Yahoo Web Search

Search results

  1. Robert Rossen (March 16, 1908 – February 18, 1966) was an American screenwriter, film director, and producer whose film career spanned almost three decades. His 1949 film All the King's Men won Oscars for Best Picture, Best Actor and Best Supporting Actress, while Rossen was nominated for the Academy Award for Best Director.

  2. www.imdb.com › name › nm0744035Robert Rossen - IMDb

    Robert Rossen was born on 16 March 1908 in New York City, New York, USA. He was a writer and director, known for The Hustler (1961), All the King's Men (1949) and Alexander the Great (1956). He was married to Sarah (Sue) Siegel. He died on 18 February 1966 in New York City, New York, USA.

  3. May 6, 2024 · Robert Rossen was an American writer and director whose career—although highlighted by a number of notable films, especially All the King’s Men (1949) and The Hustler (1961)—was damaged after he was blacklisted for initially refusing to testify (1951) before the House Un-American Activities.

  4. Robert Rossen was born on 16 March 1908 in New York City, New York, USA. He was a writer and director, known for The Hustler (1961), All the King's Men (1949) and Alexander the Great (1956). He was married to Sarah (Sue) Siegel.

  5. Robert Rossen (March 16, 1908 – February 18, 1966) was an American screenwriter, film director, and producer whose film career spanned almost three decades. His 1949 film All the King's Men won Oscars for Best Actor and Best Supporting Actress, while Rossen was nominated for an Oscar as Best Director.

  6. Jul 9, 2016 · As former Communist supporter Robert Rossen faced considerable difficulty in his attempts to reignite the tail-end of his career. His mounting frustration with the domineering system that constantly doubted his loyalty would manifest itself most overtly in his later films like The Hustler.

  7. As his power in Hollywood escalated, the very forces Rossen described in his films ate away at the man himself. Rossen found the abstract ideals of politics – like stylized cinematic stereotypes – may not hold up to humanity’s unpredictable dips and swerves.