Question: Are the directors of both films N.Y., N.Y. (Film) and Captain Fracasse (1940 Film) from the same country?

Captain Fracasse( Italian: Capitan Fracassa) is a 1940 Italian historical adventure film directed by Duilio Coletti and starring Elsa De Giorgi, Giorgio Costantini and Osvaldo Valenti. It was made at the Cinecittà studios in Rome. The film is based on the 1863 novel of the same name by Théophile Gautier. Another adaptation" Captain Fracasse" was made three years later as a co-production between France and Italy. <SEP> Duilio Coletti( 28 December 1906 – 22 May 1999) was an Italian film director and screenwriter. He directed 29 films between 1934 and 1977. <SEP> Captain Fracasse( French: Le Capitaine Fracasse) is a 1943 French- Italian historical adventure film directed by Abel Gance and starring Fernand Gravey, Assia Noris and Alice Tissot. It is an adaptation of the novel" Captain Fracasse" by Théophile Gautier. The scenario and dialogue is by Abel Gance and Claude Vermorel and the music composed by Arthur Honegger. Honegger's score for the film( H. 166 in his catalogue of works) consists of around 50 minutes of music for chorus and large orchestra. On the same subject, there were also a 1929 silent version directed by Alberto Cavalcanti, and a 1961 colour version directed by Pierre Gaspard- Huit both with the same title. <SEP> Captain Fracasse( French :Le Capitaine Fracasse) is a French adventure film from 1961, directed by Pierre Gaspard- Huit, written by Pierre Gaspard- Huit and Pierre Gaspard- Huit, starring Jean Marais and Louis de Funès. The film is also known under the titles:" Capitan Fracassa"( Italy)," Captain Fracasse"( English title)," Fracasse, der freche Kavalier"( West Germany). the scenario was based on the 1863 novel" Captain Fracasse" by Théophile Gautier. <SEP> Francis Thompson Thompson was born in 1908 in Titusville, Pennsylvania and commenced his career as a painter and art teacher before he directed his first film," Evolution Of The Skyscraper". He is best known for the films," N.Y., N.Y."( 1957)," To Be Alive!"( 1964) and the first IMAX film," To Fly" in 1976. He won the 1965 Academy Award for Best Documentary( Short Subject) for" To Be Alive!"( 1964), which he co-directed with Alexander Hammid. He was a member of the Directors Guild of America, with a 50- year career in filmmaking, retiring in 1987. ( 1908- December 26, 2003) was an influential American film director, producer, and writer. Thompson died on December 26, 2003 in New York at the age of 95. <SEP> This article is for the 1957 short film. For the 1977 film, check out" New York, New York". The film is a collection of scenes from New York City recorded through special lenses, prisms and mirrors giving it a Cubist- Dadaist look. " N.Y., N.Y." is mentioned in Aldous Huxley's essay" Heaven and Hell": And then there is what may be called the Distorted Documentary a new form of visionary art, admirably exemplified by Mr. Francis Thompson's film," NY, NY". N.Y., N.Y. is a 1957 film by director Francis Thompson. In this very strange and beautiful picture we see the city of New York as it appears when photographed through multiplying prisms, or reflected in the backs of spoons, polished hub caps, spherical and parabolic mirrors. We still recognize houses, people, shop fronts, taxicabs, but recognize them as elements in one of those living geometries which are so characteristic of the visionary experience. The invention of this new cinematographic art seems to presage( thank heaven!) the supersession and early demise of non-representational painting. It used to be said by the non-representationalists that colored photography had reduced the old- fashioned portrait and the old- fashioned landscape to the rank of otiose absurdities. This, of course, is completely untrue. Colored photography merely records and preserves, in an easily reproducible form, the raw materials with which portraitists and landscape painters work. Used as Mr. Thompson has used it, colored cinematography does much more than merely record and preserve the raw materials of non-representational art; it actually turns out the finished product. Looking at" NY, NY", I was amazed to see that virtually every pictorial device invented by the old masters of non-representational art and reproduced ad nauseam by the academicians and mannerists of the school, for the last forty years or more, makes its appearance, alive, glowing, intensely significant, in the sequences of Mr. Thompson's film.