Emile de Antonio(1919-1989)

Director
Producer
Additional Crew

The son of a wealthy physician, Emile de Antonio grew up in the tough coal-mining town of Scranton, Pennsylvania, and it made a deep impression on him. His sympathies were always with working-class people (although he was a Harvard graduate, he was at times a dock worker, a peddler, the captain of a river barge and a broker in war-surplus equipment), and his documentaries are decidedly Marxist in philosophy. His most famous film is probably Point of Order! (1964), about the Army-McCarthy hearings ten years previously, but his most controversial films would be Millhouse (1971), a scathing indictment of then-President Richard Nixon, and Vietnam, année du cochon (1968), a radically left-wing perspective on the Vietnam War.

IMDbProStarmeter See rank

Nominated for 1 Oscar
- 1 win & 2 nominations total

Photos4

Known for

In the King of Prussia

6.4

Director

1982

Vietnam, année du cochon

7.4

Director

1968

Mr. Hoover and I

6.9

Director

1989

Millhouse

7.1

Director

1971

Credits

Edit

IMDbPro

Director

Mr. Hoover and I
6.9
- Director
- 1989
In the King of Prussia
6.4
- Director
- 1982
Underground
7.0
- Director
- 1976
McCarthy: Death of a Witch Hunter
6.2
- Director
- 1975
Painters Painting
7.5
- Director
- 1972
Millhouse
7.1
- Director
- 1971
America Is Hard to See
6.8
- Director
- 1970
Vietnam, année du cochon
7.4
- Director
- 1968
Rush to Judgment
7.9
- Director
- 1967
Point of Order!
7.8
- Director
- 1964

Producer

Additional Crew

Personal details

Edit

Alternative names
- Dee De Antonio
Born
- May 14, 1919
- Scranton, Pennsylvania, USA
Died
- December 15, 1989
- Lower East Side, Manhattan, New York City, New York, USA(heart attack)
Spouses
Publicity listings
- 3 Print Biographies

Did you know

Edit

Trivia
He died after a heart attack, in front of his home on the Lower East Side, NYC.

Quotes
[referring to a sequence in his Vietnam, année du cochon (1968)] I know that a lot of people who fought in Vietnam are very angry with me because in the sequence that had something to do with Search and Destroy, there is a Marine Corps colonel, a young rather good-looking man, standing there smiling, and the village is being burned and old women are crawling away and there is an expression of a woman in fear and terror and then you are back to that colonel. And people have said to me, "Those images didn't really occur that way". My answer to that is, it makes no difference if they really occurred that way, because they did occur that way in a moral sense. But then I end up by saying, "In fact, those images did happen in precisely that way". It is that we were conditioned to believe that they could not happen that way, so that we chose not to believe that those images happened in that way, but indeed they did. [referring to a sequence in his 1968 film, In The Year Of The Pig]