Word: auteurism
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Dates: during 1980-1989
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...doubt about it, Tucker was Coppola's kind of guy, a figure no more able to contain himself within the bounds of realism than the director is. Or suitable for representation by realistic means. Tucker was an expressionistic character in search of an auteur. A self-educated backyard inventor, he designed a high-speed armored car that the Army deemed impractical and a gun turret that it learned to love during World War II. Tucker used the prototype of the armored car (according to the film) to make ice-cream runs with his kids. The reputation he gained from...
...streets. True Californians, he and his partner never think to get out and run for cover. But then, this picture's soul is located 400 miles south, in the Los Angeles movie industry, where metaphorical backstabbing is business as usual. "It's not a rip-off," says the slasher auteur about his latest film. "It's a homage." That must make The Dead Pool a homage to every action thriller since Little Caesar. It is also, with its clued-in cynicism and some snazzy repartee, maybe the best movie ever directed by a man named Buddy. And it surely proves...
Dirty Harry is no complainer. He is genial with strangers, patient with the press. And in a movie-mad country where the names of directors like Sydney Pollack and Carl Dreyer appear on the tiles of France's favorite TV game show, La Roue de la Fortune, Eastwood the auteur is an imposing ambassador for American star quality. It so happens that the film he brought to Cannes, which he directed but does not appear in, is no great shakes. It meanders like a 2- hr. 43-min. sax solo by one of Parker's lesser disciples, and it never...
European filmmakers often view Hollywood as an artistic Alcatraz where slaves to convention are blinkered from the ferment of the outside world. In the '60s, as a prodigy auteur with the smartest, most restless camera style in the business, Bertolucci was a charter member of the first generation of directors who were bred to break the rules of narrative film. Before the Revolution (1964) and The Conformist (1970) swooned with infatuation for radical politics and complex storytelling. With Last Tango in Paris (1972), Bertolucci looked to have conquered Hollywood on his own terms. Its desperate, soft-core...
...performers are tops, from Jack Nicholson as the sour, imposing anchorman who strides through a newsroom decimated by layoffs muttering, "and all because they couldn't program Wednesday nights," to the three principals. Actor-Auteur Albert Brooks (who cast Jim Brooks -- no relation -- in his own second film, Modern Romance) is the all-time appealing schlemiel, notably in a laugh-nightmare when he anchors the network news and sweats his career down the tubes. (Says one appalled technician: "This is more than Nixon ever sweated.") Hurt is neat too, never standing safely outside his character, always allowing Tom to find...