The Films Of John Schlesinger

The city, with its manifold distractions and violence, its invitation to intoxication and dream, had long served to represent the experience of modernity in works of art at the time John Schlesinger made his acclaimed urban documentary ‘Terminus’ in 1961. To be a reader of the city was to be a reader of modern life, and Schlesinger was a discriminating, at times relentless, reader of the city throughout his career, especially in his three greatest films, ‘Midnight Cowboy’, ‘Sunday Bloody Sunday’ and ‘The Day of the Locust’, set in New York, London and Los Angeles, respectively. His character-driven stories, evocation of the significance of the everyday, and insistence on ambiguities of situation and motive – all qualities he was known for – point to literary influences that reach back to the nineteenth century and earlier. ‘The Films of John Schlesinger’ is not only the first book to fully acknowledge those influences, but also the first book to explicate the power of his art to capture the modern, urban experiences of becoming an adult in an atmosphere that relentlessly promotes fantasies of success and wealth; of coming to terms with one’s national identity in the context of international politics; and of attempting to transform the past, both personal and cultural, into a viable present.

“I like the surprise of the curtain going up, revealing what’s behind it.” –John Schlesinger The British director John Schlesinger was one of the cinema’s most dynamic and influential artists. Now, in Conversations with John Schlesinger, acclaimed writer Ian Buruma, Schlesinger’s nephew, reveals the director’s private world in a series of in-depth interviews conducted in the later years of the director’s life. Here they discuss the impact of Schlesinger’s personal life on his art. As his films so readily demonstrate, Schlesinger is a wonderful storyteller, and he serves up fascinating and provocative recollections of growing up in a Jewish family during World War II, his sexual coming-of-age as a gay man in conformist 1950s England, his emergence as an artist in the “Swinging 60s,” and the roller-coaster ride of his career as one of the most prominent Hollywood directors of his time. Schlesinger also discusses his artistic philosophy and approach to filmmaking, recounting stories from the sets of his masterpieces, including Midnight Cowboy; Sunday, Bloody Sunday; Marathon Man; and The Day of the Locust. He shares what it was like to direct such stars as Dustin Hoffman, John Voight, Sean Penn, Madonna, and Julie Christie (whom Schlesinger is credited with discovering) and offers his thoughts on the fickle nature of fame and success in Hollywood. Packed with wit and keen insight into the artistic mind, Conversations with John Schlesinger is not just the candid story of a dynamic and eventful life but the true measure of an extraordinary person.

Looks at the life and career of the British motion picture director of such films as "Midnight Cowboy" and "Marathon Man."

Introduces the former Spanish territory nicknamed The Land of Enchantment, now known for its captivating scenery and grazing lands.

"Much more than a page-turner. It’s the first essential work of cultural history of the new decade." —Charles Kaiser, The Guardian One of The Washington Post's 50 best nonfiction books of 2021 | A Publishers Weekly best book of 2021 The Pulitzer Prize–winning journalist and New York Times–bestselling author of the behind-the-scenes explorations of the classic American Westerns High Noon and The Searchers now reveals the history of the controversial 1969 Oscar-winning film that signaled a dramatic shift in American popular culture. Director John Schlesinger’s Darling was nominated for five Academy Awards, and introduced the world to the transcendently talented Julie Christie. Suddenly the toast of Hollywood, Schlesinger used his newfound clout to film an expensive, Panavision adaptation of Far from the Madding Crowd. Expectations were huge, making the movie’s complete critical and commercial failure even more devastating, and Schlesinger suddenly found himself persona non grata in the Hollywood circles he had hoped to conquer. Given his recent travails, Schlesinger’s next project seemed doubly daring, bordering on foolish. James Leo Herlihy’s novel Midnight Cowboy, about a Texas hustler trying to survive on the mean streets of 1960’s New York, was dark and transgressive. Perhaps something about the book’s unsparing portrait of cultural alienation resonated with him. His decision to film it began one of the unlikelier convergences in cinematic history, centered around a city that seemed, at first glance, as unwelcoming as Herlihy’s novel itself. Glenn Frankel’s Shooting Midnight Cowboy tells the story of a modern classic that, by all accounts, should never have become one in the first place. The film’s boundary-pushing subject matter—homosexuality, prostitution, sexual assault—earned it an X rating when it first appeared in cinemas in 1969. For Midnight Cowboy, Schlesinger—who had never made a film in the United States—enlisted Jerome Hellman, a producer coming off his own recent flop and smarting from a failed marriage, and Waldo Salt, a formerly blacklisted screenwriter with a tortured past. The decision to shoot on location in New York, at a time when the city was approaching its gritty nadir, backfired when a sanitation strike filled Manhattan with garbage fires and fears of dysentery. Much more than a history of Schlesinger’s film, Shooting Midnight Cowboy is an arresting glimpse into the world from which it emerged: a troubled city that nurtured the talents and ambitions of the pioneering Polish cinematographer Adam Holender and legendary casting director Marion Dougherty, who discovered both Dustin Hoffman and Jon Voight and supported them for the roles of “Ratso” Rizzo and Joe Buck—leading to one of the most intensely moving joint performances ever to appear on screen. We follow Herlihy himself as he moves from the experimental confines of Black Mountain College to the theatres of Broadway, influenced by close relationships with Tennessee Williams and Anaïs Nin, and yet unable to find lasting literary success. By turns madcap and serious, and enriched by interviews with Hoffman, Voight, and others, Shooting Midnight Cowboy: Art, Sex, Loneliness, Liberation, and the Making of a Dark Classic is not only the definitive account of the film that unleashed a new wave of innovation in American cinema, but also the story of a country—and an industry—beginning to break free from decades of cultural and sexual repression.

This book is the first of its kind to trace the development of one of the largest and most important companies in British cinema history, EMI Films. From 1969 to its eventual demise in 1986, EMI would produce many of the key works of seventies and eighties British cinema, ranging from popular family dramas like The Railway Children (Lionel Jeffries, 1970) through to critically acclaimed arthouse successes like Britannia Hospital (Lindsay Anderson, 1982). However, EMI’s role in these productions has been recorded only marginally, as footnotes in general histories of British cinema. The reasons for this critical neglect raise important questions about the processes involved in the creation of cultural canons and the definition of national culture. This book argues that EMI’s amorphous nature as a transnational film company has led to its omission from this history and makes it an ideal subject to explore the ‘limits’ of British cinema.

Founded in 1973, the journal Literature/Film Quarterly has featured interviews with some of the most prominent and influential filmmakers from around the world. In Conversations with Directors, the journal's coeditors have assembled an exciting collection of interviews spanning 35 years. Interviewees include directors like Robert Wise, Billy Wilder, Frank Capra, Federico Fellini, William Friedkin, and Robert Altman. Organized chronologically, each interview is preceded by a short introduction that establishes a contemporary context, along with providing the reader with a clear sense of the interview's primary concerns, usefully illuminating the many fascinating, and sometimes surprising, points of connection and difference between the directors.