Question: Which film has the director who died later, Zabawka (Film) or Home To Danger?

<P0-S0> Zabawka is a 1933 Polish romantic drama film directed by Michał Waszyński. <SEP> <P1-S0> Michał Waszyński( 29 September 1904 – 20 February 1965) was first a film director in Poland, then in Italy, and later( as Michael Waszynski) a producer of the major American films, mainly in Spain. <P1-S1> Known for his elegance and impeccable manners, he was, by the people who knew him, known as" the prince". <P1-S2> As Germany occupied this part of Europe during World War I, he moved first to Warsaw and later to Berlin. <P1-S3> As a young man he worked as an assistant director of the legendary German director F.W. Murnau. <P1-S4> Upon his return to Poland he changed his name to Michał Waszyński and converted to Catholicism. <P1-S5> In the 1930s Waszyński became the most prolific film director in Poland, directing 37 of the 147 films made in Poland in that decade, nearly one out of four. <P1-S6> At the beginning of World War II Waszyński escaped from Warsaw, which was being bombed by German planes, to Białystok. <P1-S7> That city was taken in mid-September 1939 by the Germans, but within weeks, as a result of the Molotov- Ribbentrop pact, the city was given to the Soviet Union and occupied by its army. <P1-S8> Waszyński began a new career as a theater director, first in Białystok and later in Moscow. <P1-S9> In the summer of 1941, after Germany invaded the Soviet Union, Waszyński joined the newly formed Polish Army of general Władysław Anders( loyal to the Polish government in Exile in London) and subsequently was relocated to Persia( Iran), and later as a soldier of the 2nd Corps of the Polish Army to Egypt and Italy. <P1-S10> As a member of the army film unit, he filmed the Battle of Monte Cassino, where the Polish Army suffered great losses, but helped to win the day. <P1-S11> After World War II, he stayed in Italy, where he directed a Polish- language feature film about the Battle of Monte Cassino, and then three Italian films. <P1-S12> His credits include" The Quiet American"( 1958)( associate producer)," El Cid"( 1961), and" The Fall of the Roman Empire( film)"( 1964)( executive producer and associate producer). <SEP> <P2-S0> Home to Danger is a 1951 British film noir crime film directed by Terence Fisher starring Guy Rolfe, Rona Anderson and Stanley Baker. <P2-S1> It was made at the Riverside Studios in Hammersmith as a supporting feature. <SEP> <P3-S0> Drew Esocoff( born c. 1957) is an American television sports director, who as of 2006 has been the director of NBC Sunday Night Football. <SEP> <P4-S0> 5 Steps to Danger is a 1957 American film noir crime film directed, produced, and co–written by Henry S. Kesler. <P4-S1> It stars Ruth Roman and Sterling Hayden, with a cast that also included Werner Klemperer, Richard Gaines, Charles Davis, Jeanne Cooper, and Peter Hansen. <P4-S2> " 5 Steps to Danger" was based on the novel" The Steel Mirror" by Donald Hamilton. <SEP> <P5-S0> Terence Fisher( 23 February 1904 – 18 June 1980) was a British film director best known for his work for Hammer Films. <P5-S1> He was the first to bring gothic horror alive in full colour, and the sexual overtones and explicit horror in his films, while mild by modern standards, were unprecedented in his day. <P5-S2> His first major gothic horror film was" The Curse of Frankenstein"( 1957), which launched Hammer's association with the genre and made British actors Peter Cushing and Christopher Lee leading horror stars of the era. <P5-S3> He went on to film several adaptations of classic horror subjects, including" Dracula"( 1958)," The Mummy"( 1959), and" The Curse of the Werewolf"( 1961). <P5-S4> Given their subject matter and lurid approach, Fisher's films, though commercially successful, were largely dismissed by critics during his career. <P5-S5> It is only in recent years that Fisher has become recognised as an" auteur" in his own right. <P5-S6> His most famous films are characterised by a blend of fairytale myth and the supernatural alongside themes of sexuality, morality, and ‘ the charm of evil ’. <P5-S7> Drawing heavily on a Christian conservative outlook, there is often a hero who defeats the powers of darkness by a combination of faith in God and reason, in contrast to other characters, who are either blindly superstitious or bound by cold, godless rationalism. <P5-S8> For detailed discussions of Fisher's work, see" Terence Fisher: Horror, Myth, and Religion" by Paul Leggett( McFarland and Co, 2002)," British Film Makers: Terence Fisher" by Peter Hutchings( Manchester University Press, 2013), and" The Films of Terence Fisher: Hammer Horror and Beyond" by Wheeler Winston Dixon( Auteur Publishing, 2017).