The Steel Helmet. 1951. USA. Directed by Samuel Fuller
These notes accompany the screenings of Samuel Fuller’s The Steel Helmet on May 2, 3, and 4 in Theater 2.
After many years of ambivalence, I have decided to like Sam Fuller (1911–1997).
Posts by Charles Silver
April 24, 2012
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An Auteurist History of Film
Charles Chaplin’s Limelight
Limelight. 1951. USA. Directed by Charles Chaplin
If Charles Chaplin‘s Modern Times is a poignantly graceful valediction to the silent cinema,
April 17, 2012
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An Auteurist History of Film
Max Ophuls’s Le Plaisir
Le Plaisir. 1952. France. Directed by Max Ophuls
Le Plaisir, like Charles Chaplin’s The Circus</a>, has suffered neglect over the years because it happens to be sandwiched in between two of its director’s most famous films.
April 10, 2012
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An Auteurist History of Film
Jean Renoir’s The River
These notes accompany the screenings of Jean Renoir’s The River on April 11, 12, and 13 in Theater 3.
The River is the eighth Jean Renoir film I have shown in this series—more than any other director.
April 3, 2012
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An Auteurist History of Film
Joseph Losey’s The Lawless
The Lawless. 1950. USA. Directed by Joseph Losey
These notes accompany the screenings of Joseph Losey’s </i>The Lawless</a> on April 4, 5, and 6 in Theater 3.</p>
August 9, 2011
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An Auteurist History of Film
Laurence Olivier’s Henry V
Henry V. 1944. Great Britain. Directed by Laurence Olivier
These notes accompany the screenings of Laurence Olivier’s Henry V on August 10, 11, and 12 in Theater 3.
I can’t recall an image of an auteur in action that is as stirringly visceral, dynamic, and, frankly, sexy, as Laurence Olivier’s Prince Hal in tights, rousing his army at Agincourt. (Mom, I don’t want to be cowboy or a policeman. I want to grow up to be an auteur!)
August 2, 2011
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An Auteurist History of Film
Jean Renoir’s The Southerner
The Southerner. 1945. USA. Directed by Jean Renoir
Jean Renoir (1894–1979) made six films during his American exile—all of them worthy projects—but the consensus is that The Southerner is the best.
July 26, 2011
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An Auteurist History of Film
Vincente Minnelli’s Meet Me in St. Louis
Meet Me in St. Louis. 1944. USA. Directed by Vincente Minnelli
These notes accompany the screenings of Vincente Minnelli’s </i>Meet Me in St. Louis</a> on July 27, 28, and 29 in Theater 2.</p>
Over the years, I have had three close friends who were so devoted to Vincente Minnelli (1903–1986) that they wrote extensively about the Meet Me in St. Louis director.
July 19, 2011
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An Auteurist History of Film
Otto Preminger’s Laura
Laura. 1944. USA. Directed by Otto Preminger
Last week I mildly berated Andrew Sarris for pretty much ignoring Michael Powell and Emeric Pressburger in his auteurist bible, The American Cinema. This week, with Laura by Otto Preminger (1905–1986), we have an example of just how influential Sarris was and is.
July 12, 2011
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An Auteurist History of Film
Michael Powell and Emeric Pressburger’s The Life and Death of Colonel Blimp
The Life and Death of Colonel Blimp. 1943. Great Britain. Directed by Michael Powell, Emeric Pressburger
These notes accompany the screenings of Michael Powell and Emeric Pressburger’s </i>The Life and Death of Colonel Blimp</a> on July 13, 14, and 15 in Theater 2.</p>
The idiosyncratic and overlapping careers of Michael Powell (1905–1990) and Emeric Pressburger (1902–1988) are arguably the strongest challenge to the auteur theory, which holds that a single artist, the director, is the primary creative force behind a film.
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