Question: Which film whose director was born first, The Bridesmaid (Film) or The Stolen Ranch?

<P0-S0> The Bridesmaid is a 2004 psychological thriller film co-written and directed by Claude Chabrol. <P0-S1> Its title in French is La Demoiselle d'honneur. <P0-S2> The film is based on the novel" The Bridesmaid" by Ruth Rendell. <SEP> <P1-S0> Deepak Sareen is a Bollywood film director and assistant director. <P1-S1> His first film as director was" Ranbhoomi" and last film as director was" Albela". <SEP> <P2-S0> The Stolen Ranch is a 1926 American western film directed by William Wyler and starring Fred Humes, Louise Lorraine and William Bailey. <P2-S1> The future star Janet Gaynor appeared as an extra in the film. <SEP> <P3-S0> William Wyler (born Willi Wyler ; July 1, 1902 – July 27, 1981) was an American film director, producer and screenwriter. <P3-S1> Notable works include "Ben-Hur" (1959), "The Best Years of Our Lives" (1946), and "Mrs. Miniver" (1942), all of which won Academy Awards for Best Director, as well as Best Picture in their respective years, making him the only director of three Best Picture winners as of 2019. <P3-S2> Wyler received his first Oscar nomination for directing "Dodsworth" in 1936, starring Walter Huston, Ruth Chatterton and Mary Astor, "sparking a 20-year run of almost unbroken greatness." <P3-S3> Film historian <P3-S4> Ian Freer calls Wyler a "bona fide perfectionist", whose penchant for retakes and an attempt to hone every last nuance, "became the stuff of legend. <P3-S5> " <P3-S6> His ability to direct a string of classic literary adaptations into huge box-office and critical successes made him one of "Hollywood's most bankable moviemakers" during the 1930s and 1940s and into the '60s. <P3-S7> Through his talent for staging, editing, and camera movement, he turned dynamic theatrical spaces into cinematic ones. <P3-S8> He helped propel a number of actors to stardom, finding and directing Audrey Hepburn in her Hollywood debut film, "Roman Holiday" (1953), and directing Barbra Streisand in her debut film, "Funny Girl" (1968). <P3-S9> Both of these performances won Academy Awards. <P3-S10> He directed Olivia de Havilland to her second Oscar in "The Heiress" (1949) and Laurence Olivier in "Wuthering Heights" (1939), for his first Oscar nomination. <P3-S11> Olivier credited Wyler with teaching him how to act for the screen. <P3-S12> And Bette Davis, who received three Oscar nominations under his direction and won her second Oscar in "Jezebel" (1938), said Wyler made her a "far, far better actress" than she had ever been. <P3-S13> Other popular Wyler films include: "Hell's Heroes" (1929), "Dodsworth" (1936), "The Westerner" (1940), "The Letter" (1940), "Friendly Persuasion" (1956), "The Big Country" (1958), "The Children's Hour" (1961) and "How to Steal a Million" (1966). <SEP> <P4-S0> Claude Henri Jean Chabrol( 24 June 1930 – 12 September 2010) was a French film director and a member of the French New Wave(" nouvelle vague") group of filmmakers who first came to prominence at the end of the 1950s. <P4-S1> Like his colleagues and contemporaries Jean- Luc Godard, François Truffaut, Éric Rohmer and Jacques Rivette, Chabrol was a critic for the influential film magazine" Cahiers du cinéma" before beginning his career as a film maker. <P4-S2> Chabrol's career began with" Le Beau Serge"( 1958), inspired by Hitchcock's" Shadow of a Doubt"( 1943). <P4-S3> Thrillers became something of a trademark for Chabrol, with an approach characterized by a distanced objectivity. <P4-S4> This is especially apparent in" Les Biches"( 1968)," La Femme infidèle"( 1969), and" Le Boucher"( 1970) – all featuring Stéphane Audran, who was his wife at the time. <P4-S5> Sometimes characterized as a" mainstream" New Wave director, Chabrol remained prolific and popular throughout his half- century career. <P4-S6> In 1978, he cast Isabelle Huppert as the lead in" Violette Nozière". <P4-S7> On the strength of that effort, the pair went on to others including the successful" Madame Bovary"( 1991) and" La Cérémonie"( 1996). <P4-S8> Film critic John Russell Taylor has stated that" there are few directors whose films are more difficult to explain or evoke on paper, if only because so much of the overall effect turns on Chabrol's sheer hedonistic relish for the medium ... <P4-S9> Some of his films become almost private jokes, made to amuse himself." <P4-S10> James Monaco has called Chabrol" the craftsman par excellence of the New Wave, and his variations upon a theme give us an understanding of the explicitness and precision of the language of the film that we do n't get from the more varied experiments in genre of Truffaut or Godard." <SEP> <P5-S0> The art director was Tomoo Shimogawara.