Word: auteurism
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Dates: during 1970-1979
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...libretto was a piece of hack work from a Parisian scenario factory run by an enterprising auteur of sorts named Eugene Scribe. Having just successfully completed Rigoletto and La Traviata with Italian Librettist Francesco Maria Piave, Verdi despised the messy French text with the passion he brought to everything...
...financial auteur, Aubrey may have deserved an Oscar. When he arrived. MGM was losing $35 million for the year, was $80 million in debt and faced a $70 million write-off from movie disasters. By fiscal 1973 the debt had been cut to $30 million and the firm earned $8.1 million in the first nine months of the year. Why, then, did Aubrey leave? For one thing, profits this year are running one-third behind last year's pace, and Kerkorian was growing impatient. Chief reasons for the falloff: MGM's recent movies (The Man Who Loved...
Truffaut's earlier films, by contrast, pioneered new commercial arrangements at the same time as they advanced the idea of the director as auteur. Truffaut, at the head of the New Wave, developed the low-budget, non-studio film. Even now, in deciding to leave film-making for a couple of years, one of Truffaut's stated reasons is to learn English: he wants control over the economically necessary English versions. But there is a coinciding individual need, the auteur's need, at this stage of his career, to resolve his idea of himself and his future films...
...AUTEUR THEORIES OF film have always been closely linked to a study of the expressive self, and for Truffaut the Doinel films, The Wild Child, with its version of natural man, and Fahrenheit 451, a view of the individual in a repressive dystopia, are all tied to this theme. Now he has made what seems to be seem kind of auteur ultimate: a film where the director is himself the individual studied. Comparisons with Fellini's 8 1/2 are hard to avoid, and they are not to the advantage of Truffaut's film. Truffaut has even borrowed Fellini's peculiar...
...theaters. Pick up a schedule because the Welles holds week long festivals at least one of which will be worth planning ahead for. Cambridge's other three theaters--the Brattle, the Harvard Square, and the Central are all under the same ownership. The Brattle specializes in classic, popular and auteur revivals--Cagney and Bogart will be big there this summer. Harvard Square usually features first run films about six months after their original distribution--so if you can't afford Tango now, or if you refuse on principle to pay the $4.50 asking price, wait a while...