MoMA | Tag: Andrew Sarris

Posts tagged ‘Andrew Sarris’

May 28, 2013 | An Auteurist History of Film

Budd Boetticher’s The Rise and Fall of Legs Diamond

Posted by Charles Silver, Curator, Department of Film

The Rise and Fall of Legs Diamond. 1960. USA. Directed by Budd (Oscar) Boetticher

These notes accompany screenings of Budd Boetticher’s The Rise and Fall of Legs Diamond</a> on May 29 and 30 in Theater 1.

Oscar “Budd” Boetticher (1916–2001) is one of those directors who would likely have been all but ignored by film historians—if Andrew Sarris had not succeeded in making auteur theory prominent.

April 16, 2013 | An Auteurist History of Film

Otto Preminger’s Exodus

Posted by Charles Silver, Curator, Department of Film

Paul Newman, Eva Marie Saint, and John Derek in Exodus. 1960. USA. Directed by Otto Preminger

These notes accompany screenings of Otto Preminger’s Exodus</a> on April 17, 18, and 19.

Otto Preminger (1905–1986), like Josef von Sternberg, Erich von Stroheim, Billy Wilder, Fred Zinnemann, and Edgar G. Ulmer, was a Viennese Jew.

July 19, 2011 | An Auteurist History of Film

Otto Preminger’s Laura

Posted by Charles Silver, Curator, Department of Film

Laura. 1944. USA. Directed by Otto Preminger

These notes accompany the screenings of Otto Preminger’s Laura</a> on July 20, 21, and 22 in Theater 2.
Last week I mildly berated Andrew Sarris for pretty much ignoring Michael Powell and Emeric Pressburger in his auteurist bible, The American Cinema. This week, with Laura by Otto Preminger (1905–1986), we have an example of just how influential Sarris was and is.

December 9, 2010 | Film, Modern Women

Candid Thoughts on Lillian Gish

Posted by Jenny He, Curatorial Assistant, Film

The Whales of August. 1987. USA. Directed by Lindsay Anderson

Much has been written about Lillian Gish over the course of her 75-year career, and as the Museum’s retrospective of the actress’s films nears a close (concluding with a screening of the Museum’s newly preserved print of Orphans of the Storm on Monday, December 13), I would like to pay particular attention to the writings of three of Gish’s friends, colleagues, and critics—Anita Loos, Andrew Sarris, and Mike Kaplan—who offered the kind of personal insights that aren’t often evident among all of the written discussion of her career.