Word: dassins
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...played the true gentleman. Over his career, the chiseled, unconventionally handsome actor portrayed a vast array of characters--from frontiersman Jim Bowie in The Alamo to the head of a psychiatric institution in Cobweb to the corruptible boxing promoter Harry Fabian, one of his most memorable roles, in Jules Dassin's Night and the City...
...directed nothing but the 1955 French jewel-heist flick Rififi, his cinematic reputation would have been secure. But in addition to taut capers like Rififi and 1964's Topkapi, American director and screenwriter Jules Dassin, who was blacklisted from Hollywood after being identified before Congress as a former communist, was also a master of film noir--exemplified in movies such as 1948's police thriller The Naked City and 1950's Night and the City. Among all his solid works, though, it was Rififi--with its masterly 30-min. dialogue- and music-free robbery sequence as a centerpiece--that remained...
...Weegee's great run was over. Some of his work had found its way into the Museum of Modern Art, and he had collected his best pictures into his best book, Naked City, and sold the title to the movies. (Jules Dassin used it for a hard-boiled crime film that was shot on location in New York City, a Weegee-flavored novelty in those days, when nearly everything was made on a studio sound stage or back lot.) Around the same time, Weegee entered a short-lived marriage and moved to Hollywood for a few years, where he played...
When Jules Dassin adapted Euripides' Hippolytus for the screen in 1962, with Anthony Perkins as the Hippolytus character, Panos and Euterpe went to see again the play that had brought them together. It had special meaning for them. Hippolytus is the tale of a man too good for his own good. Intent on his pursuits, impervious to the demonic, he will not notice the gods' dreadful pother being made above his head. The play deals with a recurrent flaw in the Greek ideal. Martha Nussbaum, in her profound study of ancient Greek ethical standards, The Fragility of Goodness, argues that...
...rehearsal schedule and the raging and pouting she inflicts on her director and her entourage, you would think the Mercouri character would have no time left to feel guilty about exploiting the half-mad murderess, but she does. Repeatedly she goes back into the prison to see Burstyn, allowing Dassin some cheap, melodramatic psychologizing about Medea...