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JANUARY2018 FILM LIVES HERESM SERIES & FESTIVALS NEW RELEASES EMOTION PICTURES: LOVER FOR A DAY INTERNATIONAL THE OPERA HOUSE MELODRAMA SPECIAL HOLIDAY PRICING! THE OTHER SIDE OF HOPE NEW YORK JEWISH FILM FESTIVAL THE SQUARE ELINOR BUNIN MUNROE FILM CENTER 144 WEST 65TH STREET WALTER READE THEATER 165 WEST 65TH STREET FILMLINC.ORG SERIES Emotion Pictures: International Melodrama THROUGH JANUARY 7 This 62-film series pays tribute to the genre that boldly endeavored Special to put emotion on screen in its purest form. Bring tissues. Holiday Tickets just $7 for members, students, seniors, and $10 for general public. Pricing! Make Way for Tomorrow Leo McCarey, USA, 1937, 35mm, 91m You’re going to need tissues for this one… The most heart-piercingly human tale of the 1930s (and the inspiration for Ozu’s Tokyo Story) is an unsparing look at aging and the gulf between parents and children, directed by the ever-empathetic McCarey. Thursday, January 4, 4:00pm Mildred Pierce Michael Curtiz, USA, 1945, 111m The mother of all mother-daughter melodramas and the apotheosis of Joan Crawford: she delivers a ferocious, Oscar-winning performance as the titular tiger mom desperate to win the love of her Mildred Pierce monstrously bratty little girl. New 4K restoration Courtesy of Warner Bros. Classics Courtesy of Warner Sunday, January 7, 9:15pm footsteps echo in the attic, gaslights dim, and Rebel Without a Cause HOLLYWOOD’S secrets come to light… Wednesday, January 3, Nicholas Ray, USA, 1955, 35mm, 111m Coming 4:15pm together at a police station, conflicted teenage GOLDEN AGE outcasts Jim Stark (James Dean), Judy (Natalie Hard, Fast and Beautiful Wood), and Plato (Sal Mineo) face down their All That Heaven Allows Ida Lupino, USA, 1951, 16mm, 78m Lupino’s nagging parents and live up to the challenge Douglas Sirk, USA, 1955, 35mm, 89m Love bitter anti–family values smackdown stars Claire of the local hotshots by playing chicken at a blossoms between a suburban widow (Jane Trevor as a tough-as-nails stage—er, make that seaside cliff in Ray’s unforgettable look at non- Wyman) and her considerably younger gardener court—mother who'll stop at nothing to mold her conformity, which remains the standard for youth (Rock Hudson) in Sirk’s sharp indictment of tennis prodigy daughter into a national cham- angst on film.Tuesday, January 2, 2:00pm hypocrisy in 1950s America. pion. Thursday, January 4, 2:00pm & 8:45pm Preceded by: The Vanity Tables of Some Came Running Douglas Sirk Limelight Vincente Minnelli, USA, 1958, 35mm, 137m Mark Rappaport, USA, 2014, 11m Charlie Chaplin, USA, 1952, 35mm, 137m In In Minnelli’s chronicle of small-town hypocrisy, Monday, January 1, 7:00pm his last American film—for which he synthesized Frank Sinatra gives one of his most textured a lifetime’s worth of memories, experiences, portrayals as an embittered ex-GI who returns Christopher Strong and wisdom—Chaplin plays a washed-up clown to his Midwestern hometown to write the next Dorothy Arzner, USA, 1933, 35mm, 78m whose final gift to the world is to give a suicidal chapter of his life. The multiple-Oscar- nominated Katharine Hepburn plays a high-flying, thrill- ballerina (Claire Bloom) a new lease on life. film also stars Arthur Kennedy, Dean Martin, and chasing aviatrix entangled in an illicit affair with a Monday, January 1, 1:30pm Shirley MacLaine. Monday, January 1, 4:15pm married politician (Colin Clive) in this proto-fem- inist pre-Code romance from trailblazing auteur Magnificent Obsession Stella Dallas Arzner. Wednesday, January 3, 8:45pm Douglas Sirk, USA, 1954, 35mm, 108m Sirk’s King Vidor, USA, 1937, 35mm, 106m As the most outré melodrama—about a devil-may-care rough-around-the-edges millworker’s daughter Gaslight playboy (Rock Hudson) seeking redemption after determined to give her daughter a better life, George Cukor, USA, 1944, 35mm, 114m A he blinds a widow (Jane Wyman)—is a luminous, Barbara Stanwyck created one of the most young opera singer (Ingrid Bergman) haunted by metaphysical exploration of fate and spirituality. indelible—and heartbreaking—heroines of her aunt’s murder marries a handsome pianist Preceded by: Home Stories Hollywood’s Golden Age. Wednesday, January (Charles Boyer) and settles down in her relative’s Matthias Müller, West Germany, 1991, 6m 3, 2:00pm . Saturday, January 6, 1:30pm long-abandoned London mansion, where Monday, January 1, 9:15pm FOR TICKETS VISIT FILMLINC.ORG coaster tells the story of a bizarre ménage a INTERNATIONAL trois that is formed between a music teacher, his MODERN/POST- wife, and their increasingly assertive housemaid. CLASSICS Wednesday, January 3, 6:30pm MODERN DRAMA Beyond Oblivion / Más allá del Insiang All About My Mother / Todo sobre olvido Lino Brocka, Philippines, 1976, 95m Filipino mi madre Hugo del Carril, Argentina, 1956, 35mm, 93m, cinema’s watershed work—and the first to screen Pedro Almodóvar, 1999, Spain/France, 35mm, subtitles Two years before Vertigo, this archly at the Cannes Film Festival—is a wildly perverse 101m, subtitles Riffing on classic melodramas Gothic Argentine drama mined near-identical mother-daughter saga, a revenge tragedy of like All About Eve and A Streetcar Named themes of erotic obsession and necrophilic ancient Greek proportions, and a gut-punching Desire, Almodóvar conjures a colorful universe desire via the story of a tormented man making study of social injustice. Tuesday, January 2, of unforgettable women in this generous, over a look-alike woman in the image of his dead 6:30pm openhearted tribute to female friendship and wife. Sunday, January 7, 1:30pm resilience. Friday, January 5, 1:30pm The Kneeling Goddess / La diosa Brief Encounter arrodillada Breaking the Waves David Lean, UK, 1945, 35mm, 86m Set to a Roberto Gavaldón, Mexico, 1947, 107m, Lars von Trier, Denmark, 1996, 35mm, 159m swelling Rachmaninoff score, David Lean’s Noël subtitles This feverishly perverse saga of amor Von Trier established his reputation as one of the Coward adaptation, starring Celia Johnson and loco—something like the necro-noir of Laura most exciting—and provocative—filmmakers on Trevor Howard, is one of the most achingly crossed with the tranced-out style of Last Year the planet with this megaton meditation on faith, romantic films ever made, as well as a piercing at Marienbad—is packed with enough outré sexuality, and redemption featuring a revelatory dissection of the psychology of an extramarital flourishes to satisfy a card-carrying Dadaist. Emily Watson as a troubled, zealously religious affair.Tuesday, January 2, 4:30pm Friday, January 5, 6:15pm young woman whose husband is left paralyzed after an accident. Sunday, January 7, 6:15pm The Castle of Purity / El castillo de la The Life of Oharu / Saikaku ichidai pureza onna The Devil’s Cleavage Arturo Ripstein, Mexico, 1973, 35mm, 110m, Kenji Mizoguchi, Japan, 1952, 35mm, 136m, George Kuchar, USA, 1973, 16mm, 107m DIY subtitles Based on a “true story” from the 1950s, subtitles Among the most devastating of renegade George Kuchar’s debased scuzz opera Ripstein’s breakout third feature takes the master director Kenji Mizoguchi’s portraits of is a deliriously overheated homage to/send-up patriarchal melodrama to its literal and bizarre fallen women, this finely wrought, small-gesture of Golden Age histrionics—think a 1940s Otto extreme, blending the hysterics of masculini- melodrama stars the infinitely touching Kinuyo Preminger film writ in filth and sleaze. ty-in-crisis dramas with startling violence and Tanaka as a once-proud concubine whose tragic Preceded by Hold Me While I’m Naked Buñuelian black humor. Friday, January 5, fate is governed by the callous whims of men. George Kuchar, USA, 1966, 16mm, 17m 4:00pm Saturday, January 6, 3:45pm Thursday, January 4, 6:00pm The Cloud-Capped Star / Meghe Mamma Roma Pola X Dhaka Tara Pier Paolo Pasolini, Italy, 1962, 35mm, 110m, Leos Carax, France, 1999, 35mm, 134m, Ritwik Ghatak, India, 1960, 126m, subtitles subtitles Pasolini’s shattering working-class subtitles Ex–enfant terrible Leos Carax takes the This soul-shattering classic of Indian cinema tragedy stars Anna Magnani as a coarse ingredients of melodrama—family secrets, perse- combines searing imagery, joltingly expression- ex-streetwalker who tries to start a new, better cuted innocents, forbidden love, betrayal—and istic sound design, and an extraordinary central life in Rome for the sake of her teenage son scrambles them into an audacious postmodern performance from Supriya Choudhury as a (Ettore Garofolo)—but struggles to keep him from opera of artistic angst in which a writer gets relentlessly self-sacrificing daughter supporting falling into a life of crime. Saturday, January 6, sucked into a through-the-looking-glass rabbit her ungrateful family. Friday, January 5, 8:30pm 8:45pm hole of underclass grime and incest when he encounters an Eastern European war refugee Floating Clouds / Ukigumo La Strada claiming to be his long-lost sister. Sunday, Mikio Naruse, Japan, 1955, 35mm, 123m, Federico Fellini, Italy, 1954, 35mm, 108m, subti- January 7, 3:30pm subtitles Exquisitely heartbreaking, Naruse’s tles Fellini’s Oscar-winning vision of the world obsessive masterpiece stars the luminous as a whirling, bittersweet carnival begins with Organized by: Florence Almozini, Dennis Lim, and Tyler Wilson Hideko Takamine as a young woman weathering this indelible, tragicomic fable starring Anthony Acknowledgments: Academy Film Archive; China changing fortunes and a futile love affair in Quinn as a brutish circus strongman and a soulful Film Archive;
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  • Andrew Sarris and the Politique Des Auteurs (1962-1974): an Assessment and an Analysis Steven Grumbacher Western Kentucky University

    Andrew Sarris and the Politique Des Auteurs (1962-1974): an Assessment and an Analysis Steven Grumbacher Western Kentucky University

    Western Kentucky University TopSCHOLAR® Masters Theses & Specialist Projects Graduate School 7-1976 Andrew Sarris and the Politique des Auteurs (1962-1974): An Assessment and an Analysis Steven Grumbacher Western Kentucky University Follow this and additional works at: http://digitalcommons.wku.edu/theses Part of the American Film Studies Commons Recommended Citation Grumbacher, Steven, "Andrew Sarris and the Politique des Auteurs (1962-1974): An Assessment and an Analysis" (1976). Masters Theses & Specialist Projects. Paper 1558. http://digitalcommons.wku.edu/theses/1558 This Thesis is brought to you for free and open access by TopSCHOLAR®. It has been accepted for inclusion in Masters Theses & Specialist Projects by an authorized administrator of TopSCHOLAR®. For more information, please contact [email protected]. Grumbacher, Steven 1976 ANDREW SARRIS AND THE POLITIQUE DES AUTEURS (1962-1974): AN ASSESSMENT AND AN ANALYSIS A Thesis Presented to the Faculty of the Department of the Humanities Western Kentucky University Bowling Green, Kentucky In Partial Fulfillment of the Requirement. for the Degree Master of Art. by Steven Grumbacher July 1976 ANDREW SARRIS AND THE POLITIQUE DES AUTEURS (1962-1974): AN ASSESSMENT AND AN ANALYSIS Recommended < < , / ~ , / '77(.. ----~(~D~aLte=rj~~~------ Approved ____" '"~ ?~~------?----- (Date) '// ' / _ t'~ _ ( _;, ~ l t. ...... De=a'=n-::o~fr::t~h::::e~G.-::r:-:a:=:dr.u~a~t~e~' tliro~1... 1=e=9=e • PREFACE I became interested in auteurism in the Spring of 1963 following the publication of Andrew Sarris's article, "The American Cinema," in Film Culture No. 28. For a year, I re­ jected his controversial theories as being too radical, as did so many of the film critics and enthusiasts of the time.