Famed for his macho mise-en-scene and resonant reworkings of classic action genres, Robert Aldrich became a model for many younger directors in the 1960s and 70s. Along with such figures as Roger Corm...
Cranston, Rhode Island, USA
|The Private Affairs of Bel Ami||first Assistant Director||n/a||23|
|Pardon My Past||first Assistant Director||n/a||23|
|The Big Night||Actor||Ringside Boxing Spectator||1|
|The Big Knife||Director||n/a||2|
|Hush ... Hush, Sweet Charlotte||Director||n/a||2|
|Too Late the Hero||Director||n/a||2|
|The Legend of Lylah Clare||Director||n/a||2|
|The Grissom Gang||Director||n/a||2|
|The Killing of Sister George||Director||n/a||2|
|The Longest Yard||Director||n/a||2|
|The Angry Hills||Director||n/a||2|
|All the Marbles||Director||n/a||2|
|Kiss Me Deadly||Director||n/a||2|
|The Last Sunset||Director||n/a||2|
|The Frisco Kid||Director||n/a||2|
|Ten Seconds to Hell||Director||n/a||2|
|What Ever Happened to Baby Jane?||Director||n/a||2|
|Sodoma e Gomorra||Director||n/a||2|
|The Flight of the Phoenix||Director||n/a||2|
|The Dirty Dozen||Director||n/a||2|
|World For Ransom||Director||n/a||2|
|Twilight's Last Gleaming||Director||n/a||2|
|The Emperor of the North Pole||Director||n/a||2|
|Four For Texas||Director||n/a||2|
|Four For Texas||Producer||n/a||3|
|Hush ... Hush, Sweet Charlotte||Producer||n/a||3|
|The Flight of the Phoenix||Producer||n/a||3|
|The Big Knife||Producer||n/a||3|
|Too Late the Hero||Producer||n/a||3|
|The Legend of Lylah Clare||Producer||n/a||3|
|The Grissom Gang||Producer||n/a||3|
|Whatever Happened to Aunt Alice?||Producer||n/a||3|
|The Killing of Sister George||Producer||n/a||3|
|World For Ransom||Producer||n/a||3|
|Kiss Me Deadly||Producer||n/a||3|
|What Ever Happened to Baby Jane?||Producer||n/a||3|
|Too Late the Hero||Screenplay||n/a||4000005|
|Ten Seconds to Hell||Screenplay||n/a||4000005|
|Four For Texas||Screenplay||n/a||4000006|
|Too Late the Hero||From Story||n/a||4000007|
|Four For Texas||From Story||n/a||4000008|
|Abbott and Costello Meet Captain Kidd||Assistant Director||n/a||5000005|
|The Prowler||Assistant Director||n/a||5000005|
|The Strange Love of Martha Ivers||Assistant Director||n/a||5000005|
|Body and Soul||Assistant Director||n/a||5000006|
|Force of Evil||Assistant Director||n/a||5000007|
|Fathers of Pop||Other||film extract("Kiss Me Deadly (1955))||26000006|
|Terror in the Aisles||Other||film extract("What Ever Happened to Baby Jane?" (1962))||26000007|
|Co-wrote (uncredited) "The Gamma People"|
|Scored immense financial success with "The Dirty Dozen"; subsequently bought studio facility|
|Formed production company|
|Worked as assistant director on films by directors such as Lewis Milestone, Abraham Polonsky, Joseph Losey and Charles Chaplin; first film as assistant director, Jean Renoir's "The Southerner"|
|Produced and directed "Whatever Happened to Baby Jane?"|
|First film as producer (associate), "Ten Tall Men"; also had bit part in Joseph Losey's "The Big Night"|
|Reverse in fortunes lead to sale of studio facility|
|Through an uncle, got a job as a production clerk at RKO|
|Directed final film, "The Angry Hills"|
|Directed most of "The Garment Jungle"; (film completed by, and credited to, Vincent Sherman)|
|Feature directing debut, "The Big Leaguer"|
|Wrote and directed episodes of such TV series as "The Doctor" and "China Smith"|
Dropping out of college and the career in banking or politics expected by his prominent Republican family (John D Rockefeller Jr was an uncle by marriage), Aldrich entered film as a clerk at RKO in 1941. He rose through the ranks as a second assistant director, first assistant (working with Chaplin and Renoir, among others), production manager, studio manager and screenwriter under contract to Enterprise Studios (1946-48).
In the early 1950s, Aldrich directed episodes of several TV series, including the syndicated "China Smith" and NBC's "The Doctor", before finally making his feature film debut in 1953 with "The Big Leaguer". This low-budget film starred Edward G Robinson in one of his first roles after being cleared of the "red" taint by the House Committee on un-American Activities. The actor was sorely miscast as the manager of a training camp for baseball players, not to mention, Aldrich would later recall, low on self-confidence after being away from the screen for nearly two years. The result was not stellar in Robinson's canon, but it did establish that Aldrich could direct a film under budget and ahead of schedule. The director soon formed his own company, Associates and Aldrich, to assume more control of his career; he then produced most of the films he directed and also contributed to their screenplays. Aldrich's work aggressively confronted controversial social and political issues. Taking uncompromising positions in familiar genres and revising genre conventions, he challenged both the studio system and audience expectations.
Aldrich's dominant theme was man's efforts to prevail against both impossible odds and institutional oppression. In "Apache" (1954), the only tribal leader left unconquered after the defeat of Geronimo refuses to be subjugated by the white man but is also, ultimately, alienated from his own people. Aldrich returned to the same subject 18 years later in "Ulzana's Raid" (1972), in which an Apache leader breaks the reservation's institutional constraints, vowing to recapture lost land. In depicting the brutal savagery of the white soldiers, who are oblivious to the hostility they cause, Aldrich refuses to allow his characters the traditional redemption offered by the Western genre.
In "The Big Knife" (1955), the Hollywood studio system was shown as nurturing dictatorial leaders who push individuals to compromise and suicide. (The film, which won the Silver Award at the Venice Film Festival, contains blatant allusions to real-life moguls Harry Cohn and Jack Warner). "Whatever Happened to Baby Jane?" (1962) and "The Legend of Lylah Clare" (1968) continued to present a Hollywood breeding jealousy and empty myths rooted in egomania.
In "Attack!" (1956), the combination of cowardice and political compromise displayed by military officers destroys the common soldiers under their command. "Attack!" was criticized for Aldrich's violent, often frantic mise-en-scene: for example, a soldier's arm is slowly crushed under a tank in a shot that can be taken as a metaphor for the results of institutional military incompetence. "The Dirty Dozen" (1967) reiterated Aldrich's contemptuous view for a military machine which dehumanized its subjects in order to make them capable of killing. The violent "heroics" of Robert Jefferson (Jim Brown)--dropping grenades that engulf trapped German officers in flames--illustrated how vicious men become under adversity.
Cynicism and pessimism permeated Aldrich's work. In the fatalistic "Kiss Me Deadly" (1955), private detective Mike Hammer attempts to track down the "great whatsit," a suitcase-sized atomic device which has been stolen by a spy; but the spy's greedy mistress opens the case, unleashing the device's deadly power in an apocalyptic finale. The film is arguably the director's most aesthetically striking and original, a hyper-kinetic reworking of the film noir genre that has become something of a cult favorite.
The abuse of institutional power motivates a terrorist in the political thriller "Twilight's Last Gleaming" (1977). A rogue general captures a nuclear missile silo and demands that the President read on national TV a Joint Chiefs of Staff memo admitting that over 50,000 Americans and 100,000 Southeast Asians died in a war the government knew America could never win. He insists that the President restore public confidence by calling the Vietnam war a "theatrical holocaust perpetrated by the criminally negligent." In Aldrich's cynical world-view, the Joint Chiefs sacrifice the President in order to maintain the credibility of the military complex.
On a smaller scale, "Hustle" (1975) reflects Aldrich's bleak vision of institutional betrayal. Gus, a police detective, can't win justice for the parents of a girl who accidentally drowned after an orgy with a protected leader of organized crime. Gus breaks the law to effect vengeance for the girl's father, then is himself killed by a petty criminal holding up a convenience store.
"All The Marbles" (1981), Aldrich's last film, was largely neglected by critics and audiences. It depicted two women wrestlers who confront the greed, sexism and humiliation of the wrestling world. Aldrich explicitly equated the physical abuse suffered by the women in the ring with the social abuse they suffered struggling for success and respect in a male-dominated field.
|Mrs John D Rockefeller||Aunt|
|Adell Aldrich||Daughter||born in 1943; mother, Harriet Foster|
|Alida Aldrich||Daughter||appeared as a child in "Hush Hush ... Sweet Charlotte"; mother, Harriet Foster|
|Kelly Aldrich||Son||appeared as a child in "Hush Hush ... Sweet Charlotte", later worked as a driver on his father's films; mother, Harriet Foster|
|William Aldrich||Son||born in 1944; produced 1991 TV remake of "What Ever Happened to Baby Jane?"; mother, Harriet Foster|
|Harriet Foster||Wife||divorced; mother of Aldrich's four children|
|Sybille Siegfried||Wife||married in 1965; survived him|
|University of Virginia|
|Moses Brown School|
|He served as president of the Directors Guild of America from 1975 to 1979. A special award presented by the Guild was created posthumously.|
|While being interviewed for "Little Caesar: A Biography of Edward G Robinson" (New English Library, 1983), Aldrich said that he thought the only reason he had not been blacklisted along with many Hollywood notables was because he was only a low-level assistant director at the time of the red hunt.|
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