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Nikos Foskolos (Greek: Νίκος Φώσκολος; 26 November 1927 – 30 October 2013) was a Greek screenwriter and director. He is one of the most commercially successful screenwriters of Greek cinema.[1] He has been called the "Goldfinger of commercial shows".[2] He has been described as "the maître of exaggeration" and "the king of TV shows".[3] His film Ipolochagos Natassa kept the most commercially successful film record for almost three decades from 1970 to 1999.[4]

Nikos Foskolos
Νίκος Φώσκολος
Born(1927-11-26)26 November 1927
Athens, Greece
Died30 October 2013(2013-10-30) (aged 85)
Athens, Greece
OccupationScreenwriter, film director

Life and career


Foskolos was born in Athens on 26 November 1927.[2] He studied Political Science at the University of Athens but did not graduate.[1] From the age of 17, he started writing successful radio plays with both a historical and modern background.[2] His radio series Police Stories were the most popular radio series for three years.[1][2] In the 1960s, he worked as a theatre critic and also wrote plays for the theatre and radio. He wrote screenplays for over 70 Greek films, mostly working for Finos Film.[1] He introduced Spaghetti Westerns to Greek cinema.[1]

His TV daily serial Lampsi was a huge success and ran for 14 seasons getting into the Guinness World Records in 1995.[2] He gained another entry into the Guinness World Records for writing two daily TV series, Lampsi and Kalimera Zoi, for ten years.[1] Lampsi was shown for 13 years from 1991 to 2005 with a total of 3457 episodes produced.[1]

In the 1970s, his TV serial Agnostos Polemos (Unknown War) broke the record of TV ratings with 92% of Greek households tuning in to the show.[5][6] Foskolos has been described as an "important screenwriter", a "talented director", a "wonderful human being" and "the father of TV-serials and films".[7] Ta Nea refers to him as "hyperproductive".[8] The same paper also calls him polygrafotatos translating as "a prolific writer".[9]


Interview


In a 1999 interview to the Vima newspaper, Foskolos said that he wonders if the political reality in Greece has surpassed even his own screenplays and said that he thinks that Greek society has "fallen into a vertical aquarium of corruption". He said than in one scene of his film Koinonia, Ora Miden (Society, Hour Zero) a corrupt politician offers millions to Nikos Kourkoulos, who was playing the role of the honest hero of the film, to buy his silence for a crime committed by his cohorts. The politician told the hero that the price they had to pay was selling their conscience for their livelihood. Foskolos then remarked that the story he wrote for the film turned out to be prescient in the years that followed.[1]


Awards


Foskolos has received awards for The Asphalt Fever (Πυρετός στην άσφαλτο), and The Ruthless (Οι αδίστακτοι). His film Blood on the Land (Το χώμα βάφτηκε κόκκινο) was an Academy Awards Best Foreign Film nominee in 1965.[1] He also received three awards and a state award for Concert for Machine Guns (Κοντσέρτο για πολυβόλα).[1]


References


  1. "Πέθανε σε ηλικία 86 ετών ο σεναριογράφος και σκηνοθέτης Νίκος Φώσκολος" (in Greek). Ta Nea. 30 October 2013.
  2. "Πέθανε ο Νίκος Φώσκολος – Ο χρυσοδάκτυλος του εμπορικού θεάματος" (in Greek). To Vima. 30 October 2013.
  3. "Νίκος Φώσκολος: Ο μετρ της υπερβολής και βασιλιάς της τηλεθέασης" (in Greek). Ta Nea.
  4. Πάνος Παπαδόπουλος (30 October 2013). ""Οχι άλλο κάρβουνο" και άλλα πέντε πράγματα που μας άφησε ο Νίκος Φώσκολος" (in Greek). Ta Nea.
  5. ""Έφυγε" ο Νίκος Φώσκολος". zougla.gr (in Greek).
  6. "Τελευταίος αποχαιρετισμός στον Νίκο Φώσκολο" (in Greek). Ta Nea.
  7. "Νίκος Φώσκολος: Ο "πατέρας" των σήριαλ και των ταινιών". newsbomb.gr (in Greek).
  8. "Η "Υπολοχαγός" και η "Λάμψη" των ρεκόρ" (in Greek). Ta Nea. Η εμπορικότητα ήταν βασικότατος άξονας του υπερπαραγωγικού Νίκου Φώσκολου, που μεσου-ράνησε στη χούντα, όσο η Ελλάδα «βρισκόταν στον γύψο»
  9. "Νίκος Φώσκολος: Εκανε τέχνη του την υπερβολή Πέθανε στα 86 του ο πολυγραφότατος σεναριογράφος και σκηνοθέτης" (in Greek). Ta Nea.




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