Peter BogdanovichBlogdanovich 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.
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So Long, and Thanks for All the Films!
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Did Woody Allen Rip Off 'The Flintstones'?
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Peter Bogdanovich
The Crowd Roars
- March 31, 2012 12:16 PM
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When he was sixteen, and until he was about twenty-one, Howard Hawks helped build racing cars and drove them to earn a living, getting to know the sort of men drawn to this highly dangerous profession as well as the women attracted to them. He used all these first-hand experiences to create his fourth sound film—-made right after he had directed the original Scarface—-the now little-known, rarely-seen but fast-paced, exciting, quite typically Hawksian 1932 racing drama starring a young James Cagney in only his ninth picture (in less than three years), THE CROWD ROARS (still not available for home viewing, which is a shame Warner Bros. Video or their TCM arm hopefully will soon remedy; and not to be confused with the 1938 Robert Taylor boxing picture of the same title.)
Rebecca
- March 24, 2012 12:04 PM
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Alfred Hitchcock’s first American film was originally going to be about the sinking of the Titanic. When he arrived at the Port of New York in 1939, the producer David O. Selznick (who had signed the Englishman to a long-term contract) met him and immediately spirited Hitch off to the Brooklyn Navy Yard to see the ocean liner Selznick had bought to portray the doomed ship. Hitchcock told me that Selznick had said, “There you are, Hitch, make the most of it!” And, the director went on, he had thought to himself: “Let’s see now... ‘Make the most of it, make the most of it...’ I’ve got it! We’ll start on a close-up of a rivet, and pull back!”
Sullivan's Travels
- March 3, 2012 3:51 PM
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In 1941, the same extraordinary vintage year that saw the release of Orson Welles’ Citizen Kane, John Ford’s How Green Was My Valley, Howard Hawks’ Sergeant York and Ball of Fire, John Huston’s first film, The Maltese Falcon, Alfred Hitchcock’s Suspicion, Raoul Walsh’s High Sierra and The Strawberry Blonde, among other memorable films, came the third and fourth brilliant comedies in a row from America’s first writer-director of the sound era, the incomparable Preston Sturges. Early that year, there was Sturges’ scintillating romantic farce with Henry Fonda and Barbara Stanwyck, The Lady Eve; and right at the end, an utterly unique achievement—light, even slapstick, comedy that veers into heavy drama—about a pampered hit-making Hollywood movie director who decides to find out what life is really like out there and does, with a fateful vengeance in Sullivan’s Travels (available on DVD).
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