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Overview for Robert E. Smith
Robert E. Smith

Robert E. Smith


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Birth Place: Profession: Art Director ...


Cast (feature film)

The Court Jester (1956) as Priest/Forester
A traveling actor is mistaken for a medieval rebel.

Art Director (feature film)

Law and Order (1976)
Three generations of New York City cops are the focal point of this saga revolving primarily around the Deputy Chief of Public Affairs caught up in the politics and intrigue of the department, the discovery that his father had been on the take, and the news that his youngest son is having second tho
Godchild, The (1974)
An update of the oft-filmed "The Three Godfathers," previously made in 1916 with Harry Carey, repeating his role in John Ford''s 1919 version ("Marked Men"), in William Wyler''s 1929 adaptation ("Hell''s Heroes") with Charles Bickford, in Richard Boleslavski''s 1936 production with Chester Morris and Walter Brennan, and in John Ford''s Technicolor version with John Wayne in 1948, dedicated to Harry Carey. Three Civil War prisoners, fleeing from both Confederates and Apaches, risk their freedom and lives to aid a dying woman and become guardians of her newborn child.
This Is the West That Was (1974)
A lighthearted look at the saga of Wild Bill Hickok and his relationship with Calamity Jane as he is targeted for revenge by some tough gunfighters.
Pursuit (1972)
A government agent tries to keep an extremist from decimating with stolen nerve gas a city where a political convention is underway in this suspense thriller that marked the directorial debut of surgeon-turned novelist Michael Crichton, adapting the book "Binary" which he had written under his pseud
Sam Hill: Who Killed the Mysterious Mr. Foster? (1971)
In this Western series pilot (unrealized), an alcoholic drifter finds himself unchallenged in his run for sheriff in a small town, but campaigning means that he must find the killer of a visiting preacher.
Duel (1971)
A cross-country motorist finds himself the object of a faceless trucker''''s irrational attacks.
Rio Lobo (1970) as Production Design
A Civil War veteran searches for the traitor behind a friend's death.
Generation (1969) as Production Design
Smith! (1969) as Art Director
When the Indian Jimmyboy is accused of murder of a white man, he flees onto the ranch of Smith, who's well known for his tolerance for Indians, since he was raised by the old Indian Antoine. Smith helps Jimmyboy against the mean Sheriff and promises to speak for him in court, thus persuading him to surrender himself to the police.
Skidoo (1968) as Art Director
A retired gangster has to pull off a hit when his daughter is kidnapped.
Hombre (1967) as Art Director
A white man raised by Apaches is the only hope for stagecoach passengers stranded by a bandit attack.
The Flim-Flam Man (1967) as Art Director
A seasoned conman teaches a young Army deserter the tricks of the trade.
Lonely Are the Brave (1962) as Art Director
A modern-day cowboy defies the law in order to live a free man.
Operation Petticoat (1959) as Art Director
During World War II, the crew of a decrepit submarine takes on a team of Army nurses.
No Name on the Bullet (1959) as Art Director
The arrival of a hired gun stirs up suspicions in a small town.
Money, Women and Guns (1959) as Art Director
Just after making a large gold discovery, an old prospector is ambushed and killed by three masked men but manages to kill two of his attackers before he dies. He also manages to scribble out a will, which is given to detective "Silver" Ward Hogan, who is hired to track down the legitimate heirs and to try to find the third murderer.
Tonka (1958) as Art Director
In Dakota territory in the 1870s, White Bull, a young Sioux, proves his manhood by catching and training a wild colt he names Tonka. When a cruel cousin claims the horse as the privilege of rank, White Bull lets Tonka go. The horse ends up in the hands of a captain in the US cavalry about the time that Sitting Bull gathers the tribes to confront the growing US presence, epitomized by the bigoted General Custer. All paths, including those of White Bull and Tonka, lead to the confluence of the Little and Big Horn rivers.
Girls on the Loose (1958) as Art Director
A nightclub owner runs an all-woman robbery gang.
Live Fast, Die Young (1958) as Art Director
Two sisters live in a dysfunctional family in a California town. The elder, "nice" Kim, was sexually abused and hates men. Rebellious teen Jill is fed-up generally and runs away, finding her niche as a B-girl and sex-kitten working her way to Vegas. Kim leaves her job and goes in search of Jill, meeting her own misadventures en route; but by this time Jill's wanted for robbery. Will she live fast and die young?
The Saga of Hemp Brown (1958) as Art Director
Ex-army sergeant Jed Givens and his gang rob an army payroll shipment led by Lt. Hemp Brown. Givens kills a civilian woman and all the soldiers, leaving Brown alive to face a military tribunal in which he is branded a coward, stripped of all insignia and drummed out of the army. Brown sets out to track down Givens in an effort to clear his name.
Slaughter on Tenth Avenue (1957) as Art Director
While investigating a dockside murder, a DA uncovers union racketeering.
The Monolith Monsters (1957) as Art Director
A strange black meteor crashes near the town of San Angelo and litters the countryside with fragments. When a storm exposes these fragments to water, they grow into skyscraper-sized monoliths which then topple and shatter into thousands of pieces that grow into monoliths themselves and repeat the process. Any humans in the way are crushed or turned into human statues. The citizens of San Angelo desperately try to save themselves and the world from the spreading doom.
Interlude (1957) as Art Director
A young woman touring Germany is caught between a married symphony conductor and a doctor from back home.
The Creature Walks Among Us (1956) as Art Director
In this third Gill-Man feature, the Creature is captured and turned into an air-breather by a rich mad scientist. This makes the Creature very unhappy, and he escapes, killing people and setting fires in the process.
Behind the High Wall (1956) as Art Director
A group of convicts break out of prison, killing a guard, kidnapping the warden and forcing a reluctant inmate to accompany them. However, when a car accident kills everyone except the warden and the inmate hostage, the warden steals $100,000 of the gang's money, then when police arrive he accuses the inmate of the guard's murder in order to cover up his own crime.
The Mole People (1956) as Art Director
Archaeologists stumble upon a race of albinos living under the earth. They are afraid of light of any kind and keep mutant humanoid mole men as their slave

Production Designer (feature film)

The Greatest (1977) as Production Design
Muhammad Ali risks his championship status by speaking out against the Vietnam War.
Goodbye, Raggedy Ann (1971)
A sensitive Hollywood writer tries to talk a young down-on-her-luck actress out of suicide in this movie marking Mia Farrow's telefeature debut.
Homecoming, The (1971)
This was the pilot movie for "The Waltons" (which began its long run in September 1972), recounting the events of one day -- Christmas Eve, 1933 -- in the lives of a rural American mountain family. Later called "The Homecoming -- A Christmas Story," it won a Christopher Award as well as Emmy nominat

Art Director (special)

Supercops (1975) as Art Direction
The exploits of Dave Greenberg and Bobby Hantz, two New York City police officers known as "Batman and Robin" for their daring tactics and record number of arrests and convictions. The pilot episode depicts their efforts to apprehend a thief who sadistically victimizes only big-time gamblers.

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