Always his love affair with movies sustained him. (Later, in the United States, he would edit an English-language edition of the influential auteurist magazine Cahiers du Cinéma.) This includes data values and the controlled vocabularies that house them. Letter writers demanded that the editors sack this philistine. Just nauseating. Andrew Sarris. Finalists. Prize Winner in Criticism in 1987: Richard Eder of Los Angeles Times. Or did you just say that, because you knew someday, they’d use the quote on the cover of the videocassette? Of course, like anybody of real value, Professor Sarris, was not above being nasty. He turned us all on, either to directors we hadn’t yet heard of, or films of theirs we didn’t even know existed. He patted me affectionately on the shoulder and walked out, without giving me a verbal response. More than anyone else, he was responsible for introducing Americans to the Auteur Theory, the belief that the true author of a film is its director. The other night, as I grooved on Hawks’s Rio Bravo as much for its themes as its story, I thought of Sarris. For all the fierceness of his battles — he once took a poke at his former student and fellow Voice reviewer J. Hoberman, saying he was “freaking out on art-house acid” — he remained remarkably open to new experience. For a tour of some of Sarris’s most memorable pieces for this paper, click here. Sarris' first article, a controversial piece on Alfred Hitchcock's Psycho, appeared in the Voice on August 11, 1960. Mr. Lang’s apparent weaknesses are the consequences of his virtues. His death got me to thinking, and also blinking, through my tears about the great, insightful, instructive, infuriating things he said, as I sat through hundreds his classes. Mr. Sarris’s book “The American Cinema: Directors and Directions 1929-1968” stands as his magnum opus. In 1960, Mekas, at that time a film reviewer for The Village Voice, asked Sarris to substitute for him. In Hawks, you either were one or you weren’t, in which case, get the hell out of the way. By William Bastone, Jennifer Gonnerman, Michael Musto and Frank Owen. Share: Twitter Facebook Email. From his perch at The Village Voice, and later at The New York Observer, he wrote searchingly of that glorious deluge and the directors behind it — François Truffaut, Max Ophuls, Jean-Luc Godard, Michelangelo Antonioni, Ingmar Bergman, Akira Kurosawa. To praise a commercial director like Mr. Hitchcock in the haute bohemian pages of The Voice was calculated incitement. A younger brother, George Sarris, died at age 28 in a 1960 sky-diving accident. Anyone who read Andrew Sarris’s movie reviews was, in a way, a student of his. A longtime contributor to The Village Voice, he popularized the auteur theory that argued for the importance of the film director. The editors instead embraced Mr. Sarris as a controversialist; argument was like mother’s milk at The Village Voice. We never had to ask twice. “Urgency” — his smile on this point was wistful — “seemed unavoidable.”. I’m thinking of titling my review, ‘Cancer For Christmas.’ Strangely enough, he loved unrealistic, unhip, The Big Chill, I recall. Expected never to see him alive again. Winners. ... by Andrew Sarris May 5, 2020. He opened his essay on Fritz Lang, the Austrian-born director, this way: “Fritz Lang’s cinema is the cinema of the nightmare, the fable and the philosophical dissertation. Mr. Sarris also embraced, albeit with an occasional critical slap about their heads, Young Turks like Martin Scorsese, Robert Altman and Francis Ford Coppola. “We were cowed into thinking that only European cinema mattered,” Mr. Scorsese, who once shared a closet-size office in Times Square with Mr. Sarris, said in a 2009 interview. It was bought by Street Media, which also owns LA Weekly and Irvine Weekly.The digital iteration of the Voice will resume operations in January 2021. He took his place among a handful of stylish and congenitally disputatious critics: Pauline Kael, Stanley Kauffmann, John Simon and Manny Farber. “I’ll go to Molly’s next wedding.”, In another celebrated exchange of critical detonations, the often acidic John Simon wrote in The Times in 1971 that “perversity is certainly the most saving grace of Sarris’s criticism, the humor being mostly unintentional.”, To which Mr. Sarris replied, “Simon is the greatest film critic of the 19th century.”. With his famous “Pantheon List” Sarris did something equally groundbreaking. The Village Voice-Wikipedia He attended John Adams High School in Queens, his time there overlapping for a year or two with the newspaper columnist Jimmy Breslin’s. His wife, the film critic Molly Haskell, said the cause was complications of an infection developed after a fall. “That’s O.K.,” Ms. Kael replied. Read Movie and TV reviews from Andrew Sarris on Rotten Tomatoes, where critics reviews are aggregated to tally a Certified Fresh, Fresh or Rotten Tomatometer score. Other articles where Andrew Sarris is discussed: auteur theory: …by the American film critic Andrew Sarris—was an outgrowth of the cinematic theories of André Bazin and Alexandre Astruc. The Village Voice will resume in digital format in January 2021 and be published in print quarterly with plans to increase in frequency. The Theory said, in essence, that no matter who was working on a film — the most famous DP, charismatic movie star, producer or Foley artist, whose gunshot sounds were unmistakable — it was The Director’s Voice (or was that fingerprints?) His film is not a film at all, but merely a pretext for a pictorial spread in Life magazine. A student of little else, Trump is an intuitive expert in popular fantasy, and he plays his American audience like a well-worn instrument. 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