DOCSLIB.ORG

Peter Bogdanovich Maurice Elia

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Peter Bogdanovich Maurice Elia Document généré le 24 sept. 2021 10:12 Séquences La revue de cinéma Une nouvelle vague américaine — 2 — Peter Bogdanovich Maurice Elia Numéro 89, juillet 1977 URI : https://id.erudit.org/iderudit/51218ac Aller au sommaire du numéro Éditeur(s) La revue Séquences Inc. ISSN 0037-2412 (imprimé) 1923-5100 (numérique) Découvrir la revue Citer cet article Elia, M. (1977). Une nouvelle vague américaine — 2 — Peter Bogdanovich. Séquences, (89), 20–24. Tous droits réservés © La revue Séquences Inc., 1977 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ une nouvelle vogue américaine m* £ m» OSeaqanûîHcn Maurice Élia "Bon. Maintenant, qu'est-ce qu'on fait ?" Bogdanovich pourrait être ce jeune per­ Peter Bogdanovich, finalement satisfait sonnage autobiographique de La Nuit amé­ d'une prise, sourit candidement. C'est un ricaine créé par François Truffaut d'après ses sourire caractéristique qui, associé à cette propres souvenirs, qui, dans une séquence de simple phrase lancée à son équipe (autant rêve obsédante, subtilise, derrière les grilles qu'à lui-même) révèle sa personnalité de d'un cinéma fermé pour la nuit, des photos jeune homme aux idées de garçonnet. C'est de Citizen Kane. un enfant qui parle, un enfant aux allures d'adulte peut-être, qui ne vit que par et pour le cinéma, depuis les jours glorieux où il écri­ Il semble d'ailleurs qu'une communauté vait ses propres émissions de radio pour les d'esprit lie Bogdanovich à Truffaut. Une ma­ faire écouter aux petits amis du voisinage, nière nouvelle d'analyser, de montrer, de jusqu'au jour où il réussit à voir briller, sur provoquer les sentiments, une vision souvent les affiches et sur les écrans, son nom — romantique, nostalgique et attendrissante de épelé correctement. certains moments choisis du passé, une façon 20 SÉQUENCES 89 très personnelle d'examiner l'amour, la tris­ qu'il préférait filmer des histoires de son cru- tesse, les passions — autant de qualités in­ ou d'après des oeuvres qu'il aime. trinsèques qui font que le spectateur, plus On l'a d'ailleurs accusé, à ce sujet, de qu'intéressé, est touché très profondément se prendre un peu trop au sérieux. Le criti­ par la grâce d'un instant privilégié, une que Rex Reed, qui n'a jamais eu Bogdano- image plus sentie que montrée, un échange vitch dans son coeur, a écrit que le succès de propos, une touche d'un réalisme telle­ lui est monté à la tête et qu'il est devenu, ment pur qu'il ressemble à de l'idéalisme. depuis Daisy Miller, nerveux, égoïste, vani­ On a souvent dit, par exemple, que seul teux et trop sûr de lui. Il ne nous appartient Truffaut pouvait réussir L'Argent de poche, pas de juger s'il s'agit là de jalousie ou de mais Bogdanovich a fait décrocher l'Oscar à complète sincérité, mais le fait est que, après Tatum O'Neal pour Paper Moon. Quelle idée Paper Moon, les choses semblent s'être gâ­ avait-on dit, pour Truffaut d'aller tourner tées pour Bogdanovich. Non pas que son dans une Amérique du siècle passé pour style et la qualité de ses productions se soient nous présenter une Histoire d'Adèle H. super­ détériorés, mais ses films ne touchent plus romantique ! Bogdanovich, de son côté, a autant que l'avaient fait ses premiers, et cela tenu à se transporter dans une Europe d'il y se ressent au box-office. a cent ans pour nous conter les extravagances Les raisons peuvent être multiples. d'une Daisy Miller exagérément stylisée ! On tourne un film, à la fois dans La Nuit On peut reprocher à Bogdanovich de américaine et dans Nickelodeon; le réalisa­ vouloir un peu trop souvent montrer le res­ teur devient acteur dans L'Enfant sauvage pect et la vénération qu'il porte à ses aînés. et dans Targets . Par amour pour le style de Howard Hawks, il a voulu faire Whafs up, Doc ? Très bien. Et si Truffaut sera acteur dans un film Le film fut une réussite totale et se maintient qui n'est pas de lui (Close Encounters of the encore confortablement parmi les trente pre­ Third Kind, de Steven Spielberg), Bogdano­ miers films à avoir fait le plus d'argent de vich, lui, n'a pas hésité à interpréter le rôle l'histoire. Mais pourquoi, plus tard, avoir d'un jeune réalisateur de cinéma en pleine osé tourner un film musical quand on sait ascension dans The Other Side of the Wind, (et lui surtout) les difficultés que comporte le le film encore inédit d'Orson Welles qu'il genre, tant dans sa réalisation que dans le vénère et à propos de qui il a écrit un livre. faible intérêt que l'on porte en 1974 à une Car Bogdanovich écrit. Tout le monde The Last Picture Show sait déjà qu'il a fait ses premières armes dans le métier en tant que critique de cinéma de la revue Esquire (il a publié un recueil de ces articles sous le titre Pieces of Time). Il est l'auteur de courts articles (dans TV Guide, par exemple) et parfois de longues études (dans Film Comment). On lui doit des livres sur John Ford et sur Allan Dwan. Il est natu­ rellement devenu le scénariste de presque tous ses films. Et lorsqu'on lui proposa, il y a deux ans, de réaliser The Last Tycoon, d'après le roman inachevé de F. Scott Fitz­ gerald, il refusa immédiatement, prétextant JUILLET 1977 21 du côté de l'interprétation ? Bogdanovich, comme Altman, aime travailler avec les ac­ teurs qu'il connaît déjà. On retrouve dans ses films Ryan O'Neal, Tatum O'Neal, Burt Reynolds, Madeline Kahn, Cybill Shep­ herd . Mais tous ces acteurs, qui, chacun de son côté, ont leur talent propre, étaient-ils les interprètes idéaux des personnages pour lesquels ils avaient été désignés ? Qui n'a pas souri ironiquement lorsqu'on a appris que Burt Reynolds chanterait et danserait dans un "musical'? N'avait-on pas, d'une ma­ nière presque unanime, douté du talent de Paper Moon Cybill Shepherd, mannequin célèbre devenue protégée et amie de coeur d'un Bogdanovich telle entreprise: At Long Last Love fut un qui n'avait d'yeux que pour elle, qui la mièvre hommage à Cole Porter et au Minnelli voyait dans tous les films qu'il décidait de du bon vieux temps. Bogdanovich, qui avait tourner et qui se rend compte, un peu tard, tout contre lui, y avait investi six millions. qu'elle est peut-être la cause de ses récents Il aura tout perdu très vite, même si le film, déboires cinématographiques ? Après tout, sorti récemment à Paris, y a été bien reçu Bogdanovich/Shepherd, ce ne sera jamais par la critique française. Godard/Karina, encore moins Bergman/UII- Autre folie (un rêve qu'il caressait de­ mann,mais peut-être un peu Carle/Laure . puis longtemps) : faire un film d'époque, D'ailleurs, sans doute est-ce à cause de l'ab­ avec décors européens et costumes. C'est la sence de la blonde enfant (qui n'était pas si triste histoire de son premier grand échec : désagréable dans The Heartbreak Kid d'Elai- Daisy Miller, qui adaptait avec hardiesse et ne May et Taxi Driver de Scorsese) qu'on se un certain toupet la nouvelle de Henry James, surprend à se plaire pendant Nickelodeon . .. un des écrivains presque "classiques" de Enfin, Bogdanovich a souvent été taxé l'histoire de la littérature américaine. Malgré d'un excès de vanité, d'un orgueil démesuré cela, Bogdanovich espère mieux faire quand que ses apparitions timides au Tonight Show il fera ressortir le film, (suprême hystérie, de Johnny Carson n'ont pas réussi à estom­ diront certains). per. A la suite de ses premiers succès, il Avec son dernier film, Nickelodeon, les semble avoir été pris du désir fougueux de critiques se sont montrés plus polis et lui devenir le nouveau "boy wonder" de Holly­ ont tout de même souhaité bonne chance, wood. Comme nous l'avons dit, il ne veut malgré les réserves d'usage. A nouveau, réaliser que les films de son choix. Il veut Bogdanovich rendait hommage au vieil Hol­ en être le scénariste et il les produit tous lywood, cette fois en se transportant en 1908, lui-même. Il y a sans doute dans cette atti­ avec les pionniers du cinéma. Quelques scè­ tude quelque chose de louable, puisqu'en nes, souvent traitées avec humour, rappe­ voulant être le seul artisan de ses propres laient des moments désopilants de What's succès, on peut devenir le seul responsable up, Doc ?, mais la virtuosité technique et la de ses cuisants échecs. manière en moins. Bogdanovich en est venu à se rendre La cause des récents échecs serait-elle compte des périls qui entourent un metteur 22 SÉQUENCES 89 en scène précoce qui a été applaudi un peu sobriété de style qui ne permettrait pas de le trop tôt et porté trop vite aux nues. Il se placer dans la catégorie des oeuvres fantas­ rend compte aussi que sa bonne étoile et la tiques communes.
Load more

Recommended publications
  • AS YOU LIKE IT, the First Production of Our 50Th Anniversary Season, and the First Show in Our Shakespearean Act
    Welcome It is my pleasure to welcome you to AS YOU LIKE IT, the first production of our 50th anniversary season, and the first show in our Shakespearean act. Shakespeare’s plays have been a cornerstone of our work at CSC, and his writing continues to reflect and refract our triumphs and trials as individuals and collectively as a society. We inevitability turn to Shakespeare to express our despair, bewilderment, and delight. So, what better place to start our anniversary year than with the contemplative search for self and belonging in As You Like It. At the heart of this beautiful play is a speech that so perfectly encapsulates our mortality. All the world’s a stage, and we go through so many changes as we make our exits and our entrances. You will have noticed many changes for CSC. We have a new look, new membership opportunities, and are programming in a new way with more productions and a season that splits into what we have called “acts.” Each act focuses either on a playwright or on an era of work. It seemed appropriate to inaugurate this with a mini-season of Shakespeare, which continues with Fiasco Theater's TWELFTH NIGHT. Then there is Act II: Americans dedicated to work by American playwrights Terrence McNally (FIRE AND AIR) and Tennessee Williams (SUMMER AND SMOKE); very little of our repertoire has focused on classics written by Americans. This act also premieres a new play by Terrence McNally, as I feel that the word classic can also encapsulate the “bigger idea” and need not always be the work of a writer from the past.
    [Show full text]
  • Crossroads Film and Television Program List
    Crossroads Film and Television Program List This resource list will help expand your programmatic options for the Crossroads exhibition. Work with your local library, schools, and daycare centers to introduce age-appropriate books that focus on themes featured in the exhibition. Help libraries and bookstores to host book clubs, discussion programs or other learning opportunities, or develop a display with books on the subject. This list is not exhaustive or even all encompassing – it will simply get you started. Rural themes appeared in feature-length films from the beginning of silent movies. The subject matter appealed to audiences, many of whom had relatives or direct experience with life in rural America. Historian Hal Barron explores rural melodrama in “Rural America on the Silent Screen,” Agricultural History 80 (Fall 2006), pp. 383-410. Over the decades, film and television series dramatized, romanticized, sensationalized, and even trivialized rural life, landscapes and experiences. Audiences remained loyal, tuning in to series syndicated on non-network channels. Rural themes still appear in films and series, and treatments of the subject matter range from realistic to sensational. FEATURE LENGTH FILMS The following films are listed alphabetically and by Crossroads exhibit theme. Each film can be a basis for discussions of topics relevant to your state or community. Selected films are those that critics found compelling and that remain accessible. Identity Bridges of Madison County (1995) In rural Iowa in 1965, Italian war-bride Francesca Johnson begins to question her future when National Geographic photographer Robert Kincaid pulls into her farm while her husband and children are away at the state fair, asking for directions to Roseman Bridge.
    [Show full text]
  • Lecture 2 1970S Hollywood.Pdf
    FILM IN THE 1970s THE FILM SCHOOL GENERATION AND THE BIRTH OF THE NEW HOLLYWOOD ROGER CORMAN - Born in 1926 - Known as “King of the Bs” – his best-known film is The Little Shop of Horrors (1962) - Made many low-budget exploitation films, and used the profits to finance and distribute prestigious films – many of them directed by his protégés, who went on to become some of the most influential directors of the 1970s and beyond - Honorary Academy Award in 2009 “for his rich engendering of films and filmmakers” PETER BOGDANOVICH - Born in 1939 - Film programmer at MoMA, wrote about film for Esquire; worked with Orson Welles, John Ford, and other classic Hollywood directors - 1971 – directed The Last Picture Show – followed up with successes What’s Up, Doc?, Paper Moon - Later films didn’t fulfill his early promise, but he continues to be an influential voice on the subject of film history FRANCIS - Born in 1939 FORD - MFA from UCLA (1966) – first major COPPOLA director to graduate from a prominent university film program - Screenwriter – Patton – won first Oscar - 1969 – established American Zoetrope with his protégé George Lucas - 1972 – The Godfather - 1974 – The Godfather Part 2 and The Conversation MARTIN SCORSESE - Born in 1942 - B.S. (1964) and M.A. (1968) from NYU - Worked with Corman; and, as his student project, edited Woodstock (1970) - Rose to fame in 1973 – Mean Streets – not a commercial hit, but had a dynamic style, and set a template for character types and themes and settings he would return to throughout his career GEORGE LUCAS - Born in 1944 - USC graduate – won 1965 National Student Film Festival with THX-1138 - Apprenticed with Coppola, and later collaborated with him - First major success – American Graffiti (1973) - Invested those profits into Lucasfilm, Ltd.
    [Show full text]
  • National Film Registry Titles Listed by Release Date
    National Film Registry Titles 1989-2017: Listed by Year of Release Year Year Title Released Inducted Newark Athlete 1891 2010 Blacksmith Scene 1893 1995 Dickson Experimental Sound Film 1894-1895 2003 Edison Kinetoscopic Record of a Sneeze 1894 2015 The Kiss 1896 1999 Rip Van Winkle 1896 1995 Corbett-Fitzsimmons Title Fight 1897 2012 Demolishing and Building Up the Star Theatre 1901 2002 President McKinley Inauguration Footage 1901 2000 The Great Train Robbery 1903 1990 Life of an American Fireman 1903 2016 Westinghouse Works 1904 1904 1998 Interior New York Subway, 14th Street to 42nd Street 1905 2017 Dream of a Rarebit Fiend 1906 2015 San Francisco Earthquake and Fire, April 18, 1906 1906 2005 A Trip Down Market Street 1906 2010 A Corner in Wheat 1909 1994 Lady Helen’s Escapade 1909 2004 Princess Nicotine; or, The Smoke Fairy 1909 2003 Jeffries-Johnson World’s Championship Boxing Contest 1910 2005 White Fawn’s Devotion 1910 2008 Little Nemo 1911 2009 The Cry of the Children 1912 2011 A Cure for Pokeritis 1912 2011 From the Manger to the Cross 1912 1998 The Land Beyond the Sunset 1912 2000 Musketeers of Pig Alley 1912 2016 Bert Williams Lime Kiln Club Field Day 1913 2014 The Evidence of the Film 1913 2001 Matrimony’s Speed Limit 1913 2003 Preservation of the Sign Language 1913 2010 Traffic in Souls 1913 2006 The Bargain 1914 2010 The Exploits of Elaine 1914 1994 Gertie The Dinosaur 1914 1991 In the Land of the Head Hunters 1914 1999 Mabel’s Blunder 1914 2009 1 National Film Registry Titles 1989-2017: Listed by Year of Release Year Year
    [Show full text]
  • March 28, 2001 (III:10) Notable Recent Job Has Been Playing Tony Soprano’S Psychiatrist’S Psychiatrist
    PETER BOGDANOVICH (30 July 1939, Kingston, New York, USA ) most March 28, 2001 (III:10) notable recent job has been playing Tony Soprano’s psychiatrist’s psychiatrist. “Many French cineasts and film critics went on to become major filmmakers, but in America only one such scholar made that transition: Peter Bogdanovich. This lifelong film buff wrote dozens of articles, books, and program notes about Hollywood before settling there in the mid 1960s. He fell in with producer Roger Corman, becoming a jack-of-all-trades on The Wild Angels (1966) and reworking a Russian sci-fi epic into Voyage to the Planet of Prehistoric Women (1967). Bogd anov ich's first real film was the suspenseful Targets (1968), which he directed, produced, and cowrote with then-wife Polly Platt. After making a documentary, Directed by John Ford (1971), he directed the melancholy Larry McMurtry story The Last Picture Show (1971), which becam e a major critical and commercial hit…. “Celebrated as Hollywood's latest wunderkind, he made two more big hits: the screwball farce What's U p, Doc? (1972) and another period piece, Paper Moon (1973), which brought an Oscar to debuting Tatum O'Neal. Both films were very much dependent on references to earlier films and directors, but there was no denying his superb craftsmanship and assu red handling of actors. Bu t it was perceived that his relationship with Cybill Shepherd led to his undoing. Two Shepherd vehicles-Daisy Miller (1974) and At Long Last Love (1975)-were major stiffs, and the well-intentioned Nickelodeon (1976) was pronounced D.O.A.
    [Show full text]
  • American Auteur Cinema: the Last – Or First – Great Picture Show 37 Thomas Elsaesser
    For many lovers of film, American cinema of the late 1960s and early 1970s – dubbed the New Hollywood – has remained a Golden Age. AND KING HORWATH PICTURE SHOW ELSAESSER, AMERICAN GREAT THE LAST As the old studio system gave way to a new gen- FILMFILM FFILMILM eration of American auteurs, directors such as Monte Hellman, Peter Bogdanovich, Bob Rafel- CULTURE CULTURE son, Martin Scorsese, but also Robert Altman, IN TRANSITION IN TRANSITION James Toback, Terrence Malick and Barbara Loden helped create an independent cinema that gave America a different voice in the world and a dif- ferent vision to itself. The protests against the Vietnam War, the Civil Rights movement and feminism saw the emergence of an entirely dif- ferent political culture, reflected in movies that may not always have been successful with the mass public, but were soon recognized as audacious, creative and off-beat by the critics. Many of the films TheThe have subsequently become classics. The Last Great Picture Show brings together essays by scholars and writers who chart the changing evaluations of this American cinema of the 1970s, some- LaLastst Great Great times referred to as the decade of the lost generation, but now more and more also recognised as the first of several ‘New Hollywoods’, without which the cin- American ema of Francis Coppola, Steven Spiel- American berg, Robert Zemeckis, Tim Burton or Quentin Tarantino could not have come into being. PPictureicture NEWNEW HOLLYWOODHOLLYWOOD ISBN 90-5356-631-7 CINEMACINEMA ININ ShowShow EDITEDEDITED BY BY THETHE
    [Show full text]
  • The Cat's Meow
    THE CAT’S MEOW PRODUCTION NOTES Directed by Peter Bogdanovich SYNOPSIS From award-winning screenwriter Steven Peros and acclaimed director Peter Bogdanovich comes The Cat’s Meow, an extraordinary look at a fateful excursion of “fun and frolic” aboard William Randolph Hearst’s private yacht in November of 1924 that brought together some of the century’s best-known personalities and resulted in a still-unsolved, hushed-up killing. As Hearst and his lover actress Marion Davies set sail from San Pedro Harbor early one Saturday morning, hosting a small group that includes the brilliant but self-absorbed Charlie Chaplin, film pioneer Thomas Ince preoccupied with his recent financial setbacks, ambitious gossip columnist Louella Parsons, and the eccentric British Victorian novelist Elinor Glyn, it quickly becomes clear that although witty repartee and double entendre are the order of the day, deceit and deception are also on the menu. Everyone, it seems, has a secret agenda: Ince, whose pioneering work in defining the role of the film producer has been favorably compared to D.W. Griffith’s contributions to directing, is determined to seal a partnership with Hearst’s Cosmopolitan Pictures despite W.R.’s seeming lack of interest; New York-based film critic Louella Parsons has her eye on a transfer to the west coast where she can cover the film industry more intimately; Ince’s lover, actress Margaret Livingston, no longer cares to keep their affair a secret; Hearst himself suspects that his paramour Davies has been unfaithful with the legendary comic Chaplin; and Chaplin indeed schemes to steal away the beautiful actress from the richest man in the world.
    [Show full text]
  • On Tour (Aug – Oct 2021)
    On Tour (Aug – Oct 2021) Cinema Rediscovered is back for its 5th Edition (28 July – 1 August 2021) celebrating the return to cinemas with a selection of restorations and rediscoveries. Full Festival line-up: watershed.co.uk/cinema-rediscovered Book any of the titles below under the Cinema Rediscovered on Tour banner and access: - Assets (copy, images, trailers, bespoke content such as pre-recorded screening intros) - National PR campaign (Sarah Harvey PR) and MUBI cross promotion* - Invitation to Cinema Rediscovered ‘s Reframing Film industry strand (29 – 30 July) and access to a 50% partner discount to festival tickets. *Optional: audiences for CR tour bookings can receive a free one month trial from MUBI, the global streaming service, production company and film distributor. Note that access to guest speakers and other titles from the festival line-up can be looked into on request. Contact: [email protected] See Credit Lines / Logos below. Also note that a high res DCP slide will be supplied for the cinema for the start of your screening. TOUR IMAGES & TRAILERS: Download folder TOUR TITLES – QUICK LINKS THE STORY OF A THREE DAY PASS 2 1971: THE YEAR HOLLYWOOD WENT INDEPENDENT 3 TWO-LANE BLACKTOP 4 KLUTE 5 MCCABE & MRS MILLER 5 THE LAST PICTURE SHOW 5 FIVE EASY PIECES 6 TWELVE 30 COLLECTIVE PRESENT: NO PLACE LIKE HOME 6 THE STORY OF A THREE DAY PASS 4K Restoration Rec Cert: 15 Dir: Melvin Van Peeble USA 1967 87mins Cast: Harry Baird, Nicole Berger, Pierre Doris Source: Cinema Rediscovered / Janus Films Book: [email protected] Terms: £80 MG vs 35% (+ UK Transport or download costs) Format: DCP or Eclairplay Trailer: watch & download A New 4K restoration by IndieCollect in consultation with Mario Van Peebles, with support from the Hollywood Foreign Press Association.
    [Show full text]
  • Peter Bogdanovich O El Cinema De La Quotidianitat
    TREBALL DE RECERCA peter bogdanovich o el cinema de la quotidianitat Dirigit per Isidre Ferré Anna Cornellas i Fernández batxillerat 2n A 8-1-2004 2 Índex 0. Introducció ............................................................5 1. El director .............................................................8 1.1. Biografia....................................................................................................................8 1.2. L’Estil dels seus films ...........................................................................................11 1.3. Influències rebudes...............................................................................................12 1.4. Posada en escena ................................................................................................13 1.4.1. Escenari ..........................................................................................................14 1.4.2. Personatges....................................................................................................14 1.4.2.1. Vestuari ....................................................................................................14 1.4.2.2. Físics ........................................................................................................15 1.4.3. Músiques.........................................................................................................15 1.4.4. Fotografia........................................................................................................15 2. Els personatges
    [Show full text]
  • PETER BOGDANOVICH to VISIT WEX “He Remains One of the Best Directors in America….”—David Thomson, the New Biographical Dictionary of Film
    For immediate release: November 22, 2009 (updated December 2009) Media contact: Karen Simonian, [email protected] or 614 292-9923 PETER BOGDANOVICH TO VISIT WEX “He remains one of the best directors in America….”—David Thomson, The New Biographical Dictionary of Film Peter Bogdanovich—the storied director, actor, and chronicler of classical Hollywood—will visit the Wexner Center on Saturday, January 16 to introduce a screening of What’s Up, Doc?, his pitch-perfect tribute to classic screwball comedies. The screening will be followed by an onstage conversation about his work. His visit is part of a two-day mini-tribute concentrating on his early films (see schedule below). “We’re thrilled to welcome Peter Bogdanovich to Columbus,” says Wexner Center film curator David Filipi. “He cuts a singular figure in postwar American cinema, and we’re pleased to be able to offer this special event for local and regional audiences.” Deeply versed in the history of Hollywood film, Bogdanovich emerged as a public figure beginning in the 1960s through a series of sympathetic and deeply informed studies and interviews with such legendary directors as John Ford, Howard Hawks, Orson Welles, Fritz Lang, and Allan Dwan, among others. This extraordinary alertness to the legacy of Hollywood Clockwise from top left: Peter Bogdanovich (image courtesy of Ace filmmaking hence informs his own work as a director, Photos); Cybill Shepherd in The Last joined to a rare sensitivity in his collaborations with Picture Show (image courtesy of Sony actors; he himself studied under the legendary Stella Pictures); and Ryan O’Neal and Barbra Adler in the 1950s, and, a gifted raconteur and actor, Streisand in What’s Up, Doc? (image courtesy of Warner Bros.) he occasionally still works in that capacity, perhaps most notably as psychiatrist Dr.
    [Show full text]
  • Mcmurtry Brings Characters Old and New Along for the Ride
    8E • SUNDAY, MAY 18, 2014OLIVING MAHA WORLD-HERALD BOOKS McMurtry brings characters old and new along for the ride iting characters, including Earp Endearment.” His newest offering, ‘The Last Kind Words Saloon,’ and Holliday. Both “The Last Picture Show” features historical i gures and one from an earlier tale “That’s fun, to go back and and its sequel, “Texasville,” see your characters at different were fi lmed in Archer City. ARCHER CITY, Texas (AP) West — this time peeking into stages of their lives,” he said, Don Graham, a professor of — Standing among the tower- the lives of Wyatt Earp and Doc noting that he followed the char- English and American literature ing shelves in his bookstore in Holliday as they ramble through acters from “The Last Picture at the University of Texas in Show” through several books, the small Texas town where he Texas, Colorado and Arizona. Austin, said McMurtry is “pre- marking their transformation grew up, Pulitzer Prize-winning “I usually start a book with eminently a storyteller.” from teenagers to old men. author Larry McMurtry says he some notion about a charac- “He’s a great creator of char- Andrew Graybill, director of has a need to be among books. ter that I’m curious about or acters and dialogue. That’s one the Clements Center for South- “I’m very attached to the interested in,” McMurtry said in of the reasons he’s had so much west Studies at Southern Meth- success in Hollywood,” Graham books. I need them. I need to be an interview. “And I think that’s odist University, said McMurtry said.
    [Show full text]
  • Loft Film Fest 13 Loft Kids Fest 14 Building for the Future 15 Donors 21 Volunteers 22 Board of Directors & Loft Staff MISSION STATEMENT
    The Loft Cinema ANNUAL REPORT 2014 02 Mission Statement Annual 03 Letter from the Report Executive Director 04 A Brief History 05 Impact 06 At the Box Office Financials 07 Overview 08 Revenue and Expenses Events 09 Programming 11 Loft Film Fest 13 Loft Kids Fest 14 Building for the Future 15 Donors 21 Volunteers 22 Board of Directors & Loft Staff MISSION STATEMENT The Loft is a local nonprofit cinema dedicated to creating community through film, honoring the vision of filmmakers, celebrating ideas and promoting the appreciation and understanding of the art of film. 02 DEAR FRIENDS OF THE LOFT, As I look back on 2014, I am truly amazed and humbled by what The Loft was able to accomplish. I believe that the foundation we carefully laid over 14 years has solidified into a strong, sustainable business model that allows us to serve our patrons, supporters and the entire Greater Tucson community. The Loft had its best year ever in 2014, making more than $1,000,000 at the box office. This is no easy feat with just 3 screens. What makes it more exciting is that 20% of the tickets were free, which means that we generated one million dollars from 80% of the people who came through our doors! So why so many free films and events? The answer is simple: our mission is to build community through film, and by making one-fifth of our experiences free, we remove any barrier - everyone and anyone can participate. The Loft’s administrative staff, our brain trust, along with our Board of Directors, does a remarkable job of making sure The Loft is a sustainable arts organization.
    [Show full text]