Julius "Jules" Dassin ( ; December 18, 1911 – March 31, 2008) was an American film and theatre director, producer, writer and actor. A subject of the Hollywood blacklist, he subsequently moved to France, and later Greece, where he continued his career. He was best-known for his noir and crime films, though he also worked in other genres. He won the Best Director Award at the 1955 Cannes Film Festival for his pioneering heist film Rififi, and received Academy Award nominations for Best Director and Best Original Screenplay for Never on Sunday (1960).
He adapted Never on Sunday into the stage musical Illya Darling, earning Tony nominations for Best Musical and Best Direction of a Musical. Dassin's other notable films included Brute Force (1947), The Naked City (1948), Thieves' Highway (1949), Night and the City (1950), Topkapi (1964), and Uptight (1968).
Dassin was the husband of Greek actress and activist Melina Mercouri, and the father of singer-songwriter Joe Dassin. He was a member of the Academy of Motion Picture Arts and Sciences and the Directors Guild of America. His parents were both Jewish immigrants from Odesa, Russian Empire (present-day Ukraine). During his youth he attended Camp Kinderland, a left-wing Yiddish youth camp.
Julius attended Morris High School in the Bronx. He started acting professionally in 1926, at the age of fourteen, with the Yiddish Art Theatre in New York City. On October 13, 1929, newspaper columnist Mark Hellinger printed a story given to him by Dassin in the New York Daily News; nearly twenty years later, the two would work together in Hollywood.
On July 11, 1933, Julius' older brother Louis was arrested in Meriden, Connecticut when he confessed to the theft of $12,000 from the Puritan Bank and Trust Company, where he worked as a teller and treasurer. On September 10, 1933, when he was 21 years old, Julius married Beatrice Launer, a concert violinist and a graduate of the Juilliard School of Music.
Beginning in 1934, Julius spent three years studying dramatic technique in Europe.
New York theatre and radio career
After returning from Europe in 1936, Dassin joined the Children's Theatre, a division of the Federal Theatre Project during the Great Depression. The later play was criticized as strongly communist.
He later joined up with the Artef Players, a Yiddish Proletarian Theater company in 1937, serving as an actor, set designer, set builder, stage director and even ticket salesman. He also appeared in Artef Players' Recruits and 200,000. Since the pay was poor with Artef Players, Dassin formed a theatre troupe to tour the Borscht Circuit in the Catskills as summer stock.
He then wrote sketches for radio, at times directing his own radio plays, and became a stage director and producer. In early 1940, Dassin staged and directed the play Medicine Show for producer Martin Gabel, starring Isabel Bonner, Philip Bourneuf and Norman Lloyd. Although it was well received by critics, Medicine Show only ran for 35 performances at the New Yorker Theatre, from April 12, 1940, to May 11, 1940. and Alfred Hitchcock on Mr. and Mrs. Smith (1941), both starring Carole Lombard and both under the supervision of producer Harry E. Edington. By January 1941, after six months without a proper directorial job, Dassin was released from his RKO Radio Pictures contract.
Dassin returned to radio work in Hollywood, presenting his previously adapted Gogol story The Overcoat for a repeat performance on The Kate Smith Hour, this time starring Henry Hull, which was broadcast live on January 3, 1941. He was also one of the several actors who formed the Actors' Laboratory Theatre.
Metro-Goldwyn-Mayer and loan-out to Eagle-Lion Films (1941–1946)
Wanting to prove that he could direct motion pictures, Dassin approached Metro-Goldwyn-Mayer in the spring of 1941 offering his services for free. Filmed in June 1941 and released on October 25, 1941, Dassin was promoted from the short story department to the feature film department by Metro-Goldwyn-Mayer at the same time as Fred Zinnemann and Fred Wilcox.
His feature film debut at Metro-Goldwyn-Mayer was the low-budget spy thriller Nazi Agent (originally announced under the titles Salute to Courage, House of Spies and Out of the Past), under the supervision of producer Irving Asher and starring Conrad Veidt, in the dual roles of twin brothers, and Ann Ayars. Released in early 1942, the film received immediate critical acclaim and was a box office success, with Dassin being compared to Orson Welles and Alfred Hitchcock.
Dassin followed with the romantic comedy The Affairs of Martha (originally announced under the title Once Upon a Thursday), starring Marsha Hunt and Richard Carlson, and under the supervision of producer Irving Starr. The film was made in early 1942 on a limited budget. When released in mid-1942, the film was a moderate success and again Dassin was highlighted in the reviews.
In mid-February 1942, it was reported that Dassin would direct a film titled Men at Sea from a Marine Corps story by Alma Rivkin (possibly a typo for Allen Rivkin) starring Philip Dorn. The film was presumably abandoned. In April 1942, it was reported that Dassin would be one of eight directors, along with Fred Zinnemann, Fred Wilcox, Charles Lederer, Edward Cahn, Joseph M. Newman and David Miller, to film a sequence for a planned patriotic anthology film at Metro-Goldwyn-Mayer titled Now We Are 21. The film was to be produced by B. F. Zeidman and scripted by Peter Ruric from a story by Jerry Schwartz. Actors such as Gene Kelly, Ray McDonald, Virginia O'Brien, James Warren, Tatricia Dane, Johnny Davis and Barry Wilson were to appear in the film, but it was never made. The picture was being produced by Joseph L. Mankiewicz and was to co-star Philip Dorn and John Wayne. Crawford also requested that Ann Ayars, who co-starred in Nazi Agent, be given the second female lead in her film. Dassin was notified of this new assignment on May 19, 1942, and the press reported that he had been promoted to become an "A movie" director. On the first day of shooting, Dassin yelled "cut" while Crawford was performing, which deeply upset the actress and led her to rush into Mayer's office.
After completing Reunion in France, it was reported that Dassin received a leave of absence from Metro-Goldwyn-Mayer to act in a stage production of William Shakespeare's Richard III on Broadway. The play was to be directed by and starring John Carradine, though it is unknown if this production came through.
In mid-November 1942, he was assigned to direct another romantic comedy, Young Ideas (originally announced as Faculty Row), under the supervision of producer Robert Sisk. The film was shot from mid-December 1942 to early 1943 and starred Susan Peters, Herbert Marshall and Mary Astor. In March 1943, Dassin joined the Academy of Motion Picture Arts and Sciences.
In September 1943, after several months without a project, Dassin took over the directorial duties on a comedy film adaptation of Oscar Wilde's The Canterville Ghost. Original director Norman Z. McLeod had departed after five weeks of shooting, following a clash with producer Arthur Field and the cast, which included Charles Laughton, Robert Young and Margaret O'Brien. The film finished shooting in December 1943 and was released in the summer of 1944. Between the filming of scenes, Laughton often asked Dassin to play Russian classical songs on the piano, of which both were fond.
In January 1944, producer Edwin H. Knopf selected Dassin to direct the suspense drama Secrets in the Dark (originally announced as Strangers in the Dark and The Outward Room). The motion picture was based on Millen Brand's novel The Outward Room and from the existing play version The World We Make, which had been adapted by Sidney Kingsley. The plot was that of a middle-class girl who escapes from an insane asylum and develops a love affair with a blue collar steel worker, and in turn overcomes her phobias. The property was developed as a starring vehicle for Susan Peters, newly promoted Metro-Goldwyn-Mayer starlet. Gene Kelly was first cast as the male lead in January 1944, though he was replaced by Robert Young in February 1944. On April 1, 1944, Peters was admitted into Santa Monica Hospital for abdominal pain and underwent major surgery. Her recovery took several months, postponing the films' production indefinitely. Reports varied as to how much footage was shot; some reported as little as ten-day of filming, while others stated that the film was nearly completed. By the time that Peters had recovered in the summer of 1944, Dassin was on a voluntary leave from the studio, so Peters was instead assigned to Keep Your Powder Dry (originally announced as Women in Uniform) for director Edward Buzzell. When Dassin finally returned to work for Metro-Goldwyn-Mayer in mid-1945, Peters had undergone another series of surgeries (due to an accidental shotgun discharge on January 1, 1945), which put her in a wheelchair. Peter's character in Secrets in the Dark was to be rewritten as a paraplegic, but the film was instead permanently shelved. The first play in which he acted was Night Lodging, followed by The Lower Depths. In May 1944, Dassin teamed up with Arthur Lubin to set up the Soldier Shows Stock Company, a project to put on plays featuring wounded war veterans at Torney General Hospital in Palm Springs, California.
In June 1944, Metro-Goldwyn-Mayer announced that Dassin had been assigned to direct the company's 20th Anniversary film, Some of the Best. The five-reel picture was to include excerpts from prior Metro-Goldwyn-Mayer films, spanning 1924–1943, along with wrap-around pieces starring Lewis Stone. Dassin had hoped to return to work on the New York stage but instead took a thirteen-month voluntary hiatus from Metro-Goldwyn-Mayer, filling his time by reading books on the beach and working on local plays.
In November 1944, actor Ralph Bellamy approached Dassin to direct The Democrats, a play he was producing on Broadway. The Democrats was written by Melvin Levy and was to co-star Frances Dee. Although the production received good publicity throughout the month of November 1944, it would appear that it never came to fruition, perhaps because Dassin was unable to receive a leave of absence from Metro-Goldwyn-Mayer. Dassin took over the directorial duties from Fred Zinnemann (who was then suspended from Metro-Goldywn-Mayer for refusing to finish the picture), and had anticipated casting Susan Peters in the lead. The picture began shooting in early June 1945 and included Marsha Hunt, Hume Cronyn, John Carroll, Norman Lloyd and Pamela Britton. A Letter for Evie briefly changed title to All the Things You Are in late 1945, but its original title was restored in time for release in November 1945.
It was announced that once Dassin completed the shooting of A Letter for Evie, he would fly to Europe to direct a series of plays sponsored by the Actors' Laboratory Theatre. The plays were to star soldiers as part of war-time moral-building entertainment. Again, he was denied a leave of absence from Metro-Goldwyn-Mayer and in early August 1945 was assigned to direct the romantic comedy thriller (with strong film noir tones), Two Smart People (originally announced as Time for Two) for producer Ralph Wheelwright. The picture began filming in September 1945 and starred Lucille Ball, John Hodiak and Lloyd Nolan, and was released in late 1946. Following Two Smart People, Dassin would spend more than a year without successfully shooting another film.
In March 1946, Dassin and Joseph Losey co-directed Viola Brothers Shore's stage play Birthday for the Actors' Laboratory Theatre. The production, which unfolds a narrative of a girl's 18th birthday, was staged at the Phoenix Theater starring actress Karen Morley. The cast also included Howard Duff, Jocelyn Brando and Don Hanmer. The picture was to be made under the supervision of writer-producer Marion Parsonnet and set to star Franchot Tone, Sylvia Sidney, Constance Dowling and Tom Conway. Unfortunately, disagreements about the budget and script caused the whole production to fall apart and the entire cast and crew resigned.
Mark Hellinger Productions and Universal-International Pictures (1946–1948)
As soon as the news hit that Dassin was free from contractual obligations with Metro-Goldwyn-Mayer, writer-turned-producer Mark Hellinger scooped up the director, signing him to a non-exclusive three-picture freelance contract with his film production company, Mark Hellinger Productions. The contract gave Dassin the freedom to choose his own three projects to direct at Mark Hellinger Productions, without an expiry date. The cast also included noted Hollywood actors Charles Bickford, Yvonne De Carlo, Ann Blyth, Ella Raines and Anita Colby. The film, which featured a score composed and conducted by Miklós Rózsa, was released to theatres in July 1947 through Universal-International Pictures; that same month, Cosmopolitan magazine awarded Dassin with the Movie Citations of the Month Award for Best Director. Less than a year after its release, Dassin revealed that he did not like the film.
In early May 1947, Dassin was announced as the director of Hellinger's next production, The Naked City (originally announced as Homicide) Dassin planned to push the realism and documentary-style filming technique of the police story flic further by shooting it entirely on location in New York City. The production received full cooperation from New York City's Homicide Squad during its two and a half months of location shooting, from June to August 1947. 107 different locations were shot in New York City, and to distract the crowd and keep them looking natural, Dassin hired a juggler to draw their attention away from the cameras.
Dassin, Hellinger and associate producer Buck worked with several of the same cast and crew members from Brute Force on The Naked City, including actors Howard Duff, Ralph Brooks and Chuck Hamilton, assistant director Fred Frank, cinematographer William H. Daniels, art director John F. DeCuir, set decorator Russell A. Gausman and composer Miklós Rózsa. The film also starred Barry Fitzgerald, Don Taylor and Dorothy Hart. After overseeing the editing of the film in Hollywood during September and October 1947, Dassin flew back to New York City in early November 1947 to work on the pre-production of the stage play Strange Bedfellows. Unbeknownst to Dassin, Hellinger and Buck wound up re-cutting the film in his absence; the director only finding out at the film's premiere on March 3, 1948, when he saw a highly edited version of his film projected on the screen. and it was nominated for and won several accolades, including Academy Awards for Best Film Editing and Best Cinematography, Black-and-White, an Academy Award nomination for Best Writing, Motion Picture Story; a British Academy of Film and Television Arts nomination for Best Film from any Source; and Writers Guild of America Award nominations for Best Written American Drama and The Robert Meltzer Award. In 2007, the film was deemed "culturally, historically, or aesthetically significant" by the United States National Film Preservation Board and was selected for preservation in the Library of Congress' National Film Registry.
Dassin's third and final film under his Mark Hellinger Productions contract was up in limbo following Hellinger's death. The film production unit had undergone considerable changes in the months prior to Hellinger's passing, including the addition of Humphrey Bogart as vice-president, and the signing of a six-picture financing and distribution deal with David O. Selznick's Selznick Releasing Organization. Mark Hellinger Productions owned the filming rights to several Ernest Hemingway stories, Forest Rosaire's novel East of Midnight, Arthur Cohn's screenplay Disbarred, Gordon Macker's screenplay Race Track, Philip G. Epstein's screenplay Mistakes Will Happen, and Jerry D. Lewis' screenplay Twinkle, Twinkle; in addition to three films in development: Knock on Any Door, Criss Cross and Act of Violence. Any of these properties may have been picked for Dassin to direct in 1948. The company also held contracts with actors Bogart, Burt Lancaster, Don Taylor and Howard Duff, and with cinematographer William Daniels. However, difficulty lay in finding a new executive producer to head the production; Jerry Wald was first approached but was unable to free himself from his Warner Bros. contract. Unfortunately, Hellinger's widow, former actress Gladys Glad Hellinger, decided to liquidate the company and all of its assets in early February 1948. This lead Bogart, Lord and Marie to form their own film production company, Santana Productions, and secure a financing and distribution deal with Columbia Pictures with some of the properties they managed to purchase. Adler had recently purchased Jack Iams' novel Prophet by Experience in September 1947 and hired Ben Hecht to adapt it and write the screenplay. The story dealt with a hermit who is taken out of seclusion by a magazine writer, and who has a unique set of experiences in the outside world. Adler, who was solely to act as producer in his new film production company, approached Dassin to direct the picture and negotiations were underway for a financing and distribution deal with Columbia Pictures. For reasons unknown, the film was never made.
While still in New York City, Dassin was hired by producers John Houseman and William R. Katzell to direct Allan Scott's play Joy to the World; a comedy about a ruthless Hollywood producer. It would run for 124 performances, until July 3, 1948. The cast included Alfred Drake, Marsha Hunt, Morris Carnovsky, Mary Welch, Lois Hall, Peggy Maley, Myron McCormick, Clay Clement, Bert Freed, Kurt Kasznar and Theodore Newton.
20th Century-Fox Film and the blacklist years (1948–1953)
In February 1948, Dassin was approached by theatre producer Mike Todd who was preparing to venture into the film producing business. Todd planned to make a series of low-budget, $500,000 pictures and had secured a financing and distribution deal with 20th Century-Fox Film. The first picture in Todd's new deal was Busman's Holiday, an original story based on newspaper accounts of a Bronx bus driver who took off for Florida with his family using his company's bus. Impressed by the success and filming style of The Naked City, Todd approached Dassin to direct Busman's Holiday. Although the picture was ultimately never made, Dassin had become an increasingly sought-after director.
On April 3, 1948, he returned to Hollywood to meet with executives from three different studios: Metro-Goldwyn-Mayer, 20th Century-Fox Film and Columbia Pictures, each of which had offered him a contract. The first was to be a film adaptation of Jean-Paul Sartre's latest novel and recently opened Broadway hit The Respectful Prostitute, for which Goddard and actor Burgess Meredith had negotiated the screen rights, hoping to play the leads. Irving Rapper ultimately directed the film at Columbia Pictures.
During the summer of 1948, Dassin directed Magdalena on Broadway, a play produced by Edwin Lester, which ran for 88 performances from September 20, 1948, to December 4, 1948. By the time that Magdalena closed, Dassin was already back in Hollywood, having signed a contract with Zanuck at 20th Century-Fox.
Contrary to an often-cited 1958 Time magazine article, Dassin was not blacklisted because of a single denunciation from a particular witness at a congressional hearing. Instead, his name had been mentioned a number of times, at various hearings of the United States House of Representatives House Un-American Activities Committee (HUAC), and by different witnesses, some as early as 1947. He was also linked to several Communist-front organizations.
On October 22, 1947, while Dassin was still working on The Naked City, Metro-Goldwyn-Mayer (MGM) chief supervisor and executive producer James Kevin McGuinness testified before the HUAC. The news hit the media quickly.
In 1948 and 1949, Dassin's name was connected with at least three Communist-front organizations. First, he was an executive board member of the Actors' Laboratory Theatre. The Committee did not assert that the Actors' Lab was Communist, but rather that its board of directors was made up almost exclusively of CPUSA members or Communist sympathizers, including Dassin. Second, he had been a member of the Artists' Front to Win the War—a gathering on October 16, 1942 that the HUAC cited as subversive. Third, Dassin was a sponsor of the National Council of the Arts, Sciences and Professions' Scientific and Cultural Conference for World Peace, held from March 25–27, 1949, which the HUAC also cited as subversive.
In the late spring of 1949, Zanuck called Dassin into his office to warn him that he was on the verge of being blacklisted, but that he still had enough time to make one more movie for 20th Century-Fox. Dassin was already unofficially blacklisted during the production of Night and the City and was not allowed back on the studio property to edit the film nor oversee the musical scoring.
Nevertheless, Zanuck and producer Julian Blaustein hired Dassin to direct one more 20th Century-Fox Film, Half Angel, a Technicolor comedy starring Loretta Young, and scheduled to begin shooting in mid-June 1950. However, after political pressure from Hollywood and Washington, D.C., Dassin was replaced by Richard Sale. In his revised testimony, Dmytryk revealed that the Screen Directors' Guild included seven known Communists. It was one of the first times the HUAC heard of film directors being Communists; up till then, the Committee had concentrated on left-wing writers in the Screen Writers' Guild. He said that during the 1930s and 1940s, a group of seven Communists existed within the Screen Directors' Guild. From that point on, Dassin was officially identified as a past or present CPUSA member.
In 1952, after Dassin had been out of work for two years, actress Bette Davis hired him to direct her in the Broadway revue Two's Company. Dassin was then offered a job in France to direct a film. He accepted the offer and left the U.S. for good, never having to appear before the HUAC.
Working in Europe
France
thumb|Dassin with his son [[Joe Dassin in 1970]]
In March 1953, Dassin was hired by French producer Jacques Bar to direct the comedy-crime film The Most Wanted Man, starring Fernandel and Zsa Zsa Gabor in a spoof of American gangster films. Dassin maintains that two days before the film was to begin shooting, Bar yielded to pressure from a powerful U.S. politician not to work with Dassin, receiving threats that the film, and any future Bar productions, would not be granted American distribution. The next day, Brewer received a telegram from American Federation of Labor's European representative Irving Brown, also questioning Dassin's political views. Another film it inspired was Dassin's own heist film Topkapi (1964), filmed in France and Istanbul, Turkey with his future second wife, Melina Mercouri and Oscar winner Peter Ustinov.
Most of Dassin's films in the decades following the blacklist are European productions. She then starred in his next three films – Phaedra (1962), Topkapi (1964) and 10:30 P.M. Summer (1966).
He divorced his first wife, Beatrice Launer, in 1962 and married Mercouri in 1966. She later starred in his Promise at Dawn (1970)—during the filming of which, Dassin broke both his legs—and later A Dream of Passion (1978).
Affiliation with Greece
Dassin was considered a major Philhellene to the point of Greek officials describing him as a "first generation Greek". Along with Mercouri, he opposed the Greek military junta.
The couple had to leave Greece after the colonels' coup in 1967. In 1970 they were accused of having financed an attempt to overthrow the dictatorship, but the charges were quickly dropped. Dassin and Mercouri lived in New York City during the 1970s; then, when the military dictatorship in Greece fell in 1974, they returned to Greece and lived out their lives there. In 1974 he and Mercouri made The Rehearsal about the junta.
While Mercouri became involved with politics and won a parliamentary seat, Dassin stayed with movie-making in Europe. In 1982 he was a member of the jury at the 34th Berlin International Film Festival.
Personal life
thumb|Joe and Jules Dassin with Beatrice Launer in Paris in 1970
Marriages
Dassin married twice. Before his marriage to Melina Mercouri, he married Beatrice Launer in 1933; she was a New-York–born, Jewish–American concert violinist (aka Beatrice Launer-Dassin; 1913–1994), They divorced in 1962. Their children were Joseph Ira Dassin, better known as Joe Dassin (1938–80), a popular French singer in the 1970s; songwriter Richelle "Rickie" Dassin (born 1940); and actress–singer Julie Dassin (born 1944; also known as Julie D.).
Death
Dassin died from complications of influenza at the age of 96; he was survived by his two daughters and his grandchildren. Upon his death, the Greek prime minister Costas Karamanlis released a statement: "Greece mourns the loss of a rare human being, a significant artist and true friend. His passion, his relentless creative energy, his fighting spirit and his nobility will remain unforgettable."
In 2000, Rialto Pictures restored and released Rififi theatrically. It was subsequently released on home video through The Criterion Collection and Arrow Films.
Filmography
{| class="wikitable"
|-
! rowspan="2" style="width:33px;"|Year
! rowspan="2"|Title
! colspan="3" |Functioned as
! rowspan="2"|Notes
|-
! width=65 |Director
! width="65" |Writer
! width="65" |Producer
|- style="text-align:center;"
|| 1941
| style="text-align:left;"| The Tell-Tale Heart
|
|
|
|Short film
|- style="text-align:center;"
| rowspan="3"| 1942
| style="text-align:left;"| Nazi Agent
|
|
|
|
|- style="text-align:center;"
| style="text-align:left;"| The Affairs of Martha
|
|
|
|
|- style="text-align:center;"
| style="text-align:left;"| Reunion in France
|
|
|
|
|- style="text-align:center;"
|| 1943
| style="text-align:left;"| Young Ideas
|
|
|
|
|- style="text-align:center;"
|| 1944
| style="text-align:left;"| The Canterville Ghost
|
|
|
| style="text-align:left;" |
|- style="text-align:center;"
| 1945
| style="text-align:left;"| A Letter for Evie
|
|
|
|
|- style="text-align:center;"
|1946
| style="text-align:left;"| Two Smart People
|
|
|
|
|- style="text-align:center;"
|| 1947
| style="text-align:left;"| Brute Force
|
|
|
| style="text-align:left;"|
|- style="text-align:center;"
|| 1948
| style="text-align:left;"| The Naked City
|
|
|
| style="text-align:left;"|
|- style="text-align:center;"
|| 1949
| style="text-align:left;"| Thieves' Highway
|
|
|
| style="text-align:left;"|
|- style="text-align:center;"
|| 1950
| style="text-align:left;"| Night and the City
|
|
|
|
|- style="text-align:center;"
|| 1955
| style="text-align:left;"| Rififi
|
|
|
| style="text-align:left;" |
|- style="text-align:center;"
|| 1957
| style="text-align:left;"| He Who Must Die
|
|
|
|
|- style="text-align:center;"
|| 1959
| style="text-align:left;"| The Law
|
|
|
|
|- style="text-align:center;"
|| 1960
| style="text-align:left;"| Never on Sunday
|
|
|
| style="text-align:left;" |
|- style="text-align:center;"
|| 1962
| style="text-align:left;"| Phaedra
|
|
|
|
|- style="text-align:center;"
|| 1964
| style="text-align:left;"| Topkapi
|
|
|
|
|- style="text-align:center;"
|| 1966
| style="text-align:left;"| 10:30 P.M. Summer
|
|
|
|
|- style="text-align:center;"
| rowspan="2"| 1968
| style="text-align:left;"| Survival 1967
|
|
|
|
|- style="text-align:center;"
| style="text-align:left;"| Uptight
|
|
|
|
|- style="text-align:center;"
|| 1970
| style="text-align:left;"| Promise at Dawn
|
|
|
|
|- style="text-align:center;"
|| 1974
| style="text-align:left;"| The Rehearsal
|
|
|
|
|- style="text-align:center;"
|| 1978
| style="text-align:left;"| A Dream of Passion
|
|
|
|
|- style="text-align:center;"
|| 1980
| style="text-align:left;"| Circle of Two
|
|
|
|
|}
Acting roles
{| class="wikitable"
|-
! Year
! Title
! Role
! Notes
|-
| style="text-align:center;" | 1949
| style="text-align:left;" | Thieves' Highway
| Fruit Salesman on Elevator
| style="text-align:left;" | Uncredited
|-
| style="text-align:center;" | 1955
| style="text-align:left;" | Rififi
| style="text-align:left;" | César "le Milanais"
| style="text-align:left;" |Credited as 'Perlo Vita'
|-
| style="text-align:center;" | 1960
| style="text-align:left;" | Never on Sunday
| style="text-align:left;" | Homer Thrace
| style="text-align:left;" |
|-
| style="text-align:center;" | 1962
| style="text-align:left;" | Phaedra
| style="text-align:left;" | Christo
| rowspan="2" |Uncredited
|-
| style="text-align:center;" | 1964
| style="text-align:left;" | Topkapi
| style="text-align:left;" | Turkish Cop
|-
| style="text-align:center;" | 1970
| style="text-align:left;" | Promise at Dawn
| style="text-align:left;" | Ivan Mosjukine
|Credited as 'Perlo Vita'
|-
| style="text-align:center;" | 1974
| style="text-align:left;" | The Rehearsal
| style="text-align:left;" | Himself
|
|}
Broadway directing credits
Credits from the Internet Broadway Database:
{| class="wikitable"
|+
!Year
!Title
!Venue
!Notes
|-
|1940
|Medicine Show
|New Yorker Theatre
|
|-
| rowspan="2" |1948
|Joy to the World
|Plymouth Theatre
|
|-
|Magdalena
|Ziegfeld Theatre
|
|-
|1952-53
|Two's Company
|Alvin Theatre
|
|-
|1962
|Isle of Children
|Cort Theatre
|
|-
|1967-68
|Illya Darling
|Mark Hellinger Theatre
|Also writer
|}
Awards and nominations
{| class="wikitable"
|+
!Institution
!Year
!Category
!Work
!Result
!
|-
| rowspan="2" |Academy Awards
| rowspan="2" |1961
|Best Director
| rowspan="3" |Never on Sunday
|
|
|-
|Best Original Screenplay
|
|
|-
| rowspan="6" |Cannes Film Festival
| rowspan="2" |1955
|Palme d'Or
| rowspan="2" |Rififi
|
|
|-
|Best Director
|
|
|-
| rowspan="2" |Mar del Plata International Film Festival
| rowspan="2" |1959
|Best Film
| rowspan="2" |The Law
|
|
|-
|Best Film (International Competition)
|
|
|-
|Taormina Film Fest
|1962
|Golden Charybdis
|Phaedra
|
|
|-
| rowspan="2" |Tony Awards
| rowspan="2" |1968
|Best Musical
| rowspan="2" |Illya Darling
|
|