The Great Movies
The Great Movies is the name of several publications, both online and in print, from the film critic Roger Ebert. The object was, as Ebert put it, to "make a tour of the landmarks of the first century of cinema."The Great Movies was published as four books: The Great Movies, published in November 2003 The Great Movies II published in February 2006 The Great Movies III, published in October 2011 The Great Movies IV, published in September 2016 Ultimately, Ebert recommended 383 films he designated as "Great Movies." 1001 Movies You Must See Before You Die, a similar-themed book with essays from 70 different critics, released in 2003 List of films considered the best Explanatory notes Citations The Great Movies- official listing on Roger Ebert's website Roger Ebert's Top 10 by year
Bernard Ménez is a French actor. He has appeared in more than seventy films since 1969. Bernard Ménez on IMDb
Nathalie Marie Andrée Baye is a French film and stage actress. She has appeared in more than 80 films. A ten-time César Award nominee, her four wins were for Every Man for Himself, Strange Affair, La Balance, The Young Lieutenant. In 2009, she was made a Chevalier of the Legion of Honour, her other films include Day for Night, Catch Me If You Can, Tell The Assistant. Baye was born in Mainneville, Normandy, to Claude Baye and Denise Coustet, two painters. At 14 she joined a school of dance in Monaco. Three years she went to the United States. On returning to France she continued with dance but registered for the Simon Course and was admitted to the Conservatoire, from where she graduated in 1972 with a second prize in comedy, dramatic comedy and foreign theatre, her second cinema appearance was in Two People directed by Robert Wise. She became more known as the script girl in La Nuit américaine by François Truffaut. Throughout the 1970s she played nice provincial girl in film and television. In 1981, she won her first César, for best supporting artist in Sauve qui peut by Jean-Luc Godard.
There followed Le Retour de Martin Guerre and La Balance. Baye won two more Césars, her four-year relationship with Johnny Hallyday made them a celebrity couple and their daughter Laura is now actress Laura Smet. After changing her image by playing a streetwalker in La Balance, she widened her scope with more obscure characters in J'ai épousé une ombre and En toute innocence. In 1986, she returned to the theatre with an interpretation of Adriana Monti. In 1999, she was voted Best Supporting Actress at Venice Film Festival for Une liaison pornographique and in 2000 starred in the award-winning film Vénus Beauté by Tonie Marshall She has worked with Claude Chabrol and Steven Spielberg. Nathalie Baye on IMDb Nathalie Baye at AllMovie Nathalie Baye at AlloCiné
Winifred Jacqueline Fraser Bisset is an English actress. She began her film career in 1965, first coming to prominence in 1968 with roles in The Detective and The Sweet Ride, for which she received a most promising newcomer Golden Globe nomination. In the 1970s, she starred in Airport, Day for Night which won the Academy Award for Best Foreign Language Film, Murder on the Orient Express, The Deep, Who Is Killing the Great Chefs of Europe?, which earned her a Golden Globe nomination as Best Actress in a Comedy. Her other film and TV credits include Rich and Famous, her Golden Globe-nominated role in Under the Volcano, her Cesar-nominated role in La Cérémonie, her Emmy-nominated role in the miniseries Joan of Arc and the BBC miniseries Dancing on the Edge, for which she won a Golden Globe Award for Best Supporting Actress, she received France's highest honour, the Légion d'honneur, in 2010. She speaks English and Italian. Bisset was born Winifred Jacqueline Fraser Bisset in Weybridge, England, the daughter of Max Fraser Bisset, a general practitioner, Arlette Alexander, a lawyer-turned-housewife.
Her mother was of French and English descent and her father was of Scottish descent. Bisset grew up in Tilehurst, near Reading in Berkshire, in a 17th-century country cottage, where she now lives part of the year She has a brother, Max, her mother taught her to speak French fluently, she was educated at the Lycée Français in London. She had taken ballet lessons as a child, began taking acting lessons while working as a fashion model to pay for them; when Bisset was a teenager, her mother was diagnosed with disseminating sclerosis. Bisset's parents divorced after 28 years of marriage, her father died of a brain tumour in 1982, aged 71. Her mother died in 1999. Bisset first appeared uncredited as a prospective model in the 1965 film The Knack...and How to Get It, directed by Richard Lester. She made her official debut the following year in Roman Polanski's Cul-de-sac, credited as "Jackie Bisset", she had a tiny part as a dancer in Drop Dead Darling. In 1967, Bisset had her first noticeable part in the Albert Finney/Audrey Hepburn vehicle Two for the Road, as a woman in whom Finney's character is romantically interested.
It was made by 20th Century Fox. Bisset had a more sizeable role in Casino Royale, as Miss Goodthighs. Fox cast Bisset in her first lead part in The Cape Town Affair, opposite James Brolin, filmed in South Africa, she gained mainstream recognition in 1968 when she replaced Mia Farrow for the role of Norma MacIver in The Detective, opposite Frank Sinatra. The film was made at Fox, whose executives had been impressed by Bisset's performance in Two for the Road. In the same year, she co-starred with Michael Sarrazin in Fox's The Sweet Ride, which brought her a Golden Globe nomination for Most Promising Newcomer, she capped her year as Steve McQueen's girlfriend in the police drama Bullitt, among the top five highest-grossing films of the year. In 1969, Bisset had the star role in the sex comedy The First Time. In the same year she appeared in Secret World, she was one of the many stars in the 1970 disaster film Airport. It was a huge hit, she had another starring part in The Grasshopper, little seen, was in The Mephisto Waltz with Alan Alda.
Bisset had the lead in a comedy Be Counted. More popular was The Life and Times of Judge Roy Bean, where she played the daughter of Paul Newman's title character, she played the female lead in The Thief Who Came to Dinner with Ryan O'Neal, stepping in for a pregnant Charlotte Rampling. Bisset went to France to appear in François Truffaut's Day for Night, where she earned the respect of European critics and moviegoers as a serious actress, she stayed in that country to make Le Magnifique with Jean-Paul Belmondo, a hit in France but little seen in English-speaking countries. Bisset was one of many stars in the British whodunnit Murder on the Orient Express, an enormous success. In Britain she starred in the remake of The Spiral Staircase. Bisset went to Germany for End of the Game directed by Maximillian Schell. In Italy, she co-starred with Marcello Mastroianni in Luigi Comencini's The Sunday Woman in 1975. Bisset returned to Hollywood to support Charles Bronson in St. Ives. In 1977, Bisset gained wide publicity in America with her movie The Deep.
Swimming underwater wearing only a T-shirt for a top helped make the film a box office success, leading producer Peter Guber to quip, "That T-shirt made me a rich man!" and led many to credit her with popularising the wet T-shirt contest. At the time, Newsweek declared her "the most beautiful film actress of all time". In 1978, a UK production titled Secrets that Bisset had made in 1971 was released in the United States; the movie featured the only extensive nude scenes of Bisset's career and the producers cashed in on her fame. By 1978, she was a household name. In that year she earned a Golden Globe nomination for Best Actress for her performance in Who Is Killing the Great Chefs of Europe?, starred opposite Anthony Quinn in The Greek Tycoon, playing a role based on Jackie Onassis. After making Together? in Italy, she appeared in some all-star films, When Time Ran Out, with Paul Newman, among others, Inchon with Laurence Olivier. Both were big flops. More popular was George Cukor's Rich and Famous with Candice Bergen
Georges Delerue was a French composer who composed over 350 scores for cinema and television. Delerue won numerous important film music awards, including an Academy Award for A Little Romance, three César Awards, two ASCAP Awards, one Gemini Award for Sword of Gideon, he was nominated for four additional Academy Awards for Anne of the Thousand Days, The Day of the Dolphin and Agnes of God, four additional César Awards, three Golden Globe Awards, one Genie Award for Black Robe. The French newspaper Le Figaro named him "the Mozart of cinema." Delerue was the first composer to win three consecutive César Awards for Get Out Your Handkerchiefs, Love on the Run, The Last Metro. Georges Delerue was named Commander of one of France's highest honours. Delerue was born 12 March 1925 to Georges Delerue and Marie Lhoest, he was raised in a musical household. By the age of fourteen he was playing clarinet at the local music conservatory. In 1940 he was forced to abandon his studies at the Turgot Institute in order to work at a factory to help support his family.
He continued playing clarinet with local bands transitioning to piano under the instruction of Madame Picavet-Bacquart. He studied Bach, Beethoven and Grieg, was inspired by Richard Strauss. Following a long convalescence after being diagnosed with scoliosis, Georges decided to become a composer. In 1945, following his studies at the Roubaix conservatory, Delerue was accepted into the Conservatoire de Paris, where he studied fugue with Simone Plé-Caussade and composition with Henri Büsser. To help support himself, he took jobs playing at dances, baptisms and funerals—even performing jazz in the piano bars near the Paris Opera. In 1947 he received an honorable mention for the Rome Prize, the following year he won the Second Grand Rome Prize; that year at the Theater Festival of Avignon, Delerue conducted a performance of Scheherazade. In the 1949 Rome Prize competition, he won the First Second Grand Prize, the First Prize for Composition, he began writing stage music during the late 1940s, including for the Théâtre National Populaire, Comédie-Française and the company of Jean-Louis Barrault.
He became friends with Maurice Jarre and Pierre Boulez. By the early 1950s Delerue was composing music for short films and writing theatrical music for the Théâtre Babylone and the Opéra Comique, he began collaborating with Boris Vian on a number of projects during this time, including theatrical adaptations of The Snow Knight and The Builders of Empire, an oratorio A Regrettable Incident, a ballet The Barker. In 1952 he began directing the orchestra of the Club d'Essai for French National Radio and Television, scored his first television drama Princes du sang. In 1954 he wrote his first compositions for historical spectacles of light and sound and The Liberation of Paris. In 1955 he composed his Concert Symphony for Piano and Orchestra, on 31 January 1957 his opera The Snow Knight premiered at Nancy and was a popular success. In 1959 he composed his first score for a feature film, Le bel âge, his career was diverse and he composed for major art house directors, most François Truffaut, but for Jean-Luc Godard's film Contempt, for Alain Resnais, Louis Malle, Bernardo Bertolucci, besides working on several Hollywood productions, including Oliver Stone's Platoon and Salvador.
He composed the music for Flemming Flindt's ballet, based on Ionesco's play, La Leçon. During his 42 years career he put his talent to the service of nearly 200 feature movies, 125 short ones, 70 TV films and 35 TV serials; the soundtrack for war docudrama by Pierre Schoendoerffer, Diên Biên Phu, was one of the late notable works. Delerue composed the music for five of the films made by the noted British director Jack Clayton, their first collaboration was The Pumpkin Eater, followed by Our Mother's House. In 1982 they reunited for the Disney film version of Ray Bradbury's Something Wicked This Way Comes, but the production was fraught with problems. Unhappy with the sinister tone of Clayton's original cut, the studio took control of the film, held it back from release for over a year, they spent an additional $5 million on re-editing the film, cutting some scenes and replacing them with newly shot footage, with the aim of making the film more commercial and'family-friendly'. To Delerue's great disappointment, Disney insisted on the removal of his original music, replaced it with a new,'lighter' score by American composer James Horner.
Speaking about the rejection of his score, Delerue said: "It was painful... because it was the most ambitious score I wrote in the United-States." Delerue's music for the film was only available to collectors in low-quality bootleg copies until 2011, when Disney authorised the release of 30 minutes of music, sourced from Delerue's personal tape copy of the score. This was issued by Universal France in a limited edition of 3000 CDs, as the inaugural release of its "Ecoutez le Cinema!" Soundtrack series. Despite this disappointment, Delerue worked with Clayton twice more, on his last feature film, The Lonely Passion of Judith Hearne, Clayton's final screen project, a feature length BBC TV adaptation of Muriel Spark's Memento Mori, which aired just
Claude Miller was a French film director and screenwriter. Claude Miller was born to a Jewish family. A student at Paris' IDHEC film school from 1962 through 1963, Miller had his first practical cinematic experience while he was in uniform, serving with the Service Cinéma de l'Armée. From 1965 until 1974, Miller worked in assistant and supervisory capacities for many of France's major directors, including Robert Bresson and Jean-Luc Godard, his principal mentor was François Truffaut, under whose tutelage Miller directed a trio of shorts and La meilleure façon de marcher, his first theatrical feature, a coming-of-age drama which bore traces of Truffaut's Les Mistons and The 400 Blows. Miller received César nominations for best director and writing for this film, his subsequent films can be perceived as homages to Truffaut, many using the same production personnel. The following year he made Dites-lui que je l'aime, for which he received a second César nomination for Best Director, he won a César Award for Best Writing in 1981 for Garde à vue, the Louis Delluc Prize in 1985 for L'Effrontée, for which he received another César nomination for Best Director.
In 1983 he directed Mortelle randonnée. When Truffaut died in 1984 during the preparation of another feature about a confused, adolescent serial thief entangled with an older lover, La Petite Voleuse, Miller took over the project, completing the film in 1988; the latter film was a considerable international success, solidified Miller's status as one of France's major film-makers. On French television, Miller directed dozens of commercials and the six-part miniseries Traits de Mémoire. After a four-year absence, Claude Miller returned to active filmmaking with The Accompanist and Le Sourire, he had to wait until 1998 for his next major success: La Classe de Neige, the chilling story of a lonely boy on a school skiing holiday, which won the Jury Prize at the 1998 Cannes Film Festival. Films Miller directed include Betty Fisher et autres histoires which Peter Bradshaw wrote that Miller "endowed it with the fascination of an exotic, poisonous flower", La Petite Lili, A Secret. At the time of his death he was working on an adaptation of François Mauriac's Thérèse Desqueyroux.
The film was selected to close the 2012 Cannes Film Festival. 1969: La Question ordinaire 1971: Camille ou la comédie catastrophique 1976: La meilleure façon de marcher 1977: Dites-lui que je l'aime 1981: Garde à vue 1983: Mortelle randonnée 1985: L'Effrontée 1988: La Petite Voleuse 1992: L'Accompagnatrice 1994: Le Sourire 1998: La Classe de neige 2000: La Chambre des magiciennes 2001: Betty Fisher et autres histoires 2003: La Petite Lili 2007: A Secret 2009: Marching Band 2009: I'm Glad My Mother Is Alive co-directed with his son Nathan Miller 2010: Voyez comme ils dansent 2012: Thérèse Desqueyroux Claude Miller on IMDb Director Claude Miller Honoured in Hollywood
Ernst Lubitsch was a German American film director, producer and actor. His urbane comedies of manners gave him the reputation of being Hollywood's most elegant and sophisticated director. Among his best known works are Trouble in Paradise, The Shop Around the Corner and To Be or Not to Be. In 1946, he received an Honorary Academy Award for his distinguished contributions to the art of the motion picture. Ernst Lubitsch was born on January 29, 1892 in Berlin, the son of Anna and Simon Lubitsch, a tailor, his family was Ashkenazi Jewish, his father born in Grodno in the Russian Empire and his mother from Wriezen, outside Berlin. He turned his back on his father's tailoring business to enter the theater, by 1911, he was a member of Max Reinhardt's Deutsches Theater. In 1913, Lubitsch made his film debut as an actor in The Ideal Wife, he abandoned acting to concentrate on directing. He appeared in thirty films as an actor between 1912 and 1920, his last film appearance as an actor was in the 1920 drama Sumurun, opposite Pola Negri and Paul Wegener, which he directed.
In 1918, he made his mark as a serious director with Die Augen der Mumie Ma. Lubitsch alternated between escapist comedies and large-scale historical dramas, enjoying great international success with both, his reputation as a grand master of world cinema reached a new peak after the release of his spectacles Madame Du Barry and Anna Boleyn. Both of these films found American distributorship by early 1921. They, along with Lubitsch's Carmen were selected by The New York Times on its list of the 15 most important movies of 1921. With glowing reviews under his belt, American money flowing his way, Lubitsch formed his own production company and set to work on the high-budget spectacular The Loves of Pharaoh. Lubitsch sailed to the United States for the first time in December 1921 for what was intended as a lengthy publicity and professional factfinding tour, scheduled to culminate in the February premiere of Pharaoh. However, with World War I still fresh, with a slew of German "New Wave" releases encroaching on American movie workers' livelihoods, Lubitsch was not gladly received.
He cut his trip short after little more than three weeks and returned to Germany. But he had seen enough of the American film industry to know that its resources far outstripped the spartan German companies. Lubitsch left Germany for Hollywood in 1922, contracted as a director by Mary Pickford, he directed Pickford in the film Rosita. A free agent after just one American film, Lubitsch was signed to a remarkable three-year, six-picture contract by Warner Brothers that guaranteed the director his choice of both cast and crew, full editing control over the final cut. Settling in America, Lubitsch established his reputation for sophisticated comedy with such stylish films as The Marriage Circle, Lady Windermere's Fan, So This Is Paris, but his films were only marginally profitable for Warner Brothers, Lubitsch's contract was dissolved by mutual consent, with Metro-Goldwyn-Mayer and Paramount buying out the remainder. His first film for MGM, The Student Prince in Old Heidelberg, lost money; the Patriot, produced by Paramount, earned him his first Academy Award nomination for Best Directing.
Lubitsch seized upon the advent of talkies to direct musicals. With his first sound film, The Love Parade, starring Maurice Chevalier and Jeanette MacDonald, Lubitsch hit his stride as a maker of worldly musical comedies; the Love Parade, Monte Carlo, The Smiling Lieutenant were hailed by critics as masterpieces of the newly emerging musical genre. Lubitsch served on the faculty of the University of Southern California for a time, his next film was a romantic comedy, written with Trouble in Paradise. Described as "truly amoral" by critic David Thomson, the cynical comedy was popular both with critics and with audiences, but it was a project that could only have been made before the enforcement of the Production Code, after 1935, Trouble in Paradise was withdrawn from circulation. It was not seen again until 1968; the film was never available on videocassette and only became available on DVD in 2003. Writing about Lubitsch's work, critic Michael Wilmington observed: At once elegant and ribald and earthy, urbane and bemused, frivolous yet profound.
They were directed by a man, amused by sex rather than frightened of it – and who taught a whole culture to be amused by it as well. Whether with music, as in MGM's opulent The Merry Widow and Paramount's One Hour with You, or without, as in Design for Living, Lubitsch continued to specialize in comedy, he made only the antiwar Broken Lullaby. In 1935, he was appointed Paramount's production manager, thus becoming the only major Hollywood director to run a large studio. Lubitsch subsequently produced his own films and supervised the production of films of other directors, but Lubitsch had trouble delegating authority, a problem when he was overseeing sixty different films. He was fired after a year on the job, returned to full-time moviemaking. In 1936, he became a na