Sorcerer

Mark Wheeler

doi:10.5771/9781498596138

Sorcerer

William Friedkin and the New Hollywood

1. Edition 2022

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doi.org/10.5771/9781498596138
ISBN print: 978-1-4985-9612-1
ISBN online: 978-1-4985-9613-8
Lexington, Lanham Lexington, Lanham

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Abstract

William Friedkin’s film Sorcerer (1977) has been subject to a major re-evaluation in the last decade. A dark re-imagining of the French Director H.G. Clouzot’s Le Salaire de la Peur (The Wages of Fear) (1953) (based on George Arnaud’s novel); the film was a major critical and commercial failure on its initial release. Friedkin’s work was castigated as an example of directorial hubris as it was a notoriously difficult production which went wildly over-budget. It was viewed at the time as th end of New Hollywood. However, within recent years, the film has emerged in the popular and scholarly consciousness from enjoying a minor, cult status to becoming subject to a full-blown critical reconsideration in which it has been praised a major work by a key American filmmaker.

Schlagworte

Location filmmaking New Hollywood action adventure political ideologies film industry

Chapter Expand | CollapsePage
Preface
- Contents
- Acknowledgments
1–6 Introduction 1–6
7–34 1 William Friedkin, New Hollywood, and ‘Auteurial’ Filmmaking 7–34
35–62 2 Sorcerer – The Film’s Production History and the ‘Politics’ of the Hollywood System 35–62
63–88 3 Sorcerer – From Source Novel to Friedkin’s ‘Reimagining’ of H. G. Clouzot’s La Salaire de la Peur (The Wages of Fear) (1953) 63–88
89–112 4 Sorcerer – Sub-Textual Disorder, Global Economics, Geopolitics and Magical Realism 89–112
113–140 5 A Commercial and Critical Failure 113–140
141–164 6 The Resurrection of Sorcerer 141–164
165–176 Bibliography 165–176
177–182 Index 177–182
183–183 About the Author 183–183

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