The director of “The last session” (1971) and “Mask” (1985), also critical, was extinguished at the age of 82 years.
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It’s a whole hollywood legend that dies with him. Peter Bogdanovich – 82 years old, died Thursday, January 6 in Los Angeles – Perhaps more broadly than his work herself, embodied in the eyes of moviegoers a living memory of cinema, at the same time as a vital love for this media.
Born July 30, 1939 in Kingston in the New York State of a Serbian Orthodox Father and an Austrian Jewish Mother, he started his career as critic and programmer, then, electrified by the new wave, goes to The realization. Three consecutive successes carry it to the pinnacle. The last sitting (1971), disenchanted painting of a small Texane town in 1951, through the stormy friendship of two young men who will soon leave her. The film reveals Jeff Bridges and Cybill Shepherd and moves from the outset under the sign of the loss and nostalgia for American classical cinema. We shed the suitcase, doctor? (1972), attempted resuscitation of the Screwball Comedy (“Favoie Comedy”) which brings together Ryan O’Neal and Barbra Streisand in perched couple. The Beard at Dad (1973), Road-Movie Initiatic who associates O’Neal again in the role of an Aigrefin to a little girl gathered (his own daughter, Tatum O’Neal).
The rest will be more difficult. Both professionally and personal, still non-quality free, like this Jack the magnificent (1979), exotic drift in which the Cassavhetic actor Ben Gazzara camps an expatriate Mac in Singapore to conquer his freedom . And everyone laughed (1982), police comedy, crystallizes a kind of fatum. Dorothy Stratten, one of the actresses of the film, Playmate that he fell crazy in love with the Pygmalion, is murdered by her husband during assembly. Bogdanovich, Anéanti, then decides to distribute the film alone, which it rejected the rights to the Fox, and ruins in the operation. A few years later, he attacks universal justice for inopportune cups in his film Mask (1985), a strange and charming work, with expensive in the role of a mother whose teen son suffers from a disfiguration that looks like a lion.
A living anachronism
Grilled in Hollywood, Bogdanovich joins in a sense what he probably never ceased to be: a phase-out character, a living anachronism. Beginner at the time of the new Hollywood, who politely and structurally revolutionizes American cinema, he is the author of a work that could be described as neoclassical and does not dream of reversing the table. He walks his eyes turned to a past of the cinema of which he painfully experiences the inevitable loss, by reverence for the art of his great masters.
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