A look at the complicated life and career of filmmaker Peter Bogdanovich, who was often out of step with the times but moved to a tender rhythm all his own.
From his first feature film, 1968’s “Targets,” to his last, 2014’s “She’s Funny That Way,”was always slightly out of step with his times. Given to a nostalgist’s over-indexing of the past, he nevertheless pressed on into the future, beginning his career with a then-unfashionable sympathy to those who came before and ending up with a whimsical air of delight to still be at it.
Bogdanovich followed that up with two more smash successes, 1972’s screwball throwback “What’s Up Doc?” starring Ryan O’Neal and Barbra Streisand, and 1973’s Depression-era-set “Paper Moon” starring O’Neal and his daughter Tatum. Yet Bogdanovich had already sown the seeds for his own downfall, having left Platt for Shepherd and moving into a Bel-Air mansion., “I handled success poorly. When you’re hot, it’s a heady atmosphere — everybody kowtows to you.
unsparingly examining how badly Bogdanovich treated her in work and marriage, long denying her the credit she rightfully deserved for her role in his early, transformational successes.1979’s “Saint Jack,” starring Ben Gazarra as a pimp in Singapore, got him back to work. In the comedic roundelay of “They All Laughed,” Bogdanovich found a way to tenderly depict Audrey Hepburn near the end of her career while also capturing the bloom of Dorothy Stratten at the beginning of hers.
It makes sense that Bogdanovich would eventually strike up a mentor friendship with Wes Anderson and Noah Baumbach. Similar to those younger filmmakers’ work, Bogdanovich’s films often contained an exterior artifice that could be pierced to reveal raw emotions and a deep humanity.
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