Bert Schneider

Criterion Files

The most difficult thing about watching seminal, groundbreaking, paradigm-shifting movies is that it’s impossible to see them, feel them, or experience them the way they were in the moment, before they became influential enough to seem almost unexceptional by retrospective comparison. It’s difficult to marvel at the audacious camera angles or fragmented narrative of Citizen Kane in an age where Gaspar Noe and Guillermo Arriaga exist, or be shocked by the expertly-crafted profanity of Who’s Afraid of Virginia Woolf in a post-David Mamet world. These movies may remain strong and, in other ways, timeless, but even with the very best, the “moment” of greatness is lost by the sheer force of its effect on cinema that came after. Films, after all, aren’t made in a vacuum. They are the constant subject of influence, and rarely anything influences a film more than another great film.

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Criterion Files

As a relatively young person, far too young to speak meaningfully about an important era of American culture, it’s difficult for me to ascribe any sense of value even unto my own words about a picture that encapsulates and represents an alternate ideology of real American freedom than what we consider as being truly “free.” When we think of freedom we think of rights and when we think of American we think of the dream. We have the right to be happy and we have the freedoms to pursue it.

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Criterion Files

For the rest of the summer, Adam and Landon will be focusing on films included in the Criterion Collection released by the legendary BBS Production Company whose anti-establishment films rocked the world of Hollywood in the late 1960s and early 1970s. So dust of your old LPs, set out on the highway, and embrace your countercultural sensibilities with one of the most eccentric and essential stories of New Hollywood. When rummaging through the Criterion Collection’s available box sets, one thing becomes abundantly clear: the serious and traditional role that authorship has played in forming both the Collection and its reputation. Whether it’s five films by John Cassavetes, Sergei Eisenstein’s sound years, or Truffaut’s cinematic adventures of Antoine Doinel, the Collection places the director as the primary author of the text, just as they do when ascribing possession to individual titles (“Orson Welles’s F for Fake,” for instance). Then came the BBS set, which frames authorship to a group of films not because of the signatures of the directors who made each individual title, but as a group effort through the umbrella of a production company. BBS may refer specifically to Bob Rafelson, Bert Schneider, and Steve Blauner, but the talent pool that determined the artistic output of this company was hardly exclusive to them, incorporating the then-young talents of Dennis Hopper, Peter Bogdanovich, Jack Nicholson, and Henry Jaglom. None of these figures solely inhabited clear and exclusive occupational signposts like “writer,” “director,” “producer,” or “actor,” but a combined contributions to […]

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