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Otto Preminger: The Man Who Would Be King

Otto Preminger: The Man Who Would Be King booK revIews dAvId sterrItt Otto Preminger: The Man Who Would Be King by Foster Hirsch The World and Its Double: The Life and Work of Otto Preminger by Chris Fujiwara Otto Preminger had a complex personality that affected every aspect of his career, giving it conflicted and even paradoxical dimensions. His everyday fits of red-faced, eye-popping rage, directed against major stars and minor technicians alike, contrasted strikingly with the self-possessed tone and nonjudgmental outlook of his films. He would shoot twenty takes to get the precise acting he wanted, but rarely minded if an equipment shadow marred the one he decided to use. While he shared Alfred Hitchcock’s urge to preplan each picture in detail, he freely changed character positions and trackingshot trajectories just before the camera rolled. He was a Hollywood professional with a fiercely independent streak, a nonreligious man who treasured his Jewish identity, an Old World traditionalist who earnestly tried (and generally failed) to master the fragmented, accelerated moods that swept through commercial cinema in the later years of his career. With so much to think about, it’s surprising that more hasn’t been written about Preminger since his death in 1986, but the mystery is http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Film Quarterly University of California Press

Otto Preminger: The Man Who Would Be King

Steritt, David
Film Quarterly , Volume 63 (3) – Mar 1, 2010
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Publisher
University of California Press
Copyright
Copyright © by the University of California Press
Subject
Book Reviews
ISSN
0015-1386
eISSN
1533-8630
DOI
10.1525/fq.2010.63.3.67
Publisher site
See Article on Publisher Site

Abstract

booK revIews dAvId sterrItt Otto Preminger: The Man Who Would Be King by Foster Hirsch The World and Its Double: The Life and Work of Otto Preminger by Chris Fujiwara Otto Preminger had a complex personality that affected every aspect of his career, giving it conflicted and even paradoxical dimensions. His everyday fits of red-faced, eye-popping rage, directed against major stars and minor technicians alike, contrasted strikingly with the self-possessed tone and nonjudgmental outlook of his films. He would shoot twenty takes to get the precise acting he wanted, but rarely minded if an equipment shadow marred the one he decided to use. While he shared Alfred Hitchcock’s urge to preplan each picture in detail, he freely changed character positions and trackingshot trajectories just before the camera rolled. He was a Hollywood professional with a fiercely independent streak, a nonreligious man who treasured his Jewish identity, an Old World traditionalist who earnestly tried (and generally failed) to master the fragmented, accelerated moods that swept through commercial cinema in the later years of his career. With so much to think about, it’s surprising that more hasn’t been written about Preminger since his death in 1986, but the mystery is

Journal

Film Quarterly – University of California Press

Published: Mar 1, 2010

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