Greatest Directors--G
This is a ranked list of directors whose last name begins with a "G."
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Jean-Luc Godard was born in Paris on December 3, 1930, the second of four children in a bourgeois Franco-Swiss family. His father was a doctor who owned a private clinic, and his mother came from a preeminent family of Swiss bankers. During World War II Godard became a naturalized citizen of Switzerland and attended school in Nyons, Switzerland. His parents divorced in 1948, at which time he returned to Paris to attend the Lycée Rohmer. In 1949 he studied at the Sorbonne to prepare for a degree in ethnology. However, it was during this time that he began attending with François Truffaut, Jacques Rivette, and Éric Rohmer.
In 1950 Godard, with Rivette and Rohmer, founded "Gazette du cinéma", which published five issues between May and November. He wrote a number of articles for the journal, often using the pseudonym "Hans Lucas". After Godard worked on and financed two films by Rivette and Rohmer, Godard's family cut off their financial support in 1951, and he resorted to a Bohemian lifestyle that included stealing food and money when necessary. In January 1952 he began writing film criticism for "Les cahiers du cinéma". Later that year he traveled to North and South America with his father and attempted to make his first film (of which only a tracking shot from a car was ever accomplished).
In 1953 he returned to Paris briefly before securing a job as a construction worker on a dam project in Switzerland. With the money from the job, he made a short film in 1954 about the building of the dam called Operation Concrete (1958). Later that year his mother was killed in a motor scooter accident in Switzerland. In 1956 Godard began writing again for "Les cahiers du cinéma" as well as for the journal "Arts". In 1957 Godard worked as the press attache for "Artistes Associés", and made his first French film, All Boys Are Called Patrick (1959).
In 1958 he shot Charlotte and Her Boyfriend (1958), his homage to Jean Cocteau. Later that year he took unused footage of a flood in Paris shot by Truffaut and edited it into a film called A Story of Water (1961), which was an homage to Mack Sennett. In 1959 he worked with Truffaut on the weekly publication "Temps de Paris". Godard wrote a gossip column for the journal, but also spent much time writing scenarios for films and a body of critical writings which placed him firmly in the forefront of the "nouvelle vague" aesthetic, precursing the French New Wave.
It was also in that year Godard began work on Breathless (1960). In 1960 he married Anna Karina in Switzerland. In April and May he shot The Little Soldier (1963) in Geneva and was preparing the film for a fall release in Paris. However, French censors banned it due to its references to the Algerian war, and it was not shown until 1963. In March 1960 Breathless (1960) premiered in Paris. It was hugely successful both with the film critics and at the box office, and became a landmark film in the French New Wave with its references to American cinema, its jagged editing and overall romantic/cinephilia approach to filmmaking. The film propelled the popularity of male lead Jean-Paul Belmondo with European audiences.
In 1961 Godard shot A Woman Is a Woman (1961), his first film using color widescreen stock. Later that year he participated in the collective effort to remake the film The Seven Deadly Sins (1962), which was heralded as an important project in artistic collaboration. In 1962 Godard shot Vivre sa vie (1962) in Paris, his first commercial success since "Breathless". Later that year he shot a segment entitled "Le Nouveau Monde" for the collective film Ro.Go.Pa.G. (1963), another important work in the history of collaborative multiple-authored art.
In 1963 Godard completed a film in homage to Jean Vigo entitled The Carabineers (1963), which was a resounding failure with the public and stirred furious controversy with film critics. Also that year he worked on a couple of collective films: The World's Most Beautiful Swindlers (1964) (from which Godard's sequence was later cut) and Six in Paris (1965). In 1964 Godard and his wife Anna Karina formed their own production company, Anouchka Films. They shot a film called A Married Woman (1964), which censors forced them to re-edit due to a topless sunbathing scene shot by Jacques Rozier. The censors also made Godard change the title to "Une femme marié" so as to not give the impression that this "scandalous" woman was the typical French wife. Later in the year, two French television programs were produced in devotion to Godard's work.
In the spring of 1965 Godard shot Alphaville (1965) in Paris; in the summer he shot Pierrot the Fool (1965) in Paris and the south of France. Shortly thereafter he and Anna Karina separated. Following their divorce, Godard shot Made in U.S.A (1966), "Deux ou trois choses que je sais d'elle (1966)", "L'amour en l'an 2000" (1966) (a sequel to "Alphaville" shot as a sketch for the collective film "L'amour travers les ages" (1966)).
In 1967 Godard shot The Chinese (1967) in Paris with Anne Wiazemsky, who was the granddaughter of French novelist François Mauriac. During the making of the film Godard and Wiazemsky were married in Paris. Later in the year he was prevented from traveling to North Vietnam for the shooting of a sequence for the collective film Far from Vietnam (1967). He instead shot the sequence in Paris, entitled "Camera-Oeil". Also during 1967 Godard participated (as the only Frenchman) on an Italian collective film called Love and Anger (1969).
In 1968 Godard was commissioned by French television to make Joy of Learning (1969). However, television producers were so outraged by the product Godard produced that they refused to show it. In May of that year Henri Langlois was fired by the head of the French Jean-Pierre Gorin to form the Dziga-Vertov group, infuriating Godard. He became increasingly concerned with socialist solutions to an idealist cinema, especially in providing the proletariat with the means of production and distribution. Along with other militantly political filmmakers in the Dziga-Vertov group, Godard published a series of 'Ciné-Tracts' outlining these viewpoints. In the summer of 1968 Godard traveled to New York City and Berkeley, California, to shoot the film "One American Movie", which was never completed. In September he made a trip to Canada to start another film called "Communication(s)", which also went unfinished, and then made a visit to Cuba before returning to France.
In 1969 Godard traveled to England, where he made the film See You at Mao (1970) for BBC Weekend Television, but the network later refused to show it. In the late spring he traveled with the Dziga-Vertov group to Prague to secretly shoot the film "Pravda". Later that year he shot Lotte in Italia (1971) ("Struggle for Italy") for Italian television. It was never shown, either.
In 1970 Godard traveled to Lebanon to shoot a film for the Palestinian Liberation Organization entitled "Jusque à la victoire" (1970) ("Until Victory"). Later that year he traveled to dozens of American universities trying to raise money for the film. In spite of his efforts, it was never released.- Producer
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Menahem Golan was born Menahem Globus to parents of Polish decent in Tiberias, Israel, in May 1929. In his early years, he was a pilot for the fledgling Israeli Air Force, changing his surname to Golan for patriotic reasons in 1948. A few years later, he took the first step towards his future career by attending the Old Vic Theatre School in London. After returning to Israel, he produced for theater, until joining producer Roger Corman as an assistant on The Young Racers (1963). Golan's debut film in partnership with his younger cousin Yoram Globus was El Dorado (1963). The two cousins set up Noah Films to produce for the Israeli market. Golan's role was as producer and the creative partner, with Globus as the financial expert. The company was first recognized overseas when its production Sallah Shabati (1964) won an Oscar nomination for Best Foreign Language Film and then won the Golden Globe in the same category in 1965. However, the cousins were desperate to break into the international market. Some of their films had been picked up for distribution in America, such as Kazablan (1973) by MGM, but this was not enough.
In 1979 the pair bought control of a failing production company, The Cannon Group Inc., from Dennis Friedland and Christopher C. Dewey, and it was this company that gave them international renown. Under their control, the Cannon Group grew from a small company making a few obscure pictures a year to a studio that produced 35 pictures in 1987 alone. They developed a large, independent, and international empire, with production, distribution, and exhibition interests across Europe. Golan and Globus hit their peak with Cannon in the mid-1980s, signing Sylvester Stallone for a record US$13 million in 1983 for Over the Top (1987) and purchasing the UK's Thorn-EMI Screen Entertainment in 1986. This last deal led to their ownership of the ABC cinema circuit and Elstree Studios in Britain. However, by 1987, the money was starting to run out. Many of their movies were not making enough at the box office despite the cousins' wide cinema ownership, and they had taken on a lot of debt during their rapid growth, making more expensive pictures in the process. They were initially rescued by Warner Bros., which took distribution rights to Cannon's better films--for example, Superman IV: The Quest for Peace (1987), based on a character that Warner already owned--and also took an interest in some of its assets. The end of Cannon came in 1989 when, virtually bankrupt, the company was bought by the now-disgraced financier Giancarlo Parretti and renamed Pathé Communications (after the new MGM-Pathé collapsed in 1992, Globus produced pictures with Christopher Pearce, which were released under a resurrected Cannon Pictures label. The last of these was American Cyborg: Steel Warrior (1993) before the company folded for good).
Golan fell out with Parretti and Globus, leaving Pathé, and starting 21st Century Pictures. He produced a number of films that received widespread distribution, such as Death Wish: The Face of Death (1994) and Captain America (1990), but by the mid-1990s this company had folded, too. Golan's name was later linked with other new companies, such as International Dynamic Pictures and Magic Entertainment, and he rejoined cousin Yoram for both. However, the two soon fell out again and went their separate ways, with Golan writing and directing for other producers in the interim. Golan's latest company is New Cannon Inc., and his recent works include Crime and Punishment (2002) and Return from India (2002). Unfortunately for his fans, it now seems unlikely that Golan will recreate the success of his heyday. Menahem Golan has long been criticized (sometimes unfairly) for an emphasis on quantity rather than quality. It's true that some of the movies he has produced have been laughable or unwatchable. However, now out of the limelight of a critical industry, some of his company's once-derided films have achieved cult status, such as Mona Lisa (1986), Godfrey Reggio's Powaqqatsi (1988), and the "Lemon Popsicle" series. Golan's ongoing drive, energy, and past contribution to the world of cinema will undoubtedly and belatedly be recognized for the achievement this represents.- Director
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Terry Gilliam was born near Medicine Lake, Minnesota. When he was 12 his family moved to Los Angeles where he became a fan of MAD magazine. In his early twenties he was often stopped by the police who suspected him of being a drug addict and Gilliam had to explain that he worked in advertising. In the political turmoil in the 60's, Gilliam feared he would become a terrorist and decided to leave the USA. He moved to England and landed a job on the children's television show Do Not Adjust Your Set (1967) as an animator. There he met meet his future collaborators in Monty Python: Terry Jones, Eric Idle and Michael Palin. In 2006 he renounced his American citizenship.- Director
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He grew up in Versailles with a family who was very influenced by pop music. When he was young, Gondry wanted to be a painter or an inventor. In the 80s he entered in an art school in Paris where he could develop his graphic skills and where he also met friends with whom he created a pop-rock band called Oui-Oui. The band released 2 albums ('Chacun tout le monde' and 'Formidable') and several singles until their separation in 1992. Gondry was the drummer of the band and also directed their video clips in which it was possible to see his strange world, influenced by the 60s and by his childhood. One of his videos was shown on MTV and when Björk saw it, she asked him to make her first solo video for 'Human Behaviour'. The partnership is famous: Gondry directed five other Björk's videos, benefiting by the huge budgets. This led to commissions for other artists around the world, including Massive Attack. He also made a lot of commercials for Gap, Smirnoff, Air France, Nike, Coca Cola, Adidas, Polaroid and Levi - the latter making him the most highly-awarded director for a one-off commercial.
Hollywood became interested in Gondry's success and he directed his first feature movie Human Nature (2001), adapting a Charlie Kaufman's scenario, which was shown in the 2001 Cannes Festival. Although it wasn't a big success, this film allowed him to direct Eternal Sunshine of the Spotless Mind (2004), for which he again collaborated with Charlie Kaufman. The movie became a popular independent film and he and his co-writers won an Oscar for it.- Actor
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Mel Columcille Gerard Gibson was born January 3, 1956 in Peekskill, New York, USA, as the sixth of eleven children of Hutton Gibson, a railroad brakeman, and Anne Patricia (Reilly) Gibson (who died in December of 1990). His mother was Irish, from County Longford, while his American-born father is of mostly Irish descent.
Mel and his family moved to Australia in the late 1960s, settling in New South Wales, where Mel's paternal grandmother, contralto opera singer Eva Mylott, was born. After high school, Mel studied at the University of New South Wales in Sydney, performing at the National Institute of Dramatic Arts alongside future film thespians Judy Davis and Geoffrey Rush.
After college, Mel had a few stints on stage and starred in a few TV shows. Eventually, he was chosen to star in the films Mad Max (1979) and Tim (1979), co-starring Piper Laurie. The small budgeted Mad Max made him known worldwide, while Tim garnered him an award for Best Actor from the Australian Film Institute (equivalent to the Oscar).
Later, he went on to star in Gallipoli (1981), which earned him a second award for Best Actor from the AFI. In 1980, he married Robyn Moore and had seven children. In 1984, Mel made his American debut in The Bounty (1984), which co-starred Anthony Hopkins.
Then in 1987, Mel starred in what would become his signature series, Lethal Weapon (1987), in which he played "Martin Riggs". In 1990, he took on the interesting starring role in Hamlet (1990), which garnered him some critical praise. He also made the more endearing Forever Young (1992) and the somewhat disturbing The Man Without a Face (1993). 1995 brought his most famous role as "Sir William Wallace" in Braveheart (1995), for which he won two Oscars for Best Picture and Best Director.
From there, he made such box office hits as The Patriot (2000), Ransom (1996), and Payback (1999). Today, Mel remains an international superstar mogul, continuously topping the Hollywood power lists as well as the Most Beautiful and Sexiest lists.- Director
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David Wark Griffith was born in rural Kentucky to Jacob "Roaring Jake" Griffith, a former Confederate Army colonel and Civil War veteran. Young Griffith grew up with his father's romantic war stories and melodramatic nineteenth-century literature that were to eventually shape his movies. In 1897 Griffith set out to pursue a career both acting and writing for the theater, but for the most part was unsuccessful. Reluctantly, he agreed to act in the new motion picture medium for Edwin S. Porter at the Edison Company. Griffith was eventually offered a job at the financially struggling American Mutoscope & Biograph Co., where he directed over four hundred and fifty short films, experimenting with the story-telling techniques he would later perfect in his epic The Birth of a Nation (1915).
Griffith and his personal cinematographer G.W. Bitzer collaborated to create and perfect such cinematic devices as the flashback, the iris shot, the mask and cross-cutting. In the years following "Birth", Griffith never again saw the same monumental success as his signature film and, in 1931, his increasing failures forced his retirement. Though hailed for his vision in narrative film-making, he was similarly criticized for his blatant racism. Griffith died in Los Angeles in 1948, one of the most dichotomous figures in film history.- Director
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Born in Haifa in 1950, as the second son of architect Munio Weinraub and former Sionist activist Efratia Margalit. On the year of his birth, his parents changed the family name to "Gitai", which is the Hebrew translation of the German name "Weinraub". While he was a student in architecture, Amos Gitai joined the Yom Kippur war in 1973 as a reserve duty officer, and served as part of a helicopter rescue team. While serving during the war, he started filming with a 8mm camera his mother gave him as his birthday present. On his 23rd birthday, October 11th 1973, his helicopter was shot down by a Syrian missile. Among the 7 crews on board, 6 of them survived, including Gitai himself, who was inspired by this traumatic experience to quit architecture and move to filmmaking. He made a documentary on this incident and his fellow survivors, "Kippur: War Memories" in 1993, then a fictional recreation of it "Kippur" in 2000.
in 1979, Gitai directed his first feature-length documentary "House", commissioned by Israel's public television. The television rejected the film, and the film (originally shot in 16mm) only exists today copied from a VHS tape he managed to secure. The tape traveled on few international festivals and quickly earned a reputation for him. His third documentary, "Field Diary" shot in 1983 was also rejected by the Israeli Television who originally commissioned it. This time, Gitai moved to France with the negative of the film and completed it in France. For the next 10 years, he based himself in Europe.
1n 1986, he directed his first feature fictional film "Esther", based on the Biblical story of the book of Esther.
In 1993, following prime minister Ytzhak Rabin starting the peace process with Palestine, Gitai and his family moved back to live in his native town of Haifa.- Director
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The world's first female filmmaker, French-born Alice Guy entered the film business in 1896 as a secretary at Gaumont, a manufacturer of movie cameras and projectors who had purchased a "cinématographe" from its inventors, the Lumiere brothers. The next year Gaumont became the world's first motion picture production company when they switched to creating movies, and Guy became its first film director. She impressed the company so much with the output (she averaged two two-reelers a week) and quality of her productions that by 1905 she was made the company's production director, supervising its other directors. In 1907 she married Herbert Blaché, an Englishman who ran Gaumont's British and German offices. The pair went to the U.S. to set up the company's operations there. In 1910 Mme. Guy set up her own production company, Solax, in New York and with her husband built a studio in Fort Lee, New Jersey. After a period of critical and financial success, the couple's fortunes declined when Thomas Alva Edison's trust hindered film production in the East coast, and they eventually shut down the studio in 1919. Although her husband secured work directing films for several major Hollywood studios, Guy was never able to secure any directorial jobs there, never made a film again, most of her films were lost, some were credited to other film directors, and she did no receive recognition for her pioneering work in France and the United States. She returned to France in 1922 after her divorce from Blaché, and in 1964 returned to the U.S. and lived in Mahwah, New Jersey - not far from where her original studios were - with her daughter, where she died in 1968.- Producer
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Alex Gibney was born on 23 October 1953 in New York City, New York, USA. He is a producer and director, known for Enron: The Smartest Guys in the Room (2005), Taxi to the Dark Side (2007) and Going Clear: Scientology & the Prison of Belief (2015). He has been married to Anne Gibney since 14 August 1982. They have three children.- Writer
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London-born Edmund Goulding was an actor/playwright/director on the London stage, and entered the British army when WWI broke out. Mustered out of the service because of wounds suffered in battle, he emigrated to the U.S. in 1921. He obtained assignments as a screenwriter in Hollywood, wrote a novel, "Fury," in 1922 and directed the film version of it (Fury (1923)). Hired as a screenwriter/director by MGM in 1925, Goulding quickly developed a reputation for turning out tasteful, cultured dramas and drawing-room comedies. His films typified the elegance and refinement with which MGM was identified, the best example of this being Grand Hotel (1932). He was entrusted with the pictures of some of MGM's biggest stars, such as Greta Garbo and Joan Crawford. However, one of his best-known films, and probably the one most atypical of his work, was Nightmare Alley (1947), a dark, brooding drama of greed and corruption among high and low society involving phony mentalists and a conniving psychiatrist.- Producer
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David Gordon Green was born on 9 April 1975 in Little Rock, Arkansas, USA. He is a producer and director, known for Halloween Kills (2021), Halloween (2018) and Joe (2013).- Director
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Paul Greengrass started his filmmaking career with a super 8 camera he found in his art room in secondary school. Those short movies were animation horror films he made using old dolls, artist dummies, and the general art room clutter.
After studying in Cambridge University he got into Granada Television School and spent the first ten years of his career roving global hot spots for the hard-hitting documentary series, World in Action. By this time he became very interested in the Northern Ireland conflict.
In 1989, he directed his first fiction movie, "Resurrected", that won an award in Berlin. He continued his career as a fiction filmmaker with a series of TV movies dealing with social and political issues: Open Fire (a police scandal about a policeman accused of murder), The One that got away (about a military operation during the first Gulf War).
His documentary style became more dynamic and intense with each movie. In 2002, Bloody Sunday achieved international acclamation and won the first prize in the Berlin Festival. After that he has continued his career in the United States with "The Bourne Supremacy" starring Matt Damon.- Director
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Peter Greenaway trained as a painter and began working as a film editor for the Central Office of Information in 1965. Shortly afterwards he started to make his own films. He has produced a wealth of short and feature-length films, but also paintings, novels and other books. He has held several one-man shows and curated exhibitions at museums world-wide.- Actor
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U.S.-born actor, director, writer, musician, and composer best known for his mockumentaries, poking fun at heavy metal music, small town theatre, dog shows, folk music and film-making itself, Christopher Haden-Guest was born February fifth, 1948, in New York City. His mother, Jean Pauline (Hindes), was a vice president of casting at CBS. His father, Peter Haden-Guest, was a UN diplomat who was a member of the British House of Lords, and was the fourth Baron of Saling in the County of Essex. Christopher's mother, who was American, was the daughter of Russian Jewish immigrants. Christopher's father, who was British, had English and Dutch-Jewish ancestry. Christopher's paternal great-grandfather, Colonel Albert Goldsmid, was a British officer.
He received his dramatic arts training at New York City's High School of Arts and Music and at Bard College, and Guest first appeared in minor film roles in a mixture of film genres, including The Hot Rock (1972), Death Wish (1974), Lemmings (1973), and The Long Riders (1980). However, he was also dabbling in writing for several T.V. shows, and when filming Million Dollar Infield (1982), Guest became acquainted with writer-director Rob Reiner and the two collaborated, along with Michael McKean and Harry Shearer, to pen the script and music for the sleeper hit This Is Spinal Tap (1984).
The mockumentary also starred Guest as dizzy lead guitarist Nigel Tufnel, whose most famous line is surely, "These go to eleven," when referring to the volume settings on the band's rather unique Marshall amplifiers!
Guest then busied himself for several years in the 1980s as a regular performer on Saturday Night Live (1975) and, along with fellow Spinal Tap band members lead singer David St. Hubbins, aka Michael McKean; and bassist Derek Smalls, aka Harry Shearer, they regularly appeared as Spinal Tap. In 1992, they released Spinal Tap: Break Like the Wind - The Videos (1992), plus A Spinal Tap Reunion: The 25th Anniversary London Sell-Out (1992).
Guest had a minor acting role in the courtroom drama of A Few Good Men (1992), before returning to poke fun at wannabe actors in the howlingly funny Waiting for Guffman (1996) with Guest taking center stage as high-strung choreographer Corky St. Clair. He made a return to heavy metal with Spinal Tap: The Final Tour (1998) and Catching Up with Marty DiBergi (2000) before turning his comedic pen to the world of championship dog shows for the sensational comedy Best in Show (2000). The latest mockumentary from Guest and co-writer-actor Eugene Levy was again met with critical praise, and movie fans just loved it, too! In 2003, Guest and Eugene Levy took aim at the folk-music world, and successfully collaborated to write the comedy A Mighty Wind (2003) about the reunion of the Folksmen, a fictional 1960s folk music group.
Guest is married to well-known actress Jamie Lee Curtis with two children, daughter Annie Guest and son Ruby Guest, plus he is the brother of actor Nicholas Guest.- Director
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An educated man, Jean Grémillon (b.1898) should almost be mentioned in the same breath as the big five of the golden age of the French cinema (Carné, Renoir, Duvivier, Feyder and Clair). Some of his plans never came to anything: for instance, after World War 2, only three movies, which is too few for such a man.
The silent years: Grémillon's career began with documentary shorts... and ended the same way. His first effort (1923) dealt with Chartres town. Three years later came his first feature film "Maldone". One of his recurrent features is already here rebellion against the wealthy class. It's the story of a young heir who favors freedom over possessions. "Gardien De Phare" could be remade today (and its influence appears in some horror movies): Two lighthouse keepers (the father and the son) are to spend one entire month in the middle of the sea near the coasts of Brittany; flashbacks reveal us that the young man has been bitten by a rabid dog.
The period of transition: his first talkie "La Petite Lise" (1930) was a melodrama; the male character was probably inspired by Hugo's Jean Valjean. "Dainah La Métisse" was some kind of murder mystery: did she jump or was she pushed? But what's extraordinary is the obvious connection with Gremillon's later work "Pattes Blanches" (1947): the murder of the bad girl (Suzy Delair) by Maurice (Michel Bouquet) on the cliff, and the white bride veil. The director himself confessed he never liked its follow-up "Pour Un sou D' Amour", not exactly class struggle. Both his Spanish movies sank without a trace. "La Dolorosa" was a musical where they sing every ten minutes; his collaboration with Luis Buñuel seemed unworthy of both men's talent: "It is odd that Luis Buñuel singled out the uninspired but decidedly above-average melodrama" (Mario Gauci). "La Valse Royale" (1935), a French-(Hitlerian) Germany co-production did nothing to rectify Gremilllon's stature: "light-hearted gallantry" best described this old-fashioned, poorly written story with some hints at the French Revolution.
The golden years: From "Gueule d'Amour" (1937) onward, Grémillon would never produce anything mediocre. This 1937 work was the stuff Gabin's legend was made, his part of a legionnaire who experimented tragedy. "L'Etrange Monsieur Victor" gave Raimu the opportunity to play, masterfully, a part of a criminal. The making of "Remorques" began in 1939, but because of the occupation, was released in 1941: the banal plot mattered much less than the atmosphere; the star of the movie was the Ocean: you could hear, feel, or see it ceaselessly along the viewing. "Lumière D'Ete" (1942) pitted the men of leisure against the working class heroes. Although it was a Prévert/Laroche screenplay, the main influence here was Renoir's. All that concerned Paul Bernard's character and his fete in the castle strongly recalled "La Règle Du Jeu". Probably the center of gravity of the movie, this memorable sequence of the Farandole - while the tragedy was impending - would find an equivalent in Prévert/Carné's ending of "Les Enfants Du Paradis". Nowadays, it is generally considered Grémillon's apex. "Le Ciel est A Vous" (1943) was a beautiful movie dedicated to daring women who were feminists ahead of their time, the story of a woman who wanted to be an aviator. During the Occupation, the Petainist France set this movie up as an example of virtue and courage, against the dirty Clouzot's "le Corbeau". After the Liberation, both movies were attacked, the former for being too Petainist, the latter for showing the darkest side of the occupied country.
The post-war years: Grémillon's career was never the same, although the three movies he made were very interesting. Jean Anouilh, who wrote the screenplay, was to direct "Pattes Blanches", but he fell sick and had to give it up. He chose Jean Grémillon to do the job and he was right: it included moments of desperate lyricism. In "L'Etrange Madame X" (1951), Jean Grémillon and Albert Valentin did what they did best: setting a working class milieu against the bourgeois world. His final effort, "L'Amour D'Une Femme" was beautiful but extremely sad, even lugubrious. It featured two funerals and many depressing scenes; even the love scenes were sad. When Madame Leblanc, a schoolteacher about to retire, packs her stuff. When the doctor asked herself if her work was finally worthwhile, we think of the director who probably knew it was to be his final work. During his last years he had to be content with shorts, which, for a first-class director such as him, was certainly a shame, considering the great works he could still have made. He died at 61, prematurely.- Writer
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Born an illegitimate son of a wealthy physician, Abel Flamant, and a working class mother, Francoise Perethon. He was raised by his mother and her boyfriend, who later became her husband, Adolphe Gance. Pressured by his parents, he began his working career as a lawyer's clerk in hopes of achieving a prosperous career in law. But his passion for the theatre lured him to the stage and at 19 he made his stage debut in Brussels. Within a year, after returning to Paris, he made his screen debut as an actor in Moliere (1909). He made other film appearances in minor roles as well as taking a crack at screen-writing.
Living in poverty during this period in his life, he suffered from starvation and tuberculosis. But he regained strength enough to form a production company in 1911, and made his debut as a director that same year with La Digue (1911). However, like the rest of his early films, it was unsuccessful and as a consequence, he returned to the stage with a five-hour long play, Victoire de Samothrace, which he wrote himself. It was due to be a success with Sarah Bernhardt in the lead role, but the sudden outbreak of WWI canceled the premiere.
Due to his ill health he was kept out of most of the war. During this time he managed to achieve a profitable status at the Film d'Arte company as a director. He turned out such successful films as Mater Dolorosa (1917) and La Dixieme Symphonie (1918), but he gained a reputation at Film d'Arte as a wild experimentalist - using such outlandish techniques for the time as close-ups and dolly shots. As a consequence, he was frequently at odds with the management. At the point of being one of the most well known film directors in France, he entered the tail end of WWI. He was discharged shortly after due to mustard gas poisoning. But he requested that he be redrafted so that he could shoot on-location battle scenes for his latest idea for a film J'accuse! (1919). The three-hour long, triangular melodrama about the "futility of war" became a box-office smash all over Europe. It was Europe's first fictional film to show authentic footage of the catastrophes of war. Being an experimentalist, he employed a rapid cutting technique that is said to have influenced such Russian filmmakers as Sergei Eisenstein and Pudovkin.
During the making of his next film, The Wheel (1923), he and his second wife, Ida Danis, fell ill with the flu. Although he recovered and worked on the film in stages, his wife did not - she died shortly before the film's release. Grieved by death of his wife and friend, actor Severin Mars, who starred in many of his films, he fled Europe and sailed to America. The trip turned out to be a nationwide promotion of I Accuse. He recalls that he did not like the Hollywood filmmaking system and refused an offer from MGM to direct for a hefty sum. The happiest moment was D.W. Griffith's praise of I Accuse at a screening in New York.
Returning to France, Gance released the final cut of La Roue to much acclaim, especially for its montage sequence. His most important and outstanding film is Napoleon (1927). Considered to be a dictionary of all the techniques of the silent film era and an introduction to some techniques to come. It was shot using a three-camera panoramic process that involves the use of three projectors and a curved windscreen to create a deep, vast panoramic look. A couple thousand extras were used to fill the shots. Being the experimentalist that he was, he shot scenes in color, more than a decade before Hollywood would make The Wizard of Oz (1939) and Gone with the Wind (1939) in color, and in 3-D. But he decided against incorporating them into the film in fear that they would jar the audience's attention. The film received a standing ovation the night of its premiere at the Paris Opera. It was then shown only in 8 European cities due to the expensive and technical apparatus and large size theatre needed to project the film. In the US, MGM purchased the distribution rights and elected not to show the film using the three projector windscreen equipment, claiming that it would interfere with the introduction of sound. Nonetheless, that doesn't explain why MGM decided to drastically cut the film and rearrange it. As a consequence, the general release in the US was a not a success, audiences laughed at the film and critics panned it. It was the last film of Gance's career that was to possess that magnitude of creativeness. His sound films were mainly done for studios, where he lacked the ability to be creative. He would return to Napoleon a couple times in his career. In 1934 he added stereophonic sound effects to the original film using a Pictographe. He had criticized film historians throughout the rest of his life for not giving his film Napoleon (1927) the attention it deserves. Finally, British director Kevin Brownlow spent two decades doing the arduous task of putting the film back together in its original format. It was first screened in London using the three projector format with a score composed and conducted by Carl Davis in 1979. Francis Ford Coppola produced the screenings at the Radio City Hall in the US, in 1981 to much acclaim. His father Carmine Coppola, composed and conducted the score in the US. Finally, Napoleon (1927) and its director received the respect they deserve.- Director
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Felix Gary Gray is an African-American music video director, film producer and film director from New York City known for directing films such as Friday, Men in Black: International, Be Cool, The Fate of the Furious, Set It Off, The Negotiator, Straight Outta Compton and The Italian Job. He directed 22 music videos.- Director
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Marleen Gorris was born on 9 December 1948 in Roermond, Limburg, Netherlands. She is a director and writer, known for Antonia's Line (1995), A Question of Silence (1982) and Broken Mirrors (1984).- Director
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Bahman Ghobadi was born in 1969 in Baneh, in the province of Iranian Kurdistan, near the Iran-Iraq border. Shortly after graduating from the National Audiovisual School, he made his first short, immediately acclaimed by the local critics. One of these short films, "Life in Fog" (1999) is even considered as the most famous short ever made in Iran. This success allowed Bahman Ghobadi to make several feature films, the best known being his first, "A Time for Drunken Horses" (2000), the first Kurd film in the history of Iran. This film and all the the others made by Ghobadi were hits in the festival circuit, garnered dozens of awards but were little seen or not seen at all in his native country. His last movie to date, filmed without official permit, rapidly and feverishly, "No One Knows About Persian Cats" (2009) is a remarkable semi-documentary about underground indie music in Tehran.- Director
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Ebrahim Golestan is an Iranian filmmaker and literary figure with a career spanning half a century. He has lived in Sussex, United Kingdom, since 1975. He was closely associated with the controversial and eminent Iranian poet Forough Farrokhzad until her death, whom he met at his studio in 1958. He is said to have inspired her to live more independently. Golestan was married to his cousin, Fakhri Golestan. He is the father of Iranian photojournalist Kaveh Golestan, and Lili Golestan, translator and owner and artistic director of the Golestan Gallery in Tehran, Iran. His grandson, Mani Haghighi, is also a film director. His other grandson Mehrak, is a rapper. Golestan was a member of Tudeh Party of Iran, but he broke away in January 1948. After Farrokhzâd's death, Golestân was protective of her privacy and memory. For example, in response to the publication of a biographical/critical study by Michael Craig Hillmann called A Lonely Woman: Forugh Farrokhzad and Her Poetry (1987), he published a lengthy attack against Hillmann in a Tehran literary magazine, to which Hillmann responded to the attack at length in an article part of which was also published in the same Tehran literary magazine and which is available online at Academia.edu/Michael Hillmann under the title "Az Shâ'eri-ye Nâder Nâderpur to Fârsi'khâni dar Qalb-e Tekzâs, Javâbiyeh'i be Ebrâhim Golestân." In February 2017, on the occasion of 50 years after Farrokhzad's death, the 94-year-old Golestan broke his silence about his relationship with Forough, speaking to the Guardian's Saeed Kamali Dehghan. "I rue all the years she isn't here, of course, that's obvious," he said. "We were very close, but I can't measure how much I had feelings for her. How can I? In kilos? In meters?"- Director
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Luca Guadagnino was born on 10 August 1971 in Palermo, Sicily, Italy. He is a director and producer, known for Call Me by Your Name (2017), Suspiria (2018) and Bones and All (2022).- Writer
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Elinor Glyn was born on 17 October 1864 in Jersey, Channel Islands. She was a writer and actress, known for It (1927), Knowing Men (1930) and The Price of Things (1930). She was married to Clayton Glyn. She died on 23 September 1943 in London, England, UK.- Director
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Jean-Pierre Gorin was born on 17 April 1943 in Paris, France. He is a director and writer, known for All's Well (1972), My Crasy Life (1992) and Spy Games (1999).- Writer
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Stuart Gordon started his film directing career in 1985. After graduating from Lane Technical High School, Gordon worked as a commercial artist apprentice prior to enrolling at the University of Wisconsin in Madison. Unable to get into the film classes, he enrolled in an acting class and ended up majoring in theater. In 1968, he directed a psychedelic adaptation of Peter Pan as a political satire. He was arrested on obscenity charges and Gordon dropped out of the university. He and his wife Carolyn formed the Organic Theater and moved the group to Chicago.
The Organic performed their work on and off-Broadway, in Los Angeles, and toured Europe. Among their productions were the world premiere of David Mamet's "Sexual Perversity in Chicago," which launched Mamet's playwriting career, the improv-based comedy "Bleacher Bums," which ran for over ten years in Los Angeles, and the hospital comedy E/R (1984), which became a TV series produced by Norman Lear.
He joined with Brian Yuzna and Charles Band's Empire Pictures to create the company's first major hit, Re-Animator (1985), based on the story by H.P. Lovecraft, which won a Critics' Prize at the Cannes Film Festival. Gordon then helmed another Lovecraft adaptation From Beyond (1986) and tackled the murderous Dolls (1986) followed by Robot Jox (1989). Gordon co-created the story for Honey, I Shrunk the Kids (1989) a major hit for Disney. The same year, he directed the remake and more graphic version of The Pit and the Pendulum (1991). Other works include Fortress (1992), and the screenplay for The Dentist (1996) and Body Snatchers (1993), which he co-wrote with long-time writing partner Dennis Paoli.
In 2001, Gordon returned to the H.P. Lovecraft territory with Dagon (2001), and in 2003, directed King of the Ants (2003) about a housepainter-turned-hit man, and brought the David Mamet play Edmond (2005) to the screen.
He contributed to the horror anthology series Masters of Horror (2005) with the episode Dreams in the Witch-House (2005), based on a short story by H.P. Lovecraft. He returned to the series in 2007 with the episode The Black Cat (2007), based on Edgar Allan Poe's story. And in 2008, he directed Eater (2008) for the NBC series Fear Itself (2008).
He is also known for frequently murdering his wife, actress Carolyn Purdy-Gordon, in many of his films.- Director
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Lewis Gilbert was a British film director, producer and screenwriter best known for Alfie (1966), as well as three James Bond films: You Only Live Twice (1967), The Spy Who Loved Me (1977) and Moonraker (1979).
He also directed Reach for the Sky (1956), Sink the Bismarck! (1960), Educating Rita (1983) and Shirley Valentine (1989).
For his work on Alfie, Gilbert was nominated for an Academy Award for Best Picture and an Golden Globe for best director.
In 2001 he was made a Fellow of the British Film Institute, the highest accolade in the British film industry.
Gilbert was married to Hylda Tafler for 53 years, until her death in June 2005.
He died from natural causes on 23 February 2018 at the age of 97.