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- Pridružio: 22 Mar 2006
- Poruke: 416
- Gde živiš: Beograd
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Birth name
Jan Tomas Forman
Born
Caslav, Czechoslovakia on 2/18/1932
Professions:
director, screenwriter, Actor, producer, assistant director, professor
Biography
Milos Forman stands as one of the few established foreign directors to find success within the American film industry. Like Fritz Lang, Forman was an influential filmmaker in his homeland who went on to achieve comparable influence in Hollywood. Forman's Czechoslovakian films, including "Loves of a Blonde" (1965) and "The Fireman's Ball" (1967), marked a distinct thematic and stylistic break with the prior generation of filmmaking in that country and played a major role in shaping the Czech New Wave of the 1960s. These films were characterized by an ironic humor and detailed observation of character for which Forman has become well known.
A persistent theme in Forman's work is generational conflict, particularly as it is played out within a family or family-like context. Some critics have suggested that Forman's preoccupation with parent-child relationships may stem from the loss of his own parents in Nazi concentration camps. In Forman's first two features, "Black Peter" (1963) and "Loves of a Blonde", he deals with the theme in a gentle and humanistic manner, using it for subtle criticism of the socio-political climate in Czechoslovakia of the mid-60s. The political content of Forman's Czech films is rarely overt, but rather suggested through the harshly authentic depiction of a bleak environment and inflexible social order. To achieve this authenticity, Forman has routinely used non-professional actors who were often instructed to improvise their dialogue to achieve a sense of spontaneity. The political implications of Forman's realism have been complemented by his narratives, which, as in "Loves of a Blonde", often tell the story of young people struggling to find happiness and meaning within an established social order that has not provided for their personal and emotional fulfillment. In all his Czechoslovakian films, the political critique is gently ironic and the humanism abundant.
Forman's first two American films bear strong thematic and stylistic resemblance to his Czechoslovakian work. "Taking Off" (1971), a critical if not commercial success, developed the generation gap theme: a set of parents go in search of their runaway daughter in NYC. "One Flew Over the Cuckoo's Nest" (1975), explored the struggle of the individual against the establishment. This film solidified his stature in the US, became a box-office smash and was the second film in history to sweep the top five Academy Awards, earning Best Picture, Director, Actor (Jack Nicholson), Actress (Louise Fletcher) and Screenplay (Bo Goldman and Lawrence Hauben).
Forman continued to develop these themes in his subsequent work. Switching gears, he explored the musical genre in "Hair" (1979), adapting the quintessential anti-establishment stage show. Forman had originally been drawn to the material in the late 60s, but the rights were then unavailable. By the time the film was made, it had become a period piece and its loose, revue-like structure posed problems. Working with screenwriter Michael Weller, Forman reinterpreted the material, fashioning yet another tale of young people seeking something more than the conventions provided by society. The tribal aspects of the hippie lifestyle provided a familial context against which the main action played out. Forman staged several brilliant set pieces, particularly the "be-in" in Central Park and Cheryl Barnes' heartbreaking solo "Easy To Be Hard". Abetted by the exquisite camerawork of Miroslav Ondricek and Twyla Tharp's energetic choreography, "Hair" remains one of the best screen adaptations of a stage musical. Unfortunately, despite strong reviews, the film was not a box-office success. Too much time had passed and other films had significantly dealt with the 60s and the Vietnam experience.
Forman followed with the period drama "Ragtime" (1981) that was noted more for marking the screen return of veteran actor James Cagney. Again collaborating with screenwriter Weller, he undertook the daunting task of translating E L Doctorow's sprawling, multi-character novel. Forman chose to concentrate on a few of the book's storylines, notably that of Coalhouse Walker Jr, a proud black musician who faces a choice of humiliation or defiance. The resulting film, while visually stunning and featuring several fine performances (including Cagney's police commissioner and the late Howard E Rollins Jr's Coalhouse), was a financial failure. Forman's original cut ran close to three hours; it was edited at the urging of the studio and producer Dino Di Laurentiis and the narrative structure somehow suffered.
For his next project, the director undertook adapting Peter Shaffer's award-winning play "Amadeus" (1984). The film played upon one of Forman's favorite themes, generational conflict (e.g., an older composer, Salieri, jealous of the youthful upstart Mozart; Mozart and his prickly realtionship with his father). Filming provided the helmer with an emotionally fraught set of circumstances. In his memoir, "Turnaround" (Random House, 1993), Forman details obtaining a visa to visit his homeland and the resulting sentiments of working in Prague. "Amadeus" was another visually stunning, well-acted piece and the American public responded to it. The film earned eight Oscars, including Best Picture, Actor (F Murray Abraham as the embittered Salieri), Screenplay (Shaffer) and a second Best Director Award for Forman.
Forman moved to academia in the late 1970s, teaching at Columbia University and eventually becoming co-director of its film program. After a five year break (during which time he had acted in two films, Mike Nichols' "Heartburn", 1986 and Henry Jaglom's "New Year's Day", 1989), he returned to features to helm an adaptation of Choderlos de Laclos' epistolary novel "Les Liaisons Dangereuses". Forman had first become interested in the material while an undergraduate studying with Milan Kundera. Despite a competing project, "Dangerous Liaisons" (1988-), Stephen Frears' adaptation of Christopher Hampton's play, the director pushed on. Casting more youthful actors (Annette Bening, Colin Firth, Meg Tilly), Forman helmed a less pungent version of the story. Audiences had embraced Frears' acerbic take and high powered cast (Glenn Close, John Malkovich, Michelle Pfeiffer) and all but ignored Forman's. Its disappointing box office was tempered for the director by the democratic revolution in his homeland that saw his old friend, Vaclav Havel become president.
Much of Forman's attention in the early 90s was occupied with his duties at Columbia University and with developing his first original screenplay, the unproduced "Hell Camp", which focused on two Americans attending a school for managers in Japan. Forman was also at one time attached to direct "Disclosure" (1994), but he left the project in 1993 and was eventually replaced by Barry Levinson. He finally returned to the screen with the biopic, "The People vs. Larry Flynt" (1996). Again, Forman's themes of political conflict are baldly played out in this somewhat sanitized depiction of za-odrasle-ographer Flynt's First Amendment lawsuit. Produced by Oliver Stone, the film, which utilizes humor to make social commentary, won critical attention and audiences in big cities, although it failed to attract viewers in the South and Midwest.
Family
brother:Blahoslav Forman
brother:Pavel Forman
father:Rudolf Forman
mother:Anna Forman
son:Petr Forman
son:Matej Forman
son:Andrew Forman
son:James Forman
Education
FAMU Prague, Czechoslovakia screenwriting 0
Companion
Beverly D'Angelo.,
Jana Brejchova.wife,
Martina Zborilova.wife,
Vera Kresadlova.wife,
Awards
Berlin Film Festival Silver Bear Best Director "Man on the Moon" 2000
Berlin Film Festival Golden Bear "The People vs. Larry Flynt" 1997
European Film Academy Award for Achievement in World Cinema 1997
John Huston Award for Artists Rights 1997
Golden Globe Award Best Director "The People vs. Larry Flynt" 1996
National Board of Review Freedom of Expression Award "The People vs. Larry Flynt" 1996
Eastman Kodak Second Century Award 1990
Cesar Best Foreign Film "Amadeus" 1985
Directors Guild of America Award Outstanding Directorial Achievement in Feature Film "Amadeus" 1984
Golden Globe Award Best Director "Amadeus" 1984
Los Angeles Film Critics Association Award Best Director "Amadeus" 1984
Oscar Best Director "Amadeus" 1984
BAFTA Award Best Director "One Flew Over the Cuckoo's Nest" 1976
Directors Guild of America Award Outstanding Directorial Achievement in Feature Film "One Flew Over the Cuckoo's Nest" 1975
Golden Globe Award Best Director "One Flew Over the Cuckoo's Nest" 1975
Oscar Best Director "One Flew Over the Cuckoo's Nest" 1975
Cannes Film Festival Jury Prize "Taking Off" 1971
French Film Academy Award Best Film "The Loves of a Blonde" 1966
Venice Film Festival Jury Prize "The Loves of a Blonde" 1965
Locarno Film Festival Golden Sail Award "Cerny Petr/Black Peter" 1964
Czechoslovak Film Critics Award Best Picture "Cerny Petr/Black Peter" 1963
Milestones
1999 Helmed "Man on the Moon", the biopic of comedian Andy Kaufman starring Jim Carrey
1996 Returned to feature directing with "The People vs. Larry Flynt"
1989 Was subject of a segment of the PBS series "American Masters"
1989 Last film released for seven years, "Valmont"
1989 Acted in Henry Jaglom's "New Year's Day"
1986 Made US acting debut in small role in Mike Nichols' "Heartburn"
1984 Reteamed with producer Saul Zaentz to direct the film adaptation of Peter Shaffer's "Amadeus"; returned to Czechoslovakia for the first time since 1968 to film on location; earned second Oscar as Best
1981 Directed "Ragtime"; convinced James Cagney to come out of retirement to play final screen role
1979 Helmed adaptation of stage musical "Hair"
1978 Made professor, Columbia University film division
1977 Became a US citizen (November 30)
1975 Directed breakthrough US feature, "One Flew Over the Cuckoo's Nest"; won first Oscar as Best Director
1975 Named co-director of Columbia University film division
1973 Was suffering from acute depression when approached by producers Saul Zaentz and Michael Douglas to direct film adaptation of Ken Kesey's novel, "One Flew Over the Cuckoo's Nest"
1972 Contributing director for "Visions of Eight" (documentary covering Munich Olympics)
1971 Made first US film, "Taking Off"
1971 Subject of Mira Weingarten's documentary short, "Meeting Milos Forman"
1968 Was in Paris at time of Russian occupation of Czechoslovakia in August and the fall of the Dubcek regime in September and stayed there until moving to New York in 1969
1967 Made first trip to the US; negotiated to make first US feature; wanted to produce a film adaptation of the stage musical "Hair", but rights were not available
1963 Medium-length 16mm semi-documentary directing debut with "Konkurs/Competition"; Forman's first collaboration with Ivan Passar and cinematographer Miroslav Ondricek
1963 Feature film directing debut with "Cerny Petr/Black Peter"
1957 Wrote and was assistant director on Ivo Novak's film, "Puppies"
1956 First onscreen appearance in Alfred Radok's "Old Man Motorcar"
1954 - 1956 Directed documentaries for Czech TV
1950 While a senior at Dejvice high school, organized a drama club and staged an avant-garde musical about Francois Villon which toured small halls near Prague
1950 Enrolled in newly founded Film Institute at the University of Prague (FAMU)
1945 Became a film buff after the occupation ended
Raised by two uncles and one family of friends of his parents after parents were arrested
Set to direct "Goya's Ghosts," a film about Spanish grand master Francisco de Goya starring Javier Bardem and Natalie Portman, which tells the story of the last years of the Spanish Inquisition (lense
Worked on unproduced film, "Hell Camp", about Americans in Japan
Began pre-production on "Disclosure"; withdrew from film in the fall of 1993 (eventually replaced by Barry Levinson)
Collaborated on script of Martin Fric's feature comedy, "Leave It to Me" (1955) while still a student at FAMU
Joined theater group Laterna Magika (Magic Lantern) as an assistant writer; worked with Alfred Radok on presentations that mixed film with live actors to be performed for the Brussels World Fair
Directed a failed play for the NY stage
 
Filmography..
IMDB
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