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Author Topic: Bogdanovich  (Read 21568 times)
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« Reply #30 on: June 16, 2007, 04:27:42 AM »

Then again, this guy dons a purple scarf around his neck and has been irrelevant for three decades.
Any man who wears a scarf, not just to keep cold away, is trying to look smarter than he is. At least that's my impression.

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« Reply #31 on: June 16, 2007, 11:57:43 AM »

I never liked Bogdanovich because of his prejudice towards Leone. Any so called film buff who completely hates one director's  body of work just because of a personal grudge is no film buff. I don't like Bogdanovich but I really enjoyed Paper Moon. Never saw any of his other work.

And besides, he always came across as some pompous ass for some reason.

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« Reply #32 on: June 16, 2007, 12:52:40 PM »

including a pretty good early 70s SW called "the Grand Duel", which recycles some of the supporting cast from the stagecoach sequence of DYS (I don't know if that's why some of the SW geeks feel that he probably handled the stagecoach sequence or what).

This is incorrect. Not one actor on the Stagecoach, in the stagecoach sequence of DYS, is from "The Grand Duel".

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« Reply #33 on: June 19, 2007, 04:41:24 PM »

Did anybody mention that he married the younger sister of his murdered wife?

Bogdonavich had ONE film in him: TARGETS.

A classic but that's about it.

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« Reply #34 on: June 19, 2007, 04:46:51 PM »

I just plain don't like the guy.


I heard many things about Targets but never saw it. The only one of his films I saw was Paper Moon, and I enjoyed it. But I still don't like the guy.

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« Reply #35 on: June 19, 2007, 08:45:38 PM »

He comes across as a pompus ass.

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« Reply #36 on: June 20, 2007, 03:58:23 AM »

I always liked him.

I'm sure he is a pompus ass, but I don't have to live/work with him. I think he enriched my movie-life by really caring about Ford, Welles & Hawks. I have all his books, they're fine. DIRECTED BY JOHN FORD was one of the earliest docs about a film maker. He did retrospectives and studied those cats because he liked them and their work. That work dates back to the silent era so I think Leone was just too hip for him. I heard here Bogdanovich was in a way a 'Tarantino of that time'. I'd rather say Leone was a Tarantino of that time (bigger of course Smiley): His films were popular but too strong, like some of Peckinpah's too, to be regarded at what they were: masterpieces. Visual feasts, new ground in terms of telling the 'old story' their own new way. And what a way! For Tarantino it was slightly easier, he went away with an Oscar and the Palm immediately. But I still have discussions with people who can't see that KILL BILL 1 for example is not to be judged by the (non existing) story, but by the way he directed / presented the scenes. Awesome. A reason why actors/directors like him so much, he celebrated the medium and he is the right man for it. Just like his hero Leone.

Bogdanovich comes from a complete different background. He worships the big American masters. Rightly so. I don't held it against him, that he never got all of what the film history has to offer. I work a bit like him too: I write for magazines & books, make features and documentaries. So I have to concentrate on certain people, of course the ones I like best, like Peckinpah, Leone, McQueen, Polanski and many more Smiley.

I'm sure I'm missing a lot that way. I like Fulci & Damiani for instance, but loath Franco & Castellari, so far. And I'm sure those made a couple of films too I could like... But to find those I won't screen their 50 films.

So the coupling of Bogdanovich and Leone was a big mistake from the start. Leone probably saw TARGETS when he was with Paramount the same year and probably DIRECTED BY JOHN FORD. He was guided by his heart I assume. An American, no matter the heritage, could never make an Italian western. Not even Tarantino. You can copy the food, but not the films. So they both just tried I guess. And Leone could never 'produce another director'. That's for sure. Another naive idea of Leone. To think another film maker would make a Leone-film while he was producing. Valerii tried nevertheless though, but then again he is Italian and could shout back in the same language.

One can dislike him because of the way he spoke about Leone, but he was never diplomatic about his speech. I kind of liked that, I like his interviews. And he does great imitations of Ford & Hawks. Awesome.

TARGETS is a favorite of many independents. Great story of how it was made. Come off very well too.
SHOW & PAPER MOON are great of course. As many of the New Hollywood pack he became arrogant and his projects mirrored that with failures. His private life surely helped messin' up his career: he fell in love with Sheppard during SHOW and left his long-time associate Polly Pratt. He then made movies for Cybill, thinking she was his Grace Kelly or Maureen O'Hara. His next girlfriend was murdered by her ex-lover. So I'm sure he was a little mixed-up. THose 70's were different, baby. Scorsese was so down he almost stayed down. But he came back. Others, like Bogdanovich and Friedkin, never really came back. Others even died, like Peckinpah.

He may be a prick. But I rather listen to him than to so-called movie-experts who never held a camera in their hands.
Just to dislike him because of the GIU LA TESTA incident would be too easy. Hawks didn't like THE WILD BUNCH, my favorite film. Then again RIO BRAVO is my No.3. One has to accept the fact that there are so many ways of doing your thing. Many dishes are not to be meant to be served at the same time.
His scarf is probably like Peckinpah's sun glasses, Stroheim's stick or Romero's scarf: something to hide behind, a lucky charm or the try to create an image. Fashion anyway. I don't judge the Italians because the 'important ones' tend to carry a pull-over, mostly little girls colors like purple, around their shoulders. But they never wear it, just carry it...

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« Reply #37 on: June 01, 2009, 05:54:05 PM »

Would be interesting to hear Bogdanovichs thoughts on this project. Perhaps on the rumoured upcoming MGM special edition dvd?

Here's his original 1973 article in New York Magazine:

Two Beeg Green Eyes

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« Reply #38 on: June 04, 2009, 02:51:57 PM »

today's quiz:

didya know that Mike Siegel and I "collaborated" on an article about Italian Westerns- one in particular?.
It's true.
can you name the film?

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« Reply #39 on: June 04, 2009, 11:20:00 PM »

I really like Targets, I didn't think PB was capable of pulling that off (it doesn't hurt having Sam Fuller giving re-writes). That's not to say that Paper Moon, Show, or anything else is void of merit, they're more suited for his style. My opinion of him has softened a bit, but his treatment of Leone is still very bothersome.

The circumstances surrounding the making of Targets is unbelievable. Basically Roger Corman told PB that he needed a film with Boris Karloff on set for 12 days or something close. Also, he needed to incorporate 20 minutes of his last film made with Karloff into the picture. Bogdanovich had the idea for the opening (which is fantastic, even if borrows a bit from Contempt, maybe others I'm forgetting), was suggested by a colleague to make a film about the Austin, Texis Watchtower massacre, wrote the script and had Fuller re-write the thing for him. That's crazy.

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« Reply #40 on: April 25, 2015, 03:18:43 PM »

http://www.dvdbeaver.com/film5/blu-ray_reviews_67/paper_moon_blu-ray.htm

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« Reply #41 on: April 26, 2015, 08:56:10 AM »

I just read mike siegel's very interesting post on Bogdanovich.

But I believe mike is wrong in his implication that Bogdanovich only liked the American filmmakers. Sure, he loved Hawks and Welles and Ford, but he has said that the greatest of them all may be Renoir. His interview book may have been with almost all Americans (including many who began in Europe but then came (or fled) to America) but that's probably largely because he can't interview foreign filmmakers if he doesn't speak their language. Bogdanovich may have grown up with American films and disagreed with the nerdy critics of the time who thought only European movies were art, but I believe Bogdanovich is knowledgeable and admiring of European film(makers), not just American.

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« Reply #42 on: April 27, 2015, 04:33:04 AM »

Of course I don't think Bogdanovich only appreciates three single film makers...
Any serious cineast at least admires 100 people working with films. Or 200...
Yesterday I watched JEUX INTERDITES (Rene Clement, 1952) for the very first time.
One of the best films ever made. I'm happy I still have fantastic classic films to discover.

But you have to stop somewhere. I was even shocked when I saw HOW MUCH I wrote up there.
Must have been a lousy month work-wise for me, if I had THAT MUCH time left to defend ol' Peter Smiley.

TARGETS is of course my favorite Smiley. I saw it in a cinema in 1979, I was quite taken by it being 12 years old.
Great example of pure film making - without much money available, like DUEL... It was a great time for film making.
PAPERMOON, LAST PICTURE SHOW and THE MASK are great too. Too bad he lost it a little bit
in the mid 70s. But so did many of the other star directors of the 70s (NEW YORK,NEW YORK; CONVOY; QUINTETT...)

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« Reply #43 on: April 27, 2015, 05:18:31 AM »

Yesterday I watched JEUX INTERDITES (Rene Clement, 1952) for the very first time.


Sheeet, I missed it. Completely forgot about it yesterday evening.

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« Reply #44 on: April 27, 2015, 09:08:56 AM »

I bought the blu-ray hours later... a buy you won't regret!

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