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Martin Ritt (March 2, 1914 – December 8, 1990) was an American director and actor who worked in both film and theater. He was born in New York City. Some of the movies he directed include ''The Long, Hot Summer'' (1958), ''Paris Blues'' (1961), ''Hemingway's Adventures of a Young Man'' (1962), ''Hud'' (1963), ''The Outrage'' (1964), ''The Spy Who Came in from the Cold'' (1965), ''Hombre'' (1967), ''The Great White Hope'' (1970), ''Sounder'' (1972), ''Conrack'' (1974), ''Norma Rae'' (1979), ''Cross Creek'' (1983), ''Murphy's Romance'' (1985), ''Nuts'' (1987) and ''Stanley & Iris'' (1990). ==Early career and influences== Born to a Jewish family in Manhattan, the son of immigrant parents. He graduated from DeWitt Clinton High School in the Bronx.〔 Ritt originally attended and played football for Elon College in North Carolina. The stark contrasts of the depression-era South, against his New York City upbringing, instilled in him a passion for expressing the struggles of inequality, which is apparent in the films he directed. After leaving St. John's University, Ritt found work with a theater group, and began acting in plays. His first performance was as ''Crown'' in ''Porgy and Bess''. After his performance drew favorable reviews, Ritt concluded that he could "only be happy in the theater." Ritt then went to work with the Roosevelt administration's New Deal Works Progress Administration as a playwright for the Federal Theater Project, a federal government-funded theater support program. With work hard to find and the Depression in full effect, many WPA theater performers, directors, and writers became heavily influenced by the radical left and Communism, and Ritt was no exception. Years later, Ritt would state that he had never been a member of the Communist Party, although he considered himself a leftist and found common ground with some Marxist principles. Ritt moved on from the WPA to the Theater of Arts, then to the Group Theater of New York City. It was at the Group Theater that he met Elia Kazan. Kazan cast Ritt as an understudy to his play ''Golden Boy''. Ritt’s social consciousness and political views continued to mature during his time with the Group Theater, and would influence the social and political viewpoint that he would later express in his films. (Ritt would continue his association with Kazan for well over a decade, later assisting - and sometimes filling in for - his erstwhile mentor at The Actors Studio, eventually becoming one of the Studio's few non-performing life members.) During World War II, Ritt served with the U.S. Army Air Forces and appeared as an actor in the Air Forces' Broadway play and film ''Winged Victory''. During the Broadway run of the play, Ritt directed a production of Sidney Kingsley's play ''Yellow Jack'', using actors from ''Winged Victory'' and rehearsing between midnight and 3 a.m. after ''Winged Victory'' performances. The play had a brief Broadway run and was performed again in Los Angeles when the ''Winged Victory'' troupe moved there to make the film version. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Martin Ritt」の詳細全文を読む スポンサード リンク
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