The Auteurs Film & Cast Member Database

Bruce Lee Fights Back From the Grave

The Seven Grandmasters

Two Champions of Shaolin

please also fix the title

Park Gok-ji

director Rafael Gil’s portrait-

director Darmasena Pathiraja’s profile

Dharmasena Pathiraja (born 1943 March 28 in Sri Lanka) is a Sri Lankan film director and screenwriter.

Early life

Educated at Dharmaraja College, Kandy,Pathiraja graduated from the University of Peradeniya with an honours degree in Sinhala and Western Classical Culture in 1967. Subsequently he began work as a lecturer in Drama and Performance Arts.¹ and later obtained a PhD in Bengali cinema from Monash University.His Thesis is The Dialectic of Region and Nation in the Films of Bengali Independents: Ghatak, Ray and Sen(2001)² .He learnt the language of cinema from the film society movement which was very popular in Sri Lanka in early sixties. He also recognized their socio-political limitations in a country which was heading for a period of deep turmoil. He also studied the cinema of radical activists like Jean-Luc Godard, Third Cinema filmmakers like Fernando Solanas and Glauber Rocha, and Asians like Mrinal Sen, Satyajit Ray and Ritwik Ghatak.³

First wave of success (1970–1977)

Pathiraja made a short 10 minute film titled Saturo in 1970. His full-length feature film Ahas Gauwa followed four years later. Dealing with the urban lower class, the film was atypical of most commercial films of that period. It was critically well-received, sweeping the FCJAC Awards landing Best Picture, Best Director and Best Actor and winning the Office Catholique Internationale Du Cinema (Sri Lanka) awards for Best Film and Best Director.¹

1975’s Eya Dan Loku Lamayek was Sri Lanka’s entry at the 8th Moscow International Film Festival, winning a Special Diploma for Female Performance in 1976 and the Special award from the peace council of the USSR to be screened at the 18th Venice Film Festival in Bergamo, Italy in 1975.¹

1978’s Bambaru Avith is widely considered Pathiraja’s masterpiece. That year it represented Sri Lanka at the 9th Moscow International Film Festival and was screened at the Venice and Los Angeles Film Festivals. In Sri Lanka it was awarded Best Director and Best Film honors at the first Presidential Film Awards and the OCIC Awards. In 1997 a special council selected to celebrate 50 years of Sri Lankan Cinema named it the fourth best Sri Lankan film of all-time.¹

Middle period (1977–1981)

Later that year, Pathiraja made the Tamil film Ponmani shown at the International Film Festival in India. 1980 saw the filming of Para Dige which was shown some time later at UCLA in the Third World Cinema Program and in France and Melbourne.¹

1981’s Soldadu Unnahe would be Pathiraja’s last film for 13 years. It was Sri Lanka’s entry to the 8th International Film Festival of India and was awarded Best Film, Best Director and best Script at the third Presidential Film Awards and Best Director and Best Film at the OCIC Awards. OCIC named it the best Sri Lankan film of the 1980 –1990 period in 1990.¹

Return to film (1994–2002)

1994’s Wasuli was a relatively minor film. In 2001 Pathrija returned on a bigger scale with Mathu Yam Dawasa shown at the Singapore International Film Festival and the 4th Osian’s Cinefan Festival of Asian and Arab Cinema, New Delhi.¹ -wikipedia

director Teuvo Tulio’s portrait

Theodor Antonius Tugai (August 23, 1912 – June 8, 2000), better known as Teuvo Tulio, was a Finnish film director and actor. Beginning his career as an actor at the end of the silent era, Tulio turned to directing and producing in the 1930s. His films are noted for their extremely melodramatic style

Biography

Tulio was born as Theodor Antonius Tugai to a Turkish-Polish father and Persian-Latvian mother in Rēzekne, Latvia. Tugai spent the early part of his childhood in Latvia with his grandparents, before moving with his mother, who had married a Finn, to Helsinki, where his name was changed from Theodor to the more Finnish Teuvo.

At age fourteen, Tulio was the star of his fellow Russian expatriate Valentin Vaala’s film Mustat silmät (Black eyes), which was completed in 1929. Due to his “exotic” appearance, the young Tulio was sometimes referred to as Finland’s answer to Rudolph Valentino. His first work as director was the 1936 film Taistelu Heikkilän talosta (Struggle for the House of Heikkila), starring Regina Linnanheimo.² Linnanheimo would become Tulio’s lifelong companion, though the two were never married. She acted in many of his films and helped write the screenplays for three of his features, including his last film, 1973’s Sensuela.

Altogether, Tulio directed 15 feature films, three of which were destroyed in a fire.

Later Influence and Reputation

Tulio’s films were an influence on the Finnish filmmaker Aki Kaurismäki, whose admiration brought the filmmaker international attention later in his life.¹ In 2008 and 2009, short retrospectives of his work were held in the United States at the Brooklyn Academy of Music and the Pacific Film Archive. Covering the former for the Village Voice, film critic J. Hoberman wrote: “At once arty and artless, stark and fulsome, Cine Tulio is characterized by an exaggerated emotional intensity and an equally primal lack of self-consciousness…His movies are desperate and insistent, sometimes clumsy but never less than forceful. Tulio’s strenuous lyricism allows the objective correlative to run wild.”¹

In a brief essay on the filmmaker for the English-language film website The Auteurs, Anna Bak-Kvapil referred to Tulio’s work as “spectacles of suffering and sex,”³ writing: “His style can be Eisensteinian, with expressionistic montages of the shining faces of the proletariat intercut with kittens, crucifixes, or half-smoked cigarettes, but he adores Hollywood, mimicking in his own over-enthusiastic way, Cukor, Lubitsch and Von Sternberg.”³

director Zbyněk Brynych’s portrait

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actress Pearl White’s portrait

actress Helen Holmes’ portrait

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Here you have a better Went the Day Well? still:

Missing still for Rocketship X-M:

Lara Wendel
Actress

biography (translated from the German):
Lara Wendel (born Daniela Rachele Barnes, March 29, 1965 in Munich) is an actress and model of American-German descent, who worked mainly in Italy during the 1970s and 1980s.

Ring of Darkness and Satan’s Wife are the same film, and ought to be merged (Ring of Darkness is the more common English title).

Pier Carpi and Pier Capri are the same person, and ought to be merged (the proper spelling is Pier Carpi).
Director

Screenshots suggestions:

Oddly missing when page opened

Film Still For D.J. Webster’s Dark Side of the Moon

Film Still For Doug Pray’s Surfwise

director Peter Delpeut’s portrait

Walter Lima Jr. as a director/auteur

A new quote for John Ford

“I hate the cinema. But I like making westerns.”

(From an interview with Eric Leguèbe in 1965.)

director Ali Khamrayev’s portrait

director Kazimierz Karabasz’s portrait

Dir­ector of doc­u­ment­ary films. Born in Bydgoszcz in 1930. Gradu­ated from the Fac­ulty of Dir­ect­ing at
the Łódź Film Tele­vi­sion and Theatre School. In the years 1956 – 1990 he worked as a dir­ector at the Doc­u­ment­ary Film Stu­dio in Warsaw. Kara­basz has made about 50 doc­u­ment­ary films; the most fam­ous are: Muzykanci (The Musi­cians), Ludzie w drodze (People on the Road), Pier­wszy krok (The First Step). He is the father of the Pol­ish school of doc­u­ment­ary film mak­ing and a prize win­ner at many inter­na­tional and national fest­ivals. The film The Musi­cians (1960) was awar­ded the Golden Dragon prize at the Cra­cow Fest­ival, the Warsaw Mer­maid (a prize of Film Cri­tique Club) and other prizes at fest­ivals in Leipzig, Tours, Venice, Mex­ico City, Ober­hausen and San Francisco.He has dir­ec­ted four fea­ture films and sev­eral plays for the Tele­vi­sion Theatre. Kara­basz is a mem­ber of the Kronika Film Stu­dio and the Academy of Arts in Ber­lin; he also teaches at the Fac­ulty of Dir­ect­ing at the Lódź Film Tele­vi­sion and Theatre School. He has pub­lished sev­eral books on doc­u­ment­ary film mak­ing: Cier­pliwe oko (The Patient Eye), Bez fikcji (No fic­tion), Odczytać czas (Read­ing Time), Roz­mowa o dok­u­mencie (A Con­ver­sa­tion on Doc­u­ment­ary Films). -polishdocs.pl

http://mubi.com/cast_members/190239
http://mubi.com/cast_members/85137
Yoo Hyun Mok, one man double page.

still of Breakfast (Table Top Dolly) by Michael Snow

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Fereydoun Rahnema (http://mubi.com/cast_members/162438)
image: http://ketabnak.com/images/covers/26093_2_1-b.gif
biography: http://en.wikipedia.org/wiki/Fereydoun_Rahnema

Film Still for Daniel Diaz Torres’ Alice In Wondertown

Film Still For Bodil Ipsen’s Afsporet

Santiago Alvarez’s page includes two films that have nothing to do with the Cuban director: Star Night and Slugs

John Abraham’s page includes a bunch of films that should be on the other John Abraham’s page. The first page should only include Donkey in a Brahmin Village, Cruelties of Cheriyachan, and Report to Mother.

director Jerzy Kucia’s portrait