“If You Are Going to Steal, Steal from the Best”

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“If You Are Going to Steal, Steal from the Best” Växjö Universitet Institutionen för humaniora C-uppsats i Filmvetenskap Handledare: Olof Hedling Ht 2005 Martin Jönsson “If you are going to steal, steal from the best” - om Peter Bogdanovichs auteurskap och Hawks-komplexet. Innehållsförteckning. 1. Inledning. .............................................................................................................................. 3 1.2 Teori och Metod............................................................................................................... 4 1.3 Forskningsöversikt. .......................................................................................................... 6 2. Bakgrund............................................................................................................................... 7 2.1 Ungdomen och intresset för filmen.................................................................................. 7 2.2 Bogdanovich och Sarris. .................................................................................................. 8 2.3 Mötet med Roger Corman och ingången till karriären..................................................... 9 2.4 Welles, Ford och Hawks(-komplexet). ............................................................................ 9 3. Klassisk mise en scène och Bogdanovich.......................................................................... 11 4. Filmerna. ............................................................................................................................. 13 4.1 Grupp 1........................................................................................................................... 14 4.2 Grupp 2........................................................................................................................... 17 4.3 Grupp 3........................................................................................................................... 19 5. Slutsats................................................................................................................................. 25 5. Källförteckning................................................................................................................... 26 2 1. Inledning. [---] Howard Hawks always used to say to me: If you are going to steal, steal from the best. Well, so when I sent him the script for What’s up doc I said that we had definitely been inspired by a couple of moments and some things from Bringing up baby, and he called me and said: Well you didn’t steal the dinosaur [---]1 Åren 1967 till 1979 gjorde Peter Bogdanovich åtta spelfilmer.2 Under samma tidsförlopp genomgick Hollywood två stora förändringar, regissörens uppgång och regissörens fall.3 Samma sak kan sägas om Bogdanovich vars enorma tidiga framgång och sedermera fall är parallell med denna utveckling. Det som gör Bogdanovich intressant är den enorma medvetenhet om filmhistorien som hans filmer präglades av. Inspirerad till stor del av de kanoniserade amerikanska studioregissörerna, som han även hade personlig kontakt med både före och under denna period, kom Bogdanovichs filmer mer att likna de från det klassiska Hollywood än filmer från den period under vilken han verkade.4 Denna uppsats syftar till att göra en auteuristisk mise en scène-studie av Bogdanovichs filmer från Targets (Levande mål, Peter Bogdanovich, 1967) till Saint Jack (Saint Jack - Kungen av Singapore, Peter Bogdanovich, 1979). Denna avgränsning görs dels för att skapa en större överskådlighet men även för att skapa någon form av enhetlighet i början och slut då både Targets och Saint Jack är producerade av den välkände lågbudgetproducenten Roger Corman. Men det görs även för att perioden innehåller både Bogdanovichs största framgångar och hårdaste fall.5 Citatet i uppsatsens inledning har som avsikt att illustrera något som jag har valt att kalla för Hawks-komplexet. Denna term ska i uppsatsen fungera som ett samlingsnamn för de bakomliggande faktorerna till att Bogdanovichs filmer ser ut som om de var gjorda under Hollywoods klassiska era. Identifieringen av Hawks-komplexet kommer att grunda sig på både biografiska faktorer och på studier av mise en scène i Bogdanovichs filmer. I studien av filmerna kommer därför Hawks-komplexet ställas mot sökandet efter 1 Peter Bogdanovich, What’s up doc, DVD-kommentatorspår 2 Räknar inte med Voyage to the planet of the prehistoric women (Peter Bogdanovich, 1967) då denna bara innehöll några få scener filmade av Bogdanovich. 3 Jämför David Bordwell och Kristin Thompson, Film History An Introduction (andra upplagan) New York: McGraw-Hill 2003 (1994), s. 516. 4 David A. Gerstner, “The practices of authorship”, i David A. Gerstner och Janet Staiger (red), Authorship and Film, New York: Routledge 2003, s. 8. 5 Med ”hårdaste fall” åsyftas här Bogdanovichs chockartade misslyckande med At Long Last Love (Leve Kärleken, Peter Bogdanovich, 1975) 3 personlig enhetlighet i Bogdanovichs mise en scène och utgöra en polemisk utgångspunkt ifrån vilken Bogdanovichs auteurskap identifieras eller dementeras. 1.2 Teori och Metod. Within its distinguishable currents – Cahiers in France, Movie in Britain, Andrew Sarris in America – auteurism shares certain basic assumptions: notably, that a film, though produced collectively, is most likely to be valuable when it is essentially the product of its director (“meaningful coherence is more likely when the director dominates the proceedings” [...]);that in the presence of a director who is genuinely an artist (an auteur) a film is more than likely to be the expression of his individual personality; and that this personality can be traced in a thematic and/or stylistic consistency over all (or almost all) the director’s films.6 Uppsatsens auteuristiska utgångspunkt samfaller med den som förekom i Cahiers du cinéma och dess engelskspråkiga uppföljare. Denna utgångspunkt presenterar en regissör av kött och blod som enskild upphovsman vars personlighet präglar verket. Problematiken med detta synsätt blev påtagligt under slutet av 1960-talet då auteurismen började anses överspelad. År 1968 dödförklarade Roland Barthes auteuren i sin text The death of the author.7 Barthes menar i sin text att ingen regissör kan styra över sitt verk då denne är styrd av samhället. Detta marxistiska synsätt utgår ifrån att olika samhälleliga och sociala strukturer är det som präglar filmen. En annan problematisk omständighet för auteurismen är det faktum att filmkonsten i mycket högre grad än andra konstformer är kollaborativ. Därför blir den enskilde upphovsmannen problematisk att identifiera. François Truffaut skapade med sitt manifest Une certaine tendance du cinéma français auteurismens grunder.8 Hans la politiques des auteurs hade som syfte att vara politisk, i polemik med det rådande tillståndet i den franska filmen. Truffaut har själv sagt att huvudsyftet med la politiques des auteurs var att förändra den franska filmen och inte att skapa en definitiv och enhällig filmteori kring filmens upphovsmän. Att identifiera konstnärer och auteurer inom den europeiska filmen var inget nytt men det som Truffaut och hans kollegor på Cahiers du cinéma gjorde var att identifiera dessa inom Hollywoodsystemet, ett system som var inriktat på massproduktion av film. La politiques des 6 John Caughie, “Introduction”, i John Caughie(red) Theories of Authorship, New York: Routledge 2001, s. 9. 7 Roland Barthes, ”The death of the author”, i Caughie(red) s. 208. 8 John Caughie, “Cahiers du Cinéma”, i Caughie(red) s. 35. 4 auteurs tog steget över till den nordamerikanska kontinenten genom den amerikanske kritikern Andrew Sarris som ansåg att om fransmännen kunde identifiera individuella konstnärer i Hollywood, varför kan inte han och hans landsmän göra det.9 Det var då som Sarris utnämnde sina Pantheonregissörer som fick ta platserna som de stora auteurerna inom den amerikanska filmen. Sarris översatte la politiques des auteurs till the auteur theory, något som skapat viss förvirring eftersom la politiques des auteurs inte är någon egentlig teori. För att återvända till den problematik som följer med auteurismen så är den ursprungliga uppkomsten av den så starkt befäst i den tidens ansträngningar att höja filmen till den högre konsten, eller som i Truffauts fall fungera i polemik som ett manifest, att man kan se det som ett överdrivet romantiskt försök att finna en kanon inom filmkonsten på samma sätt som inom måleriet och litteraturen. Auteurismen är enligt min mening inte så enkel att avfärda. David A. Gerstner och Janet Staiger skriver i introduktionen till den aktuella boken Authorship and Film ”Every scholar (even those who subscribe to ‘the death of authorship’) speaks of going to a Robert Altman film” och beskriver därmed både intresset för auteuren och nödvändigheten att studera denne.10 Det finns fortfarande anledning att studera auteuren som en individ av kött och blod istället för exempelvis en struktur, men man måste först uppmärksamma det faktum att ingen teori är fullständig och att man borde använda olika teorier för olika ändamål. I fallet med denna uppsats så är det den auteuristiska utgångspunkten som enligt mig ger den intressantaste infallsvinkeln De metoder av mise en scène-analys som kommer att användas i uppsatsen är de som David Bordwell kallar för ”the commentative heuristic” och ”the expressivist heuristic”. Metoderna bygger båda på samma grund men har motsatta angreppspunkter.11 In the expressivist heursitic, ’meaning is taken to flow from the core to the periphery, from the characters to manifestations
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