Directorial Debuts: Part II (1970’s)
May 11, 2012 1 Comment
The 1970’s is my favorite decade of cinema by far. Most of my most admired directors had their heyday during this ten-year period, and the majority of films I consider my all-time favorites came out here as well. In Part I of this series, I concentrated on the dearth of great film debuts since 2000 and I suppose there are a few reasons for this. And though the 1970’s brought us the debuts from the likes of Steven Spielberg, Oliver Stone, Ridley Scott, Wim Wenders, Ron Howard, Adrian Lyne, Catherine Breillat, and a host of other notable talents, I wouldn’t necessarily classify their first efforts as being overly impressive. Here are my Top 5 Directorial Debuts from the 1970’s. Again, this is surely not a list of who I believe the best directors are to come out of the decade…I’m just judging first films here and the impact it had on cinema and the rest of their careers. As always, I’d love to see who you might include.
5. Tobe Hooper (Texas Chainsaw Massacre, 1974)
One of the most influential horror films in cinema history, without question. And a film that will always freak me the fuck out. I’m not sure if it’s because Hooper’s film is so low budget (less than $300,000), but the quality of it gives the feeling of a snuff film that only adds to the fright factor. The aesthetic quality of the film is impressive and he does manage to get solid performances from a cast of complete unknowns. The irony with this horror flick is that it got an R-rating (though Hooper was fighting for a PG) and even Roger Ebert cited the movie “as violent and gruesome and blood-soaked as the title promises,” when in fact, there is very little blood or gore at all. A testament to the power of the mind and Hooper’s strong work here. Leatherface, inspired by real-life serial killer Ed Gein, is without a doubt, one of the most terrifying and haunting figures in movies, as he waits for his prey in his dilapidated home in the middle of nowhere. Hooper would go on to direct the ill-fated sequel and a host of other horror flicks, but has never managed to outdo this first grand effort.
4. David Lynch (Eraserhead, 1977)
Um…yeah. Not really sure what to say here. Perhaps Entertainment Weekly said it best when they wrote, “Eraserhead is about that which can’t be described.” I could not have put it better myself. Since its initial release, the film has become one of the all-time great cult classics and is the epitome of “the midnight movie.” Those familiar with the extraordinarily remarkable resume of Lynch, will surely be able to see a number of his favorite themes being introduced here for the first time. Lynch started work on the film when he was given a small grant by the AFI Conservatory, but the money of course ran out and it took him over 5 years to shoot — in spurts. Eraserhead is certainly not for everyone…in fact, it’s not for most. However, you can surely see the singular artistic vision that is David Lynch’s — his style, pacing, use of music, visuals, are all on display, and if not for this work, Mel Brooks would have had nothing to be so impressed by to hire him to helm The Elephant Man. One significant sidenote – the US Library of Congress selected the film for preservation in the National Film Registry in 2004. So there’s that…
3. Clint Eastwood (Play Misty for Me, 1971)
The Oscar-winning director behind such mighty works as Mystic River, Million Dollar Baby, Unforgiven, and A Perfect World began his filmmaking career with this gripping psychological thriller. here, Eastwood plays a late-night disc jockey who has a brief fling with Evelyn Draper (a frightening Jessica Walter), an obsessed fan of his. It doesn’t take long for Draper to become more than a little obsessed with the DJ and eventually becomes quite the deranged stalker. The film was released before many stalker films of its kind began to come out, and, rarely seen, showcased a psychotic female villain. Fatal Attraction, anyone? After years and years of working in front of the camera, it is clear that Eastwood picked up a lot from working with great (and not-so-great) directors and puts that knowledge to most impressive use here. A sign of wondrous things to come from this mighty artist.
2. Erroll Morris (Gates of Heaven, 1978)
The movie that launched the career of one of America’s premier documentarians. Of course, the main focus of the film is about the pet cemetery business, but the way Morris frames the work, it becomes about so much more than that. Themes of the afterlife, the inevitability of one’s own mortality, what pets mean in our everyday lives seep through and stay with you long after the film ends. There is no narration at all — unlike some of today’s “documentary” filmmakers, Morris refuses to editorialize for us and tell us what to think. It’s a fascinating film that many — most notably Werner Herzog — thought would never see the light of day. Herzog famously wagered that he would eat his own shoe if the movie was ever completed. True to his word, the great director consumed his own footwear, and became the subject of the delightful short 20-minute film Werner Herzog Eats His Shoe. The score…Morris 1, Herzog 0.
1. Terrence Malick (Badlands, 1973)
Not simply a magnificent directorial debut, but one of the best movies to come out of the 1970’s, period. Made for around $300,000, Malick began working on Badlands after his 2nd year at AFI. The film revolves around the cross-country killing spree of sociopathic Kit (Martin Sheen) and young Holly (Sissy Spacek), after he charms her away from her dead-end South Dakota town. The film managed to steal the limelight from Scorsese’s Mean Streets when it played at the New York Film Festival and critics were unanimous in their praise for the new filmmaker who depicted the violence in a very cold and remorseless way rather than with brutality and gore. Using America’s Midwest as the backdrop, Badlands plays a bit like Bonnie and Clyde (and perhaps a forerunner to Stone’s NBK), but the characters seem more real and the acts, more haunting than Penn’s piece. This film will surely be on any “Best Debut” list, but there is surely a reason for that. Malick, one of cinema’s most visionary directors with a painstaking eye for detail, cemented his reputation at the onset here, prompting his star Spacek to say (after working with him), “The artist rules. Nothing else matters.” Amen.
NEXT UP: ‘DIRECTORIAL DEBUTS PART III’ will give us the best from the 1960’s.