Notes on Auteur Theory

Auteur Theory

     

Having read both Sarris’ and Wollen’s articles on the auteur theory I question whether the theory actually exists. This theory was developed by a group of French critics who were looking at great American Hollywood films., but has become muddled over time. They felt that a small upper crust group of directors were “auteurs” -  they were directors that were technically competent and had a recurrent sense of style, which was their signature. Wollen talks in great length about Howard Hawks as auteur.  Hawks was famous for two types of films – adventure drama and crazy comedy. I have only seen one of his films in this class – The Big Sleep – and no others so I can’t comment on his recurrent skills or style. I have seen several Alfred Hitchcock films, including two in this class – Rear Window and North by Northwest – and I strongly think that if anyone is an auteur it is Hitchcock. He satisfies all three premises of auteur theory that Sarris talks about. First, Hitchcock has technical competence. Second, he has a distinguishable personality and signature style. Third is the meaning of the cinema as art. After studying only two of Hitchcock’s films I feel confident that he was definitely a great director, producer, and an auteur if anyone can be called one.

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.

Strictly Red

This article by Graham Fuller examines the impact directorial choices, specifically art direction and soundtrack selection, had on Baz Luhrmann’s Moulin Rogue. I enjoyed his articulation of how the inclusion of contemporary songs not only casts the movie in a different light, but also changes the framework of the song just as substantially. Luhrmann’s devotion to “theatricalism” is enhanced by the lurid, overly stylized effects and eclectic musical decisions. His commitment to dramatization and visual oversaturation constantly reminds the audience that they’re watching a movie. I liked Fuller’s analysis of the narrative structure of the movie – mainly that the audience knows from the beginning that Satine has already died. This move doesn’t undermine the dramatic tension of the film, but rather heightens it, as the moments that Christian and Satine do share are made all the more fleeting and foreboding due to the audience’s knowledge. Ultimately, the film is indebted to the theater and it’s striking red curtain, with it’s flair and knack for over the top drama.