Clowns are comical performers, stereotypically characterized by the image of the Circus clown and their grotesque appearances: colored wigs, stylistic makeup, outlandish costumes, unusually large footwear, red-nose, etc. (which evolved to project their actions to very large audiences), who entertain spectators by acting in a hilarious fashion. The types of their acts varies greatly. Although a few people find clowns to be scary, their aim is to entertain people. Other less grotesque styles have also developed which include theatre, TV and Film Clowns. Peter Berger writes that "It seems plausible that folly and fools, like religion and magic, meet some deeply rooted needs in human society."
The British arts and music festival Bestival cancelled its planned clown theme in 2006 after many adult ticketholders contacted the organizers expressing a fear of clowns.
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| Name | Monster Clown |
|---|---|
| Names | HighlanderAliensZombie ClownMonster Clown |
| Height | |
| Birth date | February 24, 1976 |
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| Name | Stephen King |
|---|---|
| Caption | Stephen King, February 2007 |
| Pseudonym | Richard Bachman, John Swithen |
| Birthdate | September 21, 1947 |
| Birthname | Stephen Edwin King |
| Birthplace | Portland, Maine, United States |
| Occupation | Novelist, short story writer, screenwriter, columnist, actor, television producer, film director |
| Genre | Horror, fantasy, science fiction, drama, gothic, genre fiction, dark fantasy |
| Net worth | ? |
| Notableworks | Carrie, The Shining, The Stand, It, and Misery |
| Influences | Burton HatlenBram StokerShirley JacksonH.P. LovecraftRichard MathesonRay BradburyAndre ViancoScott Sigler |
| Website | http://www.stephenking.com |
| Spouse | Tabitha King |
| Children | Naomi KingJoe KingOwen King |
| Signature | Stephen King Signature.svg |
Stephen King was born September 21, 1947 in Portland, Maine. When King was two years old, his father left the family under the pretense of "going to buy a pack of cigarettes," leaving his mother to raise King and his adopted older brother David by herself, sometimes under great financial strain. The family moved to De Pere, Wisconsin; Fort Wayne, Indiana; and Stratford, Connecticut. When King was eleven years old, the family returned to Durham, Maine, where Ruth King cared for her parents until their deaths. She then became a caregiver in a local residential facility for the mentally challenged. The Fogler Library at UMaine now holds many of King's papers.
After leaving the university, King earned a certificate to teach high school but, being unable to find a teaching post immediately, initially supplemented his laboring wage by selling short stories to men's magazines such as Cavalier. Many of these early stories have been published in the collection Night Shift. In 1971, King married Tabitha Spruce, a fellow student at the University of Maine whom he had met at the University's Fogler Library after one of Professor Hatlen's workshops. That fall, King was hired as a teacher at Hampden Academy in Hampden, Maine. He continued to contribute short stories to magazines and worked on ideas for novels. It was during this time that King developed a drinking problem, which stayed with him for more than a decade.
In 1972, Joseph Hillstrom, his second child was born.
After his mother's death, King and his family moved to Boulder, Colorado, where King wrote The Shining (published 1977). The family returned to western Maine in 1975, where King completed his fourth novel, The Stand (published 1978). In 1977, the family, with the addition of Owen Phillip (his third and last child), traveled briefly to England, returning to Maine that fall where King began teaching creative writing at the University of Maine. He has kept his primary residence in Maine ever since.
In 1985 King wrote his first work for the comic book medium, Abrams stated in a November 2009 interview with MTV that he would not be adapting the series. According to Oxford County Sheriff deputy Matt Baker, King was struck from behind and some witnesses said the driver was not speeding or reckless. King is to write the background history of the very first American vampire, Skinner Sweet, in the five issues of the first arc. Scott Snyder will write the story of Pearl. Both stories are to weave together to form the first story arc.
In 2010, King collaborated with musician Shooter Jennings and his band Hierophant, providing the narration for their most recent album, Black Ribbons.
King refers to H. P. Lovecraft several times in Danse Macabre. "Gramma", a short story made into a film in the 1980s anthology horror show The New Twilight Zone, mentions Lovecraft's notorious fictional creation Necronomicon, also borrowing the names of a number of the fictional monsters mentioned therein. "I Know What You Need" from the 1976 collection Night Shift, and 'Salem's Lot also mention the tome. In On Writing, King is critical of Lovecraft's dialogue-writing skills, using passages from The Colour Out of Space as particularly poor examples. There are also several examples of King referring to Lovecraftian characters in his work, such as Nyarlathotep and Yog-Sothoth.
King acknowledges the influence of Bram Stoker, particularly on his novel 'Salem's Lot, which he envisioned as a retelling of Dracula.
Shortly after publication of The Tommyknockers, King's family and friends staged an intervention, dumping evidence of his addictions taken from the trash including beer cans, cigarette butts, grams of cocaine, Xanax, Valium, NyQuil, dextromethorphan (cough medicine) and marijuana, on the rug in front of him. As King related in his memoir, he then sought help and quit all forms of drugs and alcohol in the late 1980s, and has remained sober since.
Tabitha King has published nine of her own novels. Both King's sons are published authors: Owen King published his first collection of stories, We're All in This Together: A Novella and Stories, in 2005; Joseph Hillstrom published an award-winning collection of short stories, 20th Century Ghosts, in 2005, and his first novel, Heart-Shaped Box will be adapted by Irish director Neil Jordan for a 2010 Warner Bros. release.
;King's fictional topography
;Projects
;Publishers
See also Books about Stephen King
Category:1947 births Category:Living people Category:American horror writers Category:American novelists Category:American short story writers Category:Authors of books about writing fiction Category:Cthulhu Mythos writers Category:Horror writers Category:O. Henry Award winners Category:People from Bangor, Maine Category:People from Portland, Maine Category:People from Sarasota, Florida Category:Maine Democrats Category:American schoolteachers Category:University of Maine alumni Category:Writers from Maine Category:People self-identifying as alcoholics Category:20th-century novelists Category:21st-century novelists Category:Rock Bottom Remainders members
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| Name | Gene Kelly |
|---|---|
| Imagesize | 225px |
| Caption | Kelly in 1986, by Allan Warren |
| Birth name | Eugene Curran Kelly |
| Birth date | August 23, 1912 |
| Birth place | Pittsburgh, Pennsylvania, United States |
| Death date | February 02, 1996 |
| Death place | Beverly Hills, California, United States |
| Occupation | Actor, dancer, singer, director, producer, choreographer |
| Years active | 1938–1994 |
| Spouse | Betsy Blair (1941–1957)Jeanne Coyne (1960–1973) (her death)Patricia Ward (1990–1996) (his death) |
Eugene Curran "Gene" Kelly (August 23, 1912February 2, 1996) was an American dancer, actor, singer, film director and producer, and choreographer. Kelly was known for his energetic and athletic dancing style, his good looks and the likeable characters that he played on screen.
Although he is known today for his performance in Singin' in the Rain, he was a dominant force in Hollywood musical films from the mid 1940s until this art form fell out of fashion in the late 1950s. His many innovations transformed the Hollywood musical film, and he is credited with almost single-handedly making the ballet form commercially acceptable to film audiences.
Kelly was the recipient of an Academy Honorary Award in 1952 for his career achievements. He later received lifetime achievement awards in the Kennedy Center Honors, and from the Screen Actors Guild and American Film Institute; in 1999, the American Film Institute also numbered him 15th in their Greatest Male Stars of All Time list.
In 1931, Kelly enrolled at the University of Pittsburgh to study economics where he joined the Phi Kappa Theta fraternity. In 1937, having successfully managed and developed the family's dance school business, he moved to New York City in search of work as a choreographer.
His first Broadway assignment, in November 1938, was as a dancer in Cole Porter's Leave It to Me! as the American ambassador's secretary who supports Mary Martin while she sings "My Heart Belongs to Daddy". He had been hired by Robert Alton who had staged a show at the Pittsburgh Playhouse and been impressed by Kelly's teaching skills. When Alton moved on to choreograph One for the Money he hired Kelly to act, sing and dance in a total of eight routines. His first career breakthrough was in the Pulitzer Prize-winning The Time of Your Life, which opened on October 25, 1939, where for the first time on Broadway he danced to his own choreography. In the same year he received his first assignment as a Broadway choreographer, for Billy Rose's Diamond Horseshoe. His future wife, Betsy Blair, was a member of the cast. They began dating and married on October 16, 1941.
In 1940, he was given the leading role in Rodgers and Hart's Pal Joey, again choreographed by Robert Alton, and this role propelled him to stardom. During its run he told reporters: "I don't believe in conformity to any school of dancing. I create what the drama and the music demand. While I am a hundred percent for ballet technique, I use only what I can adapt to my own use. I never let technique get in the way of mood or continuity." It was at this time also, that his phenomenal commitment to rehearsal and hard work was noticed by his colleagues. Van Johnson who also appeared in Pal Joey recalled: "I watched him rehearsing, and it seemed to me that there was no possible room for improvement. Yet he wasn't satisfied. It was midnight and we had been rehearsing since eight in the morning. I was making my way sleepily down the long flight of stairs when I heard staccato steps coming from the stage...I could see just a single lamp burning. Under it, a figure was dancing...Gene."
Offers from Hollywood began to arrive but Kelly was in no particular hurry to leave New York. Eventually, he signed with David O. Selznick, agreeing to go to Hollywood at the end of his commitment to Pal Joey, in October 1941. Prior to his contract, he also managed to fit in choreographing the stage production of Best Foot Forward.
He achieved his breakthrough as a dancer on film, when MGM loaned him out to Columbia to work with Rita Hayworth in Cover Girl (1944), where he created a memorable routine dancing to his own reflection. In his next film Anchors Aweigh (1945), MGM virtually gave him a free hand to devise a range of dance routines, including the celebrated and much imitated animated dances with Jerry Mouse, and his duets with co-star Frank Sinatra.
Stanley Donen, brought to Hollywood by Kelly to be his assistant choreographer, received co-director credit for On the Town. According to Kelly: "...when you are involved in doing choreography for film you must have expert assistants. I needed one to watch my performance, and one to work with the cameraman on the timing..without such people as Stanley, Carol Haney and Jeanne Coyne I could never have done these things. When we came to do On the Town, I knew it was time for Stanley to get screen credit because we weren't boss-assistant anymore but co-creators."
(1952)]] It was now Kelly's turn to ask the studio for a straight acting role and he took the lead role in the early mafia melodrama: The Black Hand (1949). Gene Kelly as an Italian-American attorney? This expose of organized crime is set in New York's "Little Italy" the late 19th century, the Black Hand, a group which extorts money upon threat of death. In the real-life incidents upon which this film is based, it was the Mafia, not the Black Hand, who functioned as the villain. Even in 1950, however, Hollywood had to tread gingerly whenever dealing with big-time crime; it was easier (and safer) to go after a "dead" criminal organization than a "live" one.There followed Summer Stock (1950) – Judy Garland's last musical film for MGM – in which Kelly performed the celebrated "You, You Wonderful You" solo routine with a newspaper and a squeaky floorboard. In his book "Easy the Hard Way", Joe Pasternak, head of one of the other musical units within MGM, singled out Kelly for his patience and willingness to spend as much time as necessary to enable the ailing Garland to complete her part.
There followed in quick succession two musicals which have secured Kelly's reputation as a major force in the American musical film, An American in Paris (1951) and – probably the most popular and admired of all film musicals – Singin' in the Rain (1952). As co-director, lead star and choreographer, Kelly was the central driving force. Johnny Green, head of music at MGM at the time, described him as follows:
"Gene is easygoing as long as you know exactly what you are doing when you're working with him. He's a hard taskmaster and he loves hard work. If you want to play on his team you'd better like hard work too. He isn't cruel but he is tough, and if Gene believed in something he didn't care who he was talking to, whether it was Louis B. Mayer or the gatekeeper. He wasn't awed by anybody and he had a good record of getting what he wanted".An American in Paris won six Academy Awards, including Best Picture and, in the same year, Kelly was presented with an honorary Academy Award for his contribution to film musicals and the art of choreography. The film also marked the debut of Leslie Caron, whom Kelly had spotted in Paris and brought to Hollywood. Its dream ballet sequence, lasting an unprecedented seventeen minutes, was the most expensive production number ever filmed up to that point and was described by Bosley Crowther as, "whoop-de-doo ... one of the finest ever put on the screen." Singin' in the Rain featured Kelly's celebrated and much imitated solo dance routine to the title song, along with the "Moses Supposes" routine with Donald O'Connor and the "Broadway Melody" finale with Cyd Charisse, and while it did not initially generate the same enthusiasm as An American in Paris, it subsequently overtook the earlier film to occupy its current pre-eminent place among critics and filmgoers alike. In December 1951 he signed a contract with MGM which sent him to Europe for nineteen months so that Kelly could use MGM funds frozen in Europe to make three pictures while personally benefiting from tax exemptions. Only one of these pictures was a musical, Invitation to the Dance, a pet project of Kelly's to bring modern ballet to mainstream film audiences. It was beset with delays and technical problems, and flopped when finally released in 1956. When Kelly returned to Hollywood in 1953, the film musical was already beginning to feel the pressures from television, and MGM cut the budget for his next picture Brigadoon (1954), with Cyd Charisse, forcing the film to be made on studio backlots instead of on location in Scotland. This year also saw him appear as guest star with his brother Fred in the celebrated "I Love To Go Swimmin' with Wimmen" routine in Deep in My Heart. MGM's refusal to loan him out for Guys and Dolls and Pal Joey put further strains on his relationship with the studio. He negotiated an exit to his contract which involved making three further pictures for MGM.
The first of these, It's Always Fair Weather (1956) co-directed with Donen, was a musical satire on television and advertising, and includes his famous roller skate dance routine to "I Like Myself", and a dance trio with Michael Kidd and Dan Dailey which allowed Kelly to experiment with the widescreen possibilities of Cinemascope. A modest success, it was followed by Kelly's last musical film for MGM, Les Girls (1957), in which he partnered a trio of leading ladies, Mitzi Gaynor, Kay Kendall and Taina Elg, fittingly ending, as he had begun, with a Cole Porter musical. The third picture he completed was a co-production between MGM and himself, the B-movie The Happy Road, set in his beloved France, his first foray in his new role as producer-director-actor.
]] Kelly continued to make some film appearances, such as Hornbeck in the 1960 Hollywood production of Inherit the Wind. However, most of his efforts were now concentrated on film production and directing. He directed Jackie Gleason in Gigot in Paris, but the film was subsequently drastically recut by Seven Arts Productions and flopped. Another French effort, Jacques Demy's homage to the MGM musical: Les Demoiselles de Rochefort (1967) in which Kelly appeared, also performed poorly. He appeared as himself in George Cukor's Let's Make Love (1960).
His first foray into television was a documentary for NBC's Omnibus, Dancing is a Man's Game (1958) where he assembled a group of America's greatest sportsmen – including Mickey Mantle, Sugar Ray Robinson and Bob Cousy – and reinterpreted their moves choreographically, as part of his lifelong quest to remove the effeminate stereotype of the art of dance, while articulating the philosophy behind his dance style. It gained an Emmy nomination for choreography and now stands as the key document explaining Kelly's approach to modern dance.
Kelly also frequently appeared on television shows during the 1960s, but his one effort at television series, as Father Chuck O'Malley in Going My Way (1962–63), based on the Best Picture of 1944 starring Bing Crosby, was dropped after thirty episodes, although it enjoyed great popularity in Roman Catholic countries outside of the United States. He also appeared in three major TV specials: New York, New York (1966), The Julie Andrews Show (1965), and Jack and the Beanstalk (1967) a show he produced and directed which returned to a combination of cartoon animation with live dance, winning him an Emmy Award for Outstanding Children's Program.
In 1963, Kelly joined Universal Pictures for a two-year stint which proved to be the most unproductive of his career so far. He joined 20th Century Fox in 1965, but had little to do – partly due to his decision to decline assignments away from Los Angeles for family reasons. His perseverance finally paid off with the major box-office hit A Guide for the Married Man (1967) where he directed Walter Matthau and a major opportunity arose when Fox – buoyed by the returns from The Sound of Music (1965) – commissioned Kelly to direct Hello, Dolly! (1969), again directing Matthau along with Barbra Streisand, but which unfortunately failed to recoup the enormous production expenses.
In 1970, he made another TV special: Gene Kelly and 50 Girls and was invited to bring the show to Las Vegas, which he duly did for an eight-week stint – on condition he be paid more than any artist had hitherto been paid there. He directed veteran actors James Stewart and Henry Fonda in the comedy western The Cheyenne Social Club (1970) which performed very well at the box-office. In 1973 he would work again with Frank Sinatra as part of Sinatra's Emmy nominated TV special Ol' Blue Eyes Is Back. Then, in 1974, he appeared as one of many special narrators in the surprise hit of the year That's Entertainment! and subsequently directed and co-starred with his friend Fred Astaire in the sequel That's Entertainment, Part II (1976). It was a measure of his powers of persuasion that he managed to coax the 77-year-old Astaire – who had insisted that his contract rule out any dancing, having long since retired – into performing a series of song and dance duets, evoking a powerful nostalgia for the glory days of the American musical film. Kelly continued to make frequent TV appearances and in 1980, appeared in an acting and dancing role opposite Olivia Newton-John in Xanadu (1980), an expensive theatrical flop which has since attained a cult following. In Kelly's opinion "The concept was marvelous but it just didn't come off." In the same year, he was invited by Francis Ford Coppola to recruit a production staff for American Zoetrope's One from the Heart (1982). Although Coppola's ambition was for him to establish a production unit to rival the Freed Unit at MGM, the film's failure put an end to this idea. In 1985, Kelly served as executive producer and co-host of That's Dancing! – a celebration of the history of dance in the American musical. After his final on-screen appearance introducing That's Entertainment! III in 1994, his final film project was the animated movie Cats Don't Dance, released in 1997 and dedicated to him, on which Kelly acted as uncredited choreographic consultant.
There was a clear progression in his development, from an early concentration on tap and musical comedy style to greater complexity using ballet and modern dance forms. He especially acknowledged the influence of George M. Cohan: "I have a lot of Cohan in me. It's an Irish quality, a jaw-jutting, up-on-the-toes cockiness - which is a good quality for a male dancer to have." He was also heavily influenced by an African-American dancer Dancing Dotson, whom he saw at Loew's Penn. Theatre around 1929, and was briefly taught by Frank Harrington, an African-American tap specialist from New York. He also studied Spanish dancing under Angel Cansino, Rita Hayworth's uncle. Generally speaking, he tended to use tap and other popular dance idioms to express joy and exuberance – as in the title song from Singin' in the Rain or "I Got Rhythm" from An American in Paris, whereas pensive or romantic feelings were more often expressed via ballet or modern dance, as in "Heather on the Hill" from Brigadoon or "Our Love Is Here to Stay" from An American in Paris.
According to Delamater, Kelly's work "seems to represent the fulfillment of dance-film integration in the 1940s and 1950s". While Fred Astaire had revolutionized the filming of dance in the 1930s by insisting on full-figure photography of dancers while allowing only a modest degree of camera movement, Kelly freed up the camera, making greater use of space, camera movement, camera angles and editing, creating a partnership between dance movement and camera movement without sacrificing full-figure framing. Kelly's reasoning behind this was that he felt the kinetic force of live dance often evaporated when brought to film, and he sought to partially overcome this by involving the camera in movement and giving the dancer a greater number of directions in which to move. Examples of this abound in Kelly's work and are well illustrated in the "Prehistoric Man" sequence from On the Town and "The Hat My Father Wore on St. Patrick's Day" from Take Me Out to the Ball Game. In 1951, he summed up his vision as follows: "If the camera is to make a contribution at all to dance, this must be the focal point of its contribution; the fluid background, giving each spectator an undistorted and altogether similar view of dancer and background. To accomplish this, the camera is made fluid, moving with the dancer, so that the lens becomes the eye of the spectator, your eye".
and assistant Jeanne Coyne in the NBC Omnibus television special Dancing is a Man's Game (1958)]] Kelly's athleticism gave his moves a distinctive broad, muscular quality, and this was a very deliberate choice on his part, as he explained: "There's a strong link between sports and dancing, and my own dancing springs from my early days as an athlete...I think dancing is a man's game and if he does it well he does it better than a woman." He railed against what he saw as the widespread effeminacy in male dancing which, in his opinion, "tragically" stigmatized the genre, alienating boys from entering the field: "Dancing does attract effeminate young men. I don't object to that as long as they don't dance effeminately. I just say that if a man dances effeminately he dances badly — just as if a woman comes out on stage and starts to sing bass. Unfortunately people confuse gracefulness with softness. John Wayne is a graceful man and so are some of the great ball players...but, of course, they don't run the risk of being called sissies." In his view, "one of our problems is that so much dancing is taught by women. You can spot many male dancers who have this tuition by their arm movements — they are soft, limp and feminine." He acknowledged that, in spite of his efforts — in TV programs such as Dancing: A Man's Game (1958) for example — the situation changed little over the years.
He also sought to break from the class-conscious conventions of the 1930s and early 40s, when top hat and tails or tuxedos were the norm, by dancing in casual or everyday work clothes, so as to make his dancing more relevant to the cinema-going public. As his first wife, actress and dancer Betsy Blair explained: "A sailor suit or his white socks and loafers, or the T-shirts on his muscular torso, gave everyone the feeling that he was a regular guy, and perhaps they too could express love and joy by dancing in the street or stomping through puddles...he democratized the dance in movies."
Gene Kelly was a lifelong Democratic Party supporter with strong progressive convictions, which occasionally created difficulty for him as his period of greatest prominence coincided with the McCarthy era in the U.S. In 1947, he was part of the Committee for the First Amendment, the Hollywood delegation which flew to Washington to protest at the first official hearings by the House Committee on Un-American Activities. His first wife, Betsy Blair, was suspected of being a Communist sympathizer and when MGM, who had offered Blair a part in Marty (1955), were considering withdrawing her under pressure from the American Legion, Kelly successfully threatened MGM with a pullout from It's Always Fair Weather unless his wife was restored to the part.
Kelly died in his sleep on February 2, 1996, in Beverly Hills, California after a stroke – he had also suffered a stroke the year before. His body was cremated the same day and he had left instructions that there was to be no funeral and no memorial services.
{|class="wikitable" style="font-size: 90%;" border="2" cellpadding="4" background: #f9f9f9; |- align="center" ! style="background:#B0C4DE;" | Year ! style="background:#B0C4DE;" | Film ! style="background:#B0C4DE;" | Role ! style="background:#B0C4DE;" | Notes |- |1942 |For Me and My Gal |Harry Palmer | |- |rowspan=2|1943 |Du Barry Was a Lady |Alec Howe/Black Arrow | |- |Thousands Cheer |Private Eddie Marsh | |- |1944 |Cover Girl |Danny McGuire | |- |rowspan=2|1945 |Anchors Aweigh |Joseph Brady |Nominated — Academy Award for Best Actor |- |Ziegfeld Follies |Gentleman in 'The Babbit and the Bromide' | |- |1947 |Living in a Big Way |Leo Gogarty | |- |rowspan=2|1948 |The Pirate |Serafin | |- |Words and Music |Himself | |- |rowspan=2|1949 |Take Me Out to the Ball Game |Eddie O'Brien | |- |On the Town |Gabey | |- |1950 |Summer Stock |Joe D. Ross | |- |1951 |An American in Paris |Jerry Mulligan |Nominated — Golden Globe Award for Best Actor – Motion Picture Musical or Comedy |- |1952 |Singin' in the Rain |Don Lockwood | |- |rowspan=2|1954 |Brigadoon |Tommy Albright | |- |Deep in My Heart |Specialty in 'Dancing Around' | |- |1955 |It's Always Fair Weather |Ted Riley | |- |1956 |Invitation to the Dance |Host/Pierrot/The Marine/Sinbad | |- |1957 |Les Girls |Barry Nichols | |- |1958 |Marjorie Morningstar | | |- |1960 |Let's Make Love |Himself | |- |1964 |What a Way to Go! |Pinky Benson | |- |1966 |Les Demoiselles de Rochefort |Andy Miller | |- |1974 |That's Entertainment! |Himself |(also archive footage) |- |1976 |That's Entertainment, Part II |Himself |(also archive footage) |- |1980 |Xanadu |Danny McGuire | |}
In the popular TV show Family Guy, Seth McFarlene reused the clip in Anchors Aweigh (film) with Gene Kelly and Jerry mouse dancing, and replaced Jerry with Stewie in the episode "Road to Rupert".
Category:1912 births Category:1996 deaths Category:Academy Honorary Award recipients Category:Actors from Pittsburgh, Pennsylvania Category:American choreographers Category:American dancers Category:American film actors Category:20th-century actors Category:Traditional pop music singers Category:American film directors Category:American male singers Category:American tap dancers Category:American Roman Catholics Category:Burials at Westwood Village Memorial Park Cemetery Category:César Award winners Category:Chevaliers of the Légion d'honneur Category:Deaths from stroke Category:Emmy Award winners Category:American musicians of Irish descent Category:American people of Irish descent Category:Kennedy Center honorees Category:United States National Medal of Arts recipients Category:University of Pittsburgh alumni Category:Film choreographers
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| Name | Federico Fellini |
|---|---|
| Birth date | January 20, 1920 |
| Birth place | Rimini, Italy |
| Death date | October 31, 1993 |
| Death place | Rome, Italy |
| Occupation | Film director |
| Years active | 1945–1992 |
| Spouse | Giulietta Masina (1943–1993) (his death) |
Federico Fellini, Knight Grand Cross
Fellini cast American actor Broderick Crawford to interpret the role of an aging swindler in Il Bidone. Based partly on stories told to him by a petty thief during production of La strada, Fellini developed the script into a con man’s slow descent towards a solitary death. To incarnate the role’s “intense, tragic face”, Fellini’s first choice had been Humphrey Bogart La Dolce Vita contributed the term paparazzi to the English language, derived from Paparazzo, the photographer friend of journalist Marcello Rubini (Marcello Mastroianni).
Contemporary filmmakers such as Woody Allen, Pedro Almodovar, Tim Burton, Terry Gilliam, Emir Kusturica, David Lynch, Girish Kasaravalli, David Cronenberg, Martin Scorsese, and Juraj Jakubisko have cited Fellini's influence on their work.
Polish director, Wojciech Has, whose two major films, The Saragossa Manuscript (1965) and The Hour-Glass Sanatorium (1973) are examples of modernist fantasies, has been compared to Fellini for the sheer "luxuriance of his images".
I Vitelloni inspired European directors Juan Antonio Bardem, Marco Ferreri, and Lina Wertmuller and had an influence on Martin Scorsese's Mean Streets (1973), George Lucas's American Graffiti (1974), Joel Schumacher's St. Elmo's Fire (1985), and Barry Levinson's Diner (1987), among many others. When the American magazine Cinema asked Stanley Kubrick in 1963 to name his favorite films, the film director listed I Vitelloni as number one in his Top 10 list.
Nights of Cabiria was adapted as the Broadway musical Sweet Charity and the movie Sweet Charity (1969) by Bob Fosse starring Shirley MacLaine.
8½ inspired among others: Mickey One (Arthur Penn, 1965), Alex in Wonderland (Paul Mazursky, 1970), Beware of a Holy Whore (Rainer Werner Fassbinder, 1971), Day for Night (François Truffaut, 1973), All That Jazz (Bob Fosse, 1979), Stardust Memories (Woody Allen, 1980), Sogni d'oro (Nanni Moretti, 1981), Parad Planet (Vadim Abdrashitov, 1984), La Pelicula del rey (Carlos Sorin, 1986), Living in Oblivion (Tom DiCillo, 1995) , 8½ Women (Peter Greenaway, 1999), Falling Down (Joel Schumacher, 1993), along with the successful Broadway musical, Nine (Maury Yeston and Arthur Kopit, 1982). Yo-Yo Boing! (1998), a Spanish novel by Puerto Rican writer Giannina Braschi, features a dream sequence with Fellini that was inspired by 8½.
City of Women was adapted for the Berlin stage by Frank Castorf in 1992.
Fellini’s work is referenced on the albums Fellini Days (2001) by Fish and Funplex (2008) by the B-52's with the song Juliet of the Spirits, and in the opening traffic jam of the music video Everybody Hurts by R.E.M. It influenced two American TV shows, Northern Exposure and Third Rock from the Sun.
Certain of his film related material and personal papers are contained in the Wesleyan University Cinema Archives to which scholars and media experts from around the world may have full access. In October 2009, the Jeu de Paume in Paris opened an exhibit devoted to Fellini, running through to January 2010. The exhibition included Fellini ephemera, television interviews, behind-the-scenes photographs, and excerpts from La dolce vita and 8½. It also featured the Book of Dreams based on 30 years of illustrations and notes by Fellini.
;Primary sources
;Secondary sources
Category:1920 births Category:1993 deaths Category:Academy Honorary Award recipients Category:BAFTA winners (people) Category:European Film Awards winners (people) Category:Italian film directors Category:Surrealist filmmakers Category:Italian Roman Catholics Category:Deaths from myocardial infarction Category:People from Rimini Category:Cardiovascular disease deaths in Italy
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