Džeimss Bridžs (dzimis 1936. gada 3. februārī, Parīze, Arkanzasa, ASV - miris 1993. gada 6. jūnijā, Losandželosa, Kalifornija), amerikāņu aktieris, scenārists un režisors, kurš bija vislabāk pazīstams ar Ķīnas sindromu (1979) un Urban Cowboy (1980).
Viktorīna
Kino skola: Fakts vai daiļliteratūra?
Neviena klusa filma nekad nav ieguvusi Kinoakadēmijas balvu.
Bridžs sāka savu aktiera karjeru izklaides jomā, un pirmajos kredītos ietilpa nelielas daļas daudzos televīzijas šovos un galvenā Tarzana loma Andija Vorhola pagrīdes filmā Tarzāns un Džeina atguva
Šķirot pēc (1964). Tomēr galu galā viņš koncentrējās uz darbu aiz kameras. Viņš uzrakstīja labi saņemto Marlona Brando transportlīdzekli The Appaloosa (1966), kā arī neskaitāmas filmas Alfrēda Hičkoka stunda epizodes. 1970. gadā Bridges gan scenāriju veidoja, gan režisēja mazbudžeta drāmu “The Baby Maker” par bezbērnu pāri, kurš algo hipiju (kuru spēlēja Barbara Heršeja) kalpot par surogātmāti, ar negaidītiem rezultātiem.
Plašāk bija redzams The Paper Chase (1973), drāma par Hārvarda Juridiskās skolas pirmkursnieku (Timothy Bottoms), kurš cīnās par sava kursa darba ciešanu pārvarēšanu ar prasīgo profesoru Kingsfīldu (John Houseman, kurš par lomu ieguva Kinoakadēmijas balvu) tiesājot profesora meitu (Lindsay Wagner). Bridges adaptētā avota romāns tika nominēts arī Oskaram, un populārā filma vēlāk tika adaptēta veiksmīgā televīzijas seriālā.
Bridges next wrote and directed 9/30/55 (1978; also known as September 30, 1955), a dramatization of a fan (Richard Thomas) struggling to come to grips with the death of idol James Dean in 1955. However, it was the suspenseful The China Syndrome (1979) that became Bridges’s first breakout hit. Jane Fonda played a television reporter who stumbles onto a cover-up at a nuclear power plant that nearly suffered a meltdown, and Jack Lemmon portrayed the engineer who blows the whistle on his criminally negligent superiors. Both actors were Oscar-nominated, as was Bridges for cowriting the prescient original screenplay. The film received an enormous boost when, a few weeks after it opened, the Three Mile Island nuclear accident occurred in Pennsylvania.
Bridges also scored big with Urban Cowboy (1980), a formulaic but entertaining story about a young Texas construction worker (John Travolta) who lets his marriage to independent Sissy (Debra Winger) disintegrate while he struggles to be accepted in the world of Gilley’s, the famed Houston honky-tonk, with its mechanical bull and competitive dance floors. Cowritten by Bridges, Urban Cowboy was a box office hit and spawned a best-selling sound track. Bridges next wrote the existential murder mystery Mike’s Murder for his longtime friend Winger, but the studio rejected the cut he delivered in 1982, and the film remained on the shelf until 1984, when a much-edited version was released to critical and commercial failure.
Bridges’s next film, Perfect (1985), centred on the new subculture of health clubs. It starred Travolta as a bright but unscrupulous Rolling Stone reporter on the trail of a story and Jamie Lee Curtis as the club instructor he first exploits, then falls in love with. Perfect, which was coscripted by Bridges, was widely panned and failed to find an audience. In 1988 he helmed his last film, Bright Lights, Big City, an intelligent but curiously flat adaptation of the Jay McInerney best seller about the club-and-cocaine scene in 1980s New York City. Two years later Clint Eastwood directed White Hunter, Black Heart, which was based on a script cowritten by Bridges. Diagnosed with cancer, Bridges died in 1993. In 1999 the main screening venue of the UCLA Department of Film, Television and Digital Media was renamed the James Bridges Theater.
