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Otto Ludwig Preminger ( ⫽ ˈprɛmɪndʒər ⫽ PREM-in-jər, [1] German: [ˈɔtoː ˈpreːmɪŋɐ] ⓘ; 5 December 1905 – 23 April 1986) [2] was an Austrian-American theatre and film director, film producer, and actor. He directed more than 35 feature films in a five-decade career after leaving the theatre.
Preminger: The Ottobiography. Roger Ebert May 01, 1977. Tweet. The front cover: Preminger by Preminger by Bass. Lunch with Otto (1972) Skidoo: On the set with Preminger (1968) “You know you are really missing the best part of the book,” Otto Preminger said. I looked at my copy of "Preminger: An Autobiography." It seemed to be all there.
Oct 28, 1991 · Preminger: Anatomy of a Filmmaker: Directed by Valerie A. Robins. With Otto Preminger, Burgess Meredith, Saul Bass, Peter Bogdanovich. The life and films of iconic producer. director, and actor Otto Preminger are depicted through clips from his films and interviews with co-workers.
- (108)
- Documentary, Biography
- Valerie A. Robins
- 1991-10-28
May 21, 2002 · Preminger, Otto. b. December 5, 1905, Vienna, Austria. d. April 23, 1986, New York, USA. filmography bibliography articles in Senses web resources. Otto Preminger was born in 1905 (not 1906, as usually reported), the son of a prosecutor for the Austrian Empire. Otto studied law but wanted to become an actor, and at 17 joined the company of Max ...
- Chris Fujiwara
Nov 5, 2013 · Nov 5, 2013. Share. O tto Preminger, so beloved of Cahiers du cinéma in the late 1950s, has slipped out of the pantheon of American directors in recent decades. The final phase of his career, although prolific, yielded barely a film still discussed by film buffs today. And yet, in his heyday, Preminger embodied all the characteristics of the ...
May 29, 2012 · Neither of the two films won for Adapted Screenplay (Room at the Top) or Black and White Cinematography (The Diary of Anne Frank). Surprisingly, Otto Preminger wasn’t nominated for Direction. The film received no Oscars.
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Jul 31, 2006 · Preminger makes the set a site of staged exits and entrances, filming a living theatre of poor white hustlers seeking a lucky break. This is a classical Hollywood melodrama of sacrifice, suffering and redemption, but its naturalism is turned alchemically into artifice and its narcotic through-line was consciously high risk, transgressing as it pushed against the power of censorship.
