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William Wellman |
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Director |
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1896 - 1975 |
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Born February 29,
Brookline, Massachusetts, USA |
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Key
Production Country: USA |
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Key Genres: Drama,
Western, Adventure, Crime, Action,
Combat Films,
War, Adventure Drama, Crime Drama |
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Key
Collaborators:
Cedric Gibbons (Production Designer), Andy Devine (Leading Character
Player), Alfred Newman (Composer), James Basevi (Production Designer), Adolphe Menjou (Leading
Player), Dore Schary (Producer), Robert Fellows (Producer), Joan Blondell (Leading Character Player),
William Mellor (Cinematographer), John
Dunning (Editor) |
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Highly Recommended:
The Public Enemy (1931) |
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Recommended:
Beggars of Life (1928), Other Men's Women (1931), Heroes for Sale (1933),
Midnight Mary (1933), A
Star is Born (1937), Beau Geste (1939), The Ox-Bow Incident (1943), Magic Town (1947),
Yellow Sky (1948), Battleground (1949), Track of the Cat (1954) |
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Worth
a Look: Wings (1927),
Night Nurse (1931), Safe in Hell (1931), Wild Boys of the Road
(1933), Nothing Sacred (1937), Roxie Hart (1942), The Story of G.I. Joe
(1945), Across the Wide Missouri (1951), Westward the Women (1951), The
High and the Mighty (1954) |
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Approach with Caution:
Small Town Girl (1936), Buffalo Bill (1944), The Iron Curtain (1948),
The Next Voice You Hear (1950), Island in the Sky (1953) |
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Links:
[
Amazon
] [
IMDB ] [
TCMDB ] [
All-Movie
Guide ] [
Film Reference ]
[
Wild Bill:
Hollywood Maverick ] [
The
Wild Man of Hollywood ] [
Wikipedia ] [
Cinema-Scope Article (2007)
] |
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Books: [
William
A. Wellman (Filmmakers, No 4) ] [
The
Man and His Wings: William A. Wellman and the Making of the First Best Picture
] |
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"Although
William Wellman's name is most often associated with action
pictures, gaining him a reputation for working mainly with men,
he brought his expertise to bear on a range of genres in the
best Hollywood manner. Wellman earned the nickname "Wild Bill"
for his impatience with actors, his devil-may-care personality,
and his spell as a pilot in World War I."
-
Ronald Bergan (Film - Eyewitness Companions, 2006) |
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"Wellman was an
efficient, erratic journeyman, as good as his material. Though
praised for his handling of vigorous masculine action in war
movies (Wings, The Story of GI Joe), thrillers (The
Public Enemy), westerns and outdoor adventures (Beggars
of Life, Wild Boys of the Road), he was at his
best with dark satire and melodrama, where his cynicism about
modern mores enhanced sparkling scripts by Dorothy Parker (A
Star is Born), Ben Hecht (Nothing Sacred), and
Nunnally Johnson (Roxie Hart)." -
Geoff
Andrew (The Director's Vision, 1999) |
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"With
Wellman, crudity is too often mistaken for sincerity. What is at
issue here is not the large number of bad films he has made, but
a fundamental deficiency in his direction of good projects. On
parallel subjects, he runs a poorer second to good directors
than he should... Wellman, like
Wyler,
Huston, and
Zinnemann, is
a recessive director, one whose images tend to recede from the
foreground to the background in the absence of s strong point of
view." -
Andrew
Sarris (The American Cinema, 1968)
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"Expressing themes of courage, loyalty, and rugged individualism
in a stark, semirealist style was the essence of Wellman's
career. He lensed classic crime dramas, Westerns, war films,
social explorations, and comedies with the same hard,
sentimental simplicity." -
William R. Meyer (The Film Buff's Catalog, 1978) |
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Please
note that the rating given for this director (see top-right) is based
only on the films we have seen (listed above). Films by this director
that we haven't seen include The Boob (1926), Chinatown Nights (1929), Dangerous Paradise
(1930), Maybe It's Love (1930), Star Witness (1931), The Conquerors
(1932), The Hatchet Man (1932), Love is a Racket (1932), The Purchase
Price (1932), So Big! (1932), Central Airport (1933), College Coach
(1933), Frisco Jenny (1933), Lilly Turner (1933), Stingaree (1934), The Call of the Wild (1935), The
Robin Hood of El Dorado (1936), Men with Wings (1938), The Light That
Failed (1939), Reaching for the Sun (1941), The Great Man's Lady (1942),
Thunder Birds (1942), Lady of Burlesque (1943), This Man's Navy (1945),
Gallant Journey (1946), The Happy Years (1950), My Man and I (1952),
Blood Alley (1955), Good-bye, My Lady (1956), Darby's Rangers (1958) and
Lafayette Escadrille (1958). |
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8+ |
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"William
Wellman’s critical reputation is in many respects still in a
state of flux long after re-evaluations and recent
screenings of his major films should have established some
consensus of opinion regarding his place in the pantheon of
film directors. While there is some tentative agreement that
he is, if nothing else, a competent journeyman director
capable of producing entertaining male-dominated action
films, other opinions reflect a wide range of artistic
evaluations, ranging from comparisons to
D.W. Griffith
to outright condemnations of his films as clumsy and
uninspired. His own preferred niche, as indicated by his
flamboyant personality and his predilection for browbeating
and intimidating his performers, would probably be in the
same general class as highly masculine filmmakers like
Howard Hawks,
John Ford,
and Raoul
Walsh."
-
Stephen L. Hanson, International
Dictionary of Film and Filmmakers |
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●
Top 250 Directors |
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●
Less
Than Meets the Eye |
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●
Jean-Pierre Melville's 64 Favourite Pre-War American Filmmakers
(Cahiers du Cinema, October 1961) |
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●
501 Movie Directors: A
Comprehensive Guide to the Greatest Filmmakers |
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See Also |
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Jack Conway |
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Michael Curtiz |
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Edward Dmytryk |
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John Ford |
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Henry Hathaway |
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Howard Hawks |
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John Huston |
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Henry King |
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Mervyn LeRoy |
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Lewis Milestone |
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King Vidor |
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Raoul Walsh |
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