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Donald „Don“ Siegel (* 26. Oktober 1912 in Chicago, Illinois; † 20. April 1991 in Nipomo, Kalifornien) war ein US-amerikanischer Filmregisseur und Filmproduzent . Zu seinen wichtigsten Filmen gehören der Science-Fiction-Film Invasion of the Body Snatchers, der Polizeifilm Nur noch 72 Stunden, der Kriminalfilm Dirty Harry und der ...
27 de abr. de 2020 · Western Fidelity: The Cinema of Don Siegel. Spoken today, such a statement might arouse contention and debate, but it is far from unthinkable or even impertinent—as it might have been, say, in 1954, the year that Truffaut penned his politique; or in 1966, when Jean-Pierre Léaud played a man named “Donald Siegel” in Godard’s Made in U.S ...
Don Siegel, né Donald Siegel le 26 octobre 1912 à Chicago en Illinois et mort le 20 avril 1991 à Nipomo en Californie, est un réalisateur et producteur américain. Avec Sergio Leone , il fut l'autre mentor de Clint Eastwood qui dédia son film Impitoyable (1992) à ses deux réalisateurs fétiches.
Don Siegel. Don Siegel, vero nome Donald Siegel ( Chicago, 26 ottobre 1912 – Nipomo, 20 aprile 1991 ), è stato un regista, montatore e produttore cinematografico statunitense, considerato uno dei maestri del cinema poliziesco e d'azione statunitense [1] .
Jimmy Stewart also brings his charisma to lighten the mood playing Wayne’s doctor. The Shootist is nowhere near a masterpiece, but Siegel does a respectable job of filling the final piece of the puzzle that is John Wayne’s career. 9. The Beguiled (1971) What a strange film this one is, but strange fits the film.
11 de feb. de 2024 · Don Siegel, active between the 1940s and early '80s, was a versatile, hard-hitting director known for his tough, bleak narratives, often involving cynical loners with their own moral codes.
Best Don Siegel Films – Wrapping Up. Don Siegel was a prolific filmmaker who directed a wide range of films spanning several genres. Here are three of his best films: “Invasion of the Body Snatchers” (1956) – A sci-fi classic, “Invasion of the Body Snatchers” is a chilling allegory for the Red Scare and McCarthyism of the 1950s.
