George R. Robertson, the Canadian actor who portrayed the police chief and later police commissioner Henry Hurst in the first six Police Academy films, has died. He was 89.
Robertson died Sunday at Sunnybrook Health Sciences Centre in Toronto, his family announced.
Robertson also showed up in small roles in three films that were nominated for the best picture Oscar — Airport (1970), Norma Rae (1979) and JFK (1991) — and portrayed vice president Dick Cheney in the 2006 ABC miniseries The Path to 9/11.
Robertson appeared as Hurst in 1994 in the first Police Academy movie, directed by Hugh Wilson, and stuck around through Police Academy 6: City Under Siege (1989). His character grows more tolerant of the wacky recruits led by Commandant Lassard (George Gaynes) as the franchise moves along.
The actor did not make the trip to Moscow for the 1994 installment but was on one episode of the 1997-98 Police Academy series at CTV.
George Ross Robertson...
Robertson died Sunday at Sunnybrook Health Sciences Centre in Toronto, his family announced.
Robertson also showed up in small roles in three films that were nominated for the best picture Oscar — Airport (1970), Norma Rae (1979) and JFK (1991) — and portrayed vice president Dick Cheney in the 2006 ABC miniseries The Path to 9/11.
Robertson appeared as Hurst in 1994 in the first Police Academy movie, directed by Hugh Wilson, and stuck around through Police Academy 6: City Under Siege (1989). His character grows more tolerant of the wacky recruits led by Commandant Lassard (George Gaynes) as the franchise moves along.
The actor did not make the trip to Moscow for the 1994 installment but was on one episode of the 1997-98 Police Academy series at CTV.
George Ross Robertson...
- 2/3/2023
- by Mike Barnes and Etan Vlessing
- The Hollywood Reporter - Movie News
Hideo Sekigawa’s Hiroshima (1953) is currently available on Blu-ray From Arrow Academy.
Hiroshima (1953) is a powerful evocation of the devastation wrought by the world s first deployment of the atomic bomb and its aftermath, based on the written eye-witness accounts of its child survivors compiled by Dr. Arata Osada for the 1951 book Children Of The A Bomb: Testament Of The Boys And Girls Of Hiroshima.
Adapted for the screen by independent director Hideo Sekigawa and screenwriter Yasutaro Yagi, Hiroshima combines a harrowing documentary realism with moving human drama, in a tale of the suffering, endurance and survival of a group of teachers, their students and their families. It boasts a rousing score composed by Akira Ifukube (Godzilla) and an all-star cast including Yumeji Tsukioka, Isuzu Yamada and Eiji Okada, appearing alongside an estimated 90,000 residents from the city as extras, including many survivors from that fateful day on 6th August 1945.
Hiroshima...
Hiroshima (1953) is a powerful evocation of the devastation wrought by the world s first deployment of the atomic bomb and its aftermath, based on the written eye-witness accounts of its child survivors compiled by Dr. Arata Osada for the 1951 book Children Of The A Bomb: Testament Of The Boys And Girls Of Hiroshima.
Adapted for the screen by independent director Hideo Sekigawa and screenwriter Yasutaro Yagi, Hiroshima combines a harrowing documentary realism with moving human drama, in a tale of the suffering, endurance and survival of a group of teachers, their students and their families. It boasts a rousing score composed by Akira Ifukube (Godzilla) and an all-star cast including Yumeji Tsukioka, Isuzu Yamada and Eiji Okada, appearing alongside an estimated 90,000 residents from the city as extras, including many survivors from that fateful day on 6th August 1945.
Hiroshima...
- 7/26/2020
- by Tom Stockman
- WeAreMovieGeeks.com
Actor celebrated for her intellectual performances who achieved early success in Hiroshima Mon Amour
For her brave, unsentimental performance as an elderly woman agonisingly declining physically and mentally in Michael Haneke’s Amour (2012), Emmanuelle Riva, who has died aged 89, became the oldest best actress Oscar nominee ever, at 85. It was more than half a century since Riva’s soothing cadenced voice and delicate features had dominated Alain Resnais’ masterful Hiroshima Mon Amour (1959).
In that film, the voice of Riva as Elle is first heard over horrific newsreel images of the victims of the atom bomb, and it is almost 10 minutes into the film before we see her in the arms of her Japanese lover (Eiji Okada), called simply Lui. She is a French actor in Hiroshima, he is an architect. The repeated phrases of their dialogue echo throughout the film written by Marguerite Duras. He says: “You saw nothing in Hiroshima.
For her brave, unsentimental performance as an elderly woman agonisingly declining physically and mentally in Michael Haneke’s Amour (2012), Emmanuelle Riva, who has died aged 89, became the oldest best actress Oscar nominee ever, at 85. It was more than half a century since Riva’s soothing cadenced voice and delicate features had dominated Alain Resnais’ masterful Hiroshima Mon Amour (1959).
In that film, the voice of Riva as Elle is first heard over horrific newsreel images of the victims of the atom bomb, and it is almost 10 minutes into the film before we see her in the arms of her Japanese lover (Eiji Okada), called simply Lui. She is a French actor in Hiroshima, he is an architect. The repeated phrases of their dialogue echo throughout the film written by Marguerite Duras. He says: “You saw nothing in Hiroshima.
- 1/29/2017
- by Ronald Bergan
- The Guardian - Film News
Japanese art filmmaking writ large by director Hiroshi Teshigahara: a strange allegorical fantasy about a man imprisoned in a sand pit, and compelled to make a primitive living with the woman who lives there. Perhaps it's about marriage... Woman in the Dunes Blu-ray The Criterion Collection 394 1964 / B&W / 1:33 full frame / 148 min. / Suna no onna / available through The Criterion Collection / Street Date August 23, 2016 / 39.95 Starring Eiji Okada, Kyoko Kishida, Hiroko Ito Production Design Totetsu Hirakawa, Masao Yamazaki Produced by Tadashi Oono, Iichi Ichikawa Cinematography Hiroshi Segawa Film Editor Fuzako Shuzui Original Music Toru Takemitsu Written by Kobo Abe Directed by Hiroshi Teshigahara
Reviewed by Glenn Erickson
In the 1960s the public interest in art cinema reached out beyond France and Italy, finally giving an opening for more exotic fare from Japan. Director Hiroshi Teshigahara earned his moment in the spotlight with 1964's Woman in the Dunes, an adaptation of a book by Kobo Abe.
Reviewed by Glenn Erickson
In the 1960s the public interest in art cinema reached out beyond France and Italy, finally giving an opening for more exotic fare from Japan. Director Hiroshi Teshigahara earned his moment in the spotlight with 1964's Woman in the Dunes, an adaptation of a book by Kobo Abe.
- 8/9/2016
- by Glenn Erickson
- Trailers from Hell
Robert Mitchum ca. late 1940s. Robert Mitchum movies 'The Yakuza,' 'Ryan's Daughter' on TCM Today, Aug. 12, '15, Turner Classic Movies' “Summer Under the Stars” series is highlighting the career of Robert Mitchum. Two of the films being shown this evening are The Yakuza and Ryan's Daughter. The former is one of the disappointingly few TCM premieres this month. (See TCM's Robert Mitchum movie schedule further below.) Despite his film noir background, Robert Mitchum was a somewhat unusual choice to star in The Yakuza (1975), a crime thriller set in the Japanese underworld. Ryan's Daughter or no, Mitchum hadn't been a box office draw in quite some time; in the mid-'70s, one would have expected a Warner Bros. release directed by Sydney Pollack – who had recently handled the likes of Jane Fonda, Barbra Streisand, and Robert Redford – to star someone like Jack Nicholson or Al Pacino or Dustin Hoffman.
- 8/13/2015
- by Andre Soares
- Alt Film Guide
Hiroshima mon amour
Written by Marguerite Duras
Directed by Alain Resnais
France/Japan, 1959
The first thing we see is a textured image of ash covered bodies. Indistinctly illuminated limbs are entwined in what appears to be a passionate embrace. Glistening particles of dust sprinkle down like snowfall. Then comes the dialogue. A woman recalls the devastating effects of the atomic bomb dropped on Hiroshima Aug. 6, 1945. She says she saw it all. A man says she didn’t see a thing. “How could I not have seen it?” she questions. We see images of it, but some of it is staged, presented for the camera, possibly from her point of view. That is, if she’s telling the truth. There is a graphically unsettling montage of photographs, reconstructions, and Japanese films, all chronicling the attack; there is a morbid museum containing artifacts of that fateful day, haunting reminders of the physical and material destruction.
Written by Marguerite Duras
Directed by Alain Resnais
France/Japan, 1959
The first thing we see is a textured image of ash covered bodies. Indistinctly illuminated limbs are entwined in what appears to be a passionate embrace. Glistening particles of dust sprinkle down like snowfall. Then comes the dialogue. A woman recalls the devastating effects of the atomic bomb dropped on Hiroshima Aug. 6, 1945. She says she saw it all. A man says she didn’t see a thing. “How could I not have seen it?” she questions. We see images of it, but some of it is staged, presented for the camera, possibly from her point of view. That is, if she’s telling the truth. There is a graphically unsettling montage of photographs, reconstructions, and Japanese films, all chronicling the attack; there is a morbid museum containing artifacts of that fateful day, haunting reminders of the physical and material destruction.
- 7/21/2015
- by Jeremy Carr
- SoundOnSight
Criterion digitally restores its previous edition of Alain Resnais’ landmark directorial debut, Hiroshima Mon Amour, a jagged cornerstone of the French New Wave, which forever associated the reluctant auteur with one of the most acclaimed cinematic movements to date. Roughly preceding the renowned debut of Jean-Luc Godard and released the same month as Francois Truffaut’s The 400 Blows (they competed against one another at Cannes), Resnais’ contribution changed the way we regarded linear narrative and flashback sequences, and much like those iconic works of his peers, now bears several decades worth of critical acclaim on its shoulders. Tragic, moody and ultimately a poetic exchange of present interludes shattered by ghosts of the recent past, Resnais begins with motifs he would remain fascinated with throughout his career, the nature of remembrance and recollection, instances as shattered as the narrative chronologies in his films.
Fourteen years after the atomic bomb laid waste to Hiroshima,...
Fourteen years after the atomic bomb laid waste to Hiroshima,...
- 7/14/2015
- by Nicholas Bell
- IONCINEMA.com
“He Said/She Said—Reflections On Love, Unreliable Memories, And The Atomic Bomb”
By Raymond Benson
Director Alain Resnais achieved worldwide acclaim with his documentary short, Night and Fog (1955), which revealed to the world the true horrors of what went on in the Nazi concentration camps. For his first feature film, Resnais turned to fiction; and yet, he maintained a somewhat documentary approach in showing the world the true horrors of what occurred in Hiroshima, Japan when the first atomic bomb was dropped. Beyond that, Hiroshima mon amour (“Hiroshima, My Love”) is an art film that not only signaled the beginning of the French New Wave (although many film historians do not count it as an example of that movement), it also established Resnais’ singular, enigmatic and ambiguous style as an auteur. The director would go on to make even more thematically-mysterious pictures (namely Last Year at Marienbad) and become...
By Raymond Benson
Director Alain Resnais achieved worldwide acclaim with his documentary short, Night and Fog (1955), which revealed to the world the true horrors of what went on in the Nazi concentration camps. For his first feature film, Resnais turned to fiction; and yet, he maintained a somewhat documentary approach in showing the world the true horrors of what occurred in Hiroshima, Japan when the first atomic bomb was dropped. Beyond that, Hiroshima mon amour (“Hiroshima, My Love”) is an art film that not only signaled the beginning of the French New Wave (although many film historians do not count it as an example of that movement), it also established Resnais’ singular, enigmatic and ambiguous style as an auteur. The director would go on to make even more thematically-mysterious pictures (namely Last Year at Marienbad) and become...
- 6/30/2015
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
“Yet if you should forget me for a whileAnd afterwards remember, do not grieveFor if the darkness and corruption leaveA vestige of the thoughts that once we hadBetter by far you should forget and smileThan that you should remember and be sad.”—Christina Rossetti, Remember (1862)An opening title card from director Thom Andesen’s new feature film, The Thoughts That Once We Had, directly identifies the cinematic writings of philosopher Gilles Deleuze as the project's primary subject and inspiration. Deleuze’s two volumes on film, Cinema 1: The Movement-Image (1983) and Cinema 2: The Time-Image (1985), are today synonymous with a certain modernist school of thought that, while integrated in academia to such a degree as to be all but understood, remains quite radical. Unquestionably dense and provocatively pedantic, the French empiricist’s filmic texts integrate an array of theories and conceptualizations into a fairly delineated taxonomy, and are therefore fairly conducive...
- 5/8/2015
- by Jordan Cronk
- MUBI
Perched at the top of this week’s flock of specialty film debuts is Birdman (Or The Unexpected Virtue Of Ignorance), a possible Oscar contender starring Michael Keaton. Though it’s a limited release, Alejandro González Iñárritu‘s complex film about a fading action-hero trying to reclaim his mojo on Broadway nevertheless combines elements of a superhero franchise that could tap fans well beyond the art house.
It’s part of yet another big flock of specialty film debuts coming this weekend, including the controversy-minded Sundance award-winner Dear White People, William H. Macy‘s directorial debut Rudderless, Kristen Stewart‘s Camp X-Ray, Jason Schwartzman‘s Listen Up Philip, The Golden Era, Summer Of Blood, and one great revival, Alain Resnais’ 1959 landmark Hiroshima Mon Amour.
To get a sense of Fox Searchlight’s ambitions for Birdman, the film closed the New York Film Festival last weekend to strong reviews, but then...
It’s part of yet another big flock of specialty film debuts coming this weekend, including the controversy-minded Sundance award-winner Dear White People, William H. Macy‘s directorial debut Rudderless, Kristen Stewart‘s Camp X-Ray, Jason Schwartzman‘s Listen Up Philip, The Golden Era, Summer Of Blood, and one great revival, Alain Resnais’ 1959 landmark Hiroshima Mon Amour.
To get a sense of Fox Searchlight’s ambitions for Birdman, the film closed the New York Film Festival last weekend to strong reviews, but then...
- 10/16/2014
- by David Bloom
- Deadline
Emmanuelle Riva had her first starring role in "Hiroshima Mon Amour." Her luminous talents as an actress (also playing an actress) were obvious. But like Resnais, Riva was also filming Hiroshima. See her evocative slice-of-life photos of this city in ruin below. From an original, Oscar-nominated screenplay by the glorious French writer Marguerite Duras, Resnais' 1959 drama anticipated his many cinematic fascinations to come. Emmanuelle Riva and Eiji Okada play an actress and an architect who, while drifting through Japan, discuss memory and longing across elliptical, time-bending voiceovers as their brief affair begins to unravel. Meanwhile, the devastation of the Hiroshima bomb of 1945 is all around them. Shut out of Cannes competition in 1959 for its radically anti-nuclear stance, the film picked up the International Critics' Prize before becoming a worldwide art house sensation -- and a film classic. Tangled in rights issues and shut out of Resnais...
- 10/14/2014
- by Ryan Lattanzio
- Thompson on Hollywood
While contributors to the Playlist are lucky enough travel to film festivals around the world to cover the latest and greatest cinematic offerings, one thing we always lament is not being able to make time for retrospective screenings. With restorations becoming de rigeur at fests, it's shame we can never carve the space in our schedules. But that doesn't mean you shouldn't, and indeed, the forthcoming New York Film Festival has more than a few to choose from. Courtesy of Rialto Pictures, Alain Resnais' classic debut film "Hiroshima Mon Amour" has been given a new coat of paint, and if you haven't seen it, now's the time. The film stars Emmanuelle Riva and Eiji Okada, and follows an actress who heads to Hiroshima to make a film and winds up having an affair with a Japanese architect. And this lovely new trailer provides all the reasons you need to...
- 9/24/2014
- by Kevin Jagernauth
- The Playlist
From an original, Oscar-nominated screenplay by the glorious French writer Marguerite Duras, Resnais' 1959 drama anticipated his many cinematic fascinations to come. Emmanuelle Riva and Eiji Okada play an actress and an architect who, while drifting through Japan, discuss memory and longing across elliptical, time-bending voiceovers as their brief affair begins to unravel. Meanwhile, the devastation of the Hiroshima bomb of 1945 is all around them. Shut out of Cannes competition in 1959 for its radically anti-nuclear stance, the film picked up the International Critics' Prize before becoming a worldwide art house sensation -- and a film classic. Tangled in rights issues and shut out of Resnais retrospectives through the years, "Hiroshima Mon Amour" will tour the Us in October 2014. It was restored by Argos Films, Fondation Groupama Gan, Fondation Technicolor and Cineteca Bologna with support from the Cnc. Rialto licensed theatrical and TV rights from Paris-based...
- 9/23/2014
- by Ryan Lattanzio
- Thompson on Hollywood
The Film Society of Lincoln Center announced that Rialto Pictures' upcoming 4K restoration of Alain Resnais' seminal film debut, "Hiroshima Mon Amour," will have its Us premiere during the 2014 New York Film Festival. A theatrical run at the Film Society follows on October 17. From an original, Oscar-nominated screenplay by the glorious French writer Marguerite Duras, the 1959 drama anticipated Resnais' many cinematic fascinations to come. Emmanuelle Riva and Eiji Okada play an actress and an architect who, while drifting through Japan, discuss memory and longing across elliptical, time-bending voiceovers as their brief affair begins to unravel. Meanwhile, the devastation of the Hiroshima bomb of 1945 is all around them. Shut out of Cannes competition in 1959 for its radically anti-nuclear stance, the film picked up the International Critics' Prize before becoming a worldwide art house sensation -- and a film classic. Tangled in rights issues and shut...
- 7/14/2014
- by Ryan Lattanzio
- Thompson on Hollywood
The more classics on the big screen the better. Rialto Pictures, a specialty distributor who has re-released other films like Jean-Luc Godard's Breathless and Alain Resnais' Last Year at Marienbad, has announced that the next classic they will be re-releasing this year is Alain Resnais' Hiroshima Mon Amour starring Emmanuelle Riva (who was Oscar nominated for Amour) and Eiji Okada. First released in 1959, Rialto will be re-releasing the restored 4K version of the film, which originally debuted at the Cannes Film Festival and Locarno Film Festival last year. So while it has been showing, it's getting a theatrical release in October. Thanks to IndieWire for the news. Here are two early trailers for Alain Resnais' Hiroshima Mon Amour: Glad to see this getting re-released, just hoping it can build enough buzz to get some audiences in theaters. "Known as a major influence on the French New Wave movement,...
- 6/17/2014
- by Alex Billington
- firstshowing.net
This Fall, Rialto Pictures will present a newly burnished 4K restoration of Alain Resnais' gorgeous black-and-white breakout "Hiroshima Mon Amour," which has long been unavailable for exhibition in the Us.From an original, Oscar-nominated screenplay by the glorious French writer Marguerite Duras, Resnais' 1959 drama anticipated his many cinematic fascinations to come. Emmanuelle Riva and Eiji Okada play an actress and an architect who, while drifting through Japan, discuss memory and longing across elliptical, time-bending voiceovers as their brief affair begins to unravel. Meanwhile, the devastation of the Hiroshima bomb of 1945 is all around them.Shut out of Cannes competition in 1959 for its radically anti-nuclear stance, the film picked up the International Critics' Prize before becoming a worldwide art house sensation -- and a film classic. Resnais' farewell film, "Life of Riley," bowed at the Berlinale this year three weeks before he died on March 1 at the age of...
- 6/17/2014
- by Ryan Lattanzio
- Thompson on Hollywood
Complex and avant-garde French film director best known for Night and Fog and Last Year in Marienbad
Alain Resnais, who has died aged 91, was a director of elegance and distinction who, despite generally working from the screenplays of other writers, established an auteurist reputation. His films were singular, instantly recognisable by their style as well as through recurring themes and preoccupations. Primary concerns were war, sexual relationships and the more abstract notions of memory and time. His characters were invariably adult (children were excluded as having no detailed past) middle-class professionals. His style was complex, notably in the editing and often – though not always – dominated by tracking shots and multilayered sound.
He surrounded himself with actors, musicians and writers of enormous talent and the result was a somewhat elitist body of work with little concern for realism or the socially or intellectually deprived. Even overtly political works, Night and Fog,...
Alain Resnais, who has died aged 91, was a director of elegance and distinction who, despite generally working from the screenplays of other writers, established an auteurist reputation. His films were singular, instantly recognisable by their style as well as through recurring themes and preoccupations. Primary concerns were war, sexual relationships and the more abstract notions of memory and time. His characters were invariably adult (children were excluded as having no detailed past) middle-class professionals. His style was complex, notably in the editing and often – though not always – dominated by tracking shots and multilayered sound.
He surrounded himself with actors, musicians and writers of enormous talent and the result was a somewhat elitist body of work with little concern for realism or the socially or intellectually deprived. Even overtly political works, Night and Fog,...
- 3/3/2014
- by Brian Baxter
- The Guardian - Film News
Hiroshima mon amour
Directed by Alain Resnais
Written by Marguerite Duras
France, 1959
Hiroshima mon amour was the first feature film of director Alain Resnais, whose only previous work had been a few short films. Most notably, Resnais had debuted Night and Fog at the Cannes Film Festival in 1955. The film was a documentary about Nazi concentration camps and was the direct catalyst to his involvement with Hiroshima mon amour. Resnais was approached to make a documentary about the atomic bomb. Wary of repeating his previous work, Resnais teamed with Marguerite Duras to create a wholly innovative fiction film that encapsulated Resnais’ struggles in making a film about the atomic bomb and the impossibility of coming to terms with such horrific events.
The film concerns a series of conversations, or one extended conversation, over a 36-hour period between a French actress only credited as She (Emmanuelle Riva) and a Japanese architect,...
Directed by Alain Resnais
Written by Marguerite Duras
France, 1959
Hiroshima mon amour was the first feature film of director Alain Resnais, whose only previous work had been a few short films. Most notably, Resnais had debuted Night and Fog at the Cannes Film Festival in 1955. The film was a documentary about Nazi concentration camps and was the direct catalyst to his involvement with Hiroshima mon amour. Resnais was approached to make a documentary about the atomic bomb. Wary of repeating his previous work, Resnais teamed with Marguerite Duras to create a wholly innovative fiction film that encapsulated Resnais’ struggles in making a film about the atomic bomb and the impossibility of coming to terms with such horrific events.
The film concerns a series of conversations, or one extended conversation, over a 36-hour period between a French actress only credited as She (Emmanuelle Riva) and a Japanese architect,...
- 7/31/2013
- by Katherine Springer
- SoundOnSight
The writer and director died last month aged 100. As a BFI retrospective celebrates his career, Emilie Bickerton salutes a life's work made in the shadow of Hiroshima
Kaneto Shindo, who died last month aged 100, just before the start of a two month British Film Institute season dedicated to his career and that of long-term collaborator Yoshimura Kozaburo, spent a lot of time among the reeds, wading through mud, puddles and into woods of bamboo. He was most comfortable there, where life was reduced to its bare essentials. Shindo was born in 1912 in Hiroshima. Japan modernised dramatically over his lifetime, but he observed it at a distance, with the knowledge that all this could disappear drummed into him from childhood after what had happened to his hometown. His subjects in the 49 films he made, ranging from melodramas to horror stories to erotic fictions, were those society had rejected or brutalised, who were now struggling to survive,...
Kaneto Shindo, who died last month aged 100, just before the start of a two month British Film Institute season dedicated to his career and that of long-term collaborator Yoshimura Kozaburo, spent a lot of time among the reeds, wading through mud, puddles and into woods of bamboo. He was most comfortable there, where life was reduced to its bare essentials. Shindo was born in 1912 in Hiroshima. Japan modernised dramatically over his lifetime, but he observed it at a distance, with the knowledge that all this could disappear drummed into him from childhood after what had happened to his hometown. His subjects in the 49 films he made, ranging from melodramas to horror stories to erotic fictions, were those society had rejected or brutalised, who were now struggling to survive,...
- 6/22/2012
- The Guardian - Film News
Eiji Okada, Emmanuelle Riva in DGA (but not Oscar) nominee Alain Resnais' Hiroshima, mon amour (top); Melina Mercouri, Jules Dassin in Dassin's Oscar- (but not DGA-) nominated Never on Sunday (bottom) DGA Awards vs. Academy Awards 1953-1959: Odd Men Out Jack Clayton, David Lean, Stanley Donen 1960 DGA (14)Vincente Minnelli, Bells Are RingingWalter Lang, Can-CanDelbert Mann, The Dark at the Top of the StairsRichard Brooks, Elmer GantryAlain Resnais, Hiroshima, mon amourVincente Minnelli, Home from the HillCarol Reed, Our Man in HavanaCharles Walters, Please Don't Eat the DaisiesLewis Gilbert, Sink the Bismarck!Vincent J. Donehue, Sunrise at Campobello AMPASJules Dassin, Never on Sunday DGA/AMPASBilly Wilder, The ApartmentJack Cardiff, Sons and LoversAlfred Hitchcock, PsychoFred Zinnemann, The Sundowners 1961 DGA (21)Robert Stevenson, The Absent Minded ProfessorBlake Edwards, Breakfast at Tiffany'sWilliam Wyler, The Children's HourAnthony Mann, El CidJoshua Logan, FannyHenry Koster, Flower Drum SongRobert Mulligan, The Great ImpostorPhilip Leacock, Hand in HandJack Clayton,...
- 1/10/2012
- by Andre Soares
- Alt Film Guide
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.