Month: October 2011 (Page 2 of 2)

theFilmsaurus recommendations 10/25

Today’s Year is 1972.

Today’s Top Tier selection is Ulzana’s Raid (dir: Robert Aldrich)

Ulzana's Raid (Robert Aldrich)

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Directors Who Can Do No Wrong #9: Orson Welles

From an auteurist standpoint, the great directors have the power to transform bad, lackluster, or cliched material into great art. But even the mightiest directors have had a few duds. Robert Altman’s Quintet is ignored by almost everyone; stalwart Fordians do not look kindly upon Born Reckless; even the hardcore Hawksians consider Trent’s Last Case to be without merit. (There is also some disagreement regarding A Song is Born.) Hitchcock had Juno and the Paycock, and Michael Mann probably doesn’t like to think about The Keep.

It’s quite rare, then, that a filmmaker (or, occasionally, a filmmaking team) should pitch a no-hitter, from start to finish. Here’s a list of ten. For sanity’s sake we are grading on a slight curve: feature filmmakers only, their documentary work (if any) doesn’t count, nor do their shorts, TV episodes, and “etc” work.

9. Orson Welles

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theFilmsaurus Recommendations 10/24

Today’s Year is 1959.

Today’s Top Tier selection is Fires on the Plain (dir: Kon Ichikawa)

Nobi aka Fires on the Plain

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Directors Who Can Do No Wrong #10: Jacques Tati

From an auteurist standpoint, the great directors are frequently the ones that have the power to transform bad, lackluster, or clichéd material into great art. Even the mightiest directors, however, have a few black marks on their transcript. Robert Altman’s Quintet is almost universally detested or ignored; stalwart Fordians do not look kindly upon Born Reckless; even the hardcore Hawksians consider Trent’s Last Case to be without merit. (There is some disagreement regarding A Song is Born.) Hitchcock had Juno and the Paycock, and Michael Mann probably doesn’t like to think about The Keep.

It’s quite rare, then, that a filmmaker should pitch a no-hitter, from start to finish. Over the next week and a half, we’ll highlight ten who did exactly that. For sanity’s sake we are grading on a slight curve: fiction feature filmmakers only. Their documentary work (if any) won’t t count, nor will their one- or two-reel shorts, TV episodes, or “etc” work.

Jour de fête (1949)

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