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Edmund Goulding, född 20 mars 1891 i Feltham i Middlesex, död 24 december 1959 i Los Angeles i Kalifornien, var en brittisk filmregissör och manusförfattare . Edmund Goulding kom till USA 1921 och var från mitten av 1920-talet aktiv inom filmbranschen. Goulding regisserade filmer i vitt skilda genrer från komedi till drama, men hans mest ...
Whilst the film (based on the popular novel Menschen im Hotel by Vicki Baum) is superbly directed by Edmund Goulding and beautifully shot, it is unquestionably the performances that sell the film. Greta Garbo and Joan Crawford make an extraordinary contrast - Garbo the iconic screen goddess of the silent era, very expressive and intense, Crawford much more earthy and naturalistic, but just as ...
Edmund Goulding (20 March 1891 – 24 December 1959) was a British film writer and director. Goulding is best remembered for directing cultured dramas and such as Grand Hotel (1932) with Greta Garbo and Joan Crawford, Dark Victory (1939) with Bette Davis, and The Razor's Edge (1946) with Gene Tierney and Tyrone Power.
Nightmare Alley: Directed by Edmund Goulding. With Tyrone Power, Joan Blondell, Coleen Gray, Helen Walker. The rise and fall of Stanton Carlisle, a mentalist whose lies and deceit prove to be his downfall.
- 2 min
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Cyril J. Mockridge. Darkness lurks behind the bright lights of a traveling carnival in one of the most haunting and perverse film noirs of the 1940s. Adapted from the scandalous best seller by William Lindsay Gresham, Nightmare Alley gave Tyrone Power a chance to subvert his matinee-idol image with a ruthless performance as Stanton Carlisle, a ...
15 de abr. de 2004 · Edmund Goulding’s Dark Victory: Hollywood’s Genius Bad Boy is the first biography ever written about this eccentric genius of early-twentieth-century filmmaking. Goulding (1891–1959) was by turns a writer, producer, composer, and actor, but it is as a director that he made an indelible impression.
- Hardcover
- Matthew Kennedy
Edmund Goulding. ' [Matthew Kennedy on Edmund Goulding] His one blind spot in production seems to be the camera...When shooting a scene, Eddie was intent on capturing performers at their best and most truthful, but he left the mechanics of filming to his cameramen...he seemed adept at just about everything.'.
