Robert Aldrich
back| Full Name | Robert Burgess Aldrich |
| Born | August 9, 1918 |
| Birthplace | Cranston, Rhode Island, USA |
| Died | December 5, 1983 |
| Buried | Forest Lawn Memorial Park, Hollywood Hills, California |
| Married to | Harriet Foster (1941–1965), Sybille Siegfried (?-1983) |
| Children | Adell, William, Alida, and Kelly Aldrich |
| Notable films | Kiss Me Deadly (1955) - The Big Knife (1955) - What Ever Happened to Baby Jane (1962) - The Dirt Dozen (1967) |
Robert Aldrich
A Director Who Dared to Defy
Robert Aldrich (1918–1983) was a maverick Hollywood director known for his bold, genre-defying films. Born into a wealthy Rhode Island family, he abandoned a career in finance to work in film, starting as an assistant director before making his directorial debut in 1953.
His breakthrough came with Kiss Me Deadly (1955), a noir classic, followed by What Ever Happened to Baby Jane? (1962), a psychological horror hit. He scored his biggest success with The Dirty Dozen (1967), a gritty war film that redefined the genre.
Aldrich’s films often tackled corruption, violence, and flawed masculinity, earning him a reputation as a subversive filmmaker. He was also a staunch advocate for director autonomy, founding his own production company.
Despite clashes with studios, he left an indelible mark on Hollywood with his unflinching storytelling and sharp social critiques. His influence remains strong in modern cinema.
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Robert Aldrich (1918 – 1983)
Biography and Movie Career
Robert Burgess Aldrich was born on August 9, 1918, in Cranston, Rhode Island, into a distinguished and politically connected family. His great-grandfather, Nelson W. Aldrich, was a powerful U.S. senator from Rhode Island, and his extended family included notable figures in banking and business. Despite these elite connections, Aldrich chose a different path—one that led him into the unpredictable and often ruthless world of filmmaking.
He attended the University of Virginia, where he studied economics with the expectation of following in his family’s financial or political footsteps. However, his passion for movies proved irresistible, and in 1941, he abandoned his expected career trajectory to take a low-level position at RKO Pictures. It was an unconventional choice for someone of his background, but it marked the beginning of a legendary career.
Early Career: Learning the Craft
Aldrich’s first years in Hollywood were spent working as an assistant director and production manager. He learned from some of the industry’s finest, serving as an assistant to filmmakers such as Jean Renoir, Joseph Losey, and Charles Chaplin. His time under these directors shaped his understanding of cinematic style and storytelling, giving him an appreciation for both the art and business of filmmaking.
During the 1940s and early 1950s, Aldrich worked on a variety of projects, gaining hands-on experience in different genres. He was heavily involved in television production as well, directing episodes of popular series like Four Star Playhouse and The Doctor. These experiences refined his skills, preparing him for the moment when he could step into the director’s chair for his own feature films.
Breakthrough as a Director
Aldrich made his directorial debut with Big Leaguer (1953), a baseball drama starring Edward G. Robinson. Though it was a modest success, his next film, Apache (1954), was far more significant. Starring Burt Lancaster, Apache was a revisionist Western that took a sympathetic view of Native Americans, a perspective that was rare in Hollywood at the time.
He followed up with Vera Cruz (1954), another Western, which starred Lancaster and Gary Cooper. The film was a major hit and showcased Aldrich’s talent for crafting action-packed, visually striking narratives. His use of dynamic cinematography and morally complex characters became hallmarks of his directing style.
The 1950s: Noir, Controversy, and Critical Acclaim
Aldrich solidified his reputation with Kiss Me Deadly (1955), a radical, hard-hitting film noir based on Mickey Spillane’s novel. The film’s grim, apocalyptic tone and brutal violence set it apart from standard noir fare, and it has since been regarded as one of the most innovative films of its genre.
That same year, he directed The Big Knife (1955), a Hollywood satire based on Clifford Odets’ play. The film, which exposed the industry's ruthless nature, was less commercially successful but reinforced Aldrich’s growing reputation as a filmmaker unafraid to challenge conventions.
He continued this streak with Attack! (1956), an anti-war film that criticized military incompetence and cowardice in leadership. The film’s blunt and cynical portrayal of World War II angered some audiences but won critical acclaim for its bold storytelling.
1960s: Horror, Psychological Thrillers, and War Epics
The 1960s saw Aldrich directing some of his most famous and controversial films. In 1962, he helmed What Ever Happened to Baby Jane?, a psychological horror-thriller starring Bette Davis and Joan Crawford. The film was a sensation, both for its eerie, gothic atmosphere and for the infamous real-life feud between its two leading actresses. It became a massive box office success and earned Davis an Academy Award nomination.
Aldrich attempted to replicate this formula with Hush… Hush, Sweet Charlotte (1964), another Southern Gothic horror film, originally intended to reunite Davis and Crawford. However, their off-screen animosity led to Crawford leaving the project, and she was replaced by Olivia de Havilland. Though not as successful as Baby Jane, the film was still a hit and reinforced Aldrich’s reputation as a director who could blend psychological tension with macabre storytelling.
In 1965, Aldrich took on the adventure epic The Flight of the Phoenix, starring James Stewart. Though not a major box office hit at the time, the film has since been recognized as a classic survival thriller.
1967: The Dirty Dozen and Career High Point
Aldrich’s greatest commercial triumph came with The Dirty Dozen (1967), an explosive war film starring Lee Marvin, Charles Bronson, and a star-studded ensemble cast. The film followed a group of military prisoners recruited for a dangerous mission during World War II. Blending action, humor, and social commentary, The Dirty Dozen became one of the highest-grossing films of the decade and remains one of the most influential war movies ever made.
The 1970s: Changing Tides
Aldrich continued working steadily into the 1970s, though with mixed results. He directed Too Late the Hero (1970) and The Grissom Gang (1971), both of which received lukewarm responses. However, he found success again with The Longest Yard (1974), a sports-comedy-drama starring Burt Reynolds. The film, about a former football player leading a team of prisoners against their guards, was a major hit and was later remade in 2005.
As the decade progressed, Aldrich’s films struggled to connect with contemporary audiences. By the late 1970s, Hollywood was changing, and Aldrich’s old-school, gritty style was falling out of favor. He continued directing but found it harder to secure big projects.
Personal Life and Legacy
Aldrich was married twice—first to Harriet Foster, with whom he had four children, and later to Sybille Siegfried. Despite his Hollywood success, he remained something of an outsider, never fully ingratiating himself with the studio system. He was known for his independent streak, often clashing with producers and fighting for creative control over his projects.
In his later years, he focused on managing his own production company, the Aldrich Company, which allowed him to produce films with greater autonomy. However, declining health slowed his work in the early 1980s.
On December 5, 1983, Robert Aldrich passed away from kidney failure at the age of 65. He was laid to rest at Forest Lawn Memorial Park in Hollywood Hills.
Final Thoughts: A Director Ahead of His Time
Robert Aldrich was a filmmaker who defied expectations and refused to compromise his vision. His movies tackled themes of violence, power, and corruption, often portraying flawed heroes in bleak, unforgiving worlds. His ability to blend action, suspense, and sharp social commentary made his work stand out, and his films continue to be studied and admired today.
While not always appreciated in his time, Aldrich’s legacy as a maverick director has only grown stronger with the years. From Kiss Me Deadly to The Dirty Dozen, his work remains a testament to the power of bold, uncompromising storytelling in cinema.
Top 30 Movies from Robert Aldrich
Analysis of Robert Aldrich’s Directing Style
Robert Aldrich was a bold, uncompromising filmmaker known for his gritty, intense storytelling and willingness to challenge cinematic and societal norms. His directing style was shaped by his early experiences in Hollywood, his work with various auteurs, and his strong independence as a filmmaker. Below are key aspects of his directing approach:
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Genre Fluidity and Subversion
Aldrich worked across multiple genres—film noir, Westerns, war films, thrillers, and horror—but he rarely adhered to conventional storytelling tropes. Instead, he infused familiar genres with darker, more subversive themes:
• Kiss Me Deadly (1955) took the traditional hardboiled detective story and turned it into a violent, apocalyptic thriller.
• The Dirty Dozen (1967) took a standard war film structure but focused on a group of criminals, making them more complex antiheroes rather than patriotic warriors.
• What Ever Happened to Baby Jane? (1962) blended horror and psychological drama in a way that was almost unheard of at the time.
Aldrich frequently used genre conventions as a foundation, only to deconstruct them, often revealing the brutality, hypocrisy, or absurdity beneath.
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Gritty, Unsentimental Storytelling
Aldrich’s films rarely romanticized their subject matter. His storytelling was raw, cynical, and often brutal:
• Attack! (1956) depicted World War II with a deep skepticism toward military authority, showing incompetent officers putting soldiers in danger.
• The Big Knife (1955) portrayed Hollywood as a corrupt, soul-crushing industry.
• Ulzana’s Raid (1972) examined the violent, complex relationship between Native Americans and the U.S. cavalry, refusing to simplify either side’s morality.
Aldrich’s films often featured worlds where power structures were oppressive, characters were morally flawed, and survival was brutal.
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Strong, Rebellious Protagonists
Many of Aldrich’s lead characters were outsiders or rebels—people who resisted authority, fought against corrupt systems, or sought personal redemption:
• The prisoners-turned-soldiers in The Dirty Dozen (1967) were criminals forced into a near-suicidal mission, but they emerged as heroes.
• Mike Hammer in Kiss Me Deadly (1955) was an ultra-violent detective who barely understood the deadly forces he was up against.
• Paul Crewe in The Longest Yard (1974) was a disgraced athlete who found redemption by leading a team of convicts against their oppressive prison guards.
His protagonists weren’t always likable, but they were compelling, often navigating worlds that were corrupt or decaying.
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Social and Political Commentary
Aldrich frequently embedded social critiques in his films, addressing themes such as:
• Corruption and power dynamics – The Big Knife (1955) exposed the dark side of Hollywood, while Twilight’s Last Gleaming (1977) explored government secrecy and military control.
• Violence and masculinity – Many of his films, from The Dirty Dozen to Emperor of the North (1973), questioned traditional notions of heroism and the glorification of violence.
• Gender and oppression – What Ever Happened to Baby Jane? (1962) and Hush… Hush, Sweet Charlotte (1964) examined the decline of women in Hollywood and societal expectations of aging actresses.
Even in his action-heavy films, Aldrich rarely let violence be simple spectacle—there was usually a deeper thematic reason behind it.
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Visual and Cinematic Style
Aldrich’s visual approach was often dynamic and expressive:
• High-contrast lighting – Particularly in Kiss Me Deadly, where deep shadows and harsh lighting enhanced the film’s sense of paranoia.
• Kinetic, fast-paced editing – The Dirty Dozen and The Longest Yard featured high-energy sequences that kept audiences engaged.
• Unflinching camera work – He often used close-ups to intensify emotional moments or long takes to build tension.
Aldrich’s films had a raw, immediate quality, avoiding excessive stylization in favor of realism.
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Strong Female Characters in a Male-Dominated Genre
Though many of his films were male-centric, Aldrich also created some of Hollywood’s most powerful female-led dramas:
• What Ever Happened to Baby Jane? and Hush… Hush, Sweet Charlotte gave Bette Davis and Joan Crawford career-redefining roles as deeply complex women.
• Autumn Leaves (1956) allowed Joan Crawford to play a vulnerable but strong-willed woman confronting psychological trauma.
• The Killing of Sister George (1968) was a controversial, ahead-of-its-time depiction of a lesbian relationship in an oppressive society.
His female characters were not one-dimensional—they were often just as flawed, powerful, and tragic as his male protagonists.
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Independence from the Hollywood System
Aldrich was a fiercely independent filmmaker who often clashed with studios. He started his own production company, which gave him more creative control but also led to financial risks. His resistance to Hollywood’s corporate influence sometimes limited his career opportunities, but it allowed him to make bold, unconventional films.
Personal Quotes
• On Violence in Films:
"I don't think violence on film breeds violence in life. Violence in life breeds violence in films."
• On the Craft of Filmmaking:
"It's purely, totally commercial. It fits in with my philosophy, which is that the process is at best a craft, not art."
• On the Importance of Self-Esteem in Storytelling:
"The biggest damage you can suffer is the loss of self-esteem and a fall from grace. The struggle to regain that esteem will fuel any plot."
What Others said about Robert Aldrich
• John Patterson, writing for The Guardian, described Aldrich as "a punchy, caustic, macho and pessimistic director, who depicted corruption and evil unflinchingly, and pushed limits on violence throughout his career." Patterson emphasized Aldrich's "aggressive and pugnacious film-making style," noting that while it could be "crass and crude," it was "never less than utterly vital and alive."
• David Thomson, in the DGA Quarterly Magazine, highlighted Aldrich's industry leadership and his directorial prowess, stating that Aldrich "left a family fortune for a rough and tumble career in Hollywood. He became an industry leader, president of the Guild, and made some very good movies—and one masterpiece."
• The British Film Institute (BFI) noted the thematic depth in Aldrich's work, commenting on "the pessimism that colours Aldrich's work," which contributes to his reputation as a "nihilistic director."
• The Austin Film Society observed Aldrich's impact across multiple genres, stating, "Aldrich made a huge impact across multiple genres: westerns, noir, melodrama, etc. He ought to be acknowledged as one of the masters."
• The Directors Guild of America (DGA) reflected on Aldrich's legacy, noting that "while the late director Robert Aldrich may be perceived as a maker of brawling, macho entertainments, a closer viewing confounds this stereotype."
Awards and Recognition
Venice Film Festival:
• 1955: The Big Knife
o Silver Lion (Best Director) – Won
o Golden Lion (Best Film) – Nominated
• 1956: Attack
o Golden Lion (Best Film) – Nominated
o Pasinetti Award (Best Foreign Film) – Won
Berlin International Film Festival:
• 1956: Autumn Leaves
o Silver Bear (Best Director) – Won
Cannes Film Festival:
• 1963: What Ever Happened to Baby Jane?
o Palme d'Or (Best Picture) – Nominated
Directors Guild of America (DGA) Awards:
• 1963: What Ever Happened to Baby Jane?
o Outstanding Directorial Achievement in Motion Pictures – Nominated
• 1967: The Dirty Dozen
o Outstanding Directorial Achievement in Motion Pictures – Nominated
Laurel Awards:
• 1965: Golden Laurel (Producer-Director) – 6th place
• 1967: Golden Laurel (Producer-Director) – 6th place
• 1968: Golden Laurel (Producer-Director) – 4th place
• 1970: Golden Laurel (Producer-Director) – 10th place
Hochi Film Awards:
• 1982: ...All the Marbles
o Best International Film – Won
Movies Directed by Robert Aldrich
1953:
• Big Leaguer: A sports drama featuring Edward G. Robinson as a veteran baseball scout who discovers a talented young pitcher, navigating the challenges of training him for the major leagues.
1954:
• Apache: Starring Burt Lancaster, this Western tells the story of Massai, an Apache warrior who refuses to surrender and struggles to maintain his freedom against the U.S. Army's relentless pursuit.
• Vera Cruz: Set during the Mexican Revolution, two American mercenaries, portrayed by Gary Cooper and Burt Lancaster, are hired to escort a countess but become entangled in a complex plot involving hidden gold and shifting alliances.
1955:
• Kiss Me Deadly: A film noir featuring private detective Mike Hammer, who becomes embroiled in a deadly conspiracy after picking up a mysterious hitchhiker, leading to a quest for a mysterious and dangerous "great whatsit."
• The Big Knife: Based on Clifford Odets' play, this drama explores the moral dilemmas of a Hollywood actor pressured by a manipulative studio boss to sign a restrictive contract, delving into themes of integrity and personal compromise.
1956:
• Attack!: A World War II drama focusing on the internal conflicts within an American infantry unit, highlighting the tension between a cowardly captain and a courageous lieutenant during a critical mission.
• Autumn Leaves: A romantic drama starring Joan Crawford as a lonely woman who embarks on a whirlwind romance with a younger man, only to discover his disturbing psychological issues.
1959:
• Ten Seconds to Hell: Set in post-World War II Berlin, a group of German bomb disposal experts, led by Jack Palance and Jeff Chandler, undertake the dangerous task of defusing unexploded Allied bombs, facing both external dangers and internal tensions.
• The Angry Hills: Based on Leon Uris' novel, this war film stars Robert Mitchum as an American journalist who becomes entangled with the Greek resistance during the Nazi occupation, carrying vital information that could change the course of the war.
1962:
• What Ever Happened to Baby Jane?: A psychological horror-thriller featuring Bette Davis and Joan Crawford as two aging sisters, former actresses, locked in a toxic and manipulative relationship within their decaying Hollywood mansion.
• Sodom and Gomorrah: A biblical epic depicting the story of Lot leading his people to the sinful cities of Sodom and Gomorrah, facing moral challenges and divine retribution.
1963:
• 4 for Texas: A Western comedy starring Frank Sinatra and Dean Martin as rival gamblers in 1870s Galveston, Texas, who reluctantly team up to combat a common adversary threatening their business interests.
1964:
• Hush...Hush, Sweet Charlotte: A Southern Gothic thriller with Bette Davis portraying a reclusive woman haunted by a traumatic event from her past, as mysterious occurrences unfold upon the arrival of a distant relative.
1965:
• The Flight of the Phoenix: An adventure drama where James Stewart leads a group of men stranded in the Sahara Desert after a plane crash, who attempt to build a new aircraft from the wreckage to escape.
1967:
• The Dirty Dozen: A war film about a group of military convicts recruited for a dangerous mission behind enemy lines during World War II, blending action with commentary on military authority and redemption.
1968:
• The Legend of Lylah Clare: A drama exploring the obsession with a deceased film star, as a young actress is groomed to portray her in a biopic, leading to eerie parallels and psychological turmoil.
1969:
• The Killing of Sister George: A dark comedy-drama focusing on an aging television actress who spirals into paranoia and despair upon learning her character is being killed off, affecting her personal and professional life.
1970:
• Too Late the Hero: A war film set in the Pacific theater during World War II, where an English-speaking Japanese-American soldier and a British lieutenant are sent on a dangerous reconnaissance mission, facing moral and physical challenges.
1971:
• The Grissom Gang: A crime drama based on the novel "No Orchids for Miss Blandish," depicting the kidnapping of a wealthy heiress by a gang of criminals during the Great Depression, exploring themes of Stockholm syndrome and criminal psychology.
1972:
• Ulzana's Raid: A Western portraying a brutal Apache warrior's escape from a reservation, leading a series of violent raids, and the cavalry's pursuit to capture him, examining the complexities of frontier violence and cultural clashes.
1973:
• Emperor of the North Pole: Set during the Great Depression, this adventure film features Lee Marvin as a seasoned hobo who challenges a tyrannical train conductor, played by Ernest Borgnine, in a high-stakes battle of wills.
1974:
• The Longest Yard: A sports comedy-drama starring Burt Reynolds as a former professional football player who, while incarcerated, assembles a team of inmates to play against the prison guards, highlighting themes of rebellion and redemption.
1975:
• Hustle: A crime thriller featuring Burt Reynolds as a jaded detective investigating the death of a young woman, delving into the seedy underbelly of Los Angeles and exploring moral ambiguities within the justice system.
1977:
• Twilight's Last Gleaming: A political thriller where a renegade Air Force general seizes control of a nuclear missile silo, threatening to launch unless the U.S. government reveals classified information about the Vietnam War.
• The Choirboys: Based on Joseph Wambaugh's novel, this dark comedy follows a group of Los Angeles police officers who engage in off-duty antics to cope with the pressures of their job, leading to unforeseen consequences.
1979:
• The Frisco Kid – A comedy-Western starring Gene Wilder as a Polish rabbi who embarks on a perilous journey across the American West to reach his congregation in San Francisco. Along the way, he befriends a bank robber, played by Harrison Ford, leading to a humorous and heartfelt adventure.