Question: Which film has the director who was born first, Freud: The Secret Passion or The Belle Of New York (1952 Film)?

<P0-S0> Charles Walters( November 17, 1911 – August 13, 1982) was a Hollywood director and choreographer most noted for his work in MGM musicals and comedies from the 1940s to the 1960s. <SEP> <P1-S0> Freud: The Secret Passion, also known as Freud, is a 1962 American biographical film drama based on the life of the Austrian psychoanalyst Sigmund Freud, directed by John Huston and starring Montgomery Clift as Freud. <P1-S1> The original script was written by Jean- Paul Sartre, but Sartre withdrew his involvement in the film after disagreements with Huston, and his name was removed from the credits. <P1-S2> The film was entered into the 13th Berlin International Film Festival. <SEP> <P2-S0> Charles Morton Stewart McLellan( 1865–1916) was a London- based American playwright and composer who often wrote under the pseudonym Hugh Morton. <P2-S1> McLellan is probably best remembered for the musical" The Belle of New York" and drama" Leah Kleschna". <SEP> <P3-S0> John Marcellus Huston( August 5, 1906 – August 28, 1987) was an American film director, screenwriter, actor, and visual artist. <P3-S1> Huston was a citizen of the United States by birth but renounced U.S. citizenship to become an Irish citizen and resident. <P3-S2> He returned to the United States, where he lived the rest of his life. <P3-S3> He wrote the screenplays for most of the 37 feature films he directed, many of which are today considered classics:" The Maltese Falcon"( 1941)," The Treasure of the Sierra Madre"( 1948)," The Asphalt Jungle"( 1950)," The African Queen"( 1951)," The Misfits"( 1961)," Fat City"( 1972)," The Man Who Would Be King"( 1975) and" Prizzi's Honor"( 1986). <P3-S4> During his 46- year career, Huston received 15 Oscar nominations, winning twice, and directed both his father, Walter Huston, and daughter, Anjelica Huston, to Oscar wins. <P3-S5> Huston studied and worked as a fine art painter in Paris in his early years. <P3-S6> He explored the visual aspects of his films throughout his career, sketching each scene on paper beforehand, then carefully framing his characters during the shooting. <P3-S7> While most directors rely on post-production editing to shape their final work, Huston instead created his films while they were being shot, with little editing needed. <P3-S8> Some of Huston's films were adaptations of important novels, often depicting an" heroic quest," as in" Moby Dick", or" The Red Badge of Courage". <P3-S9> In many films, different groups of people, while struggling toward a common goal, would become doomed, forming" destructive alliances," giving the films a dramatic and visual tension. <P3-S10> Many of his films involved themes such as religion, meaning, truth, freedom, psychology, colonialism, and war. <P3-S11> Huston has been referred to as" a titana rebel", and a" renaissance man" in the Hollywood film industry. <P3-S12> Author Ian Freer describes him as" cinema's Ernest Hemingway" — a filmmaker who was" never afraid to tackle tough issues head on." <SEP> <P4-S0> Rose Gaffney( 1895–1979) was an environmental activist known for fighting the construction of the Bodega Bay Nuclear Power Plant in Sonoma County, California. <P4-S1> She is sometimes referred to as" The Belle of Bodega Bay" and the" mother of ecology." <P4-S2> In 2003, she was the subject of a documentary called" Rose Gaffney: The Belle of Bodega Bay." <SEP> <P5-S0> The Belle of New York is a 1952 Metro-Goldwyn-Mayer Hollywood musical comedy film set in New York circa 1900 and stars Fred Astaire, Vera-Ellen, Alice Pearce, Marjorie Main, Gale Robbins and Keenan Wynn, with music by Harry Warren and lyrics by Johnny Mercer. <P5-S1> The film was directed by Charles Walters. <P5-S2> This whimsical (even by Astaire's standards) musical failed at the box office and impressed few critics at the time, mainly due to the nature of the plot which empowers lovers to float free of the influence of gravity - a conceit reprised in the 1999 film "Simply Irresistible". <P5-S3> Astaire was reluctant to take the project - he was originally supposed to play the role in 1946 but had avoided it through retirement. <P5-S4> Clearly stung by its failure, Astaire later claimed that the dance routines - of which there are more than usual - are of a particularly high standard - a rare verdict from such a notoriously self-critical artist. <P5-S5> Vera-Ellen is generally viewed as one of Astaire's most technically proficient dance partners, and this was a factor in his readiness to expand the dance content of the film beyond its traditional proportions.