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Circles and Squares
Author(s): Pauline Kael
Source: Film Quarterly, Vol. 16, No. 3, (Spring, 1963), pp. 12-26
Published by: University of California Press
Stable URL: http://www.jstor.org/stable/1210726
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12
PAULINE KAEL
C i r c l e s a n d
Squa r e s
In
1957, i n the Pa r i s
mon thl y
"C a hi e r s d u
C i n e ma ,"
Fr a n goi s Tr uffa ut
pr opos e d for the
ma ga zi n e
a
"pol i ti que
d e s
a ute ur s "--a pol i c y of foc us s i n g c r i ti c i s m
pr i ma r i l y upon d i r e c tor s , a n d
s pe c i fi c a l l y upon
c e r ta i n c hos e n d i r e c tor s whos e
i n d i vi d ua l i ty of s tyl e qua l i fi e d the m, i n the
e ye s of
the C a hi e r s "te a m," a s
"a ute ur s "'--c r e a tor s
i n the
pe r s on a l
s e n s e we
a c c e pt for othe r a r ts . Thi s d oc tr i n e
ga l va n i ze d
the "C a hi e r s "
pol e mi c i s ts , a n d l e n t s ome
of the i mpe tus whi c h
he l pe d
Tr uffa ut,
God a r d , a n d
ma n y
othe r
youn g
me n br e a k
thr ough a s
fi l m-ma ke r s
(a n d a s pi r i n g "a ute ur s "). In the ye a r s s i n c e the n , the d oc tr i n e
ha s
ga i n e d a d he r e n ts i n
En gl a n d , c hi e fl y a r oun d the ma ga zi n e "Movi e ," a n d to s ome
e xte n t i n the Un i te d Sta te s , thr ough
the "Ne w Yor k Fi l m Bul l e ti n " a n d
"Fi l m C ul tur e ." In i ts home l a n d the
pol i ti que
ha s l e d to
ma n y pe c ul i a r jud gme n ts ,
e s pe c i a l l y of
Ame r i c a n
fi l m-ma ke r s :
i t i s Sa mue l Ful l e r , Ni c hol a s
Ra y,
a n d Otto
Pr e mi n ge r
who
fi gur e
a s the
god s of thi s n e w
pa n the on . The r e s ul ts
upon e xpor t
a r e
tur n i n g
out to be e ve n mor e
pe c ul i a r
on oc c a s i on . The ti me s e e ms
r i pe ,
the r e for e , for a d i r e c t e xa mi n a ti on
of the
An gl o-Sa xon ve r s i on
of the
"pol i ti que d e s
a ute ur s ." Is i t,
i n
fa c t, a n e w a n d
s ti mul a ti n g a ppr oa c h
to
fi l ms ,
whi c h
ought
to
d i s pl a c e the tr a d i ti on of c r i ti c i s m
d e ve l ope d by
the
"Se que n c e " a n d
"Si ght
&
Soun d " wr i te r s ? Pa ul i n e Ka e l
offe r s
a
r e s oun d i n g n e ga ti ve vi e w; a n d we
a n ti c i pa te
i n our n e xt i s s ue a
r e joi n d e r by
An d r e w
Sa r r i s , i n whos e
wr i ti n gs the
pol i ti que
ha s ha d i ts mos t e xte n d e d a n d
thoughtful Ame r i c a n
pr e s e n ta ti on .
JOYS AND SARRIS
"....
the fi r s t pr e mi s e of the a ute ur the or y i s the
te c hn i c a l c ompe te n c e of a d i r e c tor a s a c r i te r i on
of va l ue .... The s e c on d pr e mi s e of the a ute ur
the or y i s the d i s ti n gui s ha bl e pe r s on a l i ty of the
d i r e c tor a s a c r i te r i on of va l ue
....
The thi r d a n d
ul ti ma te pr e mi s e of the a ute ur the or y i s c on c e r n e d
wi th i n te r i or me a n i n g, the ul ti ma te gl or y of the
c i n e ma a s a n a r t. In te r i or me a n i n g i s e xtr a pol a te d
fr om the te n s i on be twe e n a d i r e c tor 's pe r s on a l i ty
a n d hi s ma te r i a l ."
-An d r e w Sa r r i s , "Note s on the Aute ur The or y
i n 1962," Fi l m C ul tur e , Wi n te r 62/3
"Some ti me s a gr e a t d e a l of c or n mus t be
hus ke d to yi e l d a fe w ke r n e l s of i n te r n a l
me a n i n g. I r e c e n tl y s a w Eve r y Ni ght a t
Ei ght, on e of the ma n y ma d d e n i n gl y r ou-
ti n e fi l ms Ra oul Wa l s h ha s d i r e c te d i n hi s
l on g c a r e e r . Thi s 1935 e ffor t fe a tur e d
Ge or ge Ra ft, Al i c e Fa ye , Fr a n c e s La n gfor d
a n d Pa ts y Ke l l y i n on e of thos e fa mi l i a r
pl ots a bout r a d i o s hows of the pe r i od . The
fi l m ke e ps movi n g a l on g i n the pl e a s a n tl y
un pr e te n ti ous ma n n e r on e woul d e xpe c t of
Wa l s h un ti l on e
i n c on gr uous l y i n te n s e s c e n e
wi th Ge or ge Ra ft
thr a s hi n g a bout i n hi s
C IRC LES AND SQUARES 13:
s l e e p, r e ve a l i n g hi s i n n e r fe a r s i n mumbl i n g
d r e a m ta l k. The gi r l he l ove s c ome s i n to
the r oom i n the mi d s t of hi s un c on s c i ous
a vowa l s of fe e l i n g, a n d l i s te n s s ympa the ti -
c a l l y. Thi s un us ua l s c e n e wa s
l a te r
a mpl i -
fi e d i n Hi gh Si e r r a wi th Humphr e y Boga r t
a n d Id a Lupi n o. The poi n t i s tha t on e of the
s c r e e n 's mos t vi r i l e d i r e c tor s e mpl oye d a n
e s s e n ti a l l y fe mi n i n e n a r r a ti ve d e vi c e to
d r a ma ti ze the e moti on a l vul n e r a bi l i ty of
hi s he r oe s . If I ha d n ot be e n a wa r e of
Wa l s h i n Eve r y Ni ght a t Ei ght, the c r uc i a l
l i n k to Hi gh Si e r r a woul d ha ve pa s s e d un -
n oti c e d .
Suc h a r e the joys of
the a ute ur
the or y." Sa r r i s , i bi d .
Pe r ha ps
a l i ttl e mor e c or n s houl d be hus ke d ;
pe r ha ps , for
e xa mpl e , we c a n hus k a wa y the
wor d "i n te r n a l " (i s "i n te r n a l
me a n i n g" a n y
d i ffe r e n t fr om
"me a n i n g"?). We
mi ght a s k
why the l i n k i s "c r uc i a l "? Is i t be c a us e the
d e vi c e wa s
"i n c on gr uous l y i n te n s e " i n
Eve r y
Ni ght a t Ei ght a n d s o d e mon s tr a te d a tr y for
s ome thi n g d e e pe r on Wa l s h's
pa r t? But i f hi s
me r i t i s hi s
"pl e a s a n tl y un pr e te n ti ous ma n n e r "
(whi c h i s to
s a y,
I
s uppos e , tha t, r e c ogn i zi n g
the l i mi ta ti on s of the
s c r i pt, he wa s n 't
tr yi n g
to d o
muc h) the n the
i n c on gr uous d e vi c e wa s
pr oba bl y a mi s c on c e i ve d
a tte mpt tha t d i s -
tur be d the ma n n e r -l i ke a ba d
pl a ywr i ght
i n -
te r r upti n g a
c ome d y s c e n e be c a us e he c a n n ot
r e s i s t the
oppor tun i ty to
tug a t your he a r t-
s tr i n gs . We
mi ght a l s o a s k
why thi s n a r r a ti ve
d e vi c e i s
"e s s e n ti a l l y fe mi n i n e ": i s i t mor e fe m-
i n i n e
tha n ma s c ul i n e to be
a s l e e p, or to ta l k
i n on e 's
s l e e p, or to r e ve a l
fe e l i n gs ? Or , pos -
s i bl y, d oe s Sa r r i s
r e ga r d the d e vi c e a s fe mi n i n e
be c a us e the
l i s te n i n g woma n be c ome s a
s ym-
pa the ti c fi gur e a n d e moti on a l
un d e r s ta n d i n g i s ,
i n thi s "vi r i l e " c on te xt, a s s ume d to be e s s e n -
ti a l l y fe mi n i n e ?
Pe r ha ps on l y i f on e
a c c e pts the
n a r r ow n oti on s of
vi r i l i ty s o c ommon i n our
a c ti on fi l ms c a n thi s
s e que n c e be s e e n a s
"e s s e n ti a l l y fe mi n i n e ," a n d i t i s
a mus i n g tha t
a c r i ti c c a n both
s uppor t the s e c l i c h6s of the
ma l e wor l d a n d be s o
ha ppy whe n
the y a r e
vi ol a te d .
Thi s i s how we
mi ght qui bbl e wi th a d i ffe r -
e n t ki n d of c r i ti c but we woul d n e ve r
ge t a n y-
whe r e wi th Sa r r i s i f we tr i e d to e xa mi n e wha t
he i s s a yi n g s e n te n c e by s e n te n c e .
So l e t us a s k, wha t i s the me a n i n g of the
pa s s a ge ? Sa r r i s ha s n oti c e d tha t i n Hi gh Si e r r a
(n ot a ve r y good movi e ) Ra oul Wa l s h r e pe a te d
a n un i n te r e s ti n g a n d obvi ous d e vi c e tha t he
ha d e a r l i e r us e d i n a wor s e movi e . An d for
s ome i n e xpl i c a bl e r e a s on , Sa r r i s c on c l ud e s tha t
he woul d n ot ha ve ha d thi s joy of d i s c ove r y
wi thout the a ute ur the or y.
But i n e ve r y a r t for m, c r i ti c s tr a d i ti on a l l y
n oti c e a n d poi n t out the wa y the a r ti s ts bor -
r ow fr om the ms e l ve s (a s we l l a s fr om othe r s )
a n d how the s a me d e vi c e s , te c hn i que s , a n d
the me s r e a ppe a r i n the i r wor k. Thi s i s obvi ous
i n l i s te n i n g to mus i c , s e e i n g pl a ys , r e a d i n g
n ove l s , wa tc hi n g a c tor s , e tc .; we ta ke i t for
gr a n te d tha t thi s i s how we pe r c e i ve the d e ve l -
opme n t or the d e c l i n e of a n a r ti s t (a n d i t ma y
be n e c e s s a r y to poi n t out to a ute ur c r i ti c s tha t
r e pe ti ti on wi thout d e ve l opme n t i s d e c l i n e ).
Whe n you s e e Hi tc hoc k's Sa bote ur the r e i s n o
d oubt tha t he d r e w he a vi l y a n d c l ums i l y fr om
The 39 Ste ps , a n d whe n you s e e Nor th by
Nor thwe s t you c a n s e e tha t he i s on c e a ga i n
toyi n g wi th the i n gr e d i e n ts of The 39 Ste ps -
a n d a ppa r e n tl y ha vi n g a good ti me wi th the m.
Woul d Sa r r i s n ot n oti c e the r e pe ti ti on i n the
Wa l s h fi l ms wi thout the a ute ur the or y? Or
s ha l l we ta ke the mor e c yn i c a l vi e w tha t wi th-
out s ome c ommi tme n t to Wa l s h a s a n a ute ur ,
he pr oba bl y woul d n 't be
s pe n d i n g hi s ti me
l ooki n g a t the s e movi e s ?
If we ma y be pe r mi tte d a l i te r a r y a n a l ogy,
we c a n vi s ua l i ze Sa r r i s
r e s e a r c hi n g i n the
a r c hi ve s of The
Sa tur d a y Eve n i n g Pos t, tr a c i n g
the d e ve l opme n t of C l a r e n c e
Bud i n gton Ke l -
l a n d , who, by the
a ppl i c a ti on of
s ome thi n g l i ke
the a ute ur
the or y, woul d
e me r ge a s a muc h
mor e
i mpor ta n t wr i te r tha n
Dos toye vs ky; for
i n Ke l l a n d 's c a s e Sa r r i s ' thr e e c i r c l e s , the thr e e
pr e mi s e s of the a ute ur
the or y, ha ve be e n c on -
s i s te n tl y c on gr ue n t. Ke l l a n d i s
te c hn i c a l l y c om-
pe te n t
(e ve r l
"pl e a s a n tl y un pr e te n ti ous "), n o
wr i te r ha s a mor e
"d i s ti n gui s ha bl e pe r s on a l i ty,"
a n d i f "i n te r i or
me a n i n g" i s wha t c a n be
e xtr a p-
ol a te d fr om, s a y Ha ta r i ! or Ad vi s e a n d C on -
s e n t or Wha t Eve r
Ha ppe n e d to
Ba by
Ja n e ?
14 SC IRC LES AND SQUARES
the n s ur e l y Ke l l a n d 's s tor i e s wi th the i r a tte mpts
to for c e a bi t of c ha r a c te r a n d humor i n to the
fa mi l i a r
pl ot outl i n e s a r e l oa d e d wi th i t. Poor
mi s gui d e d Dos toye vs ky, too ful l of wha t he
ha s to s a y to bothe r wi th "te c hn i c a l
c ompe -
te n c e ," ta c kl i n g i mpor ta n t the me s i n e a c h
wor k
(s ur e l y the wor s t c r i me i n the a ute ur
book) a n d wi th hi s a l mos t i n c r e d i bl e un i ty of
pe r s on a l i ty a n d ma te r i a l l e a vi n g you n othi n g
to
e xtr a pol a te fr om, he 'l l n e ve r ma ke i t. If
the e d i tor s of Movi e r a n ke d a uthor s the wa y
the y d o d i r e c tor s , Dos toye vs ky woul d pr ob-
a bl y be i n tha t a l mos t un touc ha bl e c a te gor y
of the "a mbi ti ous ."
It s houl d be poi n te d out tha t Sa r r i s ' d e fe n s e
of the a ute ur the or y i s ba s e d n ot on l y on
a e s the ti c s but on a r a the r od d
pr a gma ti c s ta te -
me n t: "Thus to
a r gue a ga i n s t
the a ute ur the or y
i n Ame r i c a i s to a s s ume tha t we ha ve
a n yon e
of Ba zi n 's s e n s i bi l i ty a n d d e d i c a ti on to
pr ovi d e
a n a l te r n a ti ve , a n d we s i mpl y
d on 't." Whi c h I
ta ke to me a n tha t the a ute ur the or y i s n e c e s -
s a r y
i n the a bs e n c e of a c r i ti c who woul d n 't
n e e d i t. Thi s i s a n e w a ppr oa c h to a e s the ti c s ,
a n d I
hope
Sa r r i s '
humi l i ty d oe s n ot c a mou-
fl a ge
hi s
d oubl e -e d ge d a r gume n t. If hi s a e s the t-
i c s i s ba s e d on
e xpe d i e n c y, the n i t
ma y be e x-
pe d i e n t to
poi n t out tha t i t ta ke s e xtr a or d i n a r y
i n te l l i ge n c e a n d d i s c r i mi n a ti on a n d ta s te to
us e a n y the or y i n the a r ts , a n d tha t wi thout
thos e
qua l i ti e s , a
the or y be c ome s a
r i gi d
for mul a (whi c h i s i n d e e d wha t i s
ha ppe n i n g
a mon g a ute ur c r i ti c s ). The gr e a tn e s s of c r i ti c s
l i ke Ba zi n i n Fr a n c e a n d Age e i n Ame r i c a ma y
ha ve s ome thi n g to d o wi th the i r
us i n g the i r
ful l
r a n ge
of
i n te l l i ge n c e a n d i n tui ti on , r a the r
tha n
r e l yi n g
on for mul a s . C r i ti c i s m i s a n a r t,
n ot a s c i e n c e , a n d a c r i ti c who fol l ows r ul e s
wi l l fa i l i n on e of hi s mos t
i mpor ta n t fun c ti on s :
pe r c e i vi n g
wha t i s
or i gi n a l a n d
i mpor ta n t i n
n e w wor k a n d he l pi n g othe r s to s e e .
"THE OUTER C IRC LE"
"....
the fi r s t pr e mi s e of the a ute ur the or y i s
the te c hn i c a l c ompe te n c e of a d i r e c tor a s a
c r i te r i on of va l ue ."
Thi s s e e ms l e s s the
pr e mi s e of a
the or y tha n
a c ommon pl a c e of jud gme n t, a s Sa r r i s hi ms e l f
i n d i c a te s whe n he pa r a phr a s e s i t a s , "A gr e a t
d i r e c tor ha s to be a t l e a s t a good d i r e c tor ."
But thi s c ommon pl a c e , though i t s oun d s r e a -
s on a bl e a n d ba s i c , i s a s ha ky pr e mi s e : s ome -
ti me s the gr e a te s t a r ti s ts i n a me d i um by-pa s s
or vi ol a te the s i mpl e te c hn i c a l c ompe te n c e tha t
i s s o n e c e s s a r y for ha c ks . For e xa mpl e , i t i s
d oubtful i f An ton i on i c oul d ha n d l e a r outi n e
d i r e c tor i a l a s s i gn me n t of the type a t whi c h
John Stur ge s i s s o pr ofi c i e n t (Es c a pe fr om For t
Br a vo or Ba d Da y a t Bl a c k Roc k), but s ur e l y
An ton i on i 's L'Avve n tur a i s the wor k of a gr e a t
d i r e c tor . An d the gr e a tn e s s of a d i r e c tor l i ke
C oc te a u ha s n othi n g to d o wi th me r e te c hn i c a l
c ompe te n c e : hi s gr e a tn e s s i s i n be i n g a bl e to
a c hi e ve hi s own pe r s on a l e xpr e s s i on a n d s tyl e .
An d jus t a s the r e we r e wr i te r s l i ke Me l vi l l e
or Dr e i s e r who tr i umphe d ove r va r i ous ki n d s
of te c hn i c a l i n c ompe te n c e , a n d who we r e , a s
a r ti s ts , i n c ompa r a bl y gr e a te r tha n the fa c i l e
te c hn i c i a n s of the i r d a y, a n e w gr e a t fi l m d i r e c -
tor ma y a ppe a r whos e
ve r y gr e a tn e s s i s i n hi s
s tr uggl i n g towa r d gr a n d e ur or i n ma s s i ve a c -
c umul a ti on of d e ta i l . An a r ti s t who i s n ot a
good te c hn i c i a n c a n i n d e e d c r e a te n e w s ta n d -
a r d s , be c a us e s ta n d a r d s of te c hn i c a l
c ompe -
te n c e a r e ba s e d on c ompa r i s on s wi th wor k
a l r e a d y d on e .
Jus t a s n e w wor k i n othe r a r ts i s ofte n
a tta c ke d be c a us e i t vi ol a te s the
a c c e pte d s ta n d -
a r d s a n d thus s e e ms c r ud e a n d
ugl y a n d i n -
c ohe r e n t, gr e a t n e w d i r e c tor s a r e ve r y l i ke l y
to be c on d e mn e d
pr e c i s e l y on the gr oun d s tha t
the y'r e n ot e ve n
good d i r e c tor s , tha t
the y d on 't
kn ow the i r "bus i n e s s ." Whi c h, i n s ome c a s e s ,
i s tr ue , but d oe s i t ma tte r whe n tha t "bus i n e s s "
ha s l i ttl e to d o wi th wha t
the y wa n t to
e xpr e s s
i n fi l ms ? It
ma y e ve n be a hi n d r a n c e , l e a d i n g
the m to ba n a l s l i c kn e s s , i n s te a d of
d i s c ove r y
of the i r own me thod s . For s ome , a t l e a s t,
C oc te a u
ma y be
r i ght: "The
on l y te c hn i que
wor th
ha vi n g i s the
te c hn i que you i n ve n t for
your s e l f." The d i r e c tor mus t be
jud ge d on the
ba s i s of wha t he
pr od uc e s
- hi s fi l ms - a n d
i f he c a n ma ke
gr e a t fi l ms wi thout
kn owi n g the
s ta n d a r d
me thod s , wi thout the us ua l c r a fts ma n -
s hi p of the
"good d i r e c tor ," the n tha t i s the
C IRC LES AND SQUARES :
15
wa y he wor ks . I woul d a me n d Sa r r i s ' pr e mi s e
to "In wor ks of a l e s s e r r a n k, te c hn i c a l c om-
pe te n c e c a n he l p to r e d e e m the we a kn e s s e s of
the ma te r i a l ." In fa c t i t s e e ms to be pr e c i s e l y
thi s
c a te gor y tha t the a ute ur c r i ti c s a r e mos t
i n te r e s te d i n - the r outi n e ma te r i a l tha t a
good
c r a fts ma n c a n ma ke i n to a fa s t a n d e n joya bl e
movi e . Wha t, howe ve r , ma ke s the a ute ur c r i ti c s
s o
i n c ompr e he n s i bl e , i s n ot the i r
pr e fe r e n c e for
wor ks of thi s
c a te gor y (i n thi s the y me r e l y
fol l ow the l e a d of c hi l d r e n who a l s o
pr e fe r
s i mpl e a c ti on fi l ms a n d we s te r n s a n d hor r or
fi l ms to wor ks tha t ma ke d e ma n d s on the i r un -
d e r s ta n d i n g) but the i r tr ul y a s ton i s hi n g i n -
a bi l i ty to e xe r c i s e ta s te a n d jud gme n t wi thi n
the i r a r e a of
pr e fe r e n c e . Movi e -goi n g ki d s a r e ,
I thi n k, muc h mor e r e l i a bl e gui d e s to thi s ki n d
of movi e tha n the a ute ur c r i ti c s : e ve r y ki d
I've ta l ke d to kn ows tha t
He n r y Ha tha wa y's
Nor th to Al a s ka wa s a
s ur pr i s i n gl y fun n y,
e n te r ta i n i n g movi e a n d Ha ta r i ! (c l a s s i fi e d a s a
"ma s te r pi e c e " by ha l f the C a hi e r s C on s e i l d e s
Di x, Pe te r
Bogd a n ovi c h, a n d othe r s ) wa s a
te r r i bl e bor e .
"THE MIDDLE C IRC LE"
"....
the s e c on d pr e mi s e of the a ute ur the or y
i s the d i s ti n gui s ha bl e pe r s on a l i ty of the
d i r e c tor a s a c r i te r i on of va l ue ."
Up to thi s
poi n t the r e ha s
r e a l l y be e n n o
the or y, a n d n ow, whe n Sa r r i s
be gi n s to wor k
on hi s foun d a ti on , the e n ti r e e d i fi c e of c i vi l i ze d
s ta n d a r d s of ta s te c ol l a ps e s whi l e he 's
ta c ki n g
d own hi s fl oor boa r d s .
Tr a d i ti on a l l y, i n
a n y a r t,
the pe r s on a l i ti e s of a l l thos e i n vol ve d i n a
pr o-
d uc ti on ha ve be e n a fa c tor i n
jud gme n t, but
tha t the
d i s ti n gui s ha bi l i ty of
pe r s on a l i ty s houl d
i n i ts e l f be a c r i te r i on of va l ue
c ompl e te l y c on -
fus e s n or ma l jud gme n t. The s me l l of a s kun k
i s mor e
d i s ti n gui s ha bl e tha n the
pe r fume of
a r os e ; d oe s tha t ma ke i t be tte r ? Hi tc hc oc k's
pe r s on a l i ty i s
c e r ta i n l y mor e
d i s ti n gui s ha bl e i n
Di a l M for Mur d e r , Re a r
Wi n d ow, Ve r ti go,
tha n C a r ol Re e d 's i n The Sta r s Look Down ,
Od d Ma n Out, The Fa l l e n Id ol , The Thi r d
Ma n , An Outc a s t
of the Is l a n d s , i f for n o othe r
r e a s on tha n be c a us e Hi tc hc oc k r e pe a ts whi l e
Re e d ta c kl e s n e w s ubje c t ma tte r . But how d oe s
thi s d i s ti n gui s ha bl e pe r s on a l i ty fun c ti on a s a
c r i te r i on for jud gi n g the wor ks ? We r e c ogn i ze
the ha n d s of C a r n 6 a n d Pr bve r t i n Le Jour s e
Love , but tha t i s n ot wha t ma ke s i t a be a uti ful
fi l m; we c a n jus t a s e a s i l y r e c ogn i ze the i r
ha n d s i n Qua i d e s Br ume s -whi c h i s n ot s uc h
a good fi l m. We c a n r e c ogn i ze tha t Le Pl a i s i r
a n d The Ea r r i n gs of Ma d a me De a r e both the
wor k of Ophul s , but Le Pl a i s i r i s n ot a gr e a t
fi l m, a n d Ma d a me De i s .
Ofte n the wor ks i n whi c h we a r e mos t a wa r e
of the pe r s on a l i ty of the d i r e c tor a r e hi s wor s t
fi l ms -whe n he fa l l s ba c k on the d e vi c e s he ha s
a l r e a d y d on e to d e a th. Whe n a fa mous d i r e c -
tor ma ke s a good movi e , we l ook a t the movi e ,
we d on 't thi n k a bout the d i r e c tor 's
pe r s on a l i ty;
whe n he ma ke s a s ti n ke r we n oti c e hi s fa mi l i a r
touc he s be c a us e the r e 's n ot muc h e l s e to wa tc h.
Whe n Pr e mi n ge r ma ke s a n
e xpe r t, e n te r ta i n i n g
whod un i t l i ke La ur a , we d on 't l ook for hi s
pe r s on a l i ty (i t ha s be c ome pa r t of the te xtur e
of the fi l m); whe n he ma ke s a n a tr oc i ty l i ke
Whi r l pool , the r e 's
pl e n ty of ti me to l ook for
hi s "pe r s on a l i ty" - i f tha t's your i d e a of a
good ti me .
It c oul d e ve n be a r gue d , I thi n k, tha t Hi tc h-
c oc k's un i for mi ty, hi s ma s te r y of tr i c ks , a n d
hi s c l e ve r n e s s a t
ge tti n g a ud i e n c e s to
r e s pon d
a c c or d i n g to hi s c a l c ul a ti on s - the fe e d ba c k
he wa n ts a n d ge ts fr om the m - r e ve a l n ot s o
muc h a pe r s on a l s tyl e a s a pe r s on a l the or y of
a ud i e n c e ps yc hol ogy, tha t hi s me thod s a n d
a ppr oa c h a r e n ot thos e of a n a r ti s t but a
pr e s ti -
d i gi ta tor . The a ute ur c r i ti c s
r e s pon d jus t a s
Hi tc hc oc k e xpe c ts the gul l i bl e to
r e s pon d . Thi s
i s n ot s o s ur pr i s i n g - ofte n the wor ks a ute ur
c r i ti c s c a l l ma s te r pi e c e s a r e on e s tha t s e e m to
r e ve a l the c on te mpt of the d i r e c tor for the
a ud i e n c e .
It's ha r d to be l i e ve tha t Sa r r i s
s e r i ous l y a t-
te mpts to a ppl y "the
d i s ti n gui s ha bl e pe r s on a l -
i ty of the d i r e c tor a s a c r i te r i on of va l ue " be -
c a us e whe n thi s pr e mi s e be c ome s
tr oubl e s ome ,
he jus t tr i e s to br a ze n hi s
wa y out of d i ffi c ul -
ti e s . For
e xa mpl e , n ow tha t
John Hus ton 's
16
C IRC LES
AND SQUARES
wor k ha s gon e
fl a t*
Sa r r i s c a s ua l l y d i s mi s s e s
hi m wi th: "Hus ton i s vi r tua l l y a for gotte n ma n
wi th a fe w a c tor s ' c l a s s i c s be hi n d
hi m,.."
If The Ma l te s e Fa l c on , pe r ha ps the mos t hi gh-
s tyl e thr i l l e r e ve r ma d e i n Ame r i c a , a fi l m
Hus ton both wr ote a n d d i r e c te d , i s n ot a d i r e c -
tor 's fi l m, wha t i s ? An d i f the d i s ti n gui s ha bl e
pe r s on a l i ty of the d i r e c tor i s a c r i te r i on of
va l ue , the n how c a n Sa r r i e s d i s mi s s the Hus ton
who c ome s
thr ough s o
un mi s ta ka bl y i n The
Tr e a s ur e
of the Si e r r a Ma d r e , The Afr i c a n
Que e n , or Be a t the De vi l , or e ve n i n a mud d l e d
Hus ton fi l m l i ke Ke y La r go? If the s e a r e
a c tor s '
movi e s , the n wha t on e a r th i s a d i r e c tor 's
movi e ?
Is n 't the a ute ur
the or y a hi n d r a n c e to c l e a r
jud gme n t of Hus ton 's movi e s a n d of hi s c a r e e r ?
Di s r e ga r d i n g the
the or y, we s e e s ome fi n e fi l m
a c hi e ve me n ts a n d we
pe r c e i ve a
r e ma r ka bl y
d i s ti n c ti ve d i r e c tor i a l ta l e n t; we a l s o s e e i n te r -
va l s of we a k, ha l f-he a r te d
a s s i gn me n ts l i ke
Ac r os s the
Pa c i fi c a n d In Thi s Our
Li fe . The n ,
a fte r Moul i n
Rouge , e xc e pt for the
bl e s s i n g of
Be a t the De vi l , we s e e a c a r e e r tha t
s pl utte r s
out i n a mbi ti ous fa i l ur e s l i ke
Moby Di c k a n d
c on fus e d
pr oje c ts l i ke The Roots
of He a ve n
a n d The Mi s fi ts , a n d
s tr i c tl y c omme r c i a l
pr oj-
e c ts l i ke He a ve n Kn ows , Mr . Al l i s on . An d thi s
ki n d of c a r e e r s e e ms mor e c ha r a c te r i s ti c of fi l m
hi s tor y, e s pe c i a l l y
i n the Un i te d
Sta te s , tha n
the
r i pe n i n g d e ve l opme n t a n d fi n a l
ma s te r y
e n vi s a ge d by the a ute ur
the or y
- a
the or y
tha t ma ke s i t a l mos t d e
r i ge ur to
r e ga r d Hi tc h-
c oc k's Ame r i c a n fi l ms a s
s upe r i or to hi s
e a r l y
En gl i s h fi l ms . Is Hus ton 's c a r e e r s o
d i ffe r e n t,
s a y, fr om Fr i tz
La n g's ? How i s i t tha t Hus ton 's
e a r l y good - a l mos t
gr e a t
-
wor k, mus t be
r e je c te d a l on g wi th hi s me d i oc r e r e c e n t wor k,
but Fr i tz La n g, be i n g s a n c ti fi e d a s a n a ute ur ,
ha s hi s ba d r e c e n t wor k pr a i s e d a l on g wi th hi s
good ? Empl oyi n g mor e us ua l n or ms , i f you
r e s pe c t the Fr i tz La n g who ma d e M a n d You
On l y Li ve On c e , i f you e n joy the e xc e s s e s of
s tyl e a n d the ma gn i fi c e n t a bs ur d i ti e s of a fi l m
l i ke Me tr opol i s , the n i t i s on l y good s e n s e to
r e je c t the ugl y s tupi d i ty of The Ti ge r of
Es c hn a pur botc h. It i s a n i n s ul t to a n a r ti s t to
pr a i s e hi s ba d wor k a l on g wi th hi s good ; i t
i n d i c a te s tha t you a r e i n c a pa bl e of jud gi n g
e i the r .
A fe w ye a r s a go, a fr i e n d who r e vi e we d
Je a n Re n oi r 's Un i ve r s i ty of C a l i for n i a pr od uc -
ti on of hi s pl a y C a r ol a , ha i l e d i t a s "a wor k of
ge n i us ." Whe n I a s ke d my fr i e n d how he c oul d
s o d e s c r i be thi s ve r y un for tun a te pl a y, he s a i d ,
"Why, of c our s e , i t's a wor k of ge n i us . Re n oi r 's
a ge n i us , s o a n ythi n g he d oe s i s a wor k of
ge n i us ." Thi s c oul d a l mos t be a c a ps ul e ve r s i on
of the a ute ur the or y (jus t s ubs ti tute Ha ta r i !
for C a r ol a ) a n d i n thi s r e d uc ti o a d a bs ur d um,
vi e wi n g a wor k i s s upe r fl uous , a s the jud gme n t
i s a pr i or i . It's l i ke buyi n g c l othe s by the l a be l :
thi s i s Di or , s o i t's good . (Thi s i s n ot s o fa r
fr om the wa y the a ute ur c r i ti c s wor k, e i the r ).
Sa r r i s d oe s n 't e ve n pl a y hi s own ga me wi th
a n y d e c e n t a tte n ti on to the r ul e s : i t i s a s a b-
s ur d to pr a i s e La n g's r e c e n t ba d wor k a s to
d i s mi s s Hus ton 's e a r l y good wor k; s ur e l y i t
woul d be mor e c on s i s te n t i f he a l s o tr i e d to
ma ke a c a s e for Hus ton 's ba d pi c tur e s ? Tha t
woul d be mor e c on s i s te n t tha n d e vi s i n g a
c a te gor y c a l l e d "a c tor s ' c l a s s i c s " to e xpl a i n
hi s good pi c tur e s a wa y. If The Ma l te s e Fa l c on
a n d The Tr e a s ur e of Si e r r a Ma d r e a r e a c tor s '
c l a s s i c s , the n wha t ma ke s Ha wks ' To Ha ve
a n d Ha ve Not a n d The Bi g Sl e e p (whi c h we r e
obvi ous l y ta i l or e d to the pe r s on a l i ti e s of Boga r t
a n d Ba c a l l ) the wor k of a n a ute ur ?
Sa r r i s be l i e ve s tha t wha t ma ke s a n a ute ur i s
"a n
d 1a n of the s oul ." (Thi s c r i ti c a l
l a n gua ge
i s ba r ba r ous . Whe r e e l s e s houl d
6l a n
c ome
fr om? It's l i ke s a yi n g "a d i ge s ti on of the
s toma c h." A fi l m c r i ti c n e e d n ot be a the or e ti -
c i a n , but i t i s n e c e s s a r y tha t he kn ow how to
us e wor d s . Thi s mi ght, i n d e e d , be a fi r s t pr e -
*An d , by the wa y, the tur n i n g poi n t c a me , I
thi n k, n ot wi th Moby Di c k, a s Sa r r i s i n d i c a te s , but
muc h e a r l i e r , wi th Moul i n Rouge . Thi s ma y n ot
be s o a ppa r e n t to a ute ur c r i ti c s c on c e r n e d pr i ma r -
i l y wi th s tyl e a n d i n d i vi d ua l touc he s , be c a us e
wha t wa s s hoc ki n g a bout Moul i n Rouge wa s tha t
the c on te n t wa s s e n ti me n ta l mus h. But c r i ti c s who
a c c e pt e ve n the wor s t of Mi n n e l l i
pr oba bl y
woul d n 't ha ve be e n bothe r e d by the fa c t tha t
Moul i n
Rouge wa s s oft i n the
c e n te r , i t ha d s o
ma n y fa n c y touc he s a t the
e d ge s .
C IRC LES AND SQUARES 17
mi s e for a
the or y.) Thos e who ha ve thi s
d l a n
pr e s uma bl y ha ve i t for e ve r a n d the i r fi l ms r e -
ve a l the "or ga n i c un i ty" of the
d i r e c tor s '
c a r e e r s ; a n d thos e who d on 't ha ve i t - we l l ,
the y c a n
on l y ma ke "a c tor s ' c l a s s i c s ." It's
i r on i c tha t a c r i ti c
tr yi n g
to e s ta bl i s h
s i mpl e
"obje c ti ve " r ul e s a s a gui d e for c r i ti c s who he
thi n ks a r e n 't
gi fte d e n ough to us e ta s te a n d i n -
te l l i ge n c e , e n d s up - whe r e , a c tua l l y, he be ga n
- wi th a the or y ba s e d on
mys ti c a l i n s i ght.
Thi s
mi ght r e a l l y ma ke d e ma n d s on the a ute ur
c r i ti c s i f
the y d i d n ot
s i mpl y ta ke the e a s y wa y
out
by a r bi tr a r y d e c i s i on s of who's got "i t" a n d
who ha s n 't. The i r d e c i s i on s a r e n ot
me r e l y n ot
ba s e d on the i r
the or y; the i r d e c i s i on s a r e
be yon d c r i ti c i s m. It's l i ke a woma n 's
te l l i n g us
tha t s he fe e l s a c e r ta i n d r e s s d oe s
s ome thi n g
for he r : he r
fe e l i n g ha s a bout a s muc h to d o
wi th c r i ti c a l
jud gme n t a s the a ute ur c r i ti c s
fe e l i n g tha t Mi n n e l l i ha s "i t," but Hus ton
n e ve r ha d "i t."
Eve n i f a gi r l ha d
pl e n ty of "i t," s he wa s n 't
e xpe c te d to
ke e p
i t for e ve r . But thi s
"d l a n "
i s
n ot
s uppos e d to be a ffe c te d by the vi c i s s i tud e s
of for tun e , the i n d us tr i a l c on d i ti on s of movi e -
ma ki n g, the tur moi l of a
c oun tr y, or the he a l th
of a d i r e c tor . In d e e d , Sa r r i s s a ys , "If d i r e c tor s
a n d othe r a r ti s ts c a n n ot be wr e n c he d fr om the i r
hi s tor i c a l e n vi r on me n ts , a e s the ti c s i s r e d uc e d
to a s ubor d i n a te br a n c h of
e thn ogr a phy." Ma y
I
s ugge s t tha t i f, i n or d e r to
jud ge movi e s , the
a ute ur c r i ti c s mus t wr e n c h the d i r e c tor s fr om
the i r hi s tor i c a l e n vi r on me n ts (whi c h i s , to
put
i t
mi l d l y, i mpos s i bl e ) s o tha t
the y c a n c on c e n -
tr a te on the d e te c ti on of tha t
"d l a n ," the y a r e
r e d uc i n g a e s the ti c s to a for m of
i d i oc y. El a n
a s the
pe r ma n e n t a ttr i bute Sa r r i s
pos i ts c a n
on l y be e xpl a i n e d i n te r ms of a c ul t of
pe r -
s on a l i ty. Ma y I
s ugge s t tha t a mor e
me a n i n g-
ful d e s c r i pti on of
d l a n
i s wha t a ma n fe e l s whe n
he i s
wor ki n g a t the he i ght of hi s
powe r s
-
a n d wha t we
r e s pon d to i n wor ks of a r t wi th
the e xc i te d c r y of "Thi s ti me , he 's
r e a l l y d on e
i t" or "Thi s s hows wha t he c oul d d o whe n he
got the c ha n c e " or "He 's foun d hi s
s tyl e " or
"I n e ve r r e a l i ze d he ha d i t i n hi m to d o
a n y-
thi n g s o
good ," e tc ., a
r e s pon s e to hi s
joy i n
c r e a ti vi ty.
Sa r r i s e xpe r i e n c e s "joy" whe n he r e c ogn i ze s
a pa the ti c l i ttl e l i n k be twe e n two Ra oul Wa l s h
pi c tur e s (he n e ve r d oe s e xpl a i n whe the r the
d i s c ove r y ma ke s hi m thi n k the pi c tur e s a r e a n y
be tte r ) but he wa n ts to s e e a r ti s ts i n a pr i s ti n e
s ta te - the i r e s s e n c e s , pe r ha ps ? - s e pa r a te d
fr om a l l the l i fe tha t ha s for me d the m a n d to
whi c h the y tr y to gi ve e xpr e s s i on .
"THE INNER C IRC LE"
"The thi r d a n d ul ti ma te pr e mi s e of the
a ute ur the or y i s c on c e r n e d wi th i n te r i or
me a n i n g, the ul ti ma te gl or y of the c i n e ma a s
a n a r t. In te r i or me a n i n g i s e xtr a pol a te d fr om
the te n s i on be twe e n a d i r e c tor 's pe r s on a l i ty
a n d hi s ma te r i a l ."
Thi s i s a r e ma r ka bl e for mul a ti on : i t i s the
oppos i te of wha t we ha ve a l wa ys ta ke n for
gr a n te d i n the a r ts , tha t the a r ti s t
e xpr e s s e s
hi ms e l f i n the un i ty of for m a n d c on te n t. Wha t
Sa r r i s be l i e ve s to be "the ul ti ma te gl or y of the
c i n e ma a s a n a r t" i s wha t ha s ge n e r a l l y be e n
c on s i d e r e d the fr us tr a ti on s of a ma n
wor ki n g
a ga i n s t the gi ve n ma te r i a l . Fa n ta s ti c a s thi s
for mul a ti on i s , i t d oe s s ome thi n g tha t the fi r s t
two pr e mi s e s d i d n 't d o: i t c l a r i fi e s the i n te r e s ts
of the a ute ur c r i ti c s . If we ha ve be e n
puzzl e d
be c a us e the a ute ur c r i ti c s s e e me d s o d e e pl y i n -
vol ve d , e ve n d e d i c a te d , i n
be c omi n g c on n oi s -
s e ur s of tr a s h, n ow we c a n s e e by thi s the or e ti -
c a l for mul a ti on tha t tr a s h i s i n d e e d the i r c hos e n
pr ovi n c e of fi l m.
The i r i d e a l a ute ur i s the ma n who
s i gn s a
l on g-te r m c on tr a c t, d i r e c ts
a n y s c r i pt tha t's
ha n d e d to hi m, a n d
e xpr e s s e s hi ms e l f
by s hov-
i n g bi ts of s tyl e up the c r e va s s e s of the
pl ots .
If hi s "s tyl e " i s i n c on fl i c t wi th the
s tor y l i n e
or s ubje c t ma tte r , s o muc h the be tte r - mor e
c ha n c e for te n s i on . Now we c a n s e e why the r e
ha s be e n s o muc h us e of the te r m
"pe r s on a l i ty"
i n thi s a e s the ti c s
(the te r m whi c h s e e ms s o i n -
a d e qua te whe n
d i s c us s i n g the a r t of Gr i ffi th or
Re n oi r or Mur n a u or Dr e ye r ) - a r outi n e , c om-
me r c i a l movi e c a n s ur e us e a l i ttl e
"pe r s on a l -
i ty."
Now tha t we ha ve r e a c he d the i n n e r c i r c l e
(the bul l 's e ye tur n s out to be a n
e mpty s oc ke t)
we c a n s e e why the s hod d i e s t fi l ms a r e ofte n
18
C IRC LES AND SQUARES
pr a i s e d the mos t. Subje c t ma tte r i s i r r e l e va n t
(s o l on g a s i t i s n 't tr e a te d s e n s i ti ve l y - whi c h
i s ba d ) a n d wi l l qui c kl y be d i s pos e d of by
a ute ur c r i ti c s who kn ow tha t the s ma r t d i r e c -
tor i s n 't r e s pon s i bl e for tha t a n ywa y; the y'l l
ge t on to the i mpor ta n t s ubje c t - hi s mi s e -e n -
s c on e . The d i r e c tor who fi ghts to d o s ome thi n g
he c a r e s a bout i s a s qua r e . Now we c a n a t l e a s t
be gi n to un d e r s ta n d
why the r e wa s s uc h c on -
te mpt towa r d Hus ton for wha t wa s , i n i ts
wa y,
a r a the r
e xtr a or d i n a r y e ffor t - the Moby Di c k
tha t fa i l e d ; why Movi e c on s i d e r s Roge r C or -
ma n a be tte r d i r e c tor tha n Fr e d Zi n n e ma n n
a n d r a n ks
Jos e ph Los e y n e xt to God , why Bog-
d a n ovi c h, Me ka s , a n d Sa r r i s
gi ve the i r
hi ghe s t
c r i ti c a l
r a ti n gs to Wha t Eve r
Ha ppe n e d to
Ba by Ja n e ?
(mi ghty bi g c r e va s s e s
the r e ). If
C a r ol Re e d ha d ma d e on l y movi e s l i ke The
Ma n Be twe e n
- i n whi c h he
obvi ous l y wor ke d
to tr y to ma ke
s ome thi n g out of a
r a g-ba g of
wor n -out bi ts of ma te r i a l - he
mi ght be c on -
s i d e r e d "br i l l i a n t" too. (But thi s i s d oubtful :
a l though e ve n the wor s t Re e d i s s upe r i or to
Al d r i c h's
Ba by Ja n e , Re e d woul d
pr oba bl y be
d e te c te d , a n d
r e je c te d , a s a ma n i n te r e s te d i n
s ubs ta n c e r a the r tha n
s e n s a ti on a l i s m.)
I a m
a n gr y, but a m I
un jus t? He r e 's Sa r r i s :
"A C ukor who wor ks wi th a l l s or ts of
pr oje c ts
ha s a mor e
d e ve l ope d a bs tr a c t
s tyl e tha n a
Be r gma n who i s fr e e to
d e ve l op hi s own
s c r i pts .
Not tha t
Be r gma n l a c ks
pe r s on a l i ty, but hi s
wor k ha s d e c l i n e d wi th the
d e pl e ti on of hi s
i d e a s
l a r ge l y be c a us e hi s
te c hn i que n e ve r
e qua l e d hi s
s e n s i bi l i ty. Jos e ph
L. Ma n ki e wi c z
a n d
Bi l l y Wi l d e r a r e othe r
e xa mpl e s of wr i te r -
d i r e c tor s wi thout
a d e qua te te c hn i c a l
ma s te r y.
By c on tr a s t, Dougl a s Si r k a n d Otto
Pr e mi n ge r
ha ve move d
up the s c a l e be c a us e the i r mi s c e l -
l a n e ous
pr oje c ts r e ve a l a s tyl i s ti c c on s i s te n c y."
How n e a t i t a l l
i s -Be r gma n 's "wor k ha s d e -
c l i n e d wi th the
d e pl e ti on of'hi s
i d e a s
l a r ge l y be -
c a us e hi s
te c hn i que n e ve r
e qua l e d hi s s e n s i bi l i -
ty." But wha t on e a r th d oe s tha t me a n ? How
d i d Sa r r i s
pe r c e i ve Be r gma n 's s e n s i bi l i ty e xc e pt
thr ough hi s
te c hn i que ? Is Sa r r i s
s a yi n g wha t he
s e e ms to be
s a yi n g, tha t i f
Be r gma n ha d d e ve l -
ope d mor e
"te c hn i que ," hi s wor k woul d n 't be
d e pe n d e n t on hi s i d e a s ? I'm a fr a i d thi s i s wha t
he me a n s , a n d tha t whe n he r e fe r s to C ukor 's
"mor e d e ve l ope d a bs tr a c t s tyl e " he me a n s by
"a bs tr a c t" s ome thi n g un r e l a te d to i d e a s , a
te c hn i que n ot d e pe n d e n t on the c on te n t of the
fi l ms . Thi s i s c ur i ous l y r e mi n i s c e n t of a vi e w
c ommon e n ough i n the bus i n e s s wor l d , tha t i t's
be tte r n ot to ge t too i n vol ve d , too pe r s on a l l y
i n te r e s te d i n bus i n e s s pr obl e ms , or the y ta ke
ove r your l i fe ; a n d be s i d e s , you d on 't fun c ti on
a s we l l whe n you've l os t your obje c ti vi ty. But
thi s i s the oppos i te of how a n a r ti s t wor ks . Hi s
te c hn i que , hi s s tyl e , i s d e te r mi n e d by hi s r a n ge
of i n vol ve me n ts , a n d hi s pr e fe r e n c e for c e r ta i n
the me s . C ukor 's s tyl e i s n o mor e a bs tr a c t (!)
tha n Be r gma n 's : C ukor ha s a r a n ge of s ubje c t
ma tte r tha t he c a n ha n d l e a n d whe n he ge ts
a good s c r i pt wi thi n hi s r a n ge (l i ke The Phi l a -
d e l phi a Stor y or Pa t a n d Mi ke ) he d oe s a
good job; but he i s a t a n i mme n s e a r ti s ti c d i s -
a d va n ta ge , c ompa r e d wi th Be r gma n , be c a us e
he i s d e pe n d e n t on the i d e a s of s o ma n y (a n d
ofte n ba d ) s c r i ptwr i te r s a n d on ma te r i a l whi c h
i s ofte n a l i e n to hi s ta l e n ts . It's a mus i n g (a n d /
or d e pr e s s i n g) to s e e the wa y a ute ur c r i ti c s
te n d to d own gr a d e wr i te r -d i r e c tor s - who a r e
i n the be s t pos i ti on to us e the fi l m me d i um for
pe r s on a l e xpr e s s i on .
Sa r r i s d oe s s ome pr e tty fa s t s huffl i n g wi th
Hus ton a n d Be r gma n ; why d oe s n 't he jus t c ome
out a n d a d mi t tha t wr i te r -d i r e c tor s a r e d i s -
qua l i fi e d by hi s thi r d pr e mi s e ? The y c a n 't
a r r i ve a t tha t "i n te r i or me a n i n g, the ul ti ma te
gl or y of the c i n e ma " be c a us e a wr i te r -d i r e c tor
ha s n o te n s i on be twe e n hi s pe r s on a l i ty a n d hi s
ma te r i a l , s o the r e 's n othi n g for the a ute ur c r i ti c
to e xtr a pol a te fr om.
Wha t i s a l l thi s n on s e n s e a bout
e xtr a pol a t-
i n g "i n te r i or "
me a n i n g fr om the te n s i on be -
twe e n a d i r e c tor 's pe r s on a l i ty a n d hi s ma te r i a l ?
A c ompe te n t c omme r c i a l d i r e c tor
ge n e r a l l y
d oe s the be s t he c a n wi th wha t he 's got to wor k
wi th. Whe r e i s the "te n s i on "? An d i f you c a n
l oc a te s ome , wha t ki n d of
me a n i n g c oul d
you
d r a w out of i t e xc e pt tha t the d i r e c tor 's
ha vi n g
a ba d ti me wi th l ous y ma te r i a l or ma te r i a l he
d oe s n 't l i ke ? Or ma ybe he 's tr yi n g to
s pe e d
up the d a mn e d pr od uc ti on s o he c a n d o s ome -
thi n g e l s e tha t he ha s s ome hope s for ? Ar e
C IRC LES AND SQUARES 19
the s e c r i ti c s
hon e s tl y (a n d futi l e l y) l ooki n g for
"i n te r i or me a n i n gs " or i s thi s jus t s ome for m of
i n te l l e c tua l
d i d d l i n g tha t he l ps
to s us ta i n the i r
pr i d e whi l e the y'r e vi e wi n g s i l l y movi e s ? Whe r e
i s the te n s i on i n Howa r d Ha wks ' fi l ms ? Whe n
he ha s
good ma te r i a l , he 's c a pa bl e of be tte r
tha n
good d i r e c ti on , a s he d e mon s tr a te s i n
fi l ms l i ke Twe n ti e th C e n tur y, Br i n gi n g Up
Ba by, Hi s Gi r l
Fr i d a y; a n d i n To Ha ve a n d
Ha ve Not a n d The Bi g Sl e e p he d e mon s tr a te s
tha t wi th
he l p fr om the a c tor s , he c a n
ja zz up
r i d i c ul ous s c r i pts . But wha t "i n te r i or
me a n i n g"
c a n be e xtr a pol a te d fr om a n e n joya bl e , ha r m-
l e s s , pi e c e
of ki ts c h l i ke
On l y An ge l s Ha ve
Wi n gs ; wha t c a n the a ute ur c r i ti c s s e e i n i t
be yon d the s e x a n d
gl a mor a n d fa n ta s i e s of
the
hi gh-s c hool boys ' un i ve r s e -
e xa c tl y wha t
the ma s s a ud i e n c e l i ke d i t for ? An d whe n
Ha wks ' ma te r i a l a n d /or c a s t i s d ul l a n d whe n
hi s he a r t i s n 't i n the
pr od uc ti on
- whe n
by the
a ute ur
the or y he s houl d s how hi s
"pe r s on a l i ty,"
the r e s ul t i s
s ome thi n g s oggy l i ke The
Bi g Sky.
Ge or ge C ukor 's mod e s t s ta te me n t, "Gi ve me
a
good s c r i pt
a n d I'l l be a hun d r e d ti me s be tte r
a s a d i r e c tor "*
pr ovi d e s s ome n oti on of how a
d i r e c tor ma y e xpe r i e n c e the
pr obl e m of the
gi ve n ma te r i a l . Wha t c a n C ukor d o wi th a
s c r i pt l i ke The
C ha pma n Re por t but
tr y to ki d
i t, to d r e s s i t
up a bi t, to s how off the ta l e n ts of
Ja n e Fon d a a n d C l a i r e Bl oom a n d
Gl yn i s John s ,
a n d to gi ve the tota l
pr od uc ti on a l i ttl e fl a i r
a n d
c r a fts ma n s hi p.
At be s t, he c a n ma ke a n
e n te r ta i n i n g ba d movi e . A d i r e c tor wi th s ome -
thi n g l i ke ma gi c a l gi fts c a n ma ke a s i l k pur s e
out of a s ow's e a r . But i f he ha s i t i n hi m to d o
mor e i n l i fe tha n ma ke s i l k
pur s e s ,
the
tr i umph
i s mi n or - e ve n i f the pur s e i s l i n e d wi th gol d .
On l y by the us e of the a ute ur the or y d oe s thi s
l i ttl e vi c tor y be c ome "ul ti ma te
gl or y." For
s ome
un e xpl a i n e d r e a s on thos e tr a ve l l i n g i n
a ute ur c i r c l e s be l i e ve tha t ma ki n g tha t pur s e
out of a s ow's e a r i s a n
i n fi n i te l y gr e a te r a c c om-
pl i s hme n t tha n
ma ki n g a s ol i d
c a r r yi n g c a s e
out of a good pi e c e of l e a the r (a s , for
e xa mpl e ,
a Zi n n e ma n n d oe s wi th Fr om He r e to Ete r n i ty
or The Nun 's Stor y).
I
s uppos e
we s houl d be ha ppy for Si r k a n d
Pr e mi n ge r , e l e va te d up the gl or y "s c a l e ," but
I
s us pe c t tha t the "s tyl i s ti c c on s i s te n c y" of, s a y,
Pr e mi n ge r , c oul d be a ma tte r of hi s l i mi ta ti on s ,
a n d tha t the on l y wa y you c oul d te l l he ma d e
s ome of hi s movi e s wa s tha t he us e d the s a me
pl a ye r s s o ofte n
(Li n d a Da r n e l l , Je a n n e C r a i n ,
Ge n e Ti e r n e y, Da n a An d r e ws , e t a l ., ga ve hi s
movi e s the
Pr e mi n ge r l ook). But the
a r gume n t
i s l ud i c r ous a n ywa y, be c a us e i f
Pr e mi n ge r
s hows s tyl i s ti c c on s i s te n c y wi th s ubje c t ma tte r
a s va r i e d a s C a r me n Jon e s , An a tomy of a
Mur d e r , a n d Ad vi s e a n d C on s e n t, the n
by a n y
r a ti on a l s ta n d a r d s he s houl d be a tta c ke d r a the r
tha n e l e va te d . I d on 't thi n k the s e fi l ms a r e
s tyl i s ti c a l l y c on s i s te n t, n or d o I thi n k
Pr e mi n ge r
i s a gr e a t d i r e c tor - for the ve r y s i mpl e r e a s on
tha t hi s fi l ms a r e
c on s i s te n tl y s upe r fi c i a l a n d
fa c i l e .
(Ad vi s e a n d C on s e n t-a n a ute ur "ma s te r -
pi e c e "
-
Ia n C a me r on , Pa ul
Ma ye r s be r g,
a n d
Ma r k Shi va s of Movi e a n d
Je a n
Douc he t of
C a hi e r s d u C i n d ma r a te i t fi r s t on the i r te n
be s t l i s ts of 1962 a n d Sa r r i s
gi ve s
i t hi s
top
r a ti n g-s e e ms n ot s o muc h Pr e mi n ge r -d i r e c te d
a s othe r -d i r e c te d . Tha t i s to s a y,
i t s e e ms c a l c u-
l a te d to pr ovi d e wha t a s ma n y d i ffe r e n t
gr oups
a s
pos s i bl e
wa n t to s e e : the r e 's
s ome thi n g
for
the l i be r a l s , s ome thi n g for the c on s e r va ti ve s ,
s ome thi n g for the homos e xua l s , s ome thi n g for
the fa mi l y, e tc .) An e d i tor i a l i n Movi e s ta te s :
"In or d e r to
e n joy Pr e mi n ge r 's
fi l ms the
s pe c ta -
tor mus t a ppl y a n
un pr e jud i c e d i n te l l i ge n c e ; he
i s
c on s ta n tl y r e qui r e d to e xa mi n e the
qua l i ty
n ot
on l y of the c ha r a c te r s ' d e c i s i on s but a l s o of
hi s own r e a c ti on s ," a n d "He
pr e s uppos e s a n
i n te l l i ge n c e a c ti ve
e n ough to a l l ow the
s pe c ta -
*In a n othe r s e n s e , i t i s pe r ha ps i mmod e s t. I
woul d s a y, gi ve C ukor a c l e ve r s c r i pt wi th
l i ght,
wi tty d i a l ogue , a n d he wi l l kn ow wha t to d o wi th
i t. But I woul d n 't e xpe c t mor e tha n gl os s y e n te r -
ta i n me n t. (It s e e ms a l mos t too obvi ous to me n ti on
i t, but c a n Sa r r i s r e a l l y d i s c e r n the "d i s ti n gui s h-
a bl e pe r s on a l i ty" of Ge or ge C ukor a n d hi s "a b-
s tr a c t" s tyl e i n fi l ms l i ke Bhowa n i Jun c ti on , Le s
Gi r l s , The Ac tr e s s ,
A
Li fe
of
He r
Own ,
The Mod e l
a n d the Ma r r i a ge Br oke r , Ed wa r d , My Son , A
Woma n 's Fa c e , Rome o a n d Jul i e t, A Doubl e Li fe ?
I wi s h I c oul d put hi m to the te s t. I c a n on l y
s us pe c t tha t ma n y a ute ur c r i ti c s woul d ha ve a ha r d
ti me s e e i n g thos e te l l -ta l e tr a c e s of the be l ove d
i n the i r wor ks .)
20
C IRC LES AND SQUARES
tor to ma ke c on n e c ti on s , c ompa r i s on s a n d jud g-
me n ts ." Ma y I s ugge s t tha t thi s s pe c ta tor woul d
ha ve be tte r thi n gs to d o tha n the e d i tor s of
Movi e who put out Pr e mi n ge r i s s ue s ? The y
ma y ha ve , of c our s e , the joys of d i s c ove r i n g
l i n ks be twe e n C e n te n n i a l Summe r , For e ve r
Ambe r , Tha t
La d y i n Er mi n e , a n d The
Thi r te e n th Le tte r , but I r e fus e to be l i e ve i n
the s e e ve r -s o-i n te l l e c tua l
pr ote s ta ti on s . The
a ute ur c r i ti c s a r e n 't a ve r y c on vi n c i n g gr oup.
I a s s ume tha t Sa r r i s '
the or y i s n ot ba s e d on
hi s
pr e mi s e s (the n e c e s s a r y c a us a l
r e l a ti on s hi ps
a r e
a bs e n t), but r a the r tha t the
pr e mi s e s we r e
d e vi s e d i n a
c l ums y a tte mpt to
pr op up the
"the or y." (It's a
good thi n g he
s toppe d a t
thr e e : a fe w mor e c i r c l e s a n d we 'd
r e a l l y be
i n
he l l , whi c h
mi ght tur n out to be the l a s t
r e fi n e me n t of fi l m ta s te s - Abbott a n d C os te l l o
c ome d i e s , pe r ha ps ?) The s e c r i ti c s wor k e m-
Lon g
Li ve the
-e r -Ki n g
"Two We e ks i n An othe r Town i s wi thout a
d oubt Mi n n e l l i 's be s t
fi l m to d a te a n d pe r -
ha ps the be s t thi n g he 'l l e ve r d o, for n e ve r
a ga i n wi l l the c oi n c i d e n c e a r i s e of ha vi n g
a pi e c e of 'r e s pe c ta bl e tr a s h' l i ke Sha w's
n ove l , a n d a d i r e c tor who r e s pe c ts tr a s h.
The thi n g tha t ma ke s Two We e ks gr e a t i s
n ot the
a c ti n g (Dougl a s a s pe r us ua l i s hor -
r e n d ous ; Robi n s on s tupi d , a n d C l a i r e Tr e vor ,
fa i n tl y i n te r e s ti n g). C e r ta i n l y n ot the s tor y,
for the c ha n ge s fr om the n ove l on l y ma ke i t
mor e ba n a l . It i s the fa c t tha t Mi n n e l l i ha s
ta ke n
s ome thi n g n ot
fi t for e ve n the s l i ghte s t
bi t of s e r i ous c r i ti c a l a tte n ti on , a n d tur n e d
i t i n to a
fi l m
whi c h d e ma n d s e xha us ti ve
vi s ua l a n a l ys i s on on e l e ve l a n d offe r s a
c i n e ma ti c joy-r i d e on a mor e vi s c e r a l l e ve l .
...
Mos t of a l l i t i s a movi e whi c h d oe s n ot
ta ke i ts e l f
s e r i ous l y.
. . ful l of be a uti ful s hots
a n d
s ta r tl i n gl y poe ti c mome n ts , a l l of whi c h
woul d me a n n othi n g un l e s s
pl a c e d
i n
the
c on te xt of Mi n n e l l i 's ba c kgr oun d -a ba c k-
gr oun d tha t
i n d i c a te s , e s pe c i a l l y wi th Two
We e ks , tha t Mi n n e l l i i s fa s t
c ha l l e n gi n g
Dougl a s Si r k's ti tl e a s Hol l ywood 's 'Ki n g of
C a mp.' "
-Ne w Yor k Fi l m
Bul l e ti n , #45
ba r r a s s i n gl y ha r d tr yi n g to gi ve s ome s e mbl a n c e
of i n te l l e c tua l r e s pe c ta bi l i ty to a pr e oc c upa ti on
wi th mi n d l e s s , r e pe ti ti ous c omme r c i a l pr od uc ts
- the ki n d of a c ti on movi e s tha t the r e s tl e s s ,
r ootl e s s me n who wa n d e r on 42n d Str e e t a n d
i n the Te n d e r l oi n of a l l our bi g c i ti e s ha ve
a l wa ys pr e fe r r e d jus t be c a us e the y c oul d r e -
s pon d to the m wi thout thought. The s e movi e s
s oa k up your ti me . I woul d s ugge s t tha t the y
d on 't s e r ve a ve r y d i ffe r e n t fun c ti on for Sa r r i s
or Bogd a n ovi c h or the youn g me n of Movi e -
e ve n though the y d e vi s e e l a bor a te the or i e s to
jus ti fy s oa ki n g up the i r ti me . An e d uc a te d ma n
mus t ha ve to wor k pr e tty ha r d to s e t hi s i n -
te l l e c tua l hor i zon s a t the l e ve l of I Wa s a
Ma l e
Wa r Br i d e (whi c h, i n c i d e n ta l l y, wa s n 't e ve n a
good c omme r c i a l movi e ).
"In te r i or me a n i n g" s e e ms to be wha t thos e
i n the kn ow kn ow. It's a mys ti que -
a n d
a
mi s ta ke . The a ute ur c r i ti c s n e ve r te l l us
by
wha t d i vi n i n g r od s the y ha ve d i s c ove r e d the
d l a n of a Mi n n e l l i or a Ni c hol a s Ra y or a Le o
Mc C a r e y. The y'r e n ot c r i ti c s ; the y'r e i n s i d e
d ope s te r s . The r e mus t be a n othe r c i r c l e tha t
Sa r r i s for got to ge t to - the on e whe r e the
s e c r e ts a r e ke pt.
OUTSIDE THE C IRC LES, or
WHAT IS A FILM C RITIC ?
I s us pe c t tha t the r e 's s ome pr i mi ti ve for m
of Pl a ton i s m i n the un d e r br us h of Sa r r i s '
a e s the ti c s .* He s a ys , for e xa mpl e , tha t "Ba zi n 's
gr e a tn e s s a s a c r i ti c . . . r e s te d i n hi s d i s i n te r -
e s te d c on c e pti on of the c i n e ma a s a un i ve r s a l
e n ti ty." I d on 't kn ow wha t a "un i ve r s a l e n ti ty"
i s , but I r a the r i ma gi n e Ba zi n 's s ta tur e a s a
c r i ti c ha s l e s s to d o wi th "un i ve r s a l s " tha n wi th
i n te l l i ge n c e , kn owl e d ge , e xpe r i e n c e , s e n s i ti vi ty,
pe r c e pti on s , fe r vor , i ma gi n a ti on , d e d i c a ti on ,
l uc i d i ty, e tc . - the tr a d i ti on a l
qua l i ti e s a s s o-
*Thi s mi ght he l p to e xpl a i n s uc h r a the r qua i n t
s ta te me n ts a s : Ba zi n "wa s , i f a n ythi n g, ge n e r ous
to a fa ul t, s e e ki n g i n e ve r y fi l m s ome ve s ti ge of
the c i n e ma ti c
a r t"-a s i f c i n e ma we r e n ot s i mpl y
the movi e s tha t ha ve be e n ma d e a n d a r e be i n g
ma d e , but s ome
pr e e xi s te n t e n ti ty. If Ba zi n
thought
i n the s e te r ms , d oe s Sa r r i s go a l on g wi th hi m?
C IRC LES AND SQUARES
S21
c i a te d wi th gr e a t c r i ti c s . The r ol e of the c r i ti c
i s to he l p pe opl e s e e wha t i s i n the wor k, wha t
i s i n i t tha t s houl d n 't be , wha t i s n ot i n i t tha t
c oul d be . He i s a good c r i ti c i f he he l ps pe opl e
un d e r s ta n d mor e a bout the wor k tha n the y
c oul d s e e for the ms e l ve s ; he i s a gr e a t c r i ti c , i f
by hi s
un d e r s ta n d i n g
a n d
fe e l i n g for the wor k,
by hi s pa s s i on , he c a n e xc i te
pe opl e s o tha t
the y wa n t to
e xpe r i e n c e mor e of the a r t tha t
i s the r e , wa i ti n g to be s e i ze d . He i s n ot n e c e s -
s a r i l y a ba d c r i ti c i f he ma ke s e r r or s i n
jud g-
me n t. (In fa l l i bl e ta s te i s i n c on c e i va bl e ; wha t
c oul d i t be me a s ur e d
a ga i n s t?) He i s a ba d
c r i ti c i f he d oe s n ot a wa ke n the
c ur i os i ty, e n -
l a r ge the i n te r e s ts a n d
un d e r s ta n d i n g of hi s
a ud i e n c e . The a r t of the c r i ti c i s to tr a n s mi t
hi s
kn owl e d ge of a n d e n thus i a s m for a r t to
othe r s .
I d o n ot un d e r s ta n d wha t goe s on i n the
mi n d of a c r i ti c who thi n ks a
the or y i s wha t
hi s c on fr br e s n e e d be c a us e the y a r e n ot
"gr e a t"
c r i ti c s .
An y hon e s t ma n c a n
pe r for m the c r i ti -
c a l fun c ti on to the l i mi ts of hi s ta s te s a n d
powe r s . I
d a r e s a y tha t
Bogd a n ovi c h a n d V. F.
Pe r ki n s a n d Rud i Fr a n c hi a n d Ma r k Shi va s
a n d a l l the r e s t of the n e w br e e d of
s pe c i a l i s ts
kn ow mor e a bout movi e s tha n s ome
pe opl e a n d
c oul d s e r ve a t l e a s t a mod e s t c r i ti c a l fun c ti on
i f
the y c oul d r e me mbe r tha t a r t i s a n
e xpr e s s i on
of huma n
e xpe r i e n c e . If
the y a r e me n of fe e l -
i n g a n d
i n te l l i ge n c e , i s n 't i t ti me for the m to
be a l i ttl e a s ha me d of the i r "d e ta i l e d c r i ti c i s m"
of movi e s l i ke Ri ve r of No Re tur n ?
I be l i e ve tha t we
r e s pon d mos t a n d be s t to
wor k i n
a n y a r t for m (a n d to othe r
e xpe r i e n c e
a s
we l l ) i f we a r e
pl ur a l i s ti c , fl e xi bl e , r e l a ti ve
i n our
jud gme n ts , i f we a r e e c l e c ti c . But thi s
d oe s n ot me a n a
s c r a mbl i n g a n d c on fus i on of
s ys te ms . Ec l e c ti c i s m i s n ot the s a me a s l a c k
of
s c r upl e ; e c l e c ti c i s m i s the s e l e c ti on of the
be s t s ta n d a r d s a n d
pr i n c i pl e s fr om va r i ous
s ys te ms of i d e a s . It
r e qui r e s mor e c a r e , mor e
or d e r l i n e s s to be a
pl ur a l i s t tha n to
a ppl y a
s i n gl e the or y. Sa r r i s , who thi n ks he i s
a ppl yi n g
a
s i n gl e the or y, i s too
un d i s c i pl i n e d to
r e c og-
n i ze the
c on fl i c ti n g i mpl i c a ti on s of hi s
a r gu-
me n ts . If he me a n s to ta ke a Pl a ton i c
pos i ti on ,
the n i s i t n ot
n e c e s s a r y for hi m to te l l us wha t
hi s i d e a l s of movi e s a r e a n d how va r i ous e x-
a mpl e s of fi l m l i ve up to or fa i l to me e t hi s
i d e a l s ? An d i f the r e i s a n i d e a l to be a c hi e ve d ,
a n obje c ti ve s ta n d a r d , the n wha t d oe s 6l a n
ha ve to d o wi th i t? (The i d e a l c oul d be
a c hi e ve d by pl od d i n g ha r d wor k or by i n s pi r a -
ti on or a n y othe r wa y; the me thod of a c hi e vi n g
the i d e a l woul d be a s i r r e l e va n t a s the "pe r -
s on a l i ty" of the c r e a tor .) As Sa r r i s us e s the m,
vi ta l i s m a n d Pl a ton i s m a n d pr a gma ti s m d o n ot
s uppor t hi s a ute ur the or y; the y un d e r mi n e i t.
Thos e , l i ke Sa r r i s , who a s k for obje c ti ve
s ta n d a r d s s e e m to wa n t a the or y of c r i ti c i s m
whi c h ma ke s the c r i ti c un n e c e s s a r y. An d he i s
e xpe n d a bl e i f c a te gor i e s r e pl a c e e xpe r i e n c e ; a
c r i ti c wi th a s i n gl e the or y i s l i ke a ga r d e n e r
who us e s a l a wn mowe r on e ve r ythi n g tha t
gr ows . The i r d e s i r e for a the or y tha t wi l l s ol ve
a l l the r i d d l e s of c r e a ti vi ty i s i n i ts e l f pe r ha ps
a n i n d i c a ti on of the i r n a r r own e s s a n d c on -
fus i on ; the y'r e l i ke thos e puzzl e d , l os t pe opl e
who i n e vi ta bl y a ppr oa c h on e a fte r a l e c tur e
a n d a s k, "But wha t i s your ba s i s for jud gi n g a
movi e ?" Whe n on e a n s we r s tha t n e w fi l ms a r e
jud ge d i n te r ms of how the y e xte n d our e x-
pe r i e n c e a n d gi ve us pl e a s ur e , a n d tha t our
wa ys of jud gi n g how the y d o thi s a r e d r a wn
n ot on l y fr om ol d e r fi l ms but fr om othe r wor ks
of a r t, a n d the or i e s of a r t, tha t n e w fi l ms a r e
ge n e r a l l y r e l a te d to wha t i s goi n g on i n the
othe r a r ts , tha t a s wi d e a ba c kgr oun d a s pos -
s i bl e i n l i te r a tur e , pa i n ti n g, mus i c , phi l os ophy,
pol i ti c a l thought, e tc ., he l ps , tha t i t i s the we a l th
a n d va r i e ty of wha t he ha s to br i n g to n e w
wor ks tha t ma ke s the c r i ti c 's r e a c ti on to the m
va l ua bl e , the que s ti on e r s a r e a l wa ys un s a ti s fi e d .
The y wa n te d a s i mpl e a n s we r , a for mul a ; i f
the y a ppr oa c he d a c he f the y woul d
pr oba bl y
a s k for the on e ma gi c r e c i pe tha t c oul d be fol -
l owe d i n a l l
c ooki n g.
An d i t i s ve r y d i ffi c ul t to
e xpl a i n to s uc h
pe opl e tha t c r i ti c i s m i s e xc i ti n g jus t be c a us e
the r e i s n o for mul a to a ppl y, jus t be c a us e
you
mus t us e e ve r ythi n g you a r e a n d
e ve r ythi n g
you kn ow tha t i s r e l e va n t, a n d tha t fi l m c r i ti -
c i s m i s
pa r ti c ul a r l y e xc i ti n g jus t be c a us e of the
mul ti pl i c i ty of e l e me n ts i n fi l m a r t.
Thi s r a n ge of e xpe r i e n c e , a n d d e pe n d e n c e
22
C IRC LES
AND SQUARES
on e xpe r i e n c e , i s pi ti ful l y a bs e n t fr om the
wor k of the a ute ur c r i ti c s ; the y s e e m to vi e w
movi e s , n ot me r e l y i n i s ol a ti on fr om the othe r
a r ts , but i n i s ol a ti on e ve n fr om the i r own e x-
pe r i e n c e . Thos e who be c ome fi l m s pe c i a l i s ts
e a r l y i n l i fe a r e ofte n fi xa te d on the pe r i od of
fi l m
d ur i n g whi c h the y fi r s t be ga n goi n g to
movi e s , s o i t's n ot too
s ur pr i s i n g tha t the Movi e
gr oup -
jus t out of
c ol l e ge a n d s ome s ti l l i n
- a r e s o d e vote d to the fi l ms of the 'for ti e s
a n d 'fi fti e s . But i f
the y d on 't wi d e n the i r i n te r -
e s ts to i n c l ud e e a r l i e r wor k, how c a n
the y
e va l ua te fi l ms i n
a n ythi n g l i ke the i r hi s tor i c a l
c on ti n ui ty, how c a n
the y pe r c e i ve wha t i s d i s -
ti n c ti ve i n fi l ms of the 'for ti e s ? An d i f
the y
d on 't ha ve i n te r e s ts outs i d e
fi l ms , how c a n
the y
e va l ua te wha t goe s on i n fi l ms ? Fi l m a e s the ti c s
a s a
d i s ti n c t, s pe c i a l i ze d fi e l d i s a ba d joke :
the Movi e
gr oup i s l i ke a n i n te l l e c tua l c l ub for
the
i n te l l e c tua l l y ha n d i c a ppe d . An d whe n i s
Sa r r i s
goi n g to d i s c ove r tha t a e s the ti c s i s i n d e e d
a br a n c h of
e thn ogr a phy; wha t d oe s he thi n k
i t i s - a
s phe r e of i ts
own , s e pa r a te fr om the
s tud y of ma n i n hi s e n vi r on me n t?
SOME SPEC ULATIONS ON
THE APPEAL OF THE AUTEUR THEORY
If
r e l a ti ve l y s oun d , r e a s on a bl y r e l i a bl e
jud g-
me n ts we r e a l l tha t we wa n te d fr om fi l m c r i ti -
c i s m, the n
Si ght a n d Soun d
mi ght be c on -
s i d e r e d a
gr e a t ma ga zi n e . It
i s n 't, i t's s ome -
thi n g fa r l e s s - a
good , d ul l , i n for ma ti ve , we l l -
wr i tte n , s a fe
ma ga zi n e , the be s t fi l m
ma ga zi n e
i n
En gl i s h, but i t d oe s n 't
s a ti s fy d e s i r e s for a n
e xc i te me n t of the s e n s e s . Its c r i ti c s d on 't ofte n
outr a ge us , n e i the r d o
the y ope n muc h
up for
us ; i ts i n te l l e c tua l
r a n ge i s too
n a r r ow,' i ts
a ppr oa c h too
pr ofe s s i on a l . (If we r e c a l l a n
a r ti c l e or
r e vi e w, i t's a l mos t
i mpos s i bl e to
r e me mbe r whi c h Pe te r or whi c h De r e k wr ote
i t.) Sta n d a r d s of
qua l i ty a r e n ot
e n ough, a n d
Si ght a n d Soun d te n d s to
d a mpe n e n thus i a s m.
Movi e , by c on tr a s t, s e e ms
s pi r i te d : on e fe e l s
tha t the s e wr i te r s
d o, a t
l e a s t, l ove
movi e s ,
tha t
the y'r e n ot
c on d e s c e n d i n g. But the y too,
pe r ha ps e ve n mor e s o, a r e
i n d i s ti n gui s ha bl e
r e a d -a l i ke s , un i te d
by fa n a ti c i s m i n a l ud i c r ous
c a us e ; a n d for a
gr oup tha t d i s c oun ts c on te n t
a n d s tor y, tha t be l i e ve s the d i r e c tor i s the
a ute ur of wha t gi ve s the fi l m va l ue , the y s how
a n i n e xpl i c a bl e fon d n e s s - a l mos t a n obs e s s i on
- for d e ta i l i n g pl ot a n d quoti n g d i a l ogue . Wi th
a l l the ze a l of youth s e r vi n g a n i d e a l , the y
c a r e ful l y r e d uc e movi e s to tr i vi a .
It i s n ot me r e l y tha t the a ute ur the or y d i s -
tor ts e xpe r i e n c e (a l l the or y d oe s tha t, a n d he l ps
us to s e e mor e s ha r pl y for ha vi n g d on e s o) but
tha t i t i s a n a e s the ti c s whi c h i s fun d a me n ta l l y
a n ti -a r t. An d thi s , I thi n k, i s the mos t s e r i ous
c ha r ge tha t c a n pos s i bl y be br ought a ga i n s t a n
a e s the ti c s . The a ute ur the or y, whi c h pr oba bl y
he l pe d to l i be r a te the e n e r gi e s of the Fr e n c h
c r i ti c s , pl a ys a ve r y d i ffe r e n t r ol e i n En gl a n d
a n d wi th the Fi l m C ul tur e a n d
Ne w
Yor k
Fi l m
Bul l e ti n a ute ur c r i ti c s i n the Un i te d Sta te s -
a n a n ti -i n te l l e c tua l , a n ti -a r t r ol e .
The Fr e n c h a ute ur c r i ti c s , r e je c ti n g the
s oc i a l l y c on s c i ous , pr obl e m pi c tur e s s o d e a r to
the ol d e r ge n e r a ti on of Ame r i c a n c r i ti c s , be -
c a me c on n oi s s e ur s of va l ue s i n Ame r i c a n pi c -
tur e s tha t Ame r i c a n s took for gr a n te d , a n d i f
the y we r e e d uc a te d Ame r i c a n s , ofte n he l d i n
c on te mpt. The Fr e n c h a d or e d the Ame r i c a n
ga n gs te r s , a n d the vi ta l i ty, the s tr e n gth, of
our a c ti on pi c tur e s - a l l thos e fi l ms i n whi c h
a c oupl e of tough me n s l ug i t out for a gi r l ,
a fte r goi n g thr ough he l l toge the r i n oi l fi e l d s ,
or bui l d i n g a r a i l r oa d , or bl a zi n g a tr a i l . In
on e s e n s e , the Fr e n c h we r e pe r fe c tl y r i ght -
the s e we r e ofte n muc h mor e s ki l ful l y ma d e a n d
fa r mor e i n te r e s ti n g vi s ua l l y tha n the movi e s
wi th a me s s a ge whi c h Ame r i c a n s we r e s o pr oud
of, c on s i d e r e d s o a d ul t. Vul ga r me l od r a ma
wi th
a fa s t pa c e c a n be muc h mor e e xc i ti n g - a n d
mor e hon e s t, too-tha n fe e bl e , pr e te n ti ous a t-
te mpts a t d r a ma - whi c h us ua l l y me a n t jus t
putti n g "i d e a s " i n to me l od r a ma ,
a n ywa y.
Whe r e the Fr e n c h we n t off wa s i n fi n d i n g
e l a bor a te i n te l l e c tua l a n d ps yc hol ogi c a l
me a n -
i n gs i n the s e s i mpl e a c ti on fi l ms . (No d oubt we
ma ke s ome c ompa r a bl e mi s ta ke s i n i n te r pr e ti n g
Fr e n c h fi l ms .)
Li ke mos t s wi n gs of the c r i ti c a l
pe n d ul um,
the the or y wa s a c or r e c ti ve , a n d i t he l pe d to
r e mi n d us of the e n e r gi e s a n d c r ud e s tr e n gth
a n d good humor tha t Eur ope a n s e n joye d i n
C IRC LES AND SQUARES 23
our movi e s . The Fr e n c h s a w s ome thi n g i n our
movi e s tha t the i r own movi e s l a c ke d ; the y a d -
mi r e d i t, a n d to s ome d e gr e e , the y ha ve ta ke n
i t ove r a n d us e d i t i n the i r own wa y (tr i um-
pha n tl y
i n Br e a thl e s s a n d Shoot the Pi a n o
Pl a ye r , n ot ve r y s uc c e s s ful l y i n the i r s e mi -
Ame r i c a n thr i l l e r s ). Our movi e s we r e a pr od -
uc t of Ame r i c a n i n d us tr y, a n d i n a s e n s e , i t
wa s Ame r i c a i ts e l f tha t the y l ove d i n our
movi e s - our l a s t fr on ti e r s , our r obbe r -ba r on s ,
our n a i ve t6, our vi ol e n c e , our
e ffi c i e n c y a n d
s pe e d a n d
te c hn ol ogy, our bi za r r e c ombi n a -
ti on of s e n ti me n ta l i ty a n d i n huma n me c ha n i za -
ti on .
But for us , the s i tua ti on i s d i ffe r e n t. It i s
good for us to be r e mi n d e d tha t our ma s s c ul -
tur e i s n ot
a l toge the r poi s on ous i n i ts e ffe c t
on othe r c oun tr i e s , but wha t i s a ppe a l i n gl y
e xoti c - "Ame r i c a n " - for the m i s ofte n i n -
tol e r a bl e for us . The fr e e wa ys of c i ti e s l i ke
Los
An ge l e s ma y s e e m ma d a n d ma r ve l ous to
a
for e i gn vi s i tor ; to us the y a r e the n i ghtma r e s
we
s pe n d our d a ys i n . The i n d us tr i a l
pr od uc ts
of
Hol l ywood tha t we
gr e w up
on a r e n ot
e n ough to
s a ti s fy
our i n te r e s ts a s a d ul ts . We
wa n t a gr e a t d e a l mor e fr om our movi e s tha n
we ge t fr om the
ga n gs te r c a r n a ge a n d the
John For d we s te r n s tha t Eur ope a n s a d or e . I
e n joy s ome movi e s by Ge or ge C ukor a n d
Howa r d Ha wks but I woul d n 't be muc h i n te r -
e s te d i n the me d i um i f tha t we r e a l l tha t movi e s
c oul d be . We s e e ma n y e l e me n ts i n
for e i gn
fi l ms tha t our movi e s l a c k. We a l s o s e e tha t
our fi l ms ha ve l os t the be a uty a n d i n n oc e n c e
a n d
i n d i vi d ua l i ty of the s i l e n t
pe r i od , a n d the
s pa r kl e a n d wi t of the 'thi r ti e s . The r e wa s n o
s pe c i a l r e a s on for the Fr e n c h c r i ti c s , pr e oc c u-
pi e d wi th the i r n e e d s , to be c ome s e n s i ti ve to
our s . An d i t wa s n ot
s ur pr i s i n g tha t, i n Fr a n c e ,
whe r e fi l m d i r e c tor s wor k i n c i r c ums ta n c e s
mor e
c ompa r a bl e to thos e of a d r a ma ti s t or a
c ompos e r , c r i ti c s woul d be c ome fi xa te d on
Ame r i c a n d i r e c tor s - n ot
un d e r s ta n d i n g how
c on fus e d a n d i n e xtr i c a bl e a r e the r ol e s of the
fr on t offi c e , the pr od uc e r s , wr i te r s , e d i tor s , a n d
a l l the r e s t of the m - e ve n the
ma r ke ti n g r e -
s e a r c h c on s ul ta n ts who ma y pr e te s t the d r a w-
i n g powe r s of the
s tor y a n d s ta r s - i n Hol l y-
wood . For the Fr e n c h, the n a me of a d i r e c tor
wa s a gui d e on wha t Ame r i c a n fi l ms to s e e :
i f a d i r e c tor wa s a s s oc i a te d wi th a c e r ta i n
type
of fi l m tha t the y l i ke d ; or i f a d i r e c tor 's wor k
s howe d the s pe e d a n d
e ffi c i e n c y tha t the y e n -
joye d . I a s s ume tha t a n yon e i n te r e s te d i n
movi e s us e s the d i r e c tor 's n a me a s s ome s or t
of gui d e , both pos i ti ve a n d n e ga ti ve , e ve n
though we r e c ogn i ze tha t a t ti me s he i s l i ttl e
mor e tha n a
s ta ge ma n a ge r . For
e xa mpl e , i n
the 'for ti e s , my fr i e n d s a n d I woul d ke e p a n
e ye out for the Robe r t Si od ma k fi l ms a n d a voi d
Ir vi n g Ra ppe r fi l ms (e xc e pt whe n the y s ta r r e d
Be tte Da vi s whom we wa n te d to s e e e ve n i n
ba d movi e s ); I a voi d Me r vyn Le Roy fi l ms
(though I we n t to s e e Home
Be for e Da r k for
Je a n Si mmon s '
pe r for ma n c e ); I wi s h I c oul d
a voi d Pe te r Gl e n vi l l e 's
pi c tur e s but he us e s
a c tor s I wa n t to s e e . It's obvi ous tha t a d i r e c tor
l i ke Don
Si e ge l or Phi l Ka r l s on d oe s a be tte r
job wi th wha t he 's got to wor k wi th tha n Pe te r
Gl e n vi l l e , but tha t d oe s n 't me a n the r e 's a n y
pr e s s i n g n e e d to go s e e e ve r y ta wd r y l i ttl e
ga n gs te r pi c tur e Si e ge l or Ka r l s on d i r e c ts ; a n d
pe r ha ps i f the y ta c kl e d mor e d i ffi c ul t s ubje c ts
the y woul d n 't d o a be tte r job tha n Gl e n vi l l e .
The r e i s n o r ul e or the or y i n vol ve d i n
a n y of
thi s , jus t s i mpl e d i s c r i mi n a ti on ; we
jud ge the
ma n fr om hi s fi l ms a n d l e a r n to
pr e d i c t a l i ttl e
a bout hi s n e xt fi l ms , we d on 't jud ge the fi l ms
fr om the ma n .
But wha t ha s
ha ppe n e d to the jud gme n t of
the En gl i s h a n d Ne w Yor k c r i ti c s who ha ve
ta ke n ove r the a ute ur the or y a n d us e d i t to
e r e c t a fi l m a e s the ti c s ba s e d on thos e c omme r -
c i a l movi e s tha t a n s we r e d a n e e d for the
Fr e n c h, but whi c h a r e n ot me r e l y l ud i c r ous l y
i n a d e qua te to our n e e d s , but a r e the r e s ul ts of
a s ys te m of
pr od uc ti on tha t
pl a c e s a ha mme r -
l oc k on Ame r i c a n d i r e c tor s ? An d how c a n
the y,
wi th
s tr a i ght fa c e s , pr obe for
d e e p me a n i n gs i n
the s e pr od uc ts ? Eve n the ki d s the y'r e ma d e for
kn ow
e n ough n ot to ta ke the m
s e r i ous l y. How
c a n the s e c r i ti c s , s e n s i bl e
e n ough to d e fl a te our
ove r bl own
me s s a ge movi e s , r e je c t the tota l
c on te n t of a wor k a s
un i mpor ta n t a n d c on c e n -
tr a te on
s i gn s of a d i r e c tor 's
"pe r s on a l i ty" a n d
"i n te r i or me a n i n g"? It's un d e r s ta n d a bl e tha t
24 C IRC LES AND SQUARES
the y'r e tr yi n g to fi n d movi e a r t i n the l oophol e s
of c omme r c i a l pr od uc ti on - i t's a ha r ml e s s
hobby a n d we a l l pl a y i t n ow a n d the n ; wha t's
i n c ompr e he n s i bl e i s tha t the y pr e fe r the i r l oop-
hol e s to un i fi e d fi l m e xpr e s s i on . If the y we r e n 't
s o d e te r mi n e d to e xa l t pr od uc ts ove r wor ks
tha t
a tte mpt to e xpr e s s huma n e xpe r i e n c e ,
woul d n 't the y ha ve
fi gur e d out tha t the mi s e -
e n -s c on e whi c h the y s e e k out i n the s e pr od uc ts ,
the d i r e c tor 's pe r s on a l s tyl e whi c h c ome s
thr ough d e s pi te the ma te r i a l , i s on l y a me r e
s ugge s ti on , a hi n t of wha t a n a r ti s t c a n d o whe n
he 's i n c on tr ol of the ma te r i a l , whe n the whol e
fi l m be c ome s
e xpr e s s i ve ? Is n 't i t obvi ous tha t
mi s e -e n -s c hn e a n d
s ubje c t ma te r i a l - for m a n d
c on te n t - c a n be
jud ge d s e pa r a te l y on l y i n ba d
movi e s or tr i vi a l on e s ? It mus t be bl a c k
c ome d y
for d i r e c tor s to r e a d thi s n e w c r i ti c i s m a n d d i s -
c ove r tha t fi l ms i n whi c h
the y fe l t
tr a ppe d a n d
d i s gus te d a r e n ow s a i d to be the i r
ma s te r pi e c e s .
It's a n a e s the ti c s for 1984: fa i l ur e i s s uc c e s s .
I a m too fa r fr om the
En gl i s h s c e n e to gue s s
a t moti ve s , a n d fa r
a wa y a l s o fr om Ne w Yor k,
but
pe r ha ps c l os e
e n ough to
gue s s tha t the
Ame r i c a n s
(c on s c i ous l y or
un c on s c i ous l y) a r e
ma ki n g a ki n d of s oc i a l c omme n t: l i ke the
pop a r ti s ts , the Ne w Re a l i s ts wi th the i r c omi c
s tr i ps a n d
C a mpbe l l 's Soup c a n
pa i n ti n gs , the y
a r e
s a yi n g, "Se e wha t Ame r i c a i s , thi s
jun k i s
the fa c t of our l i ve s . Ar t a n d
a va n t-ga r d i s m a r e
phon y; wha t i s n 't
a n y good , i s
good . On l y
s qua r e s be l i e ve i n a r t. The a r ti fa c ts of i n d us tr i a l
c i vi l i za ti on a r e the
s upr e me tr uth, the
s upr e me
joke ." Thi s i s a
pe r i od whe n me n who c on s i d e r
the ms e l ve s c r e a ti ve s c off a t a r t a n d tr a d i ti on .
It i s
pe r ha ps n o a c c i d e n t tha t i n the s a me i s s ue
of Fi l m C ul tur e wi th Sa r r i s ' a ute ur
the or y the r e
i s a
l a vi s hl y i l l us tr a te d
s pr e a d on "The Pe r fe c t
Fi l mi c
Appos i te n e s s of Ma r i a Mon te z" - a
fa i r l y c l os e movi e e qui va l e n t for tha t outs i ze d
c a n of
C a mpbe l l 's Soup. The e d i tor , Jon a s
Me ka s , ha s hi s ki n d of s oc i a l c omme n t. Thi s
i s hi s
a ppr oa c h to
e d i ti n g a fi l m
ma ga zi n e :
"As
l on g a s the
'l uc i d l y mi n d e d ' c r i ti c s wi l l
s ta y out, wi th a l l the i r 'for m,' 'c on te n t,' 'a r t,'
's tr uc tur e ,' 'c l a r i ty,' 'i mpor ta n c e '
-
e ve r ythi n g
wi l l be a l l
r i ght, jus t ke e p the m out. For the
n e w s oul i s s ti l l a bud , s ti l l
goi n g thr ough i ts
mos t d a n ge r ous , mos t s e n s i ti ve s ta ge ." Doe s n 't
e xa c tl y ma ke on e fe e l we l c ome , d oe s i t? I'm
s ur e I d on 't kn ow wha t the pr obl e m i s : a r e
the r e s o ma n y "l uc i d l y mi n d e d " c r i ti c s i n thi s
c oun tr y (l i ke An d r e w Sa r r i s ?) tha t the y mus t
be fought off? An d a r e n 't the s e l i ttl e "bud s "
tha t ha ve to be pr ote c te d fr om c r i ti c a l jud g-
me n ts the s a me l i ttl e fi l m-ma ke r s who a r e s o
c on vi n c e d of the i r i mpor ta n c e tha t the y c a n
s c a r e l y c on c e i ve of a fi ve -mi n ute fi l m whi c h
d oe s n 't e n d wi th wha t the y, n o d oubt, r e ga r d
a s the ul ti ma te s oc i a l c omme n t: the mus hr oom
c l oud r i s i n g. Thos e "bud s " ofte n be ha ve mor e
l i ke tough n uts .
Sa r r i s wi th hi s l ove of c omme r c i a l tr a s h a n d
Me ka s who wr i te s of the "c ul -d e -s a c of We s te r n
c ul tur e " whi c h i s "s ti fl i n g the s pi r i tua l l i fe of
ma n " s e e m to ha ve i r r e c on c i l a bl e poi n ts of
vi e w. Sa r r i s wi th hi s joys i n Ra oul Wa l s h s e e ms
a l on g wa y fr om Me ka s , the s poke s ma n for the
"i n d e pe n d e n t fi l ma ke r s " (who c oul d n 't wor m
the i r wa y i n to Sa r r i s ' oute r c i r c l e ). Me ka s
ma ke s s ta te me n ts l i ke "The n e w a r ti s t, by
d i r e c ti n g hi s e a r i n wa r d , i s be gi n n i n g to c a tc h
bi ts of ma n 's tr ue vi s i on ." (De a r Lon C ha n e y
Me ka s , pl e a s e ge t your e a r out of your e ye .
Me ka s ha s a t l e a s t on e thi n g i n c ommon wi th
good d i r e c tor s : he l i ke s to d r a ma ti ze .) But to
l ove tr a s h a n d to fe e l tha t you a r e s ti fl e d
by i t
a r e pe r ha ps ve r y c l os e pos i ti on s . Doe s the ma n
who pa i n ts the c a n of C a mpbe l l 's Soup l ove i t
or ha te i t? I thi n k the a n s we r i s both: tha t he
i s obs e s s e d by i t a s a fa c t of our l i ve s a n d a
s ymbol of Ame r i c a . Whe n Me ka s a n n oun c e s ,
"I d on 't wa n t a n y pa r t of the Bi g Ar t
Ga me "
he c ome s e ve n c l os e r to Sa r r i s . An d d oe s n 't the
a ute ur the or y fi t n i c e l y i n to the pa ge s of a n
"i n d e pe n d e n t fi l ma ke r s " jour n a l whe n
you
c on s i d e r tha t the wor k of thos e fi l m-ma ke r s
mi ght c ompa r e ve r y un fa vor a bl y wi th
good
fi l ms , but c a n l ook fa i r l y i n te r e s ti n g whe n c om-
pa r e d wi th c omme r c i a l pr od uc ts . It c a n e ve n
l ook or i gi n a l to thos e who d on 't kn ow muc h
fi l m hi s tor y. The
"i n d e pe n d e n t fi l ma ke r s ,"
Lor d kn ows , a r e a l r e a d y c on vi n c e d a bout the i r
i mpor ta n c e a s the c r e a ti ve fi gur e s -the a ute ur s ;
a the or y whi c h s ugge s te d the i mpor ta n c e of
wr i ti n g to fi l m a r t mi ght s e r i ous l y d a ma ge the i r
C IRC LES AND SQUARES 25:
e gos . The y go e ve n fa r the r tha n the a ute ur
c r i ti c s ' n oti on tha t the s c r i pt
i s
me r e l y s ome -
thi n g to tr a n s c e n d : the y
ofte n a c t a s i f a n yon e
who's c on c e r n e d wi th s c r i pts i s a s qua r e who
d oe s n 't
d i g fi l m. (It's obvi ous , of c our s e , tha t
thi s a e s the ti c ba s e d on i ma ge s a n d a c on te mpt
for wor d s i s a fun c ti on of e c on omi c s a n d
te c hn ol ogy, a n d tha t a s s oon a s a
c he a p, l i ght-
we i ght 16mm c a me r a wi th good s yn c hr on ous
s oun d ge ts on the ma r ke t, the i n d e pe n d e n t
fi l m-ma ke r s wi l l
d e ve l op
a d i ffe r e n t a e s the ti c .)
The a ute ur
the or y, s i l l y
a s i t i s , c a n n e ve r the -
l e s s be a
d a n ge r ous the or y
- n ot on l y be c a us e
i t c on s tr i c ts the
e xpe r i e n c e
of the c r i ti c s who
e mpl oy i t, but be c a us e i t offe r s n othi n g but
c omme r c i a l goa l s to the youn g a r ti s ts who
ma y
be tr yi n g to d o
s ome thi n g
i n
fi l m. Movi e wi th
i ts c e l e br a ti on of Sa mue l Ful l e r 's "br uta l i ty"
a n d the Ma c ki e Me ka s who "kn ows tha t e ve r y-
thi n g he ha s l e a r n e d fr om hi s
s oc i e ty a bout l i fe
a n d d e a th i s fa l s e " gi ve r e a d e r s mor e of a
c ha r ge tha n
the y ge t fr om the
l i mp pa ge s of
Si ght a n d Soun d a n d thi s jour n a l . Thi s i s n ot
i n te n d e d to be a s n i d e r e ma r k a bout Si ght a n d
Soun d a n d Fi l m
Qua r te r l y: i f the y a r e n ot mor e
s e n s a ti on a l , i t i s be c a us e the y a r e
a tte mpti n g to
be r e s pon s i bl e ,
to hoa r d the tr e a s ur e s of our
us a bl e pa s t. But
the y wi l l be
wi pe d off the
c i n e ma
l a n d s c a pe , i f
the y c a n 't me e t the bl a s ts
of a n ti -a r t wi th s ome fi r e of the i r own .
The un i on of Me ka s a n d Sa r r i s
ma y be
me r e l y a
ma r r i a ge of c on ve n i e n c e ; but i f i t i s
s tr on g e n ough to wi ths ta n d Sa r r i s ' "He l l o a n d
Good bye to the Ne w Ame r i c a n C i n e ma " (i n
The Vi l l a ge Voi c e , Se pte mbe r 20, 1962), pe r -
ha ps the
e xpl a n a ti on l i e s i n the
ma n y s ha r e d
a tti tud e s of the Me ka s
gr oup a n d the a ute ur
c r i ti c s . Ne i the r
gr oup, for
e xa mpl e , i s i n te r e s te d
i n a ba l a n c e d vi e w of a
fi l m;
Me ka s
s a ys he
d oe s n 't be l i e ve i n
"n e ga ti ve c r i ti c i s m" a n d
the a ute ur c r i ti c s
(jus t l i ke our gr a mma r s c hool
te a c he r s ) c on c e i ve of a r e vi e w a s "a n
a ppr e c i a -
ti on ." The d i r e c tor s
the y r e je c t a r e s o fa r
be yon d the pa l e tha t the i r fi l ms a r e n ot e ve n
c on s i d e r e d wor th d i s c us s i on . (Sa r r i s who d i s -
tr i bute s ze r o
r a ti n gs i mpa r ti a l l y to fi l ms a s
va r i e d a s
Yoji mbo,
The Ma n c hur i a n
C a n d i d a te ,
a n d
Bi l l y Bud d c oul d
ha r d l y be
e xpe c te d to
ta ke ti me off fr om hi s d e voti on a l e xe r c i s e s wi th
Ra oul Wa l s h to e xpl a i n why the s e
fi l ms a r e
wor thl e s s .) Sa r r i s , too, c a n r e s or t to the l a n -
gua ge of the hi ps te r - "Wha t i s i t the ol d ja zz
ma n s a ys of hi s a r t? If you gotta a s k wha t i t i s ,
i t a i n 't? We l l , the c i n e ma i s l i ke tha t." Thi s i s
r i ght a t home i n Fi l m C ul tur e , a l though Sa r r i s
(to hi s e ve r l a s ti n g c r e d i t) d oe s n 't
e mpl oy the
a c c us a tor y, pa r a n oi d s tyl e of Me ka s : "You
c r i ti c i ze our wor k fr om a pur i s t, for ma l i s ti c
a n d c l a s s i c i s t poi n t of vi e w. But we s a y to
you:
Wha t's the us e of c i n e ma i f ma n 's s oul
goe s
r otte n ?" The "you" i s , I
s uppos e , the s a me
you
who
fi gur e s
i n s o muc h (ba d ) c on te mpor a r y
pr ophe ti c , r i ghte ous poe tr y a n d
pr os e , the
"you" who i s
r e s pon s i bl e for the Bomb a n d
who, by s ome fa n ta s ti c a l l y s e l f-i n d ul ge n t
thought pr oc e s s e s , i s tur n e d i n to the
e n e my,
the c r i ti c . Me ka s , the c hi l d l i ke , i n n oc e n t, pur e
Me ka s , i s n ot a bout to be c a ught by "the
ti ghte n i n g we b of l i e s "; he r e fus e s "to c on ti n ue
the Bi g Li e of C ul tur e ." I'm s ur e tha t, i n thi s
s c he me , a n y a tte mpt a t c l e a r
thi n ki n g i mme -
d i a te l y pl a c e s us i n the
e n e my c a mp, tur n s us
Be wa r e of the Bul l -Doze r s ...
"Gr a n te d tha t on e mus t be 'c ommi tte d ' to
We l l e s to e ve n l i ke Ar ka d i n , but on c e on e
ha s ma d e the c ommi tme n t, the r e i s n o c hoi c e
but to c a l l i t a ma s te r pi e c e ."
-Ne w Yor k Fi l m Bul l e ti n , #45
i n to the
bomb-gui l ty "you," a n d I a m for c e d
to c on c l ud e tha t Me ka s i s n ot a l toge the r wr on g
-tha t i f we be l i e ve i n the n e c e s s i ty (n ot to
me n ti on the be a uty) of c l e a r
thi n ki n g, we a r e
i n d e e d hi s e n e my. I d on 't kn ow how i t's
pos -
s i bl e for a n yon e to c r i ti c i ze hi s wor k fr om a
"pur i s t, for ma l i s ti c a n d c l a s s i c i s t poi n t of vi e w"
-the me thod woul d be too fa r fr om the obje c t;
but c a n 't we a s k Me ka s : i s ma n 's s oul
goi n g
to be i n be tte r s ha pe be c a us e your wor k i s
pr o-
te c te d fr om c r i ti c i s m? How muc h n on s e n s e
d a r e the s e me n pe r mi t the ms e l ve s ? Whe n Sa r -
r i s te l l s us , "If the a ute ur c r i ti c s of the Fi fti e s
ha d n ot s c or e d s o ma n y c oups of
c l a i r voya n c e ,
26
C IRC LES AND SQUARES
the
a ute ur
the or y woul d n ot be wor th
d i s -
c us s i n g i n the Si xti e s ,"d oe s he me a n a n y mor e
tha n tha t he ha s ta ke n ove r the fi a ts of the
a ute ur c r i ti c s i n the 'fi fti e s a n d goe s on a ppl y-
i n g the m i n the 's i xti e s ? Doe s he s e r i ous l y
r e ga r d hi s own
Mi n n e l l i -wor s hi p a s s ome s or t
of
obje c ti ve ve r i fi c a ti on of the c r i ti c s who
pr a i s e d Mi n n e l l i i n the 'fi fti e s ? If tha t's hi s
c on c e pt of c r i ti c a l me thod , he mi ght jus t a s
we l l
joi n for c e s wi th othe r wr i te r s i n Fi l m
C ul tur e . In a d d i ti on to Me ka s ("Poe ts a r e s ur -
r oun d i n g Ame r i c a , fl a n ki n g
i t fr om a l l
s i d e s ,")
the r e i s , for
e xa mpl e , Ron Ri c e : "An d the
be a uti ful pa r t a bout i t a l l i s tha t you c a n , my
d e a r c r i ti c s , s c r e a m
pr ote s t to the s ki e s , you'r e
too l a te . The Mus i c i a n s , Pa i n te r s , Wr i te r s ,
Poe ts a n d Fi l m-Ma ke r s a l l fl y i n the s a me s ky,
a n d kn ow
Exa c tl y whe r e It's 'AT'." Ri c e kn ows
whe r e he 's a t a bout a s muc h a s Sta n
Br a kha ge
who
s a ys , "So the
mon e y ve n d or s ha ve
be gun
i t
a ga i n . To the c a ta c ombs the n .. ." In the
pa ge s of Fi l m C ul tur e the y e s c a pe fr om the
mon e y c ha n ge r s
i n
Je r us a l e m by goi n g to the
c a ta c ombs i n Rome .
"For ge t i d e ol ogy," Br a k-
ha ge te l l s us , "for fi l m un bor n a s i t i s ha s n o
l a n gua ge a n d
s pe a ks l i ke a n
a bor i gi n e ." We 'r e
a l l fa mi l i a r wi th
Br a kha ge 's pa s s i on for ob-
s te tr i c s , but d oe s
be i n g a
pr i mi ti ve ma n me a n
be i n g a foe tus ? I d on 't un d e r s ta n d tha t un bor n
a bor i gi n e ta l k, but I'm
pr e pa r e d to be l i e ve tha t
gr un t by gr un t, or
s que a l by s que a l , i t wi l l be
a s
me a n i n gful a s mos t of Fi l m C ul tur e . I a m
a l s o
pr e pa r e d to be l i e ve tha t for
Jon a s Me ka s ,
c ul tur e i s a
"Bi g Li e ." An d Sa r r i s , l ooki n g for
a n othe r c ul tur e un d e r thos e s e a ts c oa te d wi th
c he wi n g gum, c omi n g up n ow a n d the n to a n -
n oun c e a
"d i s c ove r y" l i ke
Joa n n e Dr u, ha s he
foun d hi s
s pi r i tua l home d own the r e ?
Is n 't the a n ti -a r t a tti tud e of the a ute ur c r i ti c s
both i n
En gl a n d a n d he r e , i mpl i c i t a l s o i n the i r
pe c ul i a r e mpha s i s on
vi r i l i ty? (Wa l s h i s , for
Sa r r i s ,"on e of the s c r e e n 's mos t vi r i l e d i r e c tor s ."
In Movi e we d i s c ove r : "Whe n on e ta l ks a bout
the he r oe s of
Re d Ri ve r , or Ri o Br a vo, or
Ha ta r i ! on e i s
ta l ki n g a bout Ha wks hi ms e l f.
.. Fi n a l l y e ve r ythi n g tha t c a n be s a i d i n
pr e -
s e n ti n g Ha wks boi l s d own to on e
s i mpl e s ta te -
me n t: he r e i s a ma n .") I d on 't thi n k c r i ti c s
woul d us e te r ms l i ke "vi r i l e " or "ma s c ul i n e " to
d e s c r i be a r ti s ts l i ke Dr e ye r or Re n oi r ; the r e i s
s ome thi n g too l i mi te d a bout d e s c r i bi n g the m
thi s wa y (jus t a s whe n we d e s c r i be a woma n a s
s e n s i ti ve a n d fe mi n i n e , we a r e i n d i c a ti n g he r
s pe c i a l n a tur e ). We mi ght d e s c r i be Ki pl i n g a s
a vi r i l e wr i te r but who woul d thi n k of c a l l i n g
Sha ke s pe a r e a vi r i l e wr i te r ? But for the a ute ur
c r i ti c s c a l l i n g a d i r e c tor vi r i l e i s the hi ghe s t
pr a i s e be c a us e , I s ugge s t, i t i s s ome ki n d of
a s s ur a n c e tha t he i s n ot tr yi n g to e xpr e s s hi m-
s e l f i n a n a r t for m, but tr e a ts movi e -ma ki n g a s
a pr ofe s s i on a l job. (Movi e : Ha wks "ma ke s the
ve r y be s t a d ve n tur e fi l ms be c a us e he i s a t on e
wi th hi s he r oe s .... On l y Ra oul Wa l s h i s a s
d e e pl y a n a d ve n tur e r a s Ha wks
....
Ha wks '
he r oe s a r e a l l pr ofe s s i on a l s d oi n g jobs -
s c i e n ti s ts , s he r i ffs , c a ttl e me n , bi g ga me hun te r s :
r e a l pr ofe s s i on a l s who kn ow the i r c a pa bi l i ti e s .
...
The y kn ow e xa c tl y wha t the y c a n d o wi th
the a va i l a bl e r e s our c e s , e xpe c ti n g of othe r s
on l y wha t the y kn ow c a n be gi ve n .") The
a ute ur c r i ti c s a r e s o e n thr a l l e d wi th the i r
n a r c i s s i s ti c ma l e fa n ta s i e s (Movi e : "Be c a us e
Ha wks ' fi l ms a n d the i r he r oe s a r e s o
ge n ui n e l y
ma tur e , the y d on 't n e e d to a n n oun c e the fa c t
for a l l to he a r ") tha t the y s e e m un a bl e to
r e l i n qui s h the i r s c hool boy n oti on s of huma n
e xpe r i e n c e . (If the r e a r e a n y fe ma l e
pr a c ti -
ti on e r s of a ute ur c r i ti c i s m, I ha ve n ot ye t d i s -
c ove r e d the m.) C a n we c on c l ud e tha t, i n
En g-
l a n d a n d the Un i te d Sta te s , the a ute ur
the or y
i s a n a tte mpt by a d ul t ma l e s to
jus ti fy s ta yi n g
i n s i d e the s ma l l r a n ge of e xpe r i e n c e of the i r
boyhood a n d a d ol e s c e n c e - tha t pe r i od whe n
ma s c ul i n i ty l ooke d s o gr e a t a n d i mpor ta n t but
a r t wa s s ome thi n g ta l ke d a bout by pos e ur s a n d
phon i e s a n d s e n s i ti ve -fe mi n i n e
type s ? An d i s
i t pe r ha ps a l s o the i r wa y of
ma ki n g
a c omme n t
on our c i vi l i za ti on by the s ugge s ti on tha t tr a s h
i s the tr ue fi l m a r t? I a s k; I d o n ot kn ow.