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Topic: Anthony Mann

  Anthony Mann - Wikipedia, the free encyclopedia
Anthony Mann (born June 30, 1906 in San Diego, California; died April 29, 1967 in Berlin, Germany) was an American actor and film director.
These movies are well-regarded today, but Mann made his mark in the Western genre, particularly for a cycle of collaborations with James Stewart: Winchester '73 (1950), Bend of the River (1952), The Naked Spur (1953), The Far Country and The Man from Laramie (both 1955).
Mann was respected for his acute visual sensitivity toward the American Western landscape, effortlessly blending natural vistas with human drama.
en.wikipedia.org /wiki/Anthony_Mann   (328 words)

 The Films of Anthony Mann
Mann is trying to emphasize that two events are going on in regions that are at 90 degree angles to each other; he uses a pan to link up the two points of view.
Mann tends to construct his camera movement scenes out of short segments: there might be a pan, then a stable shot set-up, a track, then a short pan again.
Mann sometimes closes in on a character at the end of a shot, tracking in on them to emphasize some strong emotion they are experiencing.
members.aol.com /MG4273/mann.htm   (12620 words)

 Anthony Mann
In a quite prolific career, Anthony Mann made films in a variety of genres, but his Westerns (which primarily starred James Stewart and were produced in the 1950s) remain his most celebrated contribution to the movies.
The monstrous paternal figures that resurface in Mann's films remind us that one of his unrealised projects was a Western version of 'King Lear', though arguably he had at least partly achieved this with dying rancher Donald Crisp's obsession with passing on his inheritance in The Man From Laramie (1955).
Mann's final Western was Cimarron (1960), a remake of the Oscar-winning 1930 movie and adaptation of Edna Ferber's sprawling novel.
www.iol.ie /~galfilm/filmwest/39mann.htm   (2200 words)

 Box Office Prophets: Anthony Mann
Perhaps one reason that Mann is uncelebrated today is that some of his greatest films have a sweeping, landscape-fixated style that translates poorly to the small screen.
Even though many of Mann's movies would be best experienced on the big canvas of a movie-house screen, the death of repertory film houses throughout the world renders this unlikely for most viewers.
Today, Anthony Mann's top-notch lifetime work is ripe for rediscovery; a talent as magnificent as this one should never be overlooked for too long and has earned the right not to be simply left to obscurity forever.
www.boxofficeprophets.com /hyde/mann.asp   (838 words)

 village voice > film > by Elliott Stein
Mann creates a heady mix of noir and gangster movie conventions—his Terror seems to be a war between bloodthirsty gang factions—while Alton does wonders, evoking a fantasy 18th-century France from shadows and silhouettes.
Mann adopts a tougher approach to western mythology than John Ford; his West is not Ford's majestic pastoral.
Mann strips his narrative archetype to the minimum in this extraordinary picture, filmed in the Colorado Rockies, with nary a house or town in sight, not a single interior shot and only five characters.
www.villagevoice.com /issues/0432/stein.php   (770 words)

 UnionDemocrat.com - The Union Democrat Online
Testimony in Anthony Mann's preliminary hearing began yesterday in Calaveras County Superior Court and was expected to resume this morning.
Though Mann was 17 at the time of the accident, he is being prosecuted as an adult.
Several friends of Anthony Mann gathered for yesterday's hearing and whispered and gripped hands when Mann was brought into the courtroom wearing a jail-issued orange jumpsuit and with his hands shackled.
www.uniondemocrat.com /news/story.cfm?story_no=19823   (504 words)

 The Naked Spur - Wikipedia, the free encyclopedia
The Naked Spur is a 1953 American western movie directed by Anthony Mann and starring James Stewart in their third collaboration.
Howard Kemp (James Stewart) tracks murderer Ben Vandergroat (Robert Ryan) for the $5000 reward, which he hopes to use to buy back his ranch which his ex-fiancée had sold while he was serving in the army.
The film was deemed "culturally significant" by the Library of Congress and selected for preservation by the federally funded United States National Film Registry in 1997.
en.wikipedia.org /wiki/The_Naked_Spur   (270 words)

 Mann's dark universe ages well, as retrospective shows
The accomplishments of American directors like Mann (and Howard Hawks and Douglas Sirk and many others), who worked within but often transcended the Hollywood system, made it acceptable for critics to study and write about genre pictures, which were held in low regard until the Cahiers turned movie theory upside down in the 1950s.
Mann first made his mark with a handful of film noirs (several times collaborating with the remarkable cinematographer John Alton), then in the '50s hit his peak with a series of Westerns starring James Stewart that are among the highest achievements in that genre.
My own pick among Mann's Westerns is "The Man From Laramie" (Feb. 13), a revenge drama with overtones (as noted by film historian Jim Kitses) of "Oedipus Rex." Stewart plays a man obsessed with vengeance against whoever sold the rifles used by the Apaches in a massacre that killed his brother.
www.sfgate.com /cgi-bin/article.cgi?f=/c/a/2004/01/17/DDGD14ARJF1.DTL   (746 words)

Anthony Mann may be the last of the sleeping giants of American cinema.
Mann returned to his early work in the 1940's directing musicals with this crisp, clean hugely satisfying biopic of the late bandleader starring James Stewart in one of his signature roles, June Allyson as the beloved band-leader's wife and all of the swing music of the era meticulously reproduced.
However, as with many of Mann's films, the real star is the landscape: a chilling blue dragon carved from ice and snow, with thrilling scenes of guerrilla fighters on skis, flying over snow under a brilliant blue sky and dramatic mountain climbing techniques shot brilliantly by Robert Krasker.
www.americancinematheque.com /pressreleases/amannpr9.htm   (2839 words)

 Anthony Mann
Anthony Mann's career trajectory formed a steady upward arc, with a precipitous descent only in the last few years of his life.
The Mann patriarch may not die in the end (Jeffords does, but Waggoman lives on to recognize his self-destructive hubris), but the essence of his character is that he spawns conflict within his own family and conflict with other rivals.
Mann stages Herrera's lynching in The Furies as if it were a theatrical tableau, the characters statically occupying set positions on a horizontal plane, with Herrera in close-up profile in the foreground, monumental saguaro cactuses and darkening sky intrusively entering the edges of the frame.
www.sensesofcinema.com /contents/directors/03/mann_anthony.html   (2888 words)

 Metroactive Movies | Anthony Mann
Still, what is on tap is a rich demonstration of Mann's essays in heroism, in war films, in film noirs and in some of the most mature Westerns made.
What Mann's varied works all have in common--besides a formal skill that dazzled European fans--is his way of interpreting onscreen the tensions of the postwar hangover of the late 1940s and 1950s.
Mann's career-long weighing of the squalor of combat against the ever-present need of a hero, is finally resolved in this burst of wonder at courage that survives even death.
www.metroactive.com /papers/metro/01.15.04/mann-0403.html   (851 words)

 Chicago Reader Movie Review
Moreover, the four male principals, as is typical in Mann westerns, all develop dialectically: Howard Kemp (James Stewart), the bounty-hunter hero, starts off as unpleasantly self-centered in relation to a friendly old prospector (Millard Mitchell), a dishonorably discharged yet resourceful cavalry lieutenant (Ralph Meeker), and even the cheerful outlaw (Robert Ryan) Kemp captures.
Kemp becomes vulnerable when his leg is injured and bits of his tainted past are revealed (physical pain and traumatic back stories are central in Mann's westerns), and only then do the three other men begin to show their darker natures, sparking an intense psychological war (another Mann specialty).
But Mann is canny enough to turn these limitations to his advantage whenever he can, offering sly notations about Link's physical discomfort on the train and using a long, tense scene inside the farmhouse to create claustrophobia before sending the characters outdoors for virtually the remainder of the picture.
www.chicagoreader.com /movies/archives/2002/0702/020705.html   (1323 words)

 Anthony Mann Movies - Films of Anthony Mann
One of the all time most consistently outstanding film directors, Anthony Mann's action/suspense films continually returned to the theme of "intelligent, thoughtful men driven to violence." Heroes in Mann movies relentlessly pursued justice, breaking the law along the way if need be.
Anthony Mann isn’t even credited as the director, but the scenes he filmed are unmistakable.
Mann’s command of both interior darkness and panoramic light is an amazing accomplishment.
www.suspense-movies.com /directors/anthony-mann   (1361 words)

 TCM Marathon: Anthony Mann films
Mann directs this all with what for me was uncharacteristic cheerfulness (I've only previously been familiar with his noirs, both urban and western) and froth.
Mann seems to have had a huge head start on John Ford about rethinking the role of Native Americans onscreen (of course he started later), and I imagine he wasn't apologetic about it then or since.
Mann's the more 'modern' director in a way, more open to psychological motivation (though it's hard not to see anything psychological in Ford's The Searchers), and I think you can see that his use of Ford (Glenn, I mean) is as critical as it is ostensibly iconic.
journals.aol.com /noelbotevera/MyJournal/entries/813   (1067 words)

 DVD Savant Review: The Man from Laramie
Anthony Mann was an over-achieving B-Movie director who moved up from PRC and Eagle-Lion with a string of impressive no-budget Films Noir like The Reign of Terror, Raw Deal and T-Men, and with his stellar cinematographer John Alton graduated to MGM to continue with Border Incident and Devil's Doorway, uncompromising films about race injustice.
For his time, Mann was noted (sometimes condemned) for his unflinching violence: in Raw Deal a dirty fighter tries to jam the hero's eyes into the antler points of a stuffed deer; in T-Men and Border Incident government agents are forced to witness the murders of their comrades.
One of the films mentioned is the Anthony Mann directed Strategic Air Command, which Savant saw double billed with The Man from Laramie at a Mann retrospective at the LA County Museum of Art.
www.dvdtalk.com /dvdsavant/s104laramie.html   (1884 words)

 Guardian Unlimited Film | Features | Anthony Mann: Man of the West
When Anthony Mann died in 1967, he was planning a Western King Lear, with sons replacing the daughters.
Mann's direction is immaculate, making Reginald Rose's clearly allegorical, and sometimes forced, screenplay seem even better than it is.
Mann's career started with low-budget thrillers, progressed to Westerns, and ended with epics such as El Cid and The Fall of the Roman Empire.
film.guardian.co.uk /Century_Of_Films/Story/0,4135,150060,00.html   (473 words)

 Images - Anthony Mann/John Alton Film Noirs
Mann was one of the great film noir directors of the late '40s and early '50s, before he turned to big-budgeted westerns with James Stewart.
Director Anthony Mann was a master of pacing, and he guides you through the narratives at breakneck speed, while delivering some nice bits of characterization along the way.
Mann builds the scene with startling close-ups of the friends' faces, as they realize what must happen and they accept the fate.
www.imagesjournal.com /issue02/reviews/mannoirs.htm   (1274 words)

 Amazon.ca: Winchester 73: DVD   (Site not responding. Last check: 2007-09-19)
On the DVD debut of Anthony Mann's touchstone Western, the only extras listed are "Theatrical Trailer" and "Jimmy Stewart Interview." The latter would lead one to believe there is a short interview with the star.
Anthony Mann brought in cinematographer, William Daniels, for Winchester '73, a veteran who most notably had worked a great deal with Garbo in the 30's.
Nor was Anthony Mann, the director, known for his Westerns, but this masterpiece simply could not be improved.
www.amazon.ca /exec/obidos/ASIN/B00005JLV5   (983 words)

 MANN'S WORLD   (Site not responding. Last check: 2007-09-19)
This season we pay tribute to Mann for the richness of his mise-en-scène, the expression of a worldview that is disturbing and complex.
Mann doesn't necessarily like his troubled protagonists but, like a good shrink, he is there for them.
For the Mann of the West, the wilderness is an internal landscape, its challenges reflecting the tensions within, and only then between, his characters.
www.bampfa.berkeley.edu /pfa_programs/anthony_mann/content.html   (923 words)

 The History of Cinema. Anthony Mann: biography, reviews, links
Lo stile di Mann e' classico nell'affrescare la comunita' patriarcale e nelle grandi scene da western (sparatorie, zuffe, inseguimenti).
Gli eroi di Mann sono esserei nevrotici, tormentati dal dubbio, insoddisfatti, segnati da un passato eterno e catapultati senza difese in un presente ignoto e ostile.
Le parabole morali di Mann assurgono a riflessioni sulla storia dell'uomo, ambientate nello spazio immane del suo habitat naturale: la Terra.
www.scaruffi.com /director/mann.html   (6367 words)

 Amazon.com: Man of the West / Movie (1998) : Video   (Site not responding. Last check: 2007-09-19)
Mann's taut direction creates a tension that hangs in the air like the sword of Damocles over the stranded travelers and explodes in cruel, raw violence.
Yes, Anthony Mann's films are violent (his direction always exhibits a brutal directness), but the body count is much lower than in any John Ford movie I've seen.
I don't think it was the killing that alarmed most people, but the effects of that killing, as both heard in the loud thud of bodies hitting the ground and as seen in the way men must writhe around and mix with the earth as they die.
www.amazon.com /exec/obidos/tg/detail/-/6302032199?v=glance   (1460 words)

 Amazon.ca: Film Noir of Anthony Mann [IMPORT]: DVD   (Site not responding. Last check: 2007-09-19)
Before Anthony Mann solidified his reputation with his edgy Westerns starring Jimmy Stewart such as The Naked Spur, he toiled in Hollywood's "Poverty Row," transforming a handful of low-budget crime thrillers into stylish, violent film noir classics with a mix of grace and grit.
Posing as street thugs, they infiltrate their way into a gang of counterfeiters, living the dangerous life of the gangster to the hilt while living in constant danger of death if their covers are blown.
Mann and Alton mix documentary-style realism with stark sets lit in jagged, claustrophobic shadows and abstract haziness, creating an eerie emptiness.
www.amazon.ca /exec/obidos/ASIN/6305436312   (486 words)

 National Women's Hall of Fame - Women of the Hall
Susan B. Anthony taught school in New Rochelle and Canajoharie, NY, and discovered that male teachers were paid several times her salary.
But when she rose to speak in a temperance convention, she was told, "The sisters were not invited here to speak!" Anthony promptly enlisted in the cause of women's rights.
The ballot, she became increasingly to believe, was the necessary foundation for all other advances.
www.greatwomen.org /women.php?action=viewone&id=13   (400 words)

 Open Directory - Arts: Movies: Filmmaking: Directing: Directors: M: Mann, Anthony   (Site not responding. Last check: 2007-09-19)
Anthony Mann - David Boxwell examines the pain, patriarchy and paranoia in the director's work for Senses of Cinema.
Anthony Mann - Box Office Prophets looks at "one great director from the past who is almost criminally neglected today".
Mann of the West - Focuses primarily on Mann's westerns featuring "the sight of an almost deranged James Stewart on horseback."
dmoz.org /Arts/Movies/Filmmaking/Directing/Directors/M/Mann,_Anthony   (253 words)

 UNo MAS: T-Men, Raw Deal - Dir. Anthony Mann   (Site not responding. Last check: 2007-09-19)
Anthony Mann is a director primarily remembered today for his remarkable series of Westerns (Winchester "73 and Man of the West among them) filmed in the 1950"s.
He was a talented journeyman who defied categorization, even venturing into epic (El Cid) and sword-and-sandal territory (The Fall of the Roman Empire) towards the end of his career.
Both of these films were made for "poverty-row" studio Eagle-Lion, and both were shot in fl-and-white by legendary cinematographer John Alton.
www.unomas.com /reviews/film/reviews/item005.html   (378 words)

 The Austin Chronicle Screens: Video Reviews
Introduction: "America today is watching her skies with grave concern." Introductory image: Blue sky, white clouds, and an iron-clad fist clutching an olive branch and red lightning, apparently the coat of arms for the United States Air Force Strategic Air Command.
His seventh (and second to last) starring turn with noted alpha-male auteur Anthony Mann, Stewart here is aging third baseman "Dutch" Holland -- 152 RBI last season and a brand-new $70,000 contract, to boot -- who served as an ace fighter pilot in World War II, and whose country wants him back.
It's his presence, of course, that rescues a drama fraught only with bad weather, a sore shoulder, and sorer feelings; his hunched dignity and elliptical cadence accent a canvas whose most arresting image, arguably, is a satellite radar dish rotating in the rain (or, again, Stewart sporting the birds & bat).
www.austinchronicle.com /issues/dispatch/2002-07-19/screens_video.html   (496 words)

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