Framed around a simple cowboy heading to the big city to get… well, laid, the story runs into a series of loose comical vignettes that are just really an excuse for women to take their clothes off. In all fairness, Coppola does his best to make the material seem fresh and interesting, with a gimmicky hook to each story strand, but overall, this is a cheap gun-for-hire job the future talent took to help land a gig as a filmmaker, and not much else. The prospect of him tackling another horror film after rarely dappling in the genre with enticing results was a potentially good concept, especially with the youthful energy he displayed in his two prior films. And for a horror film it commits the worst crime of all — zero scares and zero atmosphere.
These two biographies proceed along different paths, but both seek to identify the directors' inimitable touch on the films they claim and on those they dismiss. Schumacher posits a wealth of details about all aspects of the creation of most of Coppola's films.
In detail, he works on Dementia 13 through John Grisham's The Rainmaker with enough discussion to situate in the director's oeuvre the three films that were barely features, e. Much emphasis is given to the battles and the financial and emotional toll brought to bear on the filmmaker, because therein Schumacher develops his theme of the wunderkind battling the powers that be for his creative prerogatives.
And it has been a hair-raising ride for Coppola, seemingly exacerbated owing to his extreme arrogance and unshakeable belief in his abilities to push filmmaking further than it had been before. Schumacher broadens his story with well-placed digressions into the progress of Coppola's contemporaries, such as director George Lucas and producer Robert Evans.
What he ends up with is a thoroughly engaging biography that teaches much about the nurturing of the creative process. Walker and his coauthors delve right into their man's films in a way that recalls the film studies in the old Film Comment quarterly. And though Kubrick, who died recently, was obsessed with controlling his work, like Coppola, these writers know from the onset that Kubrick, with the glaring exception of Spartacus, perhaps because it lacks an artistic coherence or because Kubrick dismissed it, maintained control of all facets of his films.
They acknowledge his reclusive behavior but insist that taking up permanent residence in England was beneficial. The task is to lay out the analysis of the films to prove auteur, made more complete by asserting their man's expertise with the camera.
Kubrick, to these critics, was not Hollywood's boy. They even try to prove that his work bares the stamp of European sensitivities; Kubrick, for these critics, showed the influence of Max Ophuls and Fritz Lang during his German expressionist years.
For them, Eyes Wide Shut, Kubrick's thirteenth and last film, excellently realizes its European source. Nonetheless, in its own way, this is a fitting tribute and solid biography of the work of a master of film collaboration.
Review by Publisher's Weekly Review This is not an authorized biography, though it often reads like one because Schumacher systematically defends director and screenwriter Coppola against the critics who have panned his films as contrived, excessively violent or a triumph of style over substance.
Still, he presents a brisk and astute portrait of one of the most influential directors of the past 30 years, adept at both operatic blockbusters The Godfather, Apocalypse Now and smaller personal movies John Grisham's The Rainmaker. The book's real strength lies in its flavorful behind-the-scenes re-creation of the making of all of Coppola's movies.
Schumacher tends to portray Coppola as an uncompromising visionary who waged a career-long battle to free himself from the Hollywood dream factory's constrictive commercial dictates.
Yet the lingering question is why the relentlessly driven filmmaker abandoned his creative, auteuristic endeavors in favor of safer, more profitable work-for-hire films. In any case, Coppola fans will rejoice. The exuberant Coppola was like a godfather to the new American cinema movement of the s.
Since then, contend critics, he has not fulfilled his early promise, eclipsed by Steven Spielberg, Martin Scorsese, and others. Schumacher There but for Fortune: A Life of Phil Ochs has written a comprehensive review of Coppola's turbulent career with the cooperation of the director and many of his colleagues.
Topics include Coppola's start directing nudie movies, his apprenticeship under B-movie mogul Roger Corman, and his friendship with George Lucas. On the personal side, Schumacher describes the involvement of Coppola's family in his films, including father Carmine, wife Eleanor herself a gifted filmmakerand son Gio, whose death in a boating accident devastated Coppola.
Film buffs will enjoy the juicy details on the making of the Godfather films and anecdotes on the chaotic shoot of Apocalypse Now. Coppola is a larger-than-life subject, and this book deserves a large audience in public and academic libraries. He lives in Wisconsin.A Face of War () inspired Francis Ford Coppola to make Apocalypse Now.
It was part of the American Zoetrope deal Coppola made with one of the studios, and Lucas was attached briefly as a director. He had no creative contribution to the film at any point.
 Milius changed the film's title to Apocalypse Now after being inspired by. Francis Ford Coppola (/ ˈ k oʊ p əl ə /; born April 7, ) is an American film director, producer, screenwriter and film composer.
He was a central figure in the New Hollywood wave of plombier-nemours.comen: Gian-Carlo Coppola, Roman Coppola, Sofia Coppola.
Over the many phases of Francis Ford Coppola’s half-century-long career — the freewheeling ’60s, the epic visions of the ’70s, the Hollywood misadventures of . Francis Ford Coppola (/ ˈ k oʊ p əl ə /; born April 7, ) is an American film director, producer, screenwriter and film composer.
He was a central figure in the New Hollywood wave of plombier-nemours.comen: Gian-Carlo Coppola, Roman Coppola, Sofia Coppola. These beautiful new bottles are filled with the same Rosso & Bianco you've come to know and love—only the label as changed.
It's our way . Aug 09, · Directed by Francis Ford Coppola. With Robin Williams, Diane Lane, Brian Kerwin, Jennifer Lopez. Because of an unusual aging disorder that has aged him four times faster than a normal human being, a boy enters the fifth grade for the first time with the appearance of a 40 year old man/10(K).