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      1904-1975                     Film director

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    key dates

    1904:

      Born 18 December in Oakland, California, US

    1928:

      Breaks into films at the Hal Roach Laurel & Hardy's Two Tars

    1933:

      Directs his tyro feature film, The Cohens and Kellys in Hollywood

    1935:

    1936:

    1939:

      Directs the rousing action-adventure yarn Gunga Din

    1943:

      Directs The More the Merrier, which earns him his first Oscar nomination. On active duty in the 2ndd World War, photographing the liberation of the concentration camp at Dachau

    1948:

      Directs I Remember Mama, the last Stevens film with any comedic elements

    1951:

      Wins an Oscar for his direction of A Place in the Sun

    1953:

      Oscar nominated for Shane

    1956:

      Wins 2nd Oscar for direction for Giant

    1959:

      Oscar nominated for The Diary of Anne Frank

    1965:

      Last major project, The Greatest Story Ever Told

    1970:

      Directs final film The Only Game in Town

    1975:

      Dies of a heart attack on 8 March in Lancaster, California, USA. His 3 children survive him, including the director George Stevens Jr


      stevens

    filmography

    1. George Stevens: D-Day to Berlin (1994) (TV) (16mm segments) (cinematographer)

    2. Syndicate, The (1968) (cinematographer)

    3. Only Game in Town, The (1970)

    4. Greatest Story Ever Told, The (1965)

    5. Diary of Anne Frank, The (1959/I)
    6. Giant (1956)
    7. Shane (1953)
    8. Something to Live For (1952)
    9. Place in the Sun, A (1951)

    10. I Remember Mama (1948)
    11. On Our Merry Way (1948) (uncredited)
    12. Nazi Concentration Camps (1945)
    13. That Justice Be Done (1945)
    14. More the Merrier, The (1943)
    15. Talk of the Town, The (1942)
    16. Woman of the Year (1942)
    17. Penny Serenade (1941)
    18. Vigil in the Night (1940)

    19. Gunga Din (1939)
    20. Vivacious Lady (1938)
    21. Damsel in Distress, A (1937)
    22. Quality Street (1937)
    23. Swing Time (1936)
    24. Annie Oakley (1935)
    25. Alice Adams (1935)
    26. Nitwits, The (1935)
    27. Laddie (1935)
    28. Hunger Pains (1935)
    29. Ocean Swells (1934)
    30. Bachelor Bait (1934)
    31. Hollywood Party (1934) (uncredited)
    32. Cracked Shots (1934)
    33. Kentucky Kernels (1934)
    34. Undie-World, The (1934)
    35. Divorce Courtship, A (1933)
    36. Grin and Bear It (1933)
    37. What Fur (1933)
    38. Flirting in the Park (1933)
    39. Quiet Please! (1933)
    40. Room Mates (1933)
    41. Cohens and Kellys in Trouble, The (1933)
    42. Should Crooners Marry (1933)
    43. Rock-a-Bye Cowboy (1933)
    44. Family Troubles (1933)
    45. Boys Will Be Boys (1932)
    46. Finishing Touch, The (1932)
    47. Who, Me? (1932)
    48. Kickoff, The (1931)
    49. Mama Loves Papa (1931)
    50. Call a Cop! (1931)
    51. Air-Tight (1931)
    52. High Gear (1931)
    53. Blood and Thunder (1931)
    54. Ladies Last (1930)


      stevens


    where is he interred?

      At Forest Lawn (Hollywood Hills), Los Angeles, California, USA, in the Morning Light section, Space 3, Plot #8034.


    links





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G e o r g e  S t e v e n s

stevens
"The Diary of Anne Frank" (1959)

    b. Oakland, California

      George Stevens autographs, dvds, photographs, dvds and more @ ebay.com (direct link to signed items) - just checked and a bigger selection than I have seen everywhere else

      Until 1994, there was a George Stevens film not in most filmographies, seldom seen, and not even shaped into a "movie." Entitled George Stevens: D-Day to Berlin, it is the 16mm color footage he shot himself in Europe as head of the Signal Corps Special Motion Picture Unit. It includes scenes of death and ruin, as well as coverage of Dachau taken shortly after its liberation. I mention this because it is often said that the war changed Stevens, and made it less easy for him to believe in entertainment. Was he a Sullivan who went too far to be comfortable again in Hollywood? The question is hard to answer. But something seems to have afflicted Stevens. He was never a great director. But in the thirties he had a feeling for fun, grace, and story. Thereafter, he was always somber—and sometimes heavier than that.

      This falling off is all the sadder in view of Stevens's origins. Hal Roach hired him as gagman and, eventually, director for Laurel and Hardy. Once established, he made a string of pleasant pictures, usually with a comic emphasis and allowing special opportunities to actors. Alice Adams is still a major Katharine Hepburn film; Swing Time is classic Astaire and Rogers with Astaire's virtuoso Bojangles dance and one of the most mercurial of the intimate dance routines with Ginger, Pick Yourself Up; Quality Street, Vivacious Lady, Gunga Din, Penny Serenade, Woman of the Year, The Talk of the Town, and The More the Merrier all seem scarcely to belong to the laborious director of later years, dulled by overcraft. Woman of the Year, especialy, is an excellent emotional comedy that introduced Spencer Tracy and Katharine Hepburn and never lost the charge of feeling between ihern, even if it settles for a male chauvinist attitude. The Talk of the Town has unresolved echoes of Capra and Fury, too much piety toward the Supreme Court, and too great a willingness to keep Cary Grant in hiding while Jean Arthur and Ronald Colman talk.

      The theory outlined above doesn't quite hold. I Remember Mama (48) is decent and very fond of the Bay Area, and A Place in the Sun (51) is a beautifully pessimistic love story, nearly rapturous in its treatment of Clift and Elizabeth Taylor and in its observation of their feelings for each other. Indeed, there is a gravitational pull toward death in the love scenes that is unashamed and subversive.

      Of the rest, Shane (53) works because of a simple fable, the jeweled grandeur of the landscape, and the rapport between Alan Ladd and Brandon de Wilde. Giant (56) is bloated, seldom plausible, with actors who never settle into the story or the idea of Texas. The three films after that are strenuous disasters. Maybe Stevens was miscast as a maker of big pictures, and rather exposed when he had to take up the load of theme or ideas.

      After all, in the thirties, he directed scripts, stories, projects, and stars that had built-in virtues. There have always been directors who were most generously used if asked to do no more. But maybe war and its horrors compelled Stevens into authorship and philosophy, things beyond his craft.









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