The Indian Fighter

André de Toth (May 15, circa 1912 – October 27, 2002) was a Hungarian-American filmmaker, born and raised in Makó, Csongrád, Kingdom of Hungary Austro-Hungarian Empire. He directed the 3-D film House of Wax, despite being unable to see in 3-D himself, having lost an eye at an early age. He is known for his gritty B movies in the western and crime genres.

Born ca. 1912 as Sâsvári Farkasfalvi Tóthfalusi Tóth Endre Antal Mihály, he earned a degree in law from the Royal Hungarian University in the early 1930s. He garnered acclaim for plays written as a college student, acquiring the mentorship of Ferenc Molnár and becoming part of the theater scene in Budapest. From that involvement he segued to the film industry and worked as a writer, assistant director, editor and sometime actor. In 1939 he directed five films just before war began in Europe. Several of these pictures received significant release in the Hungarian communities in the United States. De Toth went to England, spent several years as an assistant to fellow Hungarian émigré Alexander Korda, and eventually moved to the Los Angeles in 1942.

Based on his Hungarian films, the production work for Korda and writing he had done on American projects during earlier stints in Los Angeles, de Toth was given an oral contract as a director at Columbia from which he ultimately extricated himself by litigation.

Because he preferred working as an independent, de Toth had no “A” budgets early in his career and had to supplement his directing income with writing assignments, often uncredited. Introduced to Westerns by John Ford, de Toth worked mostly in that genre throughout the 1950s, often bringing elements of noir style into those films. In 1951 he received an Oscar nomination for Best Writing (with co-writer William Bowers) for the story filmed as The Gunfighter.

While he is often remembered as the director of the earliest and most successful 3-D film, House of Wax, (all the more remarkable since, like Ford, Fritz Lang, and Raoul Walsh, de Toth had only one good eye), he was also responsible for two of the noir cycle’s most unusual examples: Pitfall and Crime Wave. —Wikipedia