Robert Rossen - Works

Works

Release Title Type Production company Writer Director Producer
1932 Steel Play Y
1932 The Tree Play Y
1933 Birthright Play Y
1935 The Body Beautiful Play Y Y
1937 – April Marked Woman Film Warner Bros. Y co-wrote n n
1937 – October They Won't Forget Film Warner Bros. Y n n
1938 Racket Busters Film Warner Bros. Y n n
1939 – September Dust Be My Destiny Film Warner Bros. Y co-wrote n n
1939 – October The Roaring Twenties Film Warner Bros. Y co-wrote n n
1940 A Child Is Born Film Warner Bros. Y n n
1941 – March The Sea Wolf Film Warner Bros. Y co-wrote n n
1941 – June Out of the Fog Film Warner Bros. Y n n
1941 – Nov Blues in the Night Film Warner Bros. Y co-wrote n n
1945 – December A Walk in the Sun Film Lewis Milestone Productions Y n n
1946 – July The Strange Love of Martha Ivers Film Hal Wallis Productions Y n n
1947 – March Johnny O'Clock Film J. E. M. Productions Y Y n
1947 – August Desert Fury Film Hal Wallis Productions Y n n
1947 – November Body and Soul Film Enterprise Studios n Y n
1949 – April The Undercover Man Film Robert Rossen n n Y
1949 – November All the King's Men Film Columbia Pictures Corporation Y Y Y
1951 The Brave Bulls Film Rossen Enterprises n Y Y
1954 Mambo Film Produzione Ponti-De Laurentiis Y Y n
1956 Alexander the Great Film Rossen Films, S.A. C.B. Films Y Y Y
1957 Island in the Sun Film Darryl F. Zanuck Productions n Y n
1959 They Came to Cordura Film Goetz Pictures, Inc.; Baroda Productions, Inc. Y Y n
1960 The Cool World Play Y co-wrote n n
1961 The Hustler Film Rossen Enterprises Company Y co-wrote with Sidney Carroll Y Y
1964 Lilith Film Centaur Enterprises Y Y Y

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    Was it an intellectual consequence of this ‘rebirth,’ of this new dignity and rigor, that, at about the same time, his sense of beauty was observed to undergo an almost excessive resurgence, that his style took on the noble purity, simplicity and symmetry that were to set upon all his subsequent works that so evident and evidently intentional stamp of the classical master.
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    His character as one of the fathers of the English language would alone make his works important, even those which have little poetical merit. He was as simple as Wordsworth in preferring his homely but vigorous Saxon tongue, when it was neglected by the court, and had not yet attained to the dignity of a literature, and rendered a similar service to his country to that which Dante rendered to Italy.
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    Again we mistook a little rocky islet seen through the “drisk,” with some taller bare trunks or stumps on it, for the steamer with its smoke-pipes, but as it had not changed its position after half an hour, we were undeceived. So much do the works of man resemble the works of nature. A moose might mistake a steamer for a floating isle, and not be scared till he heard its puffing or its whistle.
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