Question: Do both films The Corbett-Fitzsimmons Fight and Brooding Eyes have the directors that share the same nationality?

<P0-S0> Brooding Eyes is a 1926 American silent crime film directed by Edward LeSaint and starring Lionel Barrymore, Ruth Clifford and Robert Ellis. <SEP> <P1-S0> Edward LeSaint( December 13, 1870 – September 10, 1940) was an American stage and film actor and director whose career began in the silent era. <P1-S1> He acted in over 300 films and directed more than 90. <P1-S2> He was sometimes credited as Edward J. Le Saint. <SEP> <P2-S0> Enoch J. Rector( October 9, 1863 – January 26, 1957) was an American boxing film promoter and early cinema technician. <P2-S1> He was a partner in Woodville Latham's Kinetoscope Exhibition Company( later the Lambda Company) during the mid-1890s, working with Latham and his sons Otway and Grey, as well as fellow cinema technicians William Kennedy Laurie Dickson and Eugene Lauste. <P2-S2> Cinema historian Terry Ramsaye later claimed that Rector, during his association with Latham, invented the' Latham loop', a key feature of modern cinema cameras and projectors, in 1895. <P2-S3> However, in 1927 Dickson stated unequivocally that Lauste was responsible for this important invention. <P2-S4> Using this technique, Rector created the 90- minute documentary film" The Corbett- Fitzsimmons Fight"( 1897), filmed in an early widescreen process in 63 mm film, with an aspect ratio of about 1.75 :1. <SEP> <P3-S0> M. H. Douglas( born Muhammad Hussain) was an Indian actor, action director, fight composer in the Hindi film industry. <P3-S1> He choreographed fight and action scenes for many Bollywood hits. <P3-S2> He is also the founder of the Fight and Cine artist Association based in Mumbai. <P3-S3> As an actor, Douglas appeared in many silent films in the 1940s and 1950s. <SEP> <P4-S0> Based on the success of" Yojimbo", Kurosawa's next film," Sanjuro"( 1962), was altered to incorporate the lead character of this film. <P4-S1> In both films, the character wears a rather dilapidated dark kimono bearing the same family" mon". <SEP> <P5-S0> The Corbett- Fitzsimmons <P5-S1> Fight is an 1897 documentary film directed by Enoch J. Rector depicting the 1897 boxing match between James J. Corbett and Bob Fitzsimmons in Carson City, Nevada on St. Patrick's Day. <P5-S2> Originally running for more than 100 minutes, it was the longest film released to date; as such, it was the world's first feature film. <P5-S3> The technology that allowed this is known as the Latham loop, and Rector was a rival for claiming the invention of the device. <P5-S4> He used three such equipped cameras placed adjacently and filming on 63 mm nitrate film. <P5-S5> Only fragments of the film survive. <P5-S6> The known fragments were transferred in the 1980s from a print owned by Jean A. LeRoy of New York City, the transfer done on a specially built optical printer to convert the film to 35 mm film. <P5-S7> The film was also the first to be shot in widescreen, with an aspect ratio of about 1.65:1. <P5-S8> According to Dan Streible," The Corbett- Fitzsimmons Fight" is" one of the earliest individual productions to sustain public commentary on the cinema." <P5-S9> The film is so important to film history that Luke McKernan declared," it was boxing that created the cinema." <P5-S10> As noted by Seth Abraham, the president of" Time Warner Sports", it was the first motion picture to ever depict the championship prizefight. <P5-S11> Its airing nationwide was actually and literally the first pay- per-view event in the boxing history, for the fight produced more income in box office than in live gate receipts, it was immensely profitable and the picture served as a long- standing model for future amusement entrepreneurs. <P5-S12> And, as outlined by Charles Musser, it also resolved the dilemma of prizefighting was being illegal in 21 states, while the airing of a prizefight was not, and the legislative efforts to ban fight films proven unsuccessful. <P5-S13> In 2012, the film was added to the National Film Registry at the Library of Congress as a" culturally, historically, or aesthetically significant film".