Leading Hollywood director Peter Bogdanovich has died at the age of 82

Peter Bogdanovich, director of the 1970s black and white classics such as the Ascot-wearing cinefile and The Last Picture Show and Paper Moon, has died. He is 82 years old.

Bogdanovich’s daughter Antonia Bogdanovich said he died Thursday morning at his home in Los Angeles. She said he died naturally.

Considered part of a generation of young “new Hollywood” directors, Bogdanovich was first announced as an auditorium in 1971 after the Chilling Loan shooter film Targets and The Last Picture Show. His passionate and melancholic portrait of teenage angst and middle-aged loneliness in the small, dying town earned him eight Oscar nominations, two (for Ben Johnson and Chloris Leachman) and brought him to stardom at 32 years old. He followed The Lost Picture Show with the scrollball comedy What’s Up, Doc? Starring Barbra Streisand and Ryan O’Neill, and then the Depression-Era Road Trip film Paper Moon, which also won an Oscar for 10-year-old Tatum O’Neill.

Peter Bogdanovich Peter died in Los Angeles. (Photo / Invision / AP, File by Chris Pizello)

His turbulent personal life also came to light frequently, from his famous relationship with Sybil Shepard to the murder of his playmate girlfriend Dorothy when he married his close associate Polly Platt during the making of The Last Picture show. Stratten and his next marriage were to his younger sister, Louise, who was 29 years his junior.

He reacted swiftly to the news of his death.

Streisand wrote on Twitter, “Peter always makes me laugh! He keeps making them laugh even there.

Francis Ford Coppola wrote in an email, “I will never forget attending the premiere of ‘The Last Picture Show’. At the end I remember, the audience surrounded me with applause for 15 minutes. He will sleep forever in bliss, enjoying the thrill of our applause forever.

Tatum O’Neill posted a photo of himself with him on Instagram, saying, “Peter is my heaven & earth. A father figure. A friend. From ‘Paper Moon’ to ‘Nickelodeon’ he always made me feel safe. I love you, Peter.

And Martin Scorsese writes in an email, “At a crucial time in the history of the film business and the art of filmmaking in the 60s, Peter Bogdanovich was at the crossroads of old Hollywood and New Dick. Peter’s debut film, ‘Targets,’ is still one of his best films. With ‘The Last Picture Show’, he made a film that looked back and forth at the same time, as well as was a resounding success … In the years that followed, Peter had setbacks and tragedies and he continued to do so. Rediscovering himself. “

Born in Kingston, New York in 1939, Bogdanovich began his career as an actor, film journalist and critic, and worked as a film programmer at the Museum of Modern Art, where he loved to host himself through many retrospectives and monographs. Old Guard filmmakers, including Orson Welles, Howard Hawks and John Ford. He regalized them with an understanding of their pictures, took his own lessons and kept their conversations for future books.

“I got very important one-sentence evidence when Howard Hawks turned to me and said, ‘Always slow down the movement and no one will notice the cut,'” he said in an interview with the Associated Press. “It was a very simple sentence but it seriously affected everything I did.”

And Welles, rather than one of Bogdanovich’s statues, became a close friend and occasional adversary. Although a generation apart, the two experienced the peaks of their initial success and all the problems and jealousy that came with it. In 1992, the young director published a book, This Is Orson Welles, based on conversations with an older director until 1969. Bogdanovich was instrumental in completing and releasing Wells’ The Other Side of the Wind, which opened in 1970. , In 2018.

“Until the end, he was fighting for the art of cinema and the people who created it,” Scorsese wrote.

His own Hollywood education began early: his father took him to see the paintings of Charlie Chaplin and Buster Keaton at the Museum of Modern Art when he was 5 years old. He later released his own Keaton documentary, The Great Buster 2018.

After getting married as teenagers, Bogdanovich and Platt moved to Los Angeles in the mid-1960s, where they attended Hollywood parties and formed friendships with director Roger Korman and Frank Marshall, just an amateur producer, who helped remove the Targets film from the ground. And the professional ascent continued for the next few films and years. But after Paper Moon, who collaborated with the plot after they split up, he never regained those first five years of acclaim in Hollywood.

Bogdanovich’s relationship with Shepard led to the end of his marriage to Plato, with whom he shared daughters Antonia and Sashi and a fruitful creative partnership. The 1984 film is based on the Irreconcilable Differences scandal. He later disputed the idea that Platt, who died in 2011, was an integral part of the success of his first films.

He went on to make two other films with Henry James Daisy Miller and Shepard, an adaptation of the musical At Long Last Love, none of which was particularly well received by critics or audiences.

And he also got major opportunities at the height of his successes. He told the vulture that he had rejected The Godfather, Chinatown and The Exorcist.

Peter Bogdanovich Peter Bogdanovich took major chances at the height of his success. (AP Photo / Sandro Pace, File)

“Paramount called and said, ‘We just bought a new Mario Pujo book called The Godfather. We want you to direct it.’ I said ‘I have no interest in the Mafia’, ”he said in an interview.

Highlights continue to follow Bogdanovich for things other than his films. He began an affair with playboy playmate Dorothy Stratten in the spring and summer of 1980 when she was directing a romantic comedy with Audrey Hepburn and Ben Gazzara, The All Laughing. Her husband, Paul Snyder, killed her that August. In his 1984 book The Killing of the Unicorn: Dorothy Stratten, 1960-1980, Bogdanovich critiques the alleged role of Hugh Hefner’s playboy empire in the events leading up to Stratten’s death. Then, nine years later, at the age of 49, he married her sister, Louis Stratten, who was only 20 at the time. They divorced in 2001 but continue to live with her mother in Los Angeles.

In an interview with the AP in 2020, Bogdanovich acknowledged that his relationship had had an impact on his career.

“The whole thing about my personal life has led to public awareness on movies,” Bogdanovich said. “It’s something that has plagued me since the first two films.”

Despite some setbacks, Bogdanovich’s output was fruitful in the 1980s and 1990s, including the sequel to The Last Picture Show in Texasville and the country music romantic drama The Thing Called Love, one of River Phoenix’s last films. 2001, The Cats Meow, about a party starring Kirsten Dunst as Marion Davis in William Randolph Hearst’s Yacht. His last feature film, She’s Funny That Way, was a scrollball comedy starring Owen Wilson and Jennifer Aniston, which he co-wrote with Louis Stratten, which received mixed reviews in 2014.

Over the years he has authored several books on film, including “Peter Bogdanovich’s Movie of the Week”, “Who the Devil Made It: Conversations with Legendary Film Directors” and “Who the Hell in It: Conversations with Hollywood Legendary Actors.”

He acted semi-frequently, sometimes (in Moonlighting and How I Met Your Mother) and sometimes in The Sopranos. He played other people like Elliott Kupferberg and also inspired a new generation of filmmakers from Wes Anderson to Noah Bombach. .

“They call me ‘pop’ and I let it go,” he told the vulture.

During an AP interview in 2020, Turner compared his career with classic movies host Ben Mankiwich to a podcast about his career, he worked hard on a television show inspired by Dorothy Stratten and was not optimistic about the future of cinema.

“I keep going, you know. Television is not dead yet, ”he said with a laugh. “But movies can be a problem.”

However, even with his Hollywood-sized ego, Bogdanovich remained respectful of those who came before him.

“I do not judge myself by my contemporaries,” he told the New York Times in 1971. “I’m committed myself against the directors I adore – Hawks, Lubitsch, Buster Keaton, Welles, Ford, Renoir, Hitchcock.


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