Biography of director George Stevens by his son. It includes clips from many of his films with commentary by the actors and by directors such as Frank Capra, John Huston and Alan Pakula, ... See full summary »
Douglas Fairbanks Jr. and Peter Fonda host an examination of the history of decency standards for movies, starting in 1922 with the hiring of Will Hays. When studios ignored the code early ... See full summary »
Douglas Fairbanks Jr.,
Rico is a small-time hood who knocks off gas stations for whatever he can take. He heads east and signs up with Sam Vettori's mob. A New Year's Eve robbery at Little Arnie Lorch's casino ... See full summary »
Edward G. Robinson,
Douglas Fairbanks Jr.,
Tom Merriam signs on the ship Altair as third officer under Captain Stone. At first things look good, Stone sees Merriam as a younger version of himself and Merriam sees Stone as the first ... See full summary »
The location: Nazi occupied Rome. As Rome is classified an open city, most Romans can wander the streets without fear of the city being bombed or them being killed in the process. But life ... See full summary »
Biography of director George Stevens by his son. It includes clips from many of his films with commentary by the actors and by directors such as Frank Capra, John Huston and Alan Pakula, among others. Also included are Stevens's war "home movies," found only after his death. Assigned by Eisenhower to film the war in Europe, Stevens used the opportunity to produce, at the same time, the only color footage ever shot in World War II. There is breathtaking film of D-Day and its aftermath; the triumphal march through Paris of the Allied liberators; and the unspeakable horrors of Dachau. This is what Goya might have done with a movie camera. On a more mundane level is a segment on Cecil B. DeMille's 1950 underhanded attempt to oust Joseph L. Mankiewicz, then president, from the Directors' Guild, which Stevens was instrumental in blocking. Written by
Jacqueline Jarvis <email@example.com>
"George Stevens: A Filmmaker's Journey" is a loving tribute by his son to a genuinely fine director. Whether one might prefer either pre- or post WWII films by Stevens, the quality of his over all output is staggering. Before the war his films were bouncy, frothy, and delightful. After the war a more somber tone was displayed, and at the same time, a unique feeling for atmosphere and especially timing. Too, the musical scores blended beautifully into his full tapestry. The photography of his films was peerless, and the acting always on the highest level. This is a wonderful monument to a most loving and beloved screen director.
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