- Copertina flessibile
- Editore: Univ of Chicago Pr (T); Reprint edizione (marzo 1986)
- Lingua: Inglese
- ISBN-10: 0226735001
- ISBN-13: 978-0226735009
- Peso di spedizione: 386 g
The American Cinema: Directors and Directions 1929-1968 (Inglese) Copertina flessibile – mar 1986
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Book by Sarris Andrew
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There's some things to quibble about (I never could see why he thought so highly of Blake Edwards, but I keep trying because I trust his insight. Even Sarris can change his mind as he did on Billy Wilder a few years back).
If you are a film buff and have not discovered his work (also recommended:
Confessions of a Cultist; The John Ford Mystery Book; You Ain't Seen Nothing Yet are among the best) start here. That goes double if you experience guilty pleasure and see things no one else does in people like Anthony Mann, Michael Powell, Sam Fuller, Max Ophuls, Budd Boetticher or James Whale. I have often given this book as a gift to film loving friends. It opens a world of discovery and rapport when a friends "gets it" and suddenly, you both have a shared sensibility and frame of reference.
Also, check out his website for yearly top ten lists and also the work of his wife Molly Haskell (especially good on Howard Hawks).
Surely no one would argue that Mr. Sarris is very erudite and an excellent writer very similar, in fact, to David Thompson. These characteristics may sway many even though his opinions may be erroneous. Although true that various directors’ works are reevaluated, it is hard to conceive that Billy Wilder was not recognized as an important director. I know that he later admitted this transgression and corrected himself. Still other now esteemed directors such as Sidney Lumet, John Huston, Elia Kazan, and Stanley Kubrick are not given their true value. He stated that Robert Mulligan never directed an entirely satisfactory film yet he helmed one of the great films of the sixties “To Kill a Mockingbird. “. In Sarris’ defense some of the artists’ better films were yet to be made. I was impressed that he recognized Francis Coppola’s talent before “The Godfather.”
In summary, “The American Cinema” is interesting to read in its historical context. It is not a reliable reference book due to its antiquated inaccuracies and the cursory treatment of many of the subjects covered. Mr. Sarris’ scholarly approach is impressive but does not convince with his incorrect assessments of several directors of major talent.