{"input": "Which film has the director who died first, The Flesh Is Weak or One Does Not Play With Love?", "context": "Passage 1:\nOne Does Not Play with Love\nOne Does Not Play with Love (German: Man spielt nicht mit der Liebe) is a 1926 silent German drama film directed by G. W. Pabst. The film is an adaptation of the 1834 play by Alfred de Musset, On ne badine pas avec l'amour. The film is considered to be a lost film.\n\nCast\nWerner Krauss as F\u00fcrst Colalto (Prince Colalto)\nLili Damita as Calixta\nErna Morena as Florence, ehemalige Operns\u00e4ngerin (alumna opera singer)\nEgon von Jordan as Eugen Lewis\nArtur Retzbach as Nepallek, Hofmobiliardirektor (Director of the furniture of the court) (as Artur Retzbach-Erasiny)\nOreste Bilancia as Der Freund (the friend)\nGustav Czimeg\nTala Birell as Bit Role (as Thala Birell)\nKarl Etlinger\nMaria Paudler\nMathilde Sussin\n\nSee also\nList of lost films\nPassage 2:\nGustav Czimeg\nGustav Czimeg (December 20, 1877 \u2013 August 21, 1939) was a German actor of the silent period. He appeared in films such as Madame DuBarry (1919),  in which he played Duke Aiguillon, Die Rache des Titanen (1919), Glasprinzessin (1921), and One Does Not Play with Love (1926).\nPassage 3:\nThe Flesh Is Weak\nThe Flesh Is Weak is a 1957 British film directed by Don Chaffey. It stars John Derek and Milly Vitale. Distributors Corporation of America released the film in the USA as a double feature with Blonde in Bondage.\n\nPlot\nTony Giani is a Soho pimp who preys on young provincial women who come to London seeking work. Marissa Cooper, one such girl, has just arrived in London. Giani spots her and offers her a job in the Golden Bucket, a nightclub. In her innocence, she does not realize the club is a front for prostitution. When she tries to escape from the pimp's control, she is set up by Giani and his brother Angelo and arrested by the police. Investigative journalist Lloyd Buxton persuades her to give evidence against the brothers leading to their imprisonment and her freedom.\n\nCast\nJohn Derek as Tony Giani\nMilly Vitale as Marissa Cooper\nWilliam Franklyn as Lloyd Buxton\nMartin Benson as Angelo Giani\nFreda Jackson as Trixie\nNorman Wooland as Inspector Kingcombe\nHarold Lang as Henry\nPatricia Jessel as Millie\nJohn Paul as Sergeant Franks\nDenis Shaw as Saradine\nJoe Robinson as Lofty\nRoger Snowden as Benny\nPatricia Plunkett as Doris Newman\nShirley Anne Field as SusanSource: BFI\n\nProduction\nThe film was based on the Messina vice gang who operated in the West End of London. Its original title was Women of Night then Not for Love before being changed to The Flesh is Weak.\n\nReception\nThe film was a box office success - according to Variety it was the fourth highest grossing film in England. The movie is not listed in Kinematograph Weekly as one of the most popular British films of 1957 but that magazine did say the movie was \"enjoying a triumphant West End run\".The reception to the film enabled the producer and director to raise finance for another movie, A Question of Adultery.\nPassage 4:\nBlonde in Bondage\nBlonde in Bondage (Swedish: Blondin i fara) is a 1957 Swedish drama crime film directed by Robert Brandt, who also wrote lyrics to the film's two songs.  Distributors Corporation of America released the film in the US as a double feature with The Flesh Is Weak. It was shot at the Metronome Studios in Stockholm.\n\nPlot\nNew York City reporter Larry Brand is sent to Stockholm to do a story on Swedish morals.  A traffic accident leads him into rescuing a strip tease artiste from drug addiction and pits him against a ruthless criminal gang.\n\nCast\nMark Miller as Larry Brand\nAnita Thallaug as Mona Mace\nLars Ekborg as Max\nRuth Johansson as Laila\nBirgitta Ander as Birgitta\nEva Lar\u00e4ng as Ingrid\nAnita Strindberg as Telephone operator (credited as Anita Edberg)\nErik Strandmark as Olle\nStig J\u00e4rrel as Kreuger\nB\u00f6rje Mellvig as Chief Inspector\nDangy Helander as a Prostitute\nNorma Sj\u00f6holm as a second Prostitute\nSangrid Nerf as a taxi driver\nAlexander von Baumgarten as Kuger's valet\nJohn Starck ...  Chief of guards\n\nSoundtrack\nThe Blues Music by Ulf Carl\u00e9nLyrics by Robert Brandt\nShock Around the ClockMusic by Ulf Carl\u00e9n Lyrics by Robert Brandt\n\nExternal links\nBlonde in Bondage at IMDb\nPassage 5:\nBut the Flesh Is Weak\nBut the Flesh Is Weak is a 1932 American pre-Code comedy film directed by Jack Conway and written by Ivor Novello based on his 1928 play The Truth Game. The film stars Robert Montgomery, Nora Gregor, Heather Thatcher, Edward Everett Horton, C. Aubrey Smith and Nils Asther. The film was released on April 9, 1932, by Metro-Goldwyn-Mayer.  But the Flesh Is Weak was remade in 1941 as Free and Easy.\n\nPlot\nMax Clement and his father Florian, short of money, take advantage of wealthy British women by romancing them. Max's problem is that he is far more attracted to more attractive women, ones without the means to support him.\nWhile seeing a pleasant but plain Lady Joan Culver socially, Max is introduced to Austrian widow Rosine Brown, quickly falling in love with her. Max is persistent in his romantic advances, but Rosine reveals that she is penniless and, much like Max, counting on a richer but less exciting man, Sir George Kelvin, to marry and take care of her.\nFlorian's gambling losses in the casino leave him heavily in debt. The only way Max knows how to aid his father is by marrying Lady Joan, who can afford to solve his financial difficulties. Max's guilty conscience and true love lead him back to Rosine, and the sudden engagement of Florian to a wealthy woman helps bring everyone together.\n\nCast\nRobert Montgomery as Max Clement\nNora Gregor as Mrs. Rosine Brown\nHeather Thatcher as Lady Joan Culver\nEdward Everett Horton as Sir George Kelvin\nC. Aubrey Smith as Florian Clement\nNils Asther as Prince Paul\nFrederick Kerr as Duke of Hampshire\nEva Moore as Lady Florence Ridgway\nForrester Harvey as Gooch\nDesmond Roberts as Findley\nPassage 6:\nThe Flesh\nThe Flesh (Italian: La carne) is a 1991 Italian drama film directed by Marco Ferreri. It was entered into the 1991 Cannes Film Festival.\n\nPlot\nPaolo is a municipal employee, who in his spare time works at the piano bar of a club, is divorced and has two children who live with his ex-wife. Paolo often recalls his mother and his First Communion, with which he seems to live a totalizing experience in the divine.\nIn his friend Nicola's nightclub, Paolo meets the young Francesca, back from a relationship with an Indian guru, who has just had an abortion and is alone. Intimacy develops between the two: according to Paolo, this is the victory of the ultra sex and of the fusion that completes and exalts everything, a fusion that Francesca assures him thanks to a special oriental technique, which allows the partner a state of permanent efficiency.\nThey shut themselves up in his beach house south of Rome where, after filling the fridge, they spend their time eating and making love, interrupted only by a quick incursion of Paolo's two sons visiting him and a small group of friends. But Francesca at a given moment thinks of leaving for other shores, while Paolo understands that in order to \"communicate\" there is really only one alternative: either to love each other totally, or to tear apart that voluptuous female body, put it in the fridge and eat it by the sea in front of the sun. Thus, after having made animalistic love in the kennel of the beloved dog Giovanni, Paolo's insane anxiety is satisfied: he kills Francesca, cuts her up and keeps her in the refrigerator, eating her piece by piece.\n\nCast\nSergio Castellitto - Paolo\nFrancesca Dellera - Francesca\nPhilippe L\u00e9otard\nFarid Chopel\nPetra Reinhardt\nGudrun Gundelach\nNicoletta Boris\nClelia Piscitelli\nElena Wiedermann\nSonia Topazio\nFulvio Falzarano\nPino Tosca\nEleonora Cecere\nMatteo Ripaldi\nDaniele Fralassi\nSalvatore Esposito\nPassage 7:\nDon Chaffey\nDonald Chaffey (5 August 1917 \u2013 13 November 1990) was a British film director, writer, producer, and art director.\nChaffey's film career began as an art director in 1947, and his directorial debut was in 1953.  He remained active in the industry until his death in 1990 from heart failure. His film Charley One-Eye (1973) was entered into the 24th Berlin International Film Festival.He is chiefly remembered for his fantasy films, which include Jason and the Argonauts (1963), The Three Lives of Thomasina (1963), One Million Years B.C. (1966), The Viking Queen (1967), Creatures the World Forgot (1971), Pete's Dragon (1977), and C.H.O.M.P.S. (1979), his final feature film.\nConcurrent with his theatrically released films, Chaffey directed episodes of numerous British television series, including multiple installments of Danger Man, The Prisoner, and The Avengers.  From the 1980s until his death, all of his work was in American made-for-TV movies, and in such TV series as Fantasy Island, Stingray, MacGyver, Vega$, T. J. Hooker, Matt Houston, and Charlie's Angels.\n\nCareer\nChaffey began his career in the art department of Gainsborough Productions where he worked as a draftsman on Madonna of the Seven Moons (1945), The Rake's Progress (1945), and Caravan (1946). He was art director of The Adventures of Dusty Bates (1947) and The Little Ballerina (1948). He directed the documentary shorts Thames Tideway (1948) and Cape Cargoes (1948).Chaffey directed the short features The Mysterious Poacher (1950) and The Case of the Missing Scene (1950). He returned to the art department for King of the Underworld (1950), The Stolen Plans (1952), Murder at the Grange (1952), Murder at Scotland Yard (1952), and Black 13 (1953).\n\nDirector\nChaffey resumed his directing career with the family film Skid Kids (1953). He made the short Watch Out (1953), then did Strange Stories (1953), Bouncer Breaks Up (1953, a short), The Mask (1952), and A Good Pull Up (1953).\nChaffey directed Time Is My Enemy (1954). After the short Dead on Time (1955) he made The Secret Tent (1956), The Flesh Is Weak (1957) and The Girl in the Picture (1957). He also directed \"The Man Upstairs\" (1958) starring Richard Attenborough.\nHe directed episodes of TV series like Theatre Royal, The Adventures of the Big Man, Chevron Hall of Stars, The Errol Flynn Theatre, Assignment Foreign Legion, The Adventures of Robin Hood, Dial 999, and The New Adventures of Charlie Chan. He interspersed these with features like A Question of Adultery (1958), The Man Upstairs (1958), Danger Within (1959), Dentist in the Chair (1960), Lies My Father Told Me (1960), and Nearly a Nasty Accident (1961).\n\nDisney and Fantasy\nHe did Greyfriars Bobby: The True Story of a Dog (1961) then A Matter of WHO (1961), a version of The Prince and the Pauper (1962) for Disney, and The Webster Boy (1962).He had a big hit with Jason and the Argonauts (1963) with Ray Harryhausen. Then it was back to Disney for The Three Lives of Thomasina (1963).Chaffey directed They All Died Laughing (1964), The Crooked Road (1965), and One Million Years B.C. (1966) for Hammer. He returned to television to do episodes of Danger Man, The Baron, The Prisoner, Man in a Suitcase, Journey to the Unknown, The Avengers, The Pathfinders, and The Protectors.\nChaffey did The Viking Queen (1967) for Hammer, A Twist of Sand (1968), Creatures the World Forgot (1971) for Hammer, Clinic Exclusive (1973), Charley-One-Eye (1973), and Persecution (1974).\n\nAustralia and US TV\nChaffey went to Australia where he directed Ben Hall (1975), Ride a Wild Pony (1975), The Fourth Wish (1976), and Shimmering Light (1978).He worked in America too making CHiPs, Pete's Dragon (1977) for Disney, The Magic of Lassie (1978), Lassie: A New Beginning (1978), The Gift of Love (1978), C.H.O.M.P.S. (1979), and Casino (1980).He eventually focused almost exclusively on episodic TV: Vega$, Charlie's Angels, Strike Force, Fantasy Island, Gavilan, The Renegade, Lottery!, Hotel, Matt Houston, Finder of Lost Loves, International Airport (1985, a pilot), Spenser: For Hire, Hollywood Beat, Airwolf, Hunter, Outlaws, MacGyver, Stingray and Mission: Impossible.\n\nPersonal life\nChaffey married American actress Paula Kelly in 1985 and they had one child together. Chaffey died of a heart attack in 1990.\n\nFilmography\nFilm\nTelevision\nPassage 8:\nPromise of the Flesh\nPromise of the Flesh (Korean: \uc721\uccb4\uc758 \uc57d\uc18d; RR: Yukche-ui yaksok) is a 1975 South Korean film directed by Kim Ki-young.\n\nPlot\nA melodrama about a female prisoner who meets a man while on leave to visit her mother's grave. Not knowing that the man is a thief, she promises to meet him at a park two years later, after she is released from prison.\n\nCast\nKim Ji-mee\nLee Jung-gil\nPark Jung-ja\nPark Am\nJo Jae-seong\nHan Se-hun\nYu Chun-su\nYeo Han-dong\nKim Chung-chul\nLee Yong-ho\n\nAwards\nGrand Bell Awards (1975)Best Actress (Kim Ji-mee)\nBest Supporting Actress (Park Jung-ja)\n\nNotes\nBibliography\nBerry, Chris. \"Promise of the Flesh\". The House of Kim Ki-young. Archived from the original on 2004-05-05. Retrieved 2008-01-21.\nBerry, Chris. \"Whose Story Is It? Gender, Narrative and Narration in Promise of the Flesh\". The House of Kim Ki-young. Archived from the original on 2004-05-05. Retrieved 2008-01-21.\n\"Kim, Ki-young Master of Madness (From the 41st San Francisco International Film Festival)\". www.cinekorea.com. Archived from the original on 2008-02-12. Retrieved 2008-01-19.\n\nExternal links\nPromise of the Flesh at IMDb\nPassage 9:\nG. W. Pabst\nGeorg Wilhelm Pabst (25 August 1885 \u2013 29 May 1967) was an Austrian film director and screenwriter. He started as an actor and theater director, before becoming one of the most influential German-language filmmakers during the Weimar Republic.\n\nEarly years\nPabst was born in Raudnitz, Bohemia, Austria-Hungary (today's Roudnice nad Labem, Czech Republic), the son of a railroad official. While growing up in Vienna, he studied drama at the Academy of Decorative Arts and initially began his career as a stage actor in Switzerland, Austria and Germany. In 1910, Pabst traveled to the United States, where he worked as an actor and director at the German Theater in New York City.In 1914, he decided to become a director, and he returned to recruit actors in Europe. Pabst was in France when World War I began, he was arrested and held as an enemy alien and interned in a prisoner-of-war camp near Brest. While imprisoned, Pabst organised a theatre group at the camp and directed French-language plays. Upon his release in 1919, he returned to Vienna, where he became director of the Neue Wiener B\u00fchne, an avant-garde theatre.\n\nCareer\nPabst began his career as a film director at the behest of Carl Froelich who hired Pabst as an assistant director. He directed his first film, The Treasure, in 1923. He developed a talent for \"discovering\" and developing the talents of actresses, including Greta Garbo, Asta Nielsen, Louise Brooks, and Leni Riefenstahl.Pabst's best known films concern the plight of women, including The Joyless Street (1925) with Greta Garbo and Asta Nielsen, Secrets of a Soul (1926) with Lili Damita, The Loves of Jeanne Ney (1927) with Brigitte Helm, and Pandora's Box (1929) and Diary of a Lost Girl (1929) with American actress Louise Brooks. He also co-directed with Arnold Fanck a mountain film entitled The White Hell of Pitz Palu (1929) starring Leni Riefenstahl.\nAfter the coming of sound, he made a trilogy of films that secured his reputation: Westfront 1918 (1930), The Threepenny Opera (1931) with Lotte Lenya (based on the Bertolt Brecht and Kurt Weill musical), and Kameradschaft (1931). Pabst also filmed three versions of Pierre Benoit's novel L'Atlantide in 1932, in German, English, and French, titled Die Herrin von Atlantis, The Mistress of Atlantis, and L'Atlantide, respectively. In 1933, Pabst directed Don Quixote, once again in German, English, and French versions.\nAfter making A Modern Hero (1934) in the USA and Street of Shadows (1937) in France, Pabst (who was planning to emigrate to the United States) was caught in France in 1939, when war was declared, whilst visiting his mother, and was forced to return to Nazi Germany. Under the auspices of propaganda minister, Josef Goebbels, Pabst made two films in Germany during this period: The Comedians (1941) and Paracelsus (1943).\nPabst directed four opera productions in Italy in 1953: La forza del destino for the Maggio Musicale Fiorentino in Florence (conducted by Dimitri Mitropoulos, the cast included Renata Tebaldi, Fedora Barbieri, Mario del Monaco, Aldo Protti, Cesare Siepi), and a few weeks later, for the Arena di Verona Festival, a spectacular A\u00efda, with Maria Callas in the title role (conducted by Tullio Serafin, with del Monaco), Il trovatore and again La forza del destino.He directed The Last Ten Days (1955), the first post-war German feature film to feature Adolf Hitler as a character.\n\nDeath\nOn 29 May 1967, Pabst died in Vienna at the age of 81. He was interred at the Zentralfriedhof in Vienna.\n\nAwards\n1941, Venice Film Festival: Gold Medal of the Biennale for Best Director for his film The Comedians\n\nFilmography\nSee also\nMax Deutsch, composer\nPassage 10:\nDevil in the Flesh 2\nDevil in the Flesh 2 (also known as Teacher's Pet) is a 2000 erotic thriller film directed by Marcus Spiegel. It is a sequel to Devil in the Flesh (1998), which stars Rose McGowan.\n\nPlot\nDebbie Strand a beautiful psychopath, escapes from the mental institution she was sent off to in the first installment of the series. After a teenage girl who took Debbie in her car dies when retreating from Debbie and accidentally impaling herself, Debbie steals both the girl's identity and her car, and heads off to the college the dead girl was supposed to attend as a freshman.\nThere, Debbie instantly develops a psychotic crush on her dashing writing professor, Dr. Sam Deckner after being impressed by their shared interests as well as his personality on their first interaction. Debbie assumed the role of a wealthy man's daughter while going by the deceased girl's name \"Tracy Carlay\" as her new identity. She is checked into same room with Laney, a naive girl who she soon influences. Further interactions with Sam renders Debbie further psychotic and in order to strengthen their love she soon begins killing anyone who she believes served as a threat to their perceived relationship.\nLaney, her computer-literate roommate discovers the truth about Debbie's past, and instantly panics then falls to her death after being agitated by Debbie's presence. Debbie described this as a suicide to the cops and soon begins to stalk Sam, unable to move on from their earlier intimate encounter. She repeatedly threatens Carla, Sam's girlfriend, especially after Carla revealed to Sam she was pregnant by him. Debbie, out of jealousy,  throws a stone at the glass window while the couple were getting intimate and prompted a police inquiry.\nDebbie becomes more unhinged and at night, goes over to Carla's house, finds a knife and lurked around, intent on murdering Carla but is hindered by the presence of two cops both of whom she wounded before inadvertently stabbing herself in a scuffle with Sam.\nThe film ends with a stabbed Debbie being picked off the road by the father of the real Tracy Carlay, the teenage girl who had picked up Debbie in the film's opening. Tracy's father comments on Debbie's striking resemblance with his daughter and made mention of his daughter's troubles at school.\n\nCast\nJodi Lyn O'Keefe as Debbie Strand /Tracy Carlay\nJsu Garcia as Sam Deckner\nSarah Lancaster as Tracy Carlay\nKatherine Kendall as Carla Briggs\nJeanette Brox as Laney\nChristiana Frank as Sydney Hollings\nTodd Robert Anderson as Deputy Toby Taylor\nBill Gratton as Sheriff Bill Taylor", "answers": ["One Does Not Play With Love"], "length": 3272, "dataset": "2wikimqa_e", "language": "en", "all_classes": null, "_id": "6ee099c71de8536b8f73518c6ba8d3c96366caa4869aa429"}/n
“input”: This is the question to be answered.
“context”: This is the information needed to answer the question.
“answer”: This is the correct answer(ground truth) to the question.

Task Instructions:
(1) Generate a full and concise reasoning path from the "input" question to the ground truth "answer", using sentences from the "context" to support each step.
(2) For each step in the reasoning path, include one unaltered sentence from the “context” to demonstrate how the information leads to the answer.
(3) Structure the response as a JSON object. Each reasoning step should correspond to one original sentence from the “context”.

Use JSON format with 'step' and 'sentence' for your output.
{
  "reasoning": [
    {
      "step": 1,
      "sentence": "<insert first sentence used from context>"
    },
    {
      "step": 2,
      "sentence": "<insert second sentence used from context>"
    },
    ...
  ]
}
Ensure each “sentence” is copied exactly as in the context without any modifications.