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Michael Curtiz (1886–1962)

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Associated Works

Merkitty avainsanalla

Yleistieto

Kanoninen nimi
Curtiz, Michael
Virallinen nimi
Kaminer, Manó Kertész (birth)
Muut nimet
Kertész, Mihály
Syntymäaika
1886-12-24
Boedapest, Hongarije
Kuolinaika
1962-04-10
Hautapaikka
Forest Lawn Memorial Park Glendale, Los Angeles County, California, USA
Sukupuoli
male
Kansalaisuus
Hungary (birth)
USA
Syntymäpaikka
Budapest, Hungary
Kuolinpaikka
Hollywood, California, USA
Asuinpaikat
Vienna, Austria
Hollywood, California, USA
Koulutus
Markoszy University
Royal Academy of Theatre and Art, Budapest, Hungary
Ammatit
actor
Film producer
film director
Lyhyt elämäkerta
Michael Curtiz was born Manó Kertész Kaminer to a middle-class Jewish family in Budapest, Hungary. His father was an architect and his mother an opera singer. He made his stage debut as a child in one of his mother's operas. At age 17, Curtiz ran away from home to join the circus, performing as a juggler, acrobat and mime. He later attended Markoszy University and the Royal Academy of Theater and Art in Budapest. He then became an actor and director with the Hungarian National Theatre. He spent six months working on his craft in Denmark, returning to Hungary to serve in the army during World War I. He went back to filmmaking in 1915 and left Hungary four years later, settling in Vienna. There he directed a number of movies and caught the attention of Jack Warner, head of Warner Bros. Studios in the USA. In 1926, Warner brought Curtiz to Hollywood, where he became a prolific filmmaker. He directed four or five films a year in several different genres, among them The Adventures of Robin Hood (1938), Casablanca (1942), Yankee Doodle Dandy (1942), and Mildred Pierce (1945), now considered classics. He was famous for his skill in creating lavish productions on minimal budgets, as well as for his autocratic ways. He directed many Academy Award-winning performances. Curtiz made his last film in 1961, a year before his death at age 74.

Jäseniä

Kirja-arvosteluja

Una mina de carbón donde trabajan inmigrantes es el centro de una amarga disputa laboral entre los trabajadores y sus propietarios.
 
Merkitty asiattomaksi
bibliotecayamaguchi | Jan 8, 2024 |
“That's one fight you Yanks didn't win. But take it easy. We'll send the vet right over!” — Tex

Errol Flynn cut a dashing trail through the American West for the first time in Dodge City. Flynn, an Australian, always worried he would not be accepted as a western hero. But rather than mold him to a type, Flynn's charisma and charm helped put his own stamp on the genre, making for a delightful if bit different entry of wagon trains and wild towns. Everything about this western is slightly different, from Flynn's wide-brimmed hat, to the film's deceptively easygoing manner, camouflaging the lighting pace of director Michael Curtiz. The original screenplay by Robert Buckner is an enjoyable piece of entertainment. You know you're watching a western, yet it has a different feel than the usual oater. Dodge City was simply Flynn and the WB stock company saddling up, and the results are fabulous.

Th film opens in Kansas after the Civil War. Wade Hatton (Flynn) and his trail pals are helping Colonel Dodge (Henry O'Neil) bring the railroad and the civilization that would follow along with it. It is here that the bitter conflict with Jeff Surrett (Bruce Cabot) and his henchman Yancy (Victor Jory) comes into play for the first time.

Six years later, Wade and his pals, Rusty (Alan Hale) and Tex (Guinn “Big Boy” Williams), are taking their herd to Dodge. They’ve offered protection to a wagon train carrying young and lovely Abbie Irving (Olivia de Havilland). Her rambunctious brother will force a tragedy upon the trail for which she blames Wade. Orphaned and traveling West, she’s delivered to her aunt and uncle in Dodge, a wild and lawless town rife with fun and danger.

Alan Hale has some fun screen moments trying to reform, while Guinn Williams does the opposite, resulting in perhaps the greatest saloon brawl ever filmed. It is fun to watch, as is everything in this film; especially Flynn, who somehow managed to seem more Aussie here than usual, yet create his own niche in the western.

The cheating and killing by the earlier-mentioned Surrett and his man Yancey will finally go too far, however, when a young boy Wade was fond of loses his life during a disturbance. That’s when Wade finally accepts the offer as Sheriff of Dodge City. He cleans up the town with Rusty and Tex, as families begin to return, while the paper Abbie now works for begins exposing Surrett and his hold on the town, leading to an exciting technicolor showdown.

There is a wonderful ending for fans of Flynn and de Havilland, and silent film fans will be glad to catch a glimpse of silent star Monte Blue as Barlow, still kicking around in films in 1939. This one is simply fun, and the perfect film for a Saturday morning when you want to kick back.
… (lisätietoja)
 
Merkitty asiattomaksi
Matt_Ransom | 2 muuta kirja-arvostelua | Nov 27, 2023 |
“And what in heaven's name brought you to Casablanca?” — Renault

“My health. I came to Casablanca for the waters.” — Rick

“The waters? What waters? We’re in the desert!” — Renault

“I was misinformed.” — Rick

Any film buff watching this screen classic today will certainly get a sense of having seen this formula over and over. Howard Hawks remade it in a fashion — and actually improved upon it in some ways by putting his distinct spin on it — in To Have and Have Not. While it often gets overpraised because it is a beloved favorite of critics, it also doesn’t receive the credit due it. The four strongest performances here, namely Bogart, Rains, Lorre, and Joy Page, who rarely even gets a mention, didn't get the Academy Award. It can be argued that any solid studio director from this period could have made a great film out of the terrific screenplay from Howard Koch and Julius and Philip Epstein, and the fine cast assembled. But it is a film which is more than the sum of its parts, and the reason why it has been copied so often over the years.

Bogart is Rick Blaine, doing okay running Rick’s Cafe Americain in Casablanca, in French Morocco. Everyone must go through Casablanca to get to Lisbon, and freedom from the turmoil brought about by the War’s ever expanding boundaries. Rick runs his cafe and gambling house unencumbered by politics, looking out only for himself and a few close and loyal employees like Sam (Dooley Wilson) and Carl (S.Z. Sakall). Peter Lorre is marvelous as the criminal who worships Rick, and seeks his approval. It is really what happens to Ugarte (Lorre) which turns Rick in favor of the French Resistance; though it won't become evident until the film is nearly over. It is perhaps, the most interesting relationship in the film, made more so due to Lorre’s small amount of screen time.

Ugarte leaves Rick a letter of transit which can't even be questioned, when in pops Rick’s reason for hiding out in Casablanca — Ilsa Lund (Ingrid Bergman). Rick's bitter disillusionment with love all goes back to what happened in Paris, where Ilsa left him holding his heart in his hands. The flashback montages were in part directed by Don Siegel, who would direct Mitchum and Greer in The Big Steal, and later become well known for Dirty Harry with Clint Eastwood. Ilsa isn't alone, however, bringing along her husband, Victor Laszlo (Paul Henreid). He is the lead figure behind the movement to rid the French of the Germans, who would prefer he never make it to Lisbon.

Caught in between is the pragmatic Captain Renault — Claude Rains in a splendid turn, full of larceny and humor. It is never clear exactly which side he is on. Ilsa wants her husband Victor to escape with his life but Rick isn't so ready to hand over those transit papers; not without some graveling and an explanation for the way he was burned by her.

Bergman proved a good second choice for Ilsa. The viewer knows she’s messed Rick up, and wants it to be righted, while at the same time sensing those two don’t belong together. Her casting opposite Bogart makes the ending easier to take than had someone with more natural chemistry with Bogart been cast in the role. Don’t get me wrong, they are good together in a timeless classic, but that bit of ‘unbelievability’ in their pairing works in the film’s favor at the legendary ending to this film. Howard Hawks had Bogart and Bacall, for example, go off together at the end of To Have and Have Not, which was his own take on Casablanca.

Before we get to the famous ending of Casablanca, however, there are some terrific moments from Joy Page as a young wife fleeing Bulgaria, desperate to get she and her husband out of Casablanca. What Rick does to help her out, and get around her making a mistake with Renault, highlights the effect Ugarte’s killing had on Rick, who at heart is a romantic. Once he knows the reason behind what happened in Paris, he'll come to the same decision the viewer has about where Isla belongs.

Casablanca won the Academy Award for Best Picture, Screenplay, and Direction (Michael Curtiz). Bogart would have won for Best Actor, Rains for Supporting Actor, and Joy Page for Best Supporting Actress in a different time and place. While this isn’t quite the romantic noir masterpiece of Preminger’s Laura, it is one amazingly smooth blend of genres — including noir — which pleases every film buff, and makes it one of the great films of all time. Silent film fans might can even catch a glimpse of star Monte Blue as an uncredited American. Bogart and Bergman fans can enjoy watching this one over and over, as it is one of those films almost universally cherished by movie lovers.
… (lisätietoja)
1 ääni
Merkitty asiattomaksi
Matt_Ransom | 22 muuta kirja-arvostelua | Nov 22, 2023 |
S.S. Van Dine's Philo Vance has sadly been all but forgotten today, seeming too perfect and erudite for today’s reading audience. The dapper detective was adapted to film several times, however. The Kennel Murder Case is by far the best film adaptation of the highbrow sleuth. Famed director Michael Curtiz used that early 1930s soft focus look and a well-written and witty script to bring Vance to life in the form of William Powell, who proved perfect for the part.

From the opening moments of Vance at the Long Island Kennel Club with his dog, Captain McDavish, this is a classy and breezily-paced little mystery. The murder of Hilda Lake’s dog escalates into a human murder with lots of suspects. But how was the murder committed, since the victim is found dead in a room locked from the inside? It’s just the type of puzzle relished by Philo Vance, so he cancels his vacation cruise to lend Detective Heath (Eugene Pallet) a hand.

A young and very stylish Mary Astor stars as Hilda Lake, with a supporting cast which includes Helen Vinson, Ralph Morgan, Frank Conroy, and Paul Cavanagh. James Lee Liang as a cook obsessed with Chinese treasures adds flavor to this delicious little concoction. Vance has a locked room puzzle to solve, which could make this film seem stage-bound. Director Curtiz, however, manages enough flair and visual touches to offset that drawing-room feel many early 1930's mysteries had.

Shady business dealings, spurned affections, and valuable Chinese artifacts all play a part in this tight little mystery. Powell’s Vance is uptown, cool as a cucumber, and fun to watch as he’s always one step ahead of everyone else. In many ways, what makes Van Dine’s written characterization of Philo Vance seem insufferable to modern readers, lends the screen Vance, influenced by William Powell’s charm, almost hip. Vance’s solution to the mystery is unique, but the best part is the fun we have getting there.

This is a great little rainy night mystery for those times you’re in a nostalgic mood. Mystery lovers won’t want to miss this little gem.
… (lisätietoja)
 
Merkitty asiattomaksi
Matt_Ransom | 2 muuta kirja-arvostelua | Nov 21, 2023 |

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Associated Authors

Howard Koch Screenwriter
Julius J. Epstein Screenwriter
Robert Buckner Screenwriter
Norman Reilly Raine Screenwriter
Seton I. Miller Screenwriter
Norman Panama Screenwriter
Norman Krasna Screenwriter
Iving Berlin Composer
Melvin Frank Screenwriter
Casey Robinson Screenwriter
Ranald MacDougall Screenwriter
Raoul Walsh Director
James Edward Grant Screenwriter
Orson Welles Director
William Nigh Director
Claude Binyon Screenwriter, Writer
Gene Kelly Actor, Director
H. C. Potter Director
Garson Kanin Director
Irving Reis Director
William Wyler Director
Clair Huffaker Screenwriter
Edmund Joseph Screenwriter
Roy Del Ruth Director
Roy Del Ruth Director
Terry O. Morse Director, Director
Irving Pichel Director, Actor
William Berke Director
Mervyn LeRoy Director
John Huston Director
George Sidney Director
Eugene Vale Screenwriter
Irving Berlin Composer
Robert N. Lee Screenwriter
Lewis Allen Director
Phil Karlson Director
Norman Foster Director
Lynn Shores Director
James V. Kern Director
Graham Cutts Director
Edgar Ulmer Director
Fritz Lang Director
John Cromwell Director
Rudolph Maté Director
Byron Haskin Director
Arthur Lubin Director
John Rawlins Director
John Wexley Screenwriter
Warren Duff Screenwriter
Herbert Baker Screenwriter
Stanley Donen Director
John C. Moffitt Screenwriter
David Butler Director
Stefan Scaini Director
Zoltan Korda Director
Henri Charr Director
B. Reeves Eason Second Unit Director
Ray Nazarro Director
Michel Jacoby Screenwriter
Boon Collins Director
William Katt Director
Jules Dassin Director
Joseph Kane Director
Philip Dunne Screenwriter
David Heeley Director
Kathryn Scola Screenplay
Harry Kurnitz Screenwriter
Cy Endfield Director
Ernest Hemingway Screenwriter
Marvin Shavelson Screenwriter
Bess Meredyth Screenwriter
Delmer Daves Director
Alan Crosland Director
Albert Band Director
Lillie Hayward Screenwriter
Nando Cicero Director
Ted Tetzlaff Director
Earl Bellamy Director
Roland Gillett Screenwriter
Arthur T. Horman Screenwriter
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Archie Mayo Director
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Tod Browning Director
Karl Freund Director
Howard Hughes Director
Nicholas Ray Director
John Sturges Director
Wilson Mizner Screenwriter
Don Siegel Director
Edward Ludwig Director
Mark Rydell Director
John Farrow Director
Ewart Adamson Screenwriter
Tenny Wright Director
John Ford Director
Burt Kennedy Director
Charles Vidor Director
Jack Donohue Director
George Cukor Director
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Frank Tashlin Director
Craig Clyde Director
John Rich Director
Ben Hecht Screenwriter
Norman Taurog Director
Ford Beebe Director
R. John Hugh Director
Leo McCarey Director
Douglas Morrow Screenwriter
Walter Lang Director
Lew Ayres Director
Lloyd Bacon Director
Sig Herzig Screenwriter
Hal Walker Director
Olivia. De Havilland Actor, Actress
Hal B. Wallis Producer
Max Steiner Composer
Joy Page Actor
Joan Alison Original play
Owen Marks Editor
Murray Burnett Original play
Curt Bois Actor
Doris Day Actor
Eve Arden Actor
Edith Head Costume Designer
Ann Blyth Actor
Catherine Turney Screenwriter
Alan Ladd Actor
Myrna Loy Actor
Aldo Ray Actor
Ludwig Von Wohl Original book
Clarence Day Original story
James Lee Actor
Cole Porter Composer
J. Peverell Marley Director of Photography
Charles Hoffman Screenwriter
Leo Townsend Screenwriter
William V. Skall Director of Photography
William Bowers Screenwriter
Fay Wray Actress
Mel Blanc Actor
Walter Scharf Composer
Charles Nordhoff Original novel
Tom Tully Actor
Carl Foreman Screenwriter
Alfred Newman Composer
Gene Markey Screenplay
Burt Lancaster Actor, Contributor
Charlotte Armstrong Original novel
Earl Baldwin Screenwriter
Lewis E. Lawes Original book
John Wray Actor
Paul Muni Actor
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