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DIRECTORS, 4
th
EDITION
MANN
Tesson, Charles, ‘‘All about Mankiewicz,’’ in
Cahiers du Cinéma
(Paris), October 1980.
Charbonnier, A., ‘‘Dossier-auteur (II): Joseph L. Mankiewicz—le
temps et la parole,’’ in
Cinéma
(Paris), July/August 1981.
Farber, S., and M. Green, ‘‘Family Plots,’’ in
Film Comment
(New
York), July/August 1984.
Buckley, M., and J. Nangle, ‘‘The Regency Salutes the Brothers
Mankiewicz,’’ in
Films in Review
(New York), October and
November 1984.
‘‘Joseph L. Mankiewicz,’’ in
Film Dope
(London), December 1987.
Obituary in
Cinéma
(Paris), no. 504, 15 February 1993.
Obituary in
Télérama
(Paris), no. 2249, 17 February 1993.
Obituary in
Mensuel du Cinéma
, no. 4, March 1993.
TMoullet, L., and P. Merigeau, ‘‘Mankiewicz: l’art de le machina-
tion,’’ in
Cahiers du Cinéma
(Paris), no. 465, March 1993.
Obituary in
EPD Film
(Frankfurt), vol. 10, no. 4, April 1993.
Kazan, Elia, and V. Amiel, ‘‘Joe Mankiewicz en son île d’Elbe /
Mankiewicz, ou le geste interdit,’’ in
Positif
(Paris), no. 386,
April 1993.
to Hollywood star. In
The Honey Pot
, an aging man pretends to be
dying, to see how it affects his mistress. And in
Sleuth
, one marvels at
the number of disguises worn by one man in his attempt to gain
revenge on another.
Perhaps because he began as a screenwriter, Mankiewicz has often
been thought of as a scenarist first and a director only second. But not
only was he an eloquent scriptwriter, he was also an elegant visual
stylist whose talents as a director far exceeded his reputation. He is
one of the few major American directors who was more appreciated
during the early years of his career than during the later stages. He
won consecutive Best Director Academy Awards in 1949 and 1950
(for
A Letter to Three Wives
and
All about Eve
), but after the 1963
disaster
Cleopatra
, Mankiewicz’s standing as a filmmaker declined
rapidly.
—Eric Smoodin
MANN, Anthony
***
Nationality:
American.
Born:
Anton or Emil Bundsmann in Point
Loma or San Diego, California, 1907.
Education:
Educated in New
York City public schools.
Family:
Married 1) Mildred Kenyon, 1931
(divorced 1956), one son, one daughter; 2) Sarita Montiel, 1957
(marriage annulled 1963); 3) Anna (Mann), one son.
Career:
Began
work in theatre following father’s death, 1923; production manager
for Theater Guild, New York, from late 1920s, then director, 1933;
Few of Joseph Mankiewicz’s contemporaries experimented so
radically with narrative form. In
The Barefoot Contessa
, Mankiewicz
(who wrote most of the films he directed) let a half-dozen voice-over
narrators tell the Contessa’s story, included flashbacks within flash-
backs, and even showed one event twice (the slapping scene in the
restaurant) from two different points of view. Multiple narrators tell
the story in
All about Eve
, too, and in the non-narrated framing story
for that film, Mankiewicz uses slow motion to make it seem as if the
elapsed time between the beginning of the film and the end is only
a few seconds. For much of the film,
The Quiet American
also has
a narrator, and he seems almost totally omniscient. Apparently, he
looks back at events with a firm understanding of their development
and of the motivation of the people involved. But in the end, we find
out that the narrator was wrong about practically everything, and so
gave us an inaccurate account of things.
A Letter to Three Wives
is
made up, primarily, of several lengthy flashbacks, and hallucinogenic
flashback sequences provide the payoff to the story in Mankiewicz’s
adaption of the Tennessee Williams play
Suddenly Last Summer.
Mankiewicz’s films, then, stand out in part because of the way they
tell their stories. But there are also thematic motifs that turn up again
and again, and one of the most important is the impact of the dead
upon the living. Frequently, a dead character is more important in
a Mankiewicz film than any living one.
The Late George Apley
, of
course, concerns someone who has already died. Understanding
a mother’s dead son is the key for the psychiatrist in
Suddenly Last
Summer.
In
The Ghost and Mrs. Muir
, it is the presence of the non-
corporeal sea captain that makes the film so entertaining.
The Bare-
foot Contessa
opens with the Contessa’s funeral, and then various
mourners tell us what they know about the woman who has just been
buried. And, of course, a famous funeral scene forms the centerpiece
of another Mankiewicz film: Mark Antony’s oration in
Julius Caesar.
It is Antony’s stirring performance as a eulogist that turns his
countrymen against Brutus.
Indeed, Mankiewicz’s films deal constantly with the notion of
effective and highly theatrical performance.
All about Eve
, for in-
stance, is all about performing, since it concerns people who work on
the Broadway stage. The barefoot contessa goes from cabaret dancer
Anthony Mann
653
 MANN
DIRECTORS, 4
th
EDITION
director for Federal Theater Project, New York, 1936–38; talent scout
for David Selznick, and casting director, Hollywood, 1938; assistant
director at Paramount, 1939; signed to Republic Pictures, 1943, to
RKO, 1945, then to MGM, 1949; withdrew from
Spartacus
after
quarrelling with Kirk Douglas, 1960.
Died:
During shooting of last
film, in Germany, 29 April 1967.
On MANN: articles—
Reid, J.H., ‘‘Mann and His Environment,’’ in
Films and Filming
(London), January 1962.
Reid, J.H., ‘‘Tension at Twilight,’’ in
Films and Filming
(London),
February 1962.
Wagner, Jean, ‘‘Anthony Mann,’’ in
Anthologie du Cinéma
(Paris),
vol. 4, 1968.
Handzo, Stephen, ‘‘Through the Devil’s Doorway: The Early Westerns
of Anthony Mann,’’ in
Bright Lights
(Los Angeles), Summer 1976.
Smith, Robert, ‘‘Mann in the Dark,’’ in
Bright Lights
(Los Angeles),
Fall 1976.
‘‘Special Mann Double Issue’’ of
Movietone News
(Seattle), Fall 1978.
Miller, Don, ‘‘Eagle-Lion: The Violent Years,’’ in
Focus on Film
(London), November 1978.
Willeman, Paul, ‘‘Anthony Mann—Looking at the Male,’’ in
Frame-
work
(Norwich, England), Summer 1981.
Pulleine, Tim, ‘‘History, Drama, Abstraction: Mann’s Route to
Madrid,’’ and ‘‘Mann’s Route to Madrid, Part II,’’ in
Monthly
Film Bulletin
(London), March and April 1982.
‘‘Anthony Mann,’’ in
Film Dope
(London), December 1987.
Boujut, M., ‘‘A l’Ouest, l’éden,’’ in
Télérama
(Paris), no. 2268, 30
June 1993.
Saada, N., ‘‘Les westerns fiévreux d’Anthony Mann,’’ in
Cahiers du
Cinéma
(Paris), no. 470, July-August 1993.
Bénoliel, Bernard, ‘‘Anthony Mann: en quête d’innocence,’’ in
Mensuel du Cinéma
, no. 9, September 1993.
Everschor, Franz, ‘‘‘On Some Men It Shows,’’’ in
Film-Dienst
(Cologne), vol. 49, no. 3, June 1996.
Kemp, Philip, ‘‘‘The Story of All Wars’: Anthony Mann’s
Men in
War
,’’ in
Film Comment
(New York), vol. 32, no. 4, July-
August 1996.
Films as Director:
1942
Dr. Broadway
;
Moonlight in Havana
1943
Nobody’s Darling
1944
My Best Gal
;
Strangers in the Night
1945
The Great Flamarion
;
Two o’Clock Courage
;
Sing Your Way
Home
1946
Strange Impersonation
;
The Bamboo Blonde
1947
Desperate
;
Railroaded
1948
T-Men
(+ co-sc, uncredited);
Raw Deal
;
He Walked by Night
(co-d, uncredited)
1949
Reign of Terror
(
The Black Book
);
Border Incident
1950
Side Street
;
Devil’s Doorway
;
The Furies
;
Winchester ‘73
1951
The Tall Target
1952
Bend of the River
1953
The Naked Spur
;
Thunder Bay
1954
The Glenn Miller Story
1955
The Far Country
;
Strategic Air Command
;
The Man from
Laramie
;
The Last Frontier
1956
Serenade
1957
Men in War
;
The Tin Star
1958
God’s Little Acre
;
Man of the West
1961
Cimarron
;
El Cid
1964
The Fall of the Roman Empire
***
1965
The Heroes of Telemark
1968
A Dandy in Aspic
(co-d)
Though he incidentally directed films in various genres (the
musical, the war movie, the spy drama), Anthony Mann’s career falls
into three clearly marked phases: the early period of low-budget, B-
feature films noir; the central, most celebrated period of westerns,
mostly with James Stewart; and his involvement in the epic (with
Samuel Bronston as producer). All three periods produced distin-
guished work (in particular,
El Cid
has strong claims to be considered
the finest of all the wide–screen historical epics of the 1950s and
1960s, and the first half of
The Fall of the Roman Empire
matches it),
but it is the body of work from the middle period in which Mann’s
achievement is most consistent and on which his reputation largely
depends.
The first of the Stewart westerns,
Winchester ‘73
, contains most of
the major components Mann was to develop in the series that
followed. There is the characteristic use of landscape—never for the
superficial beauty or mere pictorial effect that is a cliché of the genre,
nor to ennoble the human figures through monumental grandeur and
harmonious man-in-nature compositions, as in the classical westerns
of Ford. In Mann, the function of landscape is primarily dramatic, and
nature is felt as inhospitable, indifferent, or hostile. If there is
a mountain, it will have to be climbed, arduously and painfully; barren
rocks provide a favourite location for a shoot-out, offering partial
cover but also the continued danger of the ricochet. The preferred
narrative structure of the films is the journey, and its stages are often
marked by a symbolic progression in landscape, from fertile valley to
Publications
By MANN: articles—
Interview, in
Cahiers du Cinéma
(Paris), March 1957.
‘‘Now You See It: Landscape and Anthony Mann,’’ interview with
J.H. Fenwick and Jonathan Green-Armytage, in
Sight and Sound
(London), Autumn 1965.
‘‘A Lesson in Cinema,’’ interview with Jean-Claude Missiaen, in
Cahiers du Cinéma in English
(New York), December 1967.
Interview with Christopher Wicking and Barrie Pattison, in
Screen
(London), July/October 1969.
‘‘Empire Demolition,’’ in
Hollywood Directors 1941–1976
, edited
by Richard Koszarski, New York, 1977.
On MANN: books—
Missiaen, Jean-Claude,
Anthony Mann
, Paris, 1964.
Kitses, Jim,
Horizons West
, Bloomington, Indiana, 1970.
Wright, Will,
Sixguns and Society
, Berkeley, California, 1975.
Basinger, Jeanine,
Anthony Mann
, Boston, 1979.
654
DIRECTORS, 4
th
EDITION
MANN
1986
Manhunter
(+ sc, pr)
bare rock or snow-covered peak, corresponding to a stripping-away
of the trappings of civilization and civilized behavior.
Bend of the
River
represents the most systematic treatment of this prior to
Man of
the West. Winchester ‘73
also establishes the Mann hero (‘‘protago-
nist’’ might be a better word): neurotic, obsessive, driven, usually
motivated by a desire for revenge that reduces him emotionally and
morally to a brutalized condition scarcely superior to that of the
villain. Hero and villain, indeed, become mirror reflections of one
another: in
Winchester ‘73
they are actually brothers (one has
murdered the father, the other seeks revenge); in
Bend of the River
,
both are ex-gunfighters, Stewart bearing the mark around his neck of
the hangman’s noose from which, at the beginning of the film, he
saves Arthur Kennedy. Violence in Mann’s westerns is never glori-
fied: it is invariably represented as ugly, disturbing, and painful
(emotionally as much as physicall), and this is true as much when it is
inflicted by the heroes as by the villains.
Mann’s supreme achievement is certainly
Man of the West
, the
culmination of the Stewart series despite the fact that the Stewart role
is taken over by Gary Cooper. It remains one of the great American
films and one of the great films
about
America. It carries to their
fullest development all the components described above, offering
a magnificently complete realization of their significance. Cooper
plays Link Jones (the ‘‘link’’ between the old West and the new),
a reformed outlaw stranded in the wilderness while on a mission to
hire a teacher for the first school in the new township of Good Hope.
Link is sucked back into involvement with his old gang of ‘‘brother,’’
‘‘cousins,’’ and monstrous adoptive father Dock Tobin (Lee J. Cobb),
and forced into more and more excessive violence, as he destroys his
doubles in order finally to detach himself, drained and compromised,
from his own roots.
1989
L.A. Takedown
(for TV) (+ exec-pr)
1992
The Last of the Mohicans
(+ co-sc, pr)
1995
Heat
(+ co-sc, pr)
1999
The Insider
(+ co-sc, pr)
Other Films:
1978
Vega$
(for TV) (sc);
Straight Time
(sc, uncredited)
1980
Swan Song
(for TV) (sc)
1986
Band of the Hand
(exec-pr)
1990
Drug Wars: The Camarena Story
(TV mini-series) (exec-pr,
co-sc)
1992
Drug Wars: The Cocaine Cartel
(TV mini-series) (exec-pr)
Publications
By MANN: articles—
‘‘Four-Minute Mile: Michael Mann Interviewed,’’ in
Films & Film-
ing
, 1980.
‘‘An Interview with the Director of
Thief
,’’ in
Rolling Stone
, 1981.
‘‘Castle
Keep
,’’ in
Film Comment
, 1983.
‘‘Wars and Peace,’’ in
Sight and Sound
, 1992.
‘‘Brave Attempt/Mann Made,’’ an interview with Brian Case and
Geoff Andrew, in
Time Out
(London), 4 November 1992.
‘‘Mann to Man,’’ an interview with Geoff Andrew, in
Time Out
(London), 17 January 1996.
‘‘Tommy Boy,’’ in
Interview
, January 1997.
—Robin Wood
On MANN: articles—
Greco, M., ‘‘Up and Coming: Michael Mann,’’ in
Film Comment
, 1980.
Murphy, K., ‘‘Communion,’’ in
Film Comment
, 1991.
Smith, G., ‘‘Mann Hunters,’’ in
Film Comment
, 1992.
Ansen, David, and D. Foote, ‘‘Mann in the Wilderness,’’ in
News-
week
, 1992.
Schruers, F., ‘‘Mann Overboard,’’ in
Premiere
, 1992.
Hooper, J., ‘‘Mann and Mohican,’’ in
Esquire,
1992.
Lombardi, John, ‘‘What a Piece of Work Is Mann,’’ in
Gentleman’s
Quarterly
, 1992.
Chiacchiari, Federico, and G. A. Nazzaro, in
Cineforum
(Bergamo),
January-February 1996.
Combs, Richard, ‘‘Michael Mann: Becoming,’’ in
Film Comment
(New York), March-April 1996.
Schnelle, F., in
EPD Film
(Frankfurt), March 1996.
‘‘Bob and Al in the Coffee Shop,’’ in
Sight and Sound
(London),
March 1996.
Kit, Z., ‘‘Welcome to the Dark Side,’’ in
Written By. Journal: The
Writers Guild of America, West
(Los Angeles), February 1997.
MANN, Michael
Nationality:
American.
Born:
Chicago, Illinois, 5 February 1943.
Education:
University of Wisconsin, 1965; London Film School,
1967.
Family:
Married to artist Summer Mann.
Career:
Directed
shorts, commercials, and documentaries in England, 1967–72; wrote
episodes for television series
Starsky and Hutch
and
Police Story
and
created
Vega$
and
Miami Vice;
directorial debut,
The Jericho Mile
(TV movie), 1979; screen debut,
Thief
, 1981.
Awards:
Directors
Guild of America Best Director Award, 1980, for
The Jericho Mile;
Emmy Award for Outstanding Writing in a Limited Series or Special,
1980, for
The Jericho Mile;
Cognac Festival du Film Policier Critics
Award, for
Manhunter
, 1987; National Board of Review Freedom of
Expression Award, 1999, Golden Satellite Award for Best Director,
2000, and Writers Guild of America Paul Selvin Honorary Award
(with Eric Roth), 2000, all for
The Insider
.
Agent:
Jeff Berg,
International Creative Management, 8899 Beverly Blvd., Los Ange-
les, CA 90048, U.S.A.
***
Films as Director:
Michael Mann’s cinematic landscape is the mean streets of urban
neo-noir. His stylistic signature is a hip, almost neon look, the images
sharply edited and backed by adrenalin-pumping music. Given the
razzle-dazzle MTV approach he brings to his craft, it is ironic that he
started out wanting to be a writer. However, while attending the
1979
The Jericho Mile
(for TV) (+ sc, exex-pr)
1981
Thief
(+ co-sc + exec-pr)
1983
The Keep
(+ co-sc)
655
 MANN
DIRECTORS, 4
th
EDITION
Michael Mann
University of Wisconsin and majoring in English literature, he took
a film course for a fast
A
and got hooked on moviemaking instead.
Mann transferred to the London Film School in 1965 for training
and graduated two years later. Like a number of contemporary
directors, he got his start making television commercials, and he has
carried over many of the stylistic ingredients of commercials into his
subsequent film work.
Mann paid his dues in Hollywood writing episodes for TV cop
shows of the 1970s, such as
Starsky and Hutch
and Joseph Wambaugh’s
Police Story
; for the ABC network he wrote the pilot episode of
Vega$
, a short-lived Robert Urich private-eye series whose setting
lent itself naturally to Mann’s ‘‘neon look.’’ By this time a specialist
in the genre the French call
roman policier
, Mann had little difficulty
convincing the network to give him a shot at writing and directing
a feature film in a similar vein for its growing made-for-TV movie
division. The result was
The Jericho Mile
(1979), which replaced the
sun-drenched mean streets of
Starsky and Hutch
and the often rain-
slicked ones of
Police Story
with the pallid walls of Folsom Prison.
A hard-hitting drama about a convicted murderer (Peter Strauss) who
survives the brutality of his surroundings and regains his self-respect
by striving to become an Olympic runner, the well-received film
added considerable luster to the often maligned TV movie form and
won Mann an Emmy award. It also landed him a contract to make his
theatrical film debut.
Turning again to his chosen milieu—the seedy world of crime and
criminals—Mann wrote and directed
Thief
(1981), the gritty tale
(with echoes of the classic Dassin film
Rififi)
of a safecracker who
tries to make one last score and go straight, only to dig himself in even
deeper. James Caan played the title role in the doom-laden thriller,
a thematic and stylistic throwback to the classic films noir of the
1940s, but updated with the hip look and, especially, sound (courtesy
here of Tangerine Dream) that are Mann’s trademark.
Mann segued from
Thief
to
The Keep
(1983), based on F. Paul
Wilson’s novel about German soldiers who encounter a vampiric
presence in the title fortress during World War II. Mann again brought
considerable stylistic verve to the fantastic drama, but perhaps
because he was in unfamiliar territory—the Carpathian mountains
rather than the streets of L.A. and Chicago—the film failed to come
together. Critics and audiences found it to be incomprehensible. It
went belly-up at the box office and Mann went back to TV to create
Miami Vice
, one of the most influential cop series of the 1980s, and
Crime Story.
The former was a glitzy
roman policier
aimed at the
656
DIRECTORS, 4
th
EDITION
MARKER
MTV generation, while the latter was a period noir series with a neo-
noir look aimed at older viewers. Mann also directed a mini-series
docudrama about the murder of narcotics agent Enrique Camarena
called
The Drug Wars
(1990).
In between his TV work, Mann returned to the big screen to make
one of his best and most underrated films,
Manhunter
(1986), based
on the novel
Red Dragon
by Thomas Harris, in which the author
introduced his master serial killer character Hannibal ‘‘the Cannibal’’
Lecter to the public. (He is played in the film by Brian Cox.) Produced
by Dino De Laurentis’s DEG Entertainment,
Manhunter
failed to get
much of a promotional boost due to DEG’s financial collapse and
went nowhere at the box office. It was left to director Jonathan
Demme and star Anthony Hopkins to make ‘‘Hannibal the Cannibal’’
a household name with
Silence of the Lambs
(1991), their Academy
Award-winning screen version of Harris’s sequel to
Red Dragon.
Mann partisans as well as many thriller fans consider
Manhunter
to be
the superior work, however.
As he had done with
The Keep
, Mann shifted gears entirely with
The Last of the Mohicans
(1992), this time more successfully. It is
a harshly beautiful—and definitive—version of James Fenimore
Cooper’s oft-filmed novel about the French and Indian War. Mann
refused to take the politically correct route of making his Native
American characters helpless, long-suffering victims. Instead, the
film restores their dignity by restoring their historical fearsomeness as
warriors, something the movies have been timid about doing for
decades. In fact, Wes Studi’s ferocious and very human villain
Magua—who hungers as much for self-respect as for revenge—
lingers in the memory more than does the film’s hero, Hawkeye,
played by Daniel Day-Lewis. Though the film’s period milieu (with
the mountains of North Carolina making a convincing stand-in for the
18th-century Adirondacks) is atypical of Mann, its kinetic mixture of
sight and sound (the music score is remarkable) is all Mann. A mov-
ing saga of America’s past, it is one of the most exciting adventure
movies of recent times.
Heat
returned Mann to the mean streets of urban America. The
film is notable for its first-time pairing of gangster movie icons Al
Pacino and Robert De Niro as the drama’s opposing forces (although
this dynamic duo shares little screen time together). A sprawling,
almost three-hour crime drama, it was hailed by many critics as
Mann’s most ambitious study of his traditional milieu to date. Despite
some high-powered set pieces (an intense shoot-out on a busy New
York City avenue is a particular stand-out), the film, by contrast to
many other Mann crime dramas, is turgid and melodramatic in its
overall effect, capped by an ending that resolves the plot not with
a bang but a whimper.
Not so Mann’s next film,
The Insider
, wherein the director cast his
eye not on street crime again but on corporate crime. The film is based
on the true story of Jeffrey Wigand (Russell Crowe), a former
researcher and executive for the Brown & Williamson tobacco
company who blows the whistle on the industry’s awareness of the
addictiveness of cigarettes—and covert research to increase that
addictiveness (which Wigand took part in)—to
60 Minutes
producer
Lowell Bergman (Al Pacino). Typical of many Mann heroes, Wigand
exposes this public health issue in part to regain his self-respect, an act
that comes at great personal cost to him when
60 Minutes
bows to
pressure from Big Tobacco as well as its own corporate interests,
shelves the interview, and Wigand’s life and career crumble as he’s
hung out to dry—until the truth finally comes out in the print press.
Mann was rewarded for this rich and compelling docudrama—which
unlike most big-budget Hollywood product of recent times has more
on its mind than just a hat—with the best reviews of his career.
Neither the tobacco industry nor
60 Minutes
were among those
lavishing kudos, however.
—John McCarty
MARKER, Chris
Nationality:
French.
Born:
Christian François Bouche-Villeneuve in
Neuilly sur Seine (one source says Ulan Bator, Mongolia), 29 July
1921.
Military Service:
During World War II, resistance fighter,
then joined American army.
Career:
Novelist, poet, playwright, and
journalist, from late 1940s; formed SLON film cooperative (Société
pour le Lancement des Oeuvres Nouvelles), 1967.
Awards:
Golden
Bear, Berlin Festival, for
Description d’un combat
, 1961; Interna-
tional Critics Prize, Cannes Festival, for
Le Joli Mai
, 1963.
Films as Director:
1952
Olympia 52
(+ sc, co-ph)
1953
Les Statues meurent aussi
(co-d, co-sc)
1956
Dimanche à Pekin
(+ sc, ph)
1958
Lettre de Sibérie
(
Letter from Siberia
) (+ sc)
1960
Description d’un combat
(+ sc);
Les Astronautes
(co-d, sc)
1961
Cuba Si!
(+ sc, ph)
1963
Le Joli Mai
(+ sc)
1964
La Jetée
(completed 1962) (+ sc)
1965
Le Mystère Koumiko
(
The Koumiko Mystery
) (+ sc)
1966
Si j’avais quatre dromadaires
(+ sc)
1968
La Sixième Face du Pentagone
(collaboration with Francois
Reichenbach) (+ sc)
1969
A bientôt j’espère
(+ sc)
1970
La Bataille des dix millions
(
Cuba: Battle of the Ten Million
)
(+ sc);
Les Mots ont un sens
(+ sc)
1973
Le Train en marche
(+ sc)
1977
Le Fond de l’air est rouge
(in 2 parts) (+ sc)
1983
Sans soleil
(
Sunless
)
1984
2084
(+ sc)
1985
A.K.
(
A.K.: The Making of Kurosawa’s Ran
) (+ sc)
1986
Hommage à Simone Sihnoret
(+ sc)
1989
L’Heritage de la Chouette
(for TV, 13-part series) (+ sc, pr)
1993
Le Dernier Bolchevik
(
The Last Bolshevik
) (+ sc)
1997
Level Five
(+ ph)
Other Films:
1957
Le Mystère de l’atelier
(commentary, collaborator on
production)
1967
Loin du Vietnam
(
Far from Vietnam
) (Resnais) (pr, ed)
1970
L’Aveu
(
The Confession
) (Costa-Gavras) (asst ph)
1973
Kashima Paradise
(commentary)
1975/76
La batalla de Chile
(
The Battle of Chile
) (Guzmá) (co-pr)
1976
La Spirale
(contributor)
657
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