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
- 2005
In the 1950s and '60s, Jackie Paris was one of the most celebrated jazz vocalists of his generation; he collaborated with such giants as Charlie Parker, Charles Mingus, and Dizzy Gillespie, he was a favorite of leading music critics, and recorded for such top jazz labels as Impulse and East-West. But ten years on, Paris had fallen so far off the radar that a major jazz reference work reported that Paris had died in 1977, even though he was still around and occasionally performing at the time. In the 1990s, filmmaker Raymond De Felitta heard some of Paris' recordings and became an instant fan, and was deeply curious about Paris' life and career, and how an artist with such gifts had become little more than a footnote in music history. De Felitta's search eventually led him to Paris himself, and a fascinating story of bad luck, a wildly dysfunctional family, dangerous pride, a hair-trigger temper, and a remarkable voice that somehow survived it all, even if his career did not. 'Tis Autumn: The Search for Jackie Paris is a documentary which chronicles De Felitta's search for the elusive singer; the film includes interviews with Paris' family, friends, and fans, including Dr. Billy Taylor, Billy Vera, Joe Franklin, Ira Gitler, Harlan Ellison, and James Moody. Frank Whaley, Nick Tosches, and Peter Bogdanovich contribute dramatic readings of reviews of Paris' work from his heyday. ~ Mark Deming, All Movie Guide
- Starring:
- Jackie Paris, Jeanie Paris, (more)
Mark Christopher wrote and directed this look back at the Disco Era when the popular Studio 54 was at its apogee in the late '70s. With obvious comparisons to Paul Thomas Anderson's Boogie Nights (1997) and Whit Stillman's The Last Days of Disco (1998), the story introduces working-class 19-year-old Irish-American Shane O'Shea (Ryan Phillippe), who has lived with his father and siblings since the death of his mother when he was 12. Shane quickly rises from busboy to bartender at Studio 54, co-owned and managed in a paternal manner by entrepreneur Steve Rubell (Mike Myers). Busboy Greg Randazzo (Breckin Meyer) and Greg's wife, Anita (Salma Hayek), the club's coat check girl, become Shane's new friends, and he encounters the possibility of romance with soap star Julie Black (Neve Campbell). The story spans the summer of 1979 until the decline of Studio 54 a year later with IRS investigations, followed by the arrest and jailing of Rubell. Costumes by Ellen Lutter capture the glitter and glam-glitz of the period. ~ Bhob Stewart, All Movie Guide
- Starring:
- Ryan Phillippe, Salma Hayek, (more)
In the late '60s, American culture experienced a period of change as the youth movement challenged conventional attitudes about politics, sex, drugs, and gender issues, while the advancement of the Vietnam War found many citizens questioning the actions and wisdom of their government for the first time. As American attitudes continued to evolve, so did the American film industry; as costly big-budget blockbusters nearly brought the major studios to the brink of collapse, smaller and more personal films such as Bonnie and Clyde, Easy Rider, and Five Easy Pieces demonstrated there was a ready audience for bold and challenging entertainment. As the '60s faded into the 1970s, American cinema moved into an exciting period of creativity and stylistic innovation, which led to such landmark films as The Godfather, MASH, The Last Picture Show, Shampoo, One Flew Over the Cuckoo's Nest, Chinatown, and Taxi Driver, and new freedom for directors and screenwriters. Ironically, however, it was another pair of big-budget blockbusters directed by students of the new wave of filmmaking -- Jaws and Star Wars -- which brought the studios back to power and put an end to Hollywood's flirtation with offbeat creativity. A Decade Under the Influence is a documentary which explores the rise and fall of new American filmmaking in the 1970s, and features interviews with many of the key directors, screenwriters, and actors whose work typified the movement, including Francis Ford Coppola, Robert Altman, Martin Scorsese, Paul Schrader, Roger Corman, Dennis Hopper, Jon Voight, and Julie Christie. A Decade Under the Influence received its world premier at the 2003 Sundance Film Festival, and an expanded version of the film was later shown on the premium cable outlet The Independent Film Channel; the documentary was the final work of co-director Ted Demme, who died shortly before the film was completed. ~ Mark Deming, All Movie Guide
- Starring:
- Martin Scorsese, Francis Ford Coppola, (more)
A Saintly Switch is a fantasy comedy about a football player switching bodies with his pregnant wife as a result of a magic trick gone bad. ~ All Movie Guide
- 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
- 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)
- 1997
Lynda La Plante (Prime Suspect) scripted this TV miniseries about the family life surrounding a Mafia don. Sicilian magnate Don Luciano (Dennis Farina) and his wife Graziella (Vanessa Redgrave) live comfortably at Villa Rosa in Palermo, Italy. Their son Michael (Michael Hayden) has an affair with Sophia (Nastassja Kinski), leaving her pregnant but unmarried. After Luciano refuses to traffic drugs, angry U.S. mob boss Carolla (Tony Lo Bianco) retaliates by having Michael killed. When Sophia secretly gives birth to Luka, her child by Michael, she then marries another Luciano brother and bears twins. Later, Carolla unwittingly adopts the teenage Luka (James Marsden), who is unaware of his own past. Carolla's vengeance continues through the years, and he passes the hatred on to Luka -- who sees that all males in the Luciano family are eliminated. Despite the slaughter, Luca charms the unsuspecting Luciano widows when he arrives at Villa Rosa, claiming to be the son of a wealthy, concerned American. How long before they learn the truth? Film director Peter Bogdanovich is seen in the role of Luciano's American contact, Giancamo. Bella Mafia first aired 11/16/97 and 11/18/97 on CBS. The feature-length video version was edited down to 117 min. ~ Bhob Stewart, All Movie Guide
- Starring:
- Vanessa Redgrave, Dennis Farina, (more)
- 1996
Oscar-winning character actor Ben Johnson was never as well known as other stars, and yet for many industry insiders, he was the epitome of cowboy actors. Of Cherokee and Irish heritage, Johnson was born in Oklahoma and became a cowboy at age eleven. He grew up to become the only movie cowboy to win both an Oscar and a rodeo championship. This documentary tells the fascinating, colorful story of his life. ~ Sandra Brennan, All Movie Guide
- 2005
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Take a walk on the fine line between box-office blockbusters and instantly forgettable bombs as Oscar and Emmy-winning producer/director Bill Couturie sets out to explore just what separates such high-profile hits as Jaws from such room-clearing disasters as Howard the Duck. Executive produced by Variety editor Peter Bart, this documentary includes interviews with such movie industry heavies as Steven Spielberg, Danny DeVito, Peter Bogdanovich, Robert Evans, Pierce Brosnan, and Sydney Pollack, exploring precisely how the road to the Razzies is paved with good intentions. ~ Jason Buchanan, All Movie Guide
- 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)
A single thirtysomething whose friends all seem to be romantically involved, happily married, or with child meets an eccentric Frenchman who shows her just what an amazing place the world can truly be in director Zoe Cassavetes' entry into the 2007 Sundance Film Festival. As if it wasn't depressing enough to be 35 and still single, Nora (Parker Posey) is constantly reminded by her loving but tactless mother (Gena Rowlands) just how unlucky she has been in love. Though Nora longs to enter into a blissful union like the one of her best friend, Audrey (Drea de Matteo), she finds that the dating pool just isn't what it used to be. Things soon begin to look up, however, when Nora makes the acquaintance of handsome Frenchman Julian (Melvil Poupaud). While the two share an instant chemistry that is undeniable, Nora is saddened to learn that Julian will soon be departing for his native soil. When Julian does depart, Nora laments the fact that she wasn't able to express her feelings more effectively. If only Nora could organize her scattered thoughts long enough to remember her love object's last name, she might not have to go searching out every "Julian" in Paris to locate the man of her dreams. ~ Jason Buchanan, All Movie Guide
- Starring:
- Parker Posey, Melvil Poupaud, (more)
Coming Soon is yet another youth comedy about the sexual misadventures of a group of high school students, but with a difference -- this time, it follows three teenage girls who are in search of sexual and romantic fulfillment. Nell (Tricia Vessey), Jenny (Gaby Hoffmann), and Stream (Bonnie Root) are three friends enrolled at a respected private school, busy finishing up their senior year and trying to get into good colleges. But academia is not the only thing occupying their minds, especially when Stream admits to her friends that she's never had an orgasm. Jenny and Nell quickly decide they must find Stream a boyfriend who can solve this problem once and for all. But neither of them has been doing much better; while both have had their share of significant others, none has been especially concerned their pleasure, leaving both young women unsatisfied. Stream's fling with big man on campus Chad (James Roday) deprives her of her virginity but leaves her no closer to her stated goal; however, she meets Henry (Ryan Reynolds), a guy who is too much the individual to fit in at school but seems interested in her; he is also, for a change, not obsessed with himself. The supporting cast includes Spalding Gray as a guidance counselor and Ryan O'Neal and Mia Farrow (reunited nearly 35 years after appearing together on TV's Peyton Place) as Stream's parents. ~ Mark Deming, All Movie Guide
- Starring:
- Tricia Vessey, Gaby Hoffmann, (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)
Actor Justin Theroux (Charlie's Angels: Full Throttle, Mulholland Dr.) steps behind the camera for his directorial debut with this irreverent romantic comedy. Billy Crudup is Henry, a cynical children's book writer who holds little more than disdain for his pint-sized target audience. Artist Rudy (Tom Wilkinson) is both Henry's illustrator and the only friend in his miserable life. But when Rudy's health fails, Henry unwittingly finds himself paired with a new illustrator, played by Mandy Moore, who proves to be the oil to his water. Dedication also stars Mia Farrow and Bob Balaban. ~ Matthew Tobey, All Movie Guide
- Starring:
- Billy Crudup, Mandy Moore, (more)
- 1999
This documentary is a loving look at the cinematic genius of Alfred Hitchcock. Speeding through much of his early British works, the film focuses on his American classics, such as Marnie, Vertigo, and particularly Psycho. The movie also neatly examines Hitchcock's signature touches, from his inevitable brief cameo to his famous MacGuffin. Kevin Spacey narrates, and there are interviews with such film figures as Jonathan Demme, Peter Bogdanovich, and Janet Leigh. Dial H for Hitchcock was screened at the 1999 Denver Film Festival. ~ Jonathan Crow, All Movie Guide
- Starring:
- Kevin Spacey, Jonathan Demme, (more)
- 2006
Acclaimed director Peter Bogdanovich updates his 1971 documentary Directed by John Ford for this film of the same name, produced for the Turner Classic Movies cable network. Using old interviews with the likes of John Wayne and Henry Fonda along with new ones with modern film giants like Steven Spielberg and Clint Eastwood, Bogdanovich crafts an informative tribute to one of Hollywood's most beloved and influential directors. ~ Matthew Tobey, All Movie Guide
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
Based upon Peter Biskind's book of the same name, this BBC-produced documentary traces the rise of a generation of Hollywood filmmakers who briefly changed the face of movies with a more personal approach that pushed the boundaries of what was acceptable onscreen. Influenced by such European directors as Jean-Luc Godard, François Truffaut, and Federico Fellini, the movement kicked off in the mid-'60s with two films directed by Arthur Penn: Mickey One and Bonnie and Clyde. (The latter had been offered to both Godard and Truffaut before it wound up with producer/star Warren Beatty and Penn.) What really kicked it into gear was the unexpected success of Easy Rider, a biker-road movie that became that rare film phenomenon: acclaimed at the Cannes Film Festival and a huge commercial success. Film school graduates, the first generation brought up with movies as their main cultural reference, flooded the studios (whose own regimes were changing) with production chieftains such as Robert Evans of Paramount and David Picker at United Artists; they approved risky-looking projects and allowed relatively untested filmmakers like Francis Ford Coppola to take on heavyweight movies such as The Godfather or Hollywood newcomers like Britain's John Schlesinger to make quirky stories like Midnight Cowboy. Enriched by success with their TV show The Monkees, producer Bert Schneider and director Bob Rafelson formed a company that produced not only Easy Rider but seminal '70s films such as Five Easy Pieces and the Oscar-winning Vietnam War documentary Hearts and Minds. Another godfather to the new movement was producer Roger Corman, who gave early career opportunities to Coppola, Martin Scorsese, Peter Bogdanovich, and Jonathan Demme on low-budget projects that allowed them to learn their craft.
Two things brought this movement to an end: Some individual filmmakers' personal excesses (such disastrous flops as Dennis Hopper's follow-up to Easy Rider, appropriately titled The Last Movie, and Scorsese's New York, New York), and the studios growing fascination with special effects-driven B-movies. An outgrowth of two box-office and marketing juggernauts -- Jaws and Star Wars -- the resulting films became entertainments rather than personal statements of the directors. Narrated by William H. Macy, Easy Riders, Raging Bulls features vintage clips of Coppola, Scorsese, Beatty, George Lucas, Sam Peckinpah, Roman Polanski, Robert Altman, and Pauline Kael. It also includes original interview material with Penn; Corman; Bogdanovich; Hopper; Picker; writer/directors John Milius and Paul Schrader; actresses Karen Black, Cybill Shepherd, Margot Kidder, and Jennifer Salt (the latter two shared a house in Malibu, a social center for young filmmakers); actors Peter Fonda, Kris Kristofferson, and Richard Dreyfuss; producers Jerome Hellman, Michael Phillips, and Jonathan Taplin; editor Dede Allen; production designer Polly Platt; writers David Newman, Joan Tewksbury, Gloria Katz, and Willard Huyck; cinematographers Laszlo Kovacs and Vilmos Zsigmond; agent Mike Medavoy; and former production executive Peter Bart. Among the films discussed are Rosemary's Baby, The Wild Bunch, Mean Streets, American Graffiti, The Rain People, Midnight Cowboy, M*A*S*H, McCabe and Mrs. Miller, The Last Picture Show, Shampoo, Taxi Driver, and Raging Bull. (Three interviewees -- cinematographer Gordon Willis, critic Andrew Sarris, and writer-director Monte Hellman -- listed in the Variety review of this film, were not included in this version from a screening on Bravo.) ~ Tom Wiener, All Movie Guide
Two things brought this movement to an end: Some individual filmmakers' personal excesses (such disastrous flops as Dennis Hopper's follow-up to Easy Rider, appropriately titled The Last Movie, and Scorsese's New York, New York), and the studios growing fascination with special effects-driven B-movies. An outgrowth of two box-office and marketing juggernauts -- Jaws and Star Wars -- the resulting films became entertainments rather than personal statements of the directors. Narrated by William H. Macy, Easy Riders, Raging Bulls features vintage clips of Coppola, Scorsese, Beatty, George Lucas, Sam Peckinpah, Roman Polanski, Robert Altman, and Pauline Kael. It also includes original interview material with Penn; Corman; Bogdanovich; Hopper; Picker; writer/directors John Milius and Paul Schrader; actresses Karen Black, Cybill Shepherd, Margot Kidder, and Jennifer Salt (the latter two shared a house in Malibu, a social center for young filmmakers); actors Peter Fonda, Kris Kristofferson, and Richard Dreyfuss; producers Jerome Hellman, Michael Phillips, and Jonathan Taplin; editor Dede Allen; production designer Polly Platt; writers David Newman, Joan Tewksbury, Gloria Katz, and Willard Huyck; cinematographers Laszlo Kovacs and Vilmos Zsigmond; agent Mike Medavoy; and former production executive Peter Bart. Among the films discussed are Rosemary's Baby, The Wild Bunch, Mean Streets, American Graffiti, The Rain People, Midnight Cowboy, M*A*S*H, McCabe and Mrs. Miller, The Last Picture Show, Shampoo, Taxi Driver, and Raging Bull. (Three interviewees -- cinematographer Gordon Willis, critic Andrew Sarris, and writer-director Monte Hellman -- listed in the Variety review of this film, were not included in this version from a screening on Bravo.) ~ Tom Wiener, All Movie Guide
- Starring:
- Dede Allen, Peter Bart, (more)
- 2004
Edgar G. Ulmer was one of the most fascinating figures of Hollywood's Golden Age. While Ulmer directed the occasional big-budget major studio film (most notably The Black Cat starring Boris Karloff and Bela Lugosi and The Strange Woman with Hedy Lamarr), Ulmer was a maverick who valued his creative freedom and he most often worked for"Poverty Row studios, most notably PRC, where he was allowed to make films as he pleased as long as they were done fast and cheap. Ulmer made a handful of small masterpieces for the minor league studios, most notably Detour, The Naked Dawn, Bluebeard, and Ruthless, and he also directed several important Yiddish-language films as well as an early all African-American cast musical. However, Ulmer's own version of his life was often dotted with creative embellishment and stories that no one could verify (particularly pertaining to his early career in Germany), and despite his very real degree of ability and influence, much of Ulmer's story remains shrouded in uncertainty. Documentary filmmaker Michael Palm explores both the art and the illusion of this singular artist in Edgar G. Ulmer: The Man Off-Screen, which features interviews with some of Ulmer's more noted admirers (Peter Bogdanovich, Wim Wenders, Joe Dante), actors who worked with him (John Saxon, Ann Savage), and members of his family (Arianné Ulmer Cipes). ~ Mark Deming, 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)
The romance, intrigue, and industry politics of the world's biggest film festival -- which is also the world's biggest film marketplace -- provides the backdrop for this typically understated comedy-drama from director Henry Jaglom. Alice Palmer (Greta Scacchi) is a well-known American actress who has written a screenplay that she'd like to direct, and she arrives a the Cannes Film Festival to look for investors. Alice has her eyes on veteran star Millie Marquand (Anouk Aimee) to play the lead, but while Millie loves the script, she's been offered a better-paying supporting role in an upcoming Tom Hanks project. Meanwhile, Millie's former husband Viktor Kovner (Maximilian Schell) is a director fallen on hard times who is trying to scare up financing for his own film. Producer Rick Yorkin (Ron Silver) wouldn't mind leaving Millie in the lurch if it meant landing Alice for his next project. Kaz (Zack Norman) is a less-than-scrupulous producer hoping to put some sort of package deal together. And Blue (Jenny Gabrielle) is a young woman whose shoestring budget independent film has become an unexpected smash hit. Shot in the midst of the 1999 Cannes Film Festival, Festival In Cannes features cameos from such stars as Jeff Goldblum, Holly Hunter, Faye Dunnaway, and William Shatner. ~ Mark Deming, All Movie Guide
- Starring:
- Jenny Gabrielle, Greta Scacchi, (more)
- 2000
Over the course of one year, a group of friends gathers for three parties (a birthday dinner party, a Halloween costume party, and a New Year's celebration) at the Brooklyn apartment of a young married couple (Chris Reed, Lauren Katz). Friendships and relationships are formed, dissolved, and re-formed amidst witty banter.
~ Keith Phipps, All Movie Guide
~ Keith Phipps, All Movie Guide
- 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)
- 1997
This British-produced documentary offers an insightful portrait of American filmmaker Howard Hawks, whose remarkable five decade long career encompassed some of Hollywood's best loved movies. Hawks' personal and professional life is recalled by such friends and co-workers as Todd McCarthy (the noted Variety film critic who penned the director's biography), Lauren Bacall, Peter Bogdanovich, Angie Dickinson, William Friedkin and Walter Hill. It is also chronicled via archival interviews and clips from his best known films. ~ Sandra Brennan, All Movie Guide
