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1 de nov. de 2022 · Mitchell Leisen, el director invisible. Publicado el1 de noviembre de 2022por Jose Miguel García de Fórmica-Corsi. ¿Quién rayos es Mitchell Leisen ?, me pregunté durante muchos años. Teniendo en cuenta que la primera película que pude ver de él, Una chica afortunada (1937), fue rondando la veintena, y que desde los diez o doce años ...
Mitchell Leisen (1898 - 1972) fue un director y actor de Estados Unidos conocido por Medianoche, Si no amaneciera, Recuerdo de una noche, Una chica afortunada, Mentira latente, La muerte de vacaciones, La vida íntima de Julia Norris, Adelante, mi amor, Capricho de mujer y Candidata a millonaria
David Chierichetti’s Mitchell Leisen: Hollywood Director (Photoventures Publishing), first published in 1973 and reprinted in 1995, which started out as an Oral History of interviews with Leisen and people who worked with him, is an essential read, as well as the only book about him. History is unforgiving, implacable and, once written ...
From Wikipedia, the free encyclopedia. Mitchell Leisen (b. October 6 1898, Menominee, Michigan–d. October 28 1972, Los Angeles) was an American director, art director, and costume designer. Description above from the Wikipedia article Mitchell Leisen, licensed under CC-BY-SA, full list of contributors on Wikipedia
Midnight: Directed by Mitchell Leisen. With Claudette Colbert, Don Ameche, John Barrymore, Francis Lederer. A chorus girl stranded in Paris is set up by a millionaire to break up his wife's affair with another man, while being romantically pursued by a cab driver.
La bribona es una película dirigida por Mitchell Leisen con Paulette Goddard, Ray Milland, Patric Knowles, Reginald Owen .... Año: 1945. Título original: Kitty. Sinopsis: Una farsa con cierto estilo según la novela de Rosamund Marshall, que bebe directamente de la idea de Pigmalión. Esta vez se traslada la acción al Londres del siglo XVIII, donde unos conspiradores ...Puedes ver La ...
22 de dic. de 2023 · Mitchell Leisen in 1948 | image: public domain, via Wikimedia Commons Leisen’s vision was no less singular than that of Sturges or Wilder, but it had a different essence: If Sturges and Wilder became known as iconoclastic auteurs for their rigorous, uncompromising treatment of their own screenplays, Leisen readily assimilated the voices and skills of his collaborators into his films.
