A review of the filmography of Kirk Douglas, the tough man in Hollywood who died at 103

Kirk Douglas's bio, carrier. The legendary actor left his mark on the cinema as cowboy, gangster, soldier in the trenches, professional assassin, revolutionary slave, and even in the skin of Vincent van Gogh.
The first image that evoked hearing his name was that of the superhuman slave "Spartacus."

The legendary actor left his mark on the cinema as cowboy, gangster, soldier in the trenches, professional assassin, revolutionary slave, and even in the skin of Vincent van Gogh.
Kirk Douglas, who died on Wednesday at 103 , has been a force of nature, an actor of overwhelmed energy and a spectacular physicist.
In fact, the first image that evoked hearing his name was that of the superhuman slave "Spartacus." It was "the hard man", which, curiously, was measured more times in the cinema with male partners than with female partners.

His emotional involvement with the tormented and impulsive characters gave Douglas his reputation as "hard"; his confrontation is historic with Burt Lancaster, with whom he shot seven films, the most memorable "Seven Days in May" (Seven Days of May, 1964) and "Gunfight at the OK Corral" (Duel of Titans, 1957).
Douglas, who recognized that complex, wrote on his website after the penultimate film shot with the acrobat: "I finally got rid of Burt Lancaster. My luck has changed for the better. Now I work with beautiful girls."
Between the first one, "I Walk Alone" (1948), and the last one, "Tough Guys" (Two tough guys, 1986) that they shot together, both actors rehearsed a friendship, to say of those around them, pretended, that however contributed to reinforce the myth.
From “Gunfight at the OK Corral”, a western in which Lancaster was Wyatt Earp and Douglas, Doc Holliday, the womanizer, manly and arrogant Issur Danielovitch Demsky, son of illiterate Jewish immigrants (Douglas chose this artistic surname for his beloved Douglas Fairbanks), the actor began to collect male cinematographic "duels" that have already been left for history.
The next one was with Anthony Quinn in "Lust for Life" ; with Tony Curtis he measured himself in “The Vikings” (The Vikings, 1958) and in 1959 he made “The Devil's Disciple” where he returned to coincide with Lancaster, although the most remembered scene is precisely the trial in that Douglas faces, in a dialogue full of cynicism, Sir Laurence Olivier.

The following year, Douglas paired with Kim Novak in "Strangers When We Meet" (Neighbors and Lovers), but it was only a respite for his final "duel", the most solid, coral: the one that would mark the rest of his life and his career.
In 1960, Douglas became a producer, actor and almost director of "Spartacus”, a film that Anthony Mann started filming, but which was passed to Stanley Kubrick, under pressure from the "boss."
Kubrick, at that time a young man in his thirties, saw how the power of Douglas broke up with his cinematic ambitions: "I was the director," he said, about the filming of "Spartacus" - but my voice was only one that Kirk heard".
The film, which had a colossal budget (twelve million dollars, equivalent to a current production of more than one hundred) was, apparently, a historical film, but its progressive message, which emphasized the gladiator's uprising against Rome in 73 BC He made Hollywood look at him differently.

In fact, Douglas based the film on a novel by a communist writer whose adaptation was carried out by Dalton Trumbo, one of the main victims of the witch hunt.
But the most notable was the choice of the cast. “It was a beautiful movie. Besides me, the story attracted Laurence Olivier, Charles Laughton, Peter Ustinov, Jean Simmons and Tony Curtis. There was a wonderful scene with Laurence and Tony in the pool, but there was a background of homosexuality and they didn't allow the scene to be displayed,” Douglas recalled on his website.
And followed "Lonely Are The Brave" (The brave walk alone, 1962), the film that years later would inspire the movie "First Blood", that is, the character of Rambo.
The duel, in this case, was practically with himself, although he has memorable scenes with Sheriff Walter Matthau and his imprisoned friend Michael Kane.
With John Wayne he filmed "In Harm's Way" (First Victory, 1965); the war "Cast a Giant Shadow" (The Shadow of a Giant, 1966), where he also coincided with Frank Sinatra, and the western "The War Wagon" (Fight of Giants, 1967).
In “Paris Burns? 1967”, the historical film about the German occupation of the French capital in 1944 on the novel by Larry Collins and Dominique Lapierre, which was adapted by screenwriters Francis Ford Coppola and Gore Vidal, Douglas keeps the guy in front of Orson Welles, Jean Paul Belmondo and Charles Boyer.
That same year he filmed with Robert Mitchum and Richard Widmark "The Way West", and, in 1970, "There was a Crooked Man" (The Day of the Cheats), the only western directed by Joseph L. Mankiewicz, with the "malt" Douglas measuring himself to the "modes" Henry Fonda.
Then they were Yul Brynner, "The Light at the Edge of the World"; Johnny Cash, "A Gunflight" (The Great Duel, 1971); Giuliano Gemma "Un uomo da rispettare" (A man of respect, 1972) John Cassavetes "The Fury" (The Fury, 1978) and touching the 80 (in this case, a couple to forget), with Arnold Schwarzenegger "The Villain" (Cactus Jack - The villain).


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