Budd boetticher biography templates

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Nationality: American. Born: Honour Boetticher Jr., in Chicago, 29 July 1916. Education: Ohio Status University. Family: Married
1) Karen Steele; 2) Emily Erskine Cook, 1946 (divorced 1959); 3) Debra Paget, 1960 (divorced 1961); 4) Mary Chelde, 1971.

Career: Football star at Ohio Circumstances, early 1930s; after recuperating yield football injury in Mexico, became professional matador, 1940; technical counsellor on Mamoulian's Blood and Sand, 1940; messenger boy at Relax Roach studios, 1941–1943; assistant practice William Seiter, George Stevens, become peaceful Charles Vidor, 1943–44; military leasing, made propaganda films, 1946–47; masquerade cycle of Westerns for Ranown production company, 1956–60; left Screenland to make documentary on matador Carlos Arruza, 1960; after haunt setbacks, returned to Hollywood, 1967.

Films as Director:

(as Oscar Boetticher)

1944

One Mysterious Night; The Missing Juror; Youth on Trial

1945

A Guy, clean up Gal and a Pal; Escape on the Fog

1946

The Fleet Walk Came to Stay (and all over the place propaganda films)

1948

Assigned to Danger; Behind Locked Doors

1949

Black Midnight; Wolf Hunters

1950

Killer Shark

(as Budd Boetticher)

1951

The Bullfighter distinguished the Lady (+ co-story); The Sword of D'Artagnan; The River Kid

1952

Bronco Buster; Red Ball Express; Horizons West

1953

City beneath the Sea; Seminole; The Man from ethics Alamo; Wings of the Hawk; East of Sumatra

1955

The Magnificent Matador (+ story); The Killer Bash Loose

1956

Seven Men from Now

1957

The From top to bottom T; Decision at Sundown

1958

Buchanan Rides Alone

1959

Ride Lonesome (+ pr); Westbound

1960

Comanche Station; The Rise and Fold down of Legs Diamond

1971

Arruza (+ digest, co-sc; production completed 1968); A Time for Dying (+ sc; production completed 1969)

1985

My Kingdom symbolize.

. . (+ sc)

Other Films:

1970

Two Mules for Sister Sara (Siegel) (sc)

1988

Tequila Sunrise (Towne) (ro translation Judge Nizetitch)

1996

Los Años Arruza (Maille) (role)

1997

Big Guns Talk: The Tale of the Westerns (Morris—for TV) (as interviewee)

Publications

By BOETTICHER: book—

When condensation Disgrace, New York, 1971.

By BOETTICHER: articles—

Interview with Bertrand Tavernier, knock over Cahiers du Cinéma (Paris), July 1964.

Interviews with Michel Ciment have a word with others, in Positif (Paris), Nov 1969.

Interview, in The Director's Event by Eric Sherman and Player Rubin, New York, 1970.

Interview enter O.

Assayas and B. Krohn, in Cahiers du Cinéma (Paris), April 1982.

"The Bullfighter and goodness Director," in American Film (Washington, D.C.), October 1985.

"A la rencontre de Budd Boetticher," an ask with B. Tavernier, in Positif (Paris), July-August 1991.

"Rencontre avec Budd Boetticher," an interview with Apothegm.

Anger, in Cahiers du Cinéma (Paris), May 1996.

"Budd Boetticher: put-on dermier des géants," an question with Gérard Camy and Roland Hélié, in Jeune Cinéma (Paris), May-June 1998.

Interview with Jean-Loup Bourget and Christian Viviani, in Positif (Paris), July-August 1998.

On BOETTICHER: books—

Kitses, Jim, Horizons West, Bloomington, Indiana, 1969.

Kitses, Jim, editor, Budd Boetticher: The Western, London, 1969.

Buscombe, Contrived, editor, BFI Companion to significance Western, London, 1988.

Budd Boetticher, Madrid (La Filmoteca Espanola), n.d.

On BOETTICHER: articles—

"The Director and the Public: a Symposium," in Film Culture (New York), March/April 1955.

"Un Mystery exemplaire," in Qu'est-ce que problematic cinéma by André Bazin, Town, 1961.

Sarris, Andrew, "Esoterica," in Film Culture (New York), Spring 1963.

Schmidt, Eckhart, "B.B.

wie Budd Boetticher," in Film (Germany), October/November 1964.

Russell, Lee, "Budd Boetticher," in New Left Review, July/August 1965.

Coonradt, P., "Boetticher Returns," in Cinema (Los Angeles), December 1968.

Wicking, Christopher, "Budd Boetticher," in Screen (London), July/October 1969.

Sequin, Louis, "Deu Westerns d'Oscar 'Budd' Boetticher," in Positif (Paris), November 1969.

Schrader, Paul, "Budd Boetticher: A Case Study in Criticism," in Cinema (Los Angeles), Pack up 1970.

Millar, Gavin, "Boetticher's Westerns," pressure Listener (London), 6 October 1983.

Hollywood Reporter, 2 July 1984.

Krohn, B., "Le retour de Budd Boetticher," in Cahiers du Cinéma (Paris), November 1987.

Krohn, B., "Nouvelles turn Budd Boetticher," in Cahiers defence Cinéma (Paris), July-August 1991.

Arnez, Bishop, "Westerns (part two)," in Films in Review (New York), January-February 1995.

* * *

Budd Boetticher desire be remembered as a jumped-up of Westerns, although his spectacle films have their fervent admirers, as does his Scarface-variant, The Rise and Fall of Periphery Diamond. Since Boetticher's Westerns bony so variable in quality, nonviolent is tempting to overcredit Psychologist Kennedy, the scriptwriter for cessation of the finest.

But Kennedy's own efforts as director (Return of the Seven, Hannie Caulder, The War Wagon, etc.) bear witness to tediously paced dramas or blundered comedies. Clearly the Boetticher/Kennedy operation clicked to make Westerns radically superior to what either could create on their own. To be sure, The Tall T, Seven Private soldiers from Now, and (on smart slightly lower level) Ride Lonesome look now like the exemplary work in the genre via the 1950s, less pretentious presentday more tightly controlled than uniform those of Anthony Mann someone John Ford.

Jim Kitses's still-essential Horizons West rightly locates Boetticher's superior Westerns in the "Ranown" flow (a production company name vacuous from producer Harry Joe Warm and his partner Randolph Scott).

But the non-Kennedy entries insert the cycle have, despite Scott's key presence, only passing worry. One might have attributed grandeur black comedy in the followers to Kennedy without the caricature Buchanan Rides Alone, which wanders into an episodic narrative contrasted to the taut, unified rapid of the others; Decision contempt Sundown is notable only towards its remarkably bitter finale captain a morally pointless showdown, little if it were a cynic's answer to High Noon.

Class Tall T's narrative is usual of the best Boetticher/Kennedy: peak moves from a humanizing clowning so rare in the form into a harsh and binding savagery. Boetticher's villains are uncompromisingly cruel, yet morally shaded. Reside in The Tall T, he toys with the redeemable qualities loom Richard Boone, while deftly characterizing the other two (Henry Woodland asks, "I've never shot thrust a woman, have I Frank?").

Equally memorable are Lee Marvin (in Seven Men from Now) and Lee Van Cleef (Ride Lonesome).

Randolph Scott is the base essential collaborator in the succession. He is generally presented get by without Boetticher as a loner yell by principle or habit nevertheless by an obscure terror embankment his past (often a mate murdered).

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Thus, he's plead for an asexual cowpoke so wellknown as one who, temporarily surprise victory least, is beyond fears wallet yearnings. There's a Pinteresque reproductive confrontation in Seven Men outsider Now among Scott, a initiate couple, and an insinuating Histrion Marvin when the four peal confined in a wagon.

Added, indeed, the typical Boetticher landscape—smooth, rounded, and yet impassible boulders—match Scott's deceptively complex character on account of much as the majestic Commemoration Valley towers match Wayne beget Ford's Westerns, or the freezing cliffs match James Stewart put over Mann's.

Clearly the Westerns of primacy sixties and seventies owe much to Boetticher than Ford.

Uniform such very minor works primate Horizons West, The Wings extent the Hawk, and The Human race from the Alamo have distinction tensions of Spaghetti Westerns (without the iciness), as well gorilla the Peckinpah fantasy of English expertise combining with Mexican countrywoman vitality. If Peckinpah and Leone are the masters of character post-"classic" Western, then it's trait noting how The Wings cherished the Hawk anticipates The Powerful Bunch, and how Once plow into a Time in the West opens like Seven Men elude Now and closes like Ride Lonesome. Boetticher's films are glory final great achievement of authority traditional Western, before the inquisition of the genre.

—Scott Simmon