actor. b. June 20, 1933, New York City. Beefy, versatile, busy character lead and

supporting player of Hollywood films of the 70s and 80s, typically in sympathetic roles, occasionally

as a menace. He was 40 when he made his film debut in Bang the Drum Slowly (1973). Sixteen years

later, he was nominated for an Academy Award as best supporting actor for Do the Right Thing

(1989). He has also appeared on the New York stage. His TV work was recognized with an Emmy

Award in 1981.

   FILMS INCLUDE: Bang the Drum Slowly 1973; The Godfather Part II 1974; The Front 1976;

Hooch 1977; Bloodbrothers, Fingers 1978; Defiance, Hide in Plain Sight 1980; Chu Chu and the

Philly Flash, Fort Apache the Bronx 1981; Amityville II: The Possession 1982; Deathmask 1983; Old

Enough, Once Upon a Time in America 1984; Key Exchange, The Protector, The Purple Rose of

Cairo, The Stuff 1985; Man on Fire (It./Fr.), Moonstruck, The Pick-Up Artist, Radio Days 1987; The

January Man, White Hot 1988; Crack in the Mirror, Do the Right Thing, Harlem Nights, Russicum/

The Third Solution (It.) 1989; The Closer, Jacob’s Ladder 1990; 29th Street, Hudson Hawk, Once

Around 1991; Mistress, Ruby 1992; Me and the Kid, The Pickle 1993; The Professional, Ready to

Wear 1994; 2 Days in the Valley, City Hall, Two Much 1996; Dinner Rush, Mambo Café, Prince of

Central Park 2000; Off Key 2001; Mail Order Bride 2003; Zeyda and the Hitman (Can.) 2004;

Brooklyn Lobster 2005; The Last Request, Lucky Number Slevin 2006; Henry and Me (v/o), Stiffs

2010.

   Aimée, Anouk. Actress. b. Françoise Sorya (Dreyfus), Apr. 27, 1932, Paris. The daughter of an

actor and actress, she studied acting and dancing in France and England before making her film debut

at 14. She first attracted attention in Cayatte’s Les Amants de Vérone/The Lovers of Verona in a

Juliet-like role created especially for her by poet-screenwriter Jacques PRÉVERT. After a long

succession of indifferent roles, her warm, feline, gracefully enigmatic personality finally blossomed

in such films as FELLINI’s La Dolce Vita and Ottó e Mezzo/8½, Jacques DEMY’s Lola, and Claude

LELOUCH’s Un Homme et une Femme/A Man and a Woman (1966). For her role in the latter film, she

was nominated for an Oscar and won the British Academy Award as best foreign actress; she and co-

star Jean-Louis TRINTIGNANT reprised their roles in the 1986 sequel. She was named best actress at

Cannes for her performance in Leap Into the V (1980). Her first husband (1952–54) was director

                                                oid

Nico PAPATAKIS. Her fourth marriage, to Albert FINNEY, also ended in divorce (1970–78).

   FILMS INCLUDE: La Maison sous la Mer 1947; Les Amants de Vérone/The Lovers of Verona

1949; The Golden Salamander (UK) 1950; Le Rideau cramoisi 1951; The Man Who Watched the

Trains Go By/The Paris Express (UK) 1952; Les Mauvaises Rencontres 1955; Pot-Bouille 1957;

Montparnasse 19/Modigliani of Montparnasse 1958; Les Dragueurs/The Chasers, The Journey (US),

La Tête contre les Murs 1959; La Dolce Vita (It./Fr.) 1960; Le Farceur/The Joker, Il Giudizio-

Universale (It.), Lola, Sodoma e Gomorra/Sodom and Gomorrah (It./Fr./US) 1961; Les Grands

Chemins/Of Flesh and Blood, Ottó e Mezzo/8½ (It.), Il Successo (It./Fr.) 1963; Le V                oci

bianche/White V  oices (It./Fr.) 1964; La Fuga (It.) 1965; Un Homme et une Femme/A Man and a

Woman 1966; Justine (US), The Model Shop (US) 1969; The Appointment (release delayed from

1969; US) 1970; Si c’était à refaire/Second Chance 1976; Mon Premier Amour/My First Love 1978;

Salto nel Vuoto/Leap Into the V 1980; Tragedia di un Uomo ridicolo/The Tragedy of a Ridiculous

                                 oid

Man 1981; Qu’est-ce qui fait courir David 1982; Success Is the Best Revenge (UK), Vive la Vie

1984; Flagrant Desire 1985; Un Homme et une Femme: 20 Ans déjà/A Man and a Woman: 20 Years

Later 1986; Arrivederci e Grazie, La Table tournante 1988; Bethune: The Making of a Hero, Il y a des

jours . . . et des lunes 1990; Ruptures 1992; Les Marmottes 1993; Ready to Wear 1994; Dis-Moi Oui

. . . 1995; Hommes, femmes, mode d’emploi 1996; Riches, belles, etc. 1998; 1999 Madeleine, Une

pour toutes 1999; The Birch-Tree Meadow 2003; Ils se mariérent et eurent beaucoup d’enfants/ . . .

and They Lived Happily Ever After 2004; De particulier et particulier/Hotel Harabati 2006; L’amour

Mon Amour 2009; Ces Amours-là, Paris Connections 2010; Tous les Soleils 2011.

   Aitken, Harry E. Production executive, film pioneer. b. 1870, Waukesha, Wisc. d. 1956. As a

theater owner, he led a movement against the Edison Company, establishing Majestic Pictures in

1911. In 1912 he became president of the Mutual Film Corporation. The following year he lured D.

W. GRIFFITH away from Biograph and helped finance and distribute The Birth of a Nation (1915). In

the summer of 1915 he founded the Triangle Pictures Corporation, of which he was president until

1918. The company boasted the services of the top three creative talents of the American silent

screen, D. W. Griffith, Thomas H. INCE, and Mack SENNETT. However, Aitken’s ambitious production

plans ended in failure, and in 1920 he retired from the film business.

   Aitken, Spottiswoode. American actor. b. Frank Spottiswoode Aitken, 1869. d. 1933. Leading

character player of silent films following long stage experience; memorable as Dr. Cameron in D. W.

GRIFFITH’s The Birth of a Nation (1915) and in several other Griffith films.

   FILMS INCLUDE: The Battle 1911; Home Sweet Home, The Old Maid, The Avenging Conscience,

Liberty Belles 1914; The Birth of a Nation 1915; Intolerance, The Wharf Rat 1916; Captain Kidd, Jr.,

The White Heather, Her Kingdom of Dreams 1919; Nomads of the North, The White Circle 1920;

Reputation, The Unknown Wife 1921; Man of Courage, The Trap, Manslaughter, Monte Cristo, The

Price of Youth, The Young Rajah, A Dangerous Game 1922; Merry-Go-Round, Six Days 1923;

Triumph, The Fire Patrol 1924; Accused, The Eagle, The Goose Woman 1925; The Power of the

Weak 1926; God’s Great Wilderness (story only), Roaring Fires 1927.

   Akerman, Chantal. Director, screenwriter, actress. b. June, 1950, Brussels, to working-class

Jewish parents. ed. INSAS film school (Brussels); Université Internationale du Théâtre (Paris).

Independent filmmaker noted for her minimalist narratives and static visual style. Inspired by

Godard’s Pierrot le Fou, she took on a variety of odd jobs to finance her first film, Saute ma

Ville/Blow Up My City (1968), a black-and-white short that drew belated attention at the 1971

Oberhasen Festival. She spent much of 1972 in New York City, living in the East Village, working as

a cashier at a porno movie theatre, among other occupations, and associating with the city’s

experimental filmmakers. She returned to the US periodically to get “re-energized” and engaged in

filmmaking projects, but began working mostly in Europe. Her films, often dramatically vague and

nearly plotless, typically sought to explore human emotion and character through unorthodox

cinematic means. Although she is admired by serious critics, her films are barely accessible to

general audiences.

   FILMS INCLUDE: Saute Ma Ville (short) 1968; L’Enfant aimé (short) 1971; La Chambre (short),

Hotel Monterey 1972; Le 15/18 (short; co-dir.), Hanging Out in Yonkers/Yonkers Hanging Out 1973;

Je tu il elle 1974; Jeanne Dielman 23 Quai du Commerce 1080 Bruxelles 1975; News from Home

1976; Les Rendezvous d’Anna 1978; Dis-moi (short) 1980; Toute une Nuit 1982; Les Années 80/The

Eighties/The Golden Eighties 1983; L’Homme à la Valise, J’ai Faim, J’ai Froid (both shorts) 1984;

Golden Eighties (not to be confused with the 1983 film of the same title) 1986; Histoires

d’Amérique/American Stories, Les Minstères de l’art, Un jour Pina m’a demandé, Seven Women

Seven Sins (Ger./Fr./US/Aus./Belg.) 1988; Window Shopping 1992; D’Est/From the East, Moving In

1993; Portrait of a Young Girl at the End of the 1960s in Brussels 1994; Un Divan à New York 1996;

The Captive 2000; Tomorrow We Move (dir., scr. only) 2004; La Folie Almayer (dir.) 2010.

   Akins, Claude. Actor. b. May 25, 1918, Nelson, Ga. d. Jan. 1994. ed. Northwestern. Character

player of Hollywood films; typically a heavy, often in Westerns. A former salesman, he appeared in

stock and on Broadway before entering films in the early 50s. Mellowing later in his career, he

played kindlier roles in numerous episodes of TV series and in the 70s starred in the TV series

‘Movin’ On.’

   FILMS INCLUDE: From Here to Eternity 1953; The Caine Mutiny, The Human Jungle 1954;

Johnny Concho 1956; The Lonely Man 1957; The Defiant Ones 1958; Rio Bravo, Porgy and Bess

1959; Comanche Station, Inherit the Wind 1960; Merrill’s Marauders, How the West Was Won 1962;

A Distant Trumpet, The Killers 1964; Return of the Seven 1966; Waterhole 3 1967; The Devil’s

Brigade 1968; The Great Bank Robbery 1969; Flap 1970; A Man Called Sledge 1971; Skyjacked

1972; Battle for the Planet of the Apes 1973; Timber Tramps 1975; Tentacles (It.) 1977; Little Mo

(orig. for TV) 1978; Monster in the Closet 1986; The Curse 1987; Falling From Grace 1992.

   Akins, Zoë. Playwright, screenwriter. b. Oct. 30, 1886, Humansville, Mo. d. 1958. The author of

many short stories for popular magazines and a number of plays that have been adapted for films. She

spent the early 30s in Hollywood writing screenplays for pictures of appeal to women.

   FILMS INCLUDE: From her stories or plays—Déclassée, Daddy’s Gone A-Hunting 1925; Her

Private Life 1929; The Furies, Ladies Love Brutes 1930; Women Love Once, Girls About Town

1931; The Greeks Had a Word for Them 1932; Morning Glory 1933; The Old Maid 1939; How to

Marry a Millionaire 1953; Stage Struck (remake of Morning Glory) 1958. As screenwriter—

Anybody’s Woman, The Right to Love, Sarah and Son 1930; Christopher Strong 1933; Outcast Lady

1934; Lady of Secrets, Accused 1936; Camille 1937; The Toy Wife 1938; Desire Me 1947.

   Alazraki, Benito. Director. b. 1923, Mexico. d. June 6, 2007. He entered Mexican films in the

mid-40s as producer and co-writer of Emilio FERNANDEZ’s Enamorada (1947). In 1955 he attracted

worldwide attention with Raices/The Roots, a four-episode film about Mexican Indian life, which he

directed and co-scripted with Carlos Velo. The film won the International Critics Prize at the CANNES

FILM FESTIVAL of that year. Alazraki’s subsequent films have been, however, far less significant,

comprising mostly melodramas and horror films for popular consumption at the Mexican market.

   FILMS INCLUDE: Raices/The Roots 1955; Los Amantes 1956; Ladros de Niños 1957; Cafe

Colón, Inferno de Almas, La Tijera d’Oro 1958; Muñecos Infernales/The Curse of the Doll People

1960; Espiritismo/Spiritism, Los Pistoleros 1961; The Time and the Touch (made in the US, using

pseudonym Carlos Arconti) 1962; Mother’s Day (scr.) 1969; Los Jóvenes Amantes 1971; Las Tres

Perfectas Casadas 1973; Balún Canán 1977; El Fantasma del Lago 1981; Alicia en el Pais del Dolar

1988; Arriba el Telón 1989; Objetos Sexuales 1990; Yo Hica a Roque III 1993; Hasta que los

Cuernos nos Separen 1995.

   Alba, Jessica. Actress. b. Apr. 28, 1981, Pomona, Calif. Born into a military family, the athletic

young ingénue got her start on film when she became the replacement for a lead actress in Camp

Nowhere (1994). Bouncing between TV and teen movies, she had a breakout hit with Honey (2003)

that led to leading roles in The Fantastic Four and Sin City (2005).

   FILMS INCLUDE: Camp Nowhere 1994; Venus Rising 1995; Idle Hands, Never Been Kissed,

P.U.N.K.S. 1999; Paranoid 2000; Honey 2003; Fantastic Four, Into the Blue, Sin City 2005; Awake,

Fantastic Four: Rise of the Silver Surfer, Good Luck Chuck, Meet Bill, The Ten 2007; The Eye, The

Love Guru 2008; An Invisible Sign, The Killer Inside Me, Little Fokkers, Machete, Valentine’s Day

2010; Spy Kids 4: All the Time in the World 2011.

   Alberghetti, Anna Maria. Singer, actress. b. May 15, 1936, Pesaro, Italy, of musician parents. At

the age of 12 she made a European concert tour, at 14 her American debut at Carnegie Hall. The same

year (1950) she made her screen debut in the film version of Gian-Carlo Menotti’s opera The

Medium. Retired from the screen after starring in the Broadway musical Carnival (1961), for which

she won a Tony.

   FILMS INCLUDE: The Medium 1950; Here Comes the Groom 1951; The Stars Are Singing 1953;

The Last Command 1955; Duel at Apache Wells, 10,000 Bedrooms 1957; Cinderfella 1960; Friends

and Family, The Whole Shebang 2001.

   Alberini, Filoteo. Italian inventor, film pioneer. b. Mar. 14, 1865, Turin, Italy. d. 1937. In 1894 and

1895 he invented and developed the Cinetografo, or Kinetograph, an apparatus capable of recording,

developing, and projecting animated motion pictures. In 1911 he invented the Auto-stereoscopio, a

70mm stereoscopic process, one of the first efforts to create a wide-screen technique. The aspect

ratio (2.52:1) was close to the dimensions of today’s CINEMASCOPE (2.55:1), and the process was

achieved by Alberini’s Panoramica camera, which scanned the frames of 70mm film. The process

was used in his 1914 film Il Sacco di Roma/The Sacking of Rome. In 1928 he experimented with

British film engineer Roy Hill on a wide-screen system involving double 35mm frames running

horizontally through the camera and the projector. Alberini was also active in film production and

exhibition from 1901. He was co-founder, in 1904, of the Alberini e Santoni company, which turned

out dozens of short subjects. In 1906 it was incorporated as Cines, one of Italy’s major film-

producing companies.

   Alberni, Luis. Actor. b. 1887, Barcelona, Spain. d. 1962. A graduate of the University of

Barcelona, he came to the US in his youth and soon began a simultaneous career on Broadway and in

silent films. After the advent of sound, he became one of Hollywood’s busiest character actors,

typically playing an excitable Latin.

   FILMS INCLUDE: Little Italy 1921; The Bright Shawl 1923; The Santa Fe Trail 1930; Svengali,

The Mad Genius 1931; Manhattan Parade, The Kid from Spain 1932; Topaze 1933; The Black Cat,

The Count of Monte Cristo 1934; Roberta, In Caliente, The Gay Deception 1935; Anthony Adverse

1936; I’ll Give a Million 1938; The Lady Eve, That Hamilton Woman 1941; Babes on Broadway

1942; A Bell for Adano 1945; What Price Glory 1952.

   Albers, Hans. Actor. b. Sept. 22, 1892, Hamburg, Germany. d. 1960. Recovering from wounds

suffered during WW I, he began acting in light comedy, then in serious roles on the Berlin stage and in

silent German films. He appeared with Max REINHARDT’s Deutsches Theater in 1926–28 and soon

thereafter became one of Germany’s most popular screen performers. He played numerous romantic

leads before gradually switching to character parts.

   FILMS INCLUDE: In Grossen Augenblick, Zigeunerblut 1911; Komödianten, Der Totentanz 1912;

Lola Montez, Das Grand Hotel Babylon 1919; Die Marquise von O. 1920; Der falsche Dimitri 1922;

Guillotine, Ein Sommernachtstraum/A Midsummer Night’s Dream 1924; Eine Dubarry von Heute/A

Modern Du Barry, Der Prinz und die Tänzerin/The Prince and the Ballet Dancer 1926; Rasputins

Liebesabenteuer/Rasputin 1928; Asphalt 1929; Der blaue Engel/The Blue Angel 1930; Bomben auf

Monte Carlo/Monte Carlo Madness 1931; Quick, Der Sieger/The Victor 1932; Gold, Peer Gynt (title

role) 1934; Variété 1935; Münchhausen (title role) 1943; Und uber uns der Himmel/City of Torment

1947; Barbe-Bleue/Blue Beard 1951; Der letzte Mann 1955; Das Herz von St. Pauli 1957; Kein

Engel ist so rein 1960.

  Albert, Eddie. Actor. b. Edward Albert Heimberger, Apr. 22, 1906, Rock Island, Ill. d. May 26,

2005. ed. U. of Minnesota. A former circus trapeze flier and veteran of radio and the stage, he made

his film debut in 1938 and subsequently played numerous parts, mostly second leads. He specialized

in hearty, slap-on-the-back types, but occasionally he played heels. He starred in TV’s successful

series ‘Green Acres.’ In 1945 he was married to the actress MARGO. Their son is actor Edward

ALBERT. Eddie was nominated for Oscars for his roles in Roman Holiday (1953) and The Heartbreak

Kid (1972).

  FILMS INCLUDE: Brother Rat 1938; Four Wives 1939; A Dispatch from Reuters 1940; Four

Mothers, The Wagons Roll at Night 1941; Bombardier 1943; Smash-Up 1947; The Dude Goes West

1948; Actors and Sin, Carrie 1952; Roman Holiday 1953; I’ll Cry Tomorrow, Oklahoma! 1955;

Attack!, The Teahouse of the August Moon 1956; Orders to Kill, The Sun Also Rises 1957; The Roots

of Heaven 1958; The Longest Day 1962; Captain Newman M.D. 1963; Seven Women 1966; The

Heartbreak Kid 1972; The Longest Yard, McQ 1974; The Devil’s Rain, Escape to Witch Mountain,

Hustle, Whiffs 1975; Birch Interval, Moving Violation 1976; Airport ’79 1979; Airport ’80,

Yesterday (Can.) 1980; Take This Job and Shove It 1981; Yes Giorgio 1982; Dreamscape 1984;

Stitches 1985; Head Office 1986; Deadly Illusion 1987; The Big Picture (cameo), Brenda Starr 1989

(held from release since 1986); Death Valley Memories (v/o) 1994.

  Albert, Edward. Actor. b. Feb. 20, 1951, Los Angeles. d. Sept. 22, 2006. ed. UCLA, Oxford.

Leading man of Hollywood films and American TV The son of actors Eddie ALBERT and MARGO, he

                                                   .

made his screen debut at 14. As a young adult, he played an auspicious lead as Goldie HAWN’s blind

boyfriend in Butterflies Are Free, but his subsequent big-screen roles were, on the whole, less

rewarding. He was an exhibited photographer.

  FILMS INCLUDE: The Fool Killer 1965; Butterflies Are Free 1972; 40 Carats 1973; Midway

1976; The Domino Principle, Un Taxi mauve (Fr./It./Ire.) 1977; The Greek Tycoon 1978; When Time

Ran Out 1980; Galaxy of Terror 1981; Butterfly, The House Where Evil Dwells 1981; Ellie 1984;

Getting Even/Hostage: Dallas 1986; The Rescue 1988; Fist Fighter, Mindgames 1989; The Ice Runner

1993; Guarding Tess 1994; The Man in the Iron Mask 1997; Stageghost 2000; Ablaze, Extreme

Honor, Night Class 2001; A Light in the Forest 2002; Fighting Words 2003; No Regrets 2004; Sea of

Fear 2006.

  Albertson, Frank. Actor. b. Feb. 2, 1909, Fergus Falls, Minn. d. 1964. Entered films in 1922 as a

prop boy and developed into a light leading man and later a character player in scores of Hollywood

productions.

  FILMS INCLUDE: The Farmer’s Daughter 1928; Words and Music, Blue Skies, Salute 1929; Born

Reckless, Men Without Women, So This Is London, Wild Company 1930; A Connecticut Yankee, The

Brat 1931; Air Mail 1932; Rainbow Over Broadway 1933; Alice Adams, Ah Wilderness 1935; Fury,

The Plainsman 1936; Room Service 1938; Bachelor Mother 1939; Man Made Monster, Father Steps

Out 1941; Wake Island, The Man from Headquarters, City of Silent Men 1942; It’s a Wonderful Life

1946; The Hucksters 1947; The Enemy Below 1957; The Last Hurrah 1958; Psycho 1960; Bye Bye

Birdie 1963.

  Albertson, Jack. Actor. b. June 16, 1907, Malden, Mass. d. Nov. 1981. Character player of

vaudeville, burlesque, Broadway, TV and films. He won a best supporting actor Academy Award for

                                     ,

The Subject Was Roses (1968), in which he repeated his Tony Award–winning stage role. He won an

Emmy for a supporting role in the ‘Cher’ TV show (1975) and a best actor Emmy for his co-star

performance in the series ‘Chico and the Man’ (1976). His sister, Mabel Albertson (1901–82), also

appeared on TV and in numerous films.

  FILMS INCLUDE: Next Time I Marry 1938; Strike Up the Band 1940; Miracle on 34th Street

1947; Top Banana 1954; The Harder They Fall 1956; Man of a Thousand Faces, Monkey on My Back

1957; Teacher’s Pet 1958; Never Steal Anything Small 1959; Lover Come Back 1961; Days of Wine

and Roses, Period of Adjustment 1962; How to Murder Your Wife 1965; The Flim Flam Man 1967;

The Subject Was Roses 1968; Changes, Justine 1969; Rabbit Run 1970; The Late Liz, A Time for

Every Purpose, Willy Wonka and the Chocolate Factory 1971; The Poseidon Adventure 1972; Dead

and Buried 1981; The American Adventure 1982.

  Albright, Hardie. Actor. b. Hardy Albrecht, Dec. 6, 1903, Charleroi, Pa. d. 1975. Blond, blue-

eyed leading man and supporting player of Hollywood films of the 30s and early 40s. The son of

vaudevillians, he made his first stage appearance at the age of six. After drama studies at Carnegie

Tech. and some art training at the Art Institute in Chicago, he joined Eva Le Gallienne’s Civic

Repertory Theatre and made his Broadway debut with the group in 1926. He played juvenile leads in

many plays on Broadway and on the road before entering films in 1931. On the screen, he played

leads, second leads, and eventually supporting roles in some 50 films, mostly minor productions at

Fox, Warners, and other studios. His Hollywood career ended in 1946, but he later appeared in an

exploitative “sex education” film Mom and Dad (1957). Albright taught drama at UCLA in 1962 and

published several textbooks, including Acting: The Creative Force and Stage Direction in Transition.

He died of congestive heart failure. His first wife (1934–40) was actress Martha Sleeper.

  FILMS INCLUDE: Young Sinners, Hush Money, Skyline, Heartbreak 1931; So Big, The Purchase

Price, The Crash, Cabin in the Cotton, The Match King 1932; The Working Man/The Adopted Father,

Song of Songs, Three-Cornered Moon 1933; The Ninth Guest, White Heat, Crimson Romance, The

Scarlet Letter, The Silver Streak 1934; Ladies Love Danger, Calm Yourself, Red Salute 1935; Ski

Patrol 1940; Flight From Destiny 1941; The Pride of the Yankees, The Loves of Edgar Allan Poe

1942; The Jade Mask 1945; Angel on My Shoulder 1946; Mom and Dad 1957.

  Albright, Lola. Actress. b. July 20, 1925, Akron, Ohio. She acted in bit dramatic parts while

working as a switchboard operator and stenographer for a radio station and then became a

photographer’s model before being discovered by Hollywood. Film debut in The Pirate (1948). She

was impressive in Champion (1949). After appearing in the successful ‘Peter Gunn’ TV series, she

won critical acclaim for her performance as an aging stripper in the film A Cold Wind in August in

1961. She was married (1952–58) to Jack CARSON.

  FILMS INCLUDE: The Pirate, Easter Parade 1948; Champion 1949; The Good Humor Man 1950;

Sierra Passage 1951; The Silver Whip 1953; The Magnificent Matador, The Tender Trap 1955; The

Monolith Monsters 1957; A Cold Wind in August 1961; Kid Galahad 1962; Les Félins/Joy House

(Fr.) 1964; Lord Love a Duck 1966; The Way West 1967; Where Were You When the Lights Went

Out?, The Impossible Years, The Money Jungle 1968.

  Alcaine, José Luis. Cinematographer. b. Dec. 26, 1938, Tangier, Algeria (now Morocco). ed.

Spanish Cinema School, Madrid. After starting out in commercials, he established himself in the 70s

and 80s as one of Spain’s leading cinematographers. He is best known to US audiences for his work

with director Pedro ALMOVODAR on such films as Tie Me Up! Tie Me Down!

   FILMS INCLUDE: El Niño es nuestro 1972; Vera 1973; El Puente 1977; El Sur 1983; Rustlers’

Rhapsody (US) 1985; Barbablú Barbablú/Bluebeard Bluebeard 1987; Women on the Verge of a

Nervous Breakdown 1988; The Mad Monkey 1989; Atame!/Tie Me Up! Tie Me Down!, Ay Carmela!

1990; Belle Époque/The Age of Beauty 1993; Two Much 1996; In Praise of Older Women 1997; Il

Mio West 1998; Blast from the Past, Celos 1999; I Know Who You Are 2000; Sound of the Sea, That

Girl from Rio/Chica de Rio 2001; The Dancer Upstairs 2002; South from Granada 2003; Bad

Education, Roma 2004; Otros Días Vendrán 2005; V         olver, Your Life in 65 2006; Las 13 Rosas,

Lolita’s Club, Tuya Siempre 2007; Rivales 2008; My Life in Ruins 2009; La Piel que Habito (Sp.)

2011.

   Alcoriza, Luis. Director, screenwriter, actor. b. 1920, Badajóz, Spain. d. 1992. The son of show

people, he started out in his teens as an actor on the European stage and later in Mexican films. In the

late 40s he turned to screenwriting and soon became Luis BUÑUEL’s favorite script collaborator. In

the early 60s he began directing. He became a naturalized Mexican.

   FILMS INCLUDE: As screenwriter—El Gran Calavera/The Great Madcap 1949; Los

Olvidados/The Young and the Damned 1950; La Hija del Engaño/Daughter of Deceit 1951; El/This

Strange Passion 1952; El Rio y la Muerte/The River and Death 1954; La Mort en ce Jardin/Gina/Evil

Eden/Death in the Garden 1956; La Fièvre mont á El Pao/Los Ambiciosos/Fever Mounts at El

Pao/Republic of Sin 1960; El Angel Exterminador/The Exterminating Angel 1962. As director-

screenwriter—Los Jovenes 1961; Tlayucan/The Pearly Tlayucan 1962; El Gangster 1964;

Tarahumara 1965; Juego Peligroso (co-dir.) 1966; Preságio 1974; Las Fuerzas Vivas 1975; Terrór y

Encajes Negros 1986; Lo Que Importa Es Vivír 1989.

   Alcott, John. b. c. 1931, London. d. 1986, Cannes, France. British director of photography. He

worked on several productions of the 60s as a focus puller before proving his ability with a number

of scenes he shot for Stanley Kubrick’s 2001: A Space Odyssey (1968). He emerged in the early 70s

as a superior cinematographer with two visually exquisite Kubrick films, A Clockwork Orange

(1971) and Barry Lyndon (1975); the latter film won him an Oscar. He collaborated with Kubrick

once more on The Shining (1980). He died of a heart attack after completing No Way Out (1987). The

film was dedicated to him.

   FILMS INCLUDE: 2001: A Space Odyssey (addnl. phot. only) 1968; A Clockwork Orange 1971;

Little Malcolm and His Struggle Against the Eunuchs 1974; Barry Lyndon 1975; March or Die,

Disappearance (Can.) 1977; Who Is Killing the Great Chefs of Europe? 1978; The Shining, Terror

Train, Fort Apache the Bronx 1980; The Beastmaster 1982; Under Fire 1983; Greystoke: The Legend

of Tarzan Lord of the Apes 1984; White Water Summer/Rites of Summer, No Way Out 1987.

   Alda, Alan. Actor, director, screenwriter. b. Jan. 28, 1936, New York City. ed. Fordham.

Restrained, mannered, lightly sarcastic leading man of American stage, screen, and TV After     .

preparing for the stage at the Cleveland Playhouse, he performed with the Second City improvisation

troupe, then joined the cast of TV’s satirical show ‘This Was the Week That Was.’ He scored his

greatest success with the long-running TV series ‘M*A*S*H’ (1972–83), for which he won several

Emmy Awards as best actor, best director, and best writer. He was also awarded the prestigious

“Actor of the Year” Emmy in 1974. In films since the early 60s, he pleased the public and many

critics with his debut as a big-screen director in 1981. He received his first Academy Award

nomination for his supporting performance in Martin SCORSESE’s epic The Aviator (2004). He is the

son of the late Robert ALDA.

   FILMS INCLUDE: As actor—Gone Are the Days 1963; Paper Lion 1968; The Extraordinary

Seaman 1969; The Moonshine War 1970; The Mephisto Waltz 1971; To Kill a Clown 1972;

California Suite, Same Time Next Year 1978; The Seduction of Joe Tynan (also scr.) 1979; The Four

Seasons (also dir., scr.) 1981; Sweet Liberty (also dir., scr.) 1986; A New Life (also dir., scr.) 1988;

Crimes and Misdemeanors 1989; Betsy’s Wedding (also dir., scr.) 1990; Whispers in the Dark 1992;

Manhattan Murder Mystery 1993; Canadian Bacon 1994; Everyone Says I Love You, Flirting with

Disaster 1996; Mad City, Murder at 1600 1997; The Object of My Affection 1998; What Women

Want 2000; The Aviator 2004; Resurrecting the Champ 2007; Diminished Capacity, Flash of Genius,

Nothing but the Truth 2008; Wanderlust 2011.

   Alda, Robert. Actor. b. Alphonso Giuseppe Giovanni Roberto D’Abruzzo, Feb. 26, 1914, New

York City. d. 1986. ed. NYU. A barber’s son, he was an architectural draftsman before breaking into

show business as a vaudeville singer-entertainer. He later performed on radio and in burlesque, and

in 1945 made his film debut portraying George Gershwin in Warner’s biopic Rhapsody in Blue. As it

later turned out, this first role would remain the most important in Alda’s largely disappointing screen

career. He was much more successful on the New York stage as the star of such Broadway

productions as ‘Guys and Dolls’ (Tony Award), ‘Harbor Lights,’ and ‘What Makes Sammy Run.’ In

the early 60s he settled in Rome and for the next two decades appeared in Italian films and European

co-productions. He suffered a stroke in 1984 from which he never recovered. He was the father of

actor Alan ALDA.

   FILMS INCLUDE: Rhapsody In Blue (as George Gershwin) 1945; Cinderella Jones, Cloak and

Dagger 1946; The Beast With Five Fingers, The Man I Love, Nora Prentiss 1947; April Showers

1948; Tarzan and the Slave Girl 1950; Mr. Universe, Two Gals and a Guy 1951; La Donna più Bella

del Mondo/Beautiful but Dangerous (It.) 1955; Imitation of Life 1959; The Devil’s Hand, Force of

Impulse, Il Sepolcro dei Re/Cleopatra’s Daughter (It./Fr.) 1961; Toto e Peppino divisi a Berlino (It.)

1962; The Girl Who Knew Too Much 1969; Le Serpent/The Serpent (Fr./Ger.) 1973; House of

Exorcism (It.) 1975; I Will I Will . . . for Now, Bittersweet Love 1976; Every Girl Should Have One

1978; The Squeeze (It.) 1980.

   Aldo, G. R. Director of photography. b. Aldo Graziati, Jan. 1, 1902, Scorze, Italy. d. 1953. Went to

France at 19 to become an actor; appeared in one film, then went into still photography instead. Years

later he become an assistant cameraman and by the late 40s had graduated to lighting cameraman. In

1947 he returned to Italy with the crew of a French production and stayed to become one of Italy’s

most distinguished postwar cinematographers. He lent some brilliant compositions and striking black-

and-white images to films of Visconti, De Sica, and Orson Welles, among others. He died in an auto

accident during the filming of Visconti’s Senso.

   FILMS INCLUDE: La Chartreuse De Parme (Fr./It.) 1947; La Terra Trema 1948; Gli Ultimi Giorni

di Pompei/The Last Days of Pompeii 1949; Miracolo a Milano/Miracle in Milan 1951; Othello (co-

phot.), Umberto D 1952; Stazione Termini/Indiscretion of an American Wife, La Provinciale/The

Wayward Wife (US/It.) 1953; Senso (co-phot.) 1954.

   Aldredge, Theoni V. Costume designer. b. Theoni Vachlioti, Aug. 22, 1932, Salonika, Greece. ed.

American School, Athens; Goodman Memorial Theatre, Chicago. She began designing for the stage in

1950 and became established as a leading Broadway and Hollywood wardrobe stylist in the 60s. She

won an Oscar for The Great Gatsby (1974) and Tony Awards for ‘Annie’ (1977) and ‘Barnum’

(1980). Her stage credits also include ‘A Chorus Line’ and ‘42nd Street.’ Married to actor Tom

Aldredge.

   FILMS INCLUDE: Girl of the Night 1960; You’re a Big Boy Now 1966; No Way to Treat a Lady,

Uptight 1968; Last Summer 1969; I Never Sang for My Father 1970; The Great Gatsby 1974;

Network 1976; Semi-Tough 1977; The Cheap Detective, The Eyes of Laura Mars, The Fury 1978;

The Champ, The Rose 1979; Rich and Famous 1981; Annie, Monsignor 1982; Ghostbusters 1984;

Moonstruck 1987; We’re No Angels 1989; Stanley & Iris 1990; Other People’s Money 1991; Addams

Family Values 1993; Milk Money 1994; First Wives Club, The Mirror Has Two Faces 1996; The

Rage: Carrie 2 1999.

   Aldrich, Robert. Director, producer, b. Aug. 9, 1918, Cranston, R.I. d. 1983, of kidney failure. ed.

U. of Virginia (law and economics). He went to Hollywood in 1941 and worked his way up from

production clerk at RKO. He was a script clerk, then assistant to several directors (including

Dmytryk, Milestone, Renoir, Wellman, Polonsky, Fleischer, Losey, and Chaplin), then production

manager, and next associate producer. At the same time, he started writing and directing episodes for

TV series (‘The Doctor,’ ‘China Smith’). In 1953 he directed his first feature film, The Big Leaguer.

In 1954 he established his own production company. The financial success of The Dirty Dozen (1967)

prompted him to acquire his own studio, but subsequent debacles forced him to sell it in 1973.

   Aldrich seemed to have gained much of his dynamic quality from his TV experience and from

working as assistant on such films as The Southerner, G.I. Joe, Force of Evil, and Limelight. His

individual style was characterized by frantic motion within shots and in the progression of a

sequence, often underlined by violence, brutality, and grotesque chaos. He won the Silver Lion

Award of the Venice Film Festival for The Big Knife in 1955, the Italian Critics Award for Attack! in

1956, and the best director award at the West Berlin Film Festival for Autumn Leaves, also in 1956.

He served for a time as president of the Directors Guild of America. His daughter, Adell Aldrich, and

his son, William McLaughry Aldrich, both became filmmakers.

   FILMS INCLUDE: As director—The Big Leaguer 1953; World for Ransom (also co-prod.),

Apache, Vera Cruz 1954; Kiss Me Deadly (also prod.), The Big Knife (also prod.) 1955; Autumn

Leaves, Attack! (also prod.) 1956; The Garment Jungle (replaced by Vincent Sherman, who got sole

screen credit) 1957; The Ride Back (prod. only) 1957; Ten Seconds to Hell (also co-scr.) 1959; The

Last Sunset, Sodoma e Gemorra/Sodom and Gomorrah (co-dir. with Sergio Leone; It./Fr./US) 1961;

What Ever Happened to Baby Jane? (also prod.) 1962; 4 for Texas (also prod., co-scr.) 1963; Hush

. . . Hush Sweet Charlotte (also prod.) 1965; The Flight of the Phoenix (also prod.) 1966; The Dirty

Dozen 1967; The Legend of Lylah Clare (also prod.), The Killing of Sister George (also prod.) 1968;

What Ever Happened to Aunt Alice? (prod. only) 1969; Too Late the Hero (also prod., co-story, co-

scr.) 1970; The Grissom Gang (also prod.) 1971; Ulzana’s Raid 1972; Emperor of the North Pole

1973; The Longest Yard 1974; Hustle (also prod.) 1975; Twilight’s Last Gleaming (US/Ger.), The

Choirboys 1977; The Frisco Kid 1979; . . . All the Marbles, The Angry Hills 1981.

   Alea, Tomás Gutiérrez. See GUTIÉRREZ ALEA, Tomás.

   Aleandro, Norma. Actress. b. 1941, Argentina, into a theatrical family. She began performing with

her parents as a child and matured into one of Argentina’s leading thespians. An outspoken liberal,

she repeatedly clashed with her country’s military junta and was forced to spend much of the late 70s

and early 80s in exile, first in Uruguay, then Spain. She returned to Buenos Aires in 1982 and resumed

her starring career on stage and in films. She also performed on the New York stage. In 1985 she

shared the best actress prize at Cannes for her powerful performance in The Official Story, which

won an Oscar as best foreign-language film. She was nominated for an Academy Award for Gaby—A

True Story (1987). She collaborated on the screenplay of the Argentinian film Los Herederos and is

the author of published short stories and poems.

   FILMS INCLUDE: La Historia Oficial/The Official Story/The Official Version 1985; Gaby—A

True Story (US) 1987; Cousins (US) 1989; Cién Veces no debo, Vital Signs 1990; One Man’s War

(UK), The Tombs/Las Tumbas 1991; Autumn Sun, Foolish Heart 1996; Prohibido 1997; A Night with

Sabrina Love 2000; La Fuga, The Son of the Bride 2001; Desire 2002; Ay Juancito, Live-In Maid,

Seres queridos/Only Human 2004; Young Blood 2006; Anita, The City of Your Final Destination

(UK), A Matter of Principles (Argen.), Paco (Argen.) 2009.

   Alekan, Henri. Director of photography. b. Feb. 10, 1909, Paris, to parents of Bulgarian origin. d.

June 15, 2001. ed. Conservatoire des Arts et Métiers and Institut d’Optique. He became an assistant

cameraman in 1925 and camera operator in 1928, working on such films as Mademoiselle Docteur

(1937), Drôle de Drame (1937), and Quai des Brumes (1935). He escaped from a prisoner-of-war

camp in 1940 and joined the French Resistance. In 1941, he became director of photography, and he

shot his first important film in 1945–46, René CLÉMENT’s documentary Le Bataille du Rail. Alekan

demonstrated his versatility during the same period by shooting Jean COCTEAU’s elaborate costume

fantasy, La Belle et la Bête/Beauty and the Beast. He was one of France’s most reliable

cinematographers, adapting his style to the needs of the script and the director and always capturing

the essence of a location. He also directed a number of shorts, notably L’Enfer de Rodin (1958).

More recently, he received renewed attention for his work with director Wim WENDERS in Wings of

Desire (1987).

   FILMS INCLUDE: Les Petites du Quai aux Fleurs 1944; La Bataille du Rail/Battle of the Rails, La

Belle et la Bête/Beauty and the Beast 1946; Les Maudits/The Damned 1947; Anna Karenina (UK)

1948; Les Amants de Vérone/The Lovers of Verona, Une si Jolie petite Plage/Riptide 1949; La Marie

du Port 1950; Juliette ou la Clef des Songes 1951; Le Fruit défendu/Forbidden Fruit 1952; Roman

Holiday (co-phot.; US) 1953; Le Port du Désir/The House on the Waterfront 1954; Les Héros sont

fatigués/Heroes and Sinners 1955; Austerlitz (co-phot.), Un deux trois quatre!/Les Collants

noirs/Black Tights 1960; Le Couteau dans la Plaie/Five Miles to Midnight 1962; Topkapi (US) 1964;

Lady L (US/Fr./It.) 1965; Triple Cross (UK/Fr.) 1966; Mayerling (UK/Fr.) 1968; L’Arbre de

Noël/The Christmas Tree 1969; Figures in a Landscape (UK) 1970; Soleil rouge/Red Sun 1971;

L’Ombre et la Nuit (release delayed from 1978) 1980; The Territory (Port./US) 1981; Der Stand der

Dinge/The State of Things (Ger.), La Truite/The Trout 1982; La Belle Captive/The Beautiful Prisoner

1983; Der Himmel über Berlin/Les Ailes du Désir/Wings of Desire (Ger./Fr.) 1987; Berlin

Jerusalem, J’écris dans l’espace 1989; Naissance d’un Golem 1991.

   Alessandrini, Goffredo. Director. b. Sept. 9, 1904, Cairo, of Italian parents. d. 1978. Started his

film career in 1928 as assistant to director Alessandro BLASETTI. In 1930 he went to Hollywood to

handle the Italian dubbing of MGM pictures. On his return to Italy in 1931, he turned to direction, and

during Mussolini’s regime, he directed several award-winning Fascist propaganda films. He

emigrated to Egypt in 1952 but returned to Italy soon after. His output for the most part consisted of

undistinguished but commercially successful films. He married Anna MAGNANI in 1936 (separated

1940).

   FILMS INCLUDE: La Diga Di Maghmod (doc.) 1929; La Segretaria Privata 1931; Seconda B

1934; Don Bosco 1935; Cavalleria 1936; Una Donna fra due Mondi/Between Two Worlds 1937;

Luciano Serra—Pilota, La Vedova 1938; Abuna Messias 1939; Il Ponte di Vetro, Caravaggio 1940;

Nozze di Sangue 1941; Giarabub, Noi Vivi/We the Living 1942; Chi l’ha Visto?, Lettere a Sottemente

1943; Furia 1946; L’Ebreo Errante/The Wandering Jew 1947; Lo Sparviero del Nilo 1949; Sangue

sul Sagrato, Rapture (also act.; US/It.) 1950; Camicie Rosse/Anita Garibaldi (completed by

Francesco Rosi) 1952; Opinione Pubblica (supvr. only) 1953; Gli Amanti del Deserto (supvr. only)

1959.

   Alexander, Ben. Actor. b. Nicholas Benton Alexander, May 26, 1911, Goldfield, Nev. d. 1969. A

popular child actor in Hollywood silents from age four (his first directors were DE MILLE and

GRIFFITH), he later played juveniles and eventually supporting parts in sound films. In the 30s he was

well known as a radio announcer and in the 50s he re-emerged from obscurity as Jack Webb’s patrol

partner in TV’s ‘Dragnet’ series. He later starred in ‘Felony Squad.’

   FILMS INCLUDE: Each Pearl A Tear 1916; The Little American 1917; Little Orphan Annie,

Hearts of the World 1918; The Better Wife, The Turn in the Road, The White Heather 1919; The

Family Honor 1920; The Heart Line 1921; Boy of Mine, Penrod and Sam 1923; Pampered Youth,

Flaming Love 1925; Scotty of the Scouts (serial) 1926; All Quiet on the Western Front 1930; Many a

Slip 1931; Tom Brown of Culver 1932; Stage Mother 1933; Annapolis Farewell 1935; Hearts in

Bondage 1936; Behind Prison Bars 1937; The Spy Ring 1938; Dark Command 1940; The Leather

Pushers 1940; Dragnet 1954; Man in the Shadow 1957.

   Alexander, Jane. Actress. b. Jane Quigley, Oct. 28, 1939, Boston. ed. Sarah Lawrence; U. of

Edinburgh. Highly acclaimed leading lady and supporting actress of the American stage, TV and     ,

films. She is memorable for her intense performances in both the Broadway (Tony Award 1961) and

screen (Oscar nomination) versions of ‘The Great White Hope,’ for her brilliant portrayal of Eleanor

Roosevelt in the TV play ‘Eleanor and Franklin,’ and for a brief but striking role in the film All the

President’s Men. She received her second Academy Award nomination for the latter, a third for her

role in Kramer vs. Kramer, and a fourth for Testament. She is the mother of actor/director Jace

Alexander. From 1993 to 1997, she served as chairwoman for the National Endowment for the Arts.

   FILMS INCLUDE: The Great White Hope 1970; A Gunfight 1971; The New Centurions 1972; All

the President’s Men 1976; The Betsy 1978; Kramer vs. Kramer 1979; Brubaker 1980; Night Crossing

1982; Testament 1983; City Heat 1984; Sweet Country 1986; Square Dance/Home Is Where the Heart

Is (also co-exec. prod.) 1987; Building Bombs, Glory 1989; The Cider House Rules 1999; The Ring,

Sunshine State 2002; Fur 2006; Feast of Love 2007; Gigantic 2008; Terminator Salvation, The

Unborn 2009; Dream House 2011.

   Alexander, Jason. Actor. b. Jay Scott Greenspan, Sept. 23, 1959, Newark, N.J. ed. Boston U.

Neurotically urbane character actor of stage, TV and screen. Raised in Livingston, N.J., he spent

                                                    ,

much of his childhood taking voice lessons and learning Broadway scores. At 20 he gained his first

Broadway role in ‘Merrily We Roll Along.’ Subsequent roles in ‘Broadway Bound’ and other plays

followed; in 1989, he won a Tony for his performance in ‘Jerome Robbins’s Broadway.’ He is best

known for his role as New York every-nebbish George Costanza in TV’s ‘Seinfeld.’

   FILMS INCLUDE: The Burning 1981; Brighton Beach Memoirs, The Mosquito Coast 1986;

Jacob’s Ladder, Pretty Woman, White Palace 1990; I Don’t Buy Kisses Anymore 1992; Coneheads,

Down on the Waterfront 1993; Blankman, North, The Paper, The Return of Jafar (v/o) 1994; For

Better or Worse (also dir.) 1995; Dunston Checks In, Hunchback of Notre Dame (v/o), The Last

Supper 1996; Love! Valour! Compassion! 1997; Something About Sex 1998; The Adventures of

Rocky and Bullwinkle, Just Looking (dir.) 2000; On Edge, Shallow Hal 2001; Agent Cody Banks

(exec. prod. only) 2003; How to Go Out on a Date in Queens, Ira and Abby 2006; The Grand 2007;

Rock Slyde 2009.

   Alexander, Ross. Actor. b. July 24, 1907, Brooklyn, N.Y. d. 1937, of suicide. On stage from age

16, he was groomed for stardom by Warners in the early 30s, but his career soon dwindled to leads in

B pictures. He was married to actress Anne NAGEL.

   FILMS INCLUDE: The Wiser Sex 1932; Social Register, Flirtation Walk, Gentlemen Are Born

1934; A Midsummer Night’s Dream (as Demetrius), Captain Blood, We’re in the Money, Shipmates

Forever 1935; Boulder Dam, China Clipper, Hot Money, I Married a Doctor 1936; Ready Willing

and Able 1937.

   Alexandrov, Grigori. Director. b. Grigori Mormonenko, Feb. 23, 1903, Yekaterinburg, Russia. d.

1983. After a theatrical apprenticeship in his hometown and entertaining troops on the eastern front,

he worked for two years as an actor at Sergei EISENSTEIN’s theater in Moscow and followed when the

maestro left to pursue films. For ten years he was Eisenstein’s chief assistant, collaborating on scripts

and aiding in the production of such films as Strike (1925), The Battleship Potemkin (1925), Ten

Days That Shook the World/October (1927), and Old and New/The General Line (1929). In 1931 he

accompanied Eisenstein on his trip to Europe, the US, and Mexico, assisting him in the production of

the unfinished film Que Viva Mexico. In 1979 he completed editing an “official” version of the latter

film.

   In 1930, Alexandrov directed his first solo picture, a short subject called Romance Sentimentale, in

Paris. In 1932 he directed a documentary, The International. His first important film was Jolly

Fellows (1934), a lively musical comedy, also known as Moscow Laughs, The Jazz Comedy, and The

Shepherd of Abrau. Borrowing heavily from Hollywood, not always successfully, this film is a

welcome departure from the usually grim, politically oriented Soviet production. The leading role

was played by Lyubov ORLOVA, the first star of Russian films, who appeared in all subsequent

Alexandrov musicals and eventually became his wife. Alexandrov won international awards for

Spring (1947), Meeting on the Elbe (1949), and Glinka (1952).

   FILMS INCLUDE: Romance sentimentale (short; Fr.) 1930; The International (short) 1933; Jazz

Comedy/Jolly Fellows/Moscow Laughs (also scr.) 1934; The Circus 1936; V           olga-Volga (also scr.)

1938; Tanya/The Bright Road 1940; A Family 1943; The Caspians 1944; Spring 1947; Meeting on the

Elbe 1949; Glinka/Man of Music (also co-scr.) 1952; Man to Man 1958; Russian Souvenir 1960;

Lenin in Poland 1961; Before October 1965; Lenin in Switzerland (doc.) 1967; Star and Lyra 1973;

Que Viva Mexico (official vers.; assoc. dir., edit.) 1979.

   Alexeieff, Alexander (also Alexandre). Animator. b. Aug. 5, 1901, Kazan, Russia. d. Aug. 1982.

Prepared for a military career, then went to Paris to study linguistics but eventually became an artist,

book illustrator, stage designer, and film animator. He developed a “pin screen” method, involving

the illumination of thousands of pinheads to produce a printlike effect in animated films, reminiscent

of Seurat’s pointillism technique of painting. From 1931 he collaborated with animator Claire Parker

(b. 1907, Boston; d. 1980) who became his wife in 1941. They emigrated to the US in 1940 but

returned to Paris in 1947. His major achievement was an animated interpretation of Mussorgsky’s

Night on a Bare Mountain (1933), a classic among animated films. He also won praise for the title

sequence of Orson Welles’s The Trial (1962). Worked mainly in France but occasionally in the US,

Germany, and other countries. Made many animated commercials in addition to experimental and

theatrical cartoons.

   FILMS INCLUDE: Une Nuit sur le Mont Chauve/Night on a Bare Mountain 1933; La Belle au Bois

dormant 1935; Parade Chapeaux 1936; Les Oranges de Jaffa, Balatum 1938; En Passant (US/Can.)

1943; Masques 1952; Nocturne (co-dir. with Georges Violet) 1954; Cent pour Cent 1957; Anonyme,

Automation 1958; Divertissement 1960; The Trial (anim. title sequence) 1962; Le Nez 1963; L’Eau

1966; Tableaux d’une Exposition/Pictures at an Exhibition 1972; Trois Thèmes/Three Themes 1980.

   Algar, James. Director, screenwriter, producer. b. June 11, 1912, Modesto, Calif. d. Feb. 26,

1998. ed. Stanford U. (M.A. in journalism). He joined Walt DISNEY productions as an animator in

1935 and spent his entire career with that establishment. After directing sequences for several major

Disney features, he was assigned to direct many of the highly acclaimed “True-Life Adventure” nature

features of the 50s, and when the series ended in 1960, he became a producer or co-producer of some

of Disney’s live-action features. He wrote many of his own scripts, alone or in collaboration, and

shared in nine Academy Awards for his work. He also directed, produced, and wrote many episodes

for the ‘Wonderful World of Disney’ TV series.

   FILMS INCLUDE: Snow White and the Seven Dwarfs (co-anim.) 1938; Fantasia (dir. of

“Sorcerer’s Apprentice” sequence) 1940; Bambi (sequence dir.) 1942; Victory Through Air Power

(WW II doc.; sequence dir.) 1943; Ichabod and Mr. Todd (co-dir.) 1949; The Living Desert (dir., co-

scr.) 1953; The Vanishing Prairie (dir., co-scr.) 1954; The African Lion (dir., co-scr.) 1955; Secrets

of Life (dir., scr.) 1956; White Wilderness (dir., scr.) 1958; Jungle Cat (dir., scr.), Ten Who Dared

(assoc. prod.) 1960; The Legend of Lobo (dir., co-prod., co-scr.) 1962; The Incredible Journey (co-

prod., scr.) 1963; The Gnome-Mobile (co-prod.) 1967; Rascal (prod.) 1969; The Best of Walt

Disney’s True-Life Adventures (compilation film; dir., co-prod., co-scr.) 1975; Fantasia 2000

(segment dir.) 1999.

   Allan, Elizabeth. Actress. b. Apr. 9, 1908, Skegness, England. d. 1990. She made her stage debut

with the Old Vic in 1927, her film debut in Alibi (1931). A slender, delicate beauty, she appeared in

several British films before going in 1933 to Hollywood, where she played ladylike heroines in a

string of good and mediocre films. But her career suffered a sudden setback when she sued MGM for

replacing her in a lead role in The Citadel (shot in England; released 1938). The studio barred her

from any further work in Hollywood and she resettled in England, where she returned to the stage and

occasional film appearances, mainly in supporting roles. She was popular on British TV in the late

50s. Retired in 1977, after the death of her agent-husband.

   FILMS INCLUDE: In the UK—Alibi, Michael and Mary 1931; Service for Ladies/Reserved for

Ladies, The Lodger/The Phantom Fiend 1932; The Shadow 1933; Java Head 1934; Inquest 1940;

Went the Day Well?/48 Hours 1942; The Great Mr. Handel 1942; He Snoops to Conquer 1944; No

Highway/No Highway in the Sky 1951; Folly to Be Wise 1952; The Heart of the Matter 1953; Front

Page Story 1954; Grip of the Strangler/The Haunted Strangler 1958. In the US—Men in White 1934;

David Copperfield, Mark of the Vampire, A Tale of Two Cities 1935; A Woman Rebels 1936;

Camille, The Soldier and the Lady/Michael Strogoff, Slave Ship 1937.

   Alland, William. Producer, former actor. b. Mar. 4, 1916, Delmar, Del. d. 1997. Actor and stage

manager with Orson Welles’s Mercury Theater and assistant director of that company’s radio series.

He was dialogue director for the film Citizen Kane (1941), in which he appeared as the inquiring

reporter and narrator. He also appeared in WELLES’s The Lady From Shanghai and Macbeth (both

1948), among other films. In 1952 he became a producer, turning out many low-budget films, mostly

in the science fiction genre, for Universal and other companies.

  FILMS INCLUDE: As producer—The Black Castle, The Raiders 1952; It Came from Outer Space,

The Lawless Breed (also story) 1953; The Creature from the Black Lagoon 1954; This Island Earth,

Chief Crazy Horse, Revenge of the Creature 1955; The Mole People 1956; The Deadly Mantis 1957;

The Lady Takes a Flyer, The Colossus of New York, The Space Children 1958; Look in Any Window

(also dir.) 1961; The Lively Set 1964; The Rare Breed 1966.

  Allbritton, Louise. Actress. b. July 3, 1920, Oklahoma City, Okla. d. 1979. ed. U. of Oklahoma;

Pasadena Playhouse. Vivacious blonde leading lady of Hollywood films, mainly Universal second

features. Retired from the screen several years after her 1946 marriage to CBS-TV news

correspondent Charles Collingwood.

  FILMS INCLUDE: Not a Ladies’ Man, Who Done It?, Pittsburgh 1942; Fired Wife, Son of Dracula

1943; San Diego I Love You, Her Primitive Man 1944; Men in Her Diary 1945; Tangier 1946; The

Egg and I 1947; Sitting Pretty, Walk a Crooked Mile 1948; The Doolins of Oklahoma/The Great

Manhunt 1949.

  Allégret, Marc. Director. b. Dec. 22, 1900, Basel, Switzerland. d. 1973. ed. Ecole des Sciences

Politiques (Paris; law). Brother of Yves ALLÉGRET and the nephew of André Gide. He accompanied

Gide on his trip to Africa, recording it on film as the Voyage au Congo (1927), a short documentary

that marked Allégret’s first contribution to the cinema. He was assistant to Robert FLOREY and

Augusto GENINA for several years; then, in 1931, he started a long career as a director. Allégret

acquired a reputation as a competent and exacting master of film technique who handled scenes with

an elegant touch. He was an excellent director of actors and was noted for his keen eye for new talent,

having discovered or developed such stars as Simone Simon, Michèle Morgan, Jean-Pierre Aumont,

Danièle Delorme, Gérard Philipe, Odette Joyeux, Jeanne Moreau, and Brigitte Bardot. His most

important films were made in the 30s. His reputation declined considerably in the post–WW II

period.

  FILMS INCLUDE: V       oyage au Congo (medium-length doc.) 1927; Le Blanc et le Noir (completed

for Robert Florey), Les Amants de Minuit (co-dir. with Augusto Genina), Mam’zelle Nitouche 1931;

La Petite Chocolatière, Fanny 1932; Lac aux Dames, L’Hôtel du Libre-Echange, Zou-Zou, Sans

Famille 1934; Les Beaux Jours 1935; Sous les Yeux d’Occident/Razumov, Les Amants terribles,

Aventure à Paris 1936; Gribouille/Heart of Paris, La Dame de Malacca 1937; Orage, Entrée des

Artistes/The Curtain Rises 1938; Le Corsaire 1939; Parade en Sept Nuits 1941; L’Arlésienne 1942;

Félicie Nanteuil 1943; Les Petites du Quai aux Fleurs 1944; La Belle Aventure/Twilight 1945;

Lunegarde, Petrus 1946; Blanche Fury (UK) 1947; The Naked Heart/Maria Chapdelaine (also scr.;

UK/Fr.; filmed in Can.) 1950; Blackmailed (UK) 1951; Avec André Gide (full-length doc.), La

Demoiselle et son Revenant 1952; Julietta 1953; L’Amante di Paride/The Face That Launched a

Thousand Ships/Loves of Three Queens (also co-scr.; It.) 1954; Futures Vedettes (also co-scr.),

L’Amant de Lady Chatterley/Lady Chatterley’s Lover (also scr.) 1955; En effeuillant la

Marguerite/Please Mr. Balzac (also co-scr.) 1956; L’Amour est en Jeu 1957; Sois Belle et tais-toi/Be

Beautiful but Shut Up (also co-scr.), Un Drôle de Dimanche 1958; Les Affreux 1959; Les Démons de

Minuit (co-dir. with Charles Gerard) 1961; Les Parisiennes/Tales of Paris (“The Tale of Sophie”

episode) 1962; L’Abominable Homme des Douanes 1963; Le Bal du Comte d’Orgel (also co-scr.)

1970.

              ves. Director. b. Oct. 13, 1907, Paris. d. 1987. Started in films as assistant to Augusto

  Allégret, Y

GENINA, Jean RENOIR, and brother Marc ALLÉGRET. He created several short subjects and

commercials before directing his first feature film in 1940. His documentary short The Girls of

France was presented at the 1939 New York World’s Fair. After WW II he became established as a

front-rank director, notably in the film noir genre, and achieved the pinnacle of his reputation in the

late 40s, particularly with films starring Simone SIGNORET, who was his wife from 1944 to 1949.

Their daughter is actress Catherine Allégret. Early in his career Allégret used the pseudonym Yves

Champlain. He died just two months before he was scheduled to receive a Life Achievement César

Award.

   FILMS INCLUDE: Tobie Est Un Ange (negative destroyed; never released) 1941; Les Deux

Timides/Jeunes Timides 1942; La Boîte aux Rêves (also co-scr.) 1945; Les Démons de l’Aube 1946;

Dédée d’Anvers/Dedee (also co-scr.) 1948; Une si Jolie Petite Plage/Riptide 1949; Manèges/The

Cheat 1950; Les Miracles n’ont lieu qu’une fois 1951; Les Sept Péchés capitaux/The Seven Deadly

Sins (“Lust” episode), Nez de Cuir (also scr.), La Jeune Folle/Desperate Decision 1952; Les

Orgueilleux/The Proud and the Beautiful 1953; Mam’zelle Nitouche (also co-scr.) 1954; Oasis 1955;

La Meilleure Part (also co-scr.) 1956; Quand la Femme s’en mêle, Méfiez-vous Fillettes/Young Girls

Beware 1957; La Fille de Hambourg/Port of Desire 1958; L’Ambitieuse 1959; La Chien de Pique

(also co-scr.) 1961; Konga Yo (full-length doc.; also co-scr.) 1962; Germinal (Hung.) 1963; Johnny

Banco (Ger./Fr./It.) 1967; L’Invasion 1970; Orzowei 1975; Mords pas—on t’aime (also co-scr.)

1976.

   Allen, Corey. Actor, director, screenwriter. b. Alan Cohen, June 29, 1934, Cleveland. ed. UCLA.

He began acting in college productions, making his professional film debut in 1954. Usually playing

dashing but negative characters, he is best remembered as James Dean’s drag-racing rival in Rebel

Without a Cause (1955). He retired from acting in the early 60s, then turned to directing, mostly for

TV He won an Emmy for directing episodes of ‘Hill Street Blues.’

   .

   FILMS INCLUDE: As actor—The Bridges at Toko-Ri 1954; Night of the Hunter, Rebel Without a

Cause 1955; Party Girl 1958; Private Property 1960; The Chapman Report, Sweet Bird of Youth

1962; Original 1972; The Works 2004. As director—Erotic Adventures of Pinocchio (also co-scr.)

1971; Thunder and Lightning 1977; Avalanche (also co-scr.) 1978; Lost (prod. only) 1983.

   Allen, Debbie. Actress, director, dancer, choreographer. b. Jan. 16, 1950, Houston. ed. Howard U.

She performed in Broadway musicals before debuting in TV and films in the late 70s. Making a

strong impression as Lydia, the hard-driving dance teacher in the film Fame, she repeated the role in

the subsequent TV series, winning two Emmy Awards for choreography and a nomination for best

actress. She gave a memorable straight dramatic performance in the film Ragtime and won a Tony for

her starring role in the 1986 Broadway revival of ‘Sweet Charity.’ Her younger sister, Phylicia

Rashad, was a regular on ‘The Cosby Show.’

   FILMS INCLUDE: The Fish That Saved Pittsburgh (also chor.) 1979; Fame 1980; Ragtime 1981;

Jo Jo Dancer, Your Life Is Calling 1986; Blank Check 1994; Forget Paris (chor. only) 1995; Amistad

(co-prod.) 1997; Everything’s Jake 2000; All About You 2001; Tournament of Dreams 2007; Fame,

Next Day Air 2009; A Star for Rose (also prod.) 2011.

   Allen, Dede. Film editor. b. Dorothea Carothers Allen, Dec. 1925, Ohio. d. Apr. 17, 2010. ed.

Scripps Coll. She started out as a messenger girl at Columbia and worked her way up to sound cutter

and assistant editor before getting her first important editing assignment from director Robert WISE in

1959. She has since worked on many important productions, including several with director Arthur

PENN, and has acquired a reputation as one of the most creative film editors in American cinema. She

has twice been nominated for Oscars as editor for Dog Day Afternoon (1975) and Reds (1981).

   FILMS INCLUDE: Terror from the Year 5,000/Cage of Doom 1958; Odds Against Tomorrow

1959; The Hustler 1961; America America 1963; Bonnie and Clyde 1967; Rachel Rachel 1968;

Alice’s Restaurant 1969; Little Big Man 1970; Slaughterhouse Five 1972; Serpico (co-edit.) 1973;

Dog Day Afternoon, Night Moves 1975; The Missouri Breaks 1976; Slap Shot 1977; The Wiz 1978;

Reds (also co-exec. prod.) 1981; Harry and Son, Mike’s Murder 1984; The Breakfast Club 1985; Off

Beat (co-edit.) 1986; The Milagro Beanfield War (co-edit.) 1988; Let It Ride (co-edit.) 1989; Henry

and June 1990; The Addams Family 1991; Wonder Boys 2000; John Q 2002; The Final Cut 2004;

Have Dreams Will Travel 2007; Fireflies in the Garden 2008.

   Allen, Fred. Comedian, humorist. b. John Florence Sullivan, May 31, 1894, Cambridge, Mass. d.

1956. ed. Boston U. He started in vaudeville, developed on the legitimate stage, and became a

national institution on radio, in a series of popular comedy programs, for which he wrote his own

witty lines. His wife, Portland Hoffa, was his partner in vaudeville and on radio for many years. His

drawn face and baggy eyes became familiar to millions of filmgoers when he began appearing

sporadically on the screen in the mid-30s. Autobiography: Treadmill to Oblivion (1954).

   FILMS INCLUDE: Thanks A Million 1935; Sally Irene and Mary 1938; Love Thy Neighbor 1940;

It’s in the Bag 1945; We’re Not Married, O. Henry’s Full House 1952.

   Allen, Gracie. Comedienne. b. Grace Ethel Cecile Rosalie Allen, July 26, 1902, San Francisco. d.

1964. The daughter of vaudevillians, she began performing as a child. In 1922 she met George BURNS

and together they formed the comedy team of Burns and Allen, of which she was the scatterbrained

half. They married in 1926 and became popular in vaudeville and films and on radio and TV Of some

                                                                                            .

20 feature films and many shorts, she made only two without her partner, The Gracie Allen Murder

Case (1939) and Mr. and Mrs. North (1942).

   FILMS INCLUDE: The Big Broadcast 1932; College Humor, International House 1933; Six of a

Kind, We’re Not Dressing, Many Happy Returns 1934; Love in Bloom, Big Broadcast of 1936, Here

Comes Cookie 1935; Big Broadcast of 1937, College Holiday 1936; A Damsel in Distress 1937;

College Swing/Swing Teacher Swing 1938; The Gracie Allen Murder Case, Honolulu 1939; Mr. and

Mrs. North 1942; Two Girls and a Sailor 1944.

   Allen, Irving. Director, producer. b. Nov. 24, 1905, Poland. d. 1987. ed. Georgetown. Started his

film career in 1929 as an editor. In the 40s he directed and produced several shorts, two of which

won him Academy Awards, Forty Boys and a Song (1942) and Climbing the Matterhorn (1947). The

low-budget feature films he directed during this period were less impressive and in the 50s he

switched to producing, forming Warwick Films in Britain with Albert R. BROCCOLI.

   FILMS INCLUDE: As director—Strange V          oyage, Avalanche 1946; High Conquest 1947; 16

Fathoms Deep 1948; Slaughter Trail 1951. As producer—The Man on the Eiffel Tower 1950; New

Mexico 1951; The Red Beret/Paratrooper 1953; Hell Below Zero 1954; A Prize of Gold, The

Cockleshell Heroes 1955; Safari, Zarak 1956; Fire Down Below, Interpol/Pickup Alley 1957;

Killers of Kilimanjaro 1959; The Trials of Oscar Wilde 1960; The Long Ships 1964; Ghengis Khan

1965; The Silencers 1966; The Ambushers 1967; Hammerhead 1968; The Desperadoes, The

Wrecking Crew 1969; Cromwell 1970.

   Allen, Irwin. Director, producer, screenwriter. b. June 12, 1916, New York City. d. 1991. ed.

CCNY; Columbia ( journalism). Was a magazine editor, director and producer of a Hollywood radio

show, and owner of an advertising agency before turning to film production in the early 50s. He

specialized in grand-scale semidocumentary and nature films and later in science fiction adventure

and won a 1953 Academy Award for The Sea Around Us. He created and produced several

successful science fiction TV series, including ‘Lost in Space.’ In the early 70s he produced two

spectacular disaster films, The Poseidon Adventure and The Towering Inferno, notable for special

effects and tremendous audience appeal.

   FILMS INCLUDE: As producer-director-screenwriter—Double Dynamite (co-prod. only) 1951; A

Girl in Every Port (co-prod. only) 1952; The Sea Around Us 1953; Dangerous Mission (prod. only)

1954; The Animal World 1956; The Story of Mankind 1957; The Big Circus (prod., scr. only) 1959;

The Lost World 1960; V    oyage to the Bottom of the Sea 1961; Five Weeks in a Balloon 1962; The

Ambushers (prod. only) 1967; The Poseidon Adventure (prod. only) 1972; The Towering Inferno

(prod.; also dir. of action sequences) 1974; The Swarm (dir., prod. only) 1978; Beyond the Poseidon

Adventure (dir., prod. only) 1979; When Time Ran Out (prod. only) 1980.

   Allen, Jay Presson. Playwright, screenwriter, producer. b. Jay Presson, Mar. 3, 1922, Fort Worth,

Tex. d. May 1, 2006. The author of such hit plays as ‘The Prime of Miss Jean Brodie’ (1966), ‘Forty

Carats,’ and ‘Tru,’ she also wrote a number of successful film scripts, alone or in collaboration. She

created the TV series ‘Family.’ She married Lewis M. ALLEN.

   FILMS INCLUDE: Wives and Lovers 1963; Marnie 1964; The Prime of Miss Jean Brodie (from

her play; UK) 1969; Cabaret, Travels With My Aunt (UK) 1972; Forty Carats (from her play) 1973;

Funny Lady 1975; Just Tell Me What You Want (from her novel; also co-prod.), It’s My Turn (exec.

prod. only) 1980; Prince of the City (also exec. prod.) 1981; Deathtrap (also exec. prod.) 1982.

   Allen, Joan. Actress. b. Aug. 20, 1956, Rochelle, Ill. ed. East Illinois U. Versatile performer in

leading and supporting roles on stage and screen. A founding member of Chicago’s Steppenwolf

Theatre Company, she won a Tony for her Broadway debut in ‘Burn This’ (1987), then scored another

hit with ‘The Heidi Chronicles’ (1989). Allen was nominated for Academy Awards in two

consecutive years as supporting actress, first for her riveting, dead-on performance as Pat Nixon in

Oliver STONE’s sweeping political epic Nixon (1995), and then for The Crucible (1996). For her

performance in The Contender (2000) she received her first leading actress Oscar nomination.

   FILMS INCLUDE: Compromising Positions 1985; Manhunter, Peggy Sue Got Married 1986;

Tucker: The Man and His Dream 1988; In Country 1989; Ethan Frome, Searching for Bobby Fischer

1993; Mad Love, Nixon 1995; The Crucible 1996; Face/Off, The Ice Storm 1997; Pleasantville 1998;

All the Rage 1999; The Contender, When the Sky Falls 2000; Off the Map 2003; The Bourne

Supremacy, The Notebook, Yes 2004; The Upside of Anger 2005; Bonneville, The Bourne Ultimatum

2007; Death Race 2008; Hachiko: A Dog’s Story 2009; Good Sharma 2010.

   Allen, Karen. Actress. b. Oct. 5, 1951, Carrollton, Ill. ed. George Washington U.; U. of Maryland;

Washington Theatre Laboratory; Lee Strasberg Theatre Institute. Skinny, wide-eyed, raspy-voiced,

brunette leading lady of American stage, TV and films. She overcame temporary blindness, following

                                             ,

a conjunctivitis condition, to begin a screen career in the late 70s that peaked with the female lead in

Steven SPIELBERG’s blockbuster Raiders of the Lost Ark (1981).

   FILMS INCLUDE: National Lampoon’s Animal House 1978; Manhattan, The Wanderers 1979;

Cruising, A Small Circle of Friends 1980; Raiders of the Lost Ark 1981; Shoot the Moon, Split

Image/Captured! 1982; Starman, Until September 1984; The Glass Menagerie (as Laura), Terminus

(Fr./Ger./Hung.) 1987; Backfire, Scrooged 1988; Animal Behavior 1989; Sweet Talker (Austral.)

1990; Malcolm X 1992; Ghost in the Machine, King of the Hill, The Sandlot 1993; ‘Til There Was

You 1997; Falling Sky 1998; The Basket 1999; The Perfect Storm 2000; In the Bedroom, World

Traveler 2001; Briar Patch 2003; Poster Boy, When Will I Be Loved 2004; White Irish Drinkers

2010.

   Allen, Lewis. Director. b. Dec. 25, 1905, Shropshire, England. d. May 2000. ed. Tettenhall Coll. A

stage actor and director in the UK and the US before turning to films. After two years of

apprenticeship with Paramount, he was given his first directorial assignment in 1943 and turned out

an exciting ghost thriller, The Uninvited. His subsequent output was of variable quality but

consistently entertaining and effective.

   FILMS INCLUDE: The Uninvited 1943; Our Hearts Were Young and Gay 1944; Those Endearing

Young Charms, The Unseen 1945; Desert Fury, The Imperfect Lady, The Perfect Marriage 1947;

Sealed Verdict, So Evil My Love 1948; Chicago Deadline 1949; Appointment With Danger, Valentino

1951; At Sword’s Point 1952; Suddenly 1954; A Bullet for Joey, Illegal 1955; Another Time Another

Place 1958; Whirlpool (UK) 1959; Decision at Midnight 1963.

   Allen, Lewis M. Producer. b. June 27, 1922, Berryville, Va. d. Dec. 2003. ed. U. of Virginia. The

producer of such Broadway plays as ‘I’m Not Rappaport,’ he began his film career with an adaptation

of the stage drama about heroin junkies, ‘The Connection.’ He has since specialized in unusual,

artistically daring films, including both screen versions of the William Golding novel Lord of the

Flies. He married screenwriter/producer/playwright Jay Presson ALLEN.

   FILMS INCLUDE: The Connection 1961; The Balcony (exec. prod.), Lord of the Flies (UK) 1963;

Fahrenheit 451 (UK) 1966; The Queen (exec. prod.) 1968; Fortune and Men’s Eyes 1971; Never Cry

Wolf 1983; 1918 (exec. prod.) 1985; On Valentine’s Day 1986 (exec. prod.); End of the Line, O.C.

and Stiggs, Swimming to Cambodia (exec. prod. the latter two) 1987; Miss Firecracker (exec. prod.)

1989; Lord of the Flies (exec. prod.) 1990.

   Allen, Nancy. Actress. b. June 24, 1950, New York City. ed. High School for the Performing Arts.

Blonde, spunky leading lady and second lead of the American screen. A policeman’s daughter, she

was raised in Yonkers, where she began dancing as a child. As a teenager, she modeled in TV

commercials and was soon drawn to acting. In 1979 she married Brian DE PALMA, the director of

several of the films in which she was featured. They divorced in 1984.

   FILMS INCLUDE: The Last Detail 1973; Carrie 1976; I Wanna Hold Your Hand 1978; Home

Movies, 1941 1979; Dressed to Kill 1980; Blow Out 1981; Strange Invaders 1983; The Buddy

System, Forced Entry/The Last Victim, Not for Publication, The Philadelphia Experiment, Terror in

the Aisles 1984; Robocop, Sweet Revenge 1987; Poltergeist III 1988; Limit Up 1989; Robocop 2

1990; Acting on Impulse, Robocop 3 1993; Les Patriotes 1994; Against the Law, The Children of the

Corn 666: Isaac Returns, Out of Sight 1998; Kiss Toledo Goodbye 1999; Circuit 2001; My

Apocalypse 2008.

   Allen, Rex. Actor. b. Dec. 31, 1922, Wilcox, Ariz. d. Dec. 17, 1999. Started in vaudeville, then

sang on radio and starred in a traveling rodeo show before becoming a popular singing cowboy in

Republic B films, often with sidekick Slim PICKENS and horse Koko. He starred in the TV series

‘Frontier Doctor,’ and narrated and sang for the sound track of several Disney films of the 60s. In

1973 narrated the Hanna-Barbera animated feature Charlotte’s Web.

   FILMS INCLUDE: Arizona Cowboy, Under Mexicali Stars 1950; Thunder in God’s Country 1951;

The Last Musketeer 1952; The Old Overland Trail 1953; The Phantom Stallion 1954; Shadows of

Tombstone 1958; For the Love of Mike 1960; The Legend of Lobo (narr.) 1962; The Incredible

Journey (narr.) 1963; Swamp Country 1966; Charlie the Lonesome Cougar (narr.) 1967; Charlotte’s

Web (narr.) 1973; Legend of Cougar Canyon (narr.) 1974.

   Allen, Steve. Actor, songwriter, radio and TV entertainer. b. Dec. 26, 1921, New York City, to

vaudeville comedians. d. Oct. 30, 2000. A disc jockey before becoming established as a top-ranking

radio and television personality. He has several books and short stories and hundreds of songs, but

his film appearances are few. He is married to actress Jayne Meadows.

   FILMS INCLUDE: Down Memory Lane 1949; I’ll Get By 1950; The Benny Goodman Story (title

role) 1956; The Big Circus (cameo) 1959; College Confidential 1960; Warning Shot 1967; Where

Were You When the Lights Went Out? 1968; The Comic (as himself) 1969; The Sunshine Boys 1975;

Heartbeat 1979; Amazon Women on the Moon 1987; Great Balls of Fire! (as himself) 1989; The

Player (as himself) 1992; Casino 1995.

   Allen, Tim. Actor, writer. b. June 12, 1953, Denver. ed. Western Michigan U. Likeable comedic

actor of TV and film who got his start as a stand-up comedian. He used one of his alter egos, ‘Tim the

Tool Man,’ as the basis for his very popular sitcom ‘Home Improvement,’ and launched a successful

film career with the holiday hit The Santa Clause (1994).

   FILMS INCLUDE: The Santa Clause 1994; Toy Story (v/o) 1995; For Richer or Poorer, Jungle 2

Jungle, Meet Wally Sparks 1997; Galaxy Quest, Toy Story 2 (v/o) 1999; Joe Somebody, Who Is

Cletis Tout? 2001; Big Trouble, The Santa Clause 2: Mrs. Clause 2002; Christmas with the Kranks

2004; Cars (v/o), The Santa Clause 3: Escape Clause (also prod.), The Shaggy Dog (also prod.),

Zoom 2006; Wild Hogs 2007; Redbelt 2008; Crazy on the Outside (also dir.), Toy Story 3 (v/o) 2010.

   Allen, Woody. Actor, director, screenwriter, playwright, jazz clarinetist. b. Allen Stewart

Konigsberg, Dec. 1, 1935, Brooklyn, N.Y. ed. NYU; CCNY. He began his career as a comedian,

humorist, and playwright; he became one of America’s most inventive and idiosyncratic filmmakers.

A self-defined social misfit, the physically unprepossessing Allen started writing comedy material for

TV stars while still an adolescent. He also wrote jokes for newspaper columnists and contributed

sketches for stage revues. In 1961, he reluctantly began performing his own material in Greenwich

Village cafés. His special brand of cynical parody and devastating understatement was soon in

demand on TV talk shows and at better nightclubs. Beginning in the 60s, he showed a gift for

philosophical and literary humor in comic essays in The New Yorker and later in three books: Getting

Even, Without Feathers, and Side Effects. The versatile performer also honed his skills as a jazz

clarinetist, beginning a regular Monday night gig at Michael’s Pub in New York City that has

continued for decades.

   He broke into films in 1965 as both screenwriter and performer in What’s New, Pussycat? The film

featured Louise Lasser, who often appeared in his early movies and was his wife from 1966 to 1970.

The following year he created a masterpiece of absurd, low-keyed humor by the clever English

dubbing of the sound track of a cheap Japanese film thriller, What’s Up, Tiger Lily? For Broadway, he

wrote two hits, ‘Don’t Drink the Water’ and ‘Play It Again, Sam,’ both of which were later made into

films. In 1969, he embarked on his career as an auteur when he directed, co-scripted, and starred in

Take the Money and Run, a hilarious parody of crime films and documentaries. In the 70s, Allen

directed, wrote, and acted in a string of highly successful comedies. Typically disjointed in continuity,

these films contained many moments of comic brilliance, highlighted by self-effacing humor, inside

jokes, and endless spoofs of filmmakers (ANTONIONI, BERGMAN, EISENSTEIN), movie conventions,

authors, and philosophers.

   In 1977, Allen scored his greatest critical and commercial success with Annie Hall, an account of a

failed romance based on his own longtime relationship with frequent co-star Diane KEATON. The film

fetched the best picture Oscar for that year, as well as two personal Academy Awards for Allen as

director and co-screenwriter. The film was a turning point in Allen’s career, revealing not only a

more serious approach to comedy but also a greater maturity of ideas and a fuller command of film

language and style. In 1978, he surprised audiences with his first straight drama, Interiors, an

agonized, soul-searching, gloomy tale peopled by characters whose lives are ravaged by anxiety and

self-doubt. The film earned him an Academy Award nomination as best director.

   In Manhattan (1979) Allen returned to the self-confessional, autoanalytical format of Annie Hall.

Again he played the Jewish intellectual nebbish bewildered by relationships with attractive shiksas

and confounded by his own anxieties and neuroses. As in Annie Hall, the film’s heroine was Diane

Keaton. She would soon give way to a new lover and leading actress, Mia FARROW.

   The intimately personal Stardust Memories (1980) was Allen’s last film with United Artists;

thereafter he began a long association with Orion Pictures. A Midsummer Night’s Sex Comedy

(1982), a comic homage to Bergman, was his first in a long string of films with Mia Farrow. He

experimented brilliantly with film technique in Zelig (1983), achieving remarkable results from the

matching of newsreels and stills with live footage. He followed the Runyonesque Broadway Danny

Rose (1984) with the charming, bittersweet movieland fantasy The Purple Rose of Cairo (1985), for

which he won the International Critics Prize at Cannes. Allen won hordes of new admirers but may

have lost some old ardent fans with Hannah and Her Sisters (1986), an ambitious, intricate, serio-

comic family saga, for which he won an Academy Award for best screenplay.

   Of Allen’s subsequent films, Crimes and Misdemeanors (1989) received the most critical praise

for its combination of dark drama and bittersweet comedy; it also netted Oscar nominations for

director and screenplay. Other efforts, such as Alice (1990) and Shadows and Fog (1992), were less

successful. However, he continued to experiment with cinematic form and to elicit strong

performances, notably from Gena ROWLANDS in Another Woman (1988).

   An intensely private individual, it was ironic when he became the subject of a domestic scandal. At

its center was his relationship with Mia Farrow, with whom he had adopted two children (Moses and

Dylan Farrow) and had a biological son, Satchel Farrow. The unmarried couple were famed for their

closeness even as they carefully maintained their independence, living in separate apartments on

opposite sides of Central Park.

   In August 1992, the relationship came to a dramatic end when Allen filed for custody of their three

children. The news turned to scandal when it was revealed that Allen had been having an affair with

Soon-Yi Previn, one of Farrow’s adopted children from a previous marriage to conductor Andre

PREVIN. Though Soon-Yi was of college age and not related to Allen, the appearance of incest made

front-page news across the nation and abroad. The couple married in 1997.

   FILMS INCLUDE: What’s New Pussycat? (scr., act.) 1965; What’s Up Tiger Lily? (co-scr.,

host/narr., assoc. prod.) 1966; Casino Royale (act.) 1967; Don’t Drink the Water (play basis only),

Take the Money and Run (dir., co-scr., act.) 1969; Bananas (dir., co-scr., act.) 1971; Everything You

Always Wanted to Know About Sex but Were Afraid to Ask (dir., scr., act.), Play It Again, Sam (scr.

from own play, act.) 1972; Sleeper (dir., scr., act.) 1973; Love and Death (dir., scr., act.) 1975; The

Front (act.) 1976; Annie Hall (dir., co-scr., act.) 1977; Interiors (dir., scr.) 1978; Manhattan (dir., scr.,

act.) 1979; Stardust Memories (dir., scr., act.) 1980; Midsummer Night’s Sex Comedy (dir., scr., act.)

1982; Zelig (dir., scr., act.) 1983; Broadway Danny Rose (dir., scr., act.) 1984; The Purple Rose of

Cairo (dir., scr.) 1985; Hannah and Her Sisters (dir., scr., act.) 1986; King Lear (US/Switz.; act.),

Radio Days (dir., scr., narr.), September (dir., scr.) 1987; Another Woman (dir., scr.) 1988; Crimes

and Misdemeanors (dir., scr.), New York Stories (“Oedipus Wrecks” episode; dir., scr., act.) 1989;

Alice (dir., scr.) 1990; Scenes from a Mall (act.) 1991; Husbands and Wives (dir., scr., act.),

Shadows and Fog (dir., scr., act.) 1992; Manhattan Murder Mystery (dir., scr., act.) 1993; Bullets

Over Broadway (dir., co-scr.) 1994; Mighty Aphrodite (act., dir., scr.) 1995; Everyone Says I Love

You (act., dir., scr.) 1996; Deconstructing Harry 1997; Antz (v/o), Celebrity (dir., scr.), Wild Man

Blues 1998; Sweet and Lowdown (dir.) 1999; Picking Up the Pieces, Small Time Crooks (dir., act.)

2000; The Curse of the Jade Scorpion (dir., scr., act.) 2001; Hollywood Ending (dir., scr., act.) 2002;

Anything Else (dir., scr., act.) 2003; Melinda and Melinda (dir., scr.) 2004; Match Point (dir., scr.)

2005; Scoop (dir., scr., actor) 2006; Cassandra’s Dream (dir., scr.) 2007; Vicky Christina Barcelona

(dir., scr.) 2008; You Will Meet a Tall Dark Stranger (dir., scr.) 2010; Midnight in Paris (dir., scr.)

2011.

   Alley, Kirstie. Actress. b. Jan. 12, 1955, Wichita, Kans. ed. Kansas State U.; U. of Kansas.

Comedic, high-strung brunette lead of TV and films, she made her debut as the half-Vulcan Lt. Saavik

in Star Trek II, then came to specialize in comic roles. Her TV work included regular appearances in

the series ‘Masquerade’; from 1987 to 1993, she played hapless bar manager Rebecca Howe on

‘Cheers,’ a role that won her an Emmy in 1991. On the silver screen, she is best known for the

comedy Look Who’s Talking and its sequels. Divorced from actor Parker Stevenson.

   FILMS INCLUDE: Star Trek II: The Wrath of Khan 1982; Champions (UK) 1983; Blind Date,

Runaway 1984; Summer School 1987; Shoot to Kill/Deadly Pursuit 1988; Look Who’s Talking,

Loverboy 1989; Look Who’s Talking Too, Madhouse, Sibling Rivalry 1990; Look Who’s Talking

Now 1993; It Takes Two, Village of the Damned 1995; Sticks and Stones 1996; Deconstructing Harry,

For Richer or Poorer, Nevada 1997; Drop Dead Gorgeous 1999; Back by Midnight 2002; Nailed

2011.

   Allgood, Sara. Actress. b. Oct. 31, 1883, Dublin. d. 1950. With the Abbey Theatre from 1904. On

the British screen, she repeated her greatest stage success playing Juno in Hitchcock’s Juno and the

Paycock (1930). In 1940 she went to Hollywood and played amiable character roles in many major

films, typically as a kindly mother. She was nominated for a supporting actress Oscar for her role in

How Green Was My Valley (1941).

   FILMS INCLUDE: In Australia—Just Peggy 1918. In the UK—Blackmail 1929; Juno and the

Paycock 1930; The World, the Flesh and the Devil 1932; Irish Hearts/Nora O’Neale 1934; Peg of

Old Drury, The Passing of the Third Floor Back 1935; Sabotage/The Woman Alone 1936; Storm in a

Teacup 1937; On the Night of the Fire/The Fugitive 1939. In the US—That Hamilton Woman/Lady

Hamilton, Dr. Jekyll and Mr. Hyde, How Green Was My Valley 1941; Roxie Hart, This Above All

1942; The Lodger, Jane Eyre, The Keys of the Kingdom 1944; The Spiral Staircase, Uncle Harry

1945; Cluny Brown 1946; Mourning Becomes Electra 1947; The Accused 1948; Challenge to Lassie

1949; Cheaper by the Dozen 1950.

   Alliance of Motion Picture and Television Producers. See AMPTP.

   Allied Artists Pictures Corporation. An American film production company established in 1946

as Allied Artists Productions, a wholly owned subsidiary of Monogram Pictures. It was founded to

handle Monogram’s higher-budget films while Monogram went on producing B pictures under its own

name. In 1953, Monogram itself became known as Allied Artists. The company did not enjoy great

success until it released the Elvis Presley film Tickle Me in 1965. Allied Artists sold its production

studio in 1967 and thereafter emphasized release of foreign films, such as Belle de Jour (1968). In the

70s, it returned to production of such films as Papillon and The Man Who Would Be King, but

continued to be plagued by financial problems, leading to its bankruptcy filing in 1979 and its sale in

1980 to Lorimar Productions.

   Allio, René. Director, screenwriter. b. Mar. 8, 1924, Marseille, France. d. Mar. 27, 1995. After

winning recognition as a painter and an outstanding stage designer and director, he made his entry into

films with an animated short, La Meule/The Haystack in 1962. He has since directed feature films

distinguished for their originality and sincerity. He writes his own scripts.

   FILMS INCLUDE: As director-writer, sometimes in collaboration—La Vieille Dame indigne/The

Shameless Old Lady 1964; L’Une et l’Autre/The Other One 1967; Pierre et Paul 1969; Les Camisards

1971; Rude Journée pour la Reine 1973; Moi Pierre Rivière 1976; Retour à Marseille 1980; Le

Matelot 512 1984; Transit 1991.

   Allison, May. Actress. b. June 14, 1895, Rising Fawn, Ga. d. 1989. Blonde star of Hollywood

silents. During the WW I years, she and Harold LOCKWOOD formed one of the earliest romantic teams

of the American screen. She remained popular through the late 20s, when she retired to nurse her

ailing second husband, Photoplay editor James Quirk. Quirk died in 1932. Her first husband had been

actor Robert ELLIS.

   FILMS INCLUDE: A Fool There Was, David Harum, The Great Question, The End of the Road

1915; The River of Romance, Pidgin Island, Big Termaine, The Masked Rider 1916; The Promise,

The Hidden Children 1917; Her Inspiration, Social Hypocrites 1918; Peggy Does Her Darnedest, The

Island of Intrigue, Almost Married 1919; Are All Men Alike? The Cheater 1920; Extravagance, Big

Game, The Last Card 1921; The Woman Who Fooled Herself 1922; The Broad Road 1923; Flapper

Wives 1924; I Want My Man, Wreckage 1925; The Greater Glory, Men of Steel, The City 1926; The

Telephone Girl 1927.

   Allwyn, Astrid. Actress. b. Nov. 27, 1909, South Manchester, Conn. d. 1978. Leggy blonde leading

lady and supporting player of Hollywood films of the 30s and early 40s. Mostly in seductive, chilly

“other woman” parts. Once married to actor Robert Kent.

   FILMS INCLUDE: Lady With A Past 1932; Bachelor Mother 1933; Beggars in Ermine, Mystery

Liner, The White Parade 1934; Accent on Youth, One More Spring, Hands Across the Table, Way

Down East 1935; Dimples, Stowaway, Star for a Night, Follow the Fleet 1936; International Crime

1938; Love Affair, Reno, Mr. Smith Goes to Washington 1939; The Lone Wolf Strikes 1940; No

Hands on the Clock 1941; Hit Parade of 1943 1943.

   Allyson, June. Actress. b. Ella Geisman, Oct. 7, 1917, Bronx, N.Y. d. July 2006. The daughter of a

building superintendent, she began her career as a Broadway show girl and in the 30s was featured in

several two-reel film shorts. After being featured in the Broadway musical Best Foot Forward

(1941), she played the same part in the screen version (1943). Her husky voice and twinkling smile

made her a favorite performer in many MGM musicals throughout the 40s, in many girl-next-door type

of roles. During the 50s she switched to dramas, still playing “sweet” roles, often typecast as the

devoted wife behind the successful husband. In 1955, however, she turned in a spine-chilling

performance as a spiteful bitch of a wife in José Ferrer’s The Shrike. Since 1960 she has

occasionally ventured out of retirement for TV stage, nightclub, film, and commercial appearances.

                                               ,

She is the widow of actor-director Dick POWELL.

   FILMS INCLUDE: Best Foot Forward, Girl Crazy, Thousands Cheer 1943; Meet the People, Two

Girls and a Sailor 1944; Her Highness and the Bellboy, Music for Millions 1945; The Sailor Takes a

Wife, The Secret Heart, Till the Clouds Roll By, Two Sisters from Boston 1946; Good News, High

Barbaree 1947; The Bride Goes Wild, The Three Musketeers, Words and Music 1948; Little Women,

The Stratton Story 1949; The Reformer and the Redhead, Right Cross 1950; Too Young to Kiss 1951;

The Girl in White 1952; Battle Circus, Remains to Be Seen 1953; Executive Suite, The Glenn Miller

Story, Woman’s World 1954; The McConnell Story, The Shrike, Strategic Air Command 1955; The

Opposite Sex, You Can’t Run Away from It 1956; Interlude, My Man Godfrey 1957; Stranger in My

Arms 1959; They Only Kill Their Masters 1972; Blackout (Can./Fr.) 1978; A Girl, Three Guys, and a

Gun 2001.

   Almendros, Nestor. Director of photography, director. b. Oct. 30, 1930, Barcelona, Spain. d. 1992.

He began making amateur shorts while still a teenager, and after receiving a Ph.D. degree from the

University of Havana (Cuba) he came to New York, where he studied cinematography and film

editing at CCNY. Following further cinema studies at Rome’s Centro Sperimentale di Cinematografia,

he returned to the US and taught Spanish at Vassar. Shortly after the Castro takeover, Almendros went

back to Cuba, where he directed documentaries from 1959 to 1961. Moving on to Paris, he worked

for French TV and film shorts. In the mid-60s he began collaborating with Eric ROHMER and later

with François TRUFFAUT and other directors of the French New Wave, soon gaining an international

reputation as one of cinema’s most gifted cinematographers. Thereafter he worked extensively in the

US, where he won the Academy Award for Days of Heaven (1978). In that film, he achieved haunting

and breathtaking effects through his characteristic use of natural light, based on intensive study of

period art. He won the French César Award for The Last Metro (1980). In 1984 he was decorated in

France with the Chevalier (order Arts and Letters) of the Legion of Honor. In 1988 he co-directed,

co-wrote, and co-produced Nadie Escuchaba/Nobody Listened, a documentary on oppression and

human-rights violations in Cuba. Author: A Man With a Camera (1980), Improper Conduct (1984).

   FILMS INCLUDE: Nadja à Paris (short) 1964; Paris vu par . . . /Six in Paris (Jean Douchet’s and

Eric Rohmer’s episodes) 1965; La Collectionneuse 1967; The Wild Racers (co-phot.; US) 1968; Gun

Runner (co-phot.; US), as John Nestor, Ma Nuit chez Maud/My Night at Maud’s, More 1969; L’Enfant

sauvage/The Wild Child, Domicile Conjugal/Bed and Board 1970; Le Genou de Claire/Claire’s

Knee, Les Deux Anglaises et le Continent/Two English Girls 1971; Le Vallée/The Valley, L’Amour

l’après-midi/Chloe in the Afternoon 1972; Poil de Carotte 1973; Cockfighter (US) 1974; L’Histoire

d’Adèle H./The Story of Adele H., Maîtresse, Mes Petites Amoureuses/My Little Loves 1975;

General Idi Amin Dada (doc.) 1976; Des Journées entières dans les Arbres, L’Homme qui aimait les

Femmes/The Man Who Loved Women, La Vie devant soi/Madame Rosa 1977; La Chambre verte/The

Green Room, Days of Heaven, Perceval le Gallois 1978; L’Amour en fuite/Love on the Run, Kramer

vs. Kramer (US) 1979; The Blue Lagoon (US), Le Dernier Métro/The Last Metro 1980; Sophie’s

Choice (US) 1982; Pauline à la Plage/Pauline at the Beach, Vivement Dimanche!/Confidentially

Yours, Improper Conduct (doc.; dir., scr. only) 1983; Places in the Heart (US) 1984; Heartburn 1986;

Nadine 1987; Imagine: John Lennon (doc.), Nadie Escuchaba/Nobody Listened (doc.; dir., scr., prod.

only) 1988; New York Stories (“Life Lessons” episode) 1989; Billy Bathgate 1991.

   Almodóvar, Pedro. Director, screenwriter, actor, composer. b. Sept. 25, 1951, Calzada de

Calatrava, La Mancha, Spain. A leading figure in the new Spanish cinema, Almodóvar was formerly

a telephone company employee and a contributor to underground magazines and comic books. He

began dabbling in amateur filmmaking in 1974; his first film, Dos Putas, was shot in super-8. In the

years that followed, he acted in avant-garde plays, sang with a rock band, and began publishing the

“confessions” of fictional porn star Patty Diphusa. Several years later, he joined the professional

ranks, and by the late 80s became established as one of his country’s internationally best-known and

most admired directors. Openly gay, he often creates characters who are homosexual or bisexual, and

he has a special affinity for the confusions and desires of people who came of age in Spain after

dictator Franco’s death in 1975. Writing his own offbeat scripts, he is at his most effective with

caustic, irreverent, shocking comedy. His Women on the Verge of a Nervous Breakdown (1988) was

named best foreign film by the New York Film Critics, and earned him best young filmmaker at the

European Film Awards. It also won the best screenplay prize at Venice. In 1999, his film All About

My Mother earned the Oscar for best foreign film. For his film Talk to Her (2002), he received his

first Academy Award nomination in the directing category and took home his first Oscar for that

film’s screenplay.

   FILMS INCLUDE (complete from 1980): La Caida de Sodoma, Dos Putas 1974; Sexo va Sexo

viene 1977; Pepi Luci Bom y Otras Chicas del Montón/Pepi Lucy Bom and Other Girls on the Heap

(also scr.), Salome 1978; Laberinto de Pasiones/Labyrinth of Passion (also act., scr., prod. des.)

1980; Entre Tinieblas/Dark Habits (also scr., song.) 1982; Qué he hecho yo para merecer esto?/What

Have I Done to Deserve This? (also scr.) 1984; Matador (also act.) 1986; La Ley del Deseo/Law of

Desire (also scr., composer, song) 1987; Mujeres al Borde de un Ataque de Nervios/Women on the

Verge of a Nervous Breakdown (also scr.) 1988; Atame!/Tie Me Up! Tie Me Down! (also scr.) 1990;

High Heels (scr.) 1991; Kika (scr.), Mutant Action (prod., dir., scr.) 1993; The Flower of My Secret

(dir., scr.) 1995; Live Flesh (also scr.) 1998; All About My Mother (also scr.) 1999; Talk to Her

2002; Bad Education 2004; The Secret Life of Words (exec. prod. only) 2005; V        olver (dir., scr.)

2006; The Headless Woman (prod. only) 2008; Broken Embraces (dir., scr.), The Last Summer of La

Boyita (ex. prod. only) 2009; The Skin That I Inhabit (dir., scr., prod) 2011.

   Almond, Paul. Director, producer, screenwriter. b. Apr. 26, 1931, Montreal, Canada. ed. McGill

(Montreal), Oxford. After completing his master’s at Oxford, where he was president of the poetry

society and editor of a literary magazine, he joined a British repertory company, then returned to

Canada in 1954 as a TV director. He subsequently turned out TV episodes in both countries, as well

as in the US, then graduated to the big screen in the 60s.

   FILMS INCLUDE: As director—Backfire! (UK) 1961; 7 Up (incorporated in 1985 into Michael

Apted’s 7 Up/28 Up) 1964; Isabel (also prod., scr.) 1968; Acte du Coeur/Act of the Heart (also

prod., scr.) 1970; Détour/Journey (also prod., scr., ed.) 1972; Final Assignment 1980; Ups and

Downs 1981; Captive Hearts 1987; The Dance Goes On 1992; Doppelganger (ex. prod. only) 1993.

   Alonso, Maria Conchita. Actress, singer. b. 1957, Cuba. Darkly exotic lead of Hollywood films

from the mid-80s, she was raised in Venezuela, where she became Miss Teenager of the World (1971)

and Miss Venezuela (1975). She starred in soap operas in the Latin TV market before she landed the

plum role of an Italian immigrant, opposite Robin WILLIAMS, in Paul Mazursky’s Moscow on the

Hudson. In South America she is also a best-selling recording artist.

   FILMS INCLUDE: In US—Moscow on the Hudson 1984; Fear City 1985; A Fine Mess 1986;

Extreme Prejudice, The Running Man, Touch and Go 1987; Colors 1988; Vampire’s Kiss 1989;

Predator 2 1990; McBain 1991; The House of the Spirits, Roosters 1993; Caught 1996; Acts of

Betrayal, Blackheart 1998; Knockout 2000; The Code Conspiracy 2001; Blind Heat 2002; Chasing

Papi 2003; English as a Second Language, Smoke 2005; Material Girls 2006; The Dead One 2007;

The Art of Travel, Return to Babylon (also prod.), Richard III 2008; Dark Moon Rising,, The Red

Canvas, Spread 2009; Submission, Tranced, Without Men 2010.

   Alonzo, John A. Director of photography. b. June 12, 1934, Dallas, Tex. d. Mar. 13, 2001. He is

responsible for the cinematography of several sumptuous Hollywood productions beginning in the

70s, including Chinatown and Close Encounters of the Third Kind. In 1978 he directed his first film,

FM.

   FILMS INCLUDE: Bloody Mama 1970; Harold and Maude, Vanishing Point 1971; Get to Know

Your Rabbit, Lady Sings the Blues, Pete ’n’ Tillie, Sounder 1972; Hit!, The Naked Ape 1973;

Chinatown, Conrack 1974; Farewell My Lovely, The Fortune, Once Is Not Enough 1975; The Bad

News Bears, I Will, I Will . . . for Now 1976; Black Sunday, Close Encounters of the Third Kind (co-

phot.) 1977; The Cheap Detective, FM (dir. only) 1978; Norma Rae 1979; Tom Horn 1980; Back

Roads, Zorro the Gay Blade 1981; Blue Thunder, Cross Creek, Scarface 1983; Runaway, Terror in

the Aisles 1984; Out of Control 1985; Nothing in Common 1986; Overboard 1987; Physical

Evidence, Steel Magnolias 1989; The Guardian, Internal Affairs, Navy SEALS 1990; Cool World,

Housesitter 1992; Meteor Man 1993; Clifford, Star Trek: Generations 1994; The Grass Harp 1995;

Letters from a Killer 1998; The Prime Gig 2000; Deuces Wild 2004.

   Alov, Alexander. Director. b. Sept. 6, 1923, Kharkov, Russia. d. 1983. A product of Moscow’s

Cinema Institute (graduated 1951), and a prominent representative of the postwar crop of Soviet

directors. He directed several well-paced films in collaboration with Vladimir NAUMOV. Alov died

during the production of Bereg/River Bank. The film went on to win the top Soviet award and

represented the USSR at both Cannes and Venice.

   FILMS INCLUDE: All co-directed with Vladimir Naumov—Taras Schevchenko (completed for

Savchenko) 1951; Restless Youth 1954; Pavel Korchagin 1957; The Wind 1959; Peace to Him Who

Enters 1961; The Coin 1963; The Ugly Story/A Bad Joke/Nasty Incident (release delayed from 1965)

1969; The Flight 1971; The Curse of Mr. McKinley 1975; The Legend of Till Eulenspiegel (in 2

parts) 1976–77; Teneran–43 (in 2 parts; USSR/Switzerland) 1981; Bereg/River Bank 1984.

   Altman, Robert. Director, screenwriter, producer. b. Feb. 20, 1925, Kansas City, Mo., of English-

Irish-German descent. d. Nov. 20, 2006. Maverick auteur whose quirky, multilayered films cast an

astute and irreverent eye on American culture. The son of a successful insurance broker, he was

educated in Jesuit schools before serving in WW II as a bomber pilot. After his discharge, he studied

engineering at the University of Missouri and attempted a number of aborted business ventures,

including a dog-tattooing machine of his own invention. At the same time, he began writing screen

stories, and was able to sell one, in collaboration with George W. George, as a basis for Richard

Fleischer’s film Bodyguard (1948). Another of their stories was reputedly used, uncredited, as part-

basis for Edwin L. Marin’s Christmas Eve (1947). Unsuccessful in his attempt to find employment in

Hollywood, Altman went to work for an industrial films company in his hometown of Kansas City,

developing skills in all aspects of filmmaking. Raising a tiny budget from local sources, he produced,

wrote, and directed his first feature, The Delinquents (1957), an exploitation film about juvenile

crime that he sold to United Artists at a handsome profit. After collaborating with George W. George

on the bumpy compilation-documentary film The James Dean Story (1957), Altman found a niche in

TV as the director of numerous episodes for such series as ‘Bonanza’ and ‘Alfred Hitchcock

Presents.’

   A full decade elapsed before he returned to feature films (with Countdown in 1968), and another

two years passed before he asserted himself as a front-rank director with M*A*S*H (1970), an

iconoclastic, furiously hectic antiwar black comedy, which won the Golden Palm at the Cannes Film

Festival and the best screenplay Oscar (among a number of Oscar nominations, including best

director). After the film’s huge success at the box office, Altman was flooded by studio offers for big-

budget productions, but he chose instead to direct Brewster McCloud (1970), a modest-scale

whimsical allegory of limited marketability. It was the start of a career-long chasm between the

stubbornly individualistic Altman and the Hollywood establishment. His next few films, including

McCabe and Mrs. Miller (1971), Images (1972), and Thieves Like Us (1974), garnered critical

praise but failed to make an impact at the box office.

   For the second (but not the last) time in his career, Altman came back from the dead in Hollywood

with Nashville (1975), a dazzlingly inventive mosaic of the American experience composed of the

intricate interweaving of the stories of 24 archetypal characters. Both the film and Altman himself

were nominated for Academy Awards, and were named best film and best director by the New York

Film Critics. Having regained Hollywood’s trust, Altman quickly squandered his bankability on the

bizarre Buffalo Bill and the Indians (1976). The next few efforts, including Welcome to L.A. (1976),

Three Women (1977), and A Wedding (1978), were varied and interesting but again failed at the box

office. Later films, such as Quintet (1979) and Popeye (1980) failed to please either critics or

audiences. Also working against him was his reputation for drinking (a habit he later quit) and for

being arrogant, unpredictable, and difficult. The Hollywood establishment had written off Altman by

the early 80s.

  Living most of the time in Paris, Altman continued to work on theatrical adaptations, such as Come

Back to the Five and Dime, Jimmy Dean, Jimmy Dean (1982) and Secret Honor (a 1984 monologue

by an actor playing Richard Nixon). His cable miniseries Tanner ’88 (1988), a political satire, gained

favorable notice, as did Vincent and Theo (1990), an evocative film about the artist van Gogh. Then,

in 1992, the maverick filmmaker surprised Hollywood yet again with The Player, his first major

commercial and critical success since Nashville. A black comedy about a movie executive who kills

a screenwriter, the film was enriched by cameo appearances from 66 celebrities who agreed to work

for scale. With perfect Altmanian irony, this scathing satire of Hollywood earned several Oscar

nominations (including best director) and brought Altman back into Hollywood’s embrace.

  Following what he calls his “third comeback,” Altman still refused to march in step with the

conventions of traditional American cinema. He once said, “Hollywood doesn’t want to make the

same pictures I do, and I’m too old to change,” but he showed that he could sometimes get Hollywood

to see things his way. The success of The Player allowed him to make his next work, Short Cuts

(1993), based on short stories by Raymond Carver, for which he received another Oscar nomination

for direction. Like Nashville, it is a lengthy, complex film that interweaves the lives of nearly two

dozen characters in creating a portrait of contemporary America.

  Oscar once again smiled upon his craftsmanship behind the pen and at the helm of the British

murder mystery Gosford Park (2001) but the elusive statue would remain out of his grasp until the

Academy finally awarded the legendary Hollywood maverick an honorary Oscar in 2006, just months

before his death at the age of 81. Thrice married, Altman was the father of six.

  FILMS INCLUDE: Christmas Eve (story only, uncred.) 1947; Bodyguard (story only) 1948; The

Delinquents (also prod., scr.), The James Dean Story (co-dir., co-prod. with George W. George)

1957; Countdown 1968; Nightmare in Chicago (expanded for theatrical release from the ’64 TV

movie Once Upon a Savage Night), That Cold Day in the Park 1969; Brewster McCloud, Events (act.

only), M*A*S*H 1970; McCabe and Mrs. Miller (also co-scr.) 1971; Images (also scr.; UK) 1972;

The Long Goodbye 1973; California Split (also co-prod.), Thieves Like Us (also co-scr.) 1974;

Nashville (also prod.) 1975; Buffalo Bill and the Indians or Sitting Bull’s History Lesson (also prod.,

co-scr.) 1976; The Late Show (prod. only), Three Women (also prod., scr.), Welcome to L.A. (prod.

only) 1977; Remember My Name (prod. only), A Wedding (also prod., co-scr.) 1978; H.E.A.L.T.H.

(also prod., scr.), A Perfect Couple (also prod., co-scr.), Quintet (also prod., co-scr.), Rich Kids

(exec. prod. only) 1979; Popeye 1980; Endless Love (act. only) 1981; Before the Nickelodeon: The

Early Cinema of Edwin S. Porter (act. only), Come Back to the Five and Dime Jimmy Dean Jimmy

Dean 1982; Streamers (also co-prod.) 1983; Secret Honor (also prod.) 1984; Fool for Love, Jatszani

Kell (assoc. prod.) 1985; Aria (‘Les Boréades’ segment; also scr.; UK), Beyond Therapy (also co-

scr.), O.C. and Stiggs (also co-prod.) 1987; The Moderns (assist. only) 1988; Hollywood Mavericks

(act. only), Vincent and Theo 1990; The Player 1992; Short Cuts (also co-scr.) 1993; Mrs. Parker and

the Vicious Circle (prod. only), Ready to Wear 1994; Kansas City (also scr.) 1996; The Gingerbread

Man, Wild Card 1997; Cookie’s Fortune 1999; Dr. T and the Women 2000; Gosford Park (also scr.,

prod.) 2001; The Company (also prod.) 2003; A Prairie Home Companion 2006.

   Alton, John. Director of photography. b. Oct. 5, 1901, Hungary. d. June 2, 1996. Started his film

career in 1924 as lab technician for MGM. In 1928 he became cameraman with Paramount. He later

traveled to France and then to South America, where he stayed to direct, write, and photograph

several Spanish-language productions. He won an Argentine prize for best photography (1937), then

returned to Hollywood. There he soon developed into one of the industry’s most accomplished

cinematographers. In 1951 he won an Academy Award (with Alfred Gilks) for best color

photography, on An American in Paris. He has written several books on the art of photography,

notably Painting With Light.

   FILMS INCLUDE: The Courageous Dr. Christian 1940; Atlantic City 1944; T-Men 1947; He

Walked by Night, The Black Book/Reign of Terror, Border Incident 1949; Father of the Bride 1950;

An American in Paris (co-phot.), The People Against O’Hara 1951; It’s a Big Country 1952; Battle

Circus 1953; The Big Combo 1955; Tea and Sympathy, The Teahouse of the August Moon, The

Catered Affair 1956; Designing Woman 1957; The Brothers Karamazov 1958; Elmer Gantry, Twelve

to the Moon 1960.

   Alton, Robert. Choreographer, director, b. Robert Alton Hart, Jan. 28, 1906, Bennington, Vt. d.

1957. Studied and danced with the Mordkin Ballet and Dramatic School in New York.

Choreographed many Broadway musicals before branching out simultaneously into films in 1936. He

thereafter directed the dance sequences of some of Hollywood’s most glittering musicals. He also

directed a number of Broadway plays and two so-so films.

   FILMS INCLUDE: As choreographer—Strike Me Pink 1936; You’ll Never Get Rich, Two-Faced

Woman 1941; The Harvey Girls, Ziegfeld Follies, Till the Clouds Roll By 1946; The Pirate, Easter

Parade 1948; In the Good Old Summertime, The Barkleys of Broadway 1949; Annie Get Your Gun

1950; Show Boat 1951; Call Me Madam 1953; White Christmas, There’s No Business Like Show

Business, The Country Girl 1954; The Girl Rush 1955. As director (complete listing)—Merton of the

Movies 1947; Pagan Love Song 1950.

   Alvarado, Don. Actor. b. José Paige, Nov. 4, 1904, Albuquerque, N.Mex. d. 1967. Also known

professionally as Don Page. He got his first break as an extra in Mademoiselle Midnight (1924), after

which his film roles grew rapidly in importance until he became established as a “Latin lover” type

in many late silents and early talkies. He later began playing occasional character roles. Toward the

end of the 30s, he worked briefly as assistant director.

   FILMS INCLUDE: The Pleasure Buyers, Satan In Sables 1925; The Night Cry, His Jazz Bride

1926; Loves of Carmen, The Monkey Talks 1927; Drums of Love, The Battle of the Sexes, The

Scarlet Lady, The Apache 1928; Rio Rita, The Bridge of San Luis Rey 1929; The Bad One, Captain

Thunder 1930; Beau Ideal, Reputation 1931; Bachelor’s Affair, La Cucaracha 1932; Contraband,

Black Beauty, Morning Glory 1933; Sweet Adeline, The Devil Is a Woman 1935; Rose of the Rancho

1936; Love Under Fire 1937; Cafe Society 1939; One Night in the Tropics 1940; The Big Steal 1949.

   Alvarado, Trini. Actress. b. 1967, New York City. Child actress in films beginning with Rich Kids

at age 12. As Bette MIDLER’s daughter in Stella (1990), she began the transition to adult roles. She

has also worked in TV and on the stage. After a long hiatus from film work, she resurfaced in the

critically lauded drama Little Children (2006).

   FILMS INCLUDE: Rich Kids 1979; Times Square 1980; Mrs. Soffel 1984; Sweet Lorraine 1987;

Stella 1990; The Babe 1992; Little Women 1994; The Perez Family 1995; The Frighteners 1996;

Paulie 1998; Little Children 2006; The Good Guy 2009; All Good Things 2010.

   Alvarez, Santiago. Director. b. Mar. 8, 1919, Havana, the son of Spanish immigrant grocers. d.

May 20, 1998. ed. U. of Havana; Columbia U., New York. During his student days in the US, he

worked as a dishwasher in Brooklyn and as a coal miner in Pennsylvania. Returning to Cuba in the

early 40s, he joined the Communist Party and was arrested repeatedly for his underground activities

against the Batista regime. Shortly after the Castro revolution, he was appointed to various posts at

the Cuban Institute of Film Art and Industry (ICAIC), including chief of the newsreel division. In the

early 60s, he began directing newsreels and documentaries, and before long became established as

his country’s leading cine-journalist. His films are noted for their audiovisual dynamics and polemic

vigor. In 1983, he directed his first fiction feature, Refugiados de la Cueva del Muerto/Refugees

From the Death Cave.

   FILMS INCLUDE: Un Año de Libertad (co-dir.) 1960; Escambray (co-dir.) 1961; Forjadores de la

Paz 1962; El Barbaro del Ritmo, Ciclon/Hurricane 1963; Now, Pedales sobra Cuba, Solidaridad

Cuba y Vietnam 1965; Cerro Pelado 1966; La Guerra olvidada/Laos the Forgotten War, Hanoi Martes

13, Hasta la Victoria siempre 1967; La Hora de los Hornos, L.B.J. 1968; Despegue a las 18:00, 79

Primaveras/79 Springtimes of Ho Chi Minh 1969; Piedra sobre Piedra, El Sueño del Pongo 1970; La

Estampida 1971; De America soy Hijo . . . y a Ella me debo 1972; El Tigre salto y mato . . . pero

morira . . . morira/The Tiger Leaped and Killed but He Will Die 1973; Los Cuatro Puentes 1974; Es

Tiempo es el Viento, Morir por la Patria es vivir 1976; Mi Hermano Fidel 1977; El Gran Salto al

Vacio 1979; La Guerra necessaria 1980; La Importancia Universal del Hueco 1981; A Galope sobre

la Historia, Nova Sinfonia 1982; Biografia di un Carnaval, Refugiados de la Cueva del Muerto 1983;

Gracias Santiago 1984.

   Alves, Joe. Production designer. b. May 21, 1936, San Leandro, Calif. ed. San Jose State;

Chouinard Institute (motion picture design); USC. The son of Portuguese immigrants, he began his

career as an assistant animator at Disney in the 1950s. He worked as a theatrical set designer and

television art director before rising to prominence in film, with a specialty in science fiction. In the

course of his collaborations with director Steven SPIELBERG (beginning with Sugarland Express), he

designed the shark in Jaws and the mother ship in Close Encounters of the Third Kind (the latter effort

won the British Academy Award). He directed Jaws 3-D.

   FILMS INCLUDE: Torn Curtain (asst. art dir.) 1966; Winning 1969; Pufnstuf 1970; Sugarland

Express 1974; Jaws 1975; Embryo 1976; Close Encounters of the Third Kind 1977; Jaws II 1978;

Escape From New York 1981; Jaws 3-D (dir. only) 1983; Starman (visual consult., second-unit dir.

only) 1984; Everybody’s All-American 1988; Freejack (also assoc. prod., second-unit dir.) 1992;

Geronimo: An American Legend 1993; Drop Zone 1994; Fire Down Below, Shadow Conspiracy

1997; Sinbad: Beyond the Veil of Mists 2000.

   Alwyn, William. Composer. b. Nov. 7, 1905, Northampton, England. d. 1985. ed. Royal Academy

of Music. A conductor and flutist, as well as an accomplished painter and poet, he wrote numerous

symphonic works in addition to more than 100 film scores. He began composing for films in 1936,

scoring many documentaries. From the early 30s, he scored many major feature films, notably for

Carol REED.

   FILMS INCLUDE: The Future’s In The Air 1936; They Flew Along/Wings and the Woman 1941;

Squadron Leader X 1942; On Approval 1943; The Way Ahead 1944; The Rake’s Progress/Notorious

Gentleman 1945; I See a Dark Stranger/The Adventuress, Green for Danger 1946; Odd Man Out

1947; So Evil My Love (co-mus.; US), The Fallen Idol, The Winslow Boy 1948; The Rocking Horse

Winner 1949; Madeleine, The Mudlark, State Secret/The Great Manhunt 1950; The Magic Box 1951;

Mandy/Crash of Silence, The Crimson Pirate, The Card/The Promoter 1952; Million Pound

Note/Man with a Million 1953; The Malta Story 1954; Svengali, Geordie/Wee Geordie 1955; I

Accuse, A Night to Remember 1958; The Silent Enemy 1959; Swiss Family Robinson 1960; The

Running Man 1963.

   Alyn, Kirk. Actor. b. Oct. 8, 1910, Oxford, N.J. d. March 1999. A former Broadway chorus boy

and vaudeville entertainer, he played bits and supporting roles in several minor films before attaining

some popularity in the late 40s as the star of the serial Superman (1948). But after playing the hero of

a few other serials, he drifted back into obscurity in the early 50s. He authored a book of memoirs, A

Job for Superman, which he published privately. In 1977 he sued a comics publishing company and

two film studios for $10 million for allegedly using his picture on an “obscene” plaque. The plaque

showed him on a window ledge, attired in his Superman suit, with the words “Super Schmuck.” From

1943 to 1949 he was married to actress-singer Virginia O’BRIEN.

   FILMS INCLUDE: Features—My Sister Eileen, You Were Never Lovelier, Lucky Jordan 1942;

Overland Mail Robbery, Pistol Packin’ Mama, A Guy Named Joe 1943; Forty Thieves 1944; Sweet

Genevieve, Little Miss Broadway, The Trap 1947; The Three Musketeers 1948; When Worlds

Collide 1951; The Eddy Duchin Story 1956; Scalps 1983; Serials—Daughter of Don Q 1946;

Superman 1948; Federal Agents vs. Underworld Inc. 1949; Radar Patrol vs. Spy King, Atom Man vs.

Superman 1950; Blackhawk 1952.

   Amato, Giuseppe. Producer, director, screenwriter. b. Giuseppe Vasaturo, Aug. 24, 1899, Naples,

Italy. d. 1964. Started as a stage and film actor and assistant director (1913–22), then turned to

importing American films into Italy. He was a producer from 1932, and although he directed

occasional pictures, his real contribution to film art was as producer, especially after 1943. Among

the directors he helped establish was Vittorio DE SICA. He also collaborated on a number of scripts.

   FILMS INCLUDE: As director—Ma l’Amor mio non Muore (also prod., scr.) 1938; Malia (also

scr.) 1945; Donne Proibite/Angels of Darkness (also prod.) 1953; Gli Ultimi Cinque Minuti (also

prod.) 1955. As producer—Cinque a Zero 1932; I Grandi Magazzini 1939; Rose Scarlette, Melodie

Eterne/Eternal Melodies 1940; La Cena delle Beffe 1941; Quattro Passi fra la Nuvole/Four Steps in

the Clouds (also co-scr.) 1942; Campo de’Fiori/The Peddler and the Lady (also scr.) 1943; Natale al

Campo/Escape Into Dreams (also co-scr.) 1948; Domani è troppo Tardi/Tomorrow Is Too Late,

Francesco Giullare di Dio/Flowers of St. Francis 1950; Parigi èsempre Parigi 1951; La

Presidentessa/Mademoiselle Gobette, Umberto D 1952; Nella Città l’Inferno/ . . . And the Wild Wild

Women 1958; Un Maledetto Imbroglio/ The Facts of Murder 1959; La Dolce Vita (co-prod.) 1960.

   Ambler, Eric. Novelist, screenwriter. b. June 28, 1909, London. d. 1998. ed. U. of London. Worked

as an engineer, then a stage actor and advertising copywriter before becoming a successful novelist.

He had authored four novels by the time he first became associated with films as a script consultant

for Alexander Korda, in 1938. In 1940 he joined the British army as a private, and after serving with

a film combat unit in Italy, he was made assistant director of army cinematography in the British War

Office, in charge of production of all educational and morale films. Following his discharge, with the

rank of lieutenant colonel, he went to work for the Rank Organisation as a screenwriter. In addition to

the many scripts he has since written directly for the screen, several of his novels have been adapted

into films by others, notably The Mask of Dimitrios, Journey Into Fear, Background to Danger

(originally Uncommon Danger), and The Light of Day, which provided the basis for the film Topkapi.

Ambler’s novels are typically suspense thrillers. His spy stories influenced the trend for unglamorous

surroundings and unheroic characters in modern espionage literature and films. He co-authored

several crime novels with Charles Rodda under the common pseudonym of Eliot Reed. Ambler was

nominated for an Oscar for his script for The Cruel Sea (1953). His second wife was Joan HARRISON,

who produced Alfred Hitchcock’s TV anthology series and collaborated on the scripts of several

Hitchcock features.

   FILMS INCLUDE: As screenwriter—The Way Ahead (also story) 1944; The October Man (also

prod.) 1947; The Passionate Friends/One Woman’s Story 1949; The Clouded Yellow 1950; Encore,

The Magic Box, The Card/The Promoter 1951; The Cruel Sea 1953; Lease of Life 1954; The Purple

Plain 1955; Yangtse Incident/Battle Hell 1957; A Night to Remember 1958; The Wreck of the Mary

Deare (US) 1959; Mutiny on the Bounty (among several uncred. writers; US) 1962.

   Ambrosio, Arturo. Producer, film pioneer. b. 1869, Turin, Italy. d. 1960. Founder of the Italian

film industry. The owner of an optical equipment shop, he filmed and developed in his own lab the

first Italian short documentary films (1904), then established the first Italian film studio in his own

backyard (1905). His company, Film Ambrosio, produced documentary films of increasing length,

then turned to the production of feature films, signing up such stars as Eleonora Duse and Alberto

Capozzi and turning out such huge spectacles as The Last Days of Pompeii (1908). In 1911 he signed

an exclusive contract with Gabriele d’Annunzio by which he acquired adaptation rights to all the

poet’s works. The same year he won first prize in the world’s first film competition, held during the

International Exposition in Turin. Following this, he went to Moscow to help establish the Czarist

film industry. After WW I his new production company, U.C.I., produced huge, expensive,

unsuccessful spectacles, among them Theodora (1919) and La Nave (1920). Between 1939 and 1943

he continued some film activity as a production manager; then he retired from moviemaking.

Altogether, Ambrosio produced some 1,400 films.

   Ameche, Don. Actor. b. Dominic Felix Amici, May 31, 1908, Kenosha, Wisc. d. 1993. ed.

Columbia (Loras) Coll.; Marquette; Georgetown; U. of Wisconsin. One of a barkeeper’s eight

children, he made his stage debut in stock while still at the University of Wisconsin (law) and was a

radio personality for several years. Entered films in 1935 and quickly became one of the busiest stars

in the 20th Century-Fox stable, playing leading roles in more than 40 films, mostly typecast as a bon

vivant young-man-about-town. He is most closely identified with the title role in The Story of

Alexander Graham Bell (1939), but the film that best capitalized on his dexterity with light comedy

roles was Lubitsch’s Heaven Can Wait. Also active on stage and TV In 1975 he was reunited with his

                                                                     .

frequent screen partner, Alice FAYE, in a national tour of the musical ‘Good News.’ After a long

absence, he made a sentimental big-screen comeback in the 80s, dapper as ever, winning a best

supporting actor Oscar for Cocoon (1985). In 1988, he shared the best actor prize at Venice for

Things Change.

   FILMS INCLUDE: Clive Of India, Dante’s Inferno 1935; Sins of Man, Ramona, Ladies in Love

1936; One in a Million, Love Is News, Fifty Roads to Town, You Can’t Have Everything, Love Under

Fire 1937; In Old Chicago, Happy Landing, Josette, Alexander’s Ragtime Band, Gateway 1938; The

Three Musketeers (as D’Artagnan), Midnight, The Story of Alexander Graham Bell (title role),

Hollywood Cavalcade 1939; Swanee River (as Stephen Foster), Lillian Russell, Four Sons, Down

Argentine Way 1940; That Night in Rio, Moon Over Miami, Kiss the Boys Goodbye, The Feminine

Touch, Confirm or Deny 1941; The Magnificent Dope, Girl Trouble 1942; Something to Shout About,

Heaven Can Wait, Happy Land 1943; Wing and a Prayer, Greenwich Village 1944; It’s in the Bag,

Guest Wife 1945; So Goes My Love 1946; That’s My Man 1947; Sleep My Love 1948; Slightly

French 1949; Phantom Caravan 1954; Fire One 1955; A Fever in the Blood 1961; Rings Around the

World (doc.), Picture Mommy Dead 1966; Suppose They Gave a War and Nobody Came, The

Boatniks 1970; Won Ton Ton—The Dog Who Saved Hollywood 1975; Trading Places 1983; Cocoon

1985; Harry and the Hendersons 1987; Coming to America, Things Change, Cocoon: The Return

1988; Oddball Hall 1990; Oscar 1991; Folks! 1992; Homeward Bound: The Incredible Journey (v/o)

1993; Corrina, Corrina 1994.

   American Academy of Dramatic Arts. See AADA.

   American Biograph, The. See BIOGRAPH.

   American Cinema Editors. See A.C.E.

   American Federation of Television and Radio Artists. See AFTRA.

   American Film Institute (AFI). A private, nonprofit organization created in 1967 with the

objective of “preserving the heritage and advancing the art of film in America.” Headquartered in

Washington, D.C. (with offices in New York City and Los Angeles), the AFI derives most of its funds

from the National Endowment for the Arts and from contributions by the film and TV industry. Among

its many ongoing projects is the preservation of thousands of old movie classics (housed in the

National Film Collection at the Library of Congress), the publication of a complete catalogue of all

theatrical films ever made in America, and the provision of grants to promising filmmakers and

guidance to film educators. The institute also operates the Center for Advanced Film and Television

Studies, a lavish, well-equipped graduate film school in Los Angeles, where students are given an

opportunity to make their own films and establish important contacts in the industry. Among the

graduates are John Hancock, director of Bang the Drum Slowly, and Terrence Malick, director of

Badlands.

   Other AFI enterprises include the journal American Film, a small movie house in the Kennedy

Center, and an annual televised ceremony, the Life Achievement Awards, honoring important screen

personalities; the first award was presented to director John Ford in 1973. Starting in the 70s, the AFI

was the subject of controversy among film scholars and enthusiasts with charges made of squandering

funds on showy projects at the expense of the encouragement of research work and experimental film

production. It later would regain its reputation as an important institution in the field of preserving

and archiving the art of filmmaking for generations to come. Directors of AFI have included George

Stevens, Jr., Jean Picker Firstenberg, and Bob Gazzale.

   American International Pictures (AIP). Releasing company founded in 1954 as American

Releasing Corporation by James H. Nicholson and Samuel Z. ARKOFF; it was renamed American

International Pictures in 1956. The company was known for releasing low-budget exploitation films

in any genre that would sell—science fiction, horror, Westerns, hot-rod movies. Independent

producers, most notably Roger CORMAN, delivered the films; Arkoff and Nicholson also co-produced

many AIP films themselves. Beginning with The House of Usher in 1960, AIP began to distribute

more expensive films in color and CinemaScope. Directed by Corman and starring Vincent Price, the

feature also ushered in AIP’s successful cycle of films based on the work of Edgar Allan Poe. The

cycle of beach films beginning with Beach Party (1963) was also successful, as were the protest

films beginning with The Wild Angels (1966).

   Arkoff became AIP’s president and chairman of the board after Nicholson’s departure in 1972 to

become an independent producer. In 1975, at the peak of the company’s financial success, Arkoff

announced that AIP would begin production of big-budget films. Movies from this later period

include The Island of Dr. Moreau (1977) and The Amityville Horror (1979). The new philosophy

hurt the company’s profits, and in 1979 AIP posted its first loss ever. That year, it merged with

Filmways, which later merged with Orion.

   American Museum of the Moving Image. Established in 1988, it is the only museum in the US

devoted to the art history and technology of motion pictures, television, video, and digital media.

Located on part of the grounds but independent of the former ASTORIA STUDIOS (now Kaufman-

Astoria Studios), it houses a collection of materials related to the production, marketing, and

exhibition of films—costumes, props, technical apparatus, posters, and film merchandise. In addition,

the museum sponsors exhibitions, screenings, and educational programs, all meant to explore film

production and examine film’s impact on culture and society.

   American Mutoscope and Biograph Company. See BIOGRAPH.

   American Society of Cinematographers. See A.S.C.

   American Standards Association. See ASA.

   Ames, Adrienne. b. Adrienne Ruth McClure, Aug. 3, 1907, Fort Worth, Tex. d. 1947. Charming

leading lady and second lead of Hollywood films of the 30s, mainly in second features. She

sometimes played decorative, elegant featured roles in larger-budget productions. Her third husband

was actor Bruce CABOT. She died of cancer at 39.

   FILMS INCLUDE: Twenty-four Hours, Girls About Town 1931; Two Kinds of Women, Sinners in

the Sun, Merrily We Go to Hell 1932; The Death Kiss, Broadway Bad, A Bedtime Story, Disgraced,

The Avenger 1933; George White’s Scandals, You’re Telling Me 1934; Gigolette, Black Sheep,

Harmony Lane 1935; Abdul the Damned 1936; City Girl, Fugitives for a Night 1938; The Zero Hour

1939.

   Ames, Leon. Actor. b. Leon Waycoff, Jan. 20, 1903, Portland, Ind., to Russian immigrants. d. 1993.

On stage from 1925 and in films beginning in 1932. Changed his name to Ames in 1935. He

developed into one of the most reliable character actors, often in dapper or fatherly roles. In addition

to some 100 films, he appeared in numerous TV episodes, memorably in the series ‘Life With Father,’

‘Frontier Judge,’ ‘Father of the Bride,’ and ‘Mr. Ed.’ One of the founders of the Screen Actors Guild

in 1933.

   FILMS INCLUDE: Quick Millions 1931; Murders in the Rue Morgue 1932; The Count of Monte

Cristo 1934; Reckless 1935; Stowaway 1936; Mysterious Mr. Moto, Suez 1938; No Greater Sin

1941; Meet Me in St. Louis, Thirty Seconds Over Tokyo 1944; Weekend at the Waldorf, Yolanda and

the Thief 1945; The Postman Always Rings Twice 1946; A Date With Judy, The Velvet Touch 1948;

Little Women, Battleground, Ambush 1949; Crisis 1950; It’s a Big Country 1951; Peyton Place 1957;

From the Terrace 1960; The Absent-Minded Professor 1961; The Monkey’s Uncle 1965; On a Clear

Day You Can See Forever, Tora! Tora! Tora! 1970; Hammersmith Is Out 1972; The Meal 1975; Just

You and Me Kid 1979; Testament 1983; Jake Speed, Peggy Sue Got Married 1986.

   Ames, Preston. Art director. b. 1905. d. 1983. For many years, one of Hollywood’s top production

designers. He shared Academy Awards for An American in Paris (1951) and Gigi (1958) and was

nominated for several other Oscars.

   FILMS INCLUDE: The Hidden Eye 1945; Lady in the Lake 1947; That Midnight Kiss 1949; Crisis

1950; An American in Paris 1951; Brigadoon 1954; Kismet 1955; Lust for Life 1956; Gigi 1958;

Bells Are Ringing, Home From the Hill 1960; All Fall Down, Jumbo 1962; The Unsinkable Molly

Brown 1964; Airport, Brewster McCloud 1970; Lost Horizon 1973; Rooster Cogburn 1975; The

Pursuit of D.B. Cooper 1981.

   Amfitheatrof, Daniele. Composer, conductor. b. Oct. 29, 1901, St. Petersburg, Russia, the son of a

novelist and playwright. d. 1983. ed. Royal Acad. of Music (Rome). Appeared as conductor with

symphony orchestras throughout Europe. In 1934, while still in Rome, he wrote the score for Max

Ophüls’s film La Signora di Tutti. In 1937 he emigrated to the US and for two years conducted the

Minneapolis and the Boston symphony orchestras. In 1939 he went to Hollywood and was signed by

MGM as a composer and conductor, although he was not given his first film to score until 1943.

   FILMS INCLUDE: La Signora di Tutti (It.) 1934; The Get-Away 1941; Lassie Come Home 1943;

Cry Havoc, Days of Glory 1944; Guest Wife 1945; The Virginian, Suspense 1946; Smash-Up 1947;

Letter From an Unknown Woman, Another Part of the Forest, An Act of Murder 1948; House of

Strangers, The Fan 1949; The Desert Fox 1951; Human Desire 1954; Trial 1955; Heller in Pink

Tights 1959; Major Dundee 1965.

   Amidei, Sergio. Screenwriter. b. Oct. 30, 1904, Trieste, Italy. d. 1981. Entered the Italian film

industry in 1924 but worked in many other capacities before turning to screenwriting in 1938. It was

not until after WW II that he emerged as one of Italy’s leading scenarists, making an important

contribution to the postwar neorealist movement through his collaborations with Roberto ROSSELLINI,

Vittorio DE SICA, and others.

   FILMS INCLUDE: La Notte Delle Beffe 1939; Roma Città Aperta/Open City 1945; Paisà/Paisan,

Sciuscia /Shoeshine 1946; Anni Difficili/Difficult Years 1947; Sotto il Sole di Roma/Under the Sun

of Rome 1948; Stromboli 1949; Domenica d’Agosto/Sunday in August 1950; Le Ragazze di Piazza di

Spagna/Three Girls From Rome 1952; Villa Borghese/It Happened in the Park 1953; Picasso (doc.;

also prod.), Angst/La Paura/Fear (Ger./It.), Secrets d’Alcove/Il Letto/The Bed (Fr./It.) 1954; Il

Momento più Bello/The Most Wonderful Moment 1957; Il Generale Della Rovere/General Della

Rovere 1959; Era Notte a Roma, Viva l’Italia 1960; Liolà/A Very Handy Man, La Vita Agra 1964; La

Fuga 1965; Detenuto in Attesa di Giudizio/Why 1971; La più Bella Serata della Mia Vita 1972; Un

Borghese Piccolo Piccolo 1977; Le Temoin (Fr./It.) 1978; Storie di Ordinaria Follia/Tales of

Ordinary Madness 1981; La Nuit de Varennes 1982.

   Amiel, Jon. Director. b. May 20, 1948, London. A TV director in Britain, he became known to

audiences at home and in the US for the darkly comic, hallucinatory BBC miniseries ‘The Singing

Detective’ (1986–87). His first feature film was Queen of Hearts (1989), which drew praise from

critics for its gentle mix of comedy, fantasy, and drama in depicting the lives of an Italian family in

England. He has since made films in America, beginning with Tune in Tomorrow . . . , based on

Mario Vargas Llosa’s novel Aunt Julia and the Scriptwriter.

   FILMS INCLUDE: The Silent Twins (UK) 1986; Queen of Hearts (UK) 1989; Tune in Tomorrow

1990; Sommersby 1993; Copycat 1995; The Man Who Knew Too Little 1997; Entrapment, Simply

Irresistible (prod. only) 1999; The Core 2003; Creation 2009 (UK).

   Amis, Suzy. Actress. b. Jan. 5, 1958, Oklahoma City. ed. Actors Studio. She was a lead and second

lead actress in Hollywood films beginning in the late 80s. A former model, she was publicized as

“The Face of the Eighties.” Divorced from actor Sam Robards, she later married director/producer

James CAMERON, with whom she worked in the blockbuster Titanic (1997).

   FILMS INCLUDE: Fandango 1985; The Big Town 1987; Plain Clothes, Rocket Gibraltar, Twister

1988; Where the Heart Is 1990; The Ballad of Little Jo, Rich in Love, Two Small Bodies, Watch It

1993; Blown Away, Nadja 1994; The Usual Suspects 1995; Cadillac Ranch 1996; The Ex, Titanic

1997; Firestorm 1998.

   Amos, John. Actor. b. Dec. 27, 1941, Newark, N.J. ed. Colorado State U.; Long Beach City Coll.

A big, amiable supporting actor, he played football professionally and worked in social services and

advertising before becoming a stand-up comedian and TV comedy writer in the late 60s. He is best

known for his TV roles, including James Evans in the groundbreaking sitcom ‘Good Times’ and as

Kunta Kinte in the Alex Haley mini-series ‘Roots.’ He has consistently delivered strong, dependable

supporting performances in films since the 70s.

   FILMS INCLUDE: Sweet Sweetback’s Baadasssss Song, Vanishing Point 1971; The World’s

Greatest Athlete 1973; Let’s Do It Again 1975; Touched by Love 1980; The Beastmaster 1982; Dance

of the Dwarfs 1983; American Flyers 1985; Coming to America 1988; Lock Up 1989; Die Hard 2,

Two Evil Eyes/The Black Cat (It.) 1990; Ricochet 1991; Mac 1993; The Players Club 1998; All

Over Again 2001; Countdown, My Baby’s Daddy 2004; Shadow Boxing 2005; Ascension Day,

Hauntsville 2007; Tamales and Gumbo 2008; Lean Like a Cholo 2010.

   AMPTP (Alliance of Motion Picture and Television Producers, Inc.). An organization founded

in 1924 by the major Hollywood studios for industry representation to the public, the government,

etc., and to handle matters of common interest. It later took on the function of negotiating labor

contracts for its members. Over the years it was expanded to include independent film producers and

TV production companies. Originally named the Association of Motion Picture Producers, it was

renamed the Association of Motion Picture and Television Producers in 1964 to reflect its merger

with the Alliance of Television Film Producers. In 1975, two members of the Association, Paramount

and Universal, left to form a new organization, the Alliance. In 1982, the Alliance and AMPTP

merged to form the Alliance of Motion Picture and Television Producers.

   Amy, George. Film editor, director. b. Oct. 15, 1903, Brooklyn, N.Y. d. Dec. 18, 1986. He began

film editing at age 17. During the 30s and 40s worked on many major Warner Bros. productions,

particularly for Michael CURTIZ, and won an Academy Award for Howard Hawks’s Air Force

(1943). He also directed several films, without much success. From the early 50s he worked mainly

for TV .

   FILMS INCLUDE: As editor—Burn ’Em Up Barnes 1921; The Live Wire 1925; The Brown Derby

1926; Chinatown Charlie 1928; The Gorilla 1930; Cabin in the Cotton, Doctor X 1932; Footlight

Parade, Gold Diggers of 1933, The Mystery of the Wax Museum 1933; Wonder Bar 1934; Captain

Blood 1935; The Charge of the Light Brigade, The Green Pastures 1936; Kid Galahad 1937;

Hollywood Hotel 1938; Dodge City, The Old Maid 1939; The Letter, Sante Fe Trail, The Sea Hawk,

Virginia City 1940; Dive Bomber, The Sea Wolf 1941; Captains of the Clouds, Yankee Doodle Dandy

1942; Action in the North Atlantic (co-edit.), Air Force, This Is the Army 1943; Uncertain Glory

1944; Objective Burma 1945; Three Strangers 1946; Life With Father 1947; The Capture 1950; The

Blue Veil 1951; Clash by Night 1952; A Lion Is in the Streets 1953; She Couldn’t Say No 1954. As

director—She Had to Say Yes (co-dir. with Busby Berkeley) 1933; Kid Nightingale 1939; Gambling

on the High Seas, Granny Get Your Gun 1940.

   anaglyphic process. An early optical process permitting the projection of 3-D, or stereoscopic,

films. It involves the printing of two superimposed images (anaglyphs) in primary colors, generally

blue-green and red. When viewed by an audience wearing spectacles with filters of the same hues,

the images are sorted out and a three-dimensional effect is achieved. The idea goes back to the 18th

century. In the early 20s it was used in a series of 3-D Paramount shorts called Plastigrams and in the

mid-20s by MGM’s Audioscopiks. See also 3-D, STEREOSCOPIC CINEMA.

   anamorphic lens. A lens especially designed to squeeze a wide image into a standard frame

through distortion during photography. The image is opened out by a similar lens during projection,

allowing such wide-screen processes as CINEMASCOPE and PANAVISION to be recorded on standard

film stock. See also CHRÉTIEN, HENRI; WIDE-SCREEN PROCESSES.

   Anders, Luana. American actress. b. 1938. d. 1996. In Hollywood since her teens, she played both

leads and supporting roles, often in fringe, restricted-budget productions. She was most visible in the

late 60s and 70s, in such films as Easy Rider and Shampoo.

   FILMS INCLUDE: Reform School Girl 1957; The Notorious Mr. Monks 1958; The Pit and the

Pendulum 1961; Dementia 13, Night Tide, The Young Racers 1963; The Trip 1967; How Sweet It Is!

1968; Easy Rider, That Cold Day in the Park 1969; Sex and the College Girl 1970; B. J. Presents

1971; Greaser’s Palace, When the Legends Die 1972; The Killing Kind, The Last Detail 1973;

Shampoo 1975; The Missouri Breaks 1976; Goin’ South 1978; Personal Best 1982; Irreconcilable

Differences 1984; Movers and Shakers 1985; Border Radio 1987; You Can’t Hurry Love 1988; Limit

Up (also co-scr. under pseudonym Lu Anders) 1989.

   Anders, Merry. American actress. b. May 22, 1932. Leading lady of mostly low-budget

Hollywood films of the 50s and 60s, she co-starred in ‘How to Marry a Millionaire,’ among other TV

series.

   FILMS INCLUDE: Belles On Their Toes, Les Miserables 1952; Titanic, How to Marry a

Millionaire 1953; Three Coins in the Fountain, Phfft! 1954; All That Heaven Allows 1955; No Time

to Be Young, The Desk Set, Death in Small Doses, The Dalton Girls 1957; Violent Road 1958; The

Hypnotic Eye, Young Jesse James 1960; 20,000 Eyes, The Gambler Wore a Gun 1961; Air Patrol,

Beauty and the Beast 1962; House of the Damned, Police Nurse 1963; A Tiger Walks, The Quick Gun,

The Time Travelers 1964; Raiders from Beneath the Sea, Tickle Me, Young Fury 1965; Women of the

Prehistoric Planet 1966; Blood Legacy 1971.

   Anderson, Eddie “Rochester.” Actor. b. Sept. 18, 1905, Oakland, Calif. d. 1977. Raspy-voiced,

banjo-eyed comedian of vaudeville, nightclubs, radio, TV and films. His father was a blackface

                                                              ,

minstrel and his mother a former circus tightrope walker. He began his own show business career at

14 in a chorus line, then joined an all-black revue and formed a trio with a brother and a friend that

toured the vaudeville circuit. He was a small-time entertainer who played bits and small roles in

occasional films when he was hired by Jack BENNY in 1937 for a single performance on an Easter

Sunday radio show. The success of the program led to a lifelong professional relationship between

the two comedians, with Anderson playing Benny’s manservant Rochester innumerable times on

radio, on TV and in films. On his own, Anderson played the lead role in the all-black cast of the film

              ,

Cabin in the Sky (1943) and had featured parts in many other films.

   FILMS INCLUDE: What Price Hollywood? 1932; The Green Pastures, Show Boat, Three Men on

a Horse 1936; Melody for Two 1937; Jezebel, Gold Diggers in Paris, You Can’t Take It With You,

Thanks for the Memory, Kentucky 1938; You Can’t Cheat an Honest Man, Honolulu, Man About

Town, Gone With the Wind 1939; Buck Benny Rides Again, Love Thy Neighbor 1940; Topper

Returns, Kiss the Boys Goodbye, Birth of the Blues 1941; Tales of Manhattan, Star Spangled Rhythm

1942; The Meanest Man in the World, Cabin in the Sky 1943; Broadway Rhythm 1944; Brewster’s

Millions 1945; The Sailor Takes a Wife, The Show-Off 1946; It’s a Mad Mad Mad Mad World 1963.

   Anderson, G(ilbert) M. (“Broncho Billy”). Director, actor, producer. b. Max Aronson, Mar. 21,

1882, Little Rock, Ark. d. 1971. Worked briefly as a traveling salesman, then went to New York in a

futile search for a stage acting career and was working as a model when hired by the Edison studio to

play the lead in an Edwin S. Porter one-reeler, The Messenger Boy’s Mistake (1902). The following

year he played several roles in a Porter short that made film history, The Great Train Robbery (1903).

Several months and a dozen acting roles later he joined Vitagraph, Edison’s competitor, directing and

acting in many one-reelers, including the successful Raffles, the American Cracksman (1905). He then

moved on to the Selig Polyscope Company, where he wrote and directed several shorts.

   In 1907, Anderson quit Selig to go into partnership with George K. Spoor. They established the

ESSANAY company (S. and A.), then moved to California to produce a series of short comedies

starring Ben Turpin, starting with Ben Gets a Duck and Is Ducked (1907).

   Also in 1907, Anderson starred himself in the role of a cowboy called Broncho Billy in a highly

successful two-reel Western, The Bandit Makes Good. Over the next seven years, he directed and

starred in close to 400 Broncho episodes (the spelling was later changed to Bronco) at an average of

one a week. Broncho Billy was one of the first recognizable characters in movie history. The

continuing enthusiastic public response made Anderson one of the screen’s first stars and certainly the

first cowboy hero.

   In 1911 Anderson launched the “Snakeville Comedy” series and the following year the “Alkali Ike”

series. He then steered Essanay to the production of more costly ventures, including several Chaplin

comedies (The Pugilist, Carmen, etc.). In 1916, when Chaplin left Essanay, Anderson sold his interest

to Spoor and retired from the business. In 1920, after a string of failures as a Broadway producer, he

attempted a comeback, directing several Stan Laurel shorts for Metro. That same year he went into

permanent retirement as an actor, although he continued directing and producing for several more

years. He was all but forgotten when, in 1957, he was honored by the Academy of Motion Pictures

with a special Oscar “for his contributions to the development of motion pictures as entertainment.”

   FILMS INCLUDE: As actor and often also director, producer, and screenwriter—The Messenger

Boy’s Mistake 1902; The Great Train Robbery 1903; The Life of an American Cowboy, Raffles the

American Cracksman 1905; An Awful Skate, The Bandit Makes Good, The Bandit King, Western

Justice 1907; A Tale of the West, A Mexican’s Gratitude, The Indian Trailer, The Black Sheep, The

Best Man Wins, The Heart of a Cowboy, Judgment, The Spanish Girl 1909; An Outlaw’s Sacrifice,

The Cowboy and the Squaw, Western Chivalry, The Flower of the Ranch, Away Out West, The Forest

Ranger, The Desperado, Take Me Out to the Ball Game (dir., scr. only), Broncho Billy’s Redemption,

Under Western Skies, The Pony Express Rider, Pals of the Range, The Silent Message 1910; The

Border Ranger, The Faithful Indian, Across the Plains, The Lucky Card, Broncho Billy’s Adventure,

The Cowboy Coward, The Outlaw and the Child 1911; Alkali Ike’s Boarding House (dir. only),

Broncho Billy Outwitted, The Smuggler’s Daughter, An Indian’s Friendship, Alkali Bests Broncho

Billy 1912; Alkali Ike’s Misfortunes (dir. only), The Three Gamblers, Broncho Billy’s Oath 1913;

The Calling of Jim Barton, The Good-for-Nothing, Broncho Billy’s Indian Romance 1914; The

Champion (a bit in this Chaplin comedy), Broncho Billy’s Marriage, Broncho Billy’s Vengeance,

Andy of the Royal Mounted 1915; Broncho Billy and the Revenue Agent 1916; Humanity 1917;

Naked Hands, The Son-of-a-Gun, Red Blood and Yellow 1919; Any Night (prod. supvr. only), Ashes

(dir. only) 1922; The Bounty Killer (cameo) 1965.

   Anderson, Gillian. Actress. b. Aug. 9, 1968, Chicago. ed. DePaul U. She is a versatile, dry-witted

character and leading lady of TV and film who gained popularity and cult status as Dana Scully on the

TV series ‘The X-Files.’

   FILMS INCLUDE: The Turning 1992; Chicago Cab, The Mighty, Playing by Heart, The X-Files

1998; Princess Mononoke (v/o) 1999; The House of Mirth 2000; The Mighty Celt, Tristram Shandy

2005; The Last King of Scotland 2006; Straightheads (UK) 2007; How to Lose Friends and Alienate

People, The X Files: I Want to Believe 2008; Boogie Woogie (UK) 2009; Johnny English Reborn

2011.

   Anderson, Dame Judith. Actress. b. Frances Margaret Anderson, Feb. 10, 1898, Adelaide,

Australia. d. 1992. Made her stage debut in 1915 in Sydney and her first New York appearance in

1918. She gradually rose in stature to become one of the leading actresses of the contemporary stage,

memorable for her performances as Lavinia Mannon in ‘Mourning Becomes Electra’ (1932), as

Gertrude to John Gielgud’s Hamlet (1936), as Lady Macbeth in ‘Macbeth’ (1937, 1941), and in the

title role in ‘Medea’ (1947, 1949). In 1960 she was named Dame Commander of the British Empire.

   Dame Judith made her first film appearance in 1933, in Blood Money. She appeared in many films,

often in unsympathetic and at times sinister roles. Her most memorable film part is that of the

housekeeper in Hitchcock’s Rebecca (1940).

   FILMS INCLUDE: Blood Money 1933; Rebecca, Forty Little Mothers 1940; Free and Easy, Lady

Scarface 1941; All Through the Night, Kings Row 1942; Edge of Darkness, Stage Door Canteen

1943; Laura 1944; And Then There Were None 1945; The Diary of a Chambermaid, The Strange

Love of Martha Ivers, Specter of the Rose 1946; Pursued, The Red House, Tycoon 1947; The Furies

1950; Salome (as Queen Herodias) 1953; The Ten Commandments 1956; Cat on a Hot Tin Roof

1958; Cinderfella 1960; Don’t Bother to Knock/Why Bother to Knock (UK) 1961; Macbeth (as Lady

Macbeth opposite Maurice Evans; orig. shown on TV in 1960) 1963; A Man Called Horse 1970; Inn

of the Damned (Austral.) 1974; Star Trek III: The Search for Spock 1984.

   Anderson, Kevin. Actor. b. Jan. 13, 1960, Ill. ed. Goodman School of Drama, Chicago. Handsome,

talented lead of stage and screen, he first appeared in films as a friend of Tom Cruise in Risky

Business, but rose to national attention through his work with Chicago’s Steppenwolf Theatre

Company. He originated the part of the “wild child” Phillip in the company’s production of Lyle

Kessler’s ‘Orphans’; he went on to reprise the acclaimed performance in New York and London and

in the 1987 screen version. Subsequent stage credits include the Broadway revival of ‘Orpheus

Descending.’ He showed a flair for comedy playing a boorish yuppie in The Night We Never Met.

   FILMS INCLUDE: Risky Business 1983; Pink Nights 1985; Orphans, A Walk on the Moon 1987;

Miles from Home 1988; In Country 1989; Liebestraum, Sleeping With the Enemy 1991; Hoffa 1992;

The Night We Never Met, Rising Sun 1993; Balto (v/o) 1995; Eye of God, A Thousand Acres 1997;

Firelight 1998; Gregory’s Two Girls 1999; The Doe Boy, When Strangers Appear 2001; Carry Me

Home 2004; Charlotte’s Web 2006.

   Anderson, Lindsay. Director, documentarist, writer, critic, theorist, actor. b. Apr. 17, 1923,

Bangalore, India, the son of a Scottish major general. d. 1994. ed. Oxford. In 1947 he co-founded and

became co-editor of Sequence, an influential film periodical advocating radical departures from

traditional attitudes in British filmmaking. After the magazine went out of business in 1951, he

continued his crusade in critical writings for Sight and Sound, The Times of London, The Observer,

and New Statesman. Anderson also wrote a book, Making a Film, on the production of Thorold

Dickinson’s Secret People, and a number of essays assailing conformity in British films and calling

for greater social consciousness and more relevant themes. Both as a writer and as a documentary

filmmaker, he became a prime mover (with Karel Reisz, Tony Richardson, Gavin Lambert, and

others) in the FREE CINEMA movement of the 50s.

   Practicing what he preached, Anderson began making scathing, low-budget, industrially sponsored

documentaries in 1948. He won an Oscar for his documentary short Thursday’s Children (1954). In

1955–56 he ventured into mass-appeal production, directing five episodes of ‘The Adventures of

Robin Hood’ for British TV but he resumed pressing his ideas into practice in 1957 as a theatre

                               ,

director (‘Billy Liar,’ etc.). In 1963 he made an impressive bow as a feature film director with the

grim drama This Sporting Life. His film If . . . won the Golden Palm at the Cannes Film Festival. He

also appeared in many films directed by others, most memorably as a schoolmaster in Chariots of

Fire (1981). See also FREE CINEMA.

   FILMS INCLUDE: Meeting the Pioneers (doc.) 1948; Idlers at Work (doc.) 1949; The Pleasure

Garden (prod., act. only), Three Installations (doc.) 1952; Wakefield Express (doc.), O Dreamland

(doc.) 1953; Thursday’s Children (doc.; co-dir. with Guy Brenton), Truck Conveyor (doc.) 1954;

Green and Pleasant Land (doc.), Henry (doc.), The Children Upstairs (doc.), A Hundred Thousand

Children (doc.), 20 Pounds a Ton (doc.), Energy First (doc.), Foot and Mouth (doc.), 1955; Every

Day Except Christmas (doc.) 1957; Let My People Go (doc.; prod. only) 1961; This Sporting Life

1963; The White Bus, The Singing Lesson (in Poland) 1967; Inadmissible Evidence (act. only), If . . .

(also co-prod.) 1968; O Lucky Man! (also act., co-prod.) 1973; In Celebration 1975; Chariots of Fire

(act. only) 1981; Britannia Hospital 1982; The Whales of August (US) 1987; Blame It on the Bellboy

(v/o) 1992.

   Anderson, Maxwell. Playwright, screenwriter. b. Dec. 15, 1888, Atlantic, Pa. d. 1959. ed. U. of

North Dakota; Stanford U. A teacher before turning to journalism (1918–24), he wrote many famous

plays, some of which were turned into films, including What Price Glory, Saturday’s Children,

Elizabeth the Queen, Mary of Scotland, Winterset, Key Largo, and The Bad Seed. Collaborated on

several screenplays.

   FILMS INCLUDE: As screenwriter, alone or in collaboration—All Quiet on the Western Front

1930; Rain 1932; We Live Again/Resurrection 1934; So Red the Rose 1935; Joan of Arc (from own

play) 1948; The Wrong Man 1956.

   Anderson, Michael. Director. b. Jan. 30, 1920, London, the son of prominent stage actor Lawrence

Anderson. Educated in France, Germany, and Spain. Entered the motion picture industry as an errand

boy at England’s Elstree Studios. After a brief stint as an actor, he became assistant director

(Pygmalion, French Without Tears, etc.) and unit production manager (In Which We Serve). After war

service, he co-directed Private Angelo (1949) and has since directed steadily in both England and

Hollywood. His two most successful films have been Around the World in 80 Days (1956) and The

Quiller Memorandum (1966). His son, Michael Anderson, Jr. (b. Aug. 6, 1943, London), has been a

film actor since boyhood; the son’s career includes a performance in his father’s film Logan’s Run

(1976).

  FILMS INCLUDE: Private Angelo (co-dir. with Peter Ustinov) 1949; Waterfront 1950; Hell Is

Sold Out 1951; Night Was Our Friend, Dial 17 (short; Fr.) 1952; Will Any Gentleman?, The House of

the Arrow 1953; The Dam Busters 1954; 1984 1955; Around the World in 80 Days (US) 1956;

Yangtse Incident/Battle Hell 1957; Chase a Crooked Shadow 1958; Shake Hands with the Devil (also

prod.), The Wreck of the Mary Deare (US) 1959; All the Fine Young Cannibals (US) 1960; The

Naked Edge 1961; Flight From Ashiya (US/Jap.) 1963; Wild and Wonderful (US) 1964; Operation

Crossbow 1965; The Quiller Memorandum 1966; The Shoes of the Fisherman (US) 1968; Pope Joan

1962; Doc Savage: The Man of Bronze (US), Conduct Unbecoming 1975; Logan’s Run (US) 1976;

Orca (US) 1977; Bells/Murder by Phone (Can.) 1980; Second Time Lucky 1984; Separate Vacations

(Can.) 1986; La Boutique de l’orfèvre/Jeweller’s Shop, Millennium 1989; Summer of Monkeys 1998;

The New Adventures of Pinocchio 1999.

  Anderson, Milo. Costume designer. b. 1912, Chicago. d. 1984. Educated in Los Angeles, she began

designing for Goldwyn at age 20. Soon after, she joined Warner Bros., where she remained for two

decades, creating the costumes for many of the studio’s major films. She retired from films in the mid-

50s to start a successful interior-decorating business.

  FILMS INCLUDE: The Kid from Spain 1932; Footlight Parade 1933; Captain Blood 1935; The

Story of Louis Pasteur, Anthony Adverse, The Charge of the Light Brigade, Green Pastures 1936;

Black Legion, The Prince and the Pauper, The Life of Emile Zola 1937; The Adventures of Robin

Hood, Brother Rat 1938; Dodge City, Confessions of a Nazi Spy, The Roaring Twenties 1939; They

Drive by Night, High Sierra 1940; They Died with Their Boots On 1941; Yankee Doodle Dandy,

Gentleman Jim 1942; Action in the North Atlantic 1943; To Have and Have Not 1944; Mildred Pierce

1945; Three Strangers, Devotion, Night and Day (co-design.), Of Human Bondage 1946; Life with

Father, Magic Town 1947; The Woman in White, Johnny Belinda 1948; The Fountainhead 1949; Stage

Fright, Young Man with a Horn 1950; The Blue Veil 1951; So Big 1953; Miracle in the Rain 1956.

  Anderson, Paul Thomas. Director, screenwriter, producer. b. Jan. 1, 1970, Studio City, Calif.

Young, risk-taking filmmaker who took Hollywood by storm with his first major release, Boogie

Nights (1997). His ability to effortlessly weave together complicated storylines with complex

characters has been compared to the work of such filmmakers as Robert ALTMAN and Francis Ford

COPPOLA. Thrice Oscar-nominated in the original screenplay category for Boogie Nights (1997),

Magnolia (1999), and There Will Be Blood (2007), he was also nominated as director for the latter.

He often, and to great effect, relies on a core company of actors for his films including Julianne

MOORE, Phillip Seymour HOFFMAN, William H. MACY, and John C. REILLY.

  FILMS INCLUDE: The Dirk Diggler Story (short) 1988; Cigarettes and Coffee (short) 1993; Hard

Eight 1996; Boogie Nights 1997; Magnolia 1999; Punch-Drunk Love 2002; There Will Be Blood

2007.

  Anderson, Richard. Actor. b. Aug. 8, 1926, Long Branch, N.J. Reliable second lead and

supporting player of numerous Hollywood films and TV episodes. A busy contract player for MGM

in the 50s, he was married for a time to a daughter of Norma Shearer. Gained a new audience in the

1970s playing government agent Oscar Goldman in two series, ‘The Six Million Dollar Man’ and

‘The Bionic Woman.’

  FILMS INCLUDE: Twelve O’Clock High 1950; The Magnificent Yankee, Payment on Demand,

Across the Wide Missouri 1951; Just This Once, Scaramouche 1952; The Story of Three Loves,

Escape from Fort Bravo 1953; The Student Prince 1954; Hit the Deck 1955; Forbidden Planet, The

Search for Bridey Murphy 1956; The Buster Keaton Story, Paths of Glory 1957; The Long Hot

Summer, The Curse of the Faceless Man (lead) 1958; Compulsion 1959; The Wackiest Ship in the

Army 1960; A Gathering of Eagles, Johnny Cool 1963; Seven Days in May 1964; Seconds 1966; The

Ride to Hangman’s Tree 1967; Tora! Tora! Tora! 1970; Doctors’ Wives 1971; The Honkers, Play It

As It Lays 1972; Black Eye 1974; The Retrievers 1983; Gettysburg 1993; The Glass Shield 1994.

   Anderson, Robert. Playwright, screenwriter. b. Apr. 28, 1917, New York City. d. Feb. 9, 2009.

ed. Harvard. He achieved critical acclaim for his play ‘Tea and Sympathy’ (1953) and later wrote the

screenplay for the film production. Married Teresa WRIGHT.

   FILMS INCLUDE: Tea and Sympathy 1956; Until They Sail 1957; The Nun’s Story 1959; The Sand

Pebbles 1966; I Never Sang for My Father (from own play) 1970.

   Anderson, Wes. Director, screenwriter, producer. b. Wesley Wales Anderson, May 1, 1969,

Houston. ed. Univ. of Texas, Austin. Quirky, off-beat filmmaker who frequently collaborates with the

same group of artists from Owen and Luke WILSON, fellow Texans with whom his career launched

with the indie fave Bottle Rocket (1996), to Bill MURRAY and Angelica HUSTON who, along with the

aforementioned, starred in his Oscar-nominated (for original screenplay) film The Royal Tenenbaums

(2001).

   FILMS INCLUDE: As director/screenwriter except where noted—Bottle Rocket 1996; Rushmore

(also ex-prod.) 1998; The Royal Tenenbaums (also prod.) 2001; The Life Aquatic with Steve Zissou

(also prod.) 2004; The Squid and the Whale (prod. only) 2005; The Darjeeling Limited (also prod.)

2007; Fantastic Mr. Fox (also v/o, music) 2009.

   Andersson, Bibi. Actress. b. Birgitta Andersson, Nov. 11, 1935, Stockholm. A product of the

Kungliga Dramatiska Teatern, the dramatic school that turned out such actresses as Greta GARBO and

Ingrid BERGMAN, she was appearing on the stage at Malmö when discovered by Ingmar BERGMAN,

who gave her a role in his film Smiles of a Summer Night (1955). She soon developed into one of the

brightest talents in the Swedish cinema of the 50s and 60s, part of Bergman’s brilliant stable of

performers, especially adept at portraying the director’s complex heroines. In 1958 she was awarded

(with fellow performers Eva DAHLBECK and Ingrid THULIN) a Cannes Film Festival prize for her

performance in Bergman’s Brink of Life. In the mid-60s she began appearing in international films,

including such American features as The Kremlin Letter. In the 70s, she appeared on the American

stage and, after being arrested for tax evasion in her native country in 1976, made New York her

home for a while. But in the 80s she returned to Sweden and to the cozier world of Scandinavian

films. Divorced from director Kjell GREDE in 1973, she married Per Ahlmark, a former chairman of

Sweden’s Liberal party, in 1978.

   FILMS INCLUDE: Dum-bom 1953; Sir Arne’s Treasure 1954; Smiles of a Summer Night 1955;

The Seventh Seal 1956; Wild Strawberries 1957; Brink of Life, The Magician 1958; The Devil’s Eye

1960; The Pleasure Garden 1961; Short Is the Summer, The Swedish Mistress 1962; All These

Women 1964; The Island 1965; Duel at Diablo (US), My Sister My Love, Persona, Le Viol/The Rape

(Fr./Sw.) 1967; The Passion of Anna 1969; The Kremlin Letter (US) 1970; The Touch (Sw./US)

1971; Scenes from a Marriage 1973; Il pleut sur Santiago/It Is Raining on Santiago (Fr./Bulg.) 1975;

Blondy (Fr.) 1976; I Never Promised You a Rose Garden (US) 1977; L’Amour en Question (Fr.), An

Enemy of the People (as Mrs. Stockman) 1978; The Concorde—Airport ’79 (US), Quintet (US), Two

Women 1979; Marmalade Revolution 1980; I Blush 1981; Black Crows, Exposed (US) 1983; The

Last Summer 1984; The Dark Side of the Moon 1985; Huomenna, Poor Butterfly 1986; Babette’s

Gastebud/Babette’s Feast, Svart gryning 1987; Fordringsagare 1989; A Passing Season 1992; The

Butterfly’s Dream, Dreamplay 1994; Not Love Just Frenzy 1996 (released 2000); When Darkness

Falls (Ger.) 2006; The Frost 2009.

   Andersson, Harriet. Actress. b. Jan. 14, 1932, Stockholm. After starting as a music hall dancer,

she made her film debut in 1949 in a minor crime melodrama, While the City Sleeps. Ingmar

BERGMAN was so impressed when he saw her in Trots/Defiance (1952) that he wrote the script of

Monika (1952) especially for her. She has since appeared in many of his films as well as those of

other directors, including her husband, Jörn Donnor’s, and is considered one of Sweden’s most

individual and spontaneous actresses. She won the best actress award in Venice for her performance

in To Love (1964). She is no relation to Bibi Andersson.

   FILMS INCLUDE: While the City Sleeps 1950; Divorced 1951; Monika/Summer With Monika,

Trots/Defiance, U-Boat 39 1952; The Naked Night, Sawdust and Tinsel 1953; A Lesson in Love

1954; Dreams, Smiles of a Summer Night 1955; Children of the Night 1956; Crime in Paradise 1960;

Through a Glass Darkly 1961; Siska 1962; A Sunday in September 1963; All These Women, To Love,

Loving Couples 1964; Adventure Starts Here 1965; The Deadly Affair (UK), People Meet and Sweet

Music Fills the Heart, Stimulantia 1967; The Girls 1968; Anna 1970; Cries and Whispers 1972; The

White Wall 1975; Cry of Triumph 1977; Linus La Sabina 1979; Fanny and Alexander 1982;

Raskenstam—the Casanova of Sweden 1983; Sommarkvallar pa jorden 1987; Himmel og Helvede

1988; Blankt Vapen 1990; The Seventh Shot 1998; Happy End 1999; Gossip 2000; Dogville 2003.

   Andrejew (Andreyev), André. Art director, set designer. b. 1899, St. Petersburg, Russia. d. 1966.

Trained as an architect, he put his talents to use first on the Berlin and Vienna stage, then in films.

With his film décor for Wiene’s Raskolnikow/Crime and Punishment (1923), he established himself

as one of Europe’s foremost art directors. His overpowering, realistic sets often determined not only

the atmosphere but the entire flow of major films by such directors as Pabst, Feyder, Duvivier,

Clouzot, Reed, and Asquith.

   FILMS INCLUDE: In Germany—Raskolnikow/Crime and Punishment 1923; Du sollst nicht

ehebrechen/Therese Raquin/Shadows of Fear 1928; Die Buchse der Pandora/Pandora’s Box 1929;

Die letzte Kompanie 1930; Die Dreigroschenoper/The Threepenny Opera/The Beggar’s Opera 1931.

In France—Don Quichotte/Don Quixote 1933; L’Or dans la Rue 1934; The Beloved Vagabond (UK),

Le Golem/The Golem, Mayerling 1936; La Symphonie fantastique 1942; Le Corbeau/The Raven

1943. In the UK—Anna Karenina, The Winslow Boy 1948; The Man Between 1953. In the US

—Anastasia, Alexander the Great 1956.

   Andress, Ursula. Actress. b. Mar. 19, 1936, Bern. Statuesque “sex goddess” of international films.

She went to Rome in her teens in search of a film career and landed in a string of quickie Italian

productions in the mid-50s. Marlon Brando introduced her to a Paramount agent, but her first

Hollywood sojourn was cut short by her reluctance to study English. A voluptuous beauty, she

emerged as a popular star in a British production, the first James Bond movie, Dr. No (1962), and

later played leads in films of many nations. Her ten-year marriage to actor John DEREK was wrecked

by a highly publicized affair with Jean-Paul BELMONDO.

   FILMS INCLUDE: Le Avventure di Giacomo Casanova/Sins of Casanova (bit; It./Fr.), Un

Americano a Roma/An American in Rome (bit; It.) 1954; La Catena dell’Odio (It.) 1955; Dr. No

(UK) 1962; 4 for Texas (US), Fun in Acapulco (US) 1963; Nightmare in the Sun (US) 1964; La

Decima Vittima/The 10th Victim (It./Fr.), She (title role; UK), Les Tribulations d’un Chinois en

Chine/Up to His Ears (Fr./It.), What’s New Pussycat? (US/Fr.)1965; The Blue Max (UK), Once

Before I Die (US) 1966; Casino Royale (UK), Le Dolci Signore/Anyone Can Play (It.) 1967; L’Etoile

du Sud/The Southern Star (Fr./UK) 1969; Perfect Friday (UK) 1970; Soleil rouge/Red Sun

(Fr./It./Sp.) 1971; L’Ultima Chance (It.) 1973; Loaded Guns 1974; Africa Express (It.) 1975; 40

Grada sotto le Lenzuola (It.), L’Infermiera (It.), Scaramouche/The Loves and Times of Scaramouche

(as Napoleon’s Josephine; It./Yug.) 1976; Casanova e Compagni (It.) 1978; The Fifth Musketeer

(Aus.) 1979; Clash of the Titans (as Aphrodite; UK) 1981; Mexico in Flames/Red Bells

(USSR/Mex./It.) 1982; Klassezämekunft (Switz.), Liberté Egalité Choucroute (as Marie Antoinette;

Fr./It./Ger.) 1988; Class Meeting 1996; Cremaster 5 1997; Die V ogelpredigt (Swiss) 2005.

   Andrews, Anthony. Actor. b. Dec. 1, 1948, London. ed. Royal Masonic School, Herts. Boyishly

handsome leading man of the British screen. He began his career in 1967 in regional stage and rose to

popularity on TV in such series as ‘Upstairs Downstairs,’ ‘Danger UXB,’ and ‘Brideshead Revisited,’

and such TV movies as Ivanhoe (1982) and The Scarlet Pimpernel (1983).

   FILMS INCLUDE: Take Me High 1973; Percy’s Progress/It’s Not the Size That Counts 1974;

Operation Daybreak/Price of Freedom 1976; Under the V     olcano 1984; The Holcroft Covenant 1985;

The Second Victory 1986; The Lighthorsemen 1987; Hanna’s War 1988; Lost in Siberia 1991;

Haunted (UK) 1995.

   Andrews, Dana. Actor. b. Carver Dana Andrews, Jan. 1, 1909, Collins, Miss. d. 1992. ed. Sam

Houston State Teachers’ Coll. The son of a minister and brother of actor Steve FORREST, he started out

as a bookkeeper for Gulf Oil but was drawn to acting and hitchhiked to Los Angeles, hoping for a

career in films. Instead, he worked at a gas station for several years while attending the Pasadena

Playhouse and making the rounds of stage companies and film studios. He was finally signed by Sam

Goldwyn and began playing secondary roles in Goldwyn and Fox films in 1940. His roles steadily

grew in importance and in 1943 he drew excellent notices for his sensitive performance in William

Wellman’s The Ox-Bow Incident as a brooding victim of a lynching mob. His career reached its peak

in the mid-40s with convincing roles in such films as Laura (1944), A Walk in the Sun (1946), The

Best Years of Our Lives (1946), and Boomerang (1947). Without ever attaining a star’s popularity,

and despite a scarcity of good roles in subsequent years, Andrews remained a dependable, versatile,

and more than competent leading man and supporting player in numerous productions over the next

three decades. He also appeared in many television productions and from 1969 to 1972 starred in the

daytime TV soap opera ‘Bright Promise.’

   FILMS INCLUDE: Lucky Cisco Kid, Sailor’s Lady, The Westerner, Kit Carson 1940; Tobacco

Road, Belle Starr, Swamp Water 1941; Ball of Fire, Berlin Correspondent 1942; Crash Dive, The

Ox-Bow Incident, The North Star/Armored Attack 1943; Up in Arms, The Purple Heart, Wing and a

Prayer, Laura 1944; State Fair, Fallen Angel 1945; A Walk in the Sun, Canyon Passage, The Best

Years of Our Lives 1946; Boomerang, Night Song, Daisy Kenyon 1947; The Iron Curtain, Deep

Waters, No Minor Vices 1948; Britannia Mews/The Forbidden Street (UK/US), Sword in the Desert

1949; My Foolish Heart, Where the Sidewalk Ends, Edge of Doom 1950; Sealed Cargo, The

Frogmen, I Want You 1951; Assignment Paris 1952; Elephant Walk, Duel in the Jungle (UK/US),

Three Hours to Kill 1954; Smoke Signal, Strange Lady in Town 1955; Comanche, While the City

Sleeps, Beyond a Reasonable Doubt 1956; Night of the Demon/Curse of the Demon (UK), Spring

Reunion, Zero Hour 1957; The Fearmakers, Enchanted Island 1958; The Crowded Sky 1960;

Madison Avenue 1962; In Harm’s Way, The Satan Bug, Crack in the World, Brainstorm, Town Tamer,

The Loved One, Battle of the Bulge, Berlino—Appuntamento per le Spie/Spy in Your Eye (It.) 1965;

Johnny Reno 1966; Il Cobra/The Cobra (It./Sp.), Hot Rods to Hell, The Frozen Dead (UK) 1967; I

Diamanti che Nessuno V    oleva Rubare (It.), The Devil’s Brigade 1968; Innocent Bystanders (UK)

1972; Airport 1975 1974; Take a Hard Ride 1975; The Last Tycoon 1976; Good Guys Wear Black,

Born Again 1978; Good Guys Wear Black, The Pilot 1979; Prince Jack 1984.

   Andrews, Edward. Actor. b. Oct. 9, 1914, Griffin, Ga. d. 1985. ed. U. of Virginia. Bespectacled,

moon-faced character player of the American stage, TV and films. The son of an Episcopal minister,

                                                        ,

he began his stage career at 12 and made his Broadway debut in 1935. Beginning in the mid-50s, he

appeared in many films, sometimes as an amicable character but more often in a sinister or malicious

role.

   FILMS INCLUDE: The Phenix City Story 1955; The Harder They Fall, Tea and Sympathy 1956;

The Tattered Dress 1957; The Fiend Who Walked the West 1958; Elmer Gantry 1960; The Absent-

Minded Professor, The Young Doctors 1961; Advise and Consent 1962; The Thrill of It All 1963;

Good Neighbor Sam, Youngblood Hawke, Send Me No Flowers 1964; The Glass Bottom Boat 1966;

The Trouble with Girls 1969; Tora! Tora! Tora! 1970; Avanti! 1972; Charley and the Angel 1973;

Seniors 1978; Sixteen Candles, Gremlins 1984.

   Andrews, Harry. Actor. b. Nov. 10, 1911, Tonbridge, England. d. 1989. ed. Wrekin Coll. Rugged,

square-jawed, imposing character actor of British, American, and international films, often in tough

military roles. He had a distinguished stage career from 1933, especially in Shakespearean roles,

before his film debut early in the 50s. On the screen, in key supporting parts, his presence often

overshadowed the leading players. His son, David Andrews, is a TV director and former juvenile

film actor.

   FILMS INCLUDE: The Red Beret/Paratrooper 1952; The Black Knight 1954; Alexander the Great

(as Darius; US), Moby Dick (US) 1956; Saint Joan 1957; The Devil’s Disciple (UK/US), Solomon

and Sheba (US) 1959; I Due Nemici/The Best of Enemies (It./UK), Barabba/Barabbas (as St. Peter;

It.) 1962; Nine Hours to Rama (US/UK), 55 Days at Peking (US), Nothing but the Best 1964; The

Agony and the Ecstasy (US), The Hill, Sands of the Kalahari 1965; Modesty Blaise, The Deadly

Affair 1966; The Jokers, The Long Duel 1967; The Charge of the Light Brigade, The Night They

Raided Minsky’s (US), The Sea Gull (US/UK) 1968; The Battle of Britain 1969; Too Late the Hero

(US), Country Dance/Brotherly Love, Entertaining Mr. Sloane, Wuthering Heights 1970; Nicholas and

Alexandra 1971; Man of La Mancha (US), The Ruling Class 1972; The Mackintosh Man 1973; The

Internecine Project 1974; Man at the Top 1975; The Blue Bird (US/USSR), Sky Riders (US/Gr.), The

Passover Plot (as John the Baptist; Isr./US) 1976; The Prince and the Pauper/Crossed Swords, Equus

1977; The Medusa Touch, The Big Sleep, Death on the Nile, Watership Down (v/o), Superman 1978;

S.O.S. Titanic 1979; Hawk the Slayer 1980; Mesmerized (UK/Austral./NZ) 1984.

   Andrews, Julie. Actress, singer. b. Julia Elizabeth Wells, Oct. 1, 1935, Walton-on-Thames,

England. Highly popular musical star of the 60s. The daughter of show people, she began performing

as a child, and at age 12 made her London debut singing operatic arias in the ‘Starlight Roof’ revue.

Her New York stage debut in the imported production of ‘The Boy Friend’ (1954) was a turning point

in her career. Two years later, she created the part of Eliza Doolittle in ‘My Fair Lady,’ one of the

most spectacular hits in Broadway history. After losing the part in the screen version to Audrey

HEPBURN, she scored a personal triumph by instead making her film debut in Walt Disney’s Mary

Poppins (1964), for which she won the best actress Academy Award. The following year she starred

in The Sound of Music, one of the top-grossing films of all time. She was nominated for an Oscar for

that film (and again, 17 years later, for Victor/Victoria). Her screen career faltered somewhat later in

the 60s, but her popularity was revived early in the 70s via TV spectaculars, and late in the decade

with her appearance in the box-office hit 10. It was one in a series of films made with her husband,

director Blake EDWARDS, whom she married in 1969 after her divorce from scenic designer Tony

WALTON. She has also written children’s stories under the name Julie Edwards.

   FILMS INCLUDE: Rose of Bagdad (v/o) 1952; The Americanization of Emily, Mary Poppins

1964; The Sound of Music 1965; Hawaii, Torn Curtain 1966; The Singing Princess (v/o), Thoroughly

Modern Millie 1967; Star! 1968; Darling Lili 1970; The Tamarind Seed 1974; 10 1979; Little Miss

Marker 1980; S.O.B. 1981; Victor/Victoria 1982; The Man Who Loved Women 1983; Duet for One,

That’s Life! 1986; A Fine Romance (US/It.) 1991; Relative Values 2000; The Princess Diaries 2001;

The Princess Diaries 2: Royal Engagement, Shrek 2 (v/o) 2004; Enchanted (v/o), Shrek the Third

(v/o) 2007; Despicable Me (v/o), Shrek Forever (v/o), Tooth Fairy 2010.

   Andrews, William. See FORREST, Steve.

   Andrews Sisters, The. A singing group comprising the three daughters of Norwegian-Greek

parents, all born in Minneapolis: LaVerne, July 6, 1915 (d. 1967); Maxine (often Maxene), Jan. 3,

1918 (d. 1995); and Patricia (Patti or Patty), Feb. 16, 1920. They formed a harmony trio when quite

young, won some amateur contests, and achieved national fame with their 1937 recording of “Bei Mir

Bist Du Schoen.” Their popularity reached a peak on radio, and throughout the 40s they appeared as

themselves in a score of films. Maxine and Patti staged a brief nostalgic revival with a “borrowed”

third sister early in the 70s, in a Broadway musical, ‘Over Here.’

   FILMS INCLUDE: Argentine Nights 1940; Buck Privates, In the Navy, Hold That Ghost 1941;

What’s Cookin’?, Private Buckaroo, Give Out Sisters 1942; Always a Bridesmaid, How’s About It?,

Swingtime Johnny 1943; Follow the Boys, Moonlight and Cactus, Hollywood Canteen 1944; Make

Mine Music (v/o) 1946; Road to Rio 1947; Melody Time (v/o) 1948; The Phynx (Patti only, cameo)

1970.

   Andriot, Lucien. Director of photography. b. Nov. 19, 1897, Paris. d. 1979. In Hollywood from the

age of 19, he was behind the camera on numerous silent and sound films. He worked on some

distinguished productions, but his prolific output also consisted of many routine B pictures. Active in

TV from the early 50s until his retirement in 1966.

   FILMS INCLUDE: The Marked Woman 1914; M’Liss, Camille 1915; The Feast of Life, La Vie de

Boheme 1916; The Pride of the Clan, The Poor Little Rich Girl (co-phot.), The Whip 1917; Lest We

Forget 1918; The Man Who Lost Himself, A Connecticut Yankee in King Arthur’s Court 1920; Shame

1921; Monte Cristo, A Fool There Was 1922; East of Broadway 1924; Gigolo 1926; Loves of

Carmen (co-phot.) 1927; The Valiant, Christina 1929; The Golden Calf 1930; The Spy, Daddy Long

Legs 1931; The Animal Kingdom 1932; Hallelujah I’m a Bum, Topaze, Bondage 1933; The Crime

Doctor 1934; The Return of Peter Grimm 1935; The Gay Desperado 1936; Cafe Metropole, On the

Avenue 1937; The Lady in Question 1940; The Hairy Ape, The Sullivans 1944; The Southerner, And

Then There Were None 1945; Diary of a Chambermaid 1946; New Orleans, Dishonored Lady 1947;

Outpost in Morocco 1949; Borderline 1950; Home Town Story 1951.

   Angel, Heather. Actress. b. Feb. 9, 1909, Oxford, England. d. 1986. ed. London Polytechnic of

Dramatic Arts. Delicate leading lady of Hollywood films of the 30s. She made her stage debut in

1926 at the Old Vic. After showing much promise in British films, she was brought to Hollywood by

Fox films but, with some notable exceptions—Berkeley Square (1933), The Mystery of Edwin Drood

(1935), and The Informer (1935)—was entrusted primarily with undemanding roles. By the late 30s

she was appearing in B pictures, including several in the “Bulldog Drummond” series, or playing

second fiddle in A productions, memorably as the mother who drowns herself after her baby dies in

Hitchcock’s Lifeboat (1944). Her career came to a virtual halt in the mid-40s, but she later appeared

in much TV including regular roles as the housekeeper in the ‘Peyton Place’ and ‘Family Affair’

             ,

series. Married and divorced from screen actors Ralph FORBES and Henry WILCOXON, she witnessed

the fatal stabbing of her third husband, director Robert B. SINCLAIR, by a prowler in 1970.

   FILMS INCLUDE: In the UK—City of Song/Farewell to Love 1930; The Hound of the

Baskervilles 1931; Bill the Conqueror/The Man Who Won 1932. In the US—Pilgrimage, Berkeley

Square, Charlie Chan’s Greatest Case 1933; Orient Express, Romance in the Rain 1934; The Mystery

of Edwin Drood, It Happened in New York, The Informer, The Three Musketeers 1935; The Last of

the Mohicans, Daniel Boone 1936; Bulldog Drummond Escapes 1937; Bulldog Drummond in Africa

1938; Bulldog Drummond’s Bride 1939; Kitty Foyle, Pride and Prejudice 1940; That Hamilton

Woman, Suspicion 1941; The Undying Monster, Time to Kill 1942; Cry Havoc 1943; Lifeboat 1944;

The Saxon Charm 1948; Alice in Wonderland (v/o) 1951; Peter Pan (v/o) 1953; Premature Burial

1962.

   Angeli, Pier. Actress. b. Anna Maria Pierangeli, June 19, 1932, Cagliari, Sardinia, Italy. d. 1971.

Twin sister of Marisa PAVAN. Discovered for films by director Léonide MOGUY, who gave her the

innocent adolescent lead in his Italian film Domani é troppo Tardi/Tommorow Is Too Late (1949) and

in the sequel, Domani é un altro Giorno (1950), both dealing with the pains of adolescence and the

need for sex education. After appearing in Fred Zinnemann’s Teresa (1951), she enjoyed a modest

career as a leading lady in Hollywood films, typically playing fragile, innocent heroines. But she had

trouble adjusting to stardom and to her marriage (1954–58) to singer Vic Damone and she returned to

Europe, where she later appeared in many forgettable productions. She died of an overdose of

barbiturates at the age of 39.

   FILMS INCLUDE: In Italy—Domani é troppo Tardi/Tomorrow Is Too Late 1949; Domani é un

altro Giorno 1950. In the US—Teresa, The Light Touch 1951; The Devil Makes Three 1952; The

Story of Three Loves, Sombrero 1953; The Flame and the Flesh 1954; The Silver Chalice 1955;

Somebody Up There Likes Me, Port Afrique (US/UK) 1956; The Vintage 1957; Merry Andrew 1958.

In Europe—S.O.S. Pacific (UK) 1959; The Angry Silence (UK) 1960; Sodoma e Gomorra/Sodom

and Gomorrah (It./Fr./US) 1961; L’Ammutinamento/White Slave Ship (It./Fr.) 1962; Banco a

Bangkok/Shadow of Evil (Fr./It.) 1964; Berlino Appuntamento per le Spie/Spy in Your Eye (It.),

Battle of the Bulge (US; filmed in Sp.) 1965; Rey de Africa/One Step to Hell (Sp./It./US), Every

Bastard a King (Isr.) 1968; Addio Alexandra/Love Me—Love My Wife (It.) 1969; Nelle Pieghe della

Carne/In the Folds of the Flesh (It.), Octaman (US) 1971.

   Angelo, Jean. Actor. b. Jean Barthélémy, May 17, 1875, Paris. d. 1933. At 15 he joined Sarah

BERNHARDT’s stage company, becoming her protégé. He made his screen debut in the famous

L’Assassinat de Duc de Guise (1908) and after WW I, during which he suffered combat injuries, he

rose to prominence as the leading man of such French silent films as Feyder’s L’Atlantide (1921) and

Renoir’s Nana (1926). He appeared in several talkies and died during the production of Colomba

(1933).

   FILMS INCLUDE: L’assassinat de Duc de Guise 1908; Les Misérables, La Vendetta 1913;

Expiation 1918; La Riposte 1919; L’Atlantide 1921; L’Aventurier 1924; Nana 1926; Marquita, La Fin

de Monte Carlo 1927; La Vierge Folle, Chantage, La Ronde infernale 1928; Monte Cristo 1929; Mon

Coeur incognito, L’Homme qui assassina 1930; L’Atlantide (French vers. of Pabst’s Die Herrin von

Atlantis) 1932; Colomba 1933.

   Angelopoulos, Theodoros. Director. b. Apr. 27, 1935, Athens, Greece. He practiced law briefly,

after graduating from the University of Athens, but found himself drawn to the arts and began

publishing essays, short stories, and poetry. Following compulsory military service, he went to Paris

early in the 60s and enrolled at the Sorbonne as a literature student. However, he soon dropped out to

attend IDHEC, the noted Paris film school. After an apprenticeship under Jean ROUCH at the Musée de

l’Homme, he returned to Greece, where he became a film critic for a left-wing journal. His first

attempt at professional directing, in 1965, was aborted by a dispute with the producer. It was not until

1968 that he turned out his first film, a half-hour documentary. His first fiction feature followed in

1970. Collaborating on his own scripts, Angelopoulos went on to assert himself as Greece’s premier

contemporary director. His films are typically structurally episodic and thematically ambiguous. The

Traveling Players/O Thiassos (1975) was named best film by the British Film Institute. Alexander the

Great/O Megalexandros won the “Cinema 80 series” Golden Lion at the 1980 Venice Film Festival,

and Landscape in the Mist shared the Silver Lion at Venice in 1988. In 1998, his film Eternity and a

Day won the Golden Palm at Cannes.

   FILMS INCLUDE: The Broadcast/The Transmission (doc. short) 1968; Reconstruction 1970; Days

of ’36 1972; The Traveling Players 1975; The Hunters/The Huntsmen 1977; Alexander the Great

1980; Athens (doc.) 1982; V       oyage to Cythera 1984; L’Heritage de la chouette (act. only),

Melissokomos Petheni—O Alles Mythos, Enas (act. only), O Melissokomos/The Beekeeper 1986;

Landscape in the Mist 1988; The Suspended Step of the Stork 1991; Ulysses’ Gaze 1996; Eternity and

a Day (also scr.) 1998; Trilogy: The Weeping Meadow 2004; The Dust of Time 2008.

   Anger, Kenneth. Avant-garde filmmaker. b. 1932, Santa Monica, Calif. Though he grew up in

Hollywood, learned tap-dancing alongside Shirley Temple, and appeared in several films (including

Reinhardt’s Midsummer Night’s Dream) as a child, he turned against traditional filmmaking while

still a boy. At nine he turned out his first short subject, Who Has Been Rocking My Dream Boat? He

gradually developed into one of the standard-bearers of the American underground film movement.

His films are characterized by provocative themes, violent atmosphere, mystic ritualism, the occult,

and sexual exhibitionism. In Fireworks (1947), for example, a sailor’s penis turns into an exploding

Roman candle. Much of his work was done in Europe, mainly in France. Many of his films were

abandoned during production and never exhibited. He is the author of Hollywood Babylon (first

published in France in 1958), an exposé dealing with some of the more lurid aspects of the film

capital. A follow-up volume, Hollywood Babylon II, was published in 1984.

   FILMS INCLUDE: Escape Episode 1944–46; Fireworks 1947; Puce Moment 1949; La Lune des

Lapins 1950; Eaux d’Artifice, La Jeune Homme et la Mort 1953; Inauguration of the Pleasure Dome

1954; Thelema Abbey 1955; The Story of O 1959–61; Scorpio Rising 1964; Invocation of My Demon

Brother 1969; Rabbit’s Moon 1971; Hollywood Babylon (scr.) 1972; Lucifer Rising 1973; Lucifer

Rising (revised version) 1980; He Stands in a Desert Counting the Seconds of His Life (act. only)

1985; Jonas in the Desert 1993; Don’t Smoke That Cigarette 2000.

   angle, camera. The camera’s point of view when it is set up for shooting; the relative depth, height,

or width at which an object or an action is photographed. The angle from which the camera views the

subject determines not only what will be included in any particular shot but to a large extent how the

audience will view it—from near or far, from above or below, subjectively or objectively, etc. The

choice of camera angle thus affects not only the progression of the plot but also the aesthetic quality of

a scene and the psychological attitude of the viewer.

   Over the years, directors and cameramen have established a set of conventions regarding the

technical, aesthetic, and psychological properties of the various camera angles. The eye-level angle

is considered the most lifelike but least dramatic. It is supposed to provide the normal viewpoint and

is usually shot from a height of four to six feet, with no distortion of vertical lines. The eye level of

the performer, not the cameraman, determines camera height, and is especially crucial in close-up

shots. Because of normal viewpoint, the eye-level shot is considered useful in establishing situations

and providing audiences with a frame of reference.

   In a high-angle shot the camera looks down on the subject. Technically, it may allow a director to

cover much ground and action in deep focus. Such a shot will also tend to slow the action and to

reduce the height of an object or a person by foreshortening. This last feature may produce

psychological side effects, such as giving an audience a sense of superiority over screen characters or

implying the subordination of any of the characters to surrounding persons or environment.

   In a low-angle shot the camera looks up at a subject. The effect is often highly dramatic, producing

a powerful distortion of perspective and composition. It tends to speed up action and to attribute

stature and strength to characters. The low-angle setup was dominant in Orson Welles’s Citizen Kane

to suggest the titanic dimension of the tycoon protagonist. To permit the frequent use of the low-angle,

Welles had to build his sets complete with ceilings, and the omnipresence of ceilings in the

background is one of the many unusual features of Citizen Kane.

   The variety of camera angles is almost infinite. There are no strict rules regarding the exact

position of the camera relative to the subject photographed. The eye-level, high, and low angles are

just broad categories, as are the sideview angle (which tends to give an object added dimension), the

so-called “Dutch” angle (which presents an object in a highly effective diagonal tilt), and the many

other camera positions that have been discovered and utilized over decades of filmmaking.

   Anhalt, Edward. Screenwriter. b. Mar. 28, 1914, New York City. d. Sept. 2000. ed. Columbia.

Involved in prebroadcasting TV experimentation before turning to films as writer and associate

producer. He collaborated with his wife, Edna (b. Apr. 10, 1914, N.Y.C.), on several films, including

Panic in the Streets (1950), an original story that brought them a joint Academy Award. Anhalt won

another Oscar for his screenplay of Becket (1964).

   FILMS INCLUDE: Avalanche 1946; Bulldog Drummond Strikes Back 1947; Panic in the Streets

1950; The Sniper 1952; The Member of the Wedding 1953; Not as a Stranger 1955; The Pride and the

Passion 1957; The Young Lions 1958; The Young Savages 1961; Becket 1964; The Satan Bug, Boeing

Boeing 1965; Hour of the Gun 1967; The Boston Strangler 1968; The Madwoman of Chaillot 1969;

The Salzburg Connection 1971; Jeremiah Johnson 1972; Luther 1974; The Man in the Glass Booth

1975; Escape to Athena 1979; Green Ice 1981; The Right Stuff (act. only) 1983; The Holcroft

Covenant 1985.

   animal performers. Animal appeal has been used to advantage by the film industry since the early

days of the cinema. A great many members of the animal kingdom of countless species and varieties

have appeared on the screen, and some have even achieved the status of stars. Among the best-known

film animals have been the dogs Rin Tin Tin, Asta, Lassie, and Benji, the cat Rhubarb, the chimp

Cheta, the mule Francis, the porpoise Flipper, the cross-eyed lion Clarence, and the horses Rex,

Champion, and Trigger. More recently, Clyde the orangutan, Bart the bear, Babe the pig, and

Beethoven the dog have carried on the tradition. In Hollywood, animals are rented from neighboring

ranches or from trainers who specialize in particular species or breeds.

   Animal “acting” is achieved only after arduous training, great patience, clever cutting, and a variety

of other special techniques. Animals are usually tricked into performing, often by the promise of an

immediate reward of a bit of food. Some easily frightened animals are given tranquilizers. The

easiest animals to train are dogs, especially German shepherds. Animals learn one trick at a time, and

after many rehearsals they appear in short takes. Often, several look-alikes are used for the same role.

   Enterprising publicists have been successfully exploiting an annual event known as the PATSY

AWARDS, in which screen animals win recognition for their “performances” just as humans do with

the Academy Awards.

   animatics. Animated film or video used to draft or block out sequences of finished film. Widely

used for planning TV commercials, it also substitutes for special effects shots in workprints until the

final shots are done.

   animation. The branch of filmmaking in which drawings or three-dimensional objects are

photographed (or, rarely, drawn directly on film) so as to create the illusion of movement. The

animated cartoon is the most common form of film animation, but equally legitimate forms are the

puppet film, the silhouette film, and object animation (see STOP MOTION).

   The fundamental distinction between live-action filming and animation is that, while in the former

the action is filmed continuously at the rate of 24 frames per second, the latter is usually recorded by

exposing the film frame by frame. In cartoon animation, drawings representing fractions of

movements, each occupying 1/24 second, are shot one by one, so that when they are projected on a

screen at the standard 24-frames-per-second speed they give the illusion of smooth, continuous

movement. In puppet animation, slightly adjusted poses of movable puppets are photographed frame

by frame, each adjusted pose also occupying 1/24 second. In silhouette animation, flat, jointed cut-out

figures, laid out on glass plates, are adjusted slightly 24 times per second, frame by frame. Similarly,

any object can be animated (object animation) by moving it fractionally and exposing the broken-up

action frame by frame.

   As with live-action filming, the first of the many considerations is the script. The difference lies in

the form of the script. Instead of the written script, which provides the basis for live-action filming,

the animator relies on a storyboard. The storyboard tells the story graphically, showing the plot in

pictures. A standard board may contain some 60 drawings, usually rough sketches in black pencil or

charcoal. Three boards are usually needed to tell the story of a short, while as many as 30 may be

required for a feature-length film.

   Once the storyboard is deemed satisfactory by the story person, the layout person who will plan the

settings, and the director who bears overall responsibility for the production, it is photographed and

photostatic blow-ups are distributed to all artists working on the film. The layout person, whose

duties somewhat resemble those of the art director in live-action films, refines the drawn characters

and provides them with appropriate backgrounds, props, and costumes. As the layouts are completed

and approved by the director, tracings of them are made and given to the animators.

   To a greater extent than the live-action film, the animated cartoon depends on music and sound

effects to make the action on the screen believable. Timing is of the essence, so that every movement

is accompanied by the corresponding sounds. Unlike the sound track for live-action films, usually

recorded simultaneously with action and sometimes postsynchronized, the sound track for an animated

film is ideally recorded before most other phases of production begin. Every sound is recorded on a

chart that becomes a guide for the visuals. The prerecorded sound track along with the chart go to the

animator, who also gets an exposure sheet indicating the length of each scene, its musical tempo, and

other essential information.

   The animator, a skilled artist, outlines the scene by drawing the characters at key positions. He

draws only the extreme phases of each movement—known as “key animation”—leaving the routine

work of completing the interim phases to assistants known as “in-betweeners.” The pencil drawings

of each completed scene are sent to the camera department for line-test shooting and viewed by the

director and the animator on a Moviola. If the results meet their approval, the drawings are sent to

“clean-up,” where the lines are put into final form.

   By this time, the original layout of the complete scene has gone to the background department,

where the proper environment for the cartoon characters is traced and painted by background artists,

skilled stylists who give visual expression to the layout person’s original conception. Like the

character drawings, background drawings are submitted to the line test and put to final form.

   Next, the drawings are traced by inkers on thin, transparent sheets of celluloid, called “cels.”

Painters then apply opaque watercolors to the reverse side of the cels, according to a predetermined

color scheme. Finally, the cels are checked for accuracy and color, cleaned, and sent along with the

scene’s background and exposure chart to the camera department for filming.

   Animation developed considerably ahead of the invention of motion pictures. The urge to make

drawings appear to move was present among artists since the dawn of history, judging by attempts at

serial drawing of a wrestling match on an ancient Egyptian mural or the successive drawings of an

athlete in motion on early Greek pottery. Animation was first attempted as a show with ombres

Chinoises, shadows produced on a screen by silhouette puppets.

   The first real precursor of film animation was the Belgian professor Joseph-Antoine PLATEAU, who

in 1832 invented the PHENAKISTICOPE, the first device to produce an apparent moving picture from a

series of drawings. The action was viewed through slits on revolving discs. Two years later, William

G. Horner, an Englishman, described the Daedalum, or the “Wheel of the Devil,” a prototype of the

Zoetrope, a drum-shaped device for the viewing of action serially recorded on paper strips. Emile

REYNAUD of France signaled a breakthrough in 1891 when he combined his PRAXINOSCOPE (invented

1877) with a projecting technique to become the first person to project animated drawings upon a

screen in a presentation he called Pantomimes Lumineuses. He used carbon lights, mirrors, and

revolving drums containing hand-colored pictures to project 15-minute shows at the Théâtre Optique

in Paris to the accompaniment of mood music.

   The invention of motion picture machinery opened unlimited horizons for animated films. In 1906,

J. Stuart BLACKTON, an American, first applied the technique of stop-motion photography in

producing the first cartoon on motion picture film, for VITAGRAPH, Humorous Phases of a Funny Face.

In 1908, Emile COHL of France amazed early cinema audiences with a magical demonstration of little

white match-stick figures dancing about against a black background, which he called Fantasmagorie.

He created more than one hundred cartoons between 1908 and 1918 and is credited by the French

with creating the first regular cartoon character, Fantoche. In the US, meanwhile, in 1909, Winsor

MCCAY, a cartoonist for the New York Journal, produced Gertie the Dinosaur, the first animated

cartoon to be shown as part of a regular theatrical program. In 1918 he made the first feature-length

animated film, The Sinking of the Lusitania.

  By the end of WW I, the animated cartoon was gradually becoming an accepted form of screen

entertainment, with such series as “The Katzenjammer Kids,” “Krazy Kat,” “Felix the Cat,” and

“Coco the Clown” leading the way. These films were crudely drawn but were already taking

advantage of newly developing techniques, such as Earl Hurd’s labor-saving method of “cel”

animation, allowing the tracing of moving parts of characters on celluloid sheets without having to

redraw the entire character and background for every frame of film.

  During the 20s, animated cartoons became a regular part of the program in motion picture theatres,

but it was not until the coming of sound in 1928 that the screen cartoon came into its own. For the next

dozen or so years the art of film animation was dominated by the creative personality of Walt DISNEY

with his “Silly Symphony” series (Skeleton Dance, etc.) and such immortal cartoon characters as

Mickey Mouse, Donald Duck, Pluto, and Goofy. A master craftsman as well as a brilliant organizer

and technical innovator, Disney streamlined cartoon production into a massive assembly-line studio

operation, complete with conferences, storyboards, and a clearly defined division of labor. In the

mid-30s Disney began turning out a series of successful feature-length cartoons, including Snow

White and the Seven Dwarfs, Pinocchio, Bambi, and most notably Fantasia.

  Other studios besides Disney produced animation during the 30s, 40s, and 50s. MGM housed a

cartoon studio headed by Fred Quimby; its most popular characters, Tom and Jerry, were created by

William Hanna and Joseph Barbera. Warner Bros.’s “Looney Tunes” and “Merrie Melodies” series

featured such characters as Bugs Bunny, Porky Pig, and Daffy Duck. Warner Bros. animators included

Chuck Jones, Tex Avery, and Friz Freleng. Other majors releasing animation included Universal

(“Oswald the Rabbit”), Paramount (“Puppetoon” and “Noveltoon”), and Columbia (“Color

Rhapsodies,” 1934–49). Independent producers included Max Fleischer (best known for two

features, Gulliver’s Travels and Hoppity Goes to Town, and the 30s Popeye and Betty Boop shorts)

and Walter Lantz (“Woody Woodpecker”).

  In 1941 a group of Disney animators went on strike and were eventually dismissed from their jobs.

The group, including John Hubley, Bob Cannon, Stephen Bosustow, and Ernest Pintoff, formed UPA

(United Productions of America) in 1943. In reaction to the naturalistic, representational graphic style

and the sentimental theme of the Disney cartoon, UPA animators developed freer, more economical,

contemporary art styles and whimsical, sophisticated themes that came to dominate screen animation

in the 50s.

  Among UPA’s famous cartoon creations were Mr. Magoo, Gerald McBoing Boing, Christopher

Crumpet, and Howdy Doody. The group’s liberated graphic style has strongly influenced postwar

animation in Western Europe as well as in such Eastern European states as Poland, Czechoslovakia,

and Yugoslavia, where film animation has rapidly been developing into a brilliant art form,

surpassing in its inventiveness and modern style anything currently produced in the US or Western

Europe. The situation is quite different in the Soviet Union and East Germany, where the graphic

forms still tend to be traditional and didactic, consisting for the most part of faithfully

representational children’s fables.

  Experimentation with nonrepresentational animation began in the early 20s by such artists of the

European AVANT-GARDE as Viking Eggeling, Hans Richter, Walter Ruttmann, Fernand Léger, and Oscar

Fischinger, and continued with direct drawing and painting on celluloid by Len Lye and Norman

McLaren and the pinhead shadow films of Alexei Alexeieff.

   The art of silhouette animation was pioneered in the 20s by Lotte Reiniger in Germany. Puppet

animation owes much of its development to the works of the Soviet Ptushko, the Pole Starevitch, the

Hungarian George Pal, and its most noted practitioner, the Czech Jirí Trnka.

   By the 60s, rising costs and the collapse of the Hollywood studio system, among other factors, had

drastically curtailed theatrical animation. Disney continued to produce features (Sleeping Beauty, 101

Dalmatians), albeit with more modest art direction than its earlier efforts. “Underground” styling

emerged in adult-oriented features of the 60s and 70s, such as Yellow Submarine and Ralph Bakshi’s

films (most notably Fritz the Cat), while animators around the world continued to produce innovative

shorts for art-house distribution.

   Theatrical animation found its audience again in the 80s with the Disney release, Who Framed

Roger Rabbit (1988), which used the latest computer technology to combine animation and live action

in a dazzling comic spectacle. The movie (which earned a special Oscar for director of animation

Richard Williams) also featured “cameo” appearances by scores of famous cartoon characters and

ushered the word “toon” (for cartoon character) into common currency. Following Roger Rabbit

came a new series of Disney musical fairy tales—The Little Mermaid, Beauty and the Beast, Aladdin,

The Lion King, Pocahontas—which featured innovations in color and animation technique, not to

mention record-breaking box-office success.

   In addition to its more visible manifestations, animation has long been used in support of special

effects shots in movies (for example, the “monster from the Id” in Forbidden Planet, 1956). This use

of animation has expanded in recent years because of the rise of special effects blockbusters such as

the Star Wars series and the refinement of COMPUTER ANIMATION, which can simulate objects, settings,

and even people with growing authenticity. Today, most major studios are developing their own

animation departments or enhancing their existing capabilities to include the latest animation

technology, an area of filmmaking that experienced tremendous growth from the late 90s to today.

   animation camera. A camera equipped with a stop-motion motor so that it can photograph

fractions of animation movement frame by frame. Mounted on an ANIMATION STAND, it can be moved

vertically to vary the size of the photographed image or to create zoom effects.

   animation stand. An inclusive term to describe the basic working unit of the animation

photographer, comprising a camera, its mounting, and the elaborately constructed table on which the

artwork is placed. Modern animation stands are equipped with computerized motion control systems

for special effects shots, such as combining live-action and animated scenes.

   animator. The artist who draws the key positions of a cartoon character’s movements and is

generally entrusted with the actual execution of the cartoon as conceived by the director and the

layout person. Animators may also draw the images used in composite special-effects shots,

manipulate models in stop-motion animation and generate images on computer.

   animatronics. See PUPPETS.

   Aniston, Jennifer. Actress. b. Feb. 11, 1969, Sherman Oaks, Calif. Light-hearted, comedic actress

who rose to fame on the long-running TV series ‘Friends.’ She took critics and audiences by surprise

with her dramatic turn in The Good Girl (2002), and built a promising film career with more

similarly challenging roles. She wed actor Brad PITT in 2000 to much fanfare, but their marriage

began to fall apart and did, indeed, end in divorce in 2005. Her film career continued to build into the

2000s, mainly with romantic comedies and a sprinkling of serious, dramatic roles.

   FILMS INCLUDE: Leprechaun 1993; Dream for an Insomniac, She’s the One 1996; Picture Perfect,

’Til There Was You 1997; The Object of My Affection 1998; Rock Star 2001; The Good Girl 2002;

Bruce Almighty 2003; Along Came Polly 2004; Derailed, Rumor Has It 2005; The Break-Up, Friends

with Money 2006; Management (also ex. prod.), Marley & Me 2008; He’s Just Not That Into You,

Love Happens 2009; The Bounty Hunter, The Switch 2010; Just Go with It, Wanderlust 2011.

   Ankers, Evelyn. Actress. b. Aug. 17, 1918, Valparaiso, Chile, to British parents. d. 1985. ed.

RADA. She appeared in British films before coming to the US. On the New York stage, then in

numerous Hollywood pictures, mostly second features. She is best remembered for heroine roles in

horror and action films. Among film buffs she is known as “Queen of the Horror Movies” or “The

Screamer.” Married Richard DENNING in 1942. At the time of her death, they resided in Haiku, on the

Hawaiian island of Maui.

   FILMS INCLUDE: In the UK—Land Without Music/Forbidden Music, Rembrandt 1936; Fire Over

England, Knight Without Armor, Over the Moon, Wings of the Morning 1937; Murder in the Family

1938. In the US—Hit the Road, Hold That Ghost, Burma Convoy, The Wolf Man 1941; The Ghost of

Frankenstein, Eagle Squadron, Sherlock Holmes and the V       oice of Terror, The Great Impersonation

1942; Captive Wild Woman, All by Myself, Son of Dracula, The Mad Ghoul, His Butler’s Sister

1943; Ladies Courageous, Weird Woman, The Invisible Man’s Revenge, Jungle Woman, Pardon My

Rhythm, Pearl of Death 1944; The Frozen Ghost, The Fatal Witness 1945; Queen of Burlesque, The

French Key, Black Beauty, Flight to Nowhere 1946; Last of the Redmen, The Lone Wolf in London

1947; Parole Inc. 1948; Tarzan’s Magic Fountain 1949; The Texan Meets Calamity Jane 1950; No

Greater Love (Lutheran Church-sponsored film) 1960.

   Annabella. Actress. b. Suzanne Georgette Charpentier, July 14, 1909, La Varenne-Saint-Hilaire,

near Paris, a publisher’s daughter. d. Sept. 18, 1996. She began as a dancer and made her film debut

at 16 with a small role in Abel Gance’s Napoléon (1926). Several minor roles followed before she

was chosen by René Clair to play the leads in Le Million (1931) and Quatorze Juillet/July 14th

(1933). She became France’s most celebrated young actress and in 1936 went to England, where she

starred in three films, including Britain’s first color production, Wings of the Morning (1937). She

was then invited to Hollywood, but her accomplishments there were minor. Divorced from French

actor Jean MURAT, she married Tyrone POWER in 1939. After their divorce in 1948, she returned to

Europe and shortly after retired to her farm in the Pyrenees.

   FILMS INCLUDE: In France—Napoléon 1927; Maldone 1928; Le Million 1931; Paris-

Mediterranée 1932; La Bataille, Quatorze Juillet/July 14th 1933; Veille d’Armes (best actress prize

at Venice Biennale), L’Equipage/Flight Into Darkness, La Bandera/Escape From Yesterday 1935. In

the UK—Wings of the Morning, Under the Red Robe, Dinner at the Ritz 1937. In France—La

Citadelle du Silence/The Citadel of Silence 1937; Hôtel du Nord 1938. In the US—The Baroness and

the Butler, Suez 1938; Bridal Suite 1939; Tonight We Raid Calais, Bomber’s Moon 1943; 13 Rue

Madeleine 1947. In France—Dernier Amour 1949. In Spain—Don Juan 1950.

   Annakin, Ken. Director. b. Aug. 10, 1914, Beverley, England. d. Apr. 22, 2009. A restless young

man, he quit his job as an income tax clerk and emigrated successively to New Zealand, Australia,

and the US. On returning to England, he became an automobile salesman and a journalist. He was

discharged from the RAF in 1941 with a case of amnesia and became an assistant cameraman. He

worked in several capacities on documentary films before directing his first feature film in 1947. His

career hit its peak in the 60s with such large-scale adventure films as The Longest Day and Those

Magnificent Men in Their Flying Machines.

   FILMS INCLUDE: Holiday Camp 1947; Broken Journey, Here Come the Huggetts, Miranda,

Quartet (“The Colonel’s Lady” episode) 1948; The Huggetts Abroad, Landfall, V for Huggett

                                                                                       ote

1949; Double Confession, Trio (“The Verger” and “Mr. Know-All” episodes) 1950; Hotel Sahara

1951; The Planter’s Wife/Outpost in Malaya, The Story of Robin Hood 1952; The Sword and the

Rose 1953; The Seekers/Land of Fury, You Know What Sailors Are 1954; Value for Money 1955;

Loser Takes All, Three Men in a Boat 1956; Across the Bridge 1957; Nor the Moon by

Night/Elephant Gun 1958; Third Man on the Mountain (US/UK) 1959; The Swiss Family Robinson

(US/UK) 1960; The Hellions, A Very Important Person/A Coming-Out Party 1961; Crooks

Anonymous, The Longest Day (British sequences only; US) 1962; The Fast Lady, The

Informers/Underworld Informers 1963; Battle of the Bulge (US), Those Magnificent Men in Their

Flying Machines; or How I Flew from London to Paris in 25 Hours and 11 Minutes (also co-scr.)

1965; The Long Duel (also prod.) 1967; The Biggest Bundle of Them All (US/It.) 1968; Monte Carlo

or Bust/Those Daring Young Men in Their Jaunty Jalopies (also prod., co-scr.; UK/Fr./It.) 1969; Call

of the Wild (UK/Ger./It./Fr./Sp.) 1972; Paper Tiger 1975; The Fifth Musketeer/Behind the Iron Mask

1977; Cheaper to Keep Her 1980; The Pirate Movie 1982; The New Adventures of Pippi

Longstocking (also scr. co-prod.) 1988; Gengis Khan (Can.) 1992.

   Annaud, Jean-Jacques. French director. b. Oct. 1, 1943, Draveil, France. A graduate of IDHEC,

the Paris film school, he began his career as a director of educational films for the French army. He

later turned out hundreds of TV commercials before making an auspicious debut as a feature director.

His first film, Black and White in Color, shot in the Ivory Coast, won the Academy Award as best

foreign film for 1977. His third film, Quest for Fire, an unusual portrait of humanity’s Stone Age

ancestors, was honored with French César Awards for best film and best director. He won another

César for best foreign film in 1986 for The Name of the Rose, and a third for best director in 1989 for

The Bear. Also in that year he was honored with the French Academy’s Cinema Prize for his

cumulative work. Despite the honors and his growing reputation as an original filmmaker, his output

has been remarkably sparse.

   FILMS INCLUDE: La Victoire en Chantant/Noirs et Blancs en Couleurs/Black and White in Color

(also scr.) (Ivory Coast/Fr.) 1977; Je suis timide, mais je me soigne/Too Shy to Try (scr. only) 1978;

Coup de Tête/Hothead 1979; La Guerre du Feu/Quest for Fire (Fr./Can.) 1982; The Name of the Rose

(It./Fr./W. Ger.) 1986; L’Ours/The Bear (also co-scr.) 1988; The Lover (dir., scr.) 1992; Wings of

Courage (prod., scr.) 1995; Seven Years in Tibet (also prod.) 1997; Enemy at the Gates (dir., scr.,

prod.) 2000; Two Brothers (dir., scr., prod.) 2004; His Majesty Minor (dir., scr., prod.) 2007; Black

Gold (dir., scr.) 2011.

   Anne(n)kov, Georges. Costume designer. b. June 1, 1901, Petropavlovsk, Russia. d. 1974. He

was active in Soviet theater in 1924, when he went to Germany, then to France. He created the

costumes for many important French films. He also wrote two books, En habillant les

Vedettes/Dressing the Stars and Max Ophüls, the latter an account of his long association with that

noted director, with whose work his own career is closely associated.

   FILMS INCLUDE: In Germany—Faust 1926. In France—Les Nuits Moscovites/Moscow Nights

1935; Mayerling 1936; Mademoiselle Docteur 1937; L’Eternel Retour/The Eternal Return 1943; La

Symphonie pastorale 1946; La Chartreuse de Parme (Fr./It.) 1948; La Ronde 1950; Le Plaisir 1952;

Madame de . . . /The Earrings of Madame De . . . 1953; Lola Montès 1955; Montparnasse

19/Modigliani of Montparnasse 1958.

   Annis, Francesca. Actress. b. May 14, 1944, London. Trained for ballet, she switched to drama as

a child, played juvenile leads, then leads and supporting roles in British plays, TV and films.

                                                                                           ,

Voluptuously built, she became the screen’s first nude Lady Macbeth in Roman POLANSKI’s 1971

movie version of the Shakespeare play.

   FILMS INCLUDE: The Cat Gang 1958; No Kidding/Beware of Children 1960; Cleopatra (US/UK)

1963; The Eyes of Annie Jones (US/UK), Flipper’s New Adventure (US), Saturday Night Out 1964;

Murder Most Foul, The Pleasure Girls 1965; Run with the Wind 1966; The Sky Pirate (US), The

Walking Stick 1970; Macbeth 1971; Penny Gold 1973; Stronger Than the Sun 1980; Krull 1983; Dune

1984; Under the Cherry Moon 1986; The Debt Collector, Onegin 1999; The Libertine 2004; Revolver

2005; Shifty 2008.

   Ann-Margret. Actress, singer, dancer. b. Ann-Margaret Olsson, Apr. 28, 1941, Valsjobyn,

Sweden. Brought to the US at age five and raised in various Illinois towns, she first enjoyed the

spotlight at 16, on ‘Ted Mack’s Amateur Hour’ on TV She later sang with the band of Northwestern

                                                         .

University, which she attended for one year, then joined a combo and appeared in various night spots.

She made her screen debut as Bette DAVIS’s daughter in CAPRA’s Pocketful of Miracles (1961). After

a zestful performance in Bye-Bye Birdie (1963), she became popular with young audiences as a song-

and-dance entertainer and for years was typecast in films as a teen-market sex kitten, a sort of female

counterpart of Elvis PRESLEY. In 1971, however, she surprised most critics and moviegoers with a

sensitive and touching dramatic performance in Mike NICHOLS’s Carnal Knowledge, and the film

proved a turning point in her career. She was nominated for Oscars for her performances in that film

and in Tommy (1975). Concurrent with her work in films, she has led a highly successful career as a

star of TV specials and top Las Vegas nightclubs. Her career and very life were jeopardized in 1972

when she was accidentally thrown 22 feet from a platform during a performance in Lake Tahoe, but

she recovered and resumed working within a year. She received critical kudos for her portrayal of

Blanche in the TV-movie remake of A Streetcar Named Desire (1984). She authored Exercises for the

Tired Businessman and, in 1994, Ann-Margret: My Story.

   FILMS INCLUDE: Pocketful of Miracles 1961; State Fair 1962; Bye-Bye Birdie 1963; Kitten with

a Whip, The Pleasure Seekers, Viva Las Vegas 1964; Bus Riley’s Back in Town, The Cincinnati Kid,

Once a Thief 1965; Made in Paris, Murderers’ Row, Stagecoach, The Swinger 1966; Criminal Affair

(It.), Il Profeta/The Prophet/Mr. Kinky (It.), Il Tigre/The Tiger and the Pussycat (It./US) 1967; Sette

Uomini e un Cervello (It./Argent.) 1968; Rebus (It./Sp./Monaco) 1969; C.C. and Company, R.P.M.

1970; Carnal Knowledge 1971; Un Homme est Mort/The Outside Man (Fr.), The Train Robbers

1973; Tommy (UK) 1975; Folies bourgeoises/The Twist (Fr.) 1976; Joseph Andrews (UK), The Last

Remake of Beau Geste 1977; The Cheap Detective, Magic 1978; The Villain 1979; Middle Age

Crazy 1980; I Ought to Be in Pictures, Lookin’ to Get Out, The Return of the Soldier (UK) 1982;

Twice in a Lifetime 1985; 52 Pick-Up 1986; A New Life, A Tiger’s Tale 1988; Newsies 1992;

Grumpy Old Men 1993; Grumpier Old Men 1995; Any Given Sunday 1999; The Last Producer 2000;

Taxi 2004; Mem-o-re 2005; The Break-Up, Memory, The Santa Clause 3: Escape Clause 2006; The

Loss of a Teardrop Diamond 2008; Old Dogs 2009; Lucky 2010.

   Anouilh, Jean. Playwright, screenwriter, director. b. June 23, 1910, Bordeaux, France. d. 1987.

Educated in law. Worked in advertising before entering the theatre as an administrator. Since 1932 he

wrote many noted plays, including ‘L’Hermine’ (his first), ‘Antigone,’ ‘Medea,’ ‘The Waltz of the

Toreadors’ (filmed), and ‘Becket’ (filmed). His association with the cinema started during his

advertising days when he worked on a number of commercials. Since 1936 he collaborated on the

screenplays of several films and directed two. His daughter, Catherine Anouilh, is a stage and screen

actress.

   FILMS INCLUDE: As screenwriter, alone or in collaboration—Les Dégourdis de la Onzième

1936; V  ous n’avez rien à déclarer 1937; Cavalcade d’Amour, Les Otages 1939; Monsieur Vincent

1947; Anna Karenina (UK) 1948; Pattes blanches 1949; Caroline Chérie 1951; Le Chevalier de la

Nuit 1953; La Mort de Belle/The Passion of Slow Fire 1961; La Ronde/Circle of Love 1964. As

director—Le V   oyageur sans Bagages (also co-scr., from own play) 1944; Deux Sous de Violettes

1951.

   Anschutz, Ottomar. German photographer, cinema pioneer. b. May 16, 1846, Leszno, Poland. d. 1907. Improving on the experiments of MUYBRIDGE, he developed, from 1882 on, various systems showing serial movement. His Tachyscope (1887) was an improved version of the ZOETROPE, with a series of pictures mounted on a large revolving disc. He next developed the Electrotachyscope (1889), a device for viewing a succession of photographs through illumination, approximating the effect of projection.

   Ansco. An American film-manufacturing company established in 1890. Around 1896 it became active in the sale of projection equipment. It was eventually absorbed by the General Aniline and Film Company (GAF). Anscolor, no longer produced, was an integral tripack color-film process in use from 1941. Anscochrome, a reversal color-film process, is widely used in the production of 16mm and 35mm motion pictures.

   Anspach, Susan. Actress. b. Nov. 23, 1939, New York City. ed. Catholic U. of America. Slim, attractive leading lady of Hollywood films of the 70s following appearances in several off-Broadway plays. Often cast in offbeat roles, she has appeared in smaller films since, including the well- received comedy Montenegro (1981).

   FILMS INCLUDE: Five Easy Pieces, The Landlord 1970; Play It Again Sam 1972; Blume in Love 1973; Nashville 1975; The Big Fix 1978; Running 1979; The Devil and Max Devlin, Gas (Can.), Montenegro (Sw./UK) 1981; Misunderstood 1984; Blue Monkey 1987; The Legend of Wolf Lodge/Into the Fire (Can.) 1988; Back to Back, Blood Red 1989; Killer Instinct 1991; American Primitive 2009; Subject 15 2010.

   Anspaugh, David. Director. b. Sept. 24, 1946, Decatur, Ind. ed. Indiana U.; USC. A former school teacher, he began his directing career in TV turning out many episodes for such TV series as ‘Hill Street Blues’ (Emmy Award), ‘St. Elsewhere,’ and ‘Miami Vice.’ He graduated to the big screen in the mid-80s.

   FILMS INCLUDE: Hoosiers 1986; Fresh Horses 1988; Hard Boiled 1990; Rudy 1993; Moonlight and Valentino 1995; Wisegirls 2002; The Game of Their Lives 2004; Little Red Wagon 2011.

   Anstey, Edgar. Documentary producer-director, film critic. b. Harold Macfarlane Anstey, Feb. 16, 1907, Watford, England. d. 1987. One of the young filmmakers organized by John GRIERSON to form the British documentary movement in 1929. He was with the Empire Marketing Board Film Unit (1930–34), then organized the Shell Film Unit. In 1935 he became production director of “The March of Time” in London, then foreign editor of “The March of Time” in New York. During the war he produced many documentary films for the British government, then organized British Transport Films (1949) and became chairman of the British Film Academy (1956), president of the International Scientific Film Association (1959–62), governor of the British Film Institute (1964), and chairman of the Society of Film and Television Arts (1967). He was film critic for The Spectator (1941–46) and for the BBC (1946–49). Author: The Development of Film Technique in Britain (1948).

   FILMS INCLUDE: As director—Uncharted Waters 1933; Eskimo Village, Granton Trawler 1934; Housing Problems (co-dir. with Arthur Elton) 1935; Enough to Eat/Nutrition/Dinner Hour 1936.

   answer print. The first combined sound and picture print that is sent by the lab to a film producer for approval. Also known as “approval print” or “first-trial print,” it is screened for close examination of light grading, color balance, fades, dissolves, and other printing standards. The lab makes any corrections required by the producer, and often several answer prints are made before the final approval is given. When the quality is accepted, the answer print then serves as the standard by which the subsequent release prints are prepared. See also RELEASE PRINT.

   Antheil, George. Composer. b. June 8, 1900, Trenton, N.J. d. 1959. He began piano lessons at age six and later studied composition under Ernest Bloch. After a successful tour of Europe as a concert pianist in the early 20s he took up residence in Paris, turned to composing, and shocked contemporary audiences with his use of jazz rhythms and mechanical devices in symphonic music. His most famous work, Ballet mécanique (1924), an accompaniment to the experimental Fernand LÉGER film of that name, is a score that calls for such unorthodox instruments as mechanical pianos, airplane propellers, and electric bells. His later work was more traditional in orchestration and style. Returning to the US in the early 30s, he began composing for Hollywood films in 1935 while continuing his work for the concert hall.

   FILMS INCLUDE: Ballet Mécanique 1924; Once in a Blue Moon, The Scoundrel 1935; The Plainsman, Make Way for Tomorrow 1937; The Buccaneer 1938; Union Pacific 1939; Angels over Broadway 1940; Specter of the Rose 1946; Knock on Any Door, We Were Strangers 1949; In a Lonely Place, House by the River 1950; The Sniper 1952; The Juggler 1953; Not as a Stranger 1955; The Pride and the Passion 1957.

   Anthony, Joseph. Director, screenwriter, actor, dancer. b. Joseph Deuster, May 24, 1912, Milwaukee. d. 1993. ed. U. of Wisconsin; Pasadena Playhouse; Daykarhanova Drama School. A versatile stage and screen artist, he began collaborating on Hollywood film scripts in the mid-30s while pursuing a career as a stage actor. He made his Broadway acting debut in 1937, and in the early 40s he was Agnes De Mille’s dancing partner in concerts and a film actor as well as a set designer. In 1948 he began a long and distinguished career as a Broadway director, his output highlighted by such productions as ‘The Rainmaker,’ ‘The Most Happy Fella,’ ‘The Best Man,’ ‘Under the Yum Yum Tree,’ ‘Rhinoceros,’ ‘Mary Mary,’ and ‘110 in the Shade.’ Meanwhile he continued acting on stage and TV He made his first stab at directing films in 1956. In addition to a handful of films, he also directed the TV series ‘Brenner.’ He was author of the play ‘A Ship Comes In’ (1934).

   FILMS INCLUDE: As screenwriter—Crime and Punishment, One Way Ticket 1935; Lady of Secrets, And So They Were Married, Meet Nero Wolfe 1936; The Spellbinder (story only) 1939. As actor—Shadow of the Thin Man 1941; Joe Smith American 1942. As director—The Rainmaker 1956; The Matchmaker 1958; Career 1959; All in a Night’s Work 1961; La Città Prigioniera/Conquered City/Captive City (It.) 1962; Tomorrow 1972.

   Antonelli, Laura. Actress. b. Nov. 28, 1941, Pola, Italy (now Pula, Croatia). Delicately sensual leading lady of Italian films and European co-productions. She became known in the 70s for appearing in sex farces, but also worked with such respected directors as Claude CHABROL and Luchino VISCONTI. She won a David di Donatello Award as best supporting actress for her performance in Ettore SCOLA’s Passione d’Amore (1981).

   FILMS INCLUDE: Le Spie Vengono del Semifredo/I Due Mafiosi Dell’fbi/Dr. Goldfoot and the Girl Bombs 1966; La Rivoluzione sessuale 1968; Sledge/A Man Called Sledge 1970; Sans Mobile apparent/Without Apparent Motive 1971; Malizia/Malicious 1973; Mio Dio Come sona caduta in Basso!/Till Marriage Do Us Part 1974; Divina Creatura/The Divine Nymph, L’Innocente/The Innocent 1976; Mogliamante/Wifemistress 1977; Passione d’Amore/Passion of Love 1981; La Gabbia, Grandi Magazzini, Tranches de Vie (Fr.) 1985; La Venexiana 1986; Rimini Rimini, Roba da Ricchi 1987; L’Avaro 1990; Malizia 2000 1992.

   Antonioni, Michelangelo. Director. b. Sept. 29, 1912, Ferrara, Italy. d. July 2007. ed. U. of Bologna (business and economics). After experimenting with 16mm films, writing film criticism for a local newspaper, and working for a bank, he went to Rome in 1939 to pursue cinema seriously. There he contributed articles to Cinema, the official film magazine of the Fascist party. In 1940 he briefly attended the Centro Sperimentale di Cinematografia, the famous Italian film school.

   He made his first real contact with film production at 30, collaborating on the scripts of ROSSELLINI’s Una Pilota Ritorna and Fulchignoni’s I Due Foscari (both 1942), also working as assistant director on the latter film. That same year he went to France to assist Marcel Carné as the Italian representative of the French-Italian co-production Les Visiteurs du Soir. He began directing his first film, Gente del Po, a short documentary about Po River fishermen, in 1943 but could not complete it until 1947.

   Antonioni then collaborated on the screenplay of De Santis’s Caccia Tragica (1947). During the next three years he directed six short documentaries. In 1950, at 38, he finally directed his first feature film, Cronaca di un Amore/Story of a Love Affair, largely unnoticed, though it contained many elements that would crystallize into his highly individualistic and acclaimed style. During the next ten formative years, he directed four films—I Vinti/The Vanquished, La Signora senza Camelie/Camille Without Camelias, Le Amiche/The Girl Friends, and Il Grido/The Outcry—and also collaborated on the script of Fellini’s The White Sheik (1952) and directed the “Tentato Suicidio” episode for the film Amore in Città/Love in the City. In 1960 he scored his first international triumph, L’Avventura, which marked the coming to maturity of his unique aesthetic and of his theme and camera style. The dominant theme of L’Avventura, of the next two units in Antonioni’s so-called trilogy (La Notte/The Night and L’Eclisse/Eclipse), and of the subsequent Deserto Rosso/The Red Desert (1964), is the emotional barrenness of modern humans—their futile search to assert themselves in a technological world and their frustrating inability to communicate with others. Long, lingering shots follow his characters until their inner selves are revealed. By their leisurely immobility the shots suggest the overbearing pressure that time exerts upon human emotions. Antonioni’s films are almost plotless, their narrative vagueness almost bordering on mystery. Interest centers on the female, with the male functioning as catalyst.

   Antonioni’s skill in manipulating time and space to express the metaphysical world of his characters found a new outlet with his first color film, The Red Desert, in which he had natural surroundings painted to serve the film’s mood and psychological scheme. His next film, Blow-Up (1966), marked a considerable break with the past: it was set in England, used English dialogue, focused on a male protagonist, and proceeded at a brisk, jittery pace. But the element of mystery and ambiguity was still there, and relationships between characters were still tentative and enigmatic.

   Antonioni’s next film, Zabriskie Point (1970), was set in the American West. Then, after a long absence, Antonioni returned to his style of the 60s and to his preoccupation with the frustration and malaise of modern society with the international co-production Professione: Reporter/The Passenger (1975). Following a setback with The Oberwald Mystery (an undistinguished attempt, marred by experimentation with video techniques, to resurrect Cocteau’s The Eagle Has Two Heads), Antonioni returned to more familiar ground with Identification of a Woman (1982). But his reputation rests mainly on his films of the early 60s, truly original works by one of the most remarkable creative artists of the postwar cinema.

   FILMS INCLUDE: Documentary shorts—Gente del Po (also scr.) 1943–47; N.U./Nettezza Urbana (also scr.) 1948; L’Amorosa Menzogna (also scr.), Superstizione (also scr.) 1949; La Funivia del Faloria (also scr.), Sette Canne un Vestito (also scr.), La Villa dei Mostri (also scr.) 1950. Features —Cronaca di un Amore (also story, co-scr.) 1950; L’Amore in Cittá/Love in the City (“Tentato Suicidio” episode; also co-scr.), La Signora senza Camelie (also story, co-scr.), I Vinti (also co- story, co-scr.) 1953; Le Amiche (also co-scr.) 1955; Il Grido (also story, co-scr.) 1957; L’Avventura (also story, co-scr.) 1960; La Notte (also story, co-scr.) 1961; L’Eclisse (also co-story, co-scr.) 1962; Deserto Rosso (also co-story, co-scr.) 1964; I Tre V (“Prefazione” episode) 1965; Blow-Up (also story, co-scr.; UK/It.) 1966; Zabriskie Point (also story, co-scr.; US) 1970; Chung Kuo (full-length doc.) 1972; Professione: Reporter/The Passenger (also co-scr.) 1975; Il Mistero di Oberwald/The Oberwald Mystery (also co-scr.) 1979; Identificazione di una Donna/Identification of a Woman (also co-scr.) 1982; The Crew 1990; V     olcanoes and Carnival 1992; Beyond the Clouds (co-dir., co-scr.) 1995; Il Filo Pericoloso delle Cose 2001; Eros 2004.

   Anwar, Gabrielle. Actress. b. 1970, Leleham, England. This slim, engaging actress made her debut at the age of 15 in the BBC television series ‘Hideaway.’ Her feature film career began with a small role in the US/Yugoslavian comedy Manifesto (1988), which led to the lead role in Disney’s Wild Hearts Can’t Be Broken (1991). She is perhaps best remembered for dancing a tango opposite Al PACINO in Scent of a Woman (1992).

   FILMS INCLUDE: Manifesto (US/Yug.) 1988; If Looks Could Kill, Wild Hearts Can’t Be Broken 1991; Scent of a Woman 1992; For Love or Money, The Three Musketeers 1993; Body Snatchers 1994; Things to Do in Denver When You’re Dead 1995; Nevada, Sub Down 1997; Kimberly, The Manor 1999; The Guilty, If You Only Knew, North Beach 2000; Flying Virus 2001; Water Under the Bridge 2003; 9/Tenths, Crazy Eights, The Marsh 2006; The Family Tree 2010; A Warrior’s Heart 2011.

   Aoki, Tsuru. See HAYAKAWA, Sessue.

   Apatow, Judd. Director, screenwriter, producer. b. Dec. 6, 1967, Long Island, N.Y. ed. USC. The reigning “king of comedy films” starting from the late 90s with the Jim CARREY vehicle The Cable Guy (1996), his love of comedy began at an early age, eventually landing him in Los Angeles following an unsuccessful run as a performer. He first found his way in TV with the hit series ‘Freaks and Geeks,’ ultimately segueing into features with a cadre of fellow funnymen including Adam SANDLER, Seth ROGEN, and Will FARRELL, to name a few. A frequent and welcomed presence in his films, he is married to actress Leslie MANN, with whom he has two daughters.

   FILMS INCLUDE: As producer or executive producer alone or in collaboration—Crossing the Bridge 1992; Heavyweights (also scr., act.) 1995; The Cable Guy, Celtic Pride (also scr.) 1996; Anchorman: The Legend of Ron Burgundy (also act.) 2004; The 40-Year-Old Virgin (also dir., scr.), Fun with Dick and Jane (scr. only), Kicking & Screaming 2005; Knocked Up (also dir., scr.), Talladega Nights: The Ballad of Ricky Bobby 2006; Superbad, Walk Hard: The Dewey Cox Story (also scr., music) 2007; Drillbit Taylor, Forgetting Sarah Marshall, Pineapple Express (also scr.), Step Brothers, You Don’t Mess with the Zohan (scr. only) 2008; Funny People (also dir., scr.), Year One 2009; Get Him to the Greek 2010; Bridesmaids, Wanderlust, Zookeeper (v/o) 2011.

   aperture. 1. The opening in a lens, usually formed by an adjustable iris, which controls the amount of light passing to and exposing the film. The aperture in the printing apparatus controls the passage of light to exposed film. 2. The opening in a camera or a projector that defines the area of each frame exposed or projected and at which each frame stops during exposure or projection.

   Apfel, Oscar C. Director, actor. b. Jan. 17, 1878, Cleveland. d. Mar. 21, 1938. A veteran stage and opera producer-director, he entered the American film industry in 1911 as a director for Edison, Reliance, Selig, and other companies. He gained prominence in 1914–15, when he directed many prestigious feature-length productions for Lasky-Paramount, at times collaborating with C. B. DE MILLE. In 1916 he joined Fox and later worked for various small studios. His career declined in the 20s, when he turned out mainly routine melodramas, often for poverty-row producers. He directed his last film in 1927 and in the following year began a new Hollywood career as an actor, typically playing distinguished character roles.

   FILMS INCLUDE: As director—Aida (co-dir. with J. Searle Dawley) 1911; The Passer-By 1912; The Bells, Her Rosary, The Fight for Right 1913; The Squaw Man (co-dir., co-prod., co-scr. with Cecil B. De Mille), Brewster’s Millions, The Call of the North (co-dir. with De Mille), The Man on the Box, The Master Mind, The Only Son, The Last V      olunteer, Ready Money, Snobs, The Wild Olive, The Circus Man, The Ghost Breaker 1914; After Five, Kilmeny, The Rug Maker’s Daughter, Peer Gynt (also scr.), The Broken Law (also co-scr.), The Little Gypsy, Cameo Kirby, The Soldier’s Oath 1915; Man of Sorrow (also scr.), The Battle of Hearts (also scr.), The Man From Bitter Roots (also scr.), The End of the Trail (also scr.), Fighting Blood (also scr.), The Fires of Conscience 1916; The Hidden Children, The Price of Her Soul, A Man’s Man 1917; The Turn of the Card, The Interloper, Tinsel, Merely Players, To Him That Hath, The Grouch 1918; Auction of Souls (general release in 1922), The Rough Neck, Phil-for-Short, Mandarin’s Gold, Crook of Dreams, The Little Intruder, Bringing Up Betty, The Amateur Widow, The Oakdale Affair (also prod.), Me and Captain Kidd, The Steel King (also prod.) 1919; Ten Nights in a Bar Room 1921; The Man Who Paid, The Wolf’s Fangs (also prod.) 1922; A Man’s Man (remake), The Social Code, In Search of a Thrill 1923; The Heart of a Bandit, Trail of the Law 1924; Sporting Chance, The Thoroughbred, Borrowed Finery 1925; Midnight Limited, Somebody’s Mother (also scr.), Perils of the Coast Guard, The Call of the Klondike, The Last Alarm, Race Wild 1926; Cheaters, When Seconds Count, Code of the Cow Country 1927. As actor—The Heart of Broadway, Romance of the Underworld 1928; True Heaven, Halfway to Heaven 1929; The Texan, Abraham Lincoln (as Secretary of War Edwin Stanton), The Spoilers, The Virtuous Sin, The Right to Love 1930; Inspiration, The Maltese Falcon, Huckleberry Finn, Five Star Final 1931; The Heart of New York, Shopworn, The World and the Flesh, I Am a Fugitive From a Chain Gang 1932; The Bowery, The World Changes, Only Yesterday 1933; The House of Rothschild 1934; Man on the Flying Trapeze 1935; And Sudden Death 1936; The Soldier and the Lady, History Is Made at Night, The Toast of New York 1937.

   A picture. A designation for a comparatively high-budget film or one that is expected to be a major audience attraction. It is usually exhibited at first-run theaters or presented as the main feature of a double bill. See also B PICTURE.

   apple boxes. Boxes of varying sizes used on a set to elevate people or objects.

   Apted, Michael. Director. b. Feb. 10, 1941, Aylesbury, England. ed. Cambridge (history and law). He entered British TV in 1963 and directed many series, teleplays, and documentaries. He assisted director Paul Almond on the documentary short 7 Up (1963), a presentation of the lives and aspirations of several seven-year-old children. Apted went on to check on these individuals at ages 14, 21, 28, and 35, providing a unique record of growing up within the British class system. He turned to feature films in the early 70s, beginning with Triple Echo. Later, also working in the US, he achieved his first big critical and commercial success with Coal Miner’s Daughter (1980), a screen biography of country singer Loretta Lynn. He scored several other hits including Gorillas in the Mist (1988), the story of ape researcher Dian Fossey, Nell (1994) with Jodie FOSTER and Liam NEESON, and The Chronicles of Narnia: V     oyage of the Dawn Treader (2010). Apted was president of the DIRECTORS GUILD OF AMERICA (DGA) from 2003 to 2009.

   FILMS INCLUDE: Triple Echo 1973; Stardust 1974; The Squeeze 1977; Stronger Than the Sun (orig. for TV) 1978; Agatha 1979; Coal Miner’s Daughter 1980; Continental Divide 1981; Kipperbang 1982; Gorky Park 1983; 28 Up (doc.; also co-prod.), Bring on the Night (doc.), The River Rat (exec. prod. only), Spies Like Us (act. only) 1985; Critical Condition 1987; Gorillas in the Mist 1988; The Long Way Home 1989; Class Action 1990; 35 Up 1991; Bram Stoker’s Dracula (co- exec. prod. only), Incident at Oglala (doc.), Thunderheart 1992; Blink, Moving the Mountain, Nell 1994; Extreme Measures 1996; Always Outnumbered 1998; 42 Up (doc.), The World Is Not Enough 1999; Enigma 2001; Enough 2002; Amazing Grace 2006; The Chronicles of Narnia: Voyage of the Dawn Treader 2010.

   aquarium. A colloquial term for the booth in which sound mixing is performed.

   Arab film. See EGYPT.

   Aragón, Manuel Gutiérrez. Director, screenwriter, producer. b. Jan. 2, 1942, Spain. Aragon’s career ascended in the 70s with the liberalization of Spanish culture following the death of Generalissimo Franco. His forte is political commentary mixed with melodrama. La Mitad Del Cielo (1986), presently the only one of his films with an American distributor, is a trenchant piece of social criticism about class relations as expressed in a family’s generational struggles.

   FILMS INCLUDE: Hable Mudita 1973; Camada negra, Sonambulos 1977; El Corazon del Bosque 1978; Demonios en el Jardin 1982; Feroz 1983; La Noche mas Hermosa 1984; La Mitad del Cielo/Half of Heaven 1986; Malaventura/Misadventure 1988; La Noche más larga (scr.) 1991; El Largo Invierno (scr.) 1992; Dos Gallos Pisadores (prod.) 1994; El Rey del Rio (dir., scr.) 1995; Things I Left in Havana (dir., scr.) 1997; By My Side Again (scr.) 1999; Visionaires (dir., scr.) 2001; Your Next Life (dir., scr.) 2004; Rosa de Francia (dir., scr.) 2006; Todos Estamos Invitados 2008.

   Arau, Alfonso. Director, actor. b. Jan. 11, 1942, Mexico. Independent Mexican director who frequently produces, writes, edits, and acts in his films. His films show great range in both style and content, from the satiric social comment on illegal immigrants in the US in Wetback Power (1980), to the sensual magical realism of Like Water for Chocolate (1992), which he produced and directed from a screenplay by his wife Laura Esquivel, based on her novel. The latter film was an art-house hit that brought him international recognition as a filmmaker, though he was already known as an actor in the US for his performances in adventure films such as The Wild Bunch.

   FILMS INCLUDE: As actor (US)—The Wild Bunch 1969; Scandalous John 1971; Posse 1975; Used Cars 1980; Romancing the Stone 1984; Three Amigos! 1986; Walker 1987; Committed, Picking Up the Pieces (also dir., ex-prod.) 2000; The Dead One (v/o) 2007; Butterflies and Lightning 2011. As director (Mex.)—The Barefoot Eagle 1967; Calzonzin Inspector 1974; Mojada Power/Wetback Power 1980; Chido Guan 1984; Como Agua para Chocolate/Like Water for Chocolate 1992; A Walk in the Clouds (US) 1995; Zapata (dir., prod., scr.) 2004; L’Imbroglio nel Lenzuolo 2010.

   Arbuckle, Roscoe “Fatty.” Comic actor, director, screenwriter. b. Roscoe Conkling Arbuckle, Mar. 24, 1887, Smith Center, Kans. d. 1933. Worked as a plumber’s assistant before becoming a performer in carnivals and vaudeville. Baby-faced and amazingly agile for his heavy frame, he was hired in 1908 by the Selig Polyscope Company as an extra and appeared in many one-reel comedy films. In 1913 he joined Mack SENNETT’s Keystone Cops and soon rose to stardom in a series of short comedies with such partners as Mabel Normand, Ford Sterling, Chester Conklin, and Charlie Chaplin. From 1916 he wrote and directed many of his own films, as well as some of those of other comics, and within a few years became one of Hollywood’s most popular personalities. In 1917 he set up his own production company and gave Buster KEATON his career start.

   In 1921, while Arbuckle was at the peak of success, his career was ruined by scandal. During a wild drinking party he threw at a San Francisco hotel, a starlet by the name of Virginia Rappe (the fiancée of Henry “Pathé” LEHRMAN, who directed some of Arbuckle’s films) was seized by severe convulsions, allegedly after having been sexually assaulted by the 320-pound actor. A few days later she died of a ruptured bladder, and Arbuckle was charged with manslaughter. The case twice ended in a hung jury, and in a third trial he was acquitted. The press played up the sensational case, and much indignation was aroused in the public, who saw Hollywood as a modern Sodom. A frightened industry hurriedly set up the Hays Office to enforce self-regulation and censorship. Public opinion forced Arbuckle’s retirement from the screen, and his films were banned and withdrawn from circulation. However, with the help of friends, he quietly returned to films as a director, using the pseudonym William B. Goodrich and directing, among others, a Marion Davies vehicle and Eddie Cantor’s first two films. But wanting to perform, he went to Europe on an abortive acting tour in 1932, only to return to the US disillusioned and brokenhearted. The following year he died in New York. A weak attempt at re-creating the Arbuckle scandal was made in the 1975 film The Wild Party. He was married to actress Minta DURFEE. They divorced in 1925.

   FILMS INCLUDE: As actor—The Sanitarium/The Clinic 1910; Help! Help! Hydrophobia! The Waiters’ Picnic, A Bandit, For the Love of Mabel, Courage, Passions He Had Three, The Gangsters, The Noise from the Deep, Love and Courage, Mabel’s New Hero, Mother’s Boy, The Gypsy Queen, A Quiet Little Wedding, Fatty’s Day Off, Fatty’s Flirtation 1913; In the Clutches of the Gang, A Rural Demon, A Film Johnnie, Tango Tangles, His Favorite Pastime, A Suspended Ordeal, The Masquerader, The Rounders, The Knockout, The Sea Nymphs, Bathing Beauty 1914; Mabel and Fatty’s Wash Day, The Little Teacher, Mabel and Fatty’s Married Life 1915; The Round-Up, The Life of the Party 1920; Brewster’s Millions, Gasoline Gus 1921. As director-actor—The Alarm (co-dir. with Eddie Dillon), The Sky Pirate (co-dir. with Dillon), Fatty and the Heiress (co-dir. with Dillon), Fatty’s Gift (co-dir. with Dillon), A Brand New Hero (co-dir. with Dillon), Fatty’s Debut (co-dir. with Dillon), Fatty Again, Leading Lizzie Astray (co-dir. with Dillon), Fatty’s Jonah Day (co-dir. with Dillon), Fatty’s Magic Pants (co-dir. with Dillon), Fatty’s Wine Party (co-dir. with Dillon) 1914; Fatty and Minnie He-Haw (co-dir. with Dillon), Fatty’s Faithful Fido (co-dir. with Dillon), That Little Band of Gold, When Love Took Wings, Fatty’s New Role (co-dir. with Dillon), Fickle Fatty’s Fall, Fatty and the Broadway Stars (co-dir. with Dillon), The Village Scandal 1915; Fatty and Mabel Adrift, He Did and He Didn’t/Love and Lobsters, Bright Lights/The Lure of Broadway, His Wife’s Mistake, The Other Man, The Waiter’s Ball, His Alibi, A Cream Puff Romance/A Reckless Romeo 1916; The Butcher Boy, The Rough House, His Wedding Night, Oh Doctor! Fatty at Coney Island, A Country Hero 1917; Out West, The Bell Boy, Moonshine, Good Night Nurse, The Cook 1918; Love, A Desert Hero, Back Stage, The Hayseed 1919; The Garage 1920. As director only (all but first film under the pseudonym William Goodrich; all shorts unless noted otherwise)—The Moonshiners 1916; The Movies, The Tourist, The Fighting Dude 1925; Cleaning Up, My Stars, Fool’s Luck, His Private Life 1926; The Red Mill (feature), Special Delivery (feature) 1927; Won by a Neck, Up a Tree 1930; Smart Work, The Tamale Vendor, The Lure of Hollywood, Honeymoon Trio, Up Pops the Duke, The Back Page, Marriage Rows, Beach Pajamas 1931; Bridge Wives, It’s a Cinch, Keep Laughing, Moonlight and Cactus, Niagara Falls, Gigolettes, Hollywood Luck, Anybody’s Goat 1932.

   arc. A high-intensity lamp, usually operating on direct current, which produces light from the electronic flow between two electrodes. There are two main types: the carbon arc, in which the electrodes are made of carbon and require frequent adjustment, and the mercury and xenon arcs, in which the electrodes are contained in tubes filled with gas and require no adjustment. Carbon arcs are used in studios as well as in outdoor locations and are known for their capacity to simulate sunlight. Since their color temperature closely resembles that of daylight, they are often used as boosters for outdoor color shooting.

   Arcand, Denys. Director. b. June 25, 1941, Deschambault, Quebec, Canada. A political and social activist from early youth, he contributed to the review Parti Pris before studying history at the University of Montreal. It was at the university that he directed his first film, the feature-length Seul ou avec des autres (1962), in collaboration with Denis Héroux and Stéphane Venne. In 1963 he joined the National Film Board, for which he directed a number of documentary shorts, notably a trilogy about colonial Quebec. But his first full-length documentary, Ou est au Coton (1970), an exposé of the exploitation of textile workers, aroused a controversy that resulted in the shelving of the film until 1976. Moving on to fiction features in the 70s, Arcand gained respect for the quality of his work, but it wasn’t until the late 80s that he made an international impact with The Decline of the American Empire, a witty, irreverent satire that won the International Critics Prize at CANNES in 1986. He made an even greater impression with Jesus of Montreal, an audacious, wickedly funny burlesque of contemporary life, for which he won the Jury Prize at Cannes in 1989.

   FILMS INCLUDE: Seul ou avec des autres (co-dir.) 1962; On est au Coton (doc.) 1970; La Maudite Galette, Québec: Duplessis et aprés . . . (doc.; also scr.) 1972; Réjeanne Padovani (also scr., ed.) 1973; Gina (also scr.) 1974; Le Confort et l’Indifference 1981; Le Crime d’ovide plouffe (also scr.) 1984; Le Déclin de l’Empire Américain/The Decline of the American Empire (also scr.) 1986; Un Zoo la Nuit/Night Zoo (act. only) 1987; Jésus de Montréal/Jesus of Montreal (also scr., act.) (Can./Fr.) 1989; Montréal Sextet 1991; Love and Human Remains 1993; Poverty and Other Delights 1996; 15 Moments 1999; Stardom 2000; The Barbarian Invasions (dir., scr.) 2003; Tideline (cameo) 2004; Instant Star (act. only) 2005; The Age of Ignorance (also dir., scr.) 2007.

   Archainbaud, George. Director. b. May 7, 1890, Paris. d. 1959. Archainbaud was with the European stage as actor and assistant stage manager before coming to Hollywood, where he began as assistant film director to Emile CHAUTARD in 1915. Within two years, he was directing on his own.

His prolific output consists of films of all genres, but toward the end of his career his work was confined mostly to Westerns, including many HOPALONG CASSIDY films and Gene AUTRY vehicles. He also directed Western film series for TV .

   FILMS INCLUDE: As Man Made Her, Yankee Pluck, The Brand of Satan, The Iron Ring, A Maid Of Belgium, The Awakening 1917; The Divine Sacrifice, The Trap, The Cross Bearer 1918; The Love Cheat, A Damsel in Distress 1919; What Women Want, The Wonderful Chance, Marooned Hearts, The Pleasure Seekers 1920; The Miracle of Manhattan, The Girl From Nowhere, Handcuffs or Kisses 1921; Evidence, Under Oath, One Week of Love (also co-story) 1922; Cordelia the Magnificent, The Common Law (also co-story) 1923; The Plunderer, The Mirage, For Sale, Single Wives, Christine of the Hungry Heart 1924; Enticement, What Fools Men, The Necessary Evil 1925; Men of Steel, Puppets, The Silent Lover 1926; Easy Pickings, Night Life 1927; The Tragedy of Youth, Ladies of the Night Club, Bachelor’s Paradise, The Grain of Dust, George Washington Cohen 1928; The College Coquette, Broadway Scandals, The Broadway Hoofer 1929; Framed, Alias French Gertie, Shooting Straight, The Silver Horde 1930; The Lady Refuses, Three Who Loved 1931; Men of Chance, The Lost Squadron, State’s Attorney, Thirteen Women, The Penguin Pool Murder 1932; The Big Brain, After Tonight 1933; Keep ’Em Rolling, Murder on the Blackboard 1934; Thunder in the Night 1935; My Marriage, The Return of Sophie Lang 1936; Hideaway Girl, Blonde Trouble, Thrill of a Lifetime 1937; Boy Trouble, Her Jungle Love, Campus Confessions, Thanks for the Memory 1938; Some Like It Hot, Night Work 1939; Untamed, Comin’ Round the Mountain 1940; Hoppy Serves a Writ, The Kansan, Flying With Music 1942; The Woman of the Town 1943; Mystery Man, Alaska 1944; The Big Bonanza, Girls of the Big House 1945; The Devil’s Playground, Fool’s Gold, Unexpected Guest 1946; King of the Wild Horses, The Marauders 1947; False Paradise, The Dead Don’t Dream, Silent Conflict 1948; Hunt the Man Down 1950; The Old West, Apache Country, Barbed Wire 1952; Winning of the West, On Top of Old Smoky, Last of the Pony Riders 1953.

   Archer, Anne. Actress. b. Aug. 25, 1947, Los Angeles. Striking brunette leading lady of American (and some British) films. In 1987 she received an Academy Award nomination in the supporting actress category as the beleaguered, ultimately triumphant wife in Fatal Attraction. She is the daughter of screen actor John ARCHER and actress Marjorie LORD, and is married to actor (and TV sports producer-director) Terry Jastrow.

   FILMS INCLUDE: Cancel My Reservation, The Honkers 1972; The All-American Boy 1973; Lifeguard, Trackdown 1976; Good Guys Wear Black, Paradise Alley 1978; Hero at Large, Raise the Titanic! (UK) 1980; Green Ice (UK) 1981; Waltz Across Texas (also co-story) 1982; The Naked Face (UK) 1984; Too Scared to Scream 1985; The Check Is in the Mail 1986; Fatal Attraction 1987; Love at Large, Narrow Margin 1990; Eminent Domain 1991; Nails, Patriot Games 1992; Body of Evidence, Family Prayers, Short Cuts 1993; Clear and Present Danger, There Goes My Baby 1994; My Husband’s Secret Life 1998; The Art of War, Rules of Engagement 2000; The Gray Between Us 2002; Uncle Nino 2003; November 2004; Man of the House 2005; Cut Off, End Game 2006; Felon, Ghosts of Girlfriends Past 2009.

   Archer, John. Actor. b. Ralph Bowman, on May 8, 1915, Osceola, Neb. d. Dec. 3, 1999. ed. USC. Entering films in 1938 after winning a talent contest, he played leads in B pictures and supporting roles in A productions. He was credited under his real name in some of his early films. Divorced from actress Marjorie LORD, he was the father of Anne ARCHER.

   FILMS INCLUDE: A Letter of Introduction, Overland Stage Raiders (as Ralph Bowman) 1938; Career 1939; Curtain Call 1940; Cheers for Miss Bishop (as Ralph Bowman), King of the Zombies 1941; Bowery at Midnight 1942; Crash Dive, Guadalcanal Diary, Hello Frisco Hello 1943; The Eve of St. Mark 1944; I’ll Remember April 1945; The Lost Moment 1947; Colorado Territory, White Heat 1949; Destination Moon 1950; My Favorite Spy, Sante Fe 1951; The Big Trees, Rodeo 1952; The Stars Are Singing 1953; Emergency Hospital 1956; Affair in Reno, She Devil 1957; City of Fear 1959; Blue Hawaii 1962; Apache Rifles 1964; I Saw What You Did 1965; How to Frame a Figg 1971.

   archives, film. A film archive contains a variety of materials pertaining to motion pictures: cans of film, stills, scripts, documents, books, and periodicals on film subjects. Its principal function is to maintain a collection of important works for research, study, and exchange. The film archive faces many difficult problems: the perishability of film materials, especially of old prints having a flammable nitrate base; the high cost of prints; the limitations of storage space (an average film consists of ten reels); and, perhaps most important, the constant search for copies of precious classics lost through neglect and indifference.

   The need for film archives was recognized early in the development of the cinema. In 1919 a small collection was started in Paris, but it was confined to newsreels and documentary films. It was not until 1935 that the first big step was taken with the establishment of the National Film Archive in London and the Museum of Modern Art film collection in New York. A year later the Cercle du Cinéma was launched in Paris by Henri LANGLOIS and Georges FRANJU. It was the forerunner of the now famous CINÉMATHÈQUE FRANÇAISE, which long possessed the largest film collection in the world. In 1938 these three archives joined with the newly formed Reichsfilmarchiv of Berlin and the film library of Moscow’s School of Cinema (VGIK) in the formation of the International Federation of Film Archives, known by its French initials, FIAF, with headquarters in Paris.

   Russia, represented by Gosfilmofond of Moscow, has accumulated vast archives (nearly 50,000 titles at last count), including many silent American movies not available in the US. Nearly 60 other countries, from Albania to Canada to India to Venezuela, also have national archives of titles, stills, and movie material.

   In the US, the American Film Institute has collected thousands of film titles housed at the Library of Congress or at other American archives. The Library of Congress has performed a vital service with the restoration of early American films from its paper print collection, prints originally filed with the library for copyright purposes. Other major American archives are those of the Museum of Modern Art, the George Eastman House (Rochester, N.Y.), the Pacific Film Archive (Berkeley, Calif.), and the Wisconsin Center for Film and Theater Research (Madison).

   Ardant, Fanny. Actress. b. Mar. 22, 1949, Monte Carlo. On stage following political-science studies, she played intense dramatic leads in many French films of the 80s. She has been a favorite of TRUFFAUT, LELOUCH, RESNAIS, and other leading French directors.

   FILMS INCLUDE: Les Chiens 1979; La Femme d’à Coté/The Woman Next Door, Les Uns et les Autres/The Ins and the Outs/Bolero 1981; Benvenuta, La Vie est un Roman/Life Is a Bed of Roses, Vivement Dimanche!/Confidentially Yours 1983; Un Amour de Swann/Swann in Love, L’Amour á Mort/Love Unto Death 1984; Les Enragés, L’Eté prochain/Next Summer 1985; Conseil de Famille/Family Business, Mélo, Le Paltoquet 1986; La Famiglia/The Family (It./Fr.) 1987; Paura e Amore/Fear and Love/Three Sisters (It./Fr./W.Ger.), Pleure pas my love 1988; Australia 1989; Afraid of the Dark, The Deserter’s Wife 1992; Amok 1993; Col. Chabert 1994; Beyond the Clouds, Ridicule 1996; Pedale Douce 1997; The Dinner, Elizabeth 1998; La Debandade/Hard Off 1999; Le Libertin 2000; Change Moi Ma Vie/Change My Life, Don’t Tempt Me (Sp.) 2001; Callas Forever 2002; Natalie 2003; El Año del Diluvio 2004; Paris, je t’aime 2006; Roman de Gare, The Secrets 2007; Il Divo, Hello Goodbye 2008; Trésor, Visage 2009.

   Arden, Eve. Actress. b. Eunice Quedens, Apr. 20, 1912, Mill Valley, Calif. d. 1990. Caustic comedienne of the American stage, radio, TV and films. She made her stage debut in stock at 16 and her first New York appearance in ‘The Ziegfeld Follies’ of 1934. Before starting a prolific screen career in 1937, she appeared in two isolated films as Eunice Quedens. In films she often played the warmhearted but acerbic friend of the heroine and enlivened many a production with her snappy barbs. At the height of her screen career in the 40s she averaged three films a year, but she is probably best known as the titular heroine, an English teacher, of the situation comedy series ‘Our Miss Brooks’ on radio (1948–56) and TV (1956–57), winning an Emmy Award for her work in the TV series. She later starred in the series ‘The Eve Arden Show’ (1957–58) and ‘The Mothers-in- Law’ (1967–69). She was nominated for an Oscar for best supporting actress for her performance in Mildred Pierce (1945). In 1975 she returned to film work after a decade-long absence. Divorced from literary agent Edward Bergen, she married actor Brooks West (ca. 1916–1984) in 1951. Autobiography: Three Phases of Eve (1985).

   FILMS INCLUDE: As Eunice Quedens—The Song of Love 1929; Dancing Lady (bit) 1933; As Eve Arden—Oh Doctor!, Stage Door 1937; Having Wonderful Time, Letter of Introduction 1938; Eternally Yours, At the Circus 1939; A Child Is Born, Slightly Honorable, No No Nanette, Comrade X 1940; Ziegfeld Girl, That Uncertain Feeling, Manpower, Whistling in the Dark 1941; Bedtime Story 1942; Let’s Face It 1943; Cover Girl, The Doughgirls 1944; Pan-Americana, Mildred Pierce 1945; My Reputation, The Kid from Brooklyn, Night and Day 1946; Song of Scheherazade, The Unfaithful, The Voice of the Turtle 1947; One Touch of Venus 1948; My Dream Is Yours 1949; Tea for Two, Three Husbands 1950; Goodbye My Fancy 1951; We’re Not Married 1952; The Lady Wants Mink 1953; Our Miss Brooks (feature vers. of TV series) 1956; Anatomy of a Murder 1959; The Dark at the Top of the Stairs 1960; Sergeant Deadhead 1965; The Strongest Man in the World 1975; Grease 1978; Under the Rainbow 1981; Pandemonium, Grease II 1982.

   Ardolino, Emile. Director. b. 1943, New York City. d. 1993. ed. Queens Coll. He started out as an actor with a touring company of ‘The Fantasticks.’ During the late 70s and early 80s he produced and directed the ‘Dance in America’ and ‘Live From Lincoln Center’ series for Public Television, winning an Emmy in 1979. Following a number of TV specials, he graduated to the big screen with an Oscar-winning feature-length documentary, He Makes Me Feel Like Dancin’ (1983). He scored a commercial hit with his first fiction feature, Dirty Dancing (1987).

   FILMS INCLUDE: He Makes Me Feel Like Dancin’ (doc.; also prod.) 1983; Dirty Dancing 1987; Chances Are 1989; Three Men and a Little Lady 1990; Sister Act 1992; The Nutcracker 1993.

   Ardrey, Robert. Screenwriter, playwright, novelist, writer on human behavior. b. Oct. 16, 1908, Chicago. d. 1980. He studied natural sciences at the University of Chicago and for two years lectured on anthropology. But he was drawn to drama and after some coaching by Thornton Wilder began writing plays, the first of which, ‘Star Spangled,’ was produced on Broadway in 1936. He wrote several other plays, including ‘Thunder Rock,’ and began writing screenplays for Hollywood films in the early 40s. He also wrote a couple of novels. But his best-known work is a series of nonfiction books on behavioral evolution which enjoyed mass popularity: African Genesis (1961), The Territorial Imperative (1966), and The Social Contract (1970).

  FILMS INCLUDE: They Knew What They Wanted 1940; A Lady Takes a Chance 1943; Thunder Rock (play basis only; UK) 1944; The Green Years 1946; Song of Love 1947; The Three Musketeers 1948; The Secret Garden, Madame Bovary 1949; Quentin Durward 1955; The Power and the Prize 1956; The Wonderful Country 1959; The Four Horsemen of the Apocalypse 1962; Khartoum (UK) 1966.

  Argentina. Feature film production in this Latin American country began in 1908 with El Fusilamento de Dorrego/The Execution of Dorrego, a historical epic with famous stage personalities, by the Italian immigrant Mario GALLO. But it was not until 1915, with the production of Nobleza Gaucha, that Argentine films became commercially successful. Between 1915 and 1927 the industry saw the establishment of several studios, and there was a steady improvement in technical proficiency. The dominant director of this era was José A. Ferreyra, whose many films, such as El Tango de la Muerte, El Gaucho, and Viejita, were extremely popular locally. Film production during the silent era reached an annual output of about a dozen features.

  Sound infused new life into Argentine films because the Spanish-speaking world was eager for entertainment that spoke its language. Following the great success of Ferreyra’s Muñequitas Porteñas (1931), the industry enjoyed continuous prosperity through the 30s, producing scores of comedies and melodramas for an ever-widening market. Commercial success encouraged producers to attempt more ambitious films, resulting in the appearance of more sophisticated directors, such as Luis Saslawsky, Mario Soffici, and Manuel Romero. During WW II, Mexico gained dominance in film production for the Spanish-speaking world. Under Perón’s dictatorship the regime tried to expand the Argentine film industry but without much success; even though production reached 50 films annually, government policies did not favor artistic individuality or pure nonpropaganda entertainment. With few exceptions, such as Hugo DEL CARRIL’s Las Aguas Bajan Turbias (1952), production was mediocre. The reputation of Argentine films in the early 60s rested chiefly on the talents of Leopoldo TORRE NILSSON, a director who rose to international prominence with such films as The House of the Angel (1957), La Caida (1959), Fin de Fiesta/The Blood Feast/The Party Is Over (1960), Summerskin (1961), and The Eavesdroppers (1964). Despite intensified political repressions, strict censorship, and one of the world’s worst inflation spirals from the 70s, young Argentine filmmakers experienced a resurgence in the mid-80s and continued to make an impression on the international film community with films including Luis PUENZO’s La Historia Oficial/The Official Story (1985) and writer/director Juan José Campanella’s El Secreto de Sus Ojos/The Secret in Their Eyes (2009), both Oscar winners for Best Foreign Language film.

  Argento, Dario. Director, screenwriter. b. Sept. 7, 1940, Rome. The son of producer Salvatore Argento, he entered Italian films as a screenwriter, collaborating on several action-adventures, including the internationally popular C’era una V  olta il West/Once Upon a Time in the West (1968). He turned director in the late 60s, and over the years has established a reputation as Italy’s stylish master of cheap blood and gore.

  FILMS INCLUDE: As director—L’Uccello dalle Piume di Cristallo/The Bird with the Crystal Plumage (also story, scr.) 1970; Il Gatto a nove Code/The Cat o’Nine Tails (also co-story, scr.), Quattro Mosche di Velluto grigio/Four Flies on Grey Velvet (also co-story, scr.) 1971; Le Cinque Giornate (also scr.) 1973; Profondo rosso/Deep Red (also co-story) 1976; Suspiria (also scr., mus.) 1977; Dawn of the Dead (mus. only), Inferno (also scr.) 1979; Tenebrae/Unsane (also co-scr.) 1982; Demoni/Demons (prod., co-scr. only), Phenomena/Creepers (also co-scr.) 1985; Demoni 2/Demons 2 (prod., co-scr. only), Opera (also co-scr.) 1987; Due Occhi diabolici/Two Evil Eyes (“The Black Cat” episode; also co-prod., co-scr.) 1990; The Sect (prod., scr.) 1991; Innocent Blood (act. only) 1992; Trauma (co-scr.) (It./US) 1993; The Stendhal Syndrome 1999; Scarlet Diva (prod. only) 2000; Sleepless (It.) (prod., scr.) 2001; The Card Player (It.) (prod., scr.) 2004; Ti Piache Hitchcock?/Do You Like Hitchcock? (also scr.) (It.) 2005; La Terza Madre/The Third Mother (also scr.) (It.) 2008; Giallo (also scr.) 2009.

   Arkin, Alan. Actor, director. b. Mar. 26, 1934, New York City. ed. Los Angeles City Coll. He started as a member of a folk-singing group, the Tarriers. He first attracted attention as a member of the Second City satirical group out of Chicago. An overnight critical sensation in his first Broadway appearance, in ‘Enter Laughing’ (Tony Award, 1963), he later appeared in ‘Luv’ and directed a number of plays, including the off-Broadway production of ‘Little Murders’ as well as the subsequent screen version (1971). Basically a comedian, at his best playing bumbling, loud comic types, he played a sensitive dramatic lead as a deaf and mute person in The Heart Is a Lonely Hunter (1968) for which he was nominated for the best actor Oscar, his second after being nominated for his screen debut in The Russians Are Coming, the Russians Are Coming (1966). Later in his career, he received a third Academy Award nomination, this time in the supporting actor category for his comedic turn as the salty, foul-mouthed grandfather in the critically hailed independent feature Little Miss Sunshine (2006), taking home his first Oscar. He authored the children’s book Tony’s Hard Work Day (1972), as well as a book about his involvement with yoga, Halfway Through the Door: An Actor’s Journey Towards the Self (1975). He married actress Barbara Dana; his three sons (two from a previous marriage), Adam (b. Aug. 19, 1956, Brooklyn), Matthew, and Tony Arkin, have also appeared in films.

   FILMS INCLUDE: As actor—The Russians Are Coming the Russians Are Coming 1966; Wait Until Dark, Woman Times Seven 1967; The Heart Is a Lonely Hunter, Inspector Clouseau 1968; The Monitors, Popi 1969; Catch-22 1970; Little Murders (also dir.) 1971; Deadhead Miles, Last of the Red Hot Lovers 1972; Freebie and the Bean 1974; Hearts of the West, Rafferty and the Gold Dust Twins 1975; The Seven-Per-Cent Solution (as Sigmund Freud) 1976; Fire Sale (also dir.) 1977; The In-Laws (also exec. prod.), The Magician of Lublin (Isr./Ger.), Simon 1980; Chu Chu and the Philly Flash, Full Moon High, Improper Channels (Can.) 1981; The Last Unicorn (v/o) 1982; The Return of Captain Invincible (Austral./US) 1983; Bad Medicine, Joshua Then and Now (Can.) 1985; Big Trouble 1986; Coup De Ville, Edward Scissorhands, Havana 1990; The Rocketeer 1991; Glengarry Glen Ross 1992; Indian Summer 1993; Jerky Boys, Steal Big Steal Little 1995; Mother Night 1996; Gattaca 1997; Four Days in September, Slums of Beverly Hills 1998; Jakob the Liar 1999; Arigo (also dir., scr.), Magicians 2000; America’s Sweethearts, Thirteen Conversations About One Thing 2001; Raising Flagg 2003; Eros, Noel 2004; Firewall, Little Miss Sunshine, The Novice, Santa Clause 3: The Escape Clause 2006; Rendition 2007; Get Smart, Marley & Me, Sunshine Cleaning 2008; City Island, The Private Lives of Pippa Lee 2009; The Change-Up, The Convincer 2011.

   Arkoff, Samuel Z. Executive, producer. b. June 12, 1918, Fort Dodge, Iowa. d. Sept. 16, 2001. ed. U. of Iowa; U. of Colorado; Loyola U. (law). He was co-founder (with James H. Nicholson), with $3,000 of borrowed capital in 1954, and later chairman of the board, of AMERICAN INTERNATIONAL PICTURES (AIP), a company that became notorious for its low-budget exploitation films but gained some respectability by the late 60s. Co-produced many of the company’s films with Nicholson. In1979 he was honored on the occasion of a retrospective of AIP films at New York’s Museum of Modern Art. After selling AIP to Filmways, he became chairman and president of the Samuel Z. Arkoff Company in 1980 and Arkoff International Pictures in 1981. His son, Louis S. Arkoff (b. Jan. 4, 1950, Los Angeles), a graduate of USC, entered films at 17 as a production assistant, later serving the family business as a producer and executive producer.

   FILMS INCLUDE: As producer or executive producer—Motorcycle Gang, Reform School Girl 1957; The Bonnie Parker Story, Machine Gun Kelly, Terror From the Year 5000 1958; House of Usher 1960; The Pit and the Pendulum 1961; Poe’s Tales of Terror, The Premature Burial 1962; The Comedy of Terrors, The Man With the X-ray Eyes, Operation Bikini, The Raven 1963; Muscle Beach Party 1964; Beach Blanket Bingo, Dr. Goldfoot and the Bikini Machine, How to Stuff a Wild Bikini 1965; Fireball 500 1966; Wild in the Streets 1968; De Sade 1969; Bloody Mama, The Dunwich Horror 1970; Wuthering Heights 1971; Blacula 1972; Dillinger 1973; Madhouse 1974; Hennessy, Return to Macon County 1975; The Food of the Gods, Futureworld, A Matter of Time 1976; Empire of the Ants, The Island of Dr. Moreau 1977; Force 10 from Navarone, Our Winning Season 1978; The Amityville Horror 1979; Underground Aces 1981; Up the Creek 1984; Hellhole 1985.

   Arkush, Allan. Director. b. Apr. 30, 1948, New York City. ed. Franklin & Marshall; NYU Film School. Offbeat cult director from the Roger Corman school of shoestring-budget movies. He started out as an editor of trailers and has directed extensively for TV.

He has also directed rock videos with such performers as Mick Jagger and Bette Midler. Can be glimpsed playing a cameo in pal Paul BARTEL’s Cannonball (1976).

   FILMS INCLUDE: Hollywood Boulevard (co-dir. with Joe Dante; also co-edit.) 1976; Grand Theft Auto (second-unit dir. only) 1977; Deathsport (co-dir. with Henry Suso) 1978; Rock ’n’ Roll High School (also story) 1979; Heartbeeps 1981; Get Crazy 1983; Caddyshack II 1988.

   Arlen, Harold. Composer, songwriter. b. Hyman Arluck, Feb. 15, 1905, Buffalo, N.Y. d. 1986. The son of a cantor, he sang in his father’s synagogue, then, at 15, joined a trio, playing the piano. In 1927 he came to New York City, working as arranger, pianist, and singer. The following year his ‘Get Happy’ was sung in the ‘9:15 Revue’ and he was on his way to a brilliant career as songwriter and composer. His Broadway shows include ‘St. Louis Woman,’ ‘Vanities,’ and ‘House of Flowers.’ His many popular songs include ‘Stormy Weather,’ ‘It’s Only a Paper Moon,’ ‘I Love a Parade,’ ‘That Old Black Magic,’ and ‘Blues in the Night.’ He won an Academy Award in 1939 for ‘Over the Rainbow’ from The Wizard of Oz.

   FILMS INCLUDE: The Big Broadcast, Manhattan Parade 1932; Take a Chance (‘It’s Only a Paper Moon’) 1933; Let’s Fall in Love 1934; Strike Me Pink, The Singing Kid, Stage Struck 1936; Artists and Models 1937; Love Affair, Babes in Arms, The Wizard of Oz (‘Over the Rainbow’), At the Circus 1939; Blues in the Night 1941; Rio Rita, Cairo, Star Spangled Rhythm (‘That Old Black Magic,’ etc.) 1942; Cabin in the Sky (‘Happiness Is Just a Thing Called Joe,’ etc.), The Sky’s the Limit (‘One for My Baby,’ etc.) 1943; Here Come the Waves (‘Accentuate the Positive,’ etc.) 1944; Casbah 1948; My Blue Heaven 1950; A Star Is Born, The Country Girl 1954; Gay Purr-ee 1962; I Could Go On Singing (UK) 1963; The Swinger 1966.

   Arlen, Richard. Actor. b. Cornelius Richard Van Mattimore, Sept. 1, 1899, Charlottesville, Va. d. 1976. ed. U. of Pennsylvania. Brawny star of Hollywood films of the 20s who endured in lead roles and supporting parts well into the late 60s. A sportswriter, swimming coach, and a pilot with the Royal Canadian Flying Corps before his film debut in 1920, he was first billed as Van Mattimore. He played his first important role in 1923 and he achieved the peak of his career in two William Wellman films, Wings (1927) and Beggars of Life (1928), and in Victor Fleming’s The Virginian (1929). He subsequently appeared in innumerable films, playing hero parts in B pictures and supporting roles in A productions. He married and divorced Jobyna RALSTON, his co-star in Wings.

   FILMS INCLUDE: As Van Mattimore—Ladies Must Lie 1921; The Green Temptation 1922; Quicksands, Vengeance of the Deep 1923; The Fighting Coward 1924. As Richard Arlen—Sally, In the Name of Love 1925; Padlocked, Behind the Front 1926; Rolled Stockings, The Blood Ship, Wings, She’s a Sheik 1927; Feel My Pulse, Ladies of the Mob, Beggars of Life, Manhattan Cocktail 1928; The Man I Love, The Four Feathers, Thunderbolt, Dangerous Curves, The Virginian 1929; The Dangerous Paradise, The Light of Western Stars, The Border Legion, The Sea God, The Santa Fe Trail, Only Saps Work 1930; The Conquering Horde, Gun Smoke, The Lawyer’s Secret, Touchdown! 1931; Wayward, Sky Bride, Guilty As Hell, Tiger Shark, The All American 1932; Island of Lost Souls, Song of the Eagle, College Humor, Three-Cornered Moon, Alice in Wonderland (as the Cheshire Cat) 1933; Come on Marines! 1934; Helldorado 1935; The Calling of Dan Matthews 1936; Secret Valley, The Great Barrier/Silent Barriers (UK), Artists and Models, Murder in Greenwich Village 1937; No Time to Marry, Call of the Yukon, Straight Place and Show 1938; Mutiny on the Blackhawk, Legion of Lost Flyers 1939; The Devil’s Pipeline 1940; Raiders of the Desert 1941; Submarine Alert 1943; The Lady and the Monster, Storm Over Lisbon 1944; The Big Bonanza 1945; When My Baby Smiles at Me 1948; Hurricane Smith 1952; Sabre Jet 1953; The Mountain 1956; Warlock 1959; The Best Man 1964; Apache Uprising 1966; Fort Utah 1967; Buckskin 1968; Sex and the College Girl 1970; Won Ton Ton—The Dog Who Saved Hollywood (bit) 1976.

   Arletty. Actress. b. Léonie Bathiat, May 15, 1898, Courbevoie, France. d. 1992. At 16 she worked in a factory and later became a secretary and model before appearing in music hall revues. She made her film debut in 1931 and rose to eminence in several Marcel CARNÉ films scripted by Jacques PRÉVERT. Her appearance in Les Enfants du Paradis/Children of Paradise (1945) is an image of beauty and femininity long to be remembered. Elegant and darkly mysterious, she subsequently divided her talents between films and the Paris stage. After the Liberation, she spent two months in jail as a collaborator, the consequence of a love affair with a German officer during the Occupation. From the early 60s she was nearly inactive, following an accident that left her temporarily blind. Author: La Défense (1971).

   FILMS INCLUDE: La Douceur D’aimer 1930; Un Chien qui rapporte 1931; Das schöne Abenteuer/La Belle Aventure (Ger./Fr.) 1932; Walzerkrieg/La Guerre de Valses (Ger./Fr.) 1933; Pension Mimosas 1935; La Garçonne 1936; Faisons un Rêve, Les Perles de la Couronne 1937; Hôtel du Nord 1938; Le Jour se lève/Daybreak, Fric-Frac, Circonstances atténuantes/Extenuating Circumstances 1939; Madame Sans-Gêne 1941; Les Visiteurs du Soir/The Devil’s Own Envoy 1942; Les Enfants du Paradis/Children of Paradise 1945; Portrait d’un Assassin 1949; L’Amour Madame 1951; Le Grand Jeu/Flesh and the Woman, Huis clos/No Exit, L’Air de Paris 1954; Maxime, Un Drôle de Dimanche 1958; The Longest Day (US) 1962; Les V      olets fermés 1972.

   Arling, Arthur E. Director of photography. b. Sept. 2, 1906, Miss. d. Oct. 16, 1991. ed. New York Inst. of Photography. He started as assistant cameraman for Fox in 1927, and became second cameraman in 1931. He was camera operator on Gone With the Wind (1939). After WW II, in which he served as a naval lieutenant commander, he returned to films as director of photography. He shared an Academy Award with Charles ROSHER and Leonard Smith in 1946 for the cinematography of The Yearling.

   FILMS INCLUDE: The Yearling (co-phot. 1946); Captain from Castile (co-phot.) 1948; You’re My Everything 1949; My Blue Heaven 1950; Call Me Mister 1951; Belles on Their Toes 1952; Love Me or Leave Me 1955; I’ll Cry Tomorrow 1956; Pillow Talk 1959; Lover Come Back, The Story of Ruth 1960; Boys’ Night Out, The Notorious Landlady 1962; The Secret Invasion 1964; Ski Party 1965; Once Before I Die 1966.

   Arliss, George. Actor. b. George Augustus Andrews, Apr. 10, 1868, London. d. 1946. Made his London stage debut at 18. In 1902 an American tour brought him great success and he stayed for 20 years, to appear in many Broadway productions and films. He was particularly popular for his stage portrayals of such historical figures as Voltaire, Richelieu, Disraeli, and Alexander Hamilton, a specialty he was later to transfer to the screen. In 1921 he made his first film appearance in The Devil, an adaptation of the Molnar play, in which he had appeared on Broadway in 1906. That same year he repeated another Broadway success in a silent film version of Disraeli. A sound version of the same film brought him an Academy Award for 1929–30. He authored two autobiographical books, Up the Years From Bloomsbury (1927) and My Ten Years at the Studios (1940). His wife, Florence (Montgomery) Arliss, appeared with him in several films. He retired from the screen in 1937 when she lost her sight. Their son was director Leslie ARLISS.

   FILMS INCLUDE: In the US—The Devil, Disraeli 1921; The Man Who Played God, The Ruling Passion 1922; Twenty Dollars a Week 1924; Disraeli (sound remake) 1929; The Green Goddess, Old English 1930; The Millionaire, Alexander Hamilton 1931; The Man Who Played God, A Successful Calamity 1932; The King’s Vacation, The Working Man, V       oltaire 1933; The House of Rothschild, The Last Gentleman 1934; Cardinal Richelieu 1935. In the UK—The Iron Duke (as Wellington); The Guv’nor/Mister Hobo, The Tunnel/Transatlantic Tunnel 1935; East Meets West, Man of Affairs, His Lordship 1936; Dr. Syn 1937.

   Arliss, Leslie. Director. b. Leslie Andrews, 1901, London. d. 1988. Son of George and Florence ARLISS. A critic and journalist, he collaborated on screenplays for British films from 1932, among them Tonight’s the Night (1932), Orders Is Orders (1933), Jack Ahoy (1934), Heat Wave (1935), Rhodes of Africa/Rhodes (1936), Pastor Hall (1940), and The Foreman Went to France/Somewhere in France (1942). He began directing in 1941 and in the mid-40s turned out several popular melodramas, notably The Man in Grey (1943), Love Story/A Lady Surrenders (1944), and The Wicked Lady (1945), films that established James MASON, Stewart GRANGER, and Margaret LOCKWOOD as stars. He also directed a number of shorts. After 1955 he worked mostly in TV     .

   FILMS INCLUDE: The Farmer’s Wife (co-dir. with Norman Lee) 1941; The Night Has Eyes 1942; The Man in Grey (also co-scr.) 1943; Love Story/A Lady Surrenders (also co-scr.) 1944; The Wicked Lady 1945; A Man About the House (also co-scr.) 1947; Idol of Paris 1948; Saints and Sinners (also prod., co-scr.) 1949; The Woman’s Angle (also co-scr.) 1952; See How They Run (also co-scr.), Miss Tulip Stays the Night 1955.

   Armat, Thomas. Inventor. b. Oct. 26, 1866, Fredricksburg, Va. d. 1948. A Washington, D.C., real estate agent, he invented a variety of machines, including an oarlock for boats and an automatic car coupler for railroads. In 1894 he joined with another inventor, Charles Francis JENKINS, to develop the world’s first motion picture projection machine utilizing an intermittent motion mechanism. The machine failed, however, and in the following year Armat alone assembled an improved version, employing a loop-forming device and the first practicable intermittent motion mechanism. In September 1895 he exhibited his invention, called the Phantoscope, at the Cotton States Exposition in Atlanta. The following year the Edison company agreed to manufacture the machine. According to Armat it was decided that “for the purpose of adding prestige, the projector would be advertised as Edison’s Vitascope.” And so, on April 23, 1896, the Edison Vitascope made its bow, projecting Edison Company films on a New York music-hall screen, several months after LUMIÈRE had demonstrated his CINÉMATOGRAPHE in Paris, and with Armat himself acting as the projectionist. The era of screen projection had thus begun. Armat later sued both the Edison company and Biograph over patent rights but eventually joined with them to form the Motion Pictures Patent Company.

   Armendariz, Pedro. Actor. b. May 9, 1912, Churubusco, Mexico. d. 1963 of a self-inflicted

gunshot wound after learning he had cancer. ed. San Antonio, Tex., and California Polytechnic Inst.

After working for a Mexican railroad and at a hotel, he had a brief stage career before entering

Mexican films in 1935. He rapidly became Mexico’s top film star, appearing in some 45 local films,

many directed by Emilio FERNANDEZ. He won international recognition for his appearance in

Fernandez’s celebrated Maria Candelaria (1943) and The Pearl (1945). European and American

directors, notably Luis BUÑUEL and John FORD, sought his services, and his strong screen presence

and virile personality were effectively used in a variety of roles in more than 75 films. His son,

Pedro Armendariz, Jr., is also in films.

   FILMS INCLUDE: Rosario Bordertown, Maria Elena 1935; Mi Candidato 1937; El Indio 1938;

Los Olvidados de Dios, La Reina del Rio 1939; La Isla de la Pasión/Passion Island, Simon

Bolivar/The Life of Simon Bolivar 1941; Soy Puro Mexicano, Guadalajara 1942; Flor Sylvestre,

Maria Candelaria 1943; Las Abandonadas, Bugambilia, El Corsaro Negro 1944; La Perla/The Pearl

1945; Enamorada 1946; The Fugitive (US) 1947; Fort Apache (US) 1948; Three Godfathers (US),

We Were Strangers (US), Tulsa (US), La Malquerida 1949; Del Odio nace el Amor/The Torch/Bandit

General 1950; El Bruto 1952; Lucrèce Borgia/Lucrezia Borgia/Sins of the Borgias (Fr./It.), Les

Amants de Tolède/The Lovers of Toledo (Fr./It./Sp.) 1953; Border River (US) 1954; The Littlest

Outlaw (US/Mex.) 1955; Diane (US), The Conqueror (US), Uomini e Lupi (It.) 1956;

Manuela/Stowaway Girl (UK), Flor de Mayo/Beyond All Limits, The Big Boodle (US) 1957; La

Cucaracha/The Bandit 1958; The Wonderful Country (US) 1959; Francis of Assisi (US) 1961;

Arrivano i Titani/My Son the Hero (as Cadmus, King of Thebes) 1962; Captain Sinbad (US), From

Russia With Love (UK) 1963.

   Armitage, George. Director, screenwriter. b. 1942. After getting his start in the mail room of 20th

Century-Fox in 1965, he went on to serve as a TV associate producer before joining Roger CORMAN’s

New World studio, where he scripted the youth-oriented fantasy Gas-s-s-s (1970), directed by

Corman. Thereafter, Armitage directed several modestly budgeted action pictures, always working

from his own screenplays. After an 11-year absence from feature film directing, Armitage returned

with Miami Blues (1990), produced by Jonathan DEMME.

   FILMS INCLUDE: As director and screenwriter—Private Duty Nurses 1972; Hit Man 1973;

Vigilante Force 1976; Hot Rod 1979; Miami Blues 1990; Grosse Pointe Blank (dir. only) 1997; The

Big Bounce (dir., prod.) 2004.

   Armstrong, Bess. Actress. b. Dec. 11, 1953, Baltimore. ed. Brown. Leading actress in numerous

film and TV roles. Married producer John Fiedler.

   FILMS INCLUDE: The House of God 1979; The Four Seasons 1981; High Road to China, Jaws 3-

D 1983; Nothing in Common 1986; Second Sight 1989; The Skateboard Kid 1993; Dream Lover,

Serial Mom (cameo) 1994; That Darn Cat 1997; Pecker, When It Clicks 1998; Diamond Men 2000;

Corporate Affairs, Next of Kin 2008.

   Armstrong, Gillian. Director. b. Dec. 18, 1950, Melbourne, Australia. Trained in stage and

costume design at Swinburne Technical College, she directed a short, The Roof Needs Mowing, as

part of a film class requirement. She then moved to Sydney, where she enrolled in 1973 in the Film

and TV School, eking out a living as a waitress. On the strength of three shorts—100 a Day, Satdee

Night, and Gretel—she entered the film industry as an assistant director. She won a top award at the

1976 Sydney Film Festival for the hour-long featurette The Singer and the Dancer, and international

accolades for her first full-length feature, My Brilliant Career. The film, about an independent young

woman with literary aspirations in turn-of-the-century Australia, won the British Film Critics’ Award

for best first feature and seven AFI Awards, including best film and best director; it also brought lead

actress Judy DAVIS to worldwide attention. Armstrong has made some films in America, beginning

with Mrs. Soffel, but these have not been as well received as her Australian work.

   FILMS INCLUDE: The Singer and the Dancer (also prod.) 1976; My Brilliant Career 1979;

Starstruck 1982; Mrs. Soffel (US) 1984; High Tide 1987; Fires Within (US) 1991; The Last Days of

Chez Nous 1992; Little Women 1994; Oscar and Lucinda 1997; Charlotte Gray 2001; Death Defying

Acts 2007.

   Armstrong, Louis. Musician, singer. b. July 4, 1900, New Orleans. d. 1971. One of the world’s

leading jazz performers, whose career spanned more than half a century, he was a virtuoso trumpet

player and a singer with an inimitable raspy voice that radiated warmth and good cheer. His many

worldwide tours earned him the unofficial title of “America’s Ambassador of Goodwill.” A capable

all-around entertainer, he also appeared in a score of films, usually as himself, playing, singing and

clowning. He wrote an autobiography, Satchmo (his nickname, short for “Satchelmouth”), in 1954,

and in 1957 he was the subject of a TV documentary, released as a feature film in some theaters.

   FILMS INCLUDE: Ex-flame 1930; Pennies From Heaven 1936; Artists and Models 1937; Every

Day’s a Holiday, Dr. Rhythm, Going Places 1938; Cabin in the Sky 1943; Jam Session, Atlantic City,

Hollywood Canteen 1944; New Orleans, Carnegie Hall 1947; A Song Is Born 1948; The Strip, Here

Comes the Groom 1951; Glory Alley 1952; The Glenn Miller Story 1954; High Society 1956;

Satchmo the Great (doc.) 1957; The Beat Generation, The Five Pennies 1959; Jazz on a Summer’s

Day (doc.) 1960; Paris Blues 1961; When the Boys Meet the Girls 1965; A Man Called Adam 1966;

Hello Dolly! 1969.

   Armstrong, Robert. Actor. b. Donald R. Smith, Nov. 20, 1890, Saginaw, Mich. d. 1973. After

studying law at the University of Washington, he acted in vaudeville and on the legitimate stage,

making occasional bit appearances in films. In 1927, he began performing in films regularly. He soon

became one of Hollywood’s busiest character actors, appearing mostly in action pictures and usually

cast in the role of a good tough guy, on either side of the law, both in leads and supporting parts.

Perhaps best remembered as the white hunter who brings the ape to civilization in King Kong (1933).

Retired in the early 60s after a long stint on TV.

   FILMS INCLUDE: The Silent V       oice 1915; War and the Woman 1917; Boys Will Be Boys 1921;

The Man Who Came Back 1924; New Brooms 1925; The Main Event 1927; The Leopard Lady, A

Girl in Every Port, Square Crooks, The Cop, Celebrity, Show Folks, Ned McCob’s Daughter 1928;

The Shady Lady, The Woman from Hell, Big News, The Racketeer 1929; Be Yourself, Dumbbells in

Ermine, Paid 1930; Iron Man, Suicide Fleet 1931; Panama Flo, The Lost Squadron, Radio Patrol, The

Most Dangerous Game 1932; The Billion Dollar Scandal, King Kong, Blind Adventure, Son of Kong

1933; The Hell Cat, Kansas City Princess 1934; G-Men, Little Big Shot 1935; Public Enemy’s Wife,

Without Orders 1936; Three Legionnaires, The Girl Said No 1937; Man of Conquest (as Jim Bowie)

1939; Enemy Agent, Behind the News 1940; Citadel of Crime, Sky Raiders (serial), Dive Bomber

1941; My Favorite Spy, Gang Busters (serial) 1942; The Mad Ghoul 1943; Action in Arabia 1944;

Blood on the Sun, Gangs of the Waterfront, Arson Squad 1945; Criminal Court 1946; Fall Guy, The

Sea of Grass, The Fugitive 1947; The Paleface 1948, Mighty Joe Young 1949; Captain China 1950;

Las Vegas Shakedown 1955; The Crooked Circle 1957; Johnny Cool 1963; For Those Who Think

Young 1964.

  “Army-Navy Screen Magazine.” A WW II newsreel series written and edited by GIs for GIs.

Subtitled “a pictorial report from all fronts,” it was a weekly compilation of footage shot by Signal

Corps cameramen, with emphasis on the point of view of the enlisted man. Some segments reached

such a high level of drama and poetry that critics compared it favorably to civilian newsreels and

“The March of Time” series.

  Arnaz, Desi. Musician, bandleader, actor. b. Desiderio Alberto Arnaz y de Acha III, Mar. 2, 1917,

Santiago, Cuba. d. Dec. 2, 1986. The only son of wealthy landowners, he arrived in the US at 16 as a

poor refugee of the Batista revolution. He joined a Cuban combo, then formed his own band and

became popular as a singing bongo player. In 1940 he married Lucille BALL, his co-star in Too Many

Girls, his screen debut. A decade later they formed Desilu Productions and reaped a fortune from

their long-running TV series ‘I Love Lucy’ as well as many other TV shows. After their 1960 divorce

Miss Ball bought out her husband’s share in the business and he became an independent TV producer.

Their children, Desi Arnaz, Jr. (b. Desiderio Arnaz IV Jan. 19, 1953, Los Angeles) and Lucie Arnaz

                                                         ,

(b. Lucy Désirée Arnaz, July 17, 1951, Los Angeles), are both TV and film performers.

Autobiography: A Book (1976).

  FILMS INCLUDE: Too Many Girls 1940; Father Takes a Wife 1941; Four Jacks and a Jill 1941–

42; The Navy Comes Through 1942; Bataan 1943; Cuban Pete 1946; Holiday In Havana (also wrote

songs) 1949; The Long Long Trailer 1954; Forever Darling 1956; The Escape Artist 1982.

  Arness, James. Actor. b. James Aurness, May 26, 1923, Minneapolis. d. June 3, 2011. Brother of

actor Peter GRAVES. ed. Beloit Coll. Recovering from severe wounds inflicted in the WW II Anzio

landing, he joined a little theatre group and supported himself as a real estate agent and advertising

man. He made his screen debut in 1947, and for a couple of years was billed under his real surname,

Aurness. As a supporting player, he found good roles hard to come by because of his huge frame (6'

6"), which dwarfed most leading men. His size was put to fearsome effect when he played the title

role in the science-fiction thriller The Thing. He finally discovered his niche in TV as the star of the

long-running (20 seasons!) series ‘Gunsmoke’ (1955–75). In 1981–82 he played the title role in the

police series ‘McClain’s Law.’

  FILMS INCLUDE: The Farmer’s Daughter 1947; Battleground 1949; Wagonmaster 1950; The

People Against O’Hara, The Thing 1951; Big Jim McLain, Carbine Williams, Horizons West 1952;

Hondo, Lone Hand 1953; Her Twelve Men, Them 1954; Many Rivers to Cross, The Sea Chase 1955;

The First Traveling Saleslady, Flame of the Islands, Gun the Man Down 1956; Alias Jesse James

(unbilled cameo as Matt Dillon) 1959.

  Arnheim, Rudolf. Educator, psychologist, art and film theoretician. b. July 15, 1904, Berlin. d.

June 9, 2007. ed. U. of Berlin. Associate editor of publications, International Institute of Educational

Cinematography (League of Nations) Rome, 1933–39. He came to the US in 1940 and was

naturalized in 1946. He served on the faculties of Sarah Lawrence and other American colleges and

universities. He is the author of Film (1933), Art and Visual Perception (1954), Film as Art (1957),

and Picasso’s Guernica (1962).

   His Film as Art contains the body of his cinema theory; it comprises a revision of Film and four

essays published in the 30s. Its main thesis is that the peculiar virtues of film as art derive from the

exploitation of inherent limitations of the medium, such as optical distortions; the limitations imposed

by the frame, angle, and size of image, the absence of space-time continuum, etc.

   Arno, Sig. Actor. b. Siegfried Aron, 1895, Hamburg, Germany. d. 1975. A leading comedian and

character actor of German stage and screen, he played in many German films as Siegfried Arno

before Hitler’s ascent to power. After leaving Germany in 1933, he toured the Continent for several

years, and toward the end of the decade he arrived in the US. Here he launched a successful

Hollywood career, playing many character roles, mostly comic. He also appeared in several

Broadway productions, notably in ‘Time Remembered’ and ‘Song of Norway.’

   FILMS INCLUDE: In Germany—Manon Lescaut 1926; Die Liebe der Jeanne Ney/The Love of

Jeanne Ney 1927; Die Buchse ser Pandora/Pandora’s Box, Das Tagerbuch einer Verlorenen/Diary of

a Lost Girl 1929; Die vom Rummelplatz 1930; Schubert’s Frühlingstraum, Keine Feier ohne Meyer,

Die grosse Attraktion 1931. In the US—The Star Maker 1939; The Great Dictator (bit), The

Mummy’s Hand 1940; This Thing Called Love, It Started With Eve 1941; New Wine, Tales of

Manhattan, The Palm Beach Story 1942; The Crystal Ball, His Butler’s Sister 1943; Up in Arms

1944; A Song to Remember 1945; The Great Lover 1949; Nancy Goes to Rio, The Toast of New

Orleans 1950; Diplomatic Courier 1952; The Great Diamond Robbery 1954.

   Arnold, Edward. Actor. b. Gunther Edward Arnold Schneider, Feb. 18, 1890, New York City, to

German immigrants. d. Apr. 26, 1956. Character star of Hollywood films. Grew up on New York’s

Lower East Side, where he made his first amateur stage appearance as Lorenzo in ‘The Merchant of

Venice.’ In 1907 he appeared on the stage with Ethel BARRYMORE in ‘Dream of a Summer Night.’ In

1915 he was engaged by the Essanay studio in Chicago as a cowboy star and appeared in some 50

silent two-reel action pictures. He also played supporting roles in a number of social drama and

comedy features, before returning to the stage in 1919. In 1932 he returned to the screen and became

one of Hollywood’s most versatile and convincing character actors, specializing in authoritative roles

—judges, senators, uncompromising businessmen—as well as in roles of amiable scoundrels. In all,

he appeared in some 150 pictures. He is best remembered for his leading roles in Diamond Jim

(1935) and Sutter’s Gold (1936) and in Capra’s You Can’t Take It with You (1938) and Mr. Smith

Goes to Washington (1939). Arnold was a president of the Screen Actors Guild.

   FILMS INCLUDE: The Misleading Lady, The Return of Eve, Vultures of Society 1916; The

Slacker’s Heart 1917; A Broadway Saint, Phil-for-Short 1919; The Cost 1920; Afraid to Talk/Merry-

Go-Round, Okay America!, Rasputin and the Empress, Three on a Match 1932; The Barbarian, Her

Bodyguard, I’m No Angel, Jennie Gerhardt, The Life of Jimmy Dolan, Roman Scandals, The Secret of

the Blue Room, Whistling in the Dark, The White Sister 1933; Hide-Out, Madame Spy, Million

Dollar Ransom, The President Vanishes, Sadie McKee, Thirty Day Princess, Unknown Blonde,

Wednesday’s Child 1934; Biography of a Bachelor Girl, Cardinal Richelieu (as Louis XIII), Crime

and Punishment (as Inspector Porfiry Petrovich), Diamond Jim (as “Diamond” Jim Brady), The Glass

Key, Remember Last Night? 1935; Come and Get It, Meet Nero Wolfe (title role, as the Rex Stout

detective), Sutter’s Gold (as John Sutter, on whose California property the 1848 Gold Rush started)

1936; Blossoms on Broadway, Easy Living, John Meade’s Woman, The Toast of New York (as tycoon

Jim Fisk) 1937; The Crowd Roars, You Can’t Take It with You 1938; Idiot’s Delight, Let Freedom

Ring, Man About Town, Mr. Smith Goes to Washington 1939; The Earl of Chicago, Johnny Apollo,

Lillian Russell (again as “Diamond” Jim Brady), Slightly Honorable 1940; All That Money Can Buy

(as Daniel Webster), Design for Scandal, The Lady from Cheyenne, Meet John Doe, Nothing but the

Truth, The Penalty 1941; Eyes in the Night, Johnny Eager, The War Against Mrs. Hadley 1942; The

Youngest Profession 1943; Janie, Kismet, Mrs. Parkington, Standing Room Only 1944; The Hidden

Eye, Main Street After Dark, Week-End at the Waldorf 1945; Janie Gets Married, No Leave No Love,

Three Wise Fools, Ziegfeld Follies 1946; Dear Ruth, The Hucksters, The Mighty McGurk, My

Brother Talks to Horses 1947; Big City, Three Daring Daughters, Wallflower 1948; Big Jack,

Command Decision, John Loves Mary, Take Me Out to the Ball Game 1949; Annie Get Your Gun,

Dear Wife, The Skipper Surprised His Wife, The Yellow Cab Man 1950; Dear Brat 1951; Belles on

Their Toes 1952; City That Never Sleeps, Man of Conflict 1953; Living It Up 1954; The

Ambassador’s Daughter, The Houston Story, Miami Exposé 1956.

   Arnold, Jack. Director. b. Oct. 14, 1916, New Haven, Conn. d. 1992. ed. Ohio State; AADA. A

former stage and screen actor, he directed and produced some 25 documentaries for government

agencies and private industry before tackling feature films in the early 1950s, specializing in science

fiction and horror pictures. His output also included Westerns, dramas, and comedies.

   FILMS INCLUDE: As director—With These Hands (full-length semidoc. for ILGW Union; also

co-prod.) 1950; Girls in the Night, It Came from Outer Space, The Glass Web 1953; Creature from

the Black Lagoon 1954; Revenge of the Creature, The Man from Bitter Ridge, Tarantula 1955; Red

Sundown, Outside the Law 1956; The Incredible Shrinking Man, The Tattered Dress 1957; Man in the

Shadow, The Lady Takes a Flyer, High School Confidential, The Space Children, Monster on the

Campus 1958; No Name on the Bullet (also co-prod.), The Mouse That Roared (UK) 1959; Bachelor

in Paradise 1961; A Global Affair, The Lively Set 1964, Hello Down There 1969; Black Eye 1974;

Boss Nigger (also co-prod.), Games Girls Play 1975; The Swiss Conspiracy 1977; Into the Night

(act. only) 1985.

   Arnold, John. Director of photography, inventor, film pioneer. b. Nov. 16, 1889, New York City. d.

Jan. 11, 1964. ed. Columbia (engineering). Started out in films with the engineering department of the

Thomas Edison company. Later was instrumental in a variety of technical developments at Biograph

and other pioneer film companies. A director of photography since 1915, he experimented with

lighting and various effects and in the 20s distinguished himself as a truly outstanding

cinematographer. He retired from active duty in 1929 to become president of the American Society of

Cinematographers (1931–36) and head of the MGM camera department (1931–56).

   FILMS INCLUDE: Blue Jeans 1918; Satan Junior 1919; Blackmail 1920; Puppets of Fate 1921;

Love in the Dark 1922; The Fog, Rouged Lips, The Social Code 1923; The Heart Bandit, Revelation,

Sinners in Silk, The Beauty Prize 1924; The Big Parade, Bright Lights, Sally Irene and Mary 1925;

Paris, Love Blindness (co-phot.) 1926; The Show, Mr. Wu 1927; Show People, Rose Marie, Garden

of Eden, The Cardboard Lover 1928; The Broadway Melody 1929; Lust for Life (some scenes only)

1956.

   Arnold, Malcolm. Composer. b. Oct. 21, 1921, Northampton, England. d. Sept. 23, 2006. ed. Royal

College of Music and in Italy. He played the trumpet with the London Philharmonic Orchestra and

composed the ballet ‘Homage to the Queen’ for the 1953 coronation, along with many outstanding film

scores. The music for The Bridge on the River Kwai brought him an Academy Award.

   FILMS INCLUDE: The Sound Barrier/Breaking Through the Sound Barrier 1952; The Captain’s

Paradise 1953; Hobson’s Choice 1954; I Am a Camera 1955; Trapeze 1956; The Bridge on the River

Kwai, Island in the Sun 1957; The Inn of the Sixth Happiness, The Key, The Roots of Heaven 1958;

The Angry Silence, Tunes of Glory 1960; The Lion 1962; The Chalk Garden 1964; The Heroes of

Telemark 1966; The Reckoning 1969; The Wildcats of St. Trinian’s 1980.

   Arnold, Tom. Comedian, actor. b. March 6, 1959, Ottumwa, Iowa. ed. Indian Hills Community

Coll. Amusing, blue-collar stand-up comic turned character actor. After a well-publicized marriage

to TV star Roseanne Barr, followed by a bitter, equally public divorce, he parlayed a floundering TV

career into a marginally successful film career out of his role opposite Arnold SCHWARZENEGGER in

True Lies (1994).

   FILMS INCLUDE: Freddy’s Dead: The Final Nightmare 1991; Hero 1992; Coneheads, Undercover

Blues 1993; True Lies 1994; Nine Months 1995; Carpool, The Stupids, To Gillian on Her 37th

Birthday 1996; Austin Powers: International Man of Mystery, McHale’s Navy, Touch 1997; Golf

Punks 1998; Just Sue Me 1999; Animal Factory, Civility 2000; Exit Wounds 2001; Hansel & Gretel

(v/o) 2002; Cradle 2 the Grave 2003; Soul Plane 2004; Happy Endings, The Kid and I (also scr.,

prod.) 2005; The Final Season, Palo Alto CA, Pride 2007; Gardens of Night, Good Dick,

Remarkable Power (also prod.) 2008; April Showers, The Jerk Theory, The Skeptic 2009; The Bad

Penny, Brother’s Justice, Endure, Hard Breakers, Kill Speed 2010; Restitution, Walk a Mile in My

Pradas 2011.

   Arnoul, Françoise. b. Françoise Gautsch, June 3, 1931, Constantine, Algeria. She studied acting in

Paris and made her film debut in L’Epave (1950). Diminutive, well-proportioned, vivacious, and

talented, she was publicized in France early in her career as a “sex kitten” but was displaced by

Brigitte Bardot. She has remained, however, a highly competent leading lady and supporting player in

a wide range of roles.

   FILMS INCLUDE: L’Epave, Nous Irons à Paris, Quai de Grenelle/The Strollers 1950; Le Désir et

l’Amour 1951; Le Fruit défendu/Forbidden Fruit 1952; Les Amants de Tolède/The Lovers of Toledo

(Fr./It./Sp.), Les Compagnes de la Nuit/Companions of the Night, Dortoir des Grandes/Inside a Girls’

Dormitory, La Rage au Corps/Tempest in the Flesh 1953; Le Mouton á cinq Pattes/The Sheep Has

Five Legs, Secrets d’Alcôve/Il Letto/The Bed (Fr./It.) 1954; Les Amants du Tage/Lover’s Net, French

Cancan/Only the French Can, Napoléon 1955; Paris Palace-Hôtel/Paris Hotel 1956; Sait-on

jamais?/No Sun in Venice 1957; La Chatte/The Cat 1958; Le Diable et les Dix Commandements/The

Devil and the Ten Commandments, La Morte-Saison des Amours/The Season for Love 1961; Les

Parisiennes/Tales of Paris, Vacances portugaises 1962; Compartiment tueurs/The Sleeping Car

Murder (cameo) 1965; Le Dimanche de la Vie 1966; Le Petit Théâtre de Jean Renoir 1971; Dernière

Sortie avant Roissy, Violette et François 1977; Bobo Jacco 1979; Ronde de Nuit 1984; Nuit Docile

1987; V l’éléphant 1989; Les Années Campagne 1992; Heavy Weather 1996; Post coitum animal

         oir

triste 1997; Thanks for the Gesture 2000.

   Arnshtam, Lev Oscarovich. Director. b. Jan. 15, 1905, Dnepropetrovsk, Russia. d. Dec. 26, 1979.

A graduate of the Leningrad Conservatory, he gave up a promising career as a pianist to go into films.

In 1931, KOZINTSEV and TRAUBERG put him in charge of the sound recording of Alone. In 1933 he

collaborated on the screenplay of Counterplan and in 1934 turned out a compilation film with the co-

operation of the Turkish government. In 1936 he directed his first fiction film, Girl Friends/Three

Women, with the assistance of designer Moisei Levin. During WW II he directed Zoya (1944), a

sensitive, poetic, true story of the heroism of a young Soviet girl in the fight against the Nazis.

  FILMS INCLUDE: The Soviets Greet New Turkey (compilation film) 1934; Girl Friends/Three

Women (also scr.) 1936; Friends (also co-scr.) 1938; Zoya (also co-scr.) 1944; Glinka/The Great

Glinka (also scr.) 1947; Romeo and Juliet/The Ballet of Romeo and Juliet (co-dir., co-scr. with

Leonid Lavrovsky) 1955; A Lesson in History (co-dir., co-scr. with Hristo Piskov; USSR/Bulg.)

1957; Five Days Five Nights (also co-scr.; USSR/E. Ger.) 1961; Sekret Upeshka/Bolshoi Ballet 67

(scr. only) 1965.

  Aroma-Rama. A scenting system developed by inventor Charles Weiss and used to add a sense of

smell to the documentary film Behind the Great Wall (1959). It competed with another process,

SMELL-O-VISION, for the attention of audiences in Hollywood’s desperate attempt in the 50s to regain

customers lost to television. Unlike Smell-O-Vision, which piped odors into individual seats, the

Oriental scents of Aroma-Rama were filtered into the auditorium through the air-conditioning system.

Neither system proved popular and the idea of scenting films was promptly abandoned. The idea goes

back to the 19th century, when a London theater was sprayed with scents to add atmosphere to a stage

production. It was tried in a Pennsylvania motion picture theater as early as 1906 and was used in

isolated theaters in 1929 to add “impact” to two early talkies, Lilac Time and The Hollywood Revue.

John WATERS revived the idea of scented film with Polyester (1981). In this system, audience

members were handed scratch-and-sniff cards and cued when to sniff by a number on the screen.

  Aronofsky, Darren. Director, screenwriter. b. Feb. 12, 1969, New York City. An inventive,

deliberate filmmaker with the ability to create arresting and vividly surreal imagery. A notable

example is the gut-wrenching indie Requiem for a Dream (2000), an exploration of illegal and

prescription drug abuse. He resides with actress Rachel WEISZ, with whom he has a child.

  FILMS INCLUDE: As director/screenwriter—π (Pi) 1998; Requiem for a Dream 2000; Below

(scr., prod. only) 2002; The Fountain 2006; The Wrestler (dir., prod. only) 2008; Black Swan (dir.

only), The Fighter (ex-prod. only) 2010.

  Arquette, David. Actor, writer, producer, director. b. Sept. 8, 1972, Winchester, Va. Quirky,

comedic character and leading man who first gained notoriety in Kevin WILLIAMSON’s popular teen

slasher flick Scream (1996) and its sequels. He made a dramatic turn as a male prostitute in the little-

seen indie Johns (1996), but is perhaps best known for his series of TV commercials for AT&T. He is

divorced from actress Courteney Cox Arquette and is sibling to actors Alexis, Rosanna, and Patricia

ARQUETTE.

  FILMS INCLUDE: Buffy the Vampire Slayer, Where the Day Takes You 1992; The Webbers 1993;

Airheads 1994; Fall Time, Wild Bill 1995; Beautiful Girls, Johns, Scream 1996; Dream with the

Fishes (also co-prod.), Scream 2 1997; Kiss & Tell, Muppets from Outer Space, Never Been Kissed,

Ravenous, The Runner 1999; Ready to Rumble, Scream 3 2000; 3000 Miles from Graceland, The

Grey Zone, See Spot Run 2001; Eight Legged Freaks, Happy Here and Now 2002; A Foreign Affair

2003; Never Die Alone 2004; Slingshot 2005; The Darwin Awards, The Tripper (also prod., dir.,

scr.) 2006; Hamlet 2 2008; The Land of the Astronauts 2010; Conception, Scream 4 2011.

  Arquette, Patricia. Actress. b. Apr. 8, 1968, Chicago. Fascinating and gripping leading lady of

American films. She got her start in television series and quickly developed into a compelling,

believable performer. She is best known for her gutsy portrayal of Alabama in the violent, ultra-hip

action film True Romance, and a sensitive, tender, critically lauded performance in Ethan Frome

(both 1993). Her brothers Alexis and David ARQUETTE and sister Rosanna ARQUETTE are also actors.

Divorced from actor Nicolas CAGE, she married actor Thomas JANE in 2006.

   FILMS INCLUDE: A Nightmare on Elm Street 3: Dream Warriors, Pretty Smart, Time Out 1987;

Far North 1988; The Indian Runner 1991; Inside Monkey Zetterland 1992; Ethan Frome, Trouble

Bound, True Romance 1993; Ed Wood, Holy Matrimony 1994; Beyond Rangoon 1995; Flirting With

Disaster, Infinity, Night Watch, The Secret Agent 1996; Lost Highway 1997; The Hi-Lo Country,

Nightwatch 1998; Bringing Out the Dead, Goodbye Lover, I’m Losing You, Stigmata 1999; Little

Nicky 2000; Human Nature 2001; The Badge 2002; Holes, Tiptoes 2003; Fast Food Nation 2006; A

Single Woman 2008.

   Arquette, Rosanna. Actress, director. b. Aug. 10, 1959, New York City, into a Russian-French-

Jewish show business family. Petite, offbeat, sensual lead of Hollywood films of the 80s. The

daughter of actor Lewis Arquette and granddaughter of comedian Cliff (“Charley Weaver”) Arquette,

she started an early career in children’s theatre. At 18 she began appearing in TV movies and two

years later co-starred in the TV series ‘Shirley.’ She was nominated for an Emmy for her passionate

performance in the TV movie (shown theatrically abroad) The Executioner’s Song (1982), and in the

same year won accolades for the title role in the TV remake of Johnny Belinda. As sparkling in

comedy as she is compelling in dramatic roles, she scored a huge hit on the big screen in 1985 with

Desperately Seeking Susan. Her siblings, Alexis, David, and Patricia ARQUETTE, are also actors.

   FILMS INCLUDE: More American Graffiti 1979; Gorp 1980; S.O.B. 1981; Baby It’s You, Off the

Wall 1983; After Hours, The Aviator, Desperately Seeking Susan, Silverado 1985; Eight Million

Ways to Die, Nobody’s Fool 1986; Amazon Women on the Moon 1987; Le Grand Bleu/The Big Blue

1988; Black Rainbow, New York Stories (‘Life Lessons’ episode) 1989; Almost/Wendy Cracked a

Walnut (Austral.), Flight of the Intruder 1991; The Linguini Incident 1992; Nowhere to Run, The

Wrong Man 1993; Pulp Fiction 1994; Search and Destroy 1995; Gone Fishin’ 1996; Crash 1997;

Buffalo 66, Deceiver, Hope Floats 1998; Sugar Town, V       oodoo Dawn 1999; The Big Blue, The Whole

Nine Yards 2000; Big Bad Love, Diary of a Sex Addict, Joe Dirt (cameo) 2001; Iowa 2004; Kids in

America, Welcome to California 2005; Battle for Terra (v/o) 2007; Ball Don’t Lie, Growing Op

2008; Repo Chick 2009; Inhale 2010; Convincing Clooney, Peace Love & Misunderstanding 2011.

As director—Searching for Debra Winger (doc.) (also prod., nar.) 2002.

   Artaud, Antonin. Dramatist, theorist, actor, screenwriter. b. Antoine-Marie-Joseph Artaud, Sept.

4, 1896, Paris. d. 1948. A key figure in the French avant-garde, he is most closely identified with his

ideas of the “Theater of Cruelty,” which he expressed in the book Le Théâtre et son Double. (The

Theater and Its Double, 1938). In this book, as well as in many essays, he also dealt with the theory

and aesthetic of cinema. Artaud wrote a couple of scripts for avant-garde films and acted in a number

of French productions, notably in the role of a young priest in Carl Dreyer’s The Passion of Joan of

Arc. Artuad was plagued by physical and mental hardships throughout his life. A victim of meningitis,

he nearly died at age five. For the rest of his life he suffered from severe headaches and neurological

pains, and later became addicted to drugs. After returning to Paris from a Mexican trip, he suffered a

mental breakdown and was hospitalized in 1937. He was confined to asylums for most of his

remaining years, gaining his final release in 1946.

   FILMS INCLUDE: As screenwriter—L’Etoile de Mer 1926; Le Coquille et le Clergyman/The

Seashell and the Clergyman 1927. As actor—Fair divers 1922; Surcouf 1924; Le Juif errant 1926;

Napoléon (as Marat) 1927; La Passion de Jeanne d’Arc/The Passion of Joan of Arc, L’Argent 1928;

L’Opéra de Quat’ Sous/The Threepenny Opera (French version of Pabst’s Die Dreigroschenoper)

1930; Les Croix de Bois 1932; Mater Dolorosa 1933; Liliom 1934; Lucrèce Borgia (as Savonarola),

Koenigsmark 1936.

   art director. Also called a production designer, this is the person on a film crew ultimately

responsible for every aspect of film décor and set construction. The art director’s duties range from

designing and preparing all studio and outdoor settings to acquiring all properties required by the

script.

   Probably the most underrated of cinema artists, the art director may dominate the visual quality of a

film, and the caliber of his or her work often determines its mood and atmosphere. Art director is one

of the most complex jobs in filmmaking. It requires knowledge of architecture and design, a good

grasp of decorative and costume styles of all periods, graphic ability, business acumen, and a

working knowledge of everything concerning film production, including photography, lighting, special

effects, and editing.

   The art director confers with the director and the producer to determine how a film should be

interpreted visually, then proceeds to prepare detailed sketches of the suggested sets, at the proper

scale and from approximate camera angles. In planning the sets, the art director must think not only in

aesthetic terms but also in budgetary and technical ones. He or she must evaluate the cost of

construction and allow for the shooting of each set from every possible angle. In carrying out his or

her functions, he or she often is aided by a team consisting of a set decorator, a scenic artist, a

construction manager, a property buyer, and a number of draftspeople.

   Artistically, the art director provides a visual translation of the script. Everything that surrounds the

action in front of the camera, in the foreground as well as in the background, is his or her

responsibility, including the choice of costumes, which he or she coordinates with the costume

designer. He or she is also responsible for the authenticity of architecture on location and may be

required to supervise the construction of a fake building, a street, or a whole town.

   Nowadays, the title “production designer” is usually given to the person in charge of a film’s total

visual design (formerly known as an art director). In modern terminology, art directors and set

designers work under the supervision of the production designer.

   Among the art directors (or production designers) whose skills have influenced cinema art are

André ANDREJEW, Richard DAY, Cedric GIBBONS, Alfred JUNGE, Boris LEVEN, Lazare MEERSON,

William Cameron MENZIES, Walter RÖRIG, Alexander TRAUNER, and Hermann WARM. In recent years,

noted production designers have included Rick CARTER, Martin Childs, Stuart Craig, Dante FERRETTI,

Jack FISK, Anton FURST, Grant Major, Catherine MARTIN, John MYHRE, Polly PLATT, Richard

SYLBERT, Dean TAVOULARIS, and Patrizia VON BRANDENSTEIN.

   art house. A theater specializing in the exhibition of quality films, either classic revivals or new

films of limited box-office appeal. The International Confederation of Art Houses (CICAE) was

established in Paris in 1955.

   Arthur, George K. Actor. b. George Brest, Apr. 27, 1889, Aberdeen, Scotland. d. May 30, 1985.

He entered films via the Shakespearean stage and became popular in England after appearing in the

film Kipps (1921). He came to Hollywood in 1922, and stayed to enjoy a successful career as a light

leading man and supporting player. In a marked departure from his usual sunny roles, he played the

sad and dreamy hero of Josef von Sternberg’s The Salvation Hunters in 1925. In 1927 he was teamed

up with Karl DANE in Rookies, the first of a series of highly popular comedies in which the two

actors co-starred through 1929. He retired in 1935 to go into business and, among other ventures,

produced and distributed films.

   FILMS INCLUDE: In the UK—A Dear Fool, Kipps 1921. In the US—Hollywood, Madness of

Youth 1923; Flames of Desire 1924; Her Sister from Paris, Lady of the Night, Lights of Old

Broadway, The Salvation Hunters 1925; Bardelys the Magnificent, The Boob, The Boy Friend, The

Exquisite Sinner, Irene, Kiki, The Waning Sex 1926; The Gingham Girl, Rookies, Spring Fever, The

Student Prince 1927; Baby Mine, Brotherly Love, Circus Rookies, Detectives 1928; All at Sea, China

Bound, The Last of Mrs. Cheyney 1929; Chasing Rainbows 1930; Oliver Twist (as Toby Crackit)

1933; Riptide 1934; Vanessa: Her Love Story 1935.

   Arthur, Jean. Actress. b. Gladys Georgianna Greene, Oct. 17, 1905, New York City. d. 1991. The

daughter of a still photographer, she quit school at 15 to become a model and later an actress. She

made her screen debut in 1923, playing a small role in John Ford’s Cameo Kirby and for the next few

years played routine ingenue and leading lady parts in numerous low-budget Westerns and some

comedy shorts. Her unusual cracked, husky voice became an asset with the coming of sound. Her

roles improved, but not enough. In 1932 she quit films briefly for an unsuccessful Broadway stint. The

turning point in her career came in 1935, in John Ford’s The Whole Town’s Talking, in which she first

demonstrated her light comedy touch and the appeal of her girl-next-door personality. She went on to

play a succession of fetching, vivacious, often oddball, unpretentious heroines. She reached the peak

of her popularity in Frank CAPRA’s social comedies of the late 30s. She was nominated for an Oscar

for her performance in George STEVENS’s The More the Merrier (1943). Stevens later called her “one

of the greatest comediennes the screen has ever seen.” In the mid-40s, at the end of a long-lasting fight

with Columbia boss Harry COHN, she was released from her contract commitments and returned to

the screen only twice, making her last appearance in Stevens’s classic Western Shane (1953). In 1950

she won critical acclaim in a Broadway production of ‘Peter Pan.’ In 1956 she starred in a short-

lived TV series, ‘The Jean Arthur Show.’ She later taught drama at Vassar and other colleges and

made infrequent out-of-town stage appearances. Her second husband (1932–49) was singer-turned-

producer Frank ROSS.

   FILMS INCLUDE: Cameo Kirby, The Temple of Venus (unbilled bit) 1923; Biff Bang Buddy, Fast

and Fearless, Bringin’ Home the Bacon, Travelin’ Fast, Thundering Romance 1924; Seven Chances

(bit), Drug Store Cowboy, The Fighting Smile, A Man of Nerve, Tearin’ Loose, Hurricane Horseman,

Thundering Through 1925; Under Fire, Born to Battle, The Fighting Cheat, Double Daring, Lightning

Bill, The Cowboy Cop, Twisted Triggers, The College Boob, The Block Signal 1926; The Masked

Menace (serial), Husband Hunters, The Broken Gate, Horse Shoes, The Poor Nut, Flying Luck 1927;

Wallflowers, Warming Up, Brotherly Love, Sins of the Fathers 1928; The Canary Murder Case, Stairs

of Sand, The Greene Murder Case, The Mysterious Dr. Fu Manchu, The Saturday Night Kid, Half-

Way to Heaven 1929; Street of Chance, Young Eagles, Paramount on Parade, The Return of Dr. Fu

Manchu, Danger Lights, The Silver Horde 1930; The Gang Buster, Virtuous Husband, The Lawyer’s

Secret, Ex-Bad Boy 1931; Get That Venus, The Past of Mary Holmes 1933; Whirlpool, The Defense

Rests, The Most Precious Thing in Life 1934; The Whole Town’s Talking, Public Hero No. 1, Party

Wire, Diamond Jim, The Public Menace, If You Could Only Cook 1935; Mr. Deeds Goes to Town,

The Ex-Mrs. Bradford, Adventure in Manhattan, More Than a Secretary 1936; The Plainsman (as

Calamity Jane), History Is Made at Night, Easy Living 1937; You Can’t Take It With You 1938; Only

Angels Have Wings, Mr. Smith Goes to Washington 1939; Too Many Husbands, Arizona 1940; The

Devil and Miss Jones 1941; The Talk of the Town 1942; The More the Merrier, A Lady Takes a

Chance 1943; The Impatient Years 1944; A Foreign Affair 1948; Shane 1953.

   artificial light. A source of light other than daylight or some natural phenomenon—firelight,

moonlight, etc. In filmmaking the artificial source is usually supplied by electricity in the form of

spotlights or floodlights. The use of artificial light for filming requires adjustments in exposure, since

photographic materials are generally more sensitive to daylight than to artificial light. Thus, most

films come in two speed ratings, one for daylight and one for artificial light.

   Arvidson, Linda. American actress. b. 1884. d. 1949. The first wife of D. W. GRIFFITH, she played

leads in many of his early films. Her book, When the Movies Were Young (1925, reprinted 1968), is

an invaluable source of information about Griffith and his early work. She sometimes used the screen

name Linda Griffith.

   FILMS INCLUDE: The Adventures of Dollie, Balked At the Altar, After Many Years, An Awful

Moment, The Test Of Friendship, The Helping Hand 1908; The Cord of Life, Edgar Allan Poe, The

Politician’s Love Story, A Drunkard’s Reformation, The Cricket on the Hearth, The Mills of the Gods,

Lines of White on a Sullen Sea, Pippa Passes, The Day After 1909; The Rocky Road, The Converts,

The Unchanging Sea, 1910; Fisher Folks, Enoch Arden (also scr.) 1911; The Scarlet Letter 1913; A

Fair Rebel, The Wife 1914; The Gambler of the West 1915; Charity 1916.

   Arzner, Dorothy. Director. b. Jan. 3, 1900, San Francisco. d. 1979. ed. USC (pre-med studies).

One of the few American women directors of the studio era, she made her first contact with movie

personalities while waiting on tables in her father’s small Hollywood café. She drove an ambulance

in WW I, then worked on a newspaper. In 1919 she was hired by William De Mille as a stenographer

in the script department of Famous Players and was later promoted to script clerk and film cutter and

then to film editor. Her editing of the bullfight scenes in Blood and Sand (1922, starring Valentino)

was so imaginative that director James CRUZE entrusted her with the editing of his famous The

Covered Wagon (1923). She also wrote a number of scripts, alone or in collaboration, including

Cruze’s Old Ironsides (1926). In 1927, Paramount gave Miss Arzner her first directing assignment,

Fashions for Women. She continued directing films until 1943 and produced WAC training films

during WW II. Although she officially retired in the mid-40s, Arzner continued to be involved with

cinema for many years. She taught film at the Pasadena Playhouse and UCLA (among her students was

Francis Ford Coppola) and produced Pepsi commercials for her friend, Joan Crawford. Interest in

her work revived during the 70s with the rise in feminist consciousness, although her films did not

typically promote the cause of women’s liberation. In 1975 she was paid a special tribute by the

Directors Guild of America, of which she was the first woman member.

   FILMS INCLUDE: Fashions For Women, Ten Modern Commandments, Get Your Man 1927;

Manhattan Cocktail 1928; The Wild Party 1929; Sarah and Son, Paramount on Parade (co-dir, with

many others), Anybody’s Woman 1930; Honor Among Lovers, Working Girls 1931; Merrily We Go to

Hell 1932; Christopher Strong 1933; Nana 1934; Craig’s Wife 1936; The Bride Wore Red 1937;

Dance Girl Dance 1940; First Comes Courage 1943.

   ASA (American Standards Association). Beginning in 1930 this association established technical

standards, known as the “ASA Standards,” for motion pictures, still photography, and television,

among them the ASA Ratings (see below). In 1966 it changed its names to the USA Standards

Institute.

   ASA Speed Rating. An internationally recognized rating, established by the ASA to indicate the

emulsion speed of film. The film’s sensitivity to light is rated as an ASA number, printed by the

manufacturer on every package of film. This recommended number is used by the cameraman to

calculate his exposure.

   A.S.C. (American Society of Cinematographers). A professional association founded in 1919 by

leading Hollywood cameramen “to advance the art of cinematography.” Membership, by invitation

only, numbers some 250 directors of photography as well as some associate members from allied

crafts. The initials A.S.C. usually follow the name of a director of photography in the screen credits.

The British counterpart is B.S.C. The A.S.C. publishes The American Cinematographer.

   Ashby, Hal. Director, film editor. b. 1929, Ogden, Utah. d. 1988, of liver cancer. A product of a

broken home, he experienced a severe personal crisis at age 12, when his father committed suicide.

He later dropped out of high school, but eventually attended Utah State University. He married and

divorced twice by age 21 (two more divorces followed later), when he hitchhiked to Los Angeles in

1950. After working for a while at Universal as a multilith operator, mimeographing scripts, he

moved on to Republic, where he became an apprentice editor. Later, as assistant editor to Robert

SWINK, he worked with William WYLER and George Stevens, among other directors. After becoming

full editor in 1965, he collaborated mainly with Norman JEWISON, and won an Academy Award for

editing that director’s In the Heat of the Night (1967). Ashby turned out his first film as a director in

1970, and for the rest of the decade enjoyed a growing reputation for his skill, originality, and zest for

the offbeat. His second film, Harold and Maude, initially ignored, became over the years an

enormously popular cult movie. His third, The Last Detail, won him the admiration of serious critics.

He reached the peak of his success with the post-Vietnam drama Coming Home (1978), an Academy

Award nominee for best picture and best director. But after a lesser, if still considerable, achievement

with Being There (1979), Ashby’s career went into a decline from which it never recovered.

   FILMS INCLUDE: As editor—The Loved One (co-edit.), The Cincinnati Kid 1965; The Russians

Are Coming the Russians Are Coming 1966; In the Heat of the Night 1967. As associate producer

—The Thomas Crown Affair 1968; Gaily Gaily 1969. As director—The Landlord 1970; Harold and

Maude (also cameo) 1971; The Last Detail 1973; Shampoo 1975; Bound for Glory 1976; Coming

Home (also cameo) 1978; Being There (also edit., cameo) 1979; Second Hand Hearts/The Hamster

of Happiness (also edit., release delayed from 1979) 1981; Lookin’ to Get Out, Let’s Spend the Night

Together (Rolling Stones concert film) 1982; The Slugger’s Wife (also cameo) 1985; 8 Million Ways

to Die 1986.

   Ashcroft, Dame Peggy. Actress. b. Dec. 22, 1907, Croydon, England. d. 1991. Made her London

stage debut in 1927, her New York stage debut in 1937. A distinguished Shakespearean interpreter,

she appeared in occasional films. She was created Dame Commander of the British Empire in 1956.

At age 77 she won an Academy Award as best supporting actress for her performance in A Passage to

India.

   FILMS INCLUDE: The Wandering Jew 1933; The Thirty-nine Steps 1935; Rhodes of

Africa/Rhodes 1936; Quiet Wedding 1940; The Nun’s Story 1959; Tell Me Lies, Secret Ceremony

1968; Three Into Two Won’t Go 1969; Sunday Bloody Sunday 1971; Der Fussgänger/The Pedestrian

(Ger.) 1974; Joseph Andrews 1977; Hullabaloo Over Georgie and Bonnie’s Pictures 1979; A

Passage to India 1984; When the Wind Blows (v/o), Madame Sousatzka 1988; She’s Been Away

1989.

   Asher, William. Director. b. Aug. 8, 1921. He made his first film, a low-budget boxing drama, in

collaboration with Richard QUINE, in 1948. He then directed for TV returning briefly to feature films

                                                                      ,

in 1957. Back in features again in the mid-60s, he started a vogue for silly, youth-oriented beach

pictures, then went back to TV where he was best known as producer-director of ‘Bewitched’

                                  ,

(starring his wife Elizabeth Montgomery). He returned to feature films again in the 80s.

   FILMS INCLUDE: Leather Gloves (co-dir., co-prod. with Richard Quine) 1948; The Shadow on

the Window, The 27th Day 1957; Beach Party, Johnny Cool (also prod.) 1963; Bikini Beach (also co-

scr.), Muscle Beach Party (also co-story) 1964; Beach Blanket Bingo (also co-scr.), How to Stuff a

Wild Bikini (also co-scr.) 1965; Fireball 500 (also co-scr.) 1966; Night Warning 1983; Movers and

Shakers 1984.

   Asherson, Renée. Actress. b. Renée Ascherson, May 19, 1920, London. She made her stage debut

in 1935, playing a walk-on part in John Gielgud’s Romeo and Juliet. She had a rich theatrical career

before her first film appearance, in Laurence Olivier’s Henry V (1944). Her film appearances have

been infrequent.

   FILMS INCLUDE: Henry V (as Princess Katharine), The Way Ahead/Immortal Battalion 1944;

Caesar and Cleopatra, The Way to the Stars/Johnny in the Clouds 1945; Once a Jolly

Swagman/Maniacs on Wheels 1948; The Cure for Love, The Small Back Room 1949; Pool of London

1950; Malta Story 1953; The Day the Earth Caught Fire 1962; Rasputin the Mad Monk (as the

Tsarina) 1966; Theatre of Blood 1973; Hell House Girls 1975; Grey Owl 1999; The Others 2001.

   Ashley, Elizabeth. Actress. b. Elizabeth Ann Cole, Aug. 30, 1939, Ocala, Fla. Versatile, intense

leading lady of the American stage, TV and films. She won a Tony Award for her very first Broadway

                                         ,

performance in ‘Take Her She’s Mine’ (1961–62), and enjoyed great success in 1963 as the star of the

stage comedy hit ‘Barefoot in the Park.’ She made her screen debut the following year in The

Carpetbaggers, but in 1965, after appearing in two more films, she retired from acting for personal

reasons. She returned to full activity in the early 70s, and in 1974 received critical accolades for her

strong portrayal of Maggie in the Broadway revival of Tennessee Williams’s ‘Cat on a Hot Tin Roof.’

She has since appeared in film with greater regularity and become known as the eccentric Aunt

Frieda on TV’s ‘Evening Shade.’ She is divorced from actors James FARENTINO and George PEPPARD.

Autobiography: Actress—Postcards from the Road (1978).

   FILMS INCLUDE: The Carpetbaggers 1964; Ship of Fools, The Third Day 1965; Hawaii 1966;

The Marriage of a Young Stockbroker 1971; Paperback Hero 1973; Golden Needles 1974; 92 in the

Shade, Rancho Deluxe 1975; The Great Scout and Cathouse Thursday 1976; Coma 1978; Windows

1980; Paternity 1981; Split Image 1982; Dragnet 1987; Dangerous Curves 1988; Vampire’s Kiss

1989; Shoot the Moon 1996; Happiness 1998; Just the Ticket 1999; Sweet Home Hoboken 2000; Hey

Arnold! The Movie (v/o) 2002; The Cake Eaters 2007.

   Ashman, Howard. Lyricist, playwright, stage director. b. May 17, 1950, Baltimore. d. 1991. ed.

Goddard Coll. (B.A.), Indiana U. (M.A.). The son of an ice cream cone manufacturer, he came to

New York to write plays, beginning with ‘The Confirmation’ in 1976, and also served as artistic

director of the WPA Theatre (1977–82). Interested in writing lyrics, he embarked on a long-term

collaboration with composer Alan MENKEN. Their first production was the musical ‘God Bless You,

Mr. Rosewater’ (1979); Ashman directed and wrote the book and lyrics. In 1983, the collaborators

enjoyed their first major commercial success with the Tony-nominated ‘Little Shop of Horrors.’

Based on the cult horror-comedy film by Roger CORMAN, it became off-Broadway’s most lucrative

musical and was in turn brought to the screen. After collaborating with Marvin HAMLISCH on the

unsuccessful stage show ‘Smile’ (1986), Ashman reunited with Menken to write original songs for a

series of Disney animated features. Marking a renaissance for Disney’s fairy-tale genre, the films

were greatly enhanced by the bright, hummable songs written in a pastiche of styles—calypso for The

Little Mermaid’s ‘Under the Sea’ (Oscar winner, best song), French music-hall for Beauty and the

Beast’s ‘Be Our Guest.’ The title song from the latter film won an Oscar for best song. Soon after the

Oscar win for The Little Mermaid, Ashman announced to his collaborator that he was sick with

AIDS. He lived to write the lyrics for half of the songs in Aladdin before succumbing to the illness.

The lyrics for Aladdin were completed by Tim Rice, who won an Oscar with Menken for ‘Whole

New World.’

  FILMS INCLUDE: Little Shop of Horrors 1986; The Little Mermaid (mus. dir., also co-prod.)

1989; Beauty and the Beast 1991; Aladdin (co-lyricist) 1992.

  Ashton, John. Actor. b. Feb. 22, 1948, Springfield, Mass. ed. USC. A beefy, often moustached

character player, he is memorable as the sour detective Taggart in Beverly Hills Cop (1984) and as

bounty hunter Marvin Dorfler in Midnight Run (1988).

  FILMS INCLUDE: Oh, God! 1977; Breaking Away 1979; Borderline 1980; Beverly Hills Cop

1984; King Kong Lives 1986; Beverly Hills Cop II, Some Kind of Wonderful 1987; Midnight Run,

She’s Having a Baby 1988; Curly Sue 1991; Little Big League, Trapped in Paradise 1994; Fast

Money, The Shooter 1995; Meet the Deedles 1998; Avalanche, Instinct 1999; Bill’s Gun Shop 2001;

Gone Baby Gone 2007; A Letter to Dad, Middle Men 2009.

  ASIFA (Association Internationale du Film d’Animation). International body established in 1959

to encourage the development of animated films through cooperation and free exchange of ideas

between nations. Among the member countries are the US, Russia, the UK, Canada, Japan, Belgium,

Hungary, and Germany.

  Asner, Edward. Actor. b. Nov. 15, 1929, Kansas City, Mo. ed. U. of Chicago. Gruff, balding,

paunchy character player of the American stage, TV and films. He made his professional debut in

                                                      ,

Chicago at 18, and after challenging Broadway in the 50s moved on to Hollywood, where he found

ample employment in TV and films. He scored a huge success on the small screen in the role of boss

Lou Grant in the comedy series ‘The Mary Tyler Moore Show’ (1970–77) and as the star of his own

offshoot drama series ‘Lou Grant’ (1977–82). He won four Emmy Awards for his performance in

these series and two additional Emmys for his roles in the miniseries ‘Rich Man, Poor Man’ and

‘Roots.’ An outspoken activist for liberal causes, Asner was the center of much controversy in the

80s, when he was accused by opponents of using his fame and his standing as president of the Screen

Actors Guild (1981–85) to cause turmoil and dissent in the industry’s labor relations.

  FILMS INCLUDE: Kid Galahad 1962; The Satan Bug, The Slender Thread 1965; El Dorado,

Gunn, The Venetian Affair 1967; Change of Habit 1969; Halls of Anger, They Call Me Mister Tibbs

1970; Skin Game, The Todd Killings 1971; The Wrestler 1974; Gus 1976; Fort Apache the Bronx

1981; O’Hara’s Wife 1982; Daniel 1983; Pinocchio and the Emperor of the Night (v/o) 1987; Moon

Over Parador (cameo) 1988; Happily Ever After (v/o) 1990; JFK 1991; Hard Rain 1998; The

Bachelor 1999; Above Suspicion, Bring Him Home 2000; The Animal 2001; The Commission, Elf,

Missing Brendan 2003; All In, Sheeba 2005; Hard Four 2007; Channels, Gigantic 2008; The Triumph

of William Henry Harrison (v/o), Up (v/o) 2009; Audrey, Hopelessly in June 2010; Let Go 2011.

  Asp, Anna. Production designer. b. May 16, 1946, Sweden. ed. Academy of Fine Arts and

Dramatic Institute, Stockholm. Her impressive production designs have enhanced the work of

Scandinavia’s best-known directors, including Ingmar BERGMAN, Andrei TARKOVSKY, and Bille

AUGUST. She won an Oscar for Bergman’s Fanny and Alexander.

   FILMS INCLUDE: As art director or production designer—Giliap 1973; Ansikte mot ansikte/Face

to Face 1976; Hostsonaten/Autumn Sonata (sets only) 1978; Min Alskade 1979; Fanny and Alexander

1982; After the Rehearsal 1984; Offret-Sacrificatio/The Sacrifice 1986; Pelle Erobreren/Pelle the

Conqueror 1987; Katinka 1988; Peter och Petra 1989; Den Goda Viljan 1992; The House of the

Spirits 1993; Jerusalem 1996; Smilla’s Sense of Snow 1997; Hamilton, Les Misérables 1998; A Song

for Martin 2001; Evil 2004; Zozo 2005; ARN: The Knight Templar 2007; ARN: The Kingdom at

Road’s End 2008; Lost in Africa 2010.

   aspect ratio. The width-to-height ratio of a printed motion picture frame or the image it projects on

a screen. For some 50 years after the advent of cinema the standard ratio was 4:3, or 1.33:1. This

shape, established in 1906 as an international standard, was considered ideal for composition and

viewing comfort. However, experimentation with various screen shapes continued (Eisenstein, among

others, toyed with the idea of a square screen), and during the 50s, with the advent of wide screens, a

range of aspect ratios was introduced, from 1.65:1 to 2.55:1. More revolutionary screen shapes are

still in the experimental stage. See also SCREEN; WIDE-SCREEN PROCESSES; CINEMASCOPE; CINERAMA.

   Asquith, Anthony. Director. b. Nov. 9, 1902, London. d. 1968. ed. Oxford. The son of H. H.

Asquith, Britain’s Liberal prime minister (1908–16). In 1925 Asquith, nicknamed “Puffin,” co-

founded the Film Society, with Bernard Shaw, H. G. Wells, Julian Huxley, and others. He then went to

Hollywood to study filmmaking and returned to England in 1926 to start his film career as assistant

director, screenwriter, and editor. His first film, Shooting Stars (co-dir., 1928), was an exceptionally

inventive silent film, noted for its bold cutting techniques and subtle continuity. He extended his

experimentation to include the sound track in his first two sound films, A Cottage on

Dartmoor/Escaped from Dartmoor (1930) and Tell England (co-dir., 1930), for which he gained a

reputation as Hitchcock’s equal.

   Most of Asquith’s subsequent work was divided between semidocumentaries and rather talky

adaptations from drama and literature. At his best, he is a master of atmosphere and can extract the

most from a dramatic situation. His Pygmalion, which he co-directed in 1938, is considered by many

the best screen adaptation of Shaw to date, and his The Importance of Being Earnest (1952) catches

most of the sparkle of Oscar Wilde’s wit.

   FILMS INCLUDE: Shooting Stars (assoc. dir., scr. only), Underground (also scr.) 1928; The

Runaway Princess 1929; A Cottage on Dartmoor/Escaped From Dartmoor 1930; Tell England/The

Battle of Gallipoli (co-dir. with Geoffrey Barkas), Dance Pretty Lady 1931; Lucky Number 1933; The

Unfinished Symphony 1934; Moscow Nights/I Stand Condemned 1935; Pygmalion (co-dir. with

Leslie Howard) 1938; French Without Tears 1939; Freedom Radio/The V             oice in the Night, Quiet

Wedding 1940; Cottage to Let/Bombsite Stolen 1941; Uncensored 1942; The Demi-

Paradise/Adventure for Two, We Dive at Dawn, Welcome to Britain (co-dir. with Burgess Meredith)

1943; Fanny by Gaslight/Man of Evil 1944; The Way to the Stars/Johnny in the Clouds 1945; While

the Sun Shines 1947; The Winslow Boy 1948; The Woman in Question/Five Angles on Murder 1950;

The Browning Version 1951; The Importance of Being Earnest (also scr.) 1952; The Net/Project M–

7/The Final Test 1953; The Young Lovers/Chance Meeting, Carrington V            .C./Court-Martial 1954;

Orders to Kill 1958; The Doctor’s Dilemma, Libel 1959; The Millionairess 1960; Two Living One

Dead 1961; Guns of Darkness 1962; The V         .I.P.s, An Evening with the Royal Ballet (co-dir. with

Anthony Havelock Allan) 1963; The Yellow Rolls-Royce 1964.

   Assante, Armand. Actor. b. Oct. 4, 1949, New York City. ed. AADA. Darkly handsome leading

man and supporting player of the New York stage, Hollywood films, and TV       .

   FILMS INCLUDE: The Lords of Flatbush 1974; Paradise Alley 1978; Prophecy 1979; Little

Darlings, Private Benjamin 1980; I the Jury, Love and Money 1982; Unfaithfully Yours 1984;

Belizaire the Cajun 1986; The Penitent 1988; Animal Behavior 1989; Eternity, Q&A 1990; The

Marrying Man 1991; Hoffa, The Mambo Kings, 1492 1992; Fatal Instinct 1993; Trial by Jury 1994;

Judge Dredd 1995; Striptease 1996; The Road to El Dorado (v/o) 2000; Last Run 2001; Federal

Protection, Partners in Action 2002; Consequence, Tough Luck 2003; Mirror Wars, Two for the

Money 2005; Funny Money, Surveillance 2006; American Gangster, California Dreamin’, Mexican

Sunrise 2007; The Man Who Came Back 2008; The Bleeding, Breaking Point, Chicago Overcoat,

Smile, The Steam Experiment 2009; Killer by Nature, Magic Man, Minkow, Shadows in Paradise

2010; Goat, Jesse 2011.

   assembly. In editing, the initial joining together of shots in proper continuity in an attempt to bring

the film to a rough-cut stage. This involves a selection of takes, the elimination of unwanted footage,

the trimming of scenes to a more or less desirable length, and the marking of transitions. See also

EDITING; ROUGH CUT.

   assistant cameraman. A member of a camera crew responsible for loading and unloading film,

changing camera lenses, maintaining focus while the camera is in motion, keeping the camera in

working order, and filling out camera reports. A full production crew includes at least one assistant

cameraman. A second assistant cameraman is often on the payroll of large-budget productions. He

relieves the first assistant of some of his simpler duties and is responsible for keeping the slate with

the clapsticks ready for shooting.

   assistant director. The director’s right-hand man, he performs the function of a foreman on the set.

The “A.D.,” as he is frequently called, relieves the director of many routine responsibilities so that

the director can concentrate on the creative aspects of his work. The A.D. is responsible for, among

other things, the “call” (summoning the actors, crews, and logistical support to the right place at the

right time). It is also his responsibility to keep the production moving on schedule and to maintain

order and discipline on the set. It is his voice that pleads for “Quiet on the set!” and orders the

camera operator to “Roll.”

   On the creative side, the assistant director is directly responsible for crowd scenes. Prior to the

start of production, he breaks down the script for a shooting schedule, with special attention to bit

players and extras. With the director’s approval, he determines the number of extras to be used in any

particular scene and hires them (usually from CENTRAL CASTING CORPORATION).

   The assistant director often has one or two second assistants, known as “seconds.”

   assistant editor. The film editor’s apprentice. His varied duties include keeping shot records,

splicing film, cutting prints, labeling cans, and in general maintaining a schedule and order in the

usually cramped cutting room.

   assistant producer. A member of a production crew responsible for carrying out the producer’s

instructions. In the absence of the producer, he may perform on-location supervision and co-

ordination duties.

   Associated Actors and Artistes of America. See AAAA.

   Associated British. British film production company. It was founded in 1930, with Pathé as its

distributing arm. Its base of operations was London’s Elstree Studios, the first British studios to turn

out sound films. The company later came under the control of EMI (Electrical and Musical

Industries).

   associate producer. Nominally a producer’s second-in-command, he often shares both creative and

business responsibilities with the producer. Sometimes he is the actual producer of a film with the

credited producer funtioning only as a figurehead.

   Association of Cinematograph Television and Allied Technicians. See ACTT.

   Association Internationale du Film d’Animation. See ASIFA.

   Association of Motion Picture and Television Producers. See AMPTP.

   Asta. A bouncy wirehaired fox terrier who shared the limelight with Myrna Loy and William

Powell in MGM’s “The Thin Man” feature series and barked his way to popularity through other

Hollywood films of the 30s and early 40s. As is frequently the case with animal “stars,” more than

one dog played Asta over the years. A distant relative was recruited for the “Thin Man” TV series in

the late 50s.

   Astaire, Fred. Actor, dancer, choreographer. b. Frederick Austerlitz, May 10, 1899, Omaha, Nebr.

d. June 22, 1987. At the age of seven he started touring the vaudeville circuit with his sister Adele as

a dancing partner. According to some sources, they appeared in 1915 in Mary Pickford’s film

Fanchon the Cricket. In 1917 they made their Broadway dancing debut in the musical ‘Over the Top,’

followed by their first big success, ‘The Passing Show of 1918,’ after which they became perennial

favorites with Broadway and London audiences. After more stage hits, including ‘Lady Be Good’

(1924), ‘Smiles’ (1930), and ‘The Band Wagon’ (1931), the partnership was dissolved following

Adele’s marriage to Lord Charles Cavendish. Astaire was given a Hollywood screen test, resulting in

the famous verdict: “Can’t act. Slightly bald. Can dance a little.” Nevertheless he got a small part

opposite Joan CRAWFORD in Dancing Lady (1933).

   Shortly afterward, Astaire was paired with newcomer Ginger ROGERS, a partnership that was to

last through ten films and produced some of the most magical moments in screen musical history.

When Miss Rogers turned to dramatic roles, Astaire continued to dominate the musical film scene

with such partners as Lucille BREMER, Rita HAYWORTH, Eleanor POWELL, and Cyd CHARISSE. In 1946,

with Gene KELLY fast becoming his heir apparent, Astaire announced his retirement, but two years

later he replaced the ailing Kelly as Judy GARLAND’s partner in Easter Parade. His comeback was

triumphant.

   Almost single-handedly, Fred Astaire restyled the song-and-dance film, leaving his graceful mark

on all musical movies to come. His own films always included solo dance numbers in which he

skillfully improvised in his free, easygoing style, charming audiences with his relaxed exuberance

and sophistication. He also introduced many hit songs, written especially for his pleasant, if

untrained, singing voice. He later proved to be a capable actor in his first dramatic role in On the

Beach (1959). He subsequently abandoned song-and-dance parts for straight acting and was

nominated for an Oscar as best supporting actor for his performance in The Towering Inferno (1974).

   Astaire received a special Academy Award in 1949 for his contribution to films. In 1981 he was

honored with the American Film Institute’s Life Achievement Award. Autobiography: Steps in Time

(1960).

   FILMS INCLUDE: Dancing Lady, Flying Down to Rio 1933; The Gay Divorcee 1934; Roberta,

Top Hat 1935; Follow the Fleet, Swing Time 1936; A Damsel in Distress, Shall We Dance 1937;

Carefree 1938; The Story of Vernon and Irene Castle 1939; Broadway Melody of 1940, Second

Chorus 1940; You’ll Never Get Rich 1941; Holiday Inn, You Were Never Lovelier 1942; The Sky’s

the Limit 1943; Yolanda and the Thief 1945; Blue Skies, Ziegfeld Follies 1946; Easter Parade 1948;

The Barkleys of Broadway 1949; Let’s Dance, Three Little Words 1950; Royal Wedding 1951; The

Belle of New York 1952; The Band Wagon 1953; Daddy Long Legs 1955; Funny Face, Silk Stockings

1957; On the Beach 1959; The Pleasure of His Company 1961; The Notorious Landlady 1962;

Finian’s Rainbow 1968; Midas Run 1969; That’s Entertainment (on-camera co-narr.), The Towering

Inferno 1974; That’s Entertainment II (on-camera co-narr.) 1976; The Amazing Dobermans, Un Taxi

mauve/The Purple Taxi (Fr./It./Ire.) 1977; Ghost Story 1981; George Stevens: A Filmmaker’s Journey

(doc.; on-camera commentary) 1985.

   Asther, Nils. Actor. b. Jan. 17, 1897, Malmö, Sweden. d. 1981. Suave, romantic star of European

and Hollywood films. A graduate of the famed Royal Dramatic Theater, he entered films under the

guidance of director Mauritz STILLER, Garbo’s mentor. He appeared in Swedish and German

productions before arriving in Hollywood in 1927. He was very popular during the waning years of

the silent era, but his foreign accent limited his range after the advent of sound, and his stature

diminished. He continued to play leads, however, and gave a memorable performance in Capra’s The

Bitter Tea of General Yen (1933). After an interlude in England in the mid-30s, he returned to

Hollywood, where he was cast for the most part in low-budget programmers. He returned to Sweden

in 1959. His second wife was actress Vivian Duncan.

   FILMS INCLUDE: The Wings (Sw.) 1916; Love’s Crucible (Sw.) 1922; Finale der Liebe (Ger.)

1925; Die Drei Kuckucksuhren (Ger.) 1926; Topsy and Eva, Sorrell and Son 1927; The Blue Danube,

The Cossacks, Laugh Clown Laugh, Loves of an Actress, The Cardboard Lover, Adrienne

Lecouvreur, Our Dancing Daughters, Dream of Love 1928; Wild Orchids, The Single Standard 1929;

The Sea Bat 1930; Letty Lynton, But the Flesh Is Weak 1932; The Right to Romance, The Bitter Tea of

General Yen, If I Were Free 1933; Madame Spy, The Love Captive, The Crime Doctor 1934; Abdul

the Damned (UK) 1935; The Night of January 16th 1941; Night Monster 1942; Mystery Broadcast

1943; The Man in Half Moon Street 1944; Son of Lassie 1945; That Man From Tangier 1953; When

Darkness Falls (Sw.) 1960; Gudrun/Suddenly, a Woman! (Den.) 1963.

   astigmatism. A defect in a camera lens which causes an optical distortion by not allowing

reflected rays of light to focus uniformly. This aberration is especially noticeable at the edges of a

frame.

   Astin, Sean. Actor. b. Feb. 25, 1971, Santa Monica, Calif. The son of actors Patty DUKE and John

Astin, he got his first break in The Goonies (1985) and steadily became a dependable, popular child

star. He impressed critics and inspired audiences with his determined, against-all-odds football hero

in Rudy (1993), and would later become best known for his portrayal of Sam in the box-office

behemoth and epic film version of the J.R.R. Tolkien trilogy The Lord of the Rings (2001–2003).

   FILMS INCLUDE: The Goonies 1985; Like Father Like Son, White Water Summer 1987; Staying

Together, The War of the Roses 1989; Memphis Belle 1990; Toy Soldiers 1991; Encino Man, Where

the Day Takes You 1992; Rudy 1993; Safe Passage, Teresa’s Tattoo (uncred.) 1994; The Low Life

1995; Courage Under Fire 1996; Boy Meets Girl, Bulworth 1998; The Last Producer, The Sky Is

Falling 2000; Lord of the Rings: The Fellowship of the Ring 2001; Lord of the Rings: The Two

Towers 2002; Lord of the Rings: The Return of the King 2003; 50 First Dates, Elvis Has Left the

Building 2004; Marilyn Hotchkiss’ Ballroom Dancing and Charm School, Slipstream, Smile 2005;

Click, Thanks to Gravity 2006; Borderland, The Final Season, What Love Is 2007; Forever Strong,

Spirit of the Forest (v/o) 2008; Alvin and the Chipmunks: The Squeakquel (v/o), Demoted, Stay Cool

2009; And They’re Off, The Witches of Oz 2011.

   Astor, Gertrude. Actress. b. Nov. 9, 1887, Lakewood, Ohio. d. 1977. Tall, blonde leading lady

and second lead of Hollywood silents and early talkies; later in scattered character roles. A stage

actress in stock from age 13, she joined Universal in 1914 and remained with that studio through the

mid-20s, later freelancing for various companies. She typically played vampy roles, often as the

calculating “other woman.” She was quite popular among fans and enjoyed the reputation of being

one of Hollywood’s most elegant and best-dressed women. She was a favorite of John Ford and

appeared in many of his films through the early 60s. At one point in her career she played the

trombone on a Mississippi showboat. She died on her 90th birthday.

   FILMS INCLUDE: The Devil’s Pay Day, Bondage 1917; The Brazen Beauty 1918; The Wicked

Darling 1919; The Branding Iron 1920; The Concert, Through the Back Door 1921; Beyond the

Rocks, The Wall Flower, The Impossible Mrs. Bellew, The Kentucky Derby, You Never Know 1922;

Alice Adams, The Ne’er-Do-Well, Rupert of Hentzau, Flaming Youth, The Wanters 1923; Secrets,

Broadway or Bust, Daring Love, The Torrent, The Silent Watcher 1924; The Reckless Sex, The

Charmer, The Verdict, Kentucky Pride, Satan in Sables, Stage Struck, Ship of Souls 1925; Kiki, The

Boy Friend, Don Juan’s Three Nights, The Strong Man, The Old Soak, The Country Beyond 1926;

The Taxi Dancer, The Cat and the Canary, Shanghaied, The Irresistible Lover, Pretty Clothes,

Ginsberg the Great, Uncle Tom’s Cabin 1927; The Cohens and the Kellys in Paris, Rose-Marie,

Stocks and Blondes 1928; Synthetic Sin, The Fall of Eve, Twin Beds, Frozen Justice, Untamed 1929;

Be Yourself!, Dames Ahoy! 1930; Come Clean (short; as Oliver Hardy’s wife), Hell Bound 1931;

Western Limited 1932; I Have Lived 1933; Wine Women and Song 1934; Empty Saddles 1936;

Misbehaving Husbands 1940; Hold Back the Dawn 1941; My Dear Secretary 1948; Father Makes

Good 1950; Around the World in 80 Days 1956; All in a Night’s Work 1961; The Man Who Shot

Liberty Valance 1962.

   Astor, Mary. Actress. b. Lucille Vasconcellos Langhanke, May 3, 1906, Quincy, Ill. d. 1987.

Delicately beautiful star of silent and sound films. Driven by a career-minded German-immigrant

father, she entered a beauty contest at 14 and films at 15. After playing an assortment of small roles,

she coasted to stardom in 1924 as John Barrymore’s leading lady in Beau Brummel. She remained an

important screen personality through the remainder of the silent era and through the 40s. Her off-

screen adventures, including a stormy love affair with John Barrymore, four marriages, alcoholism,

and attempted suicide, were popular subjects of Hollywood gossip. Her first husband, director

Kenneth Hawks (brother of Howard Hawks), died in a 1930 plane crash while on a filming

assignment. During a custody battle over her daughter in divorcing her second husband, a physician,

in 1936, Miss Astor’s personal diary was introduced in court, listing indiscretions that embarrassed

many in the film community, and including a secret affair with playwright George S. KAUFMAN. The

affair, Hollywood’s most publicized scandal of the 30s, almost ruined her career, but she quickly

returned to the screen, typically playing elegant, sophisticated, often bitchy women of the world. After

1949 she was seen in films only occasionally, in character parts. A heart condition kept her off the

screen after 1965. She spent her final years confined to the Motion Picture Country Home. She

authored two autobiographical volumes, My Story (1959) and A Life on Film (1971) and several

moderately successful novels.

   FILMS INCLUDE: Sentimental Tommy (bit, cut from final print), The Beggar Maid (two-reel art

film) 1921; The Young Painter (two-reel art film), The Man Who Played God, John Smith 1922;

Second Fiddle, Success, The Bright Shawl, Hollywood (cameo), The Marriage Maker, Puritan

Passions, The Rapids, Woman-Proof 1923; The Fighting Coward, Beau Brummel, The Fighting

American, Unguarded Women, The Price of a Party, Inez from Hollywood 1924; Oh Doctor!,

Enticement, Playing With Souls, Don Q Son of Zorro, The Pace That Thrills, Scarlet Saint 1925; High

Steppers, The Wise Guy, Don Juan, Forever After 1926; The Sea Tiger, The Rough Riders, The

Sunset Derby, Rose of the Golden West, No Place to Go, Two Arabian Knights 1927; Sailors’ Wives,

Dressed to Kill, Three-Ring Marriage, Heart to Heart, Dry Martini, Romance of the Underworld

1928; New Year’s Eve, The Woman From Hell 1929; Ladies Love Brutes, The Runaway Bride,

Holiday, The Lash/Adios 1930; The Royal Bed, Behind Office Doors, The Sin Ship, Other Men’s

Women, White Shoulders, Smart Woman 1931; Men of Chance, The Lost Squadron, A Successful

Calamity, Those We Love, Red Dust 1932; The Little Giant, Jennie Gerhardt, The World Changes,

The Kennel Murder Case, Convention City 1933; Easy to Love, Upper World, Return of the Terror,

The Man With Two Faces, The Case of the Howling Dog 1934; I Am a Thief, Red Hot Tires, Straight

From the Heart, Dinky, Page Miss Glory, Man of Iron 1935; The Murder of Dr. Harrigan, And So

They Were Married, Trapped by Television, Dodsworth, Lady From Nowhere 1936; The Prisoner of

Zenda, The Hurricane 1937; Paradise for Three, No Time to Marry, There’s Always a Woman,

Woman Against Woman, Listen Darling 1938; Midnight 1939; Turnabout, Brigham Young 1940; The

Great Lie, The Maltese Falcon 1941; In This Our Life (unbilled cameo), Across the Pacific, The

Palm Beach Story 1942; Thousands Cheer, Young Ideas 1943; Blonde Fever, Meet Me in St. Louis

1944; Claudia and David 1946; Fiesta, Cynthia, Desert Fury, Cass Timberlane 1947; Act of Violence,

Little Women, Any Number Can Play 1949; A Kiss Before Dying, The Power and the Prize 1956; The

Devil’s Hairpin 1957; This Happy Feeling 1958; Stranger in My Arms 1959; Return to Peyton Place

1961; Youngblood Hawke 1964; Hush . . . Hush Sweet Charlotte 1965.

   Astoria Studios. Movie production center opened on Sept. 20, 1920, Astoria, Queens, N.Y. It was

owned by Famous Players-Lasky, which later became Paramount. Numerous silent features (including

all of D. W. Griffith’s Paramount films) and early sound features (including the 1929 films The Letter

and The Cocoanuts) were produced on the lot. From 1925, it was also the site of the Paramount

Acting School. By the 30s, it became an independent production center. During WW II, the War

Department renamed it the US Army Pictorial Center and used it to produce war-related films. No

further commercial features were made at the studio until after 1976, when it was revived by the

Astoria Motion Picture and Television Center Foundation. Since then, numerous features, including

Thieves (1977), Arthur (1981), Shadows and Fog (1992), and The Taking of Pelham 123 (2009) have

been made at the studio. Since 1988, the Kaufman-Astoria studios (as they are now called) have also

been the site of the AMERICAN MUSEUM OF THE MOVING IMAGE.

   Astruc, Alexandre. Director. b. July 13, 1923, Paris. ed. Sorbonne (degrees in literature and law).

A novelist and literary and film critic, he advanced the theory of caméra-stylo (camera-pen), which

claimed for films a means of expression all its own, free of the “tyranny of the visual” and limitations

of traditional storytelling concepts, “a means of writing just as flexible and subtle as the written

language.” He started in films as Marc Allégret’s assistant on Blanche Fury (1947), then directed two

amateur 16mm films, Aller et Retour (1948) and Ulysse ou les Mauvaises Rencontres (1949), and

collaborated on the scripts of Achard’s Jean de la Lune (1948) and Pagliero’s La P . . .

Respectueuse/The Respectful Prostitute (1949) before becoming a full-fledged director.

   Astruc’s films show a conscious concern for style for its own sake. Influenced by the German

cinema of the 20s, he selects his shots carefully, concentrating on camera angles and on framing and

lighting, often at the expense of the human drama and theme. On the whole, his product as director

falls short of his theoretical claims.

   FILMS INCLUDE: Le Rideau Cramoisi/The Crimson Curtain (medium length; also scr.) 1953; Les

Mauvaises Rencontres 1955; Une Vie/End of Desire (also co-scr.) 1958; La Proie pour l’Ombre

1960; L’Education sentimentale 1962; La Longue marche 1966; Flammes sur l’Adriatique 1968;

Sartre par luimême (3-hour doc.; co-dir. with Michel Contat) 1976; Les Âmes Fortes (scr. only)

2001.

   asynchronism. The opposite of synchronism, characterized by a discrepancy between the sound

track and the visual image on the screen. It may occur accidentally, through editing errors, or may be

used intentionally for artistic effect.

   Early sound films tended to identify the source of sound visually, often resulting in an annoying

redundancy. It was soon discovered, however, that important effects may be achieved by the

independent manipulation of sight and sound, by divorcing the shown image from the corresponding

sound track.

   Ates, Roscoe. Actor. b. Jan. 20, 1892, Grange, Miss. d. 1962. Accumulated 15 years of concert

(violin) and stage experience, including vaudeville, before entering films in 1929. He played comic

parts in scores of Hollywood films, often as a sidekick to screen cowboys. Cured of a stutter in his

childhood, he later used it for comic effect along with his rubber face and bulging eyes. He was

married to actress Barbara Ray.

   FILMS INCLUDE: South Sea Rose 1929; The Big House, Billy the Kid 1930; Cimarron, The

Champ 1931; Freaks 1932; Alice in Wonderland 1933; The People’s Enemy 1935; God’s Country and

the Woman 1937; Gone With the Wind 1939; Chad Hanna 1940; Sullivan’s Travels, Ziegfeld Girl

1941; The Palm Beach Story 1942; Colorado Serenade 1946; Inner Sanctum 1948; Abbott and

Costello Meet the Keystone Kops 1955; Come Next Spring 1956; The Sheepman 1958; The Errand

Boy 1961.

   Atherton, William. Actor. b. William Knight, July 30, 1947, Orange, Conn. Leading man and

supporting player of the American stage and screen. While still a high school student he became the

youngest member of the Long Wharf Theatre Company in New Haven. He later gained a scholarship

to the Pasadena Playhouse and continued his drama studies at Carnegie Tech, then went to New York

and joined the national touring company of ‘Little Murders.’ He subsequently appeared in a number of

New York plays, making his film debut in 1972. He specializes in playing obnoxious second villains,

notably the priggish bureaucrat in Ghostbusters (1984) and the heartless reporter in Die Hard (1988).

   FILMS INCLUDE: The New Centurions 1972; Class of ’44 1973; The Sugarland Express 1974;

The Day of the Locust, The Hindenburg 1975; Looking for Mr. Goodbar 1977; Ghostbusters 1984;

Real Genius 1985; No Mercy 1986; Die Hard 1988; Die Hard 2, Grim Prairie Tales, Navy SEALS

1990; Oscar 1991; Chrome Soldiers 1992; The Pelican Brief 1993; Bio-Dome 1996; Hoodlum, Mad

City 1997; The Crow: Salvation 2000; Burning Down the House, Race to Space 2001; The Last

Samurai 2003; Headspace, Into the Sun 2005; The Girl Next Door 2007; The Kane Files: Life of

Trial 2010; Jinn 2011.

   Atkins, Christopher. Actor. b. Feb. 21, 1961, Rye, N.Y. ed. Dennison U. Curly blond lead who

rocketed to fame as the object of Brooke SHIELDS’s innocent passion in The Blue Lagoon, his first

film. His acting career having peaked at an early age, he continued to work on low-budget films well

into the 2000s.

   FILMS INCLUDE: The Blue Lagoon 1980; The Pirate Movie (Austral.) 1982; A Night in Heaven

1983; Mortuary Academy 1988; Listen to Me 1989; Shakma 1990; Shoot 1992; It’s My Party 1996;

Civility, Stageghost 2000; Title to Murder 2001; 13th Child, True Legends of the West, Under the Gun

2002; The Librarians, Quigley 2003; Payback 2006; Spiritual Warriors 2007; Blind Ambition 2008;

Forget Me Not 2009; Amy, Exodus Fall, Serpent Rising 2010; Sedona, The Unlikely’s 2011.

   Atkins, Eileen. Actress. b. June 16, 1934, London. Versatile character and leading lady of the

British and American stage, TV and films.

                                 ,

   FILMS INCLUDE: Inadmissible Evidence 1968; Equus 1977; The Dresser 1983; The Vision 1987;

Let Him Have It 1991; Wolf 1994; Cold Comfort Farm, Jack and Sarah 1995; The Avengers 1998;

Women Talking Dirty 1999; Gosford Park 2001; The Hours 2002; Cold Mountain, What a Girl Wants

2003; Vanity Fair 2004; Ask the Dust 2006; Evening 2007; Last Chance Harvey 2008; Robin Hood,

Wild Target 2010.

   atmosphere. The dominant mood or emotional tone of a film, which may evoke a psychological

response from a viewer through association with its physical action and background. Many elements

contribute to a film’s atmosphere, including locales, sets, lighting, pace, camera positions, and

musical background. Directors such as Fritz Lang, Murnau, Renoir, von Sternberg, von Stroheim, and

Welles are noted for their ability to create atmosphere.

   In Hollywood jargon, the term is sometimes used to denote persons or objects in the background of

a shot, such as passersby or an early automobile. Among audio technicians the term denotes the

transmission or reception of sound.

   Attanasio, Paul. Screenwriter. ed. Harvard Law School, Cambridge, Mass. A talented, intelligent

writer, he started out as a TV critic for the Washington Post. After breaking into writing for TV on the

series ‘Homicide: Life on the Streets,’ he moved to writing for films, most notably his Academy

Award-nominated screenplays for Quiz Show (1994) and Donnie Brasco (1997).

   FILMS INCLUDE: Disclosure, Quiz Show 1994; Donnie Brasco 1997; Sphere (co-scr.) 1998; The

Sum of All Fears 2002; The Good German 2006.

   Attenborough, Lord Richard (Samuel). Actor, director, producer. b. Aug. 29, 1923, Cambridge,

England, the son of a college administrator. He was drawn early to acting, began performing at 12,

and made his professional stage debut in 1941 while still attending the Royal Academy of Dramatic

Art (RADA). The following year he played a small but important part in Noël Coward’s WW II film

drama In Which We Serve, portraying a coward, a role in which he was to be typecast for some time.

He subsequently played a variety of lead and character roles in numerous British and some

Hollywood films. In 1959 he turned to producing, forming a partnership with actor-director-

screenwriter Bryan FORBES. Their company, Beaver Films, was dissolved in 1964. While continuing

his acting career, Attenborough made an impressive start as a director with Oh What a Lovely War! in

1969. Distinguishing himself as a sincere and efficient, if not an inventive, director, he achieved his

greatest success with the mammoth labor-of-love production Gandhi (1982), for which he received

Academy Awards for best film and best director, as well as many other international prizes. His

subsequent big-budget epics have been less successful. Attenborough, who was knighted in 1976, is

known as a workaholic and a dedicated activist in the service of wide-ranging organizations and

causes. Among the many offices he holds are chairman of the RADA, vice president of the British

Academy of Film and Television Arts, governor of the National Film School, chairman of the Actors’

Charitable Trust, pro-chancellor of Sussex University, director of the Chelsea Football Club, and

trustee of the Tate Gallery. On the business side, he is chairman of Goldcrest Film and TV chairman

                                                                                          ,

of Capital Radio, and deputy chairman of Channel 4 TV He married actress Sheila Sim in 1944.

                                                            .

Their son and two daughters also act. Richard’s younger brother, David Attenborough, is a wildlife

expert, noted for his books and educational TV programs.

   FILMS INCLUDE: As actor—In Which We Serve 1942; Schweik’s New Adventures 1943; The

Hundred Pound Window 1944; Journey Together 1945; A Matter of Life and Death/Stairway to

Heaven, School for Secrets/Secret Flight 1946; Brighton Rock/Young Scarface, Dancing with Crime,

The Man Within/The Smugglers 1947; London Belongs to Me/Dulcimer Street 1948; The Guinea Pig,

The Lost People 1949; Boys in Brown, Morning Departure/Operation Disaster 1950; Hell Is Sold

Out, The Magic Box 1951; Father’s Doing Fine, The Gift Horse/Glory at Sea 1952; Eight O’Clock

Walk 1954; The Ship That Died of Shame 1955; The Baby and the Battleship, Private’s Progress

1956; Brothers in Law, The Scamp 1957; Dunkirk, The Man Upstairs, Sea of Sand/Desert Patrol

1958; Danger Within/Breakout, I’m All Right Jack, Jet Storm, S.O.S. Pacific 1959; The Angry

Silence (also co-prod.), The League of Gentlemen 1960; All Night Long, The Dock Brief/Trial and

Error, Only Two Can Play 1962; The Great Escape (US) 1963; Guns at Batasi, Seance on a Wet

Afternoon (also co-prod.), The Third Secret 1964; The Flight of the Phoenix (US) 1965; The Sand

Pebbles (US) 1966; Doctor Dolittle (US) 1967; The Bliss of Mrs. Blossom, Only When I Larf 1968;

The Magic Christian 1969; David Copperfield, The Last Grenade 1970; 10 Rillington Place, Loot, A

Severed Head 1971; And Then There Were None/Ten Little Indians 1974; Brannigan (UK/US),

Conduct Unbecoming, Rosebud (US) 1975; The Chess Players 1977; The Human Factor 1979;

Jurassic Park 1993; Miracle on 34th Street 1994; Hamlet 1996; The Lost World: Jurassic Park 1997;

Elizabeth 1998. As producer—Whistle Down the Wind 1961; The L-Shaped Room (co-prod.) 1962.

As director—Oh What a Lovely War! (also co-prod.) 1969; Young Winston 1972; A Bridge Too Far

1977; Magic 1978; Gandhi (also prod.) 1982; A Chorus Line 1985; Cry Freedom (also prod.) 1987;

Chaplin 1992; Shadowlands (also co-prod.) 1993; In Love and War (also co-prod.) 1996; Grey Owl

1999; Puckoon (also scr.) 2002; Closing the Ring (also prod.) 2007.

   Atwill, Lionel. Actor. b. Mar. 1, 1885, Croydon, England. d. 1946. A veteran of the London stage

(from 1904), he appeared in many Broadway productions of the 20s and in a number of silent films.

He became a Hollywood fixture in the early 30s, when he began a long list of character portrayals in

both lead and supporting roles, often as a crafty villain. Best remembered for his imposing

appearances in horror films.

   FILMS INCLUDE: Eve’s Daughter 1918; The Marriage Price 1919; The Eternal Mother 1920;

Indiscretion 1921; The Silent Witness, Dr. X 1932; The Mystery of the Wax Museum, The Sphinx,

Song of Songs, The Vampire Bat, Murders in the Zoo, The Secret of the Blue Room 1933; Nana,

Beggars in Ermine, Stamboul Quest 1934; Mark of the Vampire, The Devil Is a Woman, Rendezvous,

Captain Blood, Lives of a Bengal Lancer 1935; Absolute Quiet, The Last Train From Madrid, The

Great Garrick (as playwright Beaumarchais), Lancer Spy 1937; Three Comrades, The Great Waltz

1938; Son of Frankenstein, The Three Musketeers (as De Rochefort), The Hound of the Baskervilles,

The Gorilla, The Sun Never Sets, Balalaika 1939; The Mad Empress (also prod. adv.), Johnny

Apollo, Boom Town 1940; Man Made Monster 1941; The Mad Doctor of Market Street, To Be or

Not to Be, The Strange Case of Dr. Rx, The Ghost of Frankenstein, Cairo, Night Monster 1942;

Captain America (serial), Sherlock Holmes and the Secret Weapon, Frankenstein Meets the Wolf Man

1943; Secrets of Scotland Yard, House of Frankenstein 1944; Crime Inc., House of Dracula 1945;

Lost City of the Jungle (serial), Genius at Work 1946.

   Atwood, Colleen. Costume designer. b. circa 1950, Washington. Inspired, highly regarded costume

designer with the ability to move from broad, bawdy, high-kicking musical fare as with Rob

MARSHALL’s hit Chicago (2002) to the same filmmaker’s lush, sophisticated period piece Memoirs of

a Geisha (2005), with utter ease and grace. For her designs for the two latter films, she earned

Academy Awards, as well as another six nominations throughout her notable career.

   FILMS INCLUDE: First Born 1984; Manhunter 1986; Critical Condition, The Pick-Up Artist,

Someone to Watch Over Me 1987; For Keeps?, Fresh Horses, Married to the Mob, Torch Song

Trilogy 1988; Hider in the House 1989; Edward Scissorhands, The Handmaid’s Tale, Joe Versus the

V olcano 1990; Rush, The Silence of the Lambs 1991; Lorenzo’s Oil, Love Field 1992; Born

Yesterday, Philadelphia 1993; Cabin Boy, Ed Wood, Little Women, Wyatt Earp 1994; Gentlemen

Don’t Eat Poets 1995; Head Above Water, The Juror, Mars Attacks!, That Thing You Do! 1996;

Buddy, Gattica 1997; Beloved, Fallen 1998; Mumford, Sleepy Hollow 1999; The Mexican, Planet of

the Apes 2001; Chicago 2002; Big Fish 2003; Lemony Snicket’s A Series of Unfortunate Events 2004;

Memoirs of a Geisha 2005; Mission: Impossible III 2006; Sweeney Todd: The Demon Barber of

Fleet Street 2007; Nine, Public Enemies 2009; Alice in Wonderland, The Tourist 2010; The Run

Diary 2011.

   Auberjonois, René. Actor. b. June 1, 1940, New York City, of Swiss-French descent. ed. Carnegie

Mellon U. Versatile character player of Hollywood films, from the 60s. A respected stage and TV

actor, he won a Tony Award for ‘Coco’ and has been nominated three times since, most recently for

‘City of Angels.’ He has also played regular roles in the TV series ‘Benson’ and ‘Star Trek: Deep

Space Nine.’ He is married to writer Judith Auberjonois; they are the parents of actors Tessa and

Remy Auberjonois.

   FILMS INCLUDE: Lilith 1964; Petulia 1968; Brewster McCloud, M*A*S*H* 1970; McCabe and

Mrs. Miller 1971; Pete ’n’ Tillie 1972; The Hindenburg 1975; The Big Bus, King Kong 1976; Eyes of

Laura Mars 1978; Where the Buffalo Roam 1980; Police Academy 5: Assignment Miami Beach

1988; The Little Mermaid (v/o) 1989; The Player 1992; The Ballad of Little Jo 1993; Batman

Forever 1995; Cats Don’t Dance 1997; Inspector Gadget 1999; The Patriot, We All Fall Down 2000;

Eulogy 2004; Geppetto’s Secret (v/o) 2005.

   Aubry, Cécile. Actress. b. Anne-Marie-José Bénard, Aug. 3, 1928, Paris. d. July 19, 2010. She

was discovered by director Henri-Georges CLOUZOT, who made her an overnight star in his Manon

(1949). Her mature body and childlike face made her an erotic predecessor to Brigitte BARDOT. But

after six more film performances she married a Moroccan prince (later divorced) and retired from

films. She has since written and illustrated children’s books and produced children’s programs for

French TV  .

   FILMS INCLUDE: Manon 1949; The Black Rose (US) 1950; Barbe-Bleu/Bluebeard 1951;

Bonjour la Chance 1954; The Reluctant Thief (It.) 1955; L’Espionne Sera à Nouméa 1960.

   Auclair, Michel. Actor. b. Vladimir Vujovií, Sept. 14, 1922, Koblenz, Germany, to a Serbian father

and a French mother. d. 1988. Had a successful stage career in France before entering films in 1945.

He played a great variety of leading roles with considerable subtlety and sophistication. He appeared

mostly in French films but also in many other European productions and one American film, Funny

Face (1957).

   FILMS INCLUDE: La Belle et La Bête/Beauty and the Beast 1946; Les Maudits/The Damned,

Eternel Conflit 1947; Manon, Singoalla (Sw./Fr.) 1949; Justice est faite/Justice Is Done 1950;

Camicie Rosse/Anita Garibaldi (It./Fr.), La Fête a Henriette/Holiday for Henrietta 1952; Si

Versailles m’etait conté/Royal Affairs in Versailles 1953; Quai des Blondes 1954; Bonnes à tuer/One

Step to Eternity, Double Destin, Andrea Chenier (It./Fr.) 1955; Funny Face (US), Les Fanatiques/A

Bomb for a Dictator 1957; Une Fille pour l’Eté/A Mistress for the Summer 1960; Le Rendez-V de    ous

Minuit, L’Education sentimentale 1962; Symphonie pour un Massacre/Symphony for a Massacre

1963; Le Coeur fou 1970; Les Mariés de l’An Deux 1971; The Day of the Jackal (UK/Fr.),

L’Impossible Objet/Impossible Object (Fr./UK/It.) 1973; Les Guichets du Louvre/Black Thursday

1974; Souvenirs d’en France/French Provincial 1975; Le Juge Fayard dit le Sheriff 1977; L’Amour

en Question 1978; Le Coup de Sirocco, Le Toubib 1979; Trois Hommes à abbatre/Three Men to

Destroy 1980; Le Bon Plaisir 1984.

   Auden, W. H. Poet, playwright. b. Wystan Hugh Auden, Feb. 21, 1907, London. d. 1973. In the 30s

this famous poet showed deep interest in Britain’s documentary movement and collaborated on

several productions, writing the verse for such rhythmically paced documentary films as Coal Face

and Night Mail (both 1936).

   Audiard, Michel. Screenwriter, director. b. May 15, 1920, Paris. d. 1985. A former optician and

racing cyclist, and later a journalist and novelist, he turned to screenwriting in the late 40s. He

collaborated on many French films of the 50s and 60s, demonstrating a special flair for bright if

shallow dialogue. He began directing in the late 60s and brought to his own films the same corrosive

humor that had made his scripts popular. Abroad, his films remained best known for their unusually

long titles. In the mid-70s he returned to scriptwriting for others, sometimes in collaboration with his

son, Jacques Audiard.

   FILMS INCLUDE: As screenwriter (scripts or dialogue or both, alone or in collaboration)

—Mission a Tangèr 1949; Le Passe-Muraille/Mr. Peek-a-Boo 1951; Des Dents longues, L’Ennemi

public No. 1/The Most Wanted Man, Les Trois Mousquetaires/The Three Musketeers 1953; Gas-Oil

1955; Le Rouge est mis/Speaking of Murder, Retour de Manivelle/There’s Always a Price Tag 1957;

Les Misérables, Maigret tend un Piège/Inspector Maigret, Le Désordre et la Nuit/Night Affair, Les

Grandes Familles/The Possessors 1958; Babette s’en va-t-en Guerre/Babette Goes to War 1959; La

Française et l’Amour/Love and the Frenchwoman 1960; Un Taxi pour Tobrouk/Taxi for Tobruk 1961;

Le Diable et les Dix Commandements/The Devil and the Ten Commandments, Un Singe en Hiver/A

Monkey in Winter 1962; Mélodie en Sous-Sol/Any Number Can Win 1963; Cent Mille Dollars au

Soleil/Greed in the Sun, La Chasse à l’Homme/Male Hunt, Les Barbouzes/The Great Spy Chase

1964; Tendre V    oyou/Tender Scoundrel 1966; Johnny Banco 1967; L’Incorrigible 1975; Le Corps de

mon Ennemi, Le Grand Escogriffe 1976; L’Animal, Tendre Poulet/Dear Detective/Dear Inspector

1977; Le Cavaleur 1979; On a volé la Cuisse de Jupiter/Jupiter’s Thigh, Pile ou Face/Head or Tails

1980; Garde à Vue/The Inquisitor 1981; On ne meurt que deux fois/He Died With His Eyes Open, La

Cage aux Folles III (“Elles” se marient)/La Cage aux Folles 3: The Wedding 1985. As director-

screenwriter—Faut pas prendre les Enfants du Bon Dieu pour des Canards sauvages/Operation

Leontine 1968; Une Veuve en Or 1969; Elle boit pas elle fume pas elle drague pas mais . . . elle

cause!, Le Cri du Cormoran le Soir au-dessus des Jonques 1970; Le Drapeau noir flotte sur la

Marmite 1971; Elle cause plus . . . elle flingue 1972; Vive la France! (doc.) 1973; Comment reussir

dans la Vie quand on est con et pleurnichard 1974.

  audio. Pertaining to sound or dialogue, as distinguished from “video,” which pertains to the visual

elements.

  audiovisual. Pertaining to both sound and sight. A term popular with educators to describe a variety

of instructional aids, such as film, television, and slides.

  Audran, Stéphane. b. Colette Suzanne Jeannine Dacheville, Nov. 2, 1932, Versailles, France. The

favorite star and former wife of director Claude CHABROL. A radiant beauty, she has been adept at

roles suggesting emotional upheaval and unsuspected strength beneath a deceiving façade of cool,

detached sophistication. She won the best actress prize at the Berlin Film Festival for Les Biches

(1968), the British Film Academy Award for Just Before Nightfall (1971) and The Discreet Charm of

the Bourgeoisie (1972), and a César Award for her performance in Violette Nozière/Violette (1978).

She was also acclaimed for her performance in Babette’s Feast (1987). Before marrying Chabrol in

1964, she was the wife of actor Jean-Louis TRINTIGNANT.

  FILMS INCLUDE: La Bonne Tisane/Kill or Cure 1958; Les Cousins/The Cousins 1959; Les

Bonnes Femmes 1960; Les Godelureaux 1961; L’Oeil du Matin/The Third Lover, Le Signe du

Lion/The Sign of Leo 1962; Landru/Bluebeard 1963; Le Tigre aime la Chair fraiche/The Tiger Likes

Fresh Blood 1964; Paris vu par . . . /Six in Paris 1965; La Ligne de Démarcation 1966; Le

Scandale/The Champagne Murders 1967; Les Biches 1968; La Femme infidèle 1969; Le Boucher, La

Dame dans l’Auto avec des Lunettes et un Fusil/The Lady in the Car with Glasses and a Gun, La

Rupture/The Breakup 1970; Aussi Loin que l’Amour, Juste avant la Nuit/Just Before Nightfall, Sans

Mobile apparent/Without Apparent Motive 1971; Le Charme discret de la Bourgeoisie/The Discreet

Charm of the Bourgeoisie, Un Meurtre est un Meurtre/A Murder Is a Murder 1972; Les Noces

rouges/Wedding in Blood 1973; And Then There Were None/Ten Little Indians (UK/Fr./Ger.) 1974;

The Black Bird (US), Vincent François Paul et les autres/Vincent François Paul and the Others 1975;

E la Donna creo l’Amore (It.), Folies Bourgeoises 1976; Mort d’un Pourri, Silver Bears (US), Les

Liens du Sang, Violette Nozière/Violette 1978; Eagle’s Wing (UK), The Prisoner of Zenda (US), Le

Soleil en face 1979; The Big Red One (US) 1980; Coup de Torchon/Clean Slate 1981; Le Choc,

Mortelle Randonnée 1982; La Scarlatine 1983; Le Sang des Autres/The Blood of Others, Les V      oleurs

de la nuit 1984; La Cage aux folles III: “Elles” se marient, La Gitane, Poulet au Vinaigre/Cop au vin

1985; Babette’s Gastebud/Babette’s Feast, Les Predateurs de la nuit, Les Saisons du plaisir 1987;

Manika 1988; Sons 1989; Jours tranquilles à Clichy/Quiet Days in Clichy, La Messe en si mineur

1990; Betty 1992; Maximum Risk 1995; Madeline 1998; Beautiful Mother 1999; Lulu Kreutz’s Picnic

2000; Jai Faim!!! 2001; My Wife’s Name Is Maurice 2002; The Girl from Monaco 2008.

  Audry, Jacqueline. Director. b. Sept. 25, 1908, Orange, France. d. 1977. Started as a script girl in

1933, then became an assistant director working with Pabst, Delannoy, Ophüls, and others. She

directed her first film, a short, Les Chevaux du Vercors, in 1943; her first feature, Les Malheurs de

Sophie, in 1945. She has a penchant for psychological themes. Most of her scripts were written by

Pierre Laroche, her husband. She died in a car accident. Her sister, Colette Audry (1906–1990), was

a noted novelist, playwright, literary critic, and prize-winning screenwriter.

  FILMS INCLUDE: Les Chevaux Du Vercors (short) 1943; Les Malheurs de Sophie 1946; Sombre

Dimanche 1948; Gigi 1949; Minne—L’Ingenue libertine/Minne 1950; Olivia/Pit of Loneliness 1951;

La Caraque blonde 1953; Huis clos/No Exit 1954; Mitsou 1956; La Garçonne, C’est la Faute d’Adam

1957; L’Ecole des Cocottes 1958; Le Secret du Chevalier d’Eon 1960; Les Petits Matins, Cadavres

en Vacances 1961; Soledad/Fruits amers 1966; Le Lis de Mer 1971.

   Auen, Signe. See OWEN, Seena.

   Auer, John H. Director, producer. b. Aug. 3, 1906, Budapest. d. 1975. Educated in Vienna. Child

actor in European films at age 12. After a brief career in business, he came to Hollywood in 1928 in

search of work as a film director but first gained recognition in Mexico, where he directed several

productions and won a special award from the Mexican government. From the mid-30s through the

late 50s he directed and produced many routine Hollywood films for Republic and other studios. He

went on to work in television.

   FILMS INCLUDE: As director—In Mexico: Una Vida per Otra 1933; Su Ultima Cancion, The

Pervert, Rest in Peace 1934. In the US: Frankie and Johnnie, The Crime of Dr. Crespi (also prod.,

story) 1935; A Man Betrayed, Circus Girl, Rhythm in the Clouds 1937; Outside of Paradise, Invisible

Enemy, A Desperate Adventure, I Stand Accused (also co-prod.), Orphans of the Street 1938; Forged

Passport (also co-prod.), S.O.S. Tidal Wave, Smuggled Cargo (also co-prod.), Calling All Marines

1939; Thou Shalt Not Kill, Women in War, Hit Parade of 1941 1940; A Man Betrayed/Wheel of

Fortune, The Devil Pays Off 1941; Pardon My Stripes, Moonlight Masquerade (also co-prod.),

Johnny Doughboy (also co-prod.) 1942; Tahiti Honey (also assoc. prod.), Gangway for Tomorrow

(also prod.) 1943; Seven Days Ashore (also prod.), Music in Manhattan (also prod.) 1944; Pan-

Americana (also prod., co-story) 1945; Beat the Band, The Flame (also prod.) 1947; I Jane Doe (also

assoc. prod.), Angel on the Amazon (also assoc. prod.) 1948; The Avengers (also assoc. prod.), Hit

Parade of 1951 (also assoc. prod.) 1959; Thunderbirds (also assoc. prod.) 1952; City That Never

Sleeps (also prod.) 1953; Hell’s Half Acre (also prod.) 1954; The Eternal Sea (also assoc. prod.)

1955; Johnny Trouble (also prod.) 1957.

   Auer, Mischa. Actor. b. Mischa Ounskowski, Nov. 17, 1905, St. Petersburg, Russia. d. 1967.

Brought to the US in 1920 by his maternal grandfather, violinist Leopold Auer, from whom he took his

stage name. Attended New York’s Ethical Culture school, then turned to the theater. He was appearing

in the play ‘Magda’ on Broadway when director Frank Tuttle offered him a part in the film Something

Always Happens (1928). For several years he appeared in films in small parts, mostly as a villain.

The turning point in his career came with his hilarious performance in Gregory La Cava’s My Man

Godfrey (1936), for which he was nominated for an Oscar. His long, sad face, bulging eyes, and droll

accent enlivened many a production, and he became one of Hollywood’s most popular supporting

actors, typically in eccentric, comic roles. He appeared in some 60 American films before settling in

Europe, where he played in many more.

   FILMS INCLUDE: In the US—Something Always Happens 1928; Marquis Preferred 1929; The

Benson Murder Case 1930; The Unholy Garden, The Yellow Ticket, Delicious 1931; The Midnight

Patrol, Scarlet Dawn 1932; Sucker Money (lead), Tarzan the Fearless, Cradle Song 1933; Viva

Villa!, Stamboul Quest 1934; The Lives of a Bengal Lancer, Clive of India, The Crusades 1935; The

Princess Comes Across, My Man Godfrey, Winterset 1936; Three Smart Girls, Top of the Town,

V ogues of 1938, 100 Men and a Girl, It’s All Yours 1937; Rage of Paris, You Can’t Take It with You,

Sweethearts 1938; East Side of Heaven, Unexpected Father (lead), Destry Rides Again 1939; Alias

the Deacon, Spring Parade, Seven Sinners 1940; The Flame of New Orleans, Hold That Ghost,

Hellzapoppin 1941; Around the World 1943; Lady in the Dark, Up in Mabel’s Room 1944; A Royal

Scandal, Brewster’s Millions, And Then There Were None 1945; Sentimental Journey 1946; Sofia

1948. In Europe—Al Diavolo la Celebrità (lead; It.), Il Cielo e Rosso/The Sky Is Red (It.) 1949;

Escalier de Service (Fr.), Futures Vedettes (Fr.), Frou-Frou (Fr./It.), Mr. Arkadin/Confidential Report

(Sp./Switz.) 1955; Cette Sacrée Gamine/Mam’zelle Pigalle 1956; Montecarlo/The Monte Carlo Story

(It.), Nathalie/The Foxiest Girl in Paris (Fr.) 1957; Tabarin (Fr.) 1958; Il Natale che Quasi non fu/The

Christmas That Almost Wasn’t (It./US) 1965; Drop Dead Darling!/Arrivederci Baby! (UK) 1966.

   Auger, Claudine. Actress. b. Apr. 26, 1942, Paris. Sensual brunette leading lady of French and

international films, following studies at the Paris drama conservatory. She is best known to English-

speaking audiences as James Bond’s love interest Domino in Thunderball (1965).

   FILMS INCLUDE: Le Testament D’orphée/Testament Of Orpheus (as Minerva; Fr.) 1960; A La

Française/In the French Style (Fr./US) 1963; Die Lady/Games of Desire (Ger./Fr.) 1964; Yoyo (Fr.),

Thunderball (UK) 1965; Triple Cross (Fr./UK), L’Homme de Marrakech/That Man George

(Fr./It./Sp.), Operazione San Gennaro/Treasure of San Gennaro (It./Fr./Ger.), L’Arcidiavolo/The

Devil in Love (It.) 1966; Jeu de Massacre/The Killing Game (Fr.), Le Dolci Signore/Anyone Can

Play (It.) 1967; Il Padre di Famiglia/The Head of the Family (It./Fr.) 1968; Antefatto (It.) 1971; La

Tarantola dal Ventre Nero/The Black Belly of the Tarantula (It.) 1972; Flic Story (Fr.) 1975;

Emmenezmoi au Ritz (Fr.) 1977; Un Papillon sur l’Epaule/A Butterfly on the Shoulder (Fr./Sp.) 1978;

Viaggio con Anita/Travels with Anita/Lovers and Liars (It./Fr.), L’Associé/The Associate (Fr./Ger/)

1979; Fantastica (Can./Fr.) 1980; Secret Places (UK) 1985; Il Frullo del Passero (It./Fr.) 1988;

Desire 1993; Men Always Lie 1995.

   August, Bille. Director, screenwriter, cinematographer. b. Nov. 1948, Denmark. An advertising

photographer by training, he became a cinematographer after graduating from the Danish Film School

in 1971. The films he photographed included Karleken (1980) and The Grass Is Singing (1981).

Turning to directing in the late 70s, he soon became established as his country’s leading filmmaker.

He scored his first success with Zappa (1983) and a veritable hit with its sequel, the bittersweet

Twist and Shout (1986), which became Denmark’s all-time most popular film. He then achieved

international recognition with Pelle the Conqueror (1987), a relentlessly bleak portrait of life on a

turn-of-the century Scandinavian farm. The film won the Golden Palm at Cannes and an Oscar as best

foreign-language picture. He generally writes his own screenplays, though he also directed Ingmar

Bergman’s script for The Best Intentions, based on a memoir about Bergman’s parents.

   FILMS INCLUDE: As director—Honning Maane/In My Life 1978; Zappa 1983; Twist and Shout

1986; Pelle Erobreren/Pelle the Conqueror (Den./Sw.) 1987; The Best Intentions 1992; The House of

the Spirits (also scr.) 1993; Jerusalem (also co-scr.) 1996; Smilla’s Sense of Snow 1997; Les

Misérables 1998; A Song for Martin (also scr., prod.) 2001; Return to Sender 2004; Goodbye Bafana

(Ger.), To Each His Cinema (Fr.) 2007.

   August, Edwin. American actor, director. b. Edwin August Philip von der Butz, 1883. d. 1964.

Handsome star of many D. W. Griffith early silents. He later played dashing heroes for other

directors, and himself directed several films, but his career slowed considerably in the 20s, and he

all but disappeared from the screen after the advent of sound.

   FILMS INCLUDE: A Child’s Impulse, Simple Charity, The Fugitive 1910; His Daughter, Madame

Rex, A Smile of a Child, The Revenue Man and the Girl 1911; The Eternal Mother, A Tale of the

Wilderness, The Girl and Her Trust, The Lesser Evil, The Old Actor, The School Teacher and the

Waif, The Sands of Dee 1912; In a Roman Garden (also scr.), The Actor, The Primitive Man 1913;

The Romance of an Actor 1914; Evidence (also dir., scr.), Bondwomen (also dir., scr.) 1915; The

Yellow Passport (also dir., co-scr.), The Social Highwayman (also dir.), The Perils of Divorce (dir.

only), The Summer Girl (dir. only) 1916; A Broadway Scandal, The City of Tears, The Mortgaged

Wife 1918; The Poison Pen (dir. only) 1919; The Idol of the North 1921; The Blonde Vampire 1922;

Scandal Street 1925; Side Street 1929; Romance of the West 1930; The Magnificent Ambersons

1942; Over My Dead Body 1943; The Exile 1947.

   August, John. Screenwriter. b. Aug. 4, 1970, Boulder, Colo. A true storyteller and frequent

collaborator of filmmaker Tim BURTON, his screenplays tend to explore truths with an ethereal,

fantastical edge, as with Big Fish (2003) and his well-received adaptation of the Roald Dahl classic

Charlie and the Chocolate Factory (2005).

   FILMS INCLUDE: Go 1999; Charlie’s Angels, Titan A. E. 2000; Big Fish, Charlie’s Angels: Full

Throttle 2003; Charlie and the Chocolate Factory, Corpse Bride 2005; The Nine (also dir.) 2007;

Prince of Persia: The Sands of Time (ex-prod. only) 2010; Frankenweenie 2012.

   August, Joseph H. Director of photography. b. Apr. 26, 1890, Idaho Springs, Colo. d. 1947. A

graduate of the Colorado School of Mining. He entered films in 1911 as assistant cameraman for

Thomas INCE and within a year became first cameraman. His illustrious career spanned the most

important years of American film history, from its formative years through maturation. During the

silent era he was the regular cinematographer of Reginald Barker and William S. Hart, among others,

and after the arrival of sound he created memorable images for some of John FORD’s most

distinguished films, notably The Informer (1935). In 1918 he was among the founding members of the

A.S.C. During WW II he served as a Navy commander in Iceland and the Pacific. He collapsed and

died on the set during the production of the hauntingly elaborate Portrait of Jennie (released in 1949).

His son, Joseph A. August, Jr., is a TV cameraman.

   FILMS INCLUDE: Lure of the Violin 1912; The Disciple 1915; Between Men, Hell’s Hinges, The

Aryan, The Return of Drew Egan, Civilization (co-phot.), The Patriot 1916; Truthful Tulliver, The

Gun Fighter, Wolf Lowry, The Silent Man 1917; Blue Blazes Rawden, Shark Monroe, Riddle Gawne,

Branding Broadway 1918; Square Deal Sanderson, Wagon Tracks 1919; Sand (co-phot.), The Toll

Gate 1920; The Whistle, White Oak 1921; Arabian Love 1922; Madness of Youth, The Temple of

Venus 1923; The Vagabond Trail, Dante’s Inferno 1924; Tumbleweeds, Lightnin’, The Ancient

Mariner 1925; The Road to Glory, Fig Leaves 1926; Two Arabian Knights (co-phot.), The Beloved

Rogue 1927; Salute, The Black Watch 1929; Men Without Women 1930; Quick Millions 1931; The

Brat 1932; Man’s Castle 1933; No Greater Glory, Twentieth Century 1934; The Whole Town’s

Talking, The Informer 1935; Sylvia Scarlett, Mary of Scotland 1936; A Damsel in Distress, The

Plough and the Stars 1937; Gunga Din, The Hunchback of Notre Dame 1939; All That Money Can

Buy 1941; They Were Expendable 1945; Portrait of Jennie 1949.

   Aumont, Jean-Pierre. Actor. b. Jean-Pierre Philippe Salomons, Jan. 5, 1909, Paris. d. Jan. 30,

2001. Charming, durable leading man of French, American, and international films. The son of a

well-to-do proprietor of a chain of department stores and a former actress, he enrolled at age 16 at

the Paris Conservatory, made his stage debut in 1930, and his first film appearance in 1931. He

became established as a stage star in Jean Cocteau’s ‘La Machine infernale’ (1934) and was

subsequently much in demand as a young lead in both plays and films. His career was interrupted

during the early years of WW II, when he fought with the Free French forces in Tunisia, Italy, and

France; he was awarded both the Legion of Honor and the Croix de Guerre. He arrived in the US in

1942 and after appearing in a West Coast stage production, he was assigned by MGM to play the lead

in a film about the French Resistance, Assignment in Brittany (1943). He starred in several other

routine Hollywood films, then returned to France. A tall, blond, blue-eyed Continental, he remained,

however, popular with American audiences, and returned periodically to the US for stage, screen, and

television appearances. Aumont has written several plays and in 1976 authored an autobiography, Sun

and Shadow. His first wife was French film actress Blanche Montel; his second, Hollywood siren

Maria MONTEZ, left him a widower. He was once engaged to Hedy LAMARR. He later married,

divorced, then remarried actress Marisa PAVAN. His daughter by Montez, Tina Marquand (born

Maria-Christina Salomons), is a film actress. His brother is French film director François Villiers (b.

François Salomons, 1920).

   FILMS INCLUDE: Jean de la Lune 1931; Dans les Rues/Song of the Street 1933; Lac aux Dames,

Maria Chapdelaine 1934; L’Equipage/Flight Into Darkness, Les Yeux noirs/Dark Eyes 1935; La Porte

du Large/The Great Temptation, Tarass Boulba 1936; Drôle de Drame/Bizarre Bizarre, Maman

Colibri, Le Messager 1937; La Belle Étoile, Chéri-Bibi, La Femme du Bout du Monde, Hôtel du

Nord 1938; Le Déserteur/Je t’attendrai/Three Hours 1939; Assignment in Brittany (US), The Cross of

Lorraine (US) 1943; Heartbeat (US) 1946; Song of Scheherazade (as Nikolai Rimski-Korsakov; US)

1947; The First Gentleman (UK), Siren of Atlantis (US) 1948; Hans le Marin (also scr.), L’Homme

du Joie, La Vie commence demain/Life Begins Tomorrow (semidoc.) 1950; L’Amant de Paille, La

Vendetta del Corsaro (It.) 1951; The Gay Adventure (UK), Koenigsmark, Lili (US), Moineaux de

Paris 1953; Charge of the Lancers (US), Si Versailles m’était conté/Royal Affairs in Versailles 1954;

Mademoiselle de Paris, Napoléon 1955; Hilda Crane (US) 1956; John Paul Jones (US) 1959; The

Enemy General (US) 1960; The Devil at 4 O’Clock (US), Una Domenica d’Estate (It.) 1961; Le

Couteau dans la Plaie/Five Miles to Midnight (Fr./It./US), Les Sept Péchés capitaux/Seven Capital

Sins 1962; Carnival of Crime (release delayed from 1961; US) 1964; Castle Keep (US) 1969;

Cauldron of Blood/Blind Man’s Bluff (release delayed from 1967; US/Sp.) 1971; La Nuit

americaine/Day for Night 1973; Catherine & Cie./Catherine & Co., Le Chat et la Souris/Cat and

Mouse, The Happy Hooker (US), Mahogany (US) 1975; Des Journées entières dans les Arbres 1976;

Blackout (Can./Fr.), Two Solitudes (Can.) 1978; Something Short of Paradise (US) 1979; Allons

z’Enfants 1981; La Java des ombres, Nana (It./US) 1983; Le Sang des Autres/The Blood of Others

(Fr./Can.) 1984; On a V Charlie Spencer! 1986; Sweet Country (US) 1987; A notré regrettable

                         olé

époux 1988; Becoming Colette (Ger./US) 1992; Jefferson in Paris 1995; The Proprietor 1996.

   Aurenche, Jean. Screenwriter. b. Sept. 11, 1904, Pierrelatte, France. d. 1992. Made his first

contact with films about 1932, as director of commercials, then short documentaries. He started

writing for the screen in 1936, working both alone and in collaboration with other writers, such as

Anouilh, Achard, and Jeanson, but his best work was in collaboration with Pierre BOST. Beginning in

1943 they wrote scripts and dialogue for dozens of important French films, notably for director

Claude AUTANT-LARA.

   FILMS INCLUDE: Alone or in collaboration with various writers—Les Dégourdis de la Onzième,

L’Affaire du Courrier de Lyon/The Courier of Lyons 1937; Hôtel du Nord 1938; Madame Sans-Gêne

1941; Le Mariage de Chiffon, Lettres d’Amour 1942; Douce/Love Story (first collaboration with

Pierre Bost) 1943; Sylvie et le Fantôme/Sylvie and the Phantom, La Symphonie pastorale 1946; Le

Diable au Corps/Devil in the Flesh 1947; Audelà des Grilles/La Mura di Malapaga/The Walls of

Malapaga 1948; Occupe-toi d’Amélie/Oh Amelia! 1949; Dieu a besoin des Hommes/God Needs

Men 1950; L’Auberge rouge/The Red Inn 1951; Jeux interdits/Forbidden Games, Les Sept Péchés

capitaux/Seven Deadly Sins 1952; Les Orgueilleux/The Proud and the Beautiful, Mademoiselle

Nitouche 1953; Destinées/Daughters of Destiny, Le Rouge et le Noir/The Red and the Black, Le Blé

en Herbe/The Game of Love 1954; Gervaise, La Traversée de Paris/Four Bags Full, Notre-Dame de

Paris/The Hunchback of Notre Dame 1956; En Cas de Malheur/Love Is My Profession, Le Joueur

1958; Le Jument verte/The Green Mare 1959; Vive Henri IV . . . Vive l’Amour 1961; Le Crime ne

paie pas/Crime Does Not Pay 1962; Le Meurtrier/Enough Rope 1963; Les Amitiés particulières/This

Special Friendship 1964; Is Paris Burning? (US/Fr.) 1966; Le plus Vieux Metièr du Monde/The

Oldest Profession 1967; Les Patates 1969; Que la Fête commence/Let Joy Reign Supreme 1975; Le

Juge et l’Assassin 1976; Coup de Torchon/Clean Slate, L’Etoile du Nord 1982; De guerre lasse,

Fucking Fernand 1987; Le Palanquin des larmes 1988.

   Auric, Georges. Composer. b. Feb. 15, 1899, Lodève, France. d. 1983. France’s ablest creator of

film music, Auric started composing at 15 and went on to write prolifically for concert hall, ballet,

stage, and screen. With Milhaud, Honneger, Poulenc, Durey, and Tailleferre, he was one of Le Groupe

des Six, six composers who in the early 20s sought to carve out new musical directions. In 1924 he

was among the Paris intellectuals who appeared in René Clair’s avant-garde film Entr’acte.

   Auric’s first film score was for Jean Cocteau’s experimental Le Sang d’un Poète/The Blood of a

Poet (1930). His output encompassed nearly 100 film scores, including those for all of Cocteau’s

films, as well as for dozens of major films by such directors as Clair, Ophüls, Huston, Delannoy,

Wyler, Cavalcanti, and Clouzot. His scores won awards at Cannes, Venice, and other film festivals.

Some of his themes (such as that from Moulin Rouge) became popular songs. In 1962 he was named

director of the Paris Opera.

   FILMS INCLUDE: Le Sang D’un Poète/The Blood of a Poet 1930; A nous la Liberté 1931; Lac aux

Dames 1934; Gribouille/Heart of Paris, L’Alibi 1937; Orange, Entrée des Artistes/The Curtain Rises

1938; L’Eternel Retour/The Eternal Return 1943; La Belle Aventure/Twilight, Dead of Night (UK)

1945; Caesar and Cleopatra (UK), La Belle et la Bête/Beauty and the Beast, La Symphonie pastorale

1946; Hue and Cry (UK), It Always Rains on Sunday (UK), Les Jeux sont faits/The Chips Are Down

1947; Ruy Blas, L’Aigle à Deux Têtes/Eagle With Two Heads 1948; Les Parents terribles/The Storm

Within, Passport to Pimlico (UK), Queen of Spades (UK) 1949; Orphée/Orpheus 1950; Caroline

Chérie, The Lavender Hill Mob (UK) 1951; La P . . . respectueuse/The Respectful Prostitute 1952;

Roman Holiday (US), Moulin Rouge (US/UK), Le Salaire de la Peur/The Wages of Fear 1953; Du

Rififi chez les Hommes/Rififi, Lola Montès 1955; Gervaise, Le Mystère Picasso/The Mystery of

Picasso (doc.) 1956; Celui qui doit mourir/He Who Must Die, Heaven Knows Mr. Allison (US)

1957; Bonjour Tristesse (US) 1958; Le Testament d’Orphée/The Testament of Orpheus 1960; Aimez-

vous Brahms?/Goodbye Again (Fr./US), The Innocents (UK) 1961; Le Rendez-vous de Minuit, La

Chambre ardente/The Burning Court 1962; The Mind Benders (UK) 1963; Therese and Isabelle

(US/Ger.) 1968; L’Arbre de Noël/The Christmas Tree 1969.

   Aurthur, Robert Alan. Screenwriter, novelist. b. June 10, 1922, New York City. d. 1978. ed. U. of

Pennsylvania. Served in the Marines during WW II and wrote The History of the Third Marine

Division. A short-story writer and novelist, he wrote and produced several stage plays and dozens of

quality dramas for TV and is credited with several screenplays. He directed his only film in 1969.

   FILMS INCLUDE: As screenwriter—Edge of the City (from his own TV play ‘A Man Is Ten Feet

Tall’), Spring Reunion (TV play basis only) 1957; Warlock 1959; Lilith (co-scr., uncredited) 1964;

Grand Prix 1966; For Love of Ivy 1968; The Lost Man (also dir.) 1969; All That Jazz (also prod.)

1979.

   Australia. As early as 1899 a fiction film titled The Early Christian Martyrs was produced in

Australia by J. H. Perry, sponsored by the Salvation Army. Australia was the first country to produce

a film longer than one reel—The Story of the Kelly Gang in 1906; it was also one of the first

countries to acquire sound equipment.

   In the beginning, Australia was best known for the quality of its documentary films. During WW II

the Commonwealth Film Unit was formed and became the most active documentary film producer in

Australia, releasing some 50 films a year in association with the Australian National Film Board.

Many of its films won awards in international film festivals.

   Feature production, for many years, consisted mostly of collaborations with British or American

companies that hired local crews and equipment but had creative control. Among the better-known

films produced under such arrangements were On the Beach (1959) and The Sundowners (1960).

Before the 70s, independently produced local features were rarely seen abroad, but efforts were

made within the country to encourage quality film production for international consumption through

the government-subsidized Australian Film Development Corporation (AFDC). While the AFDC is

no longer in existence, Australia has, with the encouragement and backing of the more recently

developed Australian Film Commission, gone on to produce vital and award-winning films.

   With the worldwide success of “Crocodile” Dundee (1986) and its ensuing sequel, Paul HOGAN

was one of the more prominent Australian film figures, as a producer, director, writer, and actor. Yet

as Hogan’s popularity faded, the international film community was becoming more aware of the host

of talented directors, writers, and actors who burst into prominence in the late 70s, 80s, and 90s,

many of whom were lured to Hollywood. They include directors Gillian ARMSTRONG, whose My

Brilliant Career (1979) garnered critical acclaim; Bruce BERESFORD, whose early career produced

Don’s Party (1976) and Breaker Morant (1979), to name a few, and led to the Academy Award-

winning Tender Mercies (1983) and Driving Miss Daisy (1989); Jane CAMPION, arguably one of the

most intriguing and fiercely independent filmmakers to emerge in recent years with Sweetie (1989)

and the Cannes and Academy Award winner The Piano (1993); Peter WEIR, whose Picnic at Hanging

Rock (1975) hinted at a versatility and sensitivity that eventually made his Dead Poets Society a

critical and box-office success; and Michael Rymer’s Angel Baby (1996).

   More recently, Baz LUHRMAN’s Strictly Ballroom (1992), Romeo and Juliet (1996), and Moulin

Rouge! (2001); Stephen Elliott’s The Adventures of Priscilla Queen of the Desert (1994); Scott

Hick’s Shine (1996); and Peter JACKSON’s The Lord of the Rings (2001–2003) trilogy have provided

proof of the diversity and creative force behind a thriving, respected film community. Shine received

seven Academy Award nominations, including best picture and director, and a win for Australian

actor Geoffrey RUSH, while the final installment of The Lord of the Rings trilogy, The Return of the

King, took home a record 11 Oscars, including best director for Peter Jackson and best picture.

   Austria. Despite the early availability of equipment and studios and the cultural environment,

Austria has produced only occasional films, mostly mass-entertainment spectacles, such as operettas,

musical biographies, and costume affairs set at the court of Emperor Franz-Josef.

   Film production in Austria began in 1908 and reached a peak of sorts in the early 30s, when such

directors as Max Ophüls, Otto Preminger, and Willi Forst made films there. But throughout most of its

history, the local film industry has been dominated by the more powerful studios of neighboring

Germany. Recent production has been limited to a handful of feature films a year, mostly for the

German-speaking market. A tiny government subsidy has done little to encourage the growth of the

film industry and general public apathy has made Austria one of Europe’s least film-minded nations.

   Autant-Lara, Claude. Director. b. Aug. 5, 1903, Luzarches, France. d. 2000. The son of architect

Edouard Autant, he also kept the surname of his mother, actress Louise Lara. She was forced into

self-exile in England during WW I because of her strong pacifist stand and she took Claude with her.

He spent several years in a London school before returning to France to take up art. At 16 he painted

the sets for Marcel L’Herbier’s film Le Carnaval des Vérités and continued for some years as a set

decorator and costume designer for L’Herbier, Renoir, and other directors.

   In 1923 he directed a short avant-garde film, Fait Divers. He served as second assistant director

that same year on René Clair’s Paris qui Dort and again, in 1925, on Le V      oyage Imaginaire. After

directing a short documentary, Vittel (1926), he tackled a wide-screen experiment with the short

Construire un Feu (1927), an avant-garde adaptation of a Jack London story. In 1930 he went to

Hollywood to direct French versions of American films, notably those of Buster Keaton and Harry

Langdon. On returning to France he directed several shorts.

   It was not until 1933, 14 years after entering the industry, that he directed his first feature film,

Ciboulette. Three more years passed before he was given another film to direct, My Partner Mr.

Davis/The Mysterious Mr. Davis (UK, 1936). In 1937–39 he became involved in the production of

three films, for which he was given screen credit as technical adviser but which he is said to have

actually directed: L’Affaire du Courrier de Lyon/The Courier of Lyons, Le Ruisseau, and Fric-Frac.

   Autant-Lara’s career as a front-rank director actually began in 1942, when he turned out two

elegant, entertaining films, Le Mariage de Chiffon and Lettres d’Amour. He then gained an

international reputation with Le Diable au Corps/Devil in the Flesh (1946), almost 30 years after

entering films. He is known for his atheist and leftist views, which are often expressed in his films in

the form of audacious attacks on the bourgeoisie, the military, and the church—frequently in defiance

of official pressure and censorship.

   He has usually worked with the same production team: screenwriters Jean AURENCHE and Pierre

BOST, cameraman Jacques Natteau, art director Max Douy, composer René Cloërec, and editor

Madeleine Gug. His wife, Ghislaine, is a screenwriter, assistant director, and actress. Gloria, his last

film to date, appeared in 1977.

   FILMS INCLUDE: Ciboulette 1933; My Partner Mr. Davis/The Mysterious Mr. Davis (UK) 1936;

L’Affaire du Courrier de Lyon/The Courier of Lyons (co-dir. with Maurice Lehmann) 1937; Le

Ruisseau (co-dir. with Lehmann) 1938; Fric-Frac (co-dir. with Lehmann) 1939; Le Mariage de

Chiffon, Lettres d’Amour 1942; Douce/Love Story 1943; Sylvie et le Fantôme/Sylvie and the

Phantom 1946; Le Diable au Corps/Devil in the Flesh 1947; Occupe-toi d’Amélie/Oh Amelia! 1949;

L’Auberge rouge/The Red Inn 1951; Les Sept Péchés capitaux/Seven Deadly Sins (“Pride” episode)

1952; Le Bon Dieu sans Confession 1953; Le Rouge et le Noir, Le Blé en Herbe/The Game of Love

1954; Marguerite de la Nuit, La Traversée de Paris/Four Bags Full 1956; En Cas de Malheur/Love Is

My Profession, Le Joueur 1958; La Jument verte/The Green Mare 1959; Les Régates de San

Francisco, Le Bois des Amants 1960; Vive Henri IV . . . Vive l’Amour!, Le Comte de Monte

Cristo/The Story of the Count of Monte Cristo 1961; Tu ne tueras point/Non Uccidere/Thou Shalt Not

Kill (Yug./Fr./It./Liecht.) 1962; Le Meurtrier/Enough Rope, Le Magot de Joséfa 1963; Le Journal

d’une Femme en Blanc/A Woman in White 1965; Le nouveau Journal d’une Femme en Blanc 1966; Le

plus vieux Métier du Monde/The Oldest Profession (“Paris Today” episode) 1967; Le Franciscain de

Bourges 1968; Les Patates 1969; Le Rouge et le Blanc 1971; Gloria (also co-scr.) 1977.

   Auteuil, Daniel. Actor. b. Jan. 24, 1950, Algeria. Accomplished leading man and humorous

supporting player of French films of the 80s. The son of roving opera singers, he traveled extensively

as a youth and began his career in musical comedy. He was a recipient of the British Academy Award

as best supporting actor for Jean de Florette (1986) and France’s Bourvil Prize in 1987. He dubbed

in the baby’s voice (originally provided by Bruce Willis) in the French version of Look Who’s

Talking (1989). He is romantically involved with Emmanuelle BEART, his co-star in Manon of the

Spring (1986) and Un Coeur en Hiver (1993).

   FILMS INCLUDE: L’Agression/Act of Aggression 1975; L’Amour violé/Rape of Love, La Nuit de

St.-Germain de Prés 1977; A Nous Deux 1979; La Banquière 1980; Les Hommes préférent Les

Grosses/Men Prefer Fat Girls 1981; L’Indic 1983; P’tit Con 1984; L’Amour en Douce, Palace 1985;

Jean de Florette, Manon des Sources/Manon of the Spring, Le Paltoquet 1986; Quelques Jours avec

moi/A Few Days with Me 1988; Look Who’s Talking (Fr., v/o), Romuald et Juliette/Mama There’s a

Man in Your Bed 1989; Lacenaire 1990; My Life Is Hell 1991; L’Elegant Criminel 1992; Un Coeur en

Hiver/A Heart in Winter, Ma Saison Preferee/My Favorite Season 1993; Queen Margot, The

Separation 1994; The Eighth Day, Les V        oleurs 1996; Lucie Aubrac 1998; Widow of St. Pierre,

Woman at the Bridge 2000; The Closet 2001; The Adversary 2002; On Guard 2003; 36 Quai des

Orfèvres, Strange Crime 2004; Hidden 2005; My Best Friend 2006; Conversations with My

Gardener, L’Invité 2007; Daddy Cool, The Last Deadly Mission, Me Two 2008; Je l’aimais 2009;

Donnant Donnant 2010; La Fille du Puissatier (also dir., scr.) 2011.

   auteur theory. The theory that the director is the “author” of a film. The reasoning that leads to this

conclusion is that a film is a work of art, and since a work of art is stamped with the personality of its

creator, it is the director, more than anyone else, who gives the film its distinctive quality. The term

was first used in the early 60s by critic Andrew Sarris as a loose translation of the politique des

auteurs notion, first promulgated in 1954 by François Truffaut while still a critic with Cahiers du

Cinéma.

   The debate over the artistic “authorship” of a film—a medium that depends on the creative

collaboration of many artists and workers—producer, art director, editor, actors, etc.—goes back to

the beginnings of cinema theory. Serious debate narrowed the field to the director and the

screenwriter. Some argued that the screenplay could exist independently, while there would be no

film without a scenario; others claimed that the same scenario directed by two directors would result

in two entirely different films.

   When the issue exploded on the pages of Cahiers du Cinéma in January 1954, it was used to

undermine traditional philosophies of the French cinema. Unpretentious American films and forgotten

American directors were resurrected, and a pantheon of auteurs was created of directors whose

personalities dominated their films through a more or less consistent theme or style. Two main

schools of auteur critics developed eventually, those who stress consistency of theme and those who

are more concerned with a director’s formal style, or his MISE-EN-SCÈNE.

   Many critics have addressed the weaknesses of auteur theory. At its most extreme, auteur theory

neglects the contributions of actors, screenwriters, cinematographers, production designers, and

others. It also fails to address directors such as Michael Curtiz, the prolific Warner Bros. contract

employee, who create excellent films without evidence of a strong “personal vision.” Since 1970,

critical approaches such as structuralism, semiology, and Marxism have deemphasized the “author” in

favor of analysis of the film “text.” Even so, auteur theory has had a lasting influence.

   automated dialogue replacement. See LOOPING.

   Autry, Gene. Actor, singing cowboy, songwriter, producer. b. Orvon Gene Autry, Sept. 29, 1907,

near Tioga, Tex. d. 1998. He was working as a railroad telegrapher at a junction in Oklahoma when

Will Rogers heard him sing and encouraged him to go into show business. In 1928 he started singing

on a local radio station and three years later starred in his own radio show and made his first

recordings. In 1934 he made his first film appearance, singing briefly in a Ken Maynard Western, In

Old Santa Fe. This led to a lead role in the 13-chapter serial Phantom Empire and to his first starring

role in a feature film, Tumblin’ Tumbleweeds (1935). Autry, along with his comic sidekick Smiley

BURNETTE and his horse Champion, went on to make dozens of Westerns for Republic.

   Gaining fame as a singing cowboy, Autry led the popularity poll of Western stars for several years

and is the only Western star to be listed among the ten top moneymakers in Hollywood films (1938–

42). On the screen, Autry was a no-nonsense cowboy hero. His films typically were packed with

action and thin on romance. In addition, his network radio show had a considerable following, and

his recordings sold by the millions. Autry has written some 200 popular songs, including “Here

Comes Santa Claus.” During WW II he served as flight officer with the Air Transport Command. In

his absence a young man named Roy ROGERS inherited the rank of Republic’s King of the Cowboys.

Undaunted, Autry went over to Columbia Pictures, then formed his own film production company,

Gene Autry Productions. He was an astute businessman and his many business interests included a

radio and TV chain, ranches, oil wells, a flying school, a music publishing company, and the

California Angels baseball team. His Flying A Pictures has produced several TV series. Author:

Back in the Saddle Again (1978).

   FILMS INCLUDE: In Old Santa Fe 1934; Phantom Empire (serial), Tumblin’ Tumbleweeds, The

Singing Vagabond 1935; The Singing Cowboy, Oh Susannah!, Boots and Saddles, Manhattan Merry-

Go-Round, Springtime in the Rockies 1937; Rhythm of the Saddle 1938; In Old Monterey, South of

the Border 1939; Shooting High, Melody Ranch, Rancho Grande 1940; Down Mexico Way, Ridin’ on

a Rainbow (also song) 1941; Cowboy Serenade 1942; Robin Hood of Texas 1947; Loaded Pistols

1949; Mule Train 1950; Texans Never Cry 1951; Apache Country 1952; On Top of Old Smoky, Last

of the Pony Riders, Saginaw Trail, Winning of the West 1953; It’s Showtime 1976.

   available light. A term used to describe natural light and especially the shooting of film in poor

lighting conditions with whatever light source is available without the use of artificial light.

   Avakian, Aram. Editor, director. b. Apr. 23, 1926, New York City, of Armenian descent. d. 1987.

After graduating from Yale, he served in the Navy, then lived for several years in Paris, where he

attended the Sorbonne. Returning to New York in 1953, he apprenticed for a still photographer, then

joined CBS television in 1955, where through 1958 he edited Edward R. Murrow’s famed news

program ‘See It Now.’ His creative editing of Jazz on a Summer’s Day (1959), an exciting filmed

record of the 1958 Newport Jazz Festival, led to highly regarded editing assignments in fiction

features. He also made the most from several opportunities to direct. He drew admiring reviews and

an X rating for End of the Road, which included a graphically harrowing abortion scene. The film

boasted a strong performance from Dorothy Tristan, Avakian’s wife at the time. Later, his constant

companion was ballerina Allegra Kent. From 1983 until shortly before his death of heart failure he

headed the film program and taught directing and screenwriting at the State University College at

Purchase, New York.

   FILMS INCLUDE: As editor—Jazz on a Summer Day (doc.) 1959; Girl of the Night 1960; The

Miracle Worker 1962; Lilith 1964; Andy, Mickey One 1965; You’re a Big Boy Now 1966; The Next

Man 1976; Honeysuckle Rose 1980. As director—Lad: A Dog 1962; End of the Road 1970; Cops

and Robbers 1973; 11 Harrowhouse/Anything for Love (UK) 1974.

   Avalon, Frankie. Singer, actor. b. Francis Thomas Avallone, Sept. 18, 1939, Philadelphia. A

trumpet prodigy at the age of nine, he turned to singing in his teens, later becoming a popular

recording star. In films he has played both light and dramatic lead parts, mostly in low-brow

productions. In 1987 he was reteamed with Annette FUNICELLO in Back to the Beach, a nostalgic

tribute to the “Beach Party” series that highlighted their careers in the 60s. Two of his eight children

also appeared in that film.

   FILMS INCLUDE: Jamboree 1957; The Alamo, Guns of the Timberland 1960; V                 oyage to the

Bottom of the Sea 1961; Panic in the Year Zero! 1962; Beach Party, The Castilian (Sp.), Drums of

Africa, Operation Bikini 1963; Bikini Beach, Muscle Beach Party 1964; Beach Blanket Bingo, How

to Stuff a Wild Bikini, I’ll Take Sweden, Mr. Goldfoot and the Bikini Machine, Sergeant Deadhead

1965; Fireball 500 1966; The Million Eyes of Su-Muru 1967; Skidoo 1968; Horror House 1970; The

Take 1974; Grease 1978; Malibu Beach Girls 1987; Casino (cameo) 1995.

   avant-garde. A term encompassing the unorthodox and experimental in the arts. In films it has been

applied to movements and individuals whose work constitutes a marked departure from conventional

form and narrative content. It covers such diverse styles of expression as Dadaism, surrealism,

futurism, expressionism, impressionism, abstract films, absolute films, pure cinema, underground

films, trash cinema, midnight movies, and other noncommercial film movements. Among the features

that have characterized many avant-garde films are the search for a pure poetic form free of narrative

logic, disdain for visual realism, and a call for social action. In a stricter sense the term “avant-

garde” applies to a movement in filmmaking which began simultaneously in Germany and France at

the end of WW I and later spread in varying forms to the Soviet Union, the US, and Great Britain.

   Theoretically, the French movement had its roots in the writings of critic Ricciotto CANUDO, who in

1908 founded the Seventh Art Club in Paris, dedicated to the liberation of film art. Artistically, it was

influenced by the works of Emile COHL (La Course aux Potirons, 1907) and Jean DURAND (Onésime

Horloger, 1912).

   The French avant-garde flourished between 1920 and 1930. One of its foremost exponents was

critic Louis DELLUC, who pursued the creative use of light and rhythm and described cinema as

“painting in movement.” His Fièvre (1921) later influenced Jean VIGO and Marcel CARNÉ. Also

influential was a group whose films were characterized by their literary aspiration and trick

photography. It included Germaine DULAC (La Fête espagnole, 1919, etc.), Marcel L’HERBIER

(Eldorado, 1922; L’Inhumaine, 1923, etc.), Jean EPSTEIN (The Fall of the House of Usher, 1928), and

Dmitri KIRSANOV (Menilmontant, 1926, etc.), as well as several directors better known for their

commercial ventures. The school of “pure cinema” was presented by Henri Chomette (Cinq Minutes

de Cinéma pur, 1926), Jean GRÉMILLON (Photogénie Mécanique, 1924), Marcel DUCHAMP (Anemic

Cinema, 1925), Eugène Deslaw (La Marche des Machines, 1928), and Ferdinand LÉGER (Ballet

mécanique, 1924).

   The surrealist branch of the French avant-garde included Luis BUÑUEL (Un Chien Andalou, 1928;

L’Age d’Or, 1930), Jean Vigo (A Propos de Nice, 1930), Man RAY (Emak Bakia, 1927, etc.), and

Jean COCTEAU (The Blood of a Poet, 1930).

   The German avant-garde movement was led by four former abstract painters who sought further

visual expression through film. Its pioneer was Viking EGGELING, who in 1919 turned out Vertikal-

Horizontale Messe, a short abstract animated film. The following year he joined forces with Hans

RICHTER to produce the Vertikal-Horizontale Symphonie. They lived together in Berlin and

experimented with filmic manipulation of scroll paintings.

   In 1921, while Eggeling continued to experiment with scroll paintings in his Diagonale Symphonie,

Richter began exploring the use of geometric shapes in motion by drawing directly on film. His

efforts resulted in such abstract shorts as Rythmus 21, 23, and 25 (1921–25), and Filmstudie (1926).

In 1928 he turned out a Dadaist comedy, V    ormittagspuck/Ghosts Before Breakfast. During the same

period, Walter RUTTMANN produced his Opus I, II, III, and IV (1923–25), abstract rhythmic studies in

animation. He is best known for his two experimental documentaries, Berlin: Symphony of a Great

City (1927) and Melody of the World (1929), which through the use of rhythmic montage attempted

symphonic visual organization.

   Oskar FISCHINGER made a series of abstract films manipulating geometric shapes along a curve of

changing patterns all of which were governed by the laws of music. Among them were Studio No. 6,

Studio No. 7, Studio No. 8, etc., and Komposition in Blau (1933). Like Richter, Fischinger later went

to the US and continued his experimentation with such films as Rhapsody in Blue and Hungarian

Rhapsody. The famous German expressionist films of that period (The Cabinet of Dr. Caligari,

Nosferatu, etc.), cannot be properly considered part of the avant-garde in the stricter sense of the

term, despite their originality and unique contribution.

   The Soviet avant-garde, always under political pressure, stayed clear of abstraction and total

formalism but was noted for its esoteric experimentation and daring innovation. The two most

influential avant-garde Russian filmmakers were Dziga VERTOV and Sergei EISENSTEIN. Vertov

virtually created the principles of cinéma vérité with his Kino Pravda series (from 1922) and Man

With a Movie Camera (1929). Eisenstein instituted the creative use of montage.

   Lesser-known Russian experimenters included KOZINTSEV and TRAUBERG (The Cloak, 1926),

KULESHOV (The Extraordinary Adventures of Mr. West in the Land of the Bolsheviks, 1924), and

PROTAZONOV (Aelita, 1924).

   British cinema saw only a limited manifestation of the avant-garde. Len LYE, the originator of a

process of drawing directly on film stock, made short semi-abstract propaganda films for the GPO

Film Unit (Colour Box, 1935; Trade Tattoo, 1937; Musical Poster, 1940, etc.). Norman MCLAREN,

first to imprint sound track directly on film, experimented with a variation of abstract techniques in

many of his 50 or so films. The documentary movement turned out some innovative samples of

rhythmic montage in such films as Basil Wright’s Song of Ceylon (1934) and Night Mail (1936).

   Seeds of the American avant-garde were planted as early as 1921 with Charles Sheeler and Paul

STRAND’s Manhattan, a documentary about New York with titles from a poem by Walt Whitman. Paul

FEJOS’s The Last Moment (1927) was more truly experimental. But the first film to achieve true

personal expression was The Life andDeath of 9413—A Hollywood Extra (1928) directed by Robert

Florey and shot by Gregg TOLAND. Other experimental ventures of that period include James

Watson’s expressionist version of The Fall of the House of Usher (1928), noted for the use of

prismatic lenses and creative lighting; Ralph Steiner’s H2O (1929); and Herman Weinberg’s City

Symphony (1929), inspired by the work of the German Ruttmann.

   Ralph Steiner and Elia KAZAN made Pie in the Sky (1934) in a junk yard; Lewis Jacobs made

several short experimental films, including Synchronization (1934); and Mary Ellen Bute did a series

of experimental animated films, including Anitra’s Dance (1936), Evening Star (1937), and Toccata

and Fugue (1940).

   The avant-garde found renewed vigor in the 40s, especially in the films of Maya DEREN, whose

Meshes in the Afternoon (1943) dominated the experimental style of the decade. Also influential were

the psychosexual films of Kenneth ANGER, largely concerned with homosexuality, sado-masochism,

and fetishism, like Escape Episode (1946), Fireworks (1947), and Inauguration of the Pleasure Dome

(1954). The German Hans Richter, who settled in America, continued his activity in collaboration

with Marcel Duchamps, Max Ernst, Fernand Léger, Man Ray, and other artists, creating Dreams That

Money Can Buy (1946) and 8 • 8 (1957). Among the many other American filmmakers of the avant-

garde during the same period are Gregory MARKOPOULUS, Curtis HARRINGTON (On the Edge, 1949),

Ian Hugo (Bells of Atlantis, 1952), and John Whitney (Variations, 1941; and computer films in the

60s).

   The mid-50s saw the gradual emergence of a new avant-grade movement, consciously concerned

with film as a medium. Filmmakers of the so-called underground film movement typically used

amateur equipment, including 8mm (and later super-8) cameras, which gave their films a home-movie

intimacy, and sought freedom from conventional reality in their disregard for established continuity

principles. Arbitrary splices, shaky images from handheld cameras, and grainy film were some of the

nontechniques with which underground filmmakers made their personal statements. Among the better-

known underground filmmakers who emerged in the 60s and 70s were Robert BREER, Jonas MEKAS,

Stan BRAKHAGE, Stan van der Beek, Jack Smith (Flaming Creatures 1963), Bruce CONNER, Mike and

George Kuchar, Bruce BAILLIE, Robert FRANK, Shirley CLARKE, Hillary Harris, Ed EMSHWILLER,

Francis Thompson, Michael SNOW, Andy WARHOL (Blow Job 1964), and Yoko Ono (Bottoms 1966).

   Energized by the anti–Vietnam war movement and the various social reforms that shook America in

the 60s, the avant-garde of the 70s took on a decidedly political caste. This concern with making

personal political statements was reflected in mainstream cinema as well as in the avant-garde, and

segued into a new movement within the latter, that of self-revelation as a political statement. Carolee

Schneemann’s Autobiographical Trilogy (1967–78) and Jonas Mekas’s Walden (1970) are

representative of the period, which also included filmmakers Robert Huot and Andrew Noren.

   Trash cinema flourished in the early 70s: films that followed a fairly conventional narrative, but

flaunted the cheapness of the equipment used in their making and were often acted in an abrasive,

ridiculous style as a parody of mainstream cinema. These films were inspired by the tawdry

melodramas and the unintentionally amateurish films of such 50s directors as Ed Wood. John WATERS

exemplifies the movement, from Hag in a Black Leather Jacket (1964) to Polyester (1981). His Pink

Flamingos (1972) is one of the most widely viewed trash films ever made, thanks in large part to the

advent of home VCRs several years later, a factor that has widened the audience for all alternative

filmmaking. Trash cinema paved the way for midnight movies: intentionally “bad,” often sexually

explicit and/or comically violent films that for years were popular draws at drive-ins and art houses

offering midnight screenings.

   The 80s and 90s saw the legitimization of the avant-garde as a viable field of study. Film courses

centered on the avant-garde have sprung up at nearly every major university and this escalating

appreciation has led to more lavishly produced efforts (such as Todd HAYNES’s Poison, 1991) and a

general absorption of elements of the avant-garde into both the mainstream cinema, as in the films of

Spike LEE and in music videos, one of the dominant forces in popular entertainment from the mid-80s.

   Contemporary avant-garde filmmakers include Peter WATKINS, Trinh T. Minh-ha, James BENNING,

Ross McElwee, Godfrey REGGIO, Su Friedrich, Warren Sonbert, Yvonne RAINER, Michael Snow,

Todd HAYNES, and Sadie Benning.

   Averback, Hy. Director, actor. b. Oct. 21, 1920, Minneapolis. d. Oct.14, 1997. A comedy

specialist with considerable radio and TV experience, he directed several films, mainly in the late

60s. He also appeared as an actor in three films. His television career was more prolific, comprising

numerous shows and series episodes, both as a performer and a director.

   FILMS INCLUDE: As actor—The Benny Goodman Story 1956; Four Girls in Town 1957; How to

Succeed in Business Without Really Trying 1967. As director—Chamber of Horrors (also prod.)

1966; The Great Bank Robbery, I Love You Alice B. Toklas!, Where Were You When the Lights Went

Out 1969; Suppose They Gave a War and Nobody Came 1970; Where the Boys Are 1984.

   Avery, Tex. Animator. b. Frederick Bean Avery, Feb. 26, 1907, Taylor, Tex. d. 1980. Entered film

industry in 1930, working on the “Aesop’s Fables” series. He later directed “Oswald the Rabbit”

cartoons for Walter Lantz at Universal and was also one of the creators of BUGS BUNNY for Warner

Bros. After collaborating on many conventional cartoons, he developed at MGM an animation style in

the 40s noted for its violence and freewheeling, almost surrealistic, fantasy. Among his best-known

characters are Chilly Willy the penguin, Droopy the dog, and Lucky Ducky. He exerted considerable

influence on American animation, especially on the work of Friz Freleng, Chuck Jones, and Robert

McKimson. From the late 50s he mostly made commercials.

   CARTOONS INCLUDE: Golddiggers of ’49, Porky the Wrestler 1936; Uncle Tom’s Bungalow,

Daffy Duck and Egghead, Little Red Walking Hood 1937; The Penguin Parade, Daffy Duck in

Hollywood, Cinderella Meets Fella 1938; A Day at the Zoo, Detouring America, Screwball Football

1939; Circus Today 1940; Haunted Mouse, Hollywood Steps Out, The Bug Parade 1941; Speaking of

Animals Down at the Farm, The Blitz Wolf 1942; Red Hot Riding Hood 1943; Screwy Squirrel, Batty

Baseball 1944; The Shooting of Dan Magoo, Swing Shift Cinderella 1945; Northwest Hounded

Police, Henpecked Hoboes 1946; Uncle Tom’s Cabana 1947; Lucky Ducky, The Cat That Hated

People 1948; Señor Droopy, The House of Tomorrow 1949; Ventriloquist Cat 1950; Symphony in

Slang, The Magical Maestro 1951; Rock-a-Bye Bear 1952; The Flea Circus, Dixieland Droopy 1954;

Field and Scream 1955; Cat’s Meow 1956; Polar Pests 1958.

   Avildsen, John G. Director, cinematographer, editor. b. Dec. 21, 1935, Oak Park, Ill. ed. NYU.

The son of a tool manufacturer, he began his working career as an advertising copywriter. After two

years of military service as a chaplain’s assistant, he worked as an assistant director on an

independently made low-budget feature, The Greenwich Village Story (1963). He was an assistant

director on Black Like Me (1964), assistant production manager on Arthur Penn’s Mickey One

(1965), production manager on the shot-in-the-US Italo-French film Una Moglia Americana/Run for

Your Wife (1965), second-unit director on Otto Preminger’s Hurry Sundown (1967), and associate

producer and director of photography on the low-budget Out of It (1969). During these years of

apprenticeship, he directed several shorts, including Smiles and Light—Sound—Diffuse, and made a

number of commercials for advertising agencies. He launched his career as a feature director with

two best-forgotten sex-oriented films, one a melodrama, the other a satire, and then drew critical

attention with Joe, a tightly budgeted film about a hardhat bigot that became a sleeper at the box office

in 1970. After a string of disappointing films, he came up with another critical and commercial

sleeper in Rocky (1976), for which he won an Academy Award as best director. Rocky also won the

best picture Oscar and spawned a series of sequels, of which Avildsen directed Rocky V. In 1980, he

scored another huge box-office hit with The Karate Kid. Avildsen executed his own cinematography

on his early films and himself edited some of his later productions. He married actress Tracy Brooks

Swope.

   FILMS INCLUDE: As director—Sweet Dreams (also phot.), Turn On to Love (also phot., co-edit.)

1969; Guess What We Learned in School Today? (also co-scr., phot., edit.), Joe (also phot.) 1970;

Cry Uncle (also phot.), Okay Bill (also scr., phot.) 1971; The Stoolie (also co-phot.) 1972; Save the

Tiger 1973; The Inauguration Ball (doc.) 1974; Foreplay (co-dir.), W. W. and the Dixie Dancekings

1975; Rocky 1976; Slow Dancing in the Big City (prod., edit.) 1978; The Formula 1980; Neighbors

1981; Traveling Hopefully (doc.) 1982; A Night in Heaven (also edit.) 1983; The Karate Kid (also

co-edit.) 1984; The Karate Kid Part II (also co-edit.) 1986; Happy New Year 1987; For Keeps? (also

edit.) 1988; The Karate Kid Part III (also co-edit.), Lean on Me (also co-edit.) 1989; Rocky V (also

co-edit.) 1990; The Power of One (also edit.) 1992; 8 Seconds 1994; Inferno 1999.

   Avnet, Jonathan (Jon) Michael. Producer, director. b. Nov. 17, 1949, Brooklyn, N.Y. ed. U. of

Pennsylvania; Wharton School of Business; Sarah Lawrence. He won a directing fellowship at the

American Film Institute but made his mark as a producer. With partners Steve Tisch and later Jordan

Kerner, he has produced films ranging from the teen comedy Risky Business to the offbeat comedy-

drama Fried Green Tomatoes (1992). He has also produced films for TV including the acclaimed

                                                                              ,

drama of wife abuse, The Burning Bed (1984).

   FILMS INCLUDE: Checkered Flag or Crash (assoc. prod. only) 1977; Coast to Coast 1980; Deal

of the Century (exec. prod. only), Risky Business 1983; Less Than Zero 1987; Funny About Love,

Men Don’t Leave (also second-unit dir.) 1990; Fried Green Tomatoes (also dir.), The Mighty Ducks

1992; The War 1994; Up Close and Personal (also dir.) 1996; Red Corner (also dir.) 1997; George of

the Jungle 1998; Inspector Gadget (exec. prod.) 1999; Steal This Movie, Things You Can Tell Just by

Looking at Her 2000; Sky Captain and the World of Tomorrow 2004; Land of the Blind 2006; 88

Minutes (also dir.) 2007; Righteous Kill (also dir.) 2008; Black Swan (ex-prod. only) 2010.

   Axel, Gabriel. Director. b. Apr. 18, 1918, Denmark. Partly raised in France, he studied acting at

the Danish National Conservatory, then performed on the stages of Copenhagen and Paris. He began

directing films in the late 50s, and for three decades remained one of his country’s most dependable

filmmakers. After years of toiling in relative anonymity, he burst upon the international scene with the

delightful Babette’s Feast (1987), an Oscar (and British Academy) winner as best foreign film.

   FILMS INCLUDE: Golden Mountains 1957; Crazy Paradise 1962; The Red Mantle/Hagbard and

Signe 1967; Danish Blue (doc.) 1968; Babette’s Feast (also scr.) 1987; Christian (also scr.) 1989;

Royal Deceit (also scr.) 1994; Leila (also scr.) 2001.

   Axelrod, George. Screenwriter, playwright, director, producer. b. June 9, 1922, New York City. d.

June 21, 2003. After some acting, WW II service, and ten years of writing radio and TV scripts (400

of them), he became famous as the author of two successful Broadway comedies, ‘The Seven Year

Itch’ (1953) and ‘Will Success Spoil Rock Hunter?’ (1955). He later co-produced the plays ‘Visit to a

Small Planet’ (1957) and his own ‘Goodbye Charlie’ (1965), also directing the latter. He wrote the

novel Beggar’s Choice (1947) and his memoirs, Where Am I Now When I Need Me? (1971).

Axelrod’s association with films has been, for the most part, through screenplays, but he also has

proved himself a capable director, especially skillful in his handling of actors. His stepson, Jonathan

Axelrod (b. July 9, 1948, New York City), is also a screenwriter. His daughter, Nina Axelrod, is an

actress.

   FILMS INCLUDE: As screenwriter—Phffft 1954; The Seven Year Itch 1955; Bus Stop 1956;

Breakfast at Tiffany’s 1961; The Manchurian Candidate (also co-prod.) 1962; Paris When It Sizzles

(also co-prod.) 1964; How to Murder Your Wife 1965; Lord Love a Duck (also prod., dir.) 1966; The

Secret Life of an American Wife (also prod., dir.) 1968; The Lady Vanishes (UK) 1979; The Holcroft

Covenant (UK) 1985; The Fourth Protocol 1987.

   Ayer, David. Screenwriter, director. b. circa 1968, Los Angeles. With a gritty, no-nonsense,

economic writing style often incorporating military or law enforcement themes, he crafted a number

of powerful, character-driven screenplays, most notably the Denzel WASHINGTON vehicle Training

Day (2001).

   FILMS INCLUDE: As screenwriter—U-571 2000; The Fast and the Furious, Training Day (also

act., prod.) 2001; Dark Blue 2002; S.W.A.T. 2003; Harsh Times (also dir., prod.) 2005; Street Kings

(dir. only) 2008.

   Aykroyd, Dan. Actor, screenwriter. b. Daniel Edward Aykroyd, July 1, 1952, Ottawa, Canada. A

dropout from Ottawa’s Carleton U., he worked as a train brakeman and surveyor before beginning a

career as a comedian. He was an alumnus of the Toronto branch of the Second City comedy theatre

and Canadian TV by the time he arrived in New York in 1975. Within months he embarked on the

road to success as he started a fortuitous five-season stint as a regular member of NBC’s comedy

series ‘Saturday Night Live.’ He teamed up with longtime buddy John BELUSHI to entertain TV

audiences with some of the show’s most hilarious moments. They also appeared together in three

films, most memorably in The Blues Brothers (1980). After Belushi’s tragic death in 1982, Aykroyd

continued in films, often collaborating on his own scripts. He scored a huge box-office hit with

Ghostbusters (1984), in which he teamed up with another ‘Saturday Night Live’ veteran, Bill

MURRAY. He showed an unexpected flair for drama as Jessica TANDY’s son in Driving Miss Daisy

(1989), a performance that earned him an Academy Award nomination for best supporting actor.

Though his debut as a director with Nothing but Trouble (1991) was ill fated, he has continued to be a

popular and inventive comic performer. In 1993, he returned to his ‘Saturday Night Live’ roots in

Coneheads (1993), based on a recurring sketch from the series. He is married to actress Donna

DIXON, and was a co-owner of the popular Hard Rock Cafés.

   FILMS INCLUDE: Love at First Sight (Can.) 1977; 1941, Mr. Mike’s Mondo Video 1979; The

Blues Brothers (also co-scr.) 1980; Neighbors 1981; It Came from Hollywood (compilation film)

1982; Doctor Detroit, Trading Places, Twilight Zone: The Movie 1983; Ghostbusters (also co-scr.),

Indiana Jones and the Temple of Doom, Nothing Lasts Forever 1984; Into the Night, Spies Like Us

1985; One More Saturday Night (exec. prod. only) 1986; Dragnet (also co-scr.) 1987; Caddyshack II,

The Couch Trip, The Great Outdoors, My Stepmother Is an Alien 1988; Driving Miss Daisy,

Ghostbusters II (also co-scr.) 1989; Loose Cannons (also song.) 1990; Masters of Menace, My Girl,

Nothing but Trouble (also dir., scr.) 1991; Chaplin, Sneakers, This Is My Life 1992; Coneheads 1993;

Exit to Eden, My Girl 2, North 1994; Casper (v/o), Tommy Boy 1995; Feeling Minnesota, Getting

Away with Murder, Rainbow, Sgt. Bilko 1996; Grosse Pointe Blank 1997; Antz (v/o), Blues Brothers

2000 1998; Diamonds 1999; The House of Mirth, The Loser 2000; The Curse of the Jade Scorpion,

The Devil and Daniel Webster, Evolution, Pearl Harbor 2001; Crossroads, Unconditional Love 2002;

Bright Young Things 2003; 50 First Dates, Christmas with the Kranks 2004; I Now Pronounce You

Chuck and Larry 2007; War, Inc. 2008; Yogi Bear (v/o) 2010; Dorothy of Oz (v/o) 2012.

  Aylmer, Sir Felix. Actor. b. Felix Edward Aylmer-Jones, Feb. 21, 1889, Corsham, England. d.

1979. ed. Oxford. Sagacious-seeming, distinguished-looking character player of British stage (from

1911) and screen (1930). Typically playing aristocrats and patriarchs, he also appeared in numerous

Hollywood films. For many years he served as president of Britain’s Actors Equity. He wrote a

number of plays and adapted several plays of others for the movies. He was knighted in 1965. His

son, David Aylmer (1933–64), was also a stage and screen actor.

  FILMS INCLUDE: Escape 1930; The Lodger/The Phantom Fiend 1932; The Wandering Jew 1933;

Evergreen 1934; The Iron Duke 1935; Rhodes of Africa/Rhodes, Tudor Rose/Nine Days a Queen (as

Edward Seymour), As You Like It (as Duke Frederick) 1936; The Mill on the Floss, Dreaming Lips,

Victoria the Great (as Lord Palmerston) 1937; The Citadel, Sixty Years a Queen (again as Lord

Palmerston) 1938; Night Train to Munich/Night Train 1940; The Young Mr. Pitt 1942; The Demi-

Paradise/Adventure for Two, The Life and Death of Colonel Blimp 1943; Mr. Emmanuel (title role),

Henry V (as the Archbishop of Canterbury) 1944; The Way Ahead/Johnny in the Clouds, The Wicked

Lady 1945; The Years Between 1946; Hamlet (as Polonius) 1948; Edward My Son, Christopher

Columbus, Prince of Foxes (US) 1949; So Long at the Fair, Alice in Wonderland 1950; Quo Vadis

(US) 1951; Ivanhoe (US/UK) 1952; Knights of the Round Table (US/UK) 1954; The Angel Who

Pawned Her Harp (lead) 1955; Anastasia (US) 1956; Saint Joan (as the Inquisitor; UK/US) 1957;

The Doctor’s Dilemma, Separate Tables (US) 1958; The Mummy 1959; From the Terrace (US),

Exodus (US) 1960; Macbeth (on TV in 1960) 1963; Becket (as the Archbishop of Canterbury;

UK/US), The Chalk Garden 1964; Masquerade 1965; Decline and Fall 1968.

  Ayres, Agnes. Actress. b. Agnes Hinkle, Sept. 4, 1896, Carbondale, Ill. d. 1940. Star of the

American silent screen, famous as Valentino’s paramour in both The Sheik (1921) and The Son of the

Sheik (1926). Her career began in Essanay shorts around 1915, reached a peak in the early 20s, when

she starred in many silents, and ended with the coming of sound. She returned to the screen only once,

for a bit in Souls at Sea (1937), and three years later died of a cerebral hemorrhage at age 44.

  FILMS INCLUDE: His New Job (bit) 1915; Motherhood, The Debt, The Defeat of the City 1917;

One Thousand Dollars 1918; The Sacred Silence 1919; The Furnace, Go and Get It 1920; Forbidden

Fruit, The Love Special, Too Much Speed, The Affairs of Anatol, The Sheik 1921; Bought and Paid

For, Borderland, Clarence, A Daughter of Luxury, The Ordeal 1922; The Heart Raider, Racing

Hearts, The Marriage Maker, The Ten Commandments 1923; Don’t Call It Love, Bluff, The Guilty

One, The Story Without a Name, When a Girl Loves, Worldly Goods 1924; Tomorrow’s Love, Her

Market Value, The Awful Truth, Morals for Men 1925; The Son of the Sheik 1926; Into the Night

1928; The Donovan Affair, Broken Hearted, Bye Bye Buddy 1929; Souls at Sea (bit) 1937.

  Ayres, Lew. Actor. b. Lewis Frederick Ayres III, Dec. 28, 1908, Minneapolis. d. 1996. ed. U. of

Arizona (medicine). A big-band banjo, guitar, and piano player, he was spotted for a movie contract

while playing at a Hollywood night club in 1928. Within a year he was Garbo’s leading man in The

Kiss and he gained international prominence in 1930 with his sensitive portrayal of a disillusioned

young German soldier in Milestone’s pacifist All Quiet on the Western Front, the best role of his

career. After an unsuccessful stab at directing (Hearts in Bondage, for Republic in 1936), he returned

to lackluster roles in programmers, with the notable exception of Cukor’s Holiday (1938). He

subsequently returned to films, and was nominated for an Oscar for his performance in Johnny

Belinda (1948), but appeared on the screen only occasionally after the early 50s.

  In 1941, Ayres alienated America’s moviegoers by declaring himself a conscientious objector and

refusing to fight in WW II. He was shunned by the studios, and exhibitors refused to show his films.

He later volunteered for noncombatant medical service and distinguished himself under fire. A deeply

spiritual man and a student of comparative religion, he wrote, produced, and narrated the five-part

documentary Altars of the East (1955), based on his own book. In 1976 he released a follow-up

documentary, the 150-minute Altars of the World, which he personally directed, produced,

photographed, and edited. He served on the US National Committee for UNESCO. Divorced from

actresses Lola LANE (1931–33) and Ginger ROGERS (1934–41).

   FILMS INCLUDE: The Sophomore (bit), The Kiss 1929; All Quiet on the Western Front, Common

Clay, East Is West, The Doorway to Hell 1930; Iron Man, Up for Murder, Many a Slip, The Spirit of

Notre Dame, Heaven on Earth/Mississippi 1931; The Impatient Maiden, Night World, Okay America!

1932; State Fair, Don’t Bet on Love, My Weakness 1933; Cross Country Cruise, Let’s Be Ritzy, She

Learned About Sailors, Servants’ Entrance 1934; The Lottery Lover, Silk Hat Kid 1935; The

Leathernecks Have Landed, Panic on the Air, Hearts in Bondage (dir. only), Shakedown, Lady Be

Careful, Murder with Pictures 1936; The Crime Nobody Saw, The Last Train from Madrid, Hold ’Em

Navy 1937; Scandal Street, King of the Newsboys, Holiday, Rich Man Poor Girl, Young Dr. Kildare,

Spring Madness 1938; Ice Follies of 1939, Broadway Serenade, Calling Dr. Kildare, These Glamour

Girls, The Secret of Dr. Kildare, Remember? 1939; Dr. Kildare’s Strange Case, Dr. Kildare Goes

Home, The Golden Fleecing, Dr. Kildare’s Crisis 1940; Maisie Was a Lady, The People vs. Dr.

Kildare, Dr. Kildare’s Wedding Day 1941; Dr. Kildare’s Victory, Fingers at the Window 1942; The

Dark Mirror 1946; The Unfaithful 1947; Johnny Belinda 1948; The Capture 1950; New Mexico 1951;

No Escape, Donovan’s Brain 1953; Advise and Consent 1962; The Carpetbaggers 1964; The Biscuit

Eater, The Man 1972; Battle for the Planet of the Apes 1973; End of the World 1977; Damien—Omen

II 1978; Battlestar Galactica 1979.

   Azaria, Hank. Actor, comedian. b. April 25, 1964, Forest Hills, N.Y. ed. Tufts U. After making his

mark on the stand-up circuit, this funny, gifted character actor made the transition to feature films from

TV notably his many voice characterizations in the popular animated series ‘The Simpsons.’ He is

   ,

most recognizable as the outrageously wacky maid opposite Robin WILLIAMS in The Birdcage (1996).

   FILMS INCLUDE: Cool Blue, Pretty Woman 1990; Quiz Show 1994; Heat, Now and Then 1995;

The Birdcage 1996; Anastasia, Grosse Pointe Blank 1997; Celebrity, Godzilla, Great Expectations,

Homegrown 1998; Alaska, Cradle Will Rock, Mystery, Mystery Men 1999; America’s Sweethearts

2001; Bark 2002; Shattered Glass 2003; Along Came Polly, Dodgeball, Eulogy 2004; The Grand,

Run Fat Boy Run (UK), The Simpsons Movie 2007; Night at the Museum 2, Year One 2009; Love and

Other Drugs 2010; Happy Feet 2: 3-D, The Smurfs (v/o) 2011.

   Azéma, Sabine. Actress. b. Sept. 20, 1949, Paris. ed. Paris Conservatory. Female lead in French

films. She twice won the César (the French Oscar) for A Sunday in the Country (1984) and Mélo

(1986) and was nominated on five other occassions.

   FILMS INCLUDE: Le Chasseur de Chez Maxim’s, La Dentellière/The Lacemaker 1977; L’Amour à

Mort/Love Unto Death, Un Dimanche à la Campagne/A Sunday in the Country, La Vie est un

roman/Life Is a Bed of Roses 1984; Melo 1986; Cinq jours en juin, Vanille Fraise, La Vie et rien

d’autre/Life and Nothing But 1989; Trois Années 1990; Rossini! Rossini! 1991; Smoking/No

Smoking 1993; Black for Remembrance, Les Cent et une de Simon Cinéma 1995; Mon Homme 1996;

On Connaît la Chanson 1997; La Bûche, Le Schpountz 1999; Tanguy 2001; Le Mystére de la Chambre

Jaune 2003; Aux Abois, Le Parfum de la Dame en Noir 2005; Coeurs/Private Fears in Public Places

2006; L’Ami de Fred Astaire 2007; Le V     oyage aux Pyrénées 2008; Happy End, Wild Grass 2009;

Donnant Donnant 2010; La Fille du Puisatier 2011.

  Aznavour, Charles. Singer, actor, composer, songwriter. b. Shahnour Varenagh Aznavourian, May

22, 1924, Paris. The son of an Armenian cook, he started out as a dancer at age nine but gained fame

and popularity in the late 50s as a sentimental, foggy-voiced singing star of haunting French chansons,

many written by himself. A diminutive man (5' 3", 110lbs.), he has nonetheless demonstrated a strong

screen presence in a long string of French and international films since 1958. His most memorable

role was the lead in Truffaut’s Shoot the Piano Player (1960). He has also written scores and songs

for a number of films. Autobiography: Aznavour by Aznavour (1972).

  FILMS INCLUDE: As actor—Les Dragueurs/The Chasers, La Tête contre les Murs 1959; Le

Passage du Rhin/Tomorrow Is My Turn, Le Testament d’Orphée/The Testament of Orpheus (cameo, as

himself), Tirez sur le Pianiste/Shoot the Piano Player 1960; Un Taxi pour Tobrouk/Taxi for Tobruk

1961; Le Diable et les Dix Commandements/The Devil and the Ten Commandments, Les Quatre

Vérités/Three Fables of Love, Le Rat d’Amerique 1962; Alta Infedeltà/High Infidelity (It./Fr.) 1964;

La Métamorphose des Cloportes/Cloportes 1965; Le Facteur s’en va-t-en Guerre/The Postman Goes

to War, Paris au Mois d’Aoüt/Paris in the Month of August (also co-song.) 1966; Candy (US/Fr./It.)

1968; The Adventurers (US), The Games (UK) 1970; The Blockhouse (UK) 1973; And Then There

Were None/Ten Little Indians (UK/Fr./It./Ger.) 1974; Folies Bourgeoises, Sky Riders (US/Ger.)

1976; Die Blechtrommel/The Tin Drum (Ger./Fr./Yug./Pol.) 1979; Les Fantômes du Chapelier,

Qu’est-ce qui fait courir David? 1982; Edith et Marcel/Edith and Marcel (also lyr.) 1983; Viva la Vie

1984; Yiddish Connection (also scr.) 1986; Mangeclous, Migrations 1988; Il Maestro 1989; Les

Annees Campagne 1991; The Comedian, Last Trading Post in India 1997; Laguna 2001; Ararat 2002;

Emmenez-Moi 2004; The Colonel 2006.