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Big cinema films
Dede Allen, who died at age 86, is known as ‘Movie Edition Doctor’ was the most important film editor of the most explosive era of American cinema and more famous cinema ’most famous of all time all time. It marked a milestone in the profession, it is believed that Allen’s previous credit in "Bonnie and Clyde" is the first for an editor. Dorothea Carothers ‘Dede’ Allen (December 3, 1923 – April 17, 2010), was born in Cleveland, Ohio, his mother was an actress and his father worked for Union Carbide. He enrolled in College scripps in Claremont, California. Allen began as a production runner.
Sound library and then as a film assistant editor in Columbia Pictures, where she ended in the sound effects department, dominated by men. He edited commercial and industrial films for more than ten years in the American film industry before devoting feature films. His first important feature film was "Odds Against Tomorrow". He worked closely and was guided by film director Robert Wise, who had also been a movie editor, known for having edited “Citizen Kane” by Welles. Wise encouraged Allen to be brave and experiment with his edition.
In 1992, Allen accepted the position of vice president in charge of creative development in the Warner Bros study. In 2000 he edited the movie "Wonder Boys", for which she was nominated for her third Oscar. Although he never won, Allen received the “Lifetime Achievement Award from American Cinema Editors” in 1994. She died in Los Angeles, her husband is the documentary filmmaker Stephen Fleischman, her son Tom, a sound mixer, and has a daughter, Ramey Ward. Technique: Walter Murch, described Allen among the ten best editors in history. Allen would help develop some of New York’s best editors.
From Allen misplaced the spectators with a short plane to start the scene or precipitating the end of a sequence. His style, pioneer in Hollywood, gave more importance to the sound than to the image, changed the assembly mode and introduced into the US. UU. The new European techniques, similar to that of the French "Nouvelle". His personal seal was to use a slow fade-out to combine it with a quick cut-in. I used jump cuts, the cut entered before or after the expected and, normally, at the most unexpected chamber angle and size. Pioneer in superfified sound, "Prelaps", the technique in which the sound of the following sequence is introduced to create a softer transition.
For years he had to warn the sound editors so that they would not amend ‘their mistake’. He used sudden changes of rhythm to show the internal qualities of the characters, capture moods and highlight the narrative tension. Allen was a pioneer in using emotional cuts, stylistic flourishes that brought energy and realism to the characters that until that time had not been part of the classic Hollywood movies editing technique. Directors and actors appreciated their ability to choose moments of different shots and improve their actions. The continuity edition and the screen address was its least concern.
While the use of cutting to express the microcultural body language of the characters and the progress of the plot in an artistic, almost three -dimensional way, became its modus operandi. Work: His first important feature film was in 1959, "Odds Against Tomorrow", Literal Black Cinema with a racial theme for director Robert Wise. Thanks to his success with Wise, he cut "El Buscas" for Robert Rossen. Where the brilliance of his court lies in the different rhythms established for the characters "El Gordo de Minnesota" by Jackie Gleason and "Fast Eddie" by Paul Newman. Five years passed before they were hired for "Bonnie and Clyde" by Arthur Penn, with which he rolled six times.
With ‘Bonnie and Clyde”, he raised his trade to the art category. Penn and Warren Beatty looked for someone influenced by the "Nouvelle Vague", and in Allen they found the perfect cutter to transform the gangsters movie. It is not only the famous mixture of slow and fast camera in the scene of definitive death, but the irregular story that is told. Allen while editing with Penn, leaving non -coincidental shots, he said: ‘I will be known as the person of the universe that does not match’. The registered brand of Penn is ambiguity, and Allen helped create it in "Alice Restaurant", the multiple "Little Big Man" flashbacks, the uncertainties of "Night Moves" and the multiple anachronisms of"The Missouri Breaks".
His edition showed how Billy Pilgrim was ‘took off the time’ in “Slaughterhouse-Five”, and it was perfect to capture the confusing sexual roles in the heart of “Slap Shot”. She built the growing paranoia of Al Pacino in "Serpico" with "Late of Dog", received her first Oscar nomination, did not win it, but the BAFTA. "Reds" brought his second Oscar nomination. During the next decade he worked in films known as "The Breakfast Club" and "The Addams Family", and not as known as "Harry & Son" and "Henry and June". His third Oscar nomination was for "Wonder Boys" by Curtis Hanson. Allen learned digital edition at eighty years. I would make three more assemblies, the last "Fireflies in the Garden".
In four decades he published more than 20 films and on a 2012 list of the 75 best edited films of all time, compiled by Motion Picture Editors Guild, three films edited by Allen appear: “Bonnie and Clyde”, "Late of Dogs" and "Reds". 1959 "Odds Against Tomorrow" -Robert Wise;1961 "The Hustler" -Robert Rossen;1963 "América, América" -Eia Kazan;1967 "Bonnie & Clyde" -Arthur Penn;1968 "Rachel, Rachel" -paul Newman;1969 “Alice’s Restaurant” -Arthur Penn;1970 "Little Big Man" -Arthur Penn;1972 "Slaughterhouse-Five" -George Roy Hill;1973 "Serpico" -Sidney Lumet;Personal assessment, I chose this mounter for being one of the pioneers in the art art both in technique and in claim of the assembly profession. Also for having a long career and fleeing the commercial cinema imposed by Hollywood at that time.