Robert Clouse (March 6, 1928 – February 4, 1997) was an American film director and producer, known primarily for his work in the action/adventure and martial arts genres. He died on February 4, 1997, in Oregon of kidney failure.

Clouse directed Bruce Lee in Lee's second English-speaking film starring role (the other being Marlowe), 1973's Enter the Dragon.

After Lee's death, Clouse completed Lee's final film The Game of Death and released it as Game of Death in 1978 with a new storyline and cast. Other projects included Black Belt Jones (1974), Darker than Amber (1970), China O'Brien  (1990), Jackie Chan's The Big Brawl (1980), Gymkata (1985), The Ultimate Warrior (1975), among others.

Early life
Before becoming a director, Clouse worked as a still photographer for CBS Television and served in the military. He was also completely deaf, relying on assistant directors later on in his career to verify that actors had delivered their lines correctly.

Short films (1960s)
Clouse was also nominated, twice, for an Oscar for his short films The Legend of Jimmy Blue Eyes (1964) and The Cadillac (1962). At the 1964 Cannes Film Festival, his film The Legend of Jimmy Blue Eyes was also nominated for the Palme d'Or for Best Short Film. For The Legend of Jimmy Blue Eyes, Clouse was awarded a Golden Globe and an award at the Edinburgh Film Festival.

1970s
Clouse made his feature directorial debut with Dreams of Glass, a love story between an Asian girl and white boy, starring John Denos and Caroline Barrett. He then followed that film with Darker Than Amber (1970) (based on the John D. MacDonald novel of the same name) and starring Rod Taylor as the protagonist, Travis McGee. Both films were completed and released in 1970, however Darker than Amber was released in theatres before Dreams of Glass arrived.

In 1971, Clouse directed an episode of the action-crime TV show Ironside, entitled "Gentle Oaks" (1971). Ironside also featured Bruce Lee as Leon Soo, a Karate/Aikido/Judo instructor in a martial arts school (in the episode "Tagged for Murder" (1967)), an icon with whom Clouse would later collaborate for much of his career. In 1973, he directed Enter the Dragon. After that film, Clouse directed Black Belt Jones (1974). The rest of the 1970s for Clouse would yield the films Golden Needles (1974), The Ultimate Warrior (1975) (director and screenwriter), The Pack (1977) (director and screenwriter), The Amsterdam Kill (1977) (director and screenwriter), Game of Death (1978),  The London Connection (1979), and two episodes of Walt Disney's Wonderful World of Color.

Enter the Dragon
In 1973, Clouse collaborated with Bruce Lee and directed his most iconic, immortal and memorable film, Enter the Dragon, working with Jim Kelly for the first time, which he would collaborate again with in his following film, Black Belt Jones (1974). Enter the Dragon was well received by critics upon its release, grossed an estimated $25,000,000 in North America, and an estimated $90,000,000 worldwide on a tight budget of just $850,000. It was also considered by many as one of the best films of 1973.

In 1999, Enter the Dragon grossed more than $200,000,000 worldwide and in 2004, Enter the Dragon was deemed "culturally significant" in the United States and selected for preservation in the National Film Registry.

Clouse would collaborate with several actors from Enter the Dragon on his later films, including Bruce Lee (at least archival footage of Bruce Lee, in Game of Death (1978)), Jim Kelly in Black Belt Jones (1974), Robert Wall in both Game of Death (1978), Keye Luke (who provided the voice of Mr. Han in Enter the Dragon (1973)) in The Amsterdam Kill (1977), and Bolo Yeung in Ironheart (1992).

Game of Death
In 1978, Clouse re-teamed with Bruce Lee again for Game of Death (1978) (director and screenwriter), having to finish the footage in creative ways after Lee's death. For that film, he made a trip to Hong Kong, where Golden Harvest's Raymond Chow hired him in order to direct a "comeback" film for Lee, despite the fact that Lee had died in 1973, five years earlier. Clouse was provided incomplete footage from Lee's original version of The Game of Death that had already been filmed, but ultimately made the creative decision to use a small portion of that footage, primarily due to the fact that the film's plot and story had been re-done many times in a multitude of Hong Kong cinema films after Lee's death. By enlisting some of Lee's friends, including Bob Wall and Sammo Hung, editing in footage from other Bruce Lee movies (as well as using the originally shot The Game of Death footage), and relying on a number of Bruce Lee stand-ins and look-alikes, Clouse was able to make the film.

1980s
During the 1980s, Clouse directed a TV movie entitled The Kids Who Knew Too Much (1980) (based on one of the episodes he directed for the TV show, Walt Disney's Wonderful World of Color) and decided to take a chance with Jackie Chan for The Big Brawl (1980) (director and screenwriter), which Chan stated was a failure because he didn't get a chance to direct the action scenes the way he wanted to.Jackie Chan, Jeff Yang, I am Jackie Chan: My Life in Action.

In the 1980s, Clouse also directed Force: Five (1981; which he co- wrote). He followed that film with Deadly Eyes (1982) and also directed an episode of  The Master called "Max" (1984). His last film of the 1980s was Gymkata (1985).

In 1985, he launched The Hawk Corporation, with Republic Pictures, who had access to 31 home video projects, giving them a 24% stake in the new company, and Clouse controlling a 52% share in the new company, in order to launch all direct-to-video projects.

1990s
In the 1990s, his final decade of directing films, Clouse directed China O'Brien (1990), and its direct-to-video sequel, China O'Brien II (1990). Clouse's final film was Ironheart (1992), a film for Bolo Yeung, and which was created as a showcase for the film's producer, Britton K. Lee.

TV work
Clouse was one of the directors of the television series The Master, which was broadcast in 1984 and featured a ninja called "Okasa", a recurring character played by Sho Kosugi. The episode of The Master he directed was entitled "Max" (1984). He directed episodes of Walt Disney's Wonderful World of Color in the late 1970s and early 1980s - "The Kids Know Too Much" (1980) and "The Omega Connection" (1979). In the 1970s, he also directed an episode of Ironside entitled "Gentle Oaks".

Writing work
Clouse wrote the screenplay (or story) for most of his films, including Dreams of Glass (1970), The Ultimate Warrior (1975), The Pack (1977), The Amsterdam Kill (1977), Game of Death (1978; also credited as Jan Spears), The Big Brawl (1980), Force: Five (1981), China O'Brien (1990) and China O'Brien II (1990). He wrote the screenplays for Something Evil (1972). and Happy Mother's Day, Love George (1973).

Death
Clouse died on February 4, 1997, of kidney failure. His remains were cremated and scattered into the Pacific Ocean.

Bruce Lee biography
Clouse also wrote and published a biography on Lee, entitled Bruce Lee: The Biography which was published in 1989 by Unique Publications. The book's description recites "Finally, the truth can be told about Bruce Lee's remarkable life and tragic death. Close personal friend and director of Bruce's greatest movie, Robert Clouse, reveals his first-hand memories of Bruce and includes interviews with Bruce's family, friends and colleagues in order to tell us the true story of how Bruce lived and died. Also included are numerous photos, many never before made available to the public." The book was also used as one of the source materials for Rob Cohen's film, Dragon: The Bruce Lee Story (1993).

An excerpt from the book, in Clouse's voice, reads:

My direct contact with Bruce Lee occurred between November 1972 and June 1973 when I started pre-production of the film Enter The Dragon and through the post-production period when Bruce came to the Warner Brothers Studio in Burbank, California, to complete some dubbing of dialogue that had been poorly recorded in Hong Kong. Many of the people I interviewed for this book I had known from that time, but many others I met for the first time during research of Bruce Lee. My perceptions of Bruce were dented and bent from what I knew about him; others were destroyed. Piecing together the portrait is imprecise, but the attempt goes on.

 Filmography

 Films
+TitleYearDirectorWriterProducerNotesThe Cadillac1962Short filmThe Legend of Jimmy Blue Eyes1964Short filmDarker Than Amber1970Dreams of Glass1970Directorial debutHappy Mother's Day, Love George1973Enter the Dragon1973Cameo: Thugs #1Black Belt Jones1974Golden Needles1974The Ultimate Warrior1975The Amsterdam Kill1977The Pack1977Game of Death1978Cameo: Carl's Second #1The London Connection1979The Big Brawl1980Force: Five1981Deadly Eyes1982Gymkata1985China O'Brien1990China O'Brien II1990Direct-to-video filmIronheart1992Final film

 Television
TitleYear(s)DirectorWriterNotesIronside1971Episode "Gentle Oaks"Something Evil1972TV filmDisneyland1979-19802 episodesThe Master1984Episode "Max"

References

External links

Category:1928 births
Category:1997 deaths
Category:Deaths from kidney failure
Category:Action film directors
Category:American film directors
Category:Screenwriters from Wisconsin
Category:Place of birth missing
Category:20th-century American screenwriters

Robert Clouse ( March 6 , 1928 – February 4 , 1997 ) was an American film director and producer , known primarily for his work in the action / adventure and martial arts genres .

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From All Movie Guide: Director Robert Clouse specialized in Hong Kong martial arts actioners and is best known for helming Bruce Lee's Enter the Dragon (1973). Before becoming a director, Clouse served in the military and was a still photographer for CBS television. In 1964, Clouse recieved a Golden Globe, an award at the {~Edinburgh Film Festival}, and an Oscar nomination for his short feature The Legend of Jimmy Blue Eyes. He received a second Oscar nomination for his film The Cadillac which he wrote and directed. In 1972, he penned the screenplay for the Steven Spielberg-directed TV movie Something Evil. Clouse died of kidney failure in his Ashland, OR, home at age 68. ~ Sandra Brennan, Rovi
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Question: who was the director of the martial arts films

Answer: Robert Clouse

Question: robert clouse was known for his work in what genres

Answer: action/adventure and martial arts

Question: robert clouse is best known for his work in which martial arts genre

Answer: martial arts

Question: what was robert clouse's birth date

Answer: March 6, 1928

Question: what year did robert clouse die

Answer: 1928

Question: robert clouse was known for his work in which genres

Answer: action/adventure and martial arts genres

Question: what genre of film did robert clouse work in

Answer: action/adventure

what genre of film did robert clouse work in

Early life Before becoming a director , Clouse worked as a still photographer for CBS Television and served in the military .

He was also completely deaf , relying on assistant directors later on in his career to verify that actors had delivered their lines correctly .

Biography
Overview (3)
|Born||in Denison, Iowa, USA|
|Died||in Ashland, Oregon, USA (kidney failure)|
|Birth Name||Robert Byron Clouse|
Mini Bio (1)
A hard-working director throughout his long and varied career, Robert Clouse was best-known for his two most successful films: Enter the Dragon (1973) and Game of Death (1978). Born in 1928, he was a director who worked mainly in the visuals of cinema, owing to the fact that he was completely deaf, he employed assistant directors who could verify that actors had delivered their lines correctly. After being hired by Warner Bros. and Golden Harvest to direct Enter the Dragon (1973), Clouse was escalated into the realm of profitable directors. But, unlike others in this category, doors in Hollywood were not entirely open to him. In 1974, he was hired to direct Black Belt Jones (1974) for Warner Brothers Pictures. The film proved to be a moderate success.
In 1978, Clouse returned to Hong Kong where he was hired by Golden Harvest's Raymond Chow to direct a comeback movie for Martial Artist Bruce Lee, despite the fact that Lee had died five years earlier. Clouse was given the incomplete footage from Lee's original version of Game of Death, but decided that only a small amount of this footage should be used (mainly because the original film's plot had been re-created countless times in Hong Kong cinema since Lee's death). With the help of Sammo Kam-Bo Hung and Robert Wall, among others, Clouse shot several Bruce Lee lookalikes and stand-ins as well as cutting back to footage from other Lee movies and, of course, the original Game of Death takes. Clouse was never able to match the success of his two Lee films later in his career. He died in 1997, aged 68.
- IMDb Mini Biography By: James Dingsdale (updated by R.M. Sieger)

Question: where did clouse serve in the military

Answer: military

Question: where did clouse work before becoming a director

Answer: CBS Television

Question: what did clouse do before becoming a director

Answer: still photographer

Question: what was clouse's deafness

Answer: deaf

Question: what position did clouse hold before becoming a film director

Answer: director

Question: who did clouse rely on to verify actors were speaking correctly

Answer: assistant directors

Question: what television network did clouse work for before becoming a director

Answer: CBS

Enter the Dragon In 1973 , Clouse collaborated with Bruce Lee and directed his most iconic , immortal and memorable film , Enter the Dragon , working with Jim Kelly for the first time , which he would collaborate again with in his following film , Black Belt Jones ( 1974 ) .

Greatest Films of the 1970s
1970 | 1971 | 1972 | 1973 | 1974 | 1975 | 1976 | 1977 | 1978 | 1979
Title Screen Film Genre(s), Title, Year, (Country), Length, Director, Description
Amarcord (1973, It./Fr.) (aka Fellini Amarcord), 127 minutes, D: Federico Fellini
American Graffiti (1973), 110 minutes, D: George Lucas
In pre-Kennedy assassination America and in the pre-Vietnam War era, a time of innocence, this nostalgic, coming-of-age story featured the songs of its era, in a classic sound-track provided by Wolfman Jack's Rock 'n' Roll radio show. Director George Lucas memorialized his own teenage years in Modesto, California in this episodic, idealized, low-budget tale of a bygone era with numerous complex subplots during a series of misadventures. It was followed by the inevitable sequel: More American Graffiti (1979), and the TV show Happy Days (1974-1984) was a successful spin-off (as was Laverne & Shirley (1976-1983)). On their final summer night after their Class of 1962 graduation, two clean-cut, college-bound California high schoolers were introduced -- studious Curt Henderson (Richard Dreyfuss) (who had reservations about his future and leaving town) and popular senior-class president Steve Bolander (Ron Howard) - with girlfriend, upcoming senior, and head cheerleader Laurie Henderson (Cindy Williams) (Curt's sister). They and others cruised the streets of their N. California town in their hot rods, and hung out at Mel's Diner (featuring waitresses on roller skates). Other characters included 22 year-old, local drag-race champion and auto mechanic John Milner (Paul Le Mat) and out-of-town hot-rodder Bob Falfa (Harrison Ford) driving a black 1955 Chevy, gawky and nerdy Terry "the Toad" Fields (Charles Martin Smith), bratty 13 year-old Carol (Mackenzie Phillips), a mysterious and elusive blonde girl in a white 1956 T-Bird (Suzanne Somers), and an experienced pretty blonde Debbie (Candy Clark). John was compelled to protectively baby-sit and watch over Carol who rode in his yellow deuce coupe, while Curt became mesmerized by a glimpse of an unidentified sexy female in the white Thunderbird who mouthed the words to him: "I love you" - and he became obsessed with locating her all night long. Terry had borrowed Steve's 1958 Chevy Impala for the evening, and became acquainted with puffy-haired Debbie, but the car was stolen (while they were necking on a blanket) and he sought rescue by John from threatening thieves. In the pre-dawn hours, a drag-race was conducted between John and Falfa (with Laurie riding with him) on isolated Paradise Road - the race ended with John's victory after Falfa's car flipped, although miraculously no one was seriously injured. The film concluded with Laurie reuniting with Steve, and DJ Wolfman reading Curt's dedication-message on the radio to the blonde - who responded that she would be cruising 3rd Street that evening. However, by this time, Curt had become decisive about his future - he would definitely be leaving town by plane for college in just a few hours. On the other hand, Steve decided to postpone his departure to stay with Laurie, but saw Curt off at the airport in the morning. The postscript of the film briefly described the futures of four characters: John was killed by a drunk driver, Terry was MIA in Vietnam, Steve was employed as a Modesto, CA insurance agent, and Curt was in Canada as a writer.
Badlands (1973), 95 minutes, D: Terrence Malick
29 year-old director/writer Terrence Malick's daring debut film was inspired and based on the murder spree of a killing, loving couple, 19 year-old Charles Starkweather and 14 year-old Caril Ann Fugate, in the late 1950's in Nebraska and bordering states. The disturbing, complex character study, a coming-of-age crime drama, observed the twisted, strange actions of two young fugitives on a senseless, emotionally-apathetic, and casual homicidal spree from her small South Dakota hometown, and how they ensured their immortality through unplanned or unintentional murders before being apprehended. The film opened with the deadpan-toned, off-screen narration of one of the two main characters - a young, transplanted, motherless South Dakotan living in the small town of Fort Dupree: naive, lackadaisical, starry-eyed, celebrity magazine-addicted and impressionable 15 year old teenager Holly Sargis (Sissy Spacek), who was baton-twirling in the street. The girl concluded her first statement with: "Little did I realize that what began in the alleys and backways of this quiet town would end in the Badlands of Montana." Holly was introduced to the unstable, social outcast, and misfit garbage collector who soon became her boyfriend - a charismatic, 25 year-old Kit Carruthers (Martin Sheen, a James Dean look-alike), a troubled Korean War vet. Holly's widowed, house-painter-employed father Mr. Sargis (Warren Oates) disapproved of his daughter's growing romance with Kit, by coldly executing her beloved pet dog in a field, and ordered Kit to never see Holly again. In retaliation, Kit broke into Holly's house and pressured Holly to run away with him; when her over-protective and abusive father protested and threatened to call the police, Kit non-chalantly shot him dead - as Holly impassively observed. Holly seemed ready to become Kit's good-girl-gone-bad partner, when he torched Holly's house (and attempted to fake their fiery suicide with a recorded suicide-note left behind). The two then fled from town after detouring to Holly's high school to pick up her books. At first, the couple hid-out and 'played house' at a treehouse that they constructed by a river bank - equipped with various traps and warning systems to alert them to trespassers, and survived by fishing and stealing chickens. Their idyllic time in their temporary home ended when three bounty hunters discovered their hideout and Kit ambushed and killed them. Kit and Holly drove to the isolated, solitary farmhouse of Kit's former garbage collector co-worker Cato (Ramon Bieri), but their stay ended badly when Kit killed him and also executed some of his visiting friends who were led to a storm celler and brutally shot. They were now forced to leave a second (or third) major crime-murder scene of their own making. The two become notorious fugitives in the Midwest, as their romanticized, celebrity folk hero status was being propagated by the popular media. They broke into a four-story Victorian mansion where they held the rich owner (John Carter) and his deaf maid (Dona Baldwin) hostage for awhile, before stealing clothes, supplies, and the man's black Cadillac to continue their cross-country flight toward the Badlands and wild frontier area of Montana - and later into Saskatchewan, Canada. During the last leg of their journey, one night, they danced in their Cadillac's headlights (to the tune of Nat King Cole singing A Blossom Fell on the radio). Ultimately, their crime spreed ended when they were spotted by a police helicopter and Holly (who was tired of running) refused to join him and promptly surrendered; Kit led state troopers and a Sheriff on a wild chase before the attention-seeking Kit calmly gave up - he marked the spot where he was apprehended with a rock cairn; both Holly and Kit were detained and handcuffed, and shortly later at an airport hangar, Kit offered souvenirs (some of his personal possessions, such as his comb) to idolizing deputies. In the final voice-over as the film concluded, Holly informed everyone that Kit was executed in the electric chair and his body was donated to science, and that she was only considered as an accessory to her partner's crimes (even though she stood by impassively and cooperatively). She pursued her marital dreams by marrying her lawyer's son, and also told how Kit's charming nature could entrance murderers in prison and law officers.
Day For Night (1973, Fr./It.) (aka La Nuit Americaine), 115 minutes, D: François Truffaut
The Day of the Jackal (1973, UK/Fr.), 143 minutes, D: Fred Zinnemann
Don't Look Now (1973, UK/It.), 110 minutes, D: Nicolas Roeg
Based on a short story by Daphne De Maurier - this supernatural, mysterious, eerie, psychological thriller told about a British couple in Venice. Following the tragic, accidental drowning of their daughter, John and Laura Baxter (Donald Sutherland and Julie Christie) traveled to Venice where he worked on restoring a church, still shattered and haunted by their child's death. The film was highlighted by their extended love-making scene while both were dressing for dinner. In the off-season resort, they met two elderly sisters, Wendy and Heather (Hilary Mason and Clelia Matania), one of whom was blind but claimed to be psychic. She insisted that, in visions, she saw the spirit of the Baxters' red-coated daughter, and possessed a message of warning from the dead child. While John was skeptical and resistant, he caught a flashing, random glimpse of a red-raincoated 'child' darting around a dark street corner alley - and he saw Laura and the sisters on a funeral gondola drifting down a Venetian canal. The film concluded with John racing in pursuit after the red-garbed figure through Venetian alleys, only to be slashed across the throat by the androgynous dwarf figure. He fell onto the stone floor and bled to death - punctuated by the peals of bells, swirling camera angles, and quick images from earlier in the film. John's funeral at a Venetian canal-side church ended the film.
Enter the Dragon (1973, US/HK), 98 minutes, D: Robert Clouse
The big-budget, American/Hong Kong co-production (and the first American-produced martial arts film) was shot on location in Asia. It featured an aggressive score by Mission Impossible's (TV) composer Lalo Schifrin. It took a satirical jab at the James Bond thriller films with Lee playing a Bond-type character who didn't need gadgetry. This legendary film has been often considered as the best "chopsocky" or "kickfest" (kung fu and martial arts) film ever made by an American studio (Warner Bros). It starred influential action cult hero Bruce Lee in his final, signature film role before his untimely death at the age of 32. Partly inspired by the Lee-helmed film Way of the Dragon (1972) (aka Return of the Dragon), the film pitted renegade, villainous Shaolin Temple monk Han (Shih Kien) against Jeet Kune Do master Lee (Bruce Lee), who was recruited by the British to infiltrate Han's drug and prostitution operation under the guise of taking part in his annual, invitational competition on a mysterious island fortress near Hong Kong. The martial-arts tournament between champions was sponsored by the crime boss - a one-handed, blood-thirsty mastermind who at one point supplemented his missing hand with a fearsome metal claw. The film was only semi-serious, featuring not only a subplot about an indebted, American playboy-adventurer named Roper (John Saxon), one of the competitors, but an added blaxploitation character named Williams (Jim Kelly, a real-life ex-football star, and African-American karate champion who would later star in a black martial arts film titled Black Samurai (1977)). The most memorable scene was the climactic showdown between Lee and Han in a hall of mirrors (with homage to Welles' The Lady From Shanghai (1948)), as well as the first fight in the competition between Lee and O'Hara (Robert Wall), Han's top man responsible for the death of Lee's sister Su Lin (Angela Mao - the "female Bruce Lee"). There was also an uncredited cameo by Chuck Norris as a Messenger (who had a memorable fight scene with Lee in Way of the Dragon (1972)), as well as the first, brief screen appearance by Lee's martial arts "successor" and cinema legend, Jackie Chan.
The Exorcist (1973), 120 minutes, D: William Friedkin
Director Friedkin's disturbing, shocking, exploitative, and frightening film adaptation of William Peter Blatty's best-selling, blockbuster book was about satanic demon possession. A sweet pre-teenaged girl Regan (Linda Blair) became possessed by an evil spirit - and wa soon transformed and disfigured into a head-rotating, levitating, green vomit-spewing, obscenity-shouting creature. Her divorced mother Mrs. MacNeil (Ellen Burstyn) was at wit's end, until she called on a dedicated, faith-questioning Jesuit priest Father Karras (Jason Miller) to exorcise the malevolent devil from her daughter's body. An elderly priest Father Merrin (Max von Sydow), whose archaeology project released the Satanic being, also risked his life to administer rites of exorcism with incantations and holy water.
Fantastic Planet (1973, Czech/Fr.) (aka La Planete Sauvage), 72 minutes, D: Rene Laloux
High Plains Drifter (1973), 105 minutes, D: Clint Eastwood
In this stylistic, controversial, off-beat and bizarre revisionist western, director/star Eastwood (with his second directorial effort, and his first western) portrayed the enigmatic, anti-hero loner, named only as The Stranger (similar to Sergio Leone's "Man with No Name"). He took a stylized approach to Sergio Leone's 1960s "spaghetti" westerns and Fred Zinnemann's High Noon (1952). The bleak and violent morality tale began with the 'high plains drifter' slaughtering three hired guns after arriving in the corrupt mining community of Lago. He was then revered as a protective and righteous savior of the townsfolk, and hired by the mining company to hold off three more desperadoes on their way to town: outlaw Stacey Bridges (Geoffrey Lewis) and brothers Dan (Dan Vardis) and Cole Carlin (Anthony James). The trio had brutally whipped and killed the town's local lawman Marshal Jim Duncan (Buddy Van Horn) who was buried with an unmarked gravestone. Dwarf Mordecai (Billy Curtis) (appointed by the Stranger as the town's mayor and sheriff) and innkeeper's wife Sarah Belding (Verna Bloom), the Stranger's perverse love interest, suspected that the Stranger had unusual intentions. He made increasingly-bizarre and outlandish demands, painted the town red, and renamed it "Hell." By his cryptic presence, the almost-supernatural Stranger revealed the townspeople's secret cowardice and hypocrisy. The film ambiguously asked: was he the symbolic reincarnation of the town's murdered honest young lawman Jim Duncan, or his brother seeking retribution? In the concluding sequence, he contemptuously killed three vengeful desperadoes and then abruptly and mysteriously left. As he rode away from the ruined town as Mordecai asked: "I never did know your name." The Stranger replied: "Yes, you do. Take care."
The Last Detail (1973), 103 minutes, D: Hal Ashby
The Long Goodbye (1973), 112 minutes, D: Robert Altman
Director Robert Altman's deconstructed, post-noir mystery crime-thriller/drama was criticized for taking liberties and degrading the familiar Raymond Chandler character (in the 1953 published novel), for updating the novel's late 1940s time-frame to the 70s, and for drastically changing the ending. He deflected outraged audiences by claiming plot wasn't as important as character analysis. Altman's quirky film included a first-person, constantly-moving camera (especially in the early scene introducing cat-loving Marlowe), and several versions of the movie's theme song - a John Williams/Johnny Mercer ballad (first sung under the credits). Among the film's off-beat cast was the main character - a chain-smoking bachelor and quintessential private eye-detective Philip Marlowe (Elliott Gould), deceptively portrayed as hip, laid-back, slovenly, and casually-cool, who lived in a shabby LA apartment with female hippie neighbors nearby on a balcony in the nude practicing yoga. The solitary, idiosyncratic and lonely Marlowe literally rambled throughout the film, joking with other characters and with himself (via a running monologue). In the plot, Marlowe's playboy friend Terry Lennox (ex-NY Yankee player Jim Bouton) was accused of severely beating and killing his rich wife Sylvia - but the suspect mysteriously disappeared after Marlowe was convinced to drop him off at the Mexican border at Tijuana. The uncooperative Marlowe was put in jail for a brief time as an accessory, but then after his release conducted his own investigation, even though he was told that the case was closed following Terry's apparent 'suicide' three days later in Mexico (he was found dead in a Mexican hotel according to officials). Mysterious, callous and manipulative blonde Eileen Wade (Nina Van Pallandt in her US film debut) hired him to find her frustrated, self-destructive alcoholic novelist husband Roger Wade (Sterling Hayden), who had gone missing for a week - and ironically lived in the same Malibu Colony neighborhood where Terry lived. Marlowe located Roger at Dr. Verringer's (Henry Gibson) private, self-help detox clinic, and forcibly took Roger home to Eileen. Marlowe also learned that Terry owed $350,000 dollars to mobster and loan shark Marty Augustine (Mark Rydell), when he was violently confronted by the demanding, bottle-wielding Augustine with a group of hoods, who maimed his own mistress Jo Ann Eggenweiler (Jo Ann Brody) with a broken Coke bottle while threatening Marlowe. The case became extremely complex and interconnected when Marlowe realized that mobster Marty knew the Wades, and that Terry's unlikely 'death' was somehow related. At a beach party at the Wade's home, Marlowe overheard the sinister and shady quack-psychiatrist Verringer demanding and forcing Roger to sign a $4,000 check to pay his bill. Shortly later in the dark, Roger suicidally walked into the ocean and drowned himself. Piecing clues together, Marlowe realized that Roger had been involved in an affair with Terry's wife Sylvia (and Roger had disclosed Terry's affair with Eileen to Sylvia), but Roger had checked into the asylum before Sylvia's murder - so he couldn't have murdered her. Terry was undoubtedly alive when Marlowe received a $5,000 bill (a "portrait of Madison") mailed to him accompanied by a letter of apology. After a bag arrived at Marty's place with the missing $350,000, Marlowe was suspicious that Eileen had returned the money and was planning on selling the Wade house. On a hunch, Marlowe traveled to Mexico and located Terry in a villa on the town's outskirts after bribing officials to tell the truth. Terry admitted to the convoluted love affairs - and that his own romance with Eileen had angered his wife Sylvia, who threatened to go to the police during a fierce argument and report Terry's nefarious associations with gangster Marty. Terry then confessed to brutally beating Sylvia to the point of death to silence her, before giving Marty's money to Eileen and fleeing to Mexico. Exasperated for being used and betrayed, Marlowe shot Terry dead. Walking down the road back to town, Eileen passed him in a jeep on her way to seeing her lover Terry.
Mean Streets (1973), 110 minutes, D: Martin Scorsese
Martin Scorsese's intense drama - his third full-length and first successful film (after Who's Knocking at My Door? (1970) and Boxcar Bertha (1972)), was semi-autobiographical. The low-budget, brutally-realistic tale that included energizing early 60s rock 'n' roll, told about four struggling, second-generation small-time Italian-American hoods on the "mean streets" of New York's ghetto-like Little Italy trying to establish themselves (the area was populated with petty lawbreakers, gangsters, and rampant crime). [The first words of the film were a key, voice-over narration by Scorsese under a black screen: "You don't make up for your sins in a church. You do it in the streets, you do it at home. The rest is bulls--t and you know it."] The main character was ambitious, wannabe Mafia apprentice and strong Italian Catholic Charlie Cappa (Harvey Keitel) - a symbolic representative of director Scorsese himself. Charlie's uncle Giovanni (Cesare Danova) was the local Mafia boss and grooming his nephew for 'respectable' gang life. Unclear and confused about his life's direction and loyalties, Charlie wrestled with his devout Catholic guilt (continually seeking redemption and suffering penance), realizing the temptations of the Mafia and its constrictions. He also struggled with maintaining a secret romantic relationship with his epileptic cousin Teresa (Amy Robinson), who was regarded by Giovanni as somehow bad. One of Charlie's ambitions was to manage a neighborhood bar-restaurant owned by Tony (David Proval). The neighborhood's violent, wild, unpredictable and hot-headed Johnny Boy (Robert De Niro) was the simple-minded brother of Teresa. In the opening sequence, Johnny Boy exhibited his irresponsibility and recklessness by blowing up a mailbox, and then later became dangerously obligated and indebted to the threatening local loan shark, Michael (Richard Romanus). Charlie found himself aiding and coming-to-the-rescue of Johnny Boy multiple times. Toward the film's ending, a bloody denouement, as Charlie drove Johnny Boy and Teresa in a borrowed getaway car out of Little Italy to Brooklyn, they were ambushed in a drive-by shooting by another car (carrying a vengeful Michael and shooter-assassin Jimmy Shorts (Martin Scorsese)). After six shots, the car crashed into a hydrant, causing injuries to both Charlie (who had been hit twice) and front-seat passenger Teresa, who required hospitalization. Johnny Boy was presumably lethally wounded when shot in the neck, and staggered around on the street before collapsing.
The Paper Chase (1973), 113 minutes, D: James Bridges
Paper Moon (1973), 102 minutes, D: Peter Bogdanovich
Director Peter Bogdanovich's amusing road-drama was an engaging off-beat comedy about a wily, Depression Era con-man who sold Bibles to mourning widows. He was accompanied by his scheming and tough 'adopted' daughter (pairing real-life father-actor Ryan O'Neal and his nine-year old daughter Tatum O'Neal - who won the Best Supporting Actress Oscar for her substantial film debut role). In Gorham, Kansas in the mid-1930s at a gravesite for the funeral of Essie Mae Loggins, the deceased mother's young and precocious, orphaned 9 year-old Addie Loggins (Tatum O'Neal) coincidentally met young, fly-by-night Bible-selling con-man Moses "Moze" Pray (Ryan O'Neal) - a family acquaintance (he was an old girlfriend of Essie Mae's, and suspected as Addie's 'father'). He was convinced to take Addie to her only known relatives in St. Joseph, MO. Addie convinced Moze to let her accompany him on the road, while she continually argued that the $200 given to him as compensation for the DUI car accident that killed her mother be given to her. Moses' unethical swindling 'business' was to represent the Kansas Bible Company and sell personally-monogrammed Bibles to recent widows, while claiming that the deceased husband had ordered the Bible. Addie revealed that she was as shrewd, manipulative and cunning as Moses. While selling Bibles, she posed as Moses' daughter, and cleverly suggested increasing (or decreasing) the Bible price in certain circumstances. At a carnival in the Harem Slave show tent, Moses became romantically entranced by gold-digging, good-time girl and busty exotic dancer Miss Trixie Delight (Madeline Kahn), actually a prostitute. Addie took an immediate jealousy-fueled dislike for Trixie, and devised ways to sabotage Moses' interest in her so that she wouldn't ruin their team-partnership. Later, after Addie had discovered that Moze had spent the money owed to her for a brand-new Model 68 convertible to impress Miss Trixie, she ingeniously devised, conspired and orchestrated a scheme to separate Trixie from Moses by having her bed Floyd (Burton Gilliam), their front-desk clerk at the Exchange Hotel, and getting Moses to walk in on them having sex - the ploy actually worked. As the film was concluding after misadventures with bootleggers and a Sheriff, young Addie was dropped off at her relative Aunt Billie's (Rose-Mary Rumbley) place in St. Joseph, MO. As Moze removed her luggage, Addie left him an envelope in his car with a picture of herself - it had been taken at the carnival of her sitting on a 'paper moon' (a crescent moon swing) - her objective was to be reunited again with him on the road. Addie ran away from her Aunt's place so that she could continue swindling and grifting with Moses on the road, and caught up with him sitting in his stalled truck only a short way down the road (he had paused there and had second thoughts after he had found her envelope on the front seat with her 'paper moon' picture).
Papillon (1973), 150 minutes, D: Franklin J. Schaffner
In Franklin J. Schaffner's powerful, episodic, semi-biographical prison-escape drama, Steve McQueen starred as indomitable French convict Henri "Papillon" Charriere. A fellow prisoner was withdrawn and shy counterfeiter-forger Louis Dega (Dustin Hoffman), with Coke bottle-thick glasses. They bonded in friendship when Papillon became Dega's bodyguard. Both ended up in the notorious French penal colony in French Guiana, in a brutal work camp. After an escape attempt when he was punished with solitary confinement and reduced rations, Papillon under duress, refused to snitch on Dega for providing him with coconuts. Obsessed with flight and escape, Papillon continued to plot multiple escape attempts but was always recaptured and caged. In the final scene when Dega was reunited with Papillon on Devil's Island, Papillon realized that Dega had become mentally-ill and broken, accustomed to the solitary life on the windswept lonely island, and was unable to join him for his final successful escape effort.
Pat Garrett and Billy the Kid (1973), 106 minutes, D: Sam Peckinpah
Noted as director Peckinpah's final western, and as a complex and challenging film that was initially cut and re-edited by MGM studios against the director's wishes. Many years later, Peckinpah released his own version of the revisionist western. Although it featured lots of legendary western character actors, it replaced traditional western content (i.e., a dramatic gun-battle showdown between good and bad guys) with more character study, ambivalence and guilt over betrayal. Set in New Mexico in 1881, the tale was about the continuing confrontation between outlaw-turned-lawman Sheriff Pat Garrett (James Coburn), and his notorious old friend, anti-hero outlaw Billy the Kid (Kris Kristofferson) (aka William Bonney). Both were aging and viewing the handwriting on the wall - reluctantly facing the slow death of the "Old West" by desecrating future forces of corrupting, cold-hearted capitalism. The two were joined by enigmatic stranger Alias (folk singer Bob Dylan in his first screen role, and singing the memorable "Knockin' on Heaven's Door"). Garrett was named sheriff of Lincoln County to defeat his old friend Billy the Kid. Although Billy was successfully jailed and awaiting execution, he escaped by shooting two deputy sheriffs. Then, in Santa Fe, Garrett was hired by the Santa Fe Ring, a group of wealthy (and corrupt) New Mexico cattle-land barons, politicians, attorneys and greedy speculators, including the governor (Jason Robards Jr.) and cattle baron Chisum (Barry Sullivan). He was commissioned to bring in Billy and end his killing sprees and cattle rustling. Billy ignored Garrett's wise advice about escaping to Mexico, and met his fateful end at the hands of his friend. Garrett stalked Billy (back at Fort Sumner rather than fleeing to Mexico) while he was making love to Maria (real-life wife Rita Coolidge) and killed him point-blank. The film ended 28 years later in 1909 near Las Cruces, New Mexico, when Garrett was ambushed and ironically assassinated by the same group, the Santa Fe Ring, who had earlier hired him to kill Billy - a Faustian conclusion.
Save the Tiger (1973), 100 minutes, D: John G. Avildsen
Scenes From a Marriage (1973, Swe.) (aka Scener ur Ett äktenskap), 169 minutes, D: Ingmar Bergman
Serpico (1973), 129 minutes, D: Sidney Lumet
Sleeper (1973), 88 minutes, D: Woody Allen
One of Woody Allen's funniest and zaniest films - it was a futuristic science fiction comedy classic and screwball comedy - with Dixieland and swing music (from the Preservation Hall Jazz Band of New Orleans). This 'fish-out-of-water' comedy was from Allen's earlier period, when he was known for appearing in or directing lightweight comedies, such as Take the Money and Run (1969), Bananas (1971), Play It Again, Sam (1972), and Everything You Always Wanted to Know About Sex* But Were Afraid to Ask (1972). Filled with one-liners, Allen's film both satirized the 1970's and parodied sci-fi books and past classics, such as Buck Rogers "Serial" (1939), Carroll's Alice in Wonderland, Kubrick's 2001: A Space Odyssey (1968) and A Clockwork Orange (1971), George Lucas' THX 1138 (1971), George Orwell's futuristic novel 1984, and Aldous Huxley's Brave New World. It also evoked slapstick comedy classics, such as Harold Lloyd and Buster Keaton films, the Keystone Kops, Chaplin's Modern Times (1936) and the Marx Brothers' Duck Soup (1933). One sly cameo was that of Douglas Rain as an evil computer near the end of the film, gently spoofing his role as HAL from 2001: A Space Odyssey (1968), and Mike Myers' Austin Powers series also owed a debt to this film. It was praised for its more even and disciplined storyline than his previous films. Director/writer Woody Allen played the main character -- jazz clarinet musician and co-owner of a Greenwich Village health food store (Happy Carrot), the nerdy and nebbish Miles Monroe. He found himself 200 years in the future in the dystopian year 2173. The Rip Van Winkle character learned that he had been cryogenically 'frozen' in aluminum foil when complications arose - after he had entered a New York hospital in 1973 for what he thought was a minor peptic ulcer operation. (He was later asked: "It's hard to believe that you haven't had sex for two hundred years." "Two hundred and four," he replied, "if you count my marriage.") He soon discovered that he was considered both a subversive alien fugitive by a Big Brother-type totalitarian government and a savior to the revolutionary underground rebels wishing to overthrow the police state. Worried that he was about to be brainwashed, he escaped and ineptly disguised himself as a robot - a white-faced, bespectacled domestic butler in the home of his future love interest - a rich, clueless, Rod McKuen-loving, pseudo-intellectual poetess named Luna Schlosser (Diane Keaton in her second appearance with Allen in a film, but in her first Allen-directed film). In one funny scene during a hosted party, he passed around a silver-metallic round, orgasm-inducing "Orb." Fearing detainment, Miles went through a series of comic misadventures - he accidentally hid in a mechanized Orgasmatron, came upon a garden with giant vegetables, slipped on a gigantic banana peel during a madcap chase, won a mock beauty pageant believing he was Miss America, and was fitted for a suit by two robotic yet very Jewish tailors. Ultimately, Miles was captured and reprogrammed, but was saved by the now-converted revolutionary Luna and then deprogrammed. In the climax, the two joined together to overthrow the government by attempting to disguise themselves as doctors to disrupt an operation that might save the life of the Leader (a wheel-chair bound dictator with a white dog). After a bombing, the Leader was reduced to a benign, disembodied nose - and then steam-rolled.
The Spirit of the Beehive (1973, Sp.) (aka El Espiritu de la Colmena), 97 minutes, D: Victor Erice
The Sting (1973), 129 minutes, D: George Roy Hill
This blockbuster Best Picture winner was an entertaining, stylish, playful, charming, over-produced crime-caper that revived interest in Scott Joplin's ragtime music. It reunited the successful 'buddy' teams of director George Roy Hill with stars Redford and Newman from the comic western Butch Cassidy and the Sundance Kid (1969) four years earlier. The comedy/drama had an entertaining, good-natured twisting plot about two small-time con artists (Paul Newman as Henry Gondorff/Mr. Shaw and Robert Redford as Johnny Hooker/Kelly) in 1930s Depression-and Prohibition-Era Chicago. The two joined together for revenge (using an off-track horse betting trick) against big-time New York racketeer mob boss Doyle Lonnegan (Robert Shaw) in the film's conclusion. Inter-titles highlighted the heist's clever steps (the "Set-Up," the "Hook," the "Tale," the "Wire," the "Shut-Out," and the "Sting").
A Touch of Class (1973, UK), 105 minutes, D: Melvin Frank
The Way We Were (1973), 118 minutes, D: Sydney Pollack
The Wicker Man (1973, UK), 88 minutes, D: Robin Hardy
Director Robin Hardy's suspenseful, mysterious and erotic folk horror-occult film was an R-rated classic British supernatural thriller. In the plot set in late April of 1973, repressed, virginal, puritanical and devoutly religious Scottish policeman Sergeant Neil Howie (Edward Woodward) traveled solo by seaplane to Summerisle (during the opening title credits) - a remote Scottish (Hebridian) island. He was searching for a missing young 12 year-old schoolgirl named Rowan Morrison (Geraldine Cowper) from an anonymous tip in a letter. She was the alleged daughter of May Morrison (Irene Sunter), a resident of the island; it was suspected that the missing-girl (or kidnapped?) victim might be located there, or there might be clues to her disappearance. The island of Summerisle was owned and run by eccentric millionaire Lord Summerisle (Christopher Lee). The townsfolk inhabitants living there were openly-sexual pagan worshippers who followed the teachings of their atheistic leader Lord Summerisle. Sgt. Howie believed (although wrongly) that the school girl was to be a potential virginal human sacrifice (the May Queen) on May Day, as part of a pagan ceremony to insure a good fruit harvest. While there, Howie was continually tested by the town's pagan practices and open sexual behavior. The film included the much-discussed scene of the innkeeper's sensual daughter Willow MacGregor (Britt Ekland) in the next room attempting to entice Howie on the second night of his visit to the town, while lodging in the Green Man Inn. In the chilling finale of the cult classic, Howie learned that he was the one to be sacrificed. He was brought there to the island to be their pagan sacrifice, to appease the gods and to bring a plentiful fruit harvest. The 'missing' girl was never really missing - but had served as bait to lure him there. She had been part of Lord Summerisle's grand plan to bring him to the island and entrap him as the year's virginal fire sacrifice, after a disastrous harvest. Howie was regarded as the perfect candidate: ("Animals are fine, but their acceptability is limited. A young child is even better, but not nearly as effective as the right kind of adult"). He was told he was the "unique" sacrificial subject: ("You will undergo death and rebirth. Resurrection, if you like. The rebirth, sadly, will not be yours, but that of our crops"); he retorted back: "I am a Christian. And as a Christian, I hope for resurrection. And even if you kill me now, it is I who will live again, not your damned apples." He was stripped and clothed in a ceremonial garment with his hands bound ("It is time to keep your appointment with The Wicker Man"). He was led to a giant, hollow wicker-constructed figure of a man on a cliffside at sunset where he cried out ("Oh, my God!"). The 'wicker man' statue was created of wicker materials designed to be used for fire sacrifices - with compartments for live farm animals (pigs, ducks, calves, etc.). He was horrified when he was locked inside the structure and the worshippers surrounded it (and sang a Middle English folk song with lyrics) as it was set on fire. As Howie was consumed by the flames, he recited the 23rd Psalm ("The lord's my shepherd, I'll not want, He takes me down to lie in pastures..."), and prayed for deliverance.

Question: who starred in the original enter the dragon

Answer: Jim Kelly

who starred in the original enter the dragon

Question: when did the first enter the dragon movie come out

Answer: 1973

Question: who directed the 1973 film 'enter the dragon'

Answer: Bruce Lee

Question: what is the title of the 1973 film in which bruce lee and jim

Answer: Enter the Dragon

Question: what was the name of the 1974 film in which lee and clouse worked together

Answer: Black Belt Jones

Question: when did the first black belt jones come out

Answer: 1974

when did the first black belt jones come out

Question: what was the title of the first film in which bruce lee and jim

Answer: Enter the Dragon In 1973

In 1999 , Enter the Dragon grossed more than $ 200,000,000 worldwide and in 2004 , Enter the Dragon was deemed " culturally significant " in the United States and selected for preservation in the National Film Registry .

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A
Abbott and Costello Meet Frankenstein
(1948)
Ace in the Hole (1951) (aka Big Carnival)
Adam's Rib (1949)
The Adventures of Robin Hood (1938)
The
African Queen (1951)
Airplane! (1980)
Alien (1979)
All About Eve (1950)
All My Babies (1953)
All Quiet On The Western Front (1930)
All That Heaven Allows (1955)
All That Jazz (1979)
All the King's Men (1949)
All the President's Men (1976)
Allures (1961)
Amadeus (1984)
America, America (1963)
American Graffiti (1973)
An American In Paris (1951)
Anatomy of a Murder (1959)
Annie Hall (1977)
Antonia: A Portrait of the Woman (1974)
The Apartment (1960)
Apocalypse Now (1979)
Applause (1929)
The Asphalt Jungle (1950)
Atlantic City (1981)
The Atomic Cafe (1982)
The Augustas (1930s-1950s)
The Awful Truth (1937)
B
Baby Face (1933)
Back to the Future (1985)
The Bad and the Beautiful (1952)
Bad Day at Black Rock (1955)
Badlands (1973)
Ball of Fire (1941)
Bambi (1942)
The Band Wagon (1953)
The Bank Dick (1940)
The Bargain (1914)
The Battle of San Pietro (1945)
The Battle of the Century (1927)
The Beau Brummels (1928)
Beauty and the Beast (1991)
Becky Sharp (1935)
Before Stonewall (1984)
Being There (1979)
Ben-Hur (1925-6)
Ben-Hur (1959)
Bert Williams Lime Kiln Club Field Day (1913)
The Best Years of Our Lives (1946)
Big Business (1929)
The Big Heat (1953)
The Big Lebowski (1998)
The Big Parade (1925)
The Big Sleep (1946)
The Big Trail (1930)
The Birds (1963)
The Birth Of A Nation (1915)
Black and Tan (1929)
The Black Pirate (1926)
The Black Stallion (1979)
Blackboard Jungle (1955)
Blacksmith Scene (1893)
Blade Runner (1982)
Blazing Saddles (1974)
Bless Their Little Hearts (1984)
The Blood of Jesus (1941)
The Blue Bird (1918)
The Blues Brothers (1980)
Body and Soul (1925)
Bonnie And Clyde (1967)
Born Yesterday (1950)
Boulevard Nights (1979)
Boys Don't Cry (1999)
Boyz N the Hood (1991)
Brandy in the Wilderness (1969)
Bread (1918)
Breakfast at Tiffany's (1961)
The Breakfast Club (1985)
Bride of Frankenstein (1935)
The Bridge On The River Kwai (1957)
Bringing Up Baby (1938)
Broadcast News (1987)
Brokeback Mountain (2005)
Broken Blossoms (1919)
A Bronx Morning (1931)
Buena Vista Social Club (1999)
The Buffalo Creek Flood: An Act of Man (1975)
Bullitt (1968)
Butch Cassidy and the Sundance Kid (1969)
C
Cabaret (1972)
Cabin in the Sky (1943)
The Cameraman (1928)
Carmen Jones (1954)
Casablanca (1942)
Castro Street (1966)
Cat People (1942)
Chan is Missing (1982)
The Cheat (1915)
The Chechahcos (1924)
Chicana (1979)
Chinatown (1974)
A Christmas Story (1983)
Chulas Fronteras (1976)
Cicero March (1966)
Cinderella (1950)
Citizen Kane (1941)
The City (1939)
City Lights (1931)
Civilization (1916)
Clash of the Wolves (1925)
Clerks (1994)
A Clockwork Orange (1971)
Close Encounters of the Third Kind (1977)
Coal Miner's Daughter (1984)
Cologne: From the Diary of Ray and Esther (1939)
Commandment Keeper Church, Beaufort South Carolina, May 1940 (1940)
A Computer Animated Hand (1942)
The Conversation (1974)
Cool Hand Luke (1967)
The Cool World (1963)
Cooley High (1975)
Cops (1922)
The Corbett-Fitzsimmons Title Fight (1897)
A Corner in Wheat (1909)
The Court Jester (1956)
Crisis: Behind a Presidential Commitment (1963)
The Crowd (1928)
Cry of Jazz (1959)
The Cry of the Children (1912)
A Cure for Pokeritis (1912)
The Curse of Quon Gwon (1916-1917)
Czechoslovakia 1968 (1968)
D
Dance, Girl, Dance (1940)
Dances With Wolves (1990)
The Dark Knight (2008)
D.O.A. (1950)
Daughter of Dawn (1929)
Daughter of Shanghai (1937)
Daughters of the Dust (1991)
David Holzman's Diary (1968)
The Day the Earth Stood Still (1951)
Days of Heaven (1978)
Days of Wine and Roses (1962)
Dead Birds (1964)
Decasia (2002)
The Decline of Western Civilization (1981)
The Deer Hunter (1978)
Deliverance (1972)
Destry Rides Again (1939)
Detour (1945)
The Devil Never Sleeps (1994)
Dickson Experimental Sound Film (1894-5)
Die Hard (1988)
Dirty Harry (1971)
Disneyland Dream (1956)
Dixon-Wanamaker Expedition to Crow Agency (1908)
Do the Right Thing (1989)
The Docks of New York (1928)
Dodsworth (1936)
Dog Day Afternoon (1975)
Dog Star Man (1964)
Don't Look Back (1967)
Double Indemnity (1944)
Down Argentine Way (1940)
Dr. Strangelove or: How I Learned To Stop Worrying... (1964)
Dracula (1931)
Dracula (Spanish-language version) (1931)
The Dragon Painter (1919)
Dream of a Rarebit Fiend (1906)
Drums of Winter (1988)
Duck Amuck (1953)
Duck and Cover (1951)
Duck Soup (1933)
Dumbo (1941)
E
Eadweard Muybridge, Zoopraxographer (1975)
Early Abstractions #1-5,7,10 (1939-56)
East of Eden (1955)
Easy Rider (1969)
E.T. - The Extra-Terrestrial (1982)
Eaux D'Artifice (1953)
Edison Kinetoscopic Record of a Sneeze (1894)
El Mariachi (1992)
El Norte (1983)
Electronic Labyrinth: THX 1138 4EB (1967)
Ella Cinders (1926)
Emigrants Landing at Ellis Island (1903)
The Emperor Jones (1933)
Empire (1964)
The Empire Strikes Back (1980)
Employees Entrance (1933)
The Endless Summer (1966)
Enter the Dragon (1973)
Eraserhead (1977)
Evergreen (1965)
Eve's Bayou (1997)
Evidence of the Film (1913)
The Exiles (1961)
The Exorcist (1973)
The Exploits of Elaine (1914)
F
A Face in the Crowd (1957)
Faces (1968)
Fake Fruit Factory (1986)
The Fall of the House of Usher (1928)
Fantasia (1940)
Fargo (1996)
Fast Times at Ridgemont High (1982)
Fatty's Tintype Tangle (1915)
Felicia (1965)
Ferris Bueller's Day Off (1986)
Field of Dreams (1989)
Film Portrait (1970)
Five Easy Pieces (1970)
Flash Gordon (serial) (1936)
Flesh and the Devil (1926)
Flower Drum Song (1961)
Flowers and Trees (1932)
The Flying Ace (1926)
Fog of War (2003)
A Fool There Was (1915)
Foolish Wives (1922)
Footlight Parade (1933)
Forbidden Planet (1956)
Force of Evil (1948)
The Forgotten Frontier (1931)
Forrest Gump (1994)
42nd Street (1933)
The Four Horsemen of the Apocalypse (1921)
4 Little Girls (1997)
Fox Movietone News: Jenkins Orphanage Band (1928)
Frank Film (1973)
Frankenstein (1931)
Freaks (1932)
Free Radicals (1979)
Freedom Riders (2010)
The French Connection (1971)
The Freshman (1925)
From Here to Eternity (1953)
From Stump to Ship (1930)
From the Manger to the Cross (1912)
The Front Page (1931)
Fuentes Family Home Movies Collection (1920s and 1930s)
Fuji (1974)
Funny Girl (1968)
Fury (1936)
G
The Gang's All Here (1943)
Garlic Is As Good As Ten Mothers
(1980)
Gaslight (1944)
The General (1927)
Gentleman's Agreement (1947)
George Washington Carver at Tuskegee Institute (1937)
Gerald McBoing Boing (1951)
Gertie the Dinosaur (1914)
Ghostbusters (1984)
Giant (1956)
Gigi (1958)
Gilda (1946)
The Girl Without a Soul (1917)
Girlfriends (1978)
Glimpse of the Garden (1957)
The Godfather (1972)
The Godfather, Part II (1974)
Going My Way (1944)
Gold Diggers of 1933 (1933)
The Gold Rush (1925)
Gone With The Wind (1939)
Goodfellas (1990)
The Goonies (1985)
The Graduate (1967)
Grand Hotel (1932)
The Grapes of Wrath (1940)
Grass (1925)
Grease (1978)
The Great Dictator (1940)
The Great Train Robbery (1903)
Greed (1924)
Grey Gardens (1976)
The Ground (1993-2001)
Groundhog Day (1993)
Growing Up Female (1971)
Guess Who's Coming to Dinner (1967)
Gun Crazy (1949)
Gunga Din (1939)
H
H2O (1929)
Hail the Conquering Hero (1944)
Hair Piece: A Film for Nappy Headed People (1984)
Hallelujah (1929)
Halloween (1978)
Hands Up (1926)
Harlan County, U.S.A. (1976)
Harold and Maude (1972)
He Who Gets Slapped (1924)
Hearts and Minds (1974)
The Heiress (1949)
Hellbound Train (1930)
Hell's Hinges (1916)
Heroes All (1920)
Hester Street (1975)
High Noon (1952)
High School (1968)
Hindenburg Disaster Newsreel Footage (1937)
His Girl Friday (1940)
The Hitch-hiker (1953)
The Hole (1962)
Hoop Dreams (1994)
Hoosiers (1986)
Hospital (1970)
The Hospital (1971)
Hot Dogs for Gauguin (1972)
Hours for Jerome: Parts 1 and 2 (1980-82)
The House I Live In (1945)
The House in the Middle (1954)
House of Usher (1960)
House of Wax (1953)
How Green Was My Valley (1941)
How the West Was Won (1962)
Hud (1963)
Humoresque (1920)
The Hunters [Kalahari Desert tribe anthropological film] (1957)
The Hurt Locker (2008)
The Hustler (1961)
I
I Am A Fugitive From A Chain Gang (1932)
I Am Joaquin (1969)
I Am Somebody (1970)
I, An Actress (1977)
Illusions (1982)
Imitation of Life (1934)
Imitation of Life (1959)
The Immigrant (1917)
In a Lonely Place (1950)
In Cold Blood (1967)
In the Heat of the Night (1967)
In the Land of the Head-Hunters (aka In the Land of the War Canoes) (1914)
In the Street (1948/52)
The Incredible Shrinking Man (1957)
The Informer (1935)
The Inner World of Aphasia (1968)
Interior New York Subway, 14th Street to 42nd Street (1905)
Into the Arms of Strangers: Stories of the Kinder-transport (2000)
Intolerance (1916)
Invasion of the Body Snatchers (1956)
The Invisible Man (1933)
The Iron Horse (1924)
It (1927)
It Happened One Night (1934)
It's A Gift (1934)
It's A Wonderful Life (1946)
The Italian (1915)
J
Jailhouse Rock (1957)
Jammin' the Blues (1944)
Jam Session (1942)
Jaws (1975)
Jazz on a Summer's Day (1959)
The Jazz Singer (1927)
Jeffries-Johnson World's Championship Boxing Contest (1910)
Jezebel (1938)
John Henry and the Inky-Poo (1946)
Johnny Guitar (1954)
The Joy Luck Club (1993)
Jubilo (1919)
Judgment at Nuremberg (1961)
The Jungle (1967)
Jurassic Park (1993)
K
Kannapolis, NC (1941)
The Kid (1921)
Kid Auto Races at Venice (1914)
The Kidnappers Foil (1930s-1950s)
Killer of Sheep (1977)
The Killers (1946)
King: A Filmed Record...Montgomery to Memphis (1970)
King Kong (1933)
King of Jazz (1930)
The Kiss (1896)
Kiss Me Deadly (1955)
Knute Rockne, All American (1940)
Kodachrome Color Motion Picture Tests (1922)
Koyaanisqatsi (1982)

Question: how much did enter the dragon gross worldwide in 1999

Answer: $200,000,000

Question: in what year was enter the dragon deemed culturally significant in the us

Answer: 2004

Question: when did enter the dragon gross more than $200 million worldwide

Answer: 1999

Question: which 1999 film was deemed "culturally significant" in the us and selected for preservation

Answer: Enter the Dragon

Question: where was enter the dragon preserved in 2004

Answer: National Film Registry

where was enter the dragon preserved in 2004

Question: what was the title of the 2004 film that was deemed "culturally significant" in

Answer: Enter the Dragon

Question: what was enter the dragon deemed in 2004

Answer: culturally significant

what was enter the dragon deemed in 2004

Also included are numerous photos , many never before made available to the public . "

The book was also used as one of the source materials for Rob Cohen 's film , Dragon : The Bruce Lee Story ( 1993 ) .

In the garish, lantern-hung cha-cha palace created within Kowloon’s Mongkok Neighborhood Centre, the fearful dancers have ceded the floor to five burly, brawl-hungry British sailors and their comparatively slight Asian adversary, Jason Scott Lee.
The young Asian, in the black pegged pants of a Hong Kong sharpie of 1962, begins by disabling the most belligerent Brit, boatswain Nick Brandon, with a swift kick to the groin. Then losing his shirt to reveal a rippling upper torso, Lee back-flips his way out of a potentially ugly punch-up with two others. Next, he mischievously dances--to the unrelenting recorded strains of “Moonlight Cha-Cha"--the recovered boatswain out of his white uniform jacket and puts it on himself.
Finally, having head-butted the Brit into semiconsciousness, he pulls him through his spread legs and dispatches him to a corner, and contemptuously doffs his pilfered jacket.
The speed, the improvisatory adaptability and the just-amusing-myself cockiness of the young Asian are all oddly familiar. And as, finally, he jerks himself into a heroic pose that brings his raven hair down on his forehead, the sense of deja vu is complete.
Jason Scott Lee seems a reincarnation of another, albeit unrelated Lee: Bruce.
“I cast him. I rehearsed him in the role, but even so, looking at Jason as Bruce, I still get the chills sometimes,” said director Rob Cohen after calling “Cut!” on this scene from “Dragon: A Life of Bruce Lee.”
The biographical drama, which producer Raffaella De Laurentiis said is budgeted at “around $14 million,” was shooting in Hong Kong and Macao locations before moving on to San Franciscoand Los Angeles-area shooting sites and Valencia Studios. Release is scheduled by Universal for next year, before the 20th anniversary of Bruce Lee’s death on July 20, 1973, at age 32.
In addition to the Asian-American Jason Scott Lee, “Dragon” stars Lauren Holly as Bruce’s Anglo wife, Linda, and Robert Wagner as a TV executive modeled after William Dozier, producer of Bruce’s “Green Hornet” series. The easefully courtly Wagner was also on the sidelines marveling at the resemblance between Jason and Bruce Lee, whom he had met through their mutual friend Steve McQueen. No matter that at 5 feet, 11 inches tall and 155 pounds, Jason is about three inches taller and 20 pounds heavier than Bruce.
“I was a fan of Bruce Lee,” said De Laurentiis, “and I knew that despite a very few films, he is, like James Dean, a kind of mythic figure.” In addition to the Dean-like early death and limited filmic output--of which the $100-million-plus worldwide grosser “Enter the Dragon,” released three weeks after his death, is the only first-class production--Lee did much to popularize martial arts in the West. “What I didn’t know,” she added, “is that he had a life story that could be the basis of an interesting movie.”
Then she read “The Bruce Lee Story,” the 1983 biography-memoir by his widow, Linda Emery Lee, which was a major source of the movie’s script by Ed Khmara, John Raffo and director Cohen. (Other sources include “Bruce Lee,” a book by “Enter the Dragon” director Robert Clouse, and original research by Khmara.) Linda Lee’s book tells of the San Francisco-born, Hong Kong-raised actor’s unruly adolescence (which included a passion for the cha-cha and incidents of public brawling). It records his struggles as an Asian actor in the Hollywood of the ‘60s, particularly the bitterly disappointing loss, post-"Green Hornet,” of the lead in the “Kung Fu” series to the white David Carradine. This loss prompted Lee’s return to Hong Kong, where he quickly achieved film fame.
Finally, the book deals with the familial and cultural conflicts unleashed by the love and marriage of Bruce and Linda.
“It seemed to me that we had the opportunity here to do two films--a kung fu movie and an interracial love story,” Cohen said.
Cohen decided that the kung fu aspect of “Dragon” would show, over the course of “five dramatically motivated fight sequences,” the development of Lee’s style of kung fu. Jeet kune do, or “the way of the intercepting fist,” is Lee’s streamlining of the ancient, formalized art of kung fu into a system of scientific street fighting for the 20th Century. To perform all but the most acrobatic elements of the film’s fights, Jason Scott Lee, who had no martial arts background but is a natural athlete, trained for four months with former Bruce Lee student Jerry Poteet.
“I trained Jason the way I was trained by Bruce,” Poteet said. That means rigorously. Jason was trained not only in jeet kune do’s blocks, punches and kicks but also in the system’s Bruce Lee-formulated philosophical underpinnings.
Bruce Lee, a philosophy major at the University of Washington when he met Linda, insisted that “emotion” (or being emotionally at one with your physical moves), “no-mindedness” (or clarity of focus) and “no-way-as-way” (or infinite adaptability) were key to jeet kune do’s effectiveness.
The moves that Poteet said “quick study” Jason Scott Lee mastered are being combined and choreographed for the camera by John Cheung. Cheung, who was a stuntman on “Enter the Dragon,” recalled “the politeness of Bruce, even to the man who swept the floor of the studio” and how “Bruce was always fighting to get more money for the Hong Kong stuntmen.” He joined Poteet in praising Jason Scott Lee’s martial arts skills. But he did let slip that if Bruce was occasionally so fast that he had to be shot in slow motion for his movements to register on film, Jason sometimes needs to be speeded up a bit.
As for the interracial love story aspect of “Dragon,” Cohen suggested he has had more latitude than might be expected of a film based on Linda Lee’s book that is being made with her cooperation. “We show the difficulties and conflicts,” he said. “We have Linda’s mother"--played by Michael Learned--"saying, ‘Can you see yourself having yellow babies?’ ” Linda’s mother, Vivian Emery, is still living, and, according to Cohen, has signed a release assenting to her depiction in the movie.
The movie also depicts arguments between Bruce and Linda, though Cohen said Linda talked him out of ending one of them “with that cheap screenwriter’s trick of having a woman slap a man. It wasn’t because it was unflattering to her but because she said, ‘That’s not the kind of relationship we had.’ She faxed me that if Bruce Lee is going to come back, as some people believe, she’d hate to have to answer to him for that, and added: ‘Sorry for the sick humor. But when you look at the lighter side of it. . . .’ ”
“What surprised me most about Linda when I met her was her humor--she has a very quick wit,” said the woman who plays her on screen, Lauren Holly.
Holly, who stars in the new CBS series “Picket Fences,” added that Linda told her of the “teasing element in her relationship with Bruce. Jason and I are working on putting it into the film.”
Linda Lee also projected “independence and strength” in her several encounters with Holly. “But,” Holly said, “I didn’t know how much of both she would have needed to be a Western woman married to an Asian until I got to Hong Kong. The attitude toward Western women doesn’t seem too open now, so I can only imagine what it must have been 20 years ago when Linda came here with two Eurasian children to join Bruce after he started making films here.”
Linda has remarried and is living in San Francisco, and Holly did not discuss the death of Bruce Lee with her. He was pronounced dead on arrival at Hong Kong’s Queen Elizabeth Hospital, after taking ill at the apartment of Taiwanese actress Betty Ting Pei. There were many theories, ranging from the prurient to the mystic, about the death, which was, according to the official record, from a cerebral edema--a swelling of the brain--in reaction to an ingredient in a headache tablet.
Holly attributes the widow’s reticence as much to practicality as to tact. Bruce Lee’s death--and Linda’s reaction to it--are not portrayed in the film. Does this exclusion have anything to do with pleasing or accommodating Linda?
Cohen says no: “We’re doing the life of Bruce Lee, or rather a life of Bruce Lee. In fact, I specifically titled it ‘Dragon: A Life of Bruce Lee’ because there is no absolute truth--no the life--you can do of anyone. Even a documentary is to some degree an interpretation.”
Perhaps the most daring interpretive stroke of Cohen’s life of Lee, which leaves Bruce at a personal peak on the set of “Enter the Dragon,” is an attempt to account for the death everyone knows took place soon afterward. At several crucial points in the movie, a “phantom” appears to Bruce (and the movie audience). A visual composite of superstitions, animal imagery and warrior motifs that Cohen calls “an authentic part of Chinese culture,” the phantom represents both Lee’s fate and “his personal flaws coming at him.” These flaws include--and Cohen said the movie shows them--"a quick temper” and a “cocky and egomaniacal side.”
Bruce Lee, with all his positive and negative qualities, is obviously a plum role for an Asian actor. As Bruce’s 28-year-old son Brandon Lee is of the appropriate age, a martial artist and a professional actor (recently in “Rapid Fire”), he would seem a likely, if slightly gimmicky, choice for it.
“Quite apart from whether he would want to play his own father,” said producer De Laurentiis, “he’s a major ethnic step away from Chinese. In fact, he looks like a very handsome Italian boy. I would have refused to do the movie if I had to (make him appear more Asian), the way they did with actors playing Asians before Bruce Lee.” (Bruce Lee’s mother was half-German.)
“I wish we had a long, involved story about how we found Jason Scott Lee,” De Laurentiis went on, “but we don’t. He was recommended to us early on by a casting director, and we did a screen test of him in which he was pretty amazing.”
The casting director, Bonnie Timmerman, had seen him for “The Last of the Mohicans,” Lee said at his hotel after work. Then he added with a grin: “But they decided I was a bit too Asian-looking to play a Mohican.” Lee, 26, who grew up in Hawaii and is part Hawaiian, plays an Eskimo in the Cannes-acclaimed “Map of the Human Heart” with Anne (“La Femme Nikita”) Parillaud. He noted that Bruce Lee was a childhood idol but “not in the sense he was to a lot of Asian males I know who grew up in L.A.; they felt such a connection to him because they grew up in a predominantly white part of the world.”
Lee can’t deny that he has thought about becoming a hero to Asians himself through the Bruce Lee role. And he’s also thought about the opportunities the role may create in both the “acting-acting” and “martial arts acting” areas. But all these questions of ethnicity and careerism are currently secondary to capturing the essence of Bruce Lee on film.
“What hit me hardest,” Jason Scott Lee said of his investigations, “was the seeking, that he was a man who kept on searching, maybe with a demon inside him that drove him to such levels of excellence.”
Perhaps that’s why he’s grasped Bruce Lee most truly in “transition moments,” he explained, “feeling inspiration and energy from maybe a movement you made that was involuntary or without thought, a moment that was, let’s say, Zen.”

Question: who wrote dragon: the bruce lee story

Answer: Rob Cohen

Question: when did dragon: the bruce lee story come out

Answer: 1993

when did dragon: the bruce lee story come out

Question: what was the title of rob cohen's 1993 film about bruce lee

Answer: Dragon: The Bruce Lee Story

Question: what movie was the book used as a source material for

Answer: Rob Cohen's film, Dragon: The Bruce Lee Story

Question: what was included in the book

Answer: photos

Question: when was dragon: the bruce lee story made

Answer: 1993)

when was dragon: the bruce lee story made

Question: how were the photos in the book made available to the public

Answer: never before made available to the public


Jonathan D'Aversa (born March 2, 1986) is a Canadian former professional ice hockey defenceman who played in the American Hockey League (AHL) with Wilkes-Barre/Scranton Penguins before spending the majority of his professional career in Europe.

Playing career
D'Aversa was an undrafted player who played for the Sudbury Wolves of the OHL. Serving as an assistant captain for the Wolves in the 2006–07 season, D'Aversa was third on the team in scoring and was selected to play in the OHL All-Star classic. In the play-offs he was ranked second in scoring for defensemen. After completing his junior years, D'Aversa was signed as a free agent to a three-year contract by the Pittsburgh Penguins on May 25, 2007.

In the 2007–08 season, D'Aversa spent time with the Penguins American Hockey League affiliate the Wilkes-Barre/Scranton Penguins and the Wheeling Nailers of the ECHL, representing the Nailers in the ECHL All-Star Game.

On July 11, 2010, D'Aversa left North America and signed a one-year contract with Augsburger Panther of the German Deutsche Eishockey Liga for the 2010–11 season. Despite scoring 33 points in 51 games, Augsburg missed the playoffs and on April 1, 2011, D'Aversa left to sign with fellow DEL club Kölner Haie.

After one season in Köln, d'Aversa transferred as a free agent to the neighbouring Austrian Hockey League with Dornbirner EC on August 4, 2012. He remained with the club until the end of the 2015-16 season. In April 2016, he penned a deal with another Austrian team, EHC Linz.

Following his third season with the Black Wings in 2018–19, D'Aversa opted to end his 12 year professional career and return to North America.

Career statistics
     Regular season   Playoffs Season Team League GP G A Pts PIM GP G A Pts PIM 2001–02 Stouffville Spirit OPJHL 2 0 1 1 0 — — — — — 2002–03 Stouffville Spirit OPJHL 49 4 21 25 18 — — — — — 2003–04 Sudbury Wolves OHL 63 1 14 15 22 7 0 1 1 2 2004–05 Sudbury Wolves OHL 67 5 24 29 42 12 4 6 10 8 2005–06 Sudbury Wolves OHL 62 7 39 46 83 10 2 0 2 17 2006–07 Sudbury Wolves OHL 67 13 47 60 53 21 3 15 18 16 2007–08 Wilkes-Barre/Scranton Penguins AHL 27 4 2 6 6 — — — — — 2007–08 Wheeling Nailers ECHL 25 1 13 14 10 — — — — — 2008–09 Wilkes-Barre/Scranton Penguins AHL 68 1 22 23 36 11 0 2 2 4 2008–09 Wheeling Nailers ECHL 3 1 3 4 2 — — — — — 2009–10 Wilkes-Barre/Scranton Penguins AHL 21 0 1 1 23 — — — — — 2009–10 Wheeling Nailers ECHL 22 6 11 17 26 — — — — — 2010–11 Augsburger Panther DEL 51 15 18 33 26 — — — — — 2011–12 Kölner Haie DEL 45 3 14 17 26 6 0 2 2 6 2012–13 Dornbirner EC EBEL 51 5 24 29 52 — — — — — 2013–14 Dornbirner EC EBEL 50 13 28 41 32 6 0 3 3 4 2014–15 Dornbirner EC EBEL 52 7 27 34 39 — — — — — 2015–16 Dornbirner EC EBEL 49 7 14 21 59 6 2 3 5 0 2016–17 EHC Black Wings Linz EBEL 53 2 19 21 24 5 0 4 4 4 2017–18 EHC Black Wings Linz EBEL 41 10 27 37 24 12 3 7 10 2 2018–19 EHC Black Wings Linz EBEL 41 5 16 21 20 — — — — — AHL totals 116 5 25 30 65 11 0 2 2 4

References

External links

Category:1986 births
Category:Living people
Category:Augsburger Panther players
Category:EHC Black Wings Linz players
Category:Canadian ice hockey defencemen
Category:Dornbirn Bulldogs players
Category:Ice hockey people from Ontario
Category:Kölner Haie players
Category:Ontario Junior Hockey League players
Category:Sportspeople from Richmond Hill, Ontario
Category:Sudbury Wolves players
Category:Wheeling Nailers players
Category:Wilkes-Barre/Scranton Penguins players
Category:Canadian expatriate ice hockey players in Austria
Category:Canadian expatriate ice hockey players in Germany

On July 11 , 2010 , D'Aversa left North America and signed a one - year contract with Augsburger Panther of the German Deutsche Eishockey Liga for the 2010–11 season .

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Question: with which german team did d'avera sign a one year contract in 2010

Answer: Augsburger Panther

Question: when did d'avera leave north america

Answer: July 11, 2010

Question: what is the german equivalent of the nhl

Answer: Deutsche Eishockey Liga

Question: in what year did d'avera leave north america

Answer: 2010

Question: how many points did d'avera win in the 2010-11 season

Answer: one

Question: who signed a one year contract with augsburg panther

Answer: D'Aversa

Question: what league did augersburger panther belong to

Answer: German Deutsche Eishockey Liga

Question: how long did d'avera stay in north america

Answer: one-year