Notes on the Auteur Theory

Andrew Sarris delineates his three premises about auteur theory – a theory that he says is in need of a clearer definition. The first premise of auteur theory is the technical competence of the director has to be valued. The second premise is that the distinct personality of the director must also be assessed. The last premise is that auteur theory deals with interior meaning, which he vaguely defines as “the tension between a director’s personality and his material.” I find it interesting how Sarris notes three different levels of “director:” a technician embodies the first premise, a stylist embodies the first and second premises, and a true auteur embodies all three. A noteworthy problem that Sarris establishes is that while a director may secure credit and praise for working on a film, his or her crew may have actually been the ones with the knowledge, knowhow, and vision to successfully complete the film. Also important to note is that auteur theory cannot be applied to a director’s isolated masterpiece, but must be applied to a director’s entire body of work.