Peter Bogdanovich
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Connections, in both directions
The deranged mass murderer has of course been a regular figure in American cinema for nearly 50 years, ever since Peter Bogdanovich's 1967 directorial debut, Targets , a low-budget film inspired by the appalling incident on the University of Texas's Austin campus the previous year.
(The scene, reminiscent of Peter Bogdanovich’s Targets, is chilling in the wake of the Newtown, Conn., massacre; the movie’s big Pittsburgh premiere was canceled last weekend.)
Peter Bogdanovich followed up several ’70s successes — most notably Last Picture Show — with the notorious 1975 flop At Long Last Love, a blatant attempt to ape 1930s musicals.
On the other hand, in its best moments, in those quiet scenes when Stone flashes her eyes at no one in particular, or when the essential loneliness of Hollywood asserts itself — the H'wood of Nathanael West, Raymond Chandler, Raymond Carver, or Elmore Leonard — Chazelle's dream of finding love in Los Angeles can be seen briefly, in between the echoes of At Long Last Love, as the gentlest of tone poems.
With the exception of Peter Bogdanovich’s disastrous 1975 Cole Porter tribute, At Long Last Love, this approach hasn’t been used since the early sound era.
The one big thing he knows about Les Miz is that the songs should be performed live — recorded on the set, not in a studio before the shoot — as was the custom in Hollywood in the early sound era and was revived, not too fruitfully, in Peter Bogdanovich’s 1975 At Long Last Love.
Most famously, Peter Bogdanovich’s career-crippling At Long Last Love (1975) used the technique.
Peter Bogdanovich came a cropper doing this in At Long Last Love .
It first entered mainstream cinema in Peter Bogdanovich's early film Targets (inspired by Charles Whitman's killing spree on the University of Texas campus in 1966), and has since been seen in Michael Moore's Bowling for Columbine and Gus Van Sant's Elephant.
Laszlo Kovacs's black-and-white photography doesn't recall some nice little studio picture but "The Grapes of Wrath" with its gigantic, sorrowful landscapes.
The two kinds of Depression-era movies we remember best are the ones that ignored the Depression altogether and the ones like “ The Grapes of Wrath ” that took it as a subject.
It’s this father-son dynamic that drives the story and gives the movie its heart, with Hugh Jackman and Dakota Goyo striking up some great onscreen chemistry reminiscent of similar dramas like “Paper Moon” and “The Champ.”
Or maybe it is more like Paper Moon minus the Depression but with the addition of robots.
Based very loosely on a short story by I Am Legend author Richard Matheson , Real Steel in fact comes closer to road-bonding movies featuring children and hesitant papas: Paper Moon or Over the Top, say.
They also manage to weave their love of basketball into the drama (the film is set in the spring of 2012, drawing on an actual series of matches featuring Garnett’s Celtics team), which seems to embody their entire approach: Everything they do comes from a passion for their characters, their stories and their settings – a welcome throwback to the ’70s, when other Jewish New Yorkers like Alan J. Pakula, Jerry Schatzberg and Peter Bogdanovich were making character-driven dramas like “Klute,” “The Panic in Needle Park” and “The Last Picture Show.”
A decade earlier, Peter Bogdanovich had paid tribute to the great Western directors in The Last Picture Show by coupling the horizontal grandeur of their black and white shots with the straitening reality of small-town Texas life.
In some ways, “Wonder” feels like another “Mask,” the moving 1985 film about a teenage boy named Rocky with a skull deformity.
Peter Bogdanovich did it in “Mask” (1985), his straight-up tale of a teenager with a face of scowling strangeness who came to embrace the person he was.
His life up to now has not been easy despite his generally sunny attitude: He was born with a craniofacial disorder, which puts him, for comparison, in the same category as the Eric Stoltz character in the 1985 movie, Mask.
Comparisons will be made to Peter Bogdanovich's Mask, but where that film surrounds its goo with edgy surfaces, Wonder is full-on tender.
In fact, watching Statham in Mechanic: Resurrection made me think of a sequence in Peter Bogdanovich's documentary on John Ford, Directed By John Ford.
Essentially it is, like Bogdanovich's Targets , two movies in one.
Someone referred to this film as an “arthouse Paper Moon ,” but unlike Ryan and Tatum O’Neal, Mescal and Corio’s performances mainly rest on their ability to play off one another through their candid moments, whether teasing, a deep conversation, or lathering sunscreen or mud on one another.
With its gorgeous wheat-toned landscapes and its salutary nods to pictures such as “The Searchers,” “True Grit” and “Paper Moon,” “News of the World” finds its maker navigating the conventions of the western and the road movie with relative ease.
Unlike other films about confidence men such as “The Sting” or “Paper Moon”, the humor in “American Hustle” is conceptual rather than so old-fashioned as to rest on witty dialogue or farcical situations.
Inappropriately resembling Rocky Dennis from 1985's "Mask," Peter Sarsgaard (2009's " Orphan ") is delicious early on as an offbeat recluse and then goes bat-shit insane as he gets sucked to the dark side.
All but destined to cross paths again, the two find a reunion catalyst in one of Lecter's victims, an unbilled and unrecognizable Gary Oldman under mounds of makeup that gives him a passing resemblance to Eric Stoltz in Mask.
The Great Gatsby (2013)
Directed by Baz Luhrmann
influenced by The Last Picture Show (1971)
Characters
A couple of distant possibilities: Peter Bogdanovich recognized a Texas version of Daisy in Jacy in The Last Picture Show—and the poor dreamer launched himself on a Fitzgerald-like road to ruin by leaving his wife for the 21-year-old Cybill Shepherd and installing her in a mansion in Bel Air.
Her daughter is Moonee, played by Brooklynn Prince in one of the most stunningly assured screen debuts since Tatum O’Neal in “Paper Moon.”
Whether sitting on the Magic Castle’s picnic tables eating waffles smuggled out of the local diner by a friend or “Paper Moon“-ing their way around the more affluent hotels nearby peddling knock-off perfume, it’s gorgeous to see a mother-child relationship in which they both get such a conspiratorial kick out of each other.
It also allows for comedy in the interaction among Logan, Charles and the little girl, Laura, a la "Paper Moon."
No Country for Old Men (2007)
Directed by Joel Coen
influenced by The Last Picture Show (1971)
Themes
It's a Texan lament not heard since "The Last Picture Show."