Not that time stopped, of course. Nor is there interest in a kind of grand-standing disrespect towards whatever worthwhile cinema fit into the narrow 12-month window that just passed (gentle reminder: this is how I make a living) when I say my sense of the landscape has flattened: those well-honed patterns part and parcel of a cinematic year—festival announcements, festival reviews, acquisition news, established release dates, after-work press screenings preceded by shitty midtown food, preferred theaters, weekend subway trips—vanished, the few standing traditions (if “bugging publicists for links” meets the definition) oddly extraneous. A combination of streaming services, downloading out-of-print holy grails, Plex—an app that streams files from computer to TV as simply as if watching Netflix, leaving cumbersome Hdmi plug-ins a thing of the past—and finding myself freed from sundry exhaustions of the old world are the best thing that’ve happened to my cinephilia in years.
- 1/7/2021
- by Nick Newman
- The Film Stage
By Michael Atkinson
The last of the red hot Golden Age Hollywood genre buckaroos, Budd Boetticher represented a long-vanished prototype: the man's man studio director who, before turning gruffly to making pictures, had spent years being a boxer or a stevedore or a soldier or what have you. Today, filmmakers pay their dues by earning six figures shooting shampoo commercials; then, a man who made westerns or war movies or gangster films was a man who had lived in the world and returned with a heartful of brutal and hopeful business you can't learn by watching other movies. In a sense, Boetticher outdid the competition by becoming a professional Mexican matador right out of college -- a scenario difficult to beat for hard-won iron-man chops in Tinseltown. Of course his biography influences how his best films -- the westerns he made between 1956 and 1960 -- have been perceived and why they've been canonized,...
The last of the red hot Golden Age Hollywood genre buckaroos, Budd Boetticher represented a long-vanished prototype: the man's man studio director who, before turning gruffly to making pictures, had spent years being a boxer or a stevedore or a soldier or what have you. Today, filmmakers pay their dues by earning six figures shooting shampoo commercials; then, a man who made westerns or war movies or gangster films was a man who had lived in the world and returned with a heartful of brutal and hopeful business you can't learn by watching other movies. In a sense, Boetticher outdid the competition by becoming a professional Mexican matador right out of college -- a scenario difficult to beat for hard-won iron-man chops in Tinseltown. Of course his biography influences how his best films -- the westerns he made between 1956 and 1960 -- have been perceived and why they've been canonized,...
- 11/11/2008
- by Michael Atkinson
- ifc.com
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