Friday, August 14, 2009
The Magnificent Ambersons - 1942
Directed by Orson Welles
ScreenPlay by Orson Welles based on the novel by Booth Tarkington
Cinematography by Stanley Cortez
Music by Bernard Herrmann
Starring : Joseph Cotten, Dolores Costello, Anne Baxter, Tim Holt, Agnes Moorehead, Ray Collins
The Magnificent Ambersons (1942) is the legendary Orson Welles' second film - another audacious masterpiece. It was produced, directed, and scripted (but not acted in) by Welles, a follow-up film one year after his masterful classic Citizen Kane (1941). It was based on Booth Tarkington's 1918 Pulitzer Prize-winning novel of the same name, and had been filmed earlier as a black and white silent film from Vitagraph under the title Pampered Youth (1925).
This film's screenplay was written by Welles in only nine days.
The Magnificent Ambersons is about the proud and celebrated Amberson family. The story shows how the family refuses to change with the times, and the subsequent deterioration of the Amberson name as a result.
The story is set in Indianapolis in the late 1800's/early 1900's, and shows how the beauty of a small town was slowly destroyed by the advent of the automobile. A number of dramas carry the movie along. Isabel Amberson is the town beauty and is courted by various beaus, one of whom is the brash and handsome Eugene Morgan. Eugene plans an elaborate serenade for Isabel in front of the Amberson mansion, but makes a fool of himself by falling on his bass viol in a drunken stupor. Eugene tries repeatedly to win Isabel, but she refuses. Even though she is in love with Eugene, the embarrassment from this one incident and the social customs of the time prohibit her from having anything to do with him. Isabel eventually marries Wilbur Minafer, who is less flashy than Eugene, but respectable. Isabel isn't in love with Wilbur, however, and their one child George is incredibly spoiled by Isabel and grows up to be extremely arrogant, righteous and self-absorbed. George has an air of entitlement because he is an Amberson, and has no use for anyone who wants to work for a living. This includes Isabel's true love, Eugene, who left town after losing Isabel. Eugene returns twenty years later with his daughter Lucy, having made his fortune by developing one of the first automobiles. After Wilbur's death, Eugene pursues Isabel again. Wilbur's sister Fanny is also in love with Eugene, though this is not returned by Eugene. Even though Isabel and Eugene are both still in love, their plans are thwarted by George. George hates Eugene not just because of his profession, but because he has to share his mother's attention for the first time. When George learns that the townspeople are talking about Eugene's love for Isabel, George becomes enraged by this supposed scandal and does whatever he can to prevent Isabel and Eugene from marrying. George and Isabel leave on a trip around the world and are gone for five years. Despite Isabel's poor health and longing for Eugene, George insists that they both stay abroad, returning only when Isabel is colse to death. George's attitudes and actions help to ruin his family, as well as his chances of having a relationship with Eugene's daughter Lucy. Eventually George receives his "comeuppance", learning humility after suffering the tragic consequences of his own devices. George reconciles with Lucy, and asks for Eugene's forgiveness. By then all of the members of the Amberson family have either died, moved away or become destitute.
Technical Information
camera : mitchell BNC
Film negative format (mm/video inches): 35 mm
Cinematographic process : Spherical
Printed film format : 35 mm
Aspect ratio : 1.37 : 1
According to Peter Bogdanovich, Orson Welles said many times that this film could've been "much better than Citizen Kane (1941)." Also, while Welles always refused to watch any of his films, he was in a hotel room in the 70s with many friends and ‘The Magnificent Ambersons’ was on TV, and he was talked into watching the rest of it. It is said that he was teary throughout, and confessed that although the ending didn't work, he still liked the film.
ScreenPlay by Orson Welles based on the novel by Booth Tarkington
Cinematography by Stanley Cortez
Music by Bernard Herrmann
Starring : Joseph Cotten, Dolores Costello, Anne Baxter, Tim Holt, Agnes Moorehead, Ray Collins
The Magnificent Ambersons (1942) is the legendary Orson Welles' second film - another audacious masterpiece. It was produced, directed, and scripted (but not acted in) by Welles, a follow-up film one year after his masterful classic Citizen Kane (1941). It was based on Booth Tarkington's 1918 Pulitzer Prize-winning novel of the same name, and had been filmed earlier as a black and white silent film from Vitagraph under the title Pampered Youth (1925).
This film's screenplay was written by Welles in only nine days.
The Magnificent Ambersons is about the proud and celebrated Amberson family. The story shows how the family refuses to change with the times, and the subsequent deterioration of the Amberson name as a result.
The story is set in Indianapolis in the late 1800's/early 1900's, and shows how the beauty of a small town was slowly destroyed by the advent of the automobile. A number of dramas carry the movie along. Isabel Amberson is the town beauty and is courted by various beaus, one of whom is the brash and handsome Eugene Morgan. Eugene plans an elaborate serenade for Isabel in front of the Amberson mansion, but makes a fool of himself by falling on his bass viol in a drunken stupor. Eugene tries repeatedly to win Isabel, but she refuses. Even though she is in love with Eugene, the embarrassment from this one incident and the social customs of the time prohibit her from having anything to do with him. Isabel eventually marries Wilbur Minafer, who is less flashy than Eugene, but respectable. Isabel isn't in love with Wilbur, however, and their one child George is incredibly spoiled by Isabel and grows up to be extremely arrogant, righteous and self-absorbed. George has an air of entitlement because he is an Amberson, and has no use for anyone who wants to work for a living. This includes Isabel's true love, Eugene, who left town after losing Isabel. Eugene returns twenty years later with his daughter Lucy, having made his fortune by developing one of the first automobiles. After Wilbur's death, Eugene pursues Isabel again. Wilbur's sister Fanny is also in love with Eugene, though this is not returned by Eugene. Even though Isabel and Eugene are both still in love, their plans are thwarted by George. George hates Eugene not just because of his profession, but because he has to share his mother's attention for the first time. When George learns that the townspeople are talking about Eugene's love for Isabel, George becomes enraged by this supposed scandal and does whatever he can to prevent Isabel and Eugene from marrying. George and Isabel leave on a trip around the world and are gone for five years. Despite Isabel's poor health and longing for Eugene, George insists that they both stay abroad, returning only when Isabel is colse to death. George's attitudes and actions help to ruin his family, as well as his chances of having a relationship with Eugene's daughter Lucy. Eventually George receives his "comeuppance", learning humility after suffering the tragic consequences of his own devices. George reconciles with Lucy, and asks for Eugene's forgiveness. By then all of the members of the Amberson family have either died, moved away or become destitute.
Technical Information
camera : mitchell BNC
Film negative format (mm/video inches): 35 mm
Cinematographic process : Spherical
Printed film format : 35 mm
Aspect ratio : 1.37 : 1
According to Peter Bogdanovich, Orson Welles said many times that this film could've been "much better than Citizen Kane (1941)." Also, while Welles always refused to watch any of his films, he was in a hotel room in the 70s with many friends and ‘The Magnificent Ambersons’ was on TV, and he was talked into watching the rest of it. It is said that he was teary throughout, and confessed that although the ending didn't work, he still liked the film.
Citizen Kane - 1941
Directed by Orson Welles
Screenplay by Welles and Herman J. Mankiewicz
Cinematography by Gregg Toland
Music by Bernard Herrmann
Starring : Orson Welles, Joseph Cotten, Agnes Moorehead, Everett Sloane, Dorothy Comingore, Ruth Warrick, Ray Collins, Erskine Sanford, William Alland, George Couloris
Citizen Kane is Orson Welles's greatest achievement -- and a landmark of cinema history. The story charts the rise and fall of a newpaper publisher whose wealth and power ultimately isolates him in his castle like refuge. The film's protagonist, Charles Foster, was based on a composite of Howard Hughes and William Randolph Hearst - so much so that Hearst tried to have the film suppressed. Every aspect of the production marked an advance in film language: the deep focus and deeply shadowed cinematography; the discontinuous narrative, relying heavily on flashbacks and newsreel footage; and the ensemble acting forged in the fires of Welles's Mercury Theatre. Every moment of the film, every shot, has been choreographed to perfection. The film is essential viewing, quite possibly the greatest film ever made and, along with The Birth of a Nation, certainly the most influential.
Technical Information
Camera : Mitchell BNC
Film negative format (mm/video inches) : 35 mm
Cinematographic process : Spherical
Printed film format : 35 mm
Aspect ratio : 1.37 : 1
In America in the Dark, David Thomson writes that Citizen Kane is "the key work of the first American director to identify comprehensive fraud as a topic central to his culture."
The movie is unquestionably great even if the Hearst similarities did not exist. Its use of unusual angles, dramatic lighting, unusual transitions and tracking shots, and deep-focus shots is sensational and the narrative is more "circular," to borrow a description from Roger Ebert’s fine review, than linear. Indeed, the movie begins at its story’s end, the death of Charles Foster Kane, whose last word is "Rosebud."
The movie received 9 Oscar nominations, but only one for the screenplay, which was shared by Welles and Mankiewicz. Its performers, including Welles, came from the Mercury Theater and had never before acted in a movie. Welles took a relative modest salary for the film, but obtained almost complete creative control over the movie, which was reportedly without precedent in Hollywood.
Screenplay by Welles and Herman J. Mankiewicz
Cinematography by Gregg Toland
Music by Bernard Herrmann
Starring : Orson Welles, Joseph Cotten, Agnes Moorehead, Everett Sloane, Dorothy Comingore, Ruth Warrick, Ray Collins, Erskine Sanford, William Alland, George Couloris
Citizen Kane is Orson Welles's greatest achievement -- and a landmark of cinema history. The story charts the rise and fall of a newpaper publisher whose wealth and power ultimately isolates him in his castle like refuge. The film's protagonist, Charles Foster, was based on a composite of Howard Hughes and William Randolph Hearst - so much so that Hearst tried to have the film suppressed. Every aspect of the production marked an advance in film language: the deep focus and deeply shadowed cinematography; the discontinuous narrative, relying heavily on flashbacks and newsreel footage; and the ensemble acting forged in the fires of Welles's Mercury Theatre. Every moment of the film, every shot, has been choreographed to perfection. The film is essential viewing, quite possibly the greatest film ever made and, along with The Birth of a Nation, certainly the most influential.
Technical Information
Camera : Mitchell BNC
Film negative format (mm/video inches) : 35 mm
Cinematographic process : Spherical
Printed film format : 35 mm
Aspect ratio : 1.37 : 1
In America in the Dark, David Thomson writes that Citizen Kane is "the key work of the first American director to identify comprehensive fraud as a topic central to his culture."
The movie is unquestionably great even if the Hearst similarities did not exist. Its use of unusual angles, dramatic lighting, unusual transitions and tracking shots, and deep-focus shots is sensational and the narrative is more "circular," to borrow a description from Roger Ebert’s fine review, than linear. Indeed, the movie begins at its story’s end, the death of Charles Foster Kane, whose last word is "Rosebud."
The movie received 9 Oscar nominations, but only one for the screenplay, which was shared by Welles and Mankiewicz. Its performers, including Welles, came from the Mercury Theater and had never before acted in a movie. Welles took a relative modest salary for the film, but obtained almost complete creative control over the movie, which was reportedly without precedent in Hollywood.
Orson Welles Filmography as Director
Films directed by Orson Welles
1940's
Citizen Kane (1941) · The Magnificent Ambersons (1942) ·
The Stranger (1946) · The Lady from Shanghai (1947) ·
Macbeth (1948)
1950's
Othello (1952) · Mr. Arkadin (1955) · Touch of Evil (1958)
1960's
The Trial (1962) · Chimes at Midnight (1965) · The Immortal Story (1968)
1970's
F for Fake (1974)
Unfinished Projects
It's All True (1942) · Vienna (1968) · Don Quixote (1956~1969) ·
The Deep (1970) ·
The Other Side of the Wind (1972) ·
The Dreamers (1980~1982)
Shorts
The Hearts of Age (1934) · Too Much Johnson (1938) ·
The Fountain of Youth (1958)
Other
Filming Othello (1978)
1940's
Citizen Kane (1941) · The Magnificent Ambersons (1942) ·
The Stranger (1946) · The Lady from Shanghai (1947) ·
Macbeth (1948)
1950's
Othello (1952) · Mr. Arkadin (1955) · Touch of Evil (1958)
1960's
The Trial (1962) · Chimes at Midnight (1965) · The Immortal Story (1968)
1970's
F for Fake (1974)
Unfinished Projects
It's All True (1942) · Vienna (1968) · Don Quixote (1956~1969) ·
The Deep (1970) ·
The Other Side of the Wind (1972) ·
The Dreamers (1980~1982)
Shorts
The Hearts of Age (1934) · Too Much Johnson (1938) ·
The Fountain of Youth (1958)
Other
Filming Othello (1978)
Orson Welles
Orson Welles (1915-1985) was a Broadway and Hollywood actor, radio actor, and film director. His earliest film production, Citizen Kane, was his most famous, although most of his other productions were notable.
Orson Welles was born George Orson Welles in Kenosha, Wisconsin, on May 6, 1915, the second son of Richard Welles, an inventor, and Beatrice Ives, a concert pianist. The name George was soon dropped. The family moved to Chicago when Welles was four; two years later his parents separated formally. The comfortable circumstances in which Welles was born gradually diminished. An important early influence on his life was Maurice Bernstein, an orthopedist and passionate admirer of his mother until her death in 1926. That year he was enrolled in the progressive Todd School (Woodstock, Illinois). His formal education ended with graduation in 1931.
After a sojourn to Ireland, where he was involved in the theater as an actor, Welles returned to Chicago where he briefly served as a drama coach at the Todd School and coedited four volumes of Shakespeare's plays. He made his Broadway debut with Katharine Cornell's company in December 1934. He and John Houseman joined forces the next year to manage a unit of the Federal Theatre Project, one of the work-relief arts projects established by the New Deal. Welles' direction was inspired, injecting new life into various classics, including an all-African American Macbeth, the French farce The Italian Straw Hat, and the Elizabethan morality play Dr. Faustus.
Welles and Houseman broke with the Federal Theatre Project over its attempt to censor their June 1937 production of Marc Blitzstein's pro-labor The Cradle Will Rock. They organized the Mercury Theatre, which over the next two seasons had a number of extraordinary successes, including a modern dress anti-Fascist Julius Caesar (with Welles playing Brutus), an Elizabethan working-class comedy Shoemaker's Holiday (re-written by Welles), and Shaw's Heartbreak House (with the 24-year-old Welles convincingly playing an octogenerian). Welles also found time to play "The Shadow" on radio and to supervise a "Mercury Theatre on the Air," whose most notorious success was an adaptation of H. G. Wells' War of the Worlds, which resulted in panic as many listeners believed that Martians were invading New Jersey.
In 1939 the Mercury Theatre collapsed as a result of economic problems; Welles went to Hollywood to find the cash to resurrect it. Except for a stirring dramatization of Richard Wright's Native Son in 1940, an unhappy attempt to stage Jules Verne's Around the World in 80 Days (music and lyrics by Cole Porter) in 1946, and an unsatisfactory King Lear in 1956, his Broadway career was over. He did continue theater activity overseas: during the 1950s he successfully staged Moby Dick in England, directed Laurence Olivier in the London production of Ionesco's Rhinoceros , and wrote a script for a Roland Petit ballet.
Following an early flirtation with movies and after casting around some months for a subject, Welles filmed Citizen Kane in 1939-1940. Since its release in 1941 this film has generally been awarded accolades and in recent years has been acclaimed as one of the best movies of all time. It is a fascinating study of a newspaper publisher (obviously modeled on William Randolph Hearst, despite Welles' disclaimers). Controversy surrounds the production of this film, which Welles is credited with producing, directing, and co-scripting. He also played the leading role. However one views the making of this film, there is no doubt about his role as catalyst.
Years later Welles declared "I began at the top and have been making my way down ever since." All the films he directed are of interest, but none matched his initial achievement. Among his other films are The Magnificent Ambersons (1942), The Lady From Shanghai (1946), Othello (1952), Touch of Evil (1958), The Trial (1962), and F Is for Fake (1973). Most of these films have been marked by disputes; Welles often disowned the final version. His critics argue that a self-destructive tendency caused these problems and cite his experiences with the unfinished It's All True, which he embarked on in Brazil in 1942 before finishing the final editing of The Magnificent Ambersons. But his partisans called it a destroyed masterpiece (in his absence 131 minutes were edited down to a final release print of 88 minutes).
A somewhat hammy actor with a magnificent voice, Welles appeared in over 45 films besides his own. In some of these films, such as The Third Man (1949) and Compulsion (1959), he was superb. But all too many were junk movies such as Black Magic (1949) and The Tarters (1960); he accepted these so that he might earn the funds necessary to finance films of his own such as Chimes at Midnight (released in 1966, an exciting film based on various Shakespeare plays and dealing with Falstaff).
For various reasons Welles left the United States after World War II and for three decades lived a kind of gypsy existence abroad, with occasional visits back to America for movie assignments or other work. An intelligent, multifaceted individual, Welles during World War II had put in a stint as a columnist at the liberal New York Post and later gave some thought to a political career. During the latter part of his life, despite being dogged by ill health, he earned a comfortable living doing television commercials for companies such as Paul Masson wines, putting much of what he earned into the production of various films, including The Other Side of the Wind (which dealt with an old film-maker and which was unfinished at the time of his death as well as being involved in litigation). A superb racontuer, Welles--after moving back to the United States in the mid-1970s--was much in demand as a guest on television talk shows.
Welles was found dead in early October 1985 in his Los Angeles home. Married three times, he had children with each wife: Virginia Nicolson (Christopher), Rita Hayworth (Rebecca), and his widow Paola Mori (Beatrice). He had many friends in his lifetime, including Oja Kodar, a Yugoslav artist who was his companion and assistant from the mid-1960s onward. Welles shared an Academy Award for the script of Citizen Kane and in 1975 was honored by the American Film Institute with a Life-Achievement Award. Welles' other awards include a 1958 Peabody Award for a TV pilot.
Orson Welles was born George Orson Welles in Kenosha, Wisconsin, on May 6, 1915, the second son of Richard Welles, an inventor, and Beatrice Ives, a concert pianist. The name George was soon dropped. The family moved to Chicago when Welles was four; two years later his parents separated formally. The comfortable circumstances in which Welles was born gradually diminished. An important early influence on his life was Maurice Bernstein, an orthopedist and passionate admirer of his mother until her death in 1926. That year he was enrolled in the progressive Todd School (Woodstock, Illinois). His formal education ended with graduation in 1931.
After a sojourn to Ireland, where he was involved in the theater as an actor, Welles returned to Chicago where he briefly served as a drama coach at the Todd School and coedited four volumes of Shakespeare's plays. He made his Broadway debut with Katharine Cornell's company in December 1934. He and John Houseman joined forces the next year to manage a unit of the Federal Theatre Project, one of the work-relief arts projects established by the New Deal. Welles' direction was inspired, injecting new life into various classics, including an all-African American Macbeth, the French farce The Italian Straw Hat, and the Elizabethan morality play Dr. Faustus.
Welles and Houseman broke with the Federal Theatre Project over its attempt to censor their June 1937 production of Marc Blitzstein's pro-labor The Cradle Will Rock. They organized the Mercury Theatre, which over the next two seasons had a number of extraordinary successes, including a modern dress anti-Fascist Julius Caesar (with Welles playing Brutus), an Elizabethan working-class comedy Shoemaker's Holiday (re-written by Welles), and Shaw's Heartbreak House (with the 24-year-old Welles convincingly playing an octogenerian). Welles also found time to play "The Shadow" on radio and to supervise a "Mercury Theatre on the Air," whose most notorious success was an adaptation of H. G. Wells' War of the Worlds, which resulted in panic as many listeners believed that Martians were invading New Jersey.
In 1939 the Mercury Theatre collapsed as a result of economic problems; Welles went to Hollywood to find the cash to resurrect it. Except for a stirring dramatization of Richard Wright's Native Son in 1940, an unhappy attempt to stage Jules Verne's Around the World in 80 Days (music and lyrics by Cole Porter) in 1946, and an unsatisfactory King Lear in 1956, his Broadway career was over. He did continue theater activity overseas: during the 1950s he successfully staged Moby Dick in England, directed Laurence Olivier in the London production of Ionesco's Rhinoceros , and wrote a script for a Roland Petit ballet.
Following an early flirtation with movies and after casting around some months for a subject, Welles filmed Citizen Kane in 1939-1940. Since its release in 1941 this film has generally been awarded accolades and in recent years has been acclaimed as one of the best movies of all time. It is a fascinating study of a newspaper publisher (obviously modeled on William Randolph Hearst, despite Welles' disclaimers). Controversy surrounds the production of this film, which Welles is credited with producing, directing, and co-scripting. He also played the leading role. However one views the making of this film, there is no doubt about his role as catalyst.
Years later Welles declared "I began at the top and have been making my way down ever since." All the films he directed are of interest, but none matched his initial achievement. Among his other films are The Magnificent Ambersons (1942), The Lady From Shanghai (1946), Othello (1952), Touch of Evil (1958), The Trial (1962), and F Is for Fake (1973). Most of these films have been marked by disputes; Welles often disowned the final version. His critics argue that a self-destructive tendency caused these problems and cite his experiences with the unfinished It's All True, which he embarked on in Brazil in 1942 before finishing the final editing of The Magnificent Ambersons. But his partisans called it a destroyed masterpiece (in his absence 131 minutes were edited down to a final release print of 88 minutes).
A somewhat hammy actor with a magnificent voice, Welles appeared in over 45 films besides his own. In some of these films, such as The Third Man (1949) and Compulsion (1959), he was superb. But all too many were junk movies such as Black Magic (1949) and The Tarters (1960); he accepted these so that he might earn the funds necessary to finance films of his own such as Chimes at Midnight (released in 1966, an exciting film based on various Shakespeare plays and dealing with Falstaff).
For various reasons Welles left the United States after World War II and for three decades lived a kind of gypsy existence abroad, with occasional visits back to America for movie assignments or other work. An intelligent, multifaceted individual, Welles during World War II had put in a stint as a columnist at the liberal New York Post and later gave some thought to a political career. During the latter part of his life, despite being dogged by ill health, he earned a comfortable living doing television commercials for companies such as Paul Masson wines, putting much of what he earned into the production of various films, including The Other Side of the Wind (which dealt with an old film-maker and which was unfinished at the time of his death as well as being involved in litigation). A superb racontuer, Welles--after moving back to the United States in the mid-1970s--was much in demand as a guest on television talk shows.
Welles was found dead in early October 1985 in his Los Angeles home. Married three times, he had children with each wife: Virginia Nicolson (Christopher), Rita Hayworth (Rebecca), and his widow Paola Mori (Beatrice). He had many friends in his lifetime, including Oja Kodar, a Yugoslav artist who was his companion and assistant from the mid-1960s onward. Welles shared an Academy Award for the script of Citizen Kane and in 1975 was honored by the American Film Institute with a Life-Achievement Award. Welles' other awards include a 1958 Peabody Award for a TV pilot.
Greatest Of All Time
The Most Influential Of All Time ...
1 Orson Welles 12 films
1 Orson Welles 12 films
2 Alfred Hitchcock 14 films
3 Federico Fellini 12 films
4 John Ford 18 films
5 Stanley Kubrick 11 films
6 Jean Renoir 11 films
7 Akira Kurosawa 11 films
8 Ingmar Bergman 13 films
9 Jean-Luc Godard 13 films
10 Luis Buñuel 15 films
11 Francis Ford Coppola 5 films
12 Charles Chaplin 10 films
13 Billy Wilder 8 films
14 Martin Scorsese 9 films
15 Howard Hawks 11 films
16 Carl Dreyer 5 films
17 Sergei Eisenstein 7 films
18 F.W. Murnau 6 films
19 Yasujiro Ozu 7 films
20 Robert Bresson 8 films
21 Andrei Tarkovsky 7 films
22 Fritz Lang 16 films
23 Kenji Mizoguchi 10 films
24 François Truffaut 7 films
25 David Lean 6 films
26 Buster Keaton 7 films
27 Michelangelo Antonioni 6 films
28 D.W. Griffith 5 films
29 Roberto Rossellini 8 films
30 Max Ophüls 7 films
31 Steven Spielberg 7 films
32 Vittorio De Sica 4 films
33 Satyajit Ray 6 films
34 Luchino Visconti 9 films
35 Woody Allen 8 films
36 Ernst Lubitsch 7 films
37 John Huston 8 films
38 Roman Polanski 5 films
39 Jean Vigo 2 films
40 Robert Altman 8 films
41 Stanley Donen & Gene Kelly 2 films
42 Michael Powell & Emeric Pressburger 7 films
43 Frank Capra 6 films
44 Alain Resnais 6 films
45 Sergio Leone 3 films
46 Michael Curtiz 2 films
47 Sam Peckinpah 7 films
48 Bernardo Bertolucci 7 films
49 Preston Sturges 5 films
50 Carol Reed 3 films
51 Victor Fleming 2 films
52 John Cassavetes 7 films
53 Marcel Carné 3 films
54 Erich von Stroheim 4 films
55 Ridley Scott 4 films
56 Werner Herzog 5 films
57 Jacques Tati 3 films
58 George Cukor 5 films
59 David Lynch 7 films
60 Krzysztof Kieslowski 7 films
61 Rainer Werner Fassbinder 6 films
62 Leo McCarey 5 films
63 Josef von Sternberg 8 films
64 Vincente Minnelli 5 films
65 Douglas Sirk 6 films
66 Nicholas Ray 6 films
67 Elia Kazan 6 films
68 Pier Paolo Pasolini 5 films
69 Abbas Kiarostami 6 films
70 Joseph L. Mankiewicz 4 films
71 William Wyler 5 films
72 Terrence Malick 3 films
73 King Vidor 6 films
74 Jacques Tourneur 4 films
75 Chris Marker 2 films
76 David Cronenberg 3 films
77 Wong Kar-Wai 5 films
78 Jacques Rivette 4 films
79 Milos Forman 4 films
80 Wim Wenders 4 films
81 Eric Rohmer 7 films
82 Quentin Tarantino 2 films
83 Hou Hsiao-Hsien 4 films
84 Joel Coen & Ethan Coen 5 films
85 Alexander Dovzhenko 2 films
86 Jean Cocteau 4 films
87 Jacques Demy 4 films
88 Robert Flaherty 4 films
89 Clint Eastwood 3 films
90 Nicolas Roeg 4 films
91 Sidney Lumet 4 films
92 Jean-Pierre Melville 6 films
93 George Lucas 2 films
94 Raoul Walsh 3 films
95 James Cameron 3 films
96 Andrzej Wajda 3 films
97 Otto Preminger 3 films
98 Brian De Palma 3 films
99 Chantal Akerman 2 films
100 George Stevens 3 films
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