DVDFILE.COM Forum - View Single Post - Attack of the NON-auteurs

Lex M · 05-17-2004, 10:26 PM

I'm as big a fan of the auteur theory as anyone, and like most film geeks, I'm all about the director and judging their films within the context of their bodies of work. And as with most movie message boards, here we only seem to talk about the BIG NAME directors, both good and bad.

But what about the REAL hacks? I don't mean "HACK" as in "bad director," which is how most film geeks (mis)use the term. No, a hack is NOT a Simon West or Schumacher or Harlin, all of whom have trademark signifiers and thematics, even if you don't personally like them. I mean hacks in the old sense -- workmanlike pros who are essentially hired guns, skipping from movie to movie, even genre to genre, with little personal flair, but a degree of competence. Contrary to our love of the auteur theory, this isn't always a bad thing. So here are some good "hack"/workmanlike directors who almost never get mentioned but deserve some props.

JOHN BADHAM -- How does one go from BINGO LONGO to SATURDAY NIGHT FEVER to DRACULA to WARGAMES to BLUE THUNDER (ok, maybe those two...) to SHORT CIRCUIT STAKEOUT to BIRD ON A WIRE to....etc, etc. His each film may not have been ripped from his own tormented psyche, but Badham is an excellent craftsman of popular entertainment with sharp narrative sensibilities and a way with actors.

TED KOTCHEFF -- FIRST BLOOD, NORTH DALLAS FORTY, SPLIT IMAGE, WEEKEND AT BERNIE's -- Like Badham, little thematic consistency, but actually a master of widescreen cinematography and use of natural elements. Another guy whose name is nearly unrecognizable, but this Canadian director, in his prime, was a guy who could always be counted on to deliver a polished, non-flashy movie in multiple genres.

JEANNOT SZWARC-- Saw him listed as director on last night's THE PRACTICE finale, and couldn't believe he was still working. But JAWS 2, SOMEWHERE IN TIME, and ENIGMA (with Martin Sheen) were strong efforts from this TV-trained vet.

JONATHAN KAPLAN -- Like his peer Jonathan Demme, a Roger Corman protege whose filmography is all over the map but always well-made -- OVER THE EDGE, HEART LIKE A WHEEL, IMMEDIATE FAMILY, UNLAWFUL ENTRY. Anyone who gives me Claire Danes and Kate Beckinsale in a Thai prison where they're still allowed to romp around in cute outfits is OK in my book.

JOSEPH RUBEN -- THE STEPFATHER. GORP. GOOD SON. MONEY TRAIN. You get the picture.

STEVE CARVER -- Tons of crappy but awesome 70s B movie/karate movies, but the highlight to me is BULLETPROOF with a blonde Gary Busey soulfully playing sax on the beach in between bouts of ass-kicking. Kind of the Poor Man's Robert Clouse.

JOHN GUILLERMAN -- 70s disaster movie hack -- TOWERING INFERO -- who also did my personal guiltiest pleasure of all time, 1976 KING KONG, which is more beautifully shot and scored than anyone gives it credit for.

IRVIN KIRSCHNER -- Yes, more recognizable because of EMPIRE..., but actually an interesting filmmography chock-full of many strong sequels to other people's movies, as well as the occasional EYES OF LAURA MARS and UP THE SANDBOX.

Be back with more later.

05-17-2004, 10:26 PM	#1 (permalink)
Lex M Actor Join Date: Mar 2002 Location: Los Angeles	Attack of the NON-auteurs I'm as big a fan of the auteur theory as anyone, and like most film geeks, I'm all about the director and judging their films within the context of their bodies of work. And as with most movie message boards, here we only seem to talk about the BIG NAME directors, both good and bad. But what about the REAL hacks? I don't mean "HACK" as in "bad director," which is how most film geeks (mis)use the term. No, a hack is NOT a Simon West or Schumacher or Harlin, all of whom have trademark signifiers and thematics, even if you don't personally like them. I mean hacks in the old sense -- workmanlike pros who are essentially hired guns, skipping from movie to movie, even genre to genre, with little personal flair, but a degree of competence. Contrary to our love of the auteur theory, this isn't always a bad thing. So here are some good "hack"/workmanlike directors who almost never get mentioned but deserve some props. JOHN BADHAM -- How does one go from BINGO LONGO to SATURDAY NIGHT FEVER to DRACULA to WARGAMES to BLUE THUNDER (ok, maybe those two...) to SHORT CIRCUIT STAKEOUT to BIRD ON A WIRE to....etc, etc. His each film may not have been ripped from his own tormented psyche, but Badham is an excellent craftsman of popular entertainment with sharp narrative sensibilities and a way with actors. TED KOTCHEFF -- FIRST BLOOD, NORTH DALLAS FORTY, SPLIT IMAGE, WEEKEND AT BERNIE's -- Like Badham, little thematic consistency, but actually a master of widescreen cinematography and use of natural elements. Another guy whose name is nearly unrecognizable, but this Canadian director, in his prime, was a guy who could always be counted on to deliver a polished, non-flashy movie in multiple genres. JEANNOT SZWARC-- Saw him listed as director on last night's THE PRACTICE finale, and couldn't believe he was still working. But JAWS 2, SOMEWHERE IN TIME, and ENIGMA (with Martin Sheen) were strong efforts from this TV-trained vet. JONATHAN KAPLAN -- Like his peer Jonathan Demme, a Roger Corman protege whose filmography is all over the map but always well-made -- OVER THE EDGE, HEART LIKE A WHEEL, IMMEDIATE FAMILY, UNLAWFUL ENTRY. Anyone who gives me Claire Danes and Kate Beckinsale in a Thai prison where they're still allowed to romp around in cute outfits is OK in my book. JOSEPH RUBEN -- THE STEPFATHER. GORP. GOOD SON. MONEY TRAIN. You get the picture. STEVE CARVER -- Tons of crappy but awesome 70s B movie/karate movies, but the highlight to me is BULLETPROOF with a blonde Gary Busey soulfully playing sax on the beach in between bouts of ass-kicking. Kind of the Poor Man's Robert Clouse. JOHN GUILLERMAN -- 70s disaster movie hack -- TOWERING INFERO -- who also did my personal guiltiest pleasure of all time, 1976 KING KONG, which is more beautifully shot and scored than anyone gives it credit for. IRVIN KIRSCHNER -- Yes, more recognizable because of EMPIRE..., but actually an interesting filmmography chock-full of many strong sequels to other people's movies, as well as the occasional EYES OF LAURA MARS and UP THE SANDBOX. Be back with more later.