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Bogdanovich

Peter Bogdanovich always seemed to be the smartest in the class and also a bit or a lot of climbing. He managed to be very close to the greats, film masters, inevitably appearing in the photo, massaging them for his continuous flattery, writing interesting books and documentaries about them. He was a film critic and aspired to make it. And he got affection and dialogue with guys as tough and unrhetorical as Ford, Hawks, Lang and Welles. Like Scorsese, he was a film buff permanently grateful to the men who made cinema great. I seem to remember that the last thing Bogdanovich shot was the documentary The Great Buster, a beautiful and necessary tribute to the work of a genius named Keaton. Likewise, Bogdanovich turned stupid helping Welles in the chaotic and endless filming of The Other Side of the Wind. And Bogdanovich's start was splendid when he was able to tell his stories with a camera. The hero is on the loose it was as possibilistic as it was disturbing.

The last film is beautiful and desolate, an emotional portrait of early losers in a town in deep America, kids whose only refuge was a dilapidated movie theater that allowed them to dream that they too would close it. Later, Bogdanovich showed that he could also be very funny in What's wrong with me, doctor? And in the cute and funny Paper Moon .

During that time he was the king of Hollywood, the spoiled child. He collected a lot of dough and the critics blessed him. But from then on everything was a gradual disaster, very expensive projects that crashed at the box office. And he had to look for life as he could. He made quite a few forgettable films, with the exceptions of the unsettling Saint Jack, the story of a pimp whore in Singapore, and a clever, sexy comedy titled Everyone laughed. Bogdanovich could endorse that phrase by Scott Fitzgerald: “I speak with the authority that failure gives me.”

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