Jules Dassin
Jules Dassin | |
---|---|
Born | Julius Dassin December 18, 1911 Middletown, Connecticut, U.S. |
Died | March 31, 2008 Athens, Greece | (aged 96)
Occupations |
|
Spouses | |
Children | 3, including Joe Dassin |
Julius Dassin (December 18, 1911 – March 31, 2008) was an American film and theatre director, producer, writer and actor. A subject of the
Dassin received a Best Director Award at the Cannes Film Festival for his film Du rififi chez les hommes. He was later nominated for an Academy Award for Best Director and Best Writing, Story and Screenplay – Written Directly for the Screen for his film Never on Sunday, and was nominated for a Tony Award for Best Direction of a Musical for his Broadway production of Illya Darling.
Biography
Early life
Julius Dassin was born on December 18, 1911, to Bertha Dassin (née Vogel) and Samuel Dassin, a barber, in
In 1915, when Julius was three years old, the Dassin family moved to Harlem, New York.[4] He attended public grammar school where he received his first acting role in a school play.[4] Julius was given a small part but when came time to speak his only line, he fainted due to stage fright.[4] He also learned to play the piano at a young age.[6] During his youth he attended Camp Kinderland, a left-wing Yiddish youth camp.
Julius attended
On July 11, 1933, Julius' older brother Louis was arrested in Meriden, Connecticut when he confessed to the theft of $12,000 from the Puritan Bank and Trust Company, where he worked as a teller and treasurer.
Beginning in 1934, Julius spent three years studying dramatic technique in Europe.[4] He spent time in Italy, France, Spain, Germany, Russia, England, Czechoslovakia, Portugal, Switzerland and Greece, working odd jobs to sustain himself.[4][13]
New York theatre and radio career
After returning from Europe in 1936, Dassin joined the Children's Theatre, a division of the Federal Theatre Project during the Great Depression.[14][4] It was during this time that he joined the Communist Party USA. The troupe put on children's plays at the Adelphi Theatre in New York City. During this time, he played the role of Zar in The Emperor's New Clothes in September 1936,[14] and the role of Oakleaf in Revolt of the Beavers, which ran from May 20, 1937, to June 19, 1937.[15][16] The later play was criticized as strongly communist.[15][17]
He later joined up with the Artef Players, a
Dassin acted in a movie scripted and directed by Jack Skurnick, which was shown to a small group at a space that Skurnick rented in New York but was never exhibited beyond that.[23]
He then wrote sketches for radio, at times directing his own radio plays, and became a stage director and producer.
Working in Hollywood
RKO Radio Pictures (1940)
In June 1940, Dassin was signed to a term contract with Hollywood film studio
Dassin returned to radio work in Hollywood, presenting his previously adapted Gogol story The Overcoat for a repeat performance on The Kate Smith Hour, this time starring Henry Hull, which was broadcast live on January 3, 1941.[42][43][44] He was also one of the several actors who formed the Actors' Laboratory Theatre.[45]
Metro-Goldwyn-Mayer and loan-out to Eagle-Lion Films (1941–1946)
Wanting to prove that he could direct motion pictures, Dassin approached Metro-Goldwyn-Mayer in the spring of 1941 offering his services for free.[26] He told the studio that he would direct any film for free; the studio instead offered to pay him to direct a short film.[26] Dassin made his directorial debut with a short film of Edgar Allan Poe's The Tell-Tale Heart.[46][47] Filmed in June 1941 and released on October 25, 1941,[46] the success of the picture led to his hasty promotion as a feature film director and the signing of an exclusive five-year contract in early November 1941.[48][36][49][50] Dassin was promoted from the short story department to the feature film department by Metro-Goldwyn-Mayer at the same time as Fred Zinnemann and Fred Wilcox.[51][52]
His feature film debut at Metro-Goldwyn-Mayer was the low-budget spy thriller Nazi Agent (originally announced under the titles Salute to Courage, House of Spies and Out of the Past), under the supervision of producer Irving Asher and starring Conrad Veidt, in the dual roles of twin brothers, and Ann Ayars.[51][53][54] Released in early 1942, the film received immediate critical acclaim and was a box office success, with Dassin being compared to Orson Welles and Alfred Hitchcock.[18][55][56][54][57]
Dassin followed with the romantic comedy The Affairs of Martha (originally announced under the title Once Upon a Thursday),[58][59] starring Marsha Hunt and Richard Carlson, and under the supervision of producer Irving Starr. The film was made in early 1942 on a limited budget.[60][61] When released in mid-1942, the film was a moderate success and again Dassin was highlighted in the reviews.[61][62][63]
In mid-February 1942, it was reported that Dassin would direct a film titled Men at Sea from a
After completing Reunion in France, it was reported that Dassin received a leave of absence from Metro-Goldwyn-Mayer to act in a stage production of William Shakespeare's Richard III on Broadway.[77] The play was to be directed by and starring John Carradine, though it is unknown if this production came through.[77] Dassin was also employed by Frank Tuttle as one of the lecturers for Hollywood School for Writers' new film directing class, along with Fred Zinnemann, Irving Pichel and László Benedek.[78]
In mid-November 1942, he was assigned to direct another romantic comedy, Young Ideas (originally announced as Faculty Row), under the supervision of producer Robert Sisk.[79][80] The film was shot from mid-December 1942 to early 1943 and starred Susan Peters, Herbert Marshall and Mary Astor.[80] The film was released in the summer of 1943 and received favorable reviews as a light comedy.[81] In March 1943, Dassin joined the Academy of Motion Picture Arts and Sciences.[1][82]
In September 1943, after several months without a project, Dassin took over the directorial duties on a comedy film adaptation of Oscar Wilde's The Canterville Ghost.[83] Original director Norman Z. McLeod had departed after five weeks of shooting, following a clash with producer Arthur Field and the cast, which included Charles Laughton, Robert Young and Margaret O'Brien.[83][84] The film finished shooting in December 1943 and was released in the summer of 1944.[85] Between the filming of scenes, Laughton often asked Dassin to play Russian classical songs on the piano, of which both were fond.[6] The Canterville Ghost was very well received by critics and won a Retro Hugo Award for Best Dramatic Presentation in 2020.[86][87][88][89]
In January 1944, producer Edwin H. Knopf selected Dassin to direct the suspense drama Secrets in the Dark (originally announced as Strangers in the Dark and The Outward Room).[90] The motion picture was based on Millen Brand's novel The Outward Room and from the existing play version The World We Make, which had been adapted by Sidney Kingsley.[90][91] The plot was that of a middle-class girl who escapes from an insane asylum and develops a love affair with a blue collar steel worker, and in turn overcomes her phobias.[90][92][93] The property was developed as a starring vehicle for Susan Peters, newly promoted Metro-Goldwyn-Mayer starlet.[90][94][95] Gene Kelly was first cast as the male lead in January 1944,[96][97] though he was replaced by Robert Young in February 1944.[98][96] Other cast members included Fortunio Bononova, Katharine Balfour, Felix Bressart, Alexander Granach, Peggy Maley, Marta Linden, Morris Ankrum, Sharon McManus and Betty Lawler.[99][100][93]
Secrets in the Dark was to start shooting on February 20, 1944, with cinematographer
When Secrets in the Dark was first postponed in early April 1944, Dassin started acting in night plays at the Actors' Laboratory Theatre as part of the War Charities benefits.[111] The first play in which he acted was Night Lodging, followed by The Lower Depths.[112][113] In May 1944, Dassin teamed up with Arthur Lubin to set up the Soldier Shows Stock Company, a project to put on plays featuring wounded war veterans at Torney General Hospital in Palm Springs, California.[114][115]
In June 1944, Metro-Goldwyn-Mayer announced that Dassin had been assigned to direct the company's 20th Anniversary film, Some of the Best.[116] The five-reel picture was to include excerpts from prior Metro-Goldwyn-Mayer films, spanning 1924–1943, along with wrap-around pieces starring Lewis Stone.[116] Dassin, however, became weary of his directorial duties at Metro-Goldwyn-Mayer and asked Louis B. Mayer to be released from his exclusive contract.[47] Mayer sternly refused, even after Dassin offered to sign a promissory document that he would never work for another Hollywood studio.[47] In a later interview conducted in December 1946, Dassin revealed that he was ashamed of some of the directorial duties he was forced to accept while at Metro-Goldwyn-Mayer.[117] Dassin had hoped to return to work on the New York stage but instead took a thirteen-month voluntary hiatus from Metro-Goldwyn-Mayer, filling his time by reading books on the beach and working on local plays.[47] On July 30, 1944, Dassin's wife Beatrice gave birth to their third child, daughter Julie.[118]
In November 1944, actor Ralph Bellamy approached Dassin to direct The Democrats, a play he was producing on Broadway.[119][120] The Democrats was written by Melvin Levy and was so co-star Frances Dee.[121][122] Although the production received good publicity throughout the month of November 1944, it would appear that it never came to fruition, perhaps because Dassin was unable to receive a leave of absence from Metro-Goldwyn-Mayer.[122][119]
In December 1944, Metro-Goldwyn-Mayer assigned Dassin to direct the crime-mystery film Dangerous Partners (originally announced as Paper Chase) for producer Arthur Field.[123] Dassin took over the directorial duties from Fred Zinnemann (who was then suspended from Metro-Goldywn-Mayer for refusing to finish the picture), and had anticipated casting Susan Peters in the lead.[123] But when Peters suffered a gun shot wound accident on January 1, 1945, Dassin pulled out of the project.[123] Director Edward Cahn was ultimately hired for the job and recast the female lead role with Signe Hasso, successfully completing the picture.[123]
Returning to Metro-Goldwyn-Mayer in May 1945, after thirteen months away from cameras, Dassin was immediately assigned to direct the romantic comedy film A Letter for Evie for producer William H. Wright.[124][125] The picture began shooting in early June 1945 and included Marsha Hunt, Hume Cronyn, John Carroll, Norman Lloyd and Pamela Britton.[124][126][127] A Letter for Evie briefly changed title to All the Things You Are in late 1945, but its original title was restored in time for release in November 1945.[128][129]
It was announced that once Dassin completed the shooting of A Letter for Evie, he would fly to Europe to direct a series of plays sponsored by the Actors' Laboratory Theatre.[130][131] The plays were to star soldiers as part of war-time moral-building entertainment.[132][133] Again, he was denied a leave of absence from Metro-Goldwyn-Mayer and in early August 1945 was assigned to direct the romantic comedy thriller (with strong film noir tones), Two Smart People (originally announced as Time for Two) for producer Ralph Wheelwright.[134][135] The picture began filming in September 1945 and starred Lucille Ball, John Hodiak and Lloyd Nolan, and was released in late 1946.[136][137] Following Two Smart People, Dassin would spend more than a year without successfully shooting another film.
In March 1946, Dassin and Joseph Losey co-directed Viola Brothers Shore's stage play Birthday for the Actors' Laboratory Theatre.[138] The production, which unfolds a narrative of a girl's 18th birthday, was staged at the Phoenix Theater starring actress Karen Morley.[139] The cast also included Howard Duff, Jocelyn Brando and Don Hanmer.[139] In August 1946, it was reported that Dassin had been signed to direct the film noir Repeat Performance for Eagle-Lion Films, through a loan-out arrangement with Metro-Goldwyn-Mayer.[140] The picture was to be made under the supervision of writer-producer Marion Parsonnet and set to star Franchot Tone, Sylvia Sidney, Constance Dowling and Tom Conway.[141] Unfortunately, disagreements about the budget and script caused the whole production to fall apart and the entire cast and crew resigned.[141] The picture was eventually made with a completely new team a year later.[141] Dassin was finally released from Metro-Goldwyn-Mayer once his exclusive five-year contract expired in November 1946.[142][143][144]
Mark Hellinger Productions and Universal-International Pictures (1946–1948)
As soon as the news hit that Dassin was free from contractual obligations with Metro-Goldwyn-Mayer, writer-turned-producer
With new freedom, and support from executive producer Hellinger and associate producer
In early May 1947, Dassin was announced as the director of Hellinger's next production, The Naked City (originally announced as Homicide)[155][156] Dassin planned to push the realism and documentary-style filming technique of the police story flic further by shooting it entirely on location in New York City.[157][158] The production received full cooperation from New York City's Homicide Squad during its two and a half months of location shooting, from June to August 1947.[159][160][161] 107 different locations were shot in New York City, and to distract the crowd and keep them looking natural, Dassin hired a juggler to draw their attention away from the cameras.[13][162]
Dassin, Hellinger and associate producer Buck worked with several of the same cast and crew members from Brute Force on The Naked City, including actors Howard Duff, Ralph Brooks and Chuck Hamilton, assistant director Fred Frank, cinematographer William H. Daniels, art director John F. DeCuir, set decorator Russell A. Gausman and composer Miklós Rózsa. The film also starred Barry Fitzgerald, Don Taylor and Dorothy Hart.[163][164] After overseeing the editing of the film in Hollywood during September and October 1947, Dassin flew back to New York City in early November 1947 to work on the pre-production of the stage play Strange Bedfellows.[165][166] Unbeknownst to Dassin, Hellinger and Buck wound up re-cutting the film in his absence; the director only finding out at the film's premiere on March 3, 1948, when he saw a highly edited version of his film projected on the screen.[47] Furthermore, Hellinger died suddenly on December 21, 1947, months before the film was premiered and released to theatres by Universal-International Pictures.
Although Dassin was unhappy about the final cut of The Naked City, the film was a huge success (one of the top movies of 1948),
Dassin's third and final film under his Mark Hellinger Productions contract was up in limbo following Hellinger's death. The film production unit had undergone considerable changes in the months prior to Hellinger's passing, including the addition of
Bogart, Selznick and secretary-treasurer A. Morgan Marie announced their plan to continue Mark Hellinger Productions in January 1948, by co-heading the company and honoring the late producers' namesake with the previously planned films in development.[171][174] However, difficulty lay in finding a new executive producer to head the production; Jerry Wald was first approached but was unable to free himself from his Warner Bros. contract.[169] Robert Lord was then offered the post and freed himself from his Metro-Goldwyn-Mayer contract to accept the new position.[175] Unfortunately, Hellinger's widow, former actress Gladys Glad Hellinger, decided to liquidate the company and all of its assets in early February 1948.[172][173] The story properties and actor, director and cinematographer contracts were sold to other studios via the William Morris Agency.[173][176] This lead Bogart, Lord and Marie to form their own film production company, Santana Productions, and secure a financing and distribution deal with Columbia Pictures with some of the properties they managed to purchase.[173][175] It is unknown which, or if a studio bought out Dassin's remaining one-picture deal, though news reports hinted towards Universal-International Pictures or Metro-Goldwyn-Mayer.[173][176]
In late December 1947, before Bogart, Selznick and Marie had decided upon continuing the Mark Hellinger Productions firm, Dassin took the opportunity of his non-exclusive contract to partner with stage actor and producer Luther Adler in an independent film venture.[177] Adler had recently purchased Jack Iams' novel Prophet by Experience in September 1947 and hired Ben Hecht to adapt it and write the screenplay.[178] The story dealt with a hermit who is taken out of seclusion by a magazine writer, and who has a unique set of experiences in the outside world.[179] Adler, who was solely to act as producer in his new film production company, approached Dassin to direct the picture and negotiations were underway for a financing and distribution deal with Columbia Pictures.[180][181] For reasons unknown, the film was never made.
While still in New York City, Dassin was hired by producers John Houseman and William R. Katzell to direct Allan Scott's play Joy to the World; a comedy about a ruthless Hollywood producer.[182][166] The play began rehearsals on January 26, 1948, and opened on Broadway at the Plymouth Theatre on March 18, 1948.[183][184] It would run for 124 performances, until July 3, 1948.[185][186] The cast included Alfred Drake, Marsha Hunt, Morris Carnovsky, Mary Welch, Lois Hall, Peggy Maley, Myron McCormick, Clay Clement, Bert Freed, Kurt Kasznar and Theodore Newton.[184][187]
20th Century-Fox Film and the blacklist years (1948–1953)
In February 1948, Dassin was approached by theatre producer
On April 3, 1948, Dassin returned to Hollywood to meet with executives from three different studios: Metro-Goldwyn-Mayer, 20th Century-Fox Film and Columbia Pictures, each of which had offered the director a contract.[167] Dassin connected best with Darryl F. Zanuck and opted to sign with 20th Century-Fox Film.[192][47][193] In addition to Busman's Holiday, during the spring of 1948 Dassin was tied to two film projects with actress Paulette Goddard at 20th Century-Fox Film.[194][195] The first was to be a film adaptation of Jean-Paul Sartre's latest novel and recently opened Broadway hit The Respectful Prostitute, for which Goddard and actor Burgess Meredith had negotiated the screen rights, hoping to play the leads.[194] Dassin, who had promised to direct, was the only director Goddard wanted.[194]
By June 1948, Dassin was tied to direct Anna Lucasta at Columbia Pictures, a play, written by Philip Yordan, about a young prostitute whose family tries to use her to steal money from a potential husband.[195] Goddard was set to play the lead in the film and reportedly insisted that Dassin be hired to direct.[195] During negotiations with 20th Century-Fox, Zanuck considered loaning Linda Darnell to Columbia Pictures as part of a package deal, but things fell through.[196] Irving Rapper ultimately directed the film at Columbia Pictures.
During the summer of 1948, Dassin directed Magdalena on Broadway, a play produced by
Contrary to an often-quoted 1958 article in Time magazine, Dassin was not blacklisted because of a sole denunciation from a witness at a congressional hearing.[199] His name had been mentioned a number of times, at various hearings of the United States House of Representatives Committee on Un-American Activities, and by different witnesses, as early as 1947. He was also linked to several Communist-front organizations.[199][200][201]
On October 22, 1947, while Dassin was still working on The Naked City, Metro-Goldwyn-Mayer chief supervisor and executive producer
In 1948 and 1949, Dassin's name was connected with at least three Communist-front organizations.
In the late spring of 1949, Zanuck called Dassin into his office to warn him that he was on the verge of being blacklisted, but that he still had enough time to make one more movie for 20th Century-Fox Film.[210][193] Zanuck gave Dassin a copy of Gerald Kersh's novel Night and the City and rushed him to England to make the film unhindered by the Un-American Activities Committee hearings.[193] Night and the City, later released in mid-1950, was filmed entirely on location in London between July and October 1949 and starred Richard Widmark, Gene Tierney, Googie Withers, Hugh Marlowe and Mike Mazurki.[211] Dassin was unofficially blacklisted by Hollywood during the production and was not allowed back on the studio property to edit the film nor oversee the musical scoring.[193][212]
Nevertheless, Zanuck and producer Julian Blaustein hired Dassin as director for 20th Century-Fox Film's Half Angel, a Technicolor comedy starring Loretta Young, scheduled to begin shooting in mid-June 1950.[213] Dassin was however replaced by Richard Sale after pressure from Hollywood politics.[213]
On April 25, 1951, film director
On May 24, 1951, film director Frank Tuttle gave a testimony to the House Un-American Activities Committee.[214][201] He testified that, during the 1930s and 1940s, a group of seven Communists existed within the Screen Directors' Guild.[214] Dassin was again named as one of the seven Communist directors, along with Herbert Biberman, Edward Dmytryk, Bernard Vorhaus, John Berry, Michael Gordon and Tuttle himself.[214] Tuttle explained that the purpose of the Communist members in the Screen Directors' Guild was to elect its members to the board of directors, but that only he, Dmytryk and Biberman had succeeded in being appointed to executive positions, with the help of votes from the seven Communist members.[214]
Dassin's name was further mentioned during the Un-American Activities Committee hearings involving actor José Ferrer on May 25, 1951,[214] and film director Michael Gordon on September 17, 1951.[215] Dassin was from that point on, officially listed as an identified past or present member of the Communist Party.[216][217]
In 1952, after Dassin had been out of work for two years, actress Bette Davis hired him to direct her in the Broadway revue Two's Company.[218] The show ran for 90 performances, closing on March 8, 1953, due to Davis' poor health,[218] and Dassin returned to Europe to avoid the issuing of a subpoena to testify before the Un-American Activities Committee.[219][220]
Working in Europe
France
In March 1953, Dassin was hired by French producer
Dassin did not work as a film director again until Rififi in 1955 (a French production), his most influential film and an early work in the "heist film" genre. He won the Best Director award for the film at the 1955 Cannes Film Festival.
It inspired later heist films, such as
Most of Dassin's films in the decades following the blacklist are European productions.[221] His later career in Europe and the affiliation with Greece through his second wife, combined with the Frenchified pronunciation of his surname in Europe (as "Da-SAn" instead of the common American "DASS-ine") led to a common misconception that he was a native European director.[212]
Melina Mercouri
At the Cannes Film Festival in May 1955 he met Melina Mercouri, Greek actress and wife of Panos Harokopos.[221] At about the same time, he discovered the literary works of Nikos Kazantzakis; these two elements created a bond with Greece. Dassin next made He Who Must Die (1957) based on Kazantzakis' Christ Recrucified and in which Mercouri appeared. She went on to star in his Never on Sunday (1960) for which she won best actress at the Cannes Film Festival.[222] She then starred in his next three films – Phaedra (1962), Topkapi (1964) and 10:30 P.M. Summer (1966).
He divorced his first wife, Beatrice Launer, in 1962 and married Mercouri in 1966. She later starred in his Promise at Dawn (1970)—during the filming of which, Dassin broke both his legs[223]—and later A Dream of Passion (1978).
Affiliation with Greece
Dassin was considered a major
The couple had to leave Greece after the
While Mercouri became involved with politics and won a parliamentary seat, Dassin stayed with movie-making in Europe. In 1982 he was a member of the jury at the 34th Berlin International Film Festival.[224]
Personal life
Marriages
Dassin married twice. Before his marriage to Melina Mercouri, he married Beatrice Launer in 1933; she was a New York–born, [citation needed] Jewish–American [citation needed] concert violinist (aka Beatrice Launer-Dassin; 1913–1994),[225][26] a graduate of the Juilliard School of Music.[11] They divorced in 1962. Their children were Joseph Ira Dassin, better known as Joe Dassin (1938–80), a popular French singer in the 1970s; songwriter Richelle "Rickie" Dassin (born 1940); and actress–singer Julie Dassin (born 1944; also known as Julie D.).[226]
Death
Dassin died from complications of
A major supporter of the return of the
Preservation
The Academy Film Archive has preserved Jules Dassin's film Night and the City, including the British and pre-release versions.[227]
In 2000, Rialto Pictures restored and released Rififi theatrically. It was subsequently released on home video through The Criterion Collection and Arrow Films.
Filmography
Year released | Title | Credited as | Awards | ||||
---|---|---|---|---|---|---|---|
Director | Producer | Screenwriter | Actor | Role | |||
1941 | The Tell-Tale Heart | Yes | |||||
1942 | Nazi Agent | Yes | |||||
The Affairs of Martha | Yes | ||||||
Reunion in France | Yes | ||||||
1943 | Young Ideas | Yes | |||||
1944 | The Canterville Ghost | Yes | Hugo Award for Best Dramatic Presentation | ||||
1945 | A Letter for Evie | Yes | |||||
1946 | Two Smart People | Yes | |||||
1947 | Brute Force | Yes | |||||
1948 | The Naked City | Yes | |||||
1949 | Thieves' Highway | Yes | |||||
1950 | Night and the City | Yes | |||||
1955 | Rififi | Yes | Yes | Yes | César le Milanais | Cannes Film Festival Award for Best Director | |
1957 | He Who Must Die | Yes | Yes | ||||
1959 | The Law | Yes | Yes | ||||
1960 | Never on Sunday | Yes | Yes | Yes | Yes | Homer Thrace | Nominated — Academy Award for Best Director Nominated — Academy Award for Best Story and Screenplay Written Directly for the Screen Nominated — BAFTA Award for Best Film From Any Source |
1962 | Phaedra | Yes | Yes | Yes | Yes | Christo (uncredited) |
|
1964 | Topkapi | Yes | Yes | Yes | Turkish cop (uncredited) |
||
1966 | 10:30 P.M. Summer | Yes | Yes | Yes | |||
1968 | Survival 1967
|
Yes | Yes | ||||
Uptight | Yes | Yes | Yes | ||||
1970 | Promise at Dawn | Yes | Yes | Yes | Yes | Ivan Mosjukine | |
1974 | The Rehearsal | Yes | Yes | Yes | Himself | ||
1978 | A Dream of Passion | Yes | Yes | Yes | |||
1980 | Circle of Two | Yes |
References
- ^ a b Motion Picture Herald. MBRS Library of Congress. Quigley Publishing Co. March 1943.
{{cite book}}
: CS1 maint: others (link) - ^ a b c d e United States. Congress. House. Committee on Un-American Activities (1951). Communist infiltration of Hollywood motion-picture industry : hearing before the Committee on Un-American activities, House of Representatives, Eighty-second Congress, first session. Boston Public Library. Washington, D.C. : U.S. G.P.O.
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- ^ David B. Green, This Day in Jewish History 1911: Blacklisted Director Who Became the Toast of Paris Is Born, Haaretz, December 18, 2015. Retrieved May 30, 2018.
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- ^ The Film Daily (Jul–Sep 1947). MBRS Library of Congress. Wid's Films and Film Folk, inc. 1947.
{{cite book}}
: CS1 maint: others (link) - ^ a b "The Los Angeles Times from Los Angeles, California on September 23, 1940 · 33". September 23, 1940. Retrieved November 28, 2021 – via Newspapers.com.
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- ^ "Oscar Directors: Dassin, Jules–Background, Career, Awards, Filmography". Emanuellevy.com. August 26, 2020. Retrieved January 28, 2021.
- ^ a b The Film Daily (Apr–Jun 1940). MBRS Library of Congress. Wid's Films and Film Folk, inc. April 1940.
{{cite book}}
: CS1 maint: others (link) - ^ a b Boxoffice (Apr–Jun 1940). Media History Digital Library. Kansas City, Associated Publications. 1940.
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: CS1 maint: others (link) - ^ a b c d "Lansing State Journal from Lansing, Michigan on November 24, 1942 · Page 10". November 24, 1942. Retrieved November 30, 2021 – via Newspapers.com.
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{{cite book}}
: CS1 maint: others (link) - ^ The Commonweal 1940-04-26: Vol 32 Iss 1. Internet Archive. Commonweal Foundation. April 26, 1940.
{{cite book}}
: CS1 maint: others (link) - ^ "from on April 13, 1940 · Page 18". April 13, 1940. Retrieved November 28, 2021 – via Newspapers.com.
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- ^ a b Miller, Stephen (April 1, 2008). "Jules Dassin, 96, Expatriate Film Director". The New York Sun. Archived from the original on November 27, 2021. Retrieved November 27, 2021.
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: CS1 maint: others (link) - ^ "The Daily Notes from Canonsburg, Pennsylvania on June 7, 1945 · Page 7". June 7, 1945. Retrieved December 4, 2021 – via Newspapers.com.
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: CS1 maint: others (link) - ^ Variety (1945). Variety (June 1945). Media History Digital Library Media History Digital Library. New York, NY: Variety Publishing Company.
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: CS1 maint: others (link) - ^ "The Evening Sun from Hanover, Pennsylvania on August 11, 1945 · 4". August 11, 1945. Retrieved December 4, 2021 – via Newspapers.com.
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{{cite book}}
: CS1 maint: others (link) - ^ a b c Film Bulletin Company (1947). Independent Exhibitors Film Bulletin (1947). New York The Museum of Modern Art Library. New York, Film Bulletin Company.
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: CS1 maint: others (link) - ^ "Altoona Tribune from Altoona, Pennsylvania on January 27, 1948 · Page 11". January 27, 1948. Retrieved December 5, 2021 – via Newspapers.com.
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- ^ Boxoffice (Apr–Jun 1947). Media History Digital Library. Kansas City, Associated Publications. 1947.
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- ^ Boxoffice (Jul–Sep 1947). Media History Digital Library. Kansas City, Associated Publications. 1947.
{{cite book}}
: CS1 maint: others (link) - ^ "The Birmingham News from Birmingham, Alabama on August 17, 1947 · 73". August 17, 1947. Retrieved December 4, 2021 – via Newspapers.com.
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{{cite book}}
: CS1 maint: others (link) - ^ a b c d e f United States. Congress. House. Committee on Un-American Activities (1947). Hearings regarding the communist infiltration of the motion picture industry. Hearings before the Committee on Un-American Activities, House of Representatives, Eightieth Congress, first session. Public law 601 (section 121, subsection Q (2)). Boston Public Library. Washington, U.S. Govt. Print. Off.
- ^ a b FBI. American Legion FBI Files.
- ^ a b "The Daily Times from New Philadelphia, Ohio on October 22, 1947 · Page 1". October 22, 1947. Retrieved December 5, 2021 – via Newspapers.com.
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- ^ The Film Daily (Oct–Dec 1947). MBRS Library of Congress. Wid's Films and Film Folk, inc. 1947.
{{cite book}}
: CS1 maint: others (link) - ^ a b California. Legislature. Senate. Fact-Finding Committee on Un-American Activities (1948). Report of the Senate Fact-Finding Committee on Un-American Activities. San Francisco Public Library. [Sacramento, Calif.] : The Senate.
- ^ California. Legislature. Senate. Fact-Finding Committee on Un-American Activities (1948–1959). Report of the Senate Fact-Finding Committee on Un-American Activities, 1948 : Communist Front Organizations. Prelinger Library. Sacramento : The Senate.
- ^ United States. Congress. House. Committee on Un-American Activities (1953). Investigation of Communist activities in the New York City area. Hearings. Boston Public Library. Washington, U.S. Govt. Print. Off.
- ^ California. Legislature. Senate. Fact-Finding Committee on Un-American Activities (1948). Report of the Senate Fact-Finding Committee on Un-American Activities. San Francisco Public Library. [Sacramento, Calif.] : The Senate.
- ^ United States. Congress. House. Committee on Un-American Activities (1951). Report on the Communist "peace" offensive; a campaign to disarm and defeat the United States. Boston Public Library. Washington.
- Cineaste, Dan Georgakas, spring 2007, p.72
- ^ The film was shot in 1949, see Duncan, Paul (July 2, 2014). "Why I Love: Night and the City (1950)". Port. Retrieved September 28, 2015.
- ^ Criterion Collection.
- ^ a b Twentieth Century-Fox Studio Club; Twentieth Century-Fox Studio Club (1941). Action (1941–1958). Media History Digital Library.
- ^ a b c d e "United States. Congress. Hearings, Prints and Reports May 22–25, June 25 and 26, 1951 : Free Download, Borrow, and Streaming : Internet Archive". Internet Archive. Retrieved November 29, 2021.
- ^ United States. Congress. House. Committee on Un-American Activities (1951). Communist infiltration of Hollywood motion-picture industry : hearing before the Committee on Un-American activities, House of Representatives, Eighty-second Congress, first session. Boston Public Library. Washington, D.C. : U.S. G.P.O.
- ^ United States. Congress. Hearings, Prints and Reports 1952-12-28. Internet Archive. Superintendent of Government Documents. December 28, 1952.
{{cite book}}
: CS1 maint: others (link) - ^ Congressional Record May 18 – July 02, 1953: Vol 99 APPENDIX. Internet Archive. Superintendent of Government Documents. May 18, 1953.
{{cite book}}
: CS1 maint: others (link) - ^ a b Congressional Record May 18 – July 02, 1953: Vol 99 APPENDIX. Internet Archive. Superintendent of Government Documents. May 18, 1953.
{{cite book}}
: CS1 maint: others (link) - ^ "Two's Company – Broadway Musical – Original | IBDB". www.ibdb.com. Retrieved November 27, 2021.
- ^ a b c d Hearings July 12–13, 1956. Internet Archive. Superintendent of Government Documents. July 12, 1956.
{{cite book}}
: CS1 maint: others (link) - ^ a b c d Luther, Claudia (April 1, 2008). "Noir master directed caper classic 'Rififi'". Los Angeles Times. Retrieved September 28, 2015.
- ^ a b (in Greek) Skai News Archived July 17, 2011, at the Wayback Machine, Απεβίωσε ο Ζυλ Ντασέν (Jules Dassin died), English (machine translation) Retrieved on April 1, 2008.
- ^ "Dassin Breaks Both Legs In Freak Studio Accident". Variety. October 8, 1969. p. 2.
- ^ "Berlinale: 1984 Juries". berlinale.de. Retrieved November 21, 2010.
- ^ Beatrice Dassin. Genealogy Bank. Retrieved July 26, 2015.
- ^ Julie D.. Rateyourmusic.com (July 19, 1945). Retrieved July 26, 2015.
- ^ "Preserved Projects". Academy Film Archive.
External links
- Jules Dassin at IMDb
- Family photos (French)
- Jules Dassin at The New York Times Movies
- New York Times obituary
- Obituary on the World Socialist Web Site