Peter Bogdanovich Movies
Anointed as one of New Hollywood's golden boys with his neo-classical homages to John Ford and Howard Hawks, Peter Bogdanovich's personal and professional lives crashed and burned in the late '70s. Though he was redeemed somewhat with Mask (1985), his directorial career never fully recovered. By the late '90s, however, Bogdanovich returned to his original training as an actor and found success as a supporting player in films and on HBO's acclaimed series The Sopranos.Raised in Manhattan, the precocious Bogdanovich began studying acting with Stella Adler at age 15 and spent his teens at the movies, developing a devotion to Hollywood. Though he acted in and directed several off-Broadway plays, Bogdanovich decided movies were his calling. While working as a film programmer in his early twenties, Bogdanovich began writing about cinema, publishing articles in Esquire and monographs on Orson Welles, Howard Hawks, and Alfred Hitchcock; he married aspiring production designer Polly Platt in 1962. Inspired by the French critics-turned-New Wave directors, Bogdanovich headed to Hollywood in 1964, where he and Platt met both their graying heroes and a generation of unruly newcomers.
Like fellow gatecrashers Martin Scorsese and Francis Ford Coppola, Bogdanovich's directorial career was jump-started by B-movie giant Roger Corman. Familiar with his Esquire writing, Corman hired Bogdanovich to work on his Peter Fonda motorcycle flick The Wild Angels (1966). Bogdanovich's experience encompassed rewrites, second unit direction, editing, and dubbing; Corman also cast Bogdanovich alongside Fonda and Dennis Hopper in The Trip (1967). Corman subsequently gave Bogdanovich a cheapie feature to write and direct, with the stipulation that he use Boris Karloff. With an assist from Platt, Bogdanovich came up with Targets (1968), a skillful thriller about an aging star and a nihilistic assassin. Cross-cutting between the two stories on the way to a suspenseful drive-in climax, Targets proved that Bogdanovich could make a movie as well as worship them, even if the assassination-weary 1968 audience stayed away.
While he got his movie-making career off the ground, Bogdanovich continued to write, publishing books on John Ford and Fritz Lang. After Targets, Bogdanovich spent several weeks locking horns with producer Sergio Leone on pre-production for Duck, You Sucker! (1971) in Rome before pulling out and returning to the states. Back in Hollywood, Bogdanovich put together the lauded AFI documentary Directed by John Ford (1971) and wrote a book on Allen Dwan.
Bogdanovich's second fiction feature came together when BBS Films (home of Fonda and Hopper's Easy Rider [1969]) enlisted Bogdanovich to write and direct a project of his choice. On Platt's advice, Bogdanovich adapted Larry McMurtrey's coming-of-age novel The Last Picture Show. Working closely with Platt, Bogdanovich crafted The Last Picture Show (1971) as a nostalgic look back to 1950s small town America and Hollywood tradition combined with a more clear-eyed, "European" view of the period's sexual mores and personal weaknesses. Starring Ford stalwart Ben Johnson as the town patriarch alongside newcomers Jeff Bridges, Timothy Bottoms, and Cybill Shepherd as the troubled youth, and shot in crisp Ford-ian deep focus black-and-white, The Last Picture Show was hailed as one of the best films by a neophyte since Citizen Kane (1941) and earned eight Oscar nominations, including Best Picture and Director. A popular success as well, The Last Picture Show was still playing when Bogdanovich's next film, What's Up, Doc?, opened in 1972. An update of Howard Hawks' screwball classic Bringing Up Baby (1938), starring Barbra Streisand as the dizzy dame and Ryan O'Neal as the uptight, bespectacled object of her affection, What's Up Doc? was a funny enough facsimile of Hawks to become one of the year's top hits.
An A-list phenom, Bogdanovich signed on to form the creatively autonomous (and potentially lucrative) Directors Company with fellow wunderkind Coppola and William Friedkin. His first film for the company, Paper Moon (1973), lived up to the hype. A Depression-era story about a grifter and his foul-mouthed daughter shot once again in Ford-esque monochrome, Paper Moon earned an Oscar for child actress Tatum O'Neal's performance opposite her father Ryan O'Neal, as well as big box office. Bogdanovich's personal life, however, began to intrude on his professional fortunes after Paper Moon. Though he left her for Shepherd in 1970, Platt had continued to work with Bogdanovich on What's Up Doc? and Paper Moon; after Platt severed their professional relationship, Bogdanovich's work floundered.
That relationship with Shepherd dealt a more visible blow to Bogdanovich's career when he decided to showcase her in his next two films. While she had been ideally cast as Picture Show's thoughtless beauty, the meticulous period design and strong supporting cast couldn't disguise Shepherd's failings in the title role of Bogdanovich's adaptation of Henry James' Daisy Miller (1974). Bogdanovich's homage to lavish 1930s musicals, At Long Last Love (1975), was a disaster; Shepherd's companion record, unfortunately titled Cybill Does It to Cole Porter, didn't help. The Directors Company (and his relationship with Shepherd) dissolved shortly thereafter. Bogdanovich's stylish silent movie tribute, Nickelodeon (1976), became his third consecutive flop.
Though Saint Jack (1979) was a succès d'estime, the troubled history of They All Laughed (1981) sent Bogdanovich into a tailspin. Reeling after one of the movie's stars and his new girlfriend, Dorothy Stratten, were murdered by her estranged husband, Bogdanovich then went bankrupt when he had to distribute the movie himself and it flopped. Retreating from Hollywood, Bogdanovich spent the early '80s revising his early books and writing a biography of Stratten; he raised eyebrows when he married Stratten's younger sister, Louise, in 1988. They split in 2001.
Working as a director for hire, Bogdanovich returned to favor with Mask (1985). A compelling study of a disfigured teen and his forceful mother, Mask won Cher Cannes' Best Actress prize and sterling reviews. The wretched comedy Illegally Yours (1988) and the poorly received Picture Show sequel Texasville (1990) squandered the professional goodwill; the barely released The Thing Called Love (1993) was better known as one of River Phoenix's last movies. Relegated to directing TV-movies, straight-to-videos, and contributing to documentaries, Bogdanovich declared bankruptcy again in the 1990s. He remained visible, though, as an actor in such films as Mr. Jealousy (1997). By 2000, Bogdanovich landed a part on the award-winning series The Sopranos as Lorraine Bracco's quizzical psychiatrist and returned to subjects close to his heart with the independent feature The Cat's Meow (2001), about the mystery surrounding Hollywood pioneer Thomas Ince's death. ~ Lucia Bozzola, All Movie Guide
- 1966
- R
This biker gang exploitation picture from director Roger Corman and co-writer and editor Peter Bogdanovich earned critical respect in Europe for its gritty documentary style. Peter Fonda stars as Heavenly Blues, the leader of a wild, roving band of leather-clad bikers. When his best friend Loser (Bruce Dern) is injured in the midst of an attempt to steal a police motorcycle, the boys kidnap their debilitated buddy from the hospital, raping a black nurse and trashing the place in the process. Blues and his friends believe they've set Loser free, but he dies not long after the escape. Staging a funeral and drunken orgy in a small town church, the gang flees is set upon by the enraged locals, leaving Blues alone to face the law. Nancy Sinatra and a then-pregnant Diane Ladd co-star; a number of real-life Hell's Angels were hired to appear in scenes, adding authenticity to the picture. ~ Karl Williams, All Movie Guide
- Starring:
- Peter Fonda, Nancy Sinatra, (more)
- 1967
Roger Corman directed this psychedelic odyssey concerning the curative properties of LSD, with a surrealistic screenplay written by Jack Nicholson. Peter Fonda is Paul Groves, a television commercial director whose estranged wife Sally (Susan Strasberg) is pressuring him to sign their divorce papers. Feeling strain in both his professional and his personal life, Paul talks to a guru named John (Bruce Dern), who suggests that an acid trip will cure what ails him. Paul goes to John's pad and his trip begins -- at first calm and sedate, but when Sally and a sexy blonde hippie enter his hallucinations, it's every man for himself. Paul experiences crazed sexual couplings, paranoiac visions, and even gets to attend his own funeral. After imagining he's seeing John's head bashed in, he runs from the apartment in terror and takes to the streets. He is finally rescued and brought to a beach house, where he completes his trip while making love to a beautiful woman. After the trip subsides, Paul is convinced he has been reborn and is prepared to face the new day. ~ Paul Brenner, All Movie Guide
- Starring:
- Peter Fonda, Susan Strasberg, (more)
Together with Orson Welles' Citizen Kane and John Singleton's Boyz 'n the Hood, director Peter Bogdanovich's Targets is among the most impressive first features ever made. When Bogdanovich's cinematic mentor Roger Corman suggested that Bogdanovich might want to make his directorial debut, he offered to "donate" 20 minutes' worth of footage of the Corman-directed The Terror and the services of Boris Karloff, who owed Corman two days' worth of work (at a cost of 22,000 dollars). Karloff became so caught up in the 29-year-old Bogdanovich's enthusiasm that he agreed to work an additional two days at a bare-minimum salary.
The script, by Bogdanovich and his then-wife, Polly Platt, was inspired by the 1966 shooting spree of Texas Tower sniper Charles Whitman. Karloff, as Byron Orlock, more or less plays himself: an aging horror star, consigned to low-budget drive-in fare. Unlike the workaholic Karloff, Orlock wants to retire from films, noting that his movies seem inconsequential in light of the real-life horrors occurring every day. As Bogdanovich, playing young-and-hungry director Sammy Michaels, desperately tries to convince Orlock to star in just one more picture, the film's attentions shift to Vietnam veteran Bobby Thompson (Tim O'Kelly). An otherwise amiable, normal-looking lad, Bobby seems to harbor an inordinate fascination with guns, particularly high-powered rifles. One bright and sunny morning, Bobby suddenly and unexpectedly shoots and kills his wife, his mother, and an unlucky delivery boy. He leaves behind a note confessing to these crimes, noting that, while he fully expects to be captured, many more will die before the day is over. From this point onward, the film switches from Bobby's day-long bloodbath (from the vantage point of an oil storage tank, calmly picking off passing freeway motorists) to Orlock's grumbling preparations to make a personal appearance at a local drive-in movie.
Inevitably, Bobby also shows up at the drive-in, hiding himself behind the huge screen and shooting down the patrons as they sit complacently in their cars, watching the latest Byron Orlock film (actually The Terror, in which Karloff also starred). Once the reality of the situation sets in, panic ensues, leading to the ultimate confrontation between the escaping Bobby and the bewildered Orlock. ("Is this what I was afraid of?" Orlock ruefully exclaims as Bobby cowers at his feet.) The tension never lets up throughout Targets' jam-packed 90 minutes. The film was virtually thrown away by its distributor, Paramount Pictures, which was uncertain about packaging a film about a sniper in the wake of the King and Kennedy assassinations. Only when it was reissued to college campuses and film societies did Targets begin building up its much-deserved reputation. Though Targets was not, technically, Boris Karloff's last film, it serves as a worthy valedictory for this cinematic giant. ~ Hal Erickson, All Movie Guide
The script, by Bogdanovich and his then-wife, Polly Platt, was inspired by the 1966 shooting spree of Texas Tower sniper Charles Whitman. Karloff, as Byron Orlock, more or less plays himself: an aging horror star, consigned to low-budget drive-in fare. Unlike the workaholic Karloff, Orlock wants to retire from films, noting that his movies seem inconsequential in light of the real-life horrors occurring every day. As Bogdanovich, playing young-and-hungry director Sammy Michaels, desperately tries to convince Orlock to star in just one more picture, the film's attentions shift to Vietnam veteran Bobby Thompson (Tim O'Kelly). An otherwise amiable, normal-looking lad, Bobby seems to harbor an inordinate fascination with guns, particularly high-powered rifles. One bright and sunny morning, Bobby suddenly and unexpectedly shoots and kills his wife, his mother, and an unlucky delivery boy. He leaves behind a note confessing to these crimes, noting that, while he fully expects to be captured, many more will die before the day is over. From this point onward, the film switches from Bobby's day-long bloodbath (from the vantage point of an oil storage tank, calmly picking off passing freeway motorists) to Orlock's grumbling preparations to make a personal appearance at a local drive-in movie.
Inevitably, Bobby also shows up at the drive-in, hiding himself behind the huge screen and shooting down the patrons as they sit complacently in their cars, watching the latest Byron Orlock film (actually The Terror, in which Karloff also starred). Once the reality of the situation sets in, panic ensues, leading to the ultimate confrontation between the escaping Bobby and the bewildered Orlock. ("Is this what I was afraid of?" Orlock ruefully exclaims as Bobby cowers at his feet.) The tension never lets up throughout Targets' jam-packed 90 minutes. The film was virtually thrown away by its distributor, Paramount Pictures, which was uncertain about packaging a film about a sniper in the wake of the King and Kennedy assassinations. Only when it was reissued to college campuses and film societies did Targets begin building up its much-deserved reputation. Though Targets was not, technically, Boris Karloff's last film, it serves as a worthy valedictory for this cinematic giant. ~ Hal Erickson, All Movie Guide
- Starring:
- Boris Karloff, Tim O'Kelly, (more)
- 1969
Agnes Varda directed this drama which combines formal dramatic structures with the openness of improvisational cinema verite. Independent filmmaker Shirley Clarke plays an avant-garde film director attempting to work with a major studio to finance her next project, in which she hopes to collaborate with James Rado and Jerome Ragni, creators of the musical Hair (who play themselves). She also wants to use Andy Warhol superstar Viva (who also appears as herself) as her leading lady. However, after much give and take between herself and the moneymen, the director learns that the plug has been pulled on her project, pushing her to the brink of suicide. Incorporating newsreel footage and excerpts from the work of poet and playwright Michael McClure into its narrative, Lions Love also features appearances by European screen tough guy Eddie Constantine and noted film writers Carlos Clarens and Peter Bogdanovich, the latter a year after he made his (credited) directorial debut with Targets and two years before his breakthrough with The Last Picture Show. ~ Mark Deming, All Movie Guide
- Starring:
- Viva, Jerome Ragni, (more)
This documentary profiles the great American filmmaker John Ford (1895-1973). Among the films he directed were The Young Lincoln, Stagecoach, The Man Who Shot Liberty Valance, and The Grapes of Wrath. Ford's work was distinguished by its great emotional clarity, which some see as sentimentality, and storytelling which evokes and defines what it is to be American. The film features interviews with Ford and with many of his stars, as well as exemplary clips from his films. Many of Ford's films were westerns, and interviews with him are filmed in Monument Valley, one of his favorite film settings. It is narrated by director Peter Bogdonavich, whose own work shows Ford's influence. Among the actors interviewed are John Wayne, Jimmy Stewart and Henry Fonda. ~ Clarke Fountain, All Movie Guide
Produced by Hollywood iconoclast BBS Productions, film critic-turned-director Peter Bogdanovich's 1971 film pays homage to Hollywood's classical age as it chronicles generational rites of passage in Anarene, a fictional one-horse Texas town. In 1951, high school seniors Sonny (Timothy Bottoms) and Duane (Jeff Bridges) play football, go to the movies at the Royal Theater, hang out at the pool hall owned by local elder statesman Sam the Lion (Ben Johnson), and lust after rich tease Jacy Farrow (Cybill Shepherd in her film debut). As the year passes, Sonny learns about the pitfalls and compromises of adulthood through an affair with his coach's wife Ruth (Cloris Leachman) and a thwarted elopement with Jacy after she dumps Duane. Following two tragic deaths, and with Duane gone to Korea and Jacy packed off to college in Dallas, Sonny is left behind in Anarene, wise enough to absorb the life lessons of Sam the Lion and Jacy's mother Lois (Ellen Burstyn). He is determined to honor Sam's legacy as the town's conscience, despite a telling sign of incipient communal disintegration: the closing of the Royal Theater after a final showing of Howard Hawks's Red River. Paying tribute to classical Hollywood directors like Hawks and John Ford, Bogdanovich used old-time cinematographer Robert Surtees and shot The Last Picture Show in crisp black-and-white, with a restrained style devoid of the kind of "new wave" techniques (jump cuts, zooms, and jittery hand-held camerawork) used by such contemporaries as Arthur Penn, Robert Altman, Mike Nichols, and Martin Scorsese. As in such Ford films as The Grapes of Wrath (1940), Bogdanovich relies on careful visual composition in deep focus to help communicate the regret over the passing of an era. Hailed as one of the best films by a young director since Citizen Kane (1941), The Last Picture Show premiered at the New York Film Festival and went on to become a hit. It was also nominated for eight Oscars, including Best Picture, Best Director and Best Screenplay for Larry McMurtry's and Bogdanovich's adaptation of McMurtry's novel. John Ford stalwart Johnson won Supporting Actor and Leachman won Supporting Actress, beating out their cohorts Bridges and Burstyn. For an audience steeped in movie history and caught up in the chaotic 1971 present, The Last Picture Show presented a nostalgic look backward that was not so much an escape from the present as a coming to terms with what the present had lost. Its 1990 sequel Texasville, in which Bridges and Shepherd played later incarnations of their original characters, was not as successful. ~ Lucia Bozzola, All Movie Guide
- Starring:
- Timothy Bottoms, Jeff Bridges, (more)
With Howard Hawks's Bringing Up Baby (1938) as his blueprint, Peter Bogdanovich resurrected and payed homage to 1930s screwball comedy in What's Up, Doc? (1972). When wacky co-ed Judy Maxwell (Barbra Streisand, in the Katharine Hepburn part) spies nebbishy musicologist Howard Bannister (Ryan O'Neal in bespectacled Cary Grant mode) in a San Francisco hotel lobby, she decides that Howard and his precious igneous rocks are right up her alley. Too bad Howard already has a fiancée, the propriety-fixated Eunice (Madeline Kahn in her film debut). Using all her arcane knowledge from brief stays at numerous colleges, Judy tries to charm her way to a $20,000 grant for Howard, and Howard himself, at a banquet with grantor Frederick Larrabee (Austin Pendleton). Things get even more complicated the next day when Judy's underwear-filled overnight bag gets mixed up with Howard's rock bag, which gets mixed up with Mrs. Van Hoskins' bag of jewels, which gets mixed up with Mr. Smith's bag of top secret government papers. All sides converge at Larrabee's mod townhouse and the chase begins. Retaining Hawks' machine-gun pace (as well as the sly pop culture referentiality of Billy Wilder), Bogdanovich and writers Buck Henry, David Newman, and Robert Benton updated the opposites-attract screwball convention for contemporary times. O'Neal gently parodied not only Grant but also his own Love Story (1970) preppy, while Kahn represents stiff-wigged 1950s manners as opposed to Streisand's long-haired, pants-wearing free spirit. The happy ending, in which Cole Porter-belting youth wins out over old manners, found favor with audiences, as What's Up, Doc? became one of the most popular films of 1972, and the second hit in a row for Bogdanovich after 1971's The Last Picture Show. ~ Lucia Bozzola, All Movie Guide
- Starring:
- Barbra Streisand, Ryan O'Neal, (more)
The year is 1936. Orphaned Addie Loggins (Tatum O'Neal, in her film debut) is left in the care of unethical travelling Bible salesman Moses Pray (Ryan O'Neal, Tatum's dad), who may or may not be her father. En route to Addie's relatives, Moses learns that the 9-year-old is quite a handful: she smokes, cusses, and is almost as devious and manipulative as he is. They join forces as swindlers, working together so well that Addie is averse to breaking up the team -- which is one reason that she sabotages the romance between Moses and good-time gal Trixie Delight (Madeline Kahn). Later, while attempting to square a $200 debt that Addie claims he owes her, Moses runs afoul of of a bootlegger (John Hillerman) and is nearly beaten to death by the criminal's twin-brother sheriff. Painfully pulling himself together, Moses gets Addie to her relatives, whereupon she adamantly refuses to leave his side. Photographed in black-and-white by Laszlo Kovacs, the film was made largely on location in Kansas and Missouri (an experience colorfully recalled by director Peter Bogdanovich in his 1972 book of essays Pieces of Time). 9-year-old Tatum O'Neal won a Best Supporting Actress Oscar, beating out costar Kahn. Paper Moon later became a short-lived TV series, starring Ryan O'Neal lookalike Christopher Connelly and future Oscar winner Jodie Foster. ~ Hal Erickson, All Movie Guide
- Starring:
- Ryan O'Neal, Tatum O'Neal, (more)
- 1973
Hosted by the American Film Institute, this video is a tribute to career of John Ford. Included are excerpts from: Stagecoach, Fort Apache and The Grapes of Wrath. ~ Tana Hobart, All Movie Guide
The final directorial project the legendary Orson Welles completed during his lifetime, F for Fake is less a documentary than an example of cinematic free association on the topic of trickery. Much of the film is in fact drawn from other sources, most notably an unfinished documentary by Francois Reichenbach on the notorious Elmyr de Hory, whose extremely skillful forgeries of famous paintings caused scandals amongst art collectors and experts. In an additional bit of irony, de Hory's interviewer is author Clifford Irving, who became infamous due to a forgery of his own: a falsified autobiography of Howard Hughes. Welles openly re-edits and manipulates this footage, using it as a spine for his own commentary, arguing that there is an extremely close relationship between art and lying, and citing instances from his own career to prove the point. Through a combination of documentary and staged footage, Welles attempts to illustrate the artifice behind all filmmaking, even that of a supposedly non-fiction variety. ~ Judd Blaise, All Movie Guide
- Starring:
- Orson Welles, Oja Kodar, (more)
Continuing his 1970s recreations of classical Hollywood genres and styles, Peter Bogdanovich turned to the literary costume drama with an adaptation of the Henry James novella Daisy Miller. At a Swiss spa, upper-class expatriate American Frederick Winterbourne (Barry Brown) meets pretty, nouveau riche flirt Daisy Miller (Cybill Shepherd); her bratty, xenophobic little brother Randolph (James McMurtry); and her tremulous, nattering mother (Cloris Leachman). Despite warnings from his dowager aunt (Mildred Natwick) about Daisy's recklessness with men, Winterbourne finds himself drawn to her. When he encounters her again in Rome, he tries to convince her that her liberated behavior with an Italian admirer (Duilio Del Prete) may sully her reputation in aristocratic circles. But Winterbourne cannot reconcile his own feelings for Daisy with the manners that he is used to following, nor can he fathom how she may feel about him beneath her veneer of willful coquetry. After society matron Mrs. Walker (Eileen Brennan) ostracizes her, Daisy's final rash action reveals to Winterbourne how his old-fashioned mores may have sealed her fate. With a screenplay by Frederic Raphael and location shooting in Rome and Switzerland, Bogdanovich carefully recreated the rich surroundings and stultifying social strictures of James' story. Despite this well-executed atmosphere, Daisy Miller suffered critically, as Bogdanovich was especially taken to task for casting the amateurish Shepherd in the complex and pivotal role of Daisy. After three consecutive hits with The Last Picture Show (1971), What's Up, Doc? (1972), and Paper Moon (1973), Daisy Miller flopped, beginning Bogdanovich's mid-'70s slide into box-office and critical ignominy. ~ Lucia Bozzola, All Movie Guide
- Starring:
- Cybill Shepherd, Barry Brown, (more)
- 1975
- G
Peter Bogdanovich's attempt to direct a homage to the great musicals of the 1930s is now remembered as one of the embarrassments of the 1970s. The film's thin plot, standard for the genre, centers on the romantic entanglements and misunderstandings among six stock characters: the bored playboy (Burt Reynolds), his never-ruffled valet (John Hillerman), the debutante (Cybill Shepherd), the Broadway diva (Madeline Kahn), her gambler boyfriend (Duilio Del Prete), and her maid (Eileen Brennan). All six are likely to burst into song and dance at any time, and they often do (the performances were recorded live on the set, not pre-recorded), but sixteen Cole Porter tunes, lavish sets and costumes, and an expensive production cannot hide the fact that Reynolds and Shepherd, the two leads, are way out of their depth. A notorious failure, At Long Last Love left a permanent stain on Bogdanovich's career. ~ Don Kaye, All Movie Guide
- Starring:
- Burt Reynolds, Cybill Shepherd, (more)
- 1976
- PG
Peter Bogdanovich's early career as a film writer stood him in good stead for this comedy drama about the early days of the motion-picture industry, based in part on his interviews with pioneering directors Raoul Walsh and Allan Dwan. Leo Harrigan (Ryan O'Neal) is a lawyer and Buck Greenway (Burt Reynolds) is a cowboy and gunman. Both are sent to California to shut down a renegade group of silent-movie makers -- financed by blustery H.H. Cobb (Brian Keith) -- who are in violation of the Motion Picture Patents Co. Trust. Harrigan and Greenway somehow find themselves working with the movie crew instead of shutting them down; they join forces with cameraman Franklin Frank (John Ritter), leading lady Kathleen Cooke (Jane Hitchcock), and precocious prop girl Alice Forsyte (Tatum O'Neal). Greenway becomes a star and Harrigan a respected director, but both battle over the affections of Cooke. Incidentally, Cobb's big speech near the end is taken almost verbatim from a quote given to Bogdanovich in an interview with actor James Stewart. ~ Mark Deming, All Movie Guide
- Starring:
- Ryan O'Neal, Burt Reynolds, (more)
- 1977
John Cassavetes' Opening Night stars Gena Rowlands (Mrs. Cassavetes) as end-of-tether Broadway actress Myrtle Gordon. She is about to open in a play written by her old friend Sarah Goode (Joan Blondell), but a series of pre-show setbacks and disasters threaten to destroy not only the production but Myrtle's sanity. The actress is especially rattled when one of her staunchest fans dies in an accident. In the face of bleak reality, just how important is the old "show must go on" ethic? Supporting Gena Rowlands are such veterans of the New York-Hollywood shuttle as Ben Gazzara, Zohra Lampert, Paul Stewart, James Karen, and several friends and relatives of the principals. ~ Hal Erickson, All Movie Guide
- Starring:
- Gena Rowlands, Ben Gazzara, (more)
After a couple of major studio flops, Peter Bogdanovich returned to his 1960s filmmaking roots with this Roger Corman-produced low budget film. Easygoing expatriate Jack Flowers (Ben Gazzara) makes his living in early-1970s Singapore legally and illegally looking after the needs of American and British businessmen, such as the mild-mannered William Leigh (Denholm Elliott). With his gift for putting clients and girls at ease, Jack opens a successful brothel, but pressure from local mobsters soon puts him out of business. Ever the survivor, he starts working for the shady, Cuban-cigar-smoking Eddie Schuman (Bogdanovich) as a pimp for GIs on breaks from Vietnam. But Jack's conscience starts to dog him when Schuman hires him to take compromising pictures of a visiting Senator (George Lazenby). Adapted by Bogdanovich, Howard O. Sackler, and Paul Theroux from Theroux's novel, Saint Jack offers a pimp with a heart of gold, who is less an ugly colonial American abroad than an outsider trying to make the best of a bad situation. Shooting on location in Singapore, cinematographer Robby Müller lends an appropriately gritty look to the matter-of-fact narrative. With restrained and forceful performances by Gazzara and Elliott, Saint Jack was something of a succès d'estime for the embattled Bogdanovich, winning the Italian Journalist Award for Best Film at the 1979 Venice Film Festival. While not a box-office success, it remains an affecting and unsung character study of a man's desire to forge a reasonably honorable life in a dishonorable profession. ~ Lucia Bozzola, All Movie Guide
- Starring:
- Ben Gazzara, Denholm Elliott, (more)
Peter Bogdanovich wrote and directed this quirky romantic comedy that was shelved by Twentieth Century-Fox for a year, until Bogdanovich purchased the film from Fox and tried to distribute it himself, with limited success. Suave John Russo (Ben Gazzara), inept Charles Rutledge (John Ritter), and hip Arthur Brodsky (Blaine Novak) all work for a detective agency, where they are assigned to follow a trio of beautiful women -- Angela Niotes (Audrey Hepburn), Deborah Wilson (Patti Hansen) and Dolores Martin (Dorothy Stratten) -- whom their husbands think are cheating on them. Soon the three detectives all become romantically involved with the women they are trailing. In a real life scenario that overshadowed the film itself, Bogdanovich was having an affair with Dorothy Stratten during the production and they were being followed by a detective hired by her husband Paul Snider, who as a result ended up murdering his wife and himself. ~ Paul Brenner, All Movie Guide
- Starring:
- Audrey Hepburn, Ben Gazzara, (more)
- 1982
The genuine love felt by the people of France for American comedian Jerry Lewis has become something of a topic for incredulous humor in the United States over the years, but if there was any doubt as to whether the many jokes overstated the case, this exhaustive six-hour hagiography from director Robert Benayoun quickly erases it. Nothing less than an adoring outpouring of idolatry, Bonjour Monsieur Lewis is simultaneously affectionate and reverential toward its subject, presenting hundreds of rare clips, outtakes, interviews, and tributes from Lewis' estimated six million feet of tape and film housed in his obsessively complete basement library, a collection of nearly everything he has ever done. In between highlights of his film career, there are talks with Martin Scorsese (who directed Lewis in 1982's The King of Comedy), Steven Spielberg, John Landis, Mel Brooks, and Louis Malle, among others. There are also a number of rare films of Lewis on-stage at French venues, singing "Sonny Boy" with his own father and son, reuniting with Dean Martin at a Muscular Dystrophy telethon, and engaging in some raunchy ad libs cut from his early films. The film clips are varied and fairly thorough, even excerpting Lewis' rare TV version of The Jazz Singer, but, alas, virtually ignoring the Holy Grail among Lewis completists, his aborted concentration-camp project The Day the Clown Cried. Other segments deal with his highly praised charitable efforts and relationship with children. More of a tribute than a real documentary, the film is nevertheless a treasure trove for anyone remotely interested in this talented and enigmatic comedy legend. ~ Robert Firsching, All Movie Guide
- Starring:
- Jerry Lewis, Dean Martin, (more)
- 1984
In this contemporary comedy/drama, Anne (Laura Harrington) is a struggling photographer who decides to break up with her boyfriend Joey (Joe Mastroianni) to pursue other romantic opportunities. However, Anne's new-found freedom doesn't work out very well for her, and a new photographic project turns sour when a pimp she was secretly photographing discovers what she's doing and retaliates by trashing her apartment. The City Girl marked the feature debut of director Martha Coolidge, though the film was not released until after her second feature, Valley Girl, became a surprise hit. ~ Mark Deming, All Movie Guide
- Starring:
- Laura Harrington, Joe Mastroianni, (more)
This is the true story of Rocky Dennis (Eric Stoltz), a personable young man suffering from "lionitis," a fatal disease which causes hideous facial disfigurement. The son of freewheeling biker Rusty Dennis (Cher), Rocky is accepted without question by his mom's boyfriends and cycle buddies, but treated with pity, condescension, and disgust by much of the outside world. The local high school principal tries to get Rocky classified as brain-damaged so he won't have to enroll the boy in his school, but Rusty fights for her son's rights with the ferocity of a mother lioness. Rocky makes friends easily both at school and at summer camp. He also falls in love with Diana (Laura Dern), a blind girl who cannot see his deformed countenance and is entranced by the boy's kindness and compassion. Now that he's got his own life in order, Rocky sets about to wean his chronically depressed mother from her drug habit. Mask is the sort of story that might have ending up wallowing in its own pathos had the acting, direction and scriptwriting (by Anna Hamilton Phelan) been anything less than very good. The film proved a much-needed financial success for director Peter Bogdanovich, though unfortunately it didn't come soon enough to stave off his declaring personal bankruptcy. ~ Hal Erickson, All Movie Guide
- Starring:
- Cher, Sam Elliott, (more)
- 1987
Rather than ignore the negative press surrounding the discord and ego clashes on the set of Moonlighting, the series' writers fashioned an entire episode around the brouhaha. Gossip columnist Rona Barrett shows up to investigate rumors that the stars of the series, Bruce Willis and Cybill Shepherd--or rather, their screen characters, David Addison and Maddie Hayes--are not exactly bosom buddies. We then segue into a crazy quilt of highlights from earlier episodes, plus hitherto unshown bloopers and deleted scenes. Guest stars include Pierce Brosnan in his familiar "Remington Steele" characterization, and film director Peter Bogdanovich, who discusses his romance with a certain "model from Memphis"--not to mention his brief fling with detective Maddie Hayes, who bears a remarkable resemblance to that selfsame model! ~ Hal Erickson, All Movie Guide
Rob Lowe stars in this screwball comedy as Richard Dice, the college dropout who comes back home to St. Augustine, Florida to get his act together. He is selected for jury duty and falls for the defendant Molly Gilbert (Colleen Camp), a young woman he later recognizes as his grade-school sweetheart. Richard tries to gather the evidence that will lead to her acquittal. He is not alone in his pursuit of an elusive audiotape that recorded the murder for which Molly is on trial. Jessica James plays Richard's mother, who is courted by Freddie Boneflecker (Rick Jason). Johnny Cash sings some tunes co-written with director Peter Bogdanovich. ~ Dan Pavlides, All Movie Guide
- Starring:
- Rob Lowe, Colleen Camp, (more)
- 1990
This documentary respectfully interviews a number of important American directors who have in one way or another "bucked the system." It also explores the life and work of earlier American mavericks through the tributes, reflections, and recollections of the first group. Prominent among the living directors interviewed are Martin Scorsese, Peter Bogdanovich, Francis Ford Coppola, Paul Schrader, and David Lynch. Among the directors who are discussed are Orson Welles, D.W. Griffith and Samuel Fuller. Clips from the films of these men, and interviews with important actors who have worked with them (e.g. Robert DeNiro) are another feature of this documentary, commissioned by Japanese public television corporation NHK. ~ Clarke Fountain, All Movie Guide
- Starring:
- Martin Scorsese, Paul Schrader, (more)
Texasville is Peter Bogdanovich's much-delayed sequel to The Last Picture Show. Adapted from Larry McMurtry's novel and told as a series of episodes, Texasville follows the characters from The Last Picture Show as they reunite in a small Texas town nearly 30 years after the end of the last movie, and face a number of adult problems, as well as confronting lingering emotions and memories from adolescence. ~ Stephen Thomas Erlewine, All Movie Guide
- Starring:
- Jeff Bridges, Cybill Shepherd, (more)
Michael Frayn's frantic West End and Broadway farce makes a literal transformation to the screen in Peter Bogdanoch's faithful adaptation, which is transplanted from the London suburbs to Des Moines, Iowa to accommodate the (mostly) American cast. Michael Caine stars as director Lloyd Fellowes, assigned to bring the successful British sex farce "Nothing On" to the boards in America. In an intricate technical rehearsal, Lloyd puts his cast through their paces -- Garry Lejuene (John Ritter), an obliging feature actor; Dotty Otley (Carol Burnett), a fading theatrical star; Frederick Dallas (Christopher Reeve), a handsome leading man who demands to know the motivation behind every scene; Brooke Ashton (Nicollette Sheridan), the sexy leading lady; Belinda Blair (Marilu Henner), the seen-it-all second female lead; and Seldson Mawbray (Denholm Elliot), the inebriated character actor. The technical rehearsal goes off without a hitch, but as the play travels the country in pre-Broadway performances, the eccentricities of the cast come to the fore and the performances in Des Moines and Cleveland are complete disasters. ~ Paul Brenner, All Movie Guide
- Starring:
- Carol Burnett, Michael Caine, (more)
- 1993
Filmmaker Jean Renoir (1894-1979) had an extremely long career writing, directing, producing and acting in films, beginning in the silent era, right up until the time of his death, when most of his productions were influenced by the medium of television. He was one of the sons of the famous Impressionist painter August Renoir. This two part documentary was filmed to be released on British television in conjunction with the 100th anniversary of his birth. His influence on French filmmaking in particular was so great that he was sometimes referred to as le patron (which, among other things, means "the boss"), and no further identification was needed. The majority of his more noteworthy films were produced in the 1930s, and the film most people consider to have been his masterpiece, La Règle du Jeu or The Rules of the Game was so scathing in its criticism of 1939 French society that it provoked an outcry and he withdrew it from circulation, only releasing it again after his return to France some years after the Second World War. The documentary makers have coaxed Renoir's son to be interviewed, along with as many surviving contemporaries as could be found. In addition to numerous film clips, the documentary is fleshed out with interviews with more contemporary figures who discuss his importance in the history of cinema. ~ Clarke Fountain, All Movie Guide
- Starring:
- Bernardo Bertolucci
