Help! tell plz as John Ford Movie Mystery by Andrew Sarris reader touch review online sale

Book description

Book description
I like the story that when students complained that the elderly Andrew Sarris kept falling asleep in tutorials, the dean (or whoever deals with such complaints in an American university) said that to have Sarris asleep is worth more than most teachers awake. But for most of his career Sarris was not an academic, but a working film reviewer, churning reviews out each week. He is most famous for introducing the politiques des auteurs into English in the early 1960s and translating it as the Auteur Theory. As an aesthetic theory, a theory of judgment, it was broken backed – to judge a film purely on the way it expresses the director is arbitrary – but it had an important impact on the revaluation of Hollywood, the recognition that it was not just an entertainments machine, but films of stylistic integrity and thematic complexity could, and had, been made there. Here he spends 190 pages to write about John Ford’s 125 films. Many of the early ones are lost which makes the task easier, but he shoots past the films and, even at the most detailed, only spends a few paragraphs on an individual work. This is not a work of detailed textual analysis, but one of throwaway insights, pithy observations, witty insistencies: Sarris does what he does best, write as an enthusiastic reviewer with a broad, but not particularly systematic, knowledge. And the book has a purpose: to show why Ford should be taken seriously. There were a number of studies of Hollywood directors, such as Robin Wood’s 1960s books on Alfred Hitchcock and Howard Hawks, that spend a lot of energy arguing why these directors should be taken seriously...but John Ford had been a respected director for 40 years, he had won four Academy Awards as best director, a couple more for documentaries: he was part of the Hollywood establishment. One can wonder if Sarris protests too much. But, interestingly, Ford had been admired at different times in different ways: his pre-Second World War films, such as The Grapes of Wrath, had been championed by those looking for Social Significance; his post-War Westerns, such as My Darling Clementine and Fort Apache, had been championed by British critics such as the young Lindsay Anderson, for their poetic vision of a mythic America. And Sarris is most enthusiastic about the later work, films from She Wore a Yellow Ribbon through to The Man Who Shot Liberty Valance, special note being taken of The Searchers. The mystery in The John Ford Movie Mystery is why do other people not agree with Sarris? But I find it a bit strange. In 1976, the year of publication, I was a film enthusiastic teenager: I remember watching a documentary about Ford on the BBC, seeing many of his films on T.V. and by that time there was a strong opinion that The Searchers was a key Ford film and one of the great Hollywood movies. At one point Sarris mentions that most of the book had been written before Ford’s death in 1973: maybe the times had just left Sarris behind: he is arguing for a change in evaluations, but after it had already occurred...which makes his central polemic a little redundant. But, after seeing a John Ford film, it is always worth turning to this book and reading the paragraphs about the film: there will generally be an idea or two to mull over.
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Help! tell plz as John Ford Movie Mystery by Andrew Sarris reader touch review online sale

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