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peterbogdanovich Peter Bogdanovich
Blogdanovich is the blog of director, producer, writer, actor, film critic, and author Peter Bogdanovich. He has directed over 25 feature films including international award winners The Last Picture Show, What’s Up, Doc?, Paper Moon, Daisy Miller, Saint Jack, Mask; cult favorites Targets, Texasville, Noises Off, They All Laughed, and A The Thing Called Love, among stars he’s introduced: Cybill Shepherd, Tatum O’Neal, Madeline Kahn, John Ritter, Sandra Bullock; has directed stars Audrey Hepburn, Barbra Streisand, Michael Caine, Cher; best-sellers Who the Devil Made It: Who the Hell's In It, The Killing of the Unicorn; standard texts John Ford, This is Orson Welles; and was a recurring guest-star on the popular HBO series The Sopranos.

Peter Bogdanovich

Eileen Brennan (1932-2013)

  • By Peter Bogdanovich
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  • November 7, 2013 3:30 PM
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  • 2 Comments
The following was written for the Eileen Brennan Memorial, which was held in Los Angeles last week; I was unable to be there, but the piece was read at the event.

Luciano Vincenzoni (1926-2013)

  • By Peter Bogdanovich
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  • October 9, 2013 5:46 PM
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  • 40 Comments
What's the big difference between Sergio Leone's A Fistful of Dollars and the sequel, For A Few Dollars More? The sequel is infinitely better because it has a lot of humor, missing in the first film, which was a flat-out rip-off of Akira Kurosawa's Eastern western, Jojimbo. And what makes Leone's The Good, The Bad, and The Ugly the best of the three? It's even funnier, wittier. Now who was responsible for this much-needed comic vision? A brilliant Italian screenwriter named Luciano Vincenzoni, who also contributed to a number of Italian classics (like Seduced and Abandoned and The Birds, The Bees, and the Italians) directed by the great director-actor Pietro Germi.

The Raoul Walsh File - Part 6

  • By Peter Bogdanovich
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  • September 30, 2013 12:49 PM
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  • 6 Comments

The Raoul Walsh File - Part 5

  • By Peter Bogdanovich
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  • September 17, 2013 3:33 PM
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  • 3 Comments

The Raoul Walsh File - Part 4

  • By Peter Bogdanovich
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  • August 28, 2013 9:39 AM
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  • 9 Comments

The Raoul Walsh File - Part 3

  • By Peter Bogdanovich
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  • August 18, 2013 12:00 PM
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  • 9 Comments

The Raoul Walsh File - Part 2

  • By Peter Bogdanovich
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  • July 22, 2013 1:39 PM
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  • 2 Comments

Design for Living (1933)

  • By Peter Bogdanovich
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  • July 7, 2013 12:35 PM
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  • 3 Comments
Ernst Lubitsch's movie version of Noel Coward's hit stage comedy has always had a certain stigma attached to it, because Lubitsch and the ace writer, Ben Hecht, had had the temerity to use only one single line from the play and to totally alter the construction of the piece. They kept the basic premise---two men and one woman carry on an extended menage a trois---and several plot points, but otherwise they basically re-envisioned the entire story, even changing the names of the characters.

The Raoul Walsh File - Part 1

  • By Peter Bogdanovich
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  • June 23, 2013 1:49 PM
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  • 9 Comments
With pretentious films all the rage today---pictures told backward, jumbled chronology, jittery camera, rapid-fire editing throughout, confusing story-lines, tons of special effects---I often find myself saying (out loud sometimes), "Where the hell is Raoul Walsh when we need him!?" Because Walsh (1887-1980) was the epitome of good, solid, craftsmanlike, unobtrusive, vigorous and forthright picturemaking. In the best American tradition. To say that I miss this is an understatement.

At Long Last: The Definitive Version of "At Long Last Love"

  • By Peter Bogdanovich
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  • June 6, 2013 10:00 AM
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  • 43 Comments
Way back in 1975, 20th Century-Fox released a musical comedy I had written and directed, which was suggested by, and consisted of, numerous songs by Cole Porter. Like the recent Les Miserables, all the singing was performed live---as opposed to lip-syncing pre-recorded tracks---and a great many of the numbers were done in long, continuous shots, without much cutting. It was actually the first time anyone had done a musical live like that since the early '30s. The studio loved the dailies, and rushed to get a great New York booking at the glorious Radio City Music Hall. Unlike all original Broadway musicals, which preview out-of-town for weeks sometimes, we had exactly two previews and consequently were never able to get the picture into the right balance between songs and dialog scenes---which is the toughest and most important thing to perfect in a musical---and so we were rushed into opening a show that really wasn't ready at all.

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  • The Orson Welles File - Part 4