Master craftsman of suspense and crime films who, in the mid-1940s, applied his Germanic sensibility to a series of exquisitely crafted Hollywood thrillers including THE SPIRAL STAIRCASE (1946) and THE KILLERS (1946). Born in Dresden, Germany, Siodmak began working for UFA in 1925 and directed his first film, the landmark pseudo-documentary MENSCHEN AM SONNTAG (PEOPLE ON SUNDAY, 1929). The film launched the careers not only of co-directors Siodmak and Edgar Ulmer, but of co-screenwriters Billy Wilder and Curt Siodmak (Robert's younger brother), cinematographer Eugen Schüfftan and his assistant, Fred Zinnemann. Siodmak's first solo feature was FAREWELL (1930), a kind of working-class GRAND HOTEL. Scripted by Emeric Pressburger (whom Siodmak had earlier "discovered" while working as a writing scout), its technical accomplishment and experimental verve heralded an important new talent in German cinema. Three years and three films later, however, the Jewish Siodmak was forced into exile, first in France, where he made, among others, PERSONAL COLUMN (1939), and then, in 1941, to Hollywood. After making B pictures for various studios, Siodmak hit his peak at Universal making deft, noir-ish thrillers like THE PHANTOM LADY (1944), THE SUSPECT (1944), THE STRANGE AFFAIR OF UNCLE HARRY (1945), THE DARK MIRROR (1946) and CRISS CROSS (1949). Central to the succcess of all of these is Siodmak's ability to evoke a sinister mood, a fear of each and every dark shadow, while maintaining a taut narrative drive. Siodmak's last great Hollywood product was the swashbuckling classic THE CRIMSON PIRATE (1952). He then returned to Europe and, with the exception of the German-made THE RATS (1955) and THE DEVIL STRIKES AT NIGHT (1959), turned out mostly unexceptional films. Visit the Internet Movie Database for a listing of Siodmak's writing, directing and producing credits.  Nominated for Directing 1946: THE KILLERS 1 nomination