The New York-centric movie world—of independent, director-centered, director-inspired filmmaking—bears the mark of Peter Bogdanovich’s genius, tnyfrontrow writes.
, and, in 1963, with Alfred Hitchcock. These screenings, along with the symbolism of the entry into the museum’s ranks of three of the greatest filmmakers who were also Hollywood directors—and who were still working at the time—were something of a slow-motion coming-out party for the notion of Hollywood as a hotbed of directorial artistry.
Peter Bogdanovich’s directorial artistry reached its zenith in a trio of stylized films in the nineteen-seventies.It’s hard to imagine how peculiar that idea seemed then, how controversial it was, at a time when most prominent critics made a hard-and-fast distinction between art films made in Europe and commercial films made in Hollywood.
Bogdanovich was more than a precocious programmer. He was a precocious artist whose early activity in the theatre foreshadowed his cinematic vocation. He started a journalistic career writing about films and filmmakers, and, in 1964, he and his first wife, Polly Platt, went to Hollywood in order to have greater access to his heroes of the industry. He was soon recruited by the low-budget producer Roger Corman, first to write scripts, then to direct.
Bogdanovich’s directorial artistry reached its zenith in a trio of even more stylized films. The first of them, the comedy “
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