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  1. Mitchell Leisen(Menominee, Míchigan6 de octubrede 1898–Los Ángeles, 28 de octubre1972) fue un productor, diseñador de vestuario y director de cine estadounidense. Índice 1Trayectoria 1.1En el mundo del cine 1.2El realizador 1.3Años finales 2Filmografía 3Premios y distinciones 4Referencias 5Bibliografía 6Enlaces externos Trayectoria[editar]

  2. James Mitchell Leisen (October 6, 1898 – October 28, 1972) was an American director, art director, and costume designer. Film career [ edit ] He entered the film industry in the 1920s, beginning in the art and costume departments.

    • Director, Art Director, Costume Designer, Producer
    • 1920–1967
  3. Tras un largo hiato televisivo, Mitchell Leisen regresó a la pantalla grande con el documental “Spree” (1967). Leisen falleció a causa de problemas del corazón el 28 de octubre de 1972. Tenía 74 años de edad. Estuvo casado con Sandra Gahle y se le rumorearon relaciones homosexuales, una de ellas con el bailarín Billy Daniel. No tuvo hijos.

  4. Mitchell Leisen, (born October 6, 1898, Menominee, Michigan, U.S.—died October 28, 1974, Los Angeles, California), American costume designer, art director, and film and television director. He was considered a “woman’s director” by dint of the affinity he demonstrated for actresses.

    • Michael Barson
  5. 8 de jun. de 2021 · James Mitchell Leisen was born into an affluent middle-class American family in 1898, right at the twilight of the 19th century. Suburban peace and familial security weren't lasting factors of his childhood, however. By the time Leisen was five, his parents were divorced.

  6. Mitchell Leisen was born on 6 October 1898 in Menominee, Michigan, USA. He was a director and art director, known for Death Takes a Holiday (1934), The Mating Season (1951) and Hold Back the Dawn (1941). He was previously married to Stella Yeager. He died on 28 October 1972 in Woodland Hills, Los Angeles, California, USA. Died October 28, 1972 (74)

  7. 20 de oct. de 2005 · When Mitchell Leisen died at the Motion Picture Country Home in 1972, both he and his films were largely forgotten. One of a host of old-style Hollywood directors who had not been rediscovered, re-interpreted or (in some cases) recreated as an auteur by Cahiers du cinéma, Leisen was remembered – grudgingly – as a minor artisan.