FTC Forum
ENGLISH => GENERAL => Topic started by: MysteRy on December 01, 2014, 01:54:44 PM
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Underappreciated Debut Films Made By Famous Directors
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As a companion to our last piece on 30 of the best directorial debuts, we created a second list of an additional 30 great feature film debuts. This article may not be as flashy as the last list, but it includes a wide range of feature film debuts from underappreciated gems to surreal experiences.
These directors all got their start somewhere, and these films represent their attempts to marry form, content, and personal style in a feature length runtime. You will recognize some well-known directors on the list. Here are 30 underrated directorial debuts that are worth your time.
Permanent Vacation (Dir. Jim Jarmusch, 1980)
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Allie (Chris Parker) is a wandering flaneur spouting philosophical commentary amongst the debris of New York City. It’s perfect subject matter for Jim Jarmusch, though his style would need to be refined over the years. Fortunately, Permanent Vacation was a stepping stone for Jarmusch, whose later films would transgress generic categorization.
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Fear and Desire (Dir. Stanley Kubrick, 1953)
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Watching Kubrick’s Fear and Desire is similar to learning that your significant other farts. You’d never expect a man who was infamous for doing hundreds of takes would create an unpolished film. The film follows four abandoned soldiers who attempt to make their way back to civilization.
Fear and Desire has flourishes of Kubrick’s style and finesse, but these are fleeting moments amongst some intriguing imagery. For years, Kubrick suppressed the film, but his estate would loosen its grip and allow it to be released on home media.
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Fando y Lis (Dir. Alejandro Jodorowosky, 1968)
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Jodorowsky’s surreal experimentation with theater led to an equally surreal experimentation with film. Fando y Lis isn’t Jodorowsky’s best work, but it is still quite the experience (one that caused a riot in Mexico). The film’s confrontational imagery and curiously structured narrative would lead to bigger and more audacious films like El Topo, The Holy Mountain, and Santa Sangre.
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Kids (Dir. Larry Clark, 1995)
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Larry Clark always seemed like a smarmy human being, so it doesn’t surprise me that his first feature was Kids (written by a teenage Harmony Korine). Following the exploits of sexually active teenagers, one of whom has AIDS, Larry Clark isn’t afraid to pull the punches by showing “kids” doing un-kid-like things.
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Shallow Grave (Dir. Danny Boyle, 1994)
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Boyle’s filmography is an eclectic display of subject matters and genres, managing to utilize the best generic traits while also enhancing the genre itself. Boyle’s first feature, a Hitchockian thriller about three flat mates who conceal the death of their new flat mate (found with a briefcase of cash), plays with dark humor and palpable tension. It is an intriguing cat and mouse game that leads to destructive finale.
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Walking and Talking (Dir. Nicole Holofcener, 1996)
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Walking and Talking features Holofcener regular, Catherine Keener, and Anne Heche as two friends coping with the changes that occur around them. Holofcener’s films are anchored by fantastic female characters who develop wonderful relationships amongst one another, deal with situations beyond their control, and try to enhance their own perceptions of self-worth.
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Bad Taste (Dir. Peter Jackson, 1987)
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Remember when Peter Jackson took you to Middle Earth? Forget about that and travel with him to a small village where big-headed aliens turn humans into snacks. Peter Jackson’s cult potential was through the roof as his early films upped the ick factor with non-CGI effects. Jackson would abandon practical effects as he moved towards bigger budget fantasy films.
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Maria Full of Grace (Dir. Joshua Marston, 2004)
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Marston’s films exceed national categorization as he is an American filmmaker dealing with international subject matter. Maria Full of Grace focuses on Colombia and a factory worker who becomes a drug mule.
Catalina Sandino Moreno is phenomenal in the film, giving a nuanced portrait of a young woman caught between the expectations of everyone around her. Marston’s phenomenal direction stays at a distance, limiting us to the subjective experiences of these characters caught up in foreign situations.
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You Can Count on Me (Dir. Kenneth Lonergan, 2000)
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Lonergan’s You Can Count on Me is a rich and complex portrait of two siblings coping with their personal lives, as well as their relationship to one another. The film’s brilliant cast and remarkable script create a splendid film that was hailed by critics as of the best films of that year. Unfortunately, Lonergan’s next project, Margaret, endured a lengthy battle that that butchered his directorial vision.
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Away from Her (Dir. Sarah Polley, 2006)
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Polley is a remarkable director whose talents have shined in her three feature films. Away from Her is a touching look at the complicated relationship between a woman who is losing her memory and a husband who is trying to cope with the effects of his wife’s mental state. Polley’s films deal with the fragility of marriage and the complexity of monogamy, two themes that would be featured prominently in her powerful documentary, Stories We Tell.
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Amores Perros (Dir. Alejandro Gonzalez Inarritu, 2002)
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Arriving with a wave of Mexican directors – Guillermo del Toro and Alfonso Cuaron – Inaritu’s debut film was a bleak portrait of interpersonal human relationships, especially with animals. The themes and structure of Amores Perros would translate into Inarritu’s obsessions, especially in regards to experimental narratives that link tangential stories to one another.
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Strictly Ballroom (Baz Luhrmann, 1992)
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At his peak, Baz Luhrmann is a remarkable technician with a flair sparkling images and wonderful soundtracks. Strictly Ballroom is my personal favorite of his output. The tale of two unorthodox lovers competing in a dance competition shows Luhrmann at his most restrained. Unfortunately, Luhrmann’s ambitions got the best of him, and his more recent output shows a penchant for visuals over narrative depth.
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She’s Gotta Have It (Dir. Spike Lee, 1986)
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In his first film, She’s Gotta Have It, Spike Lee’s ambition and talent were palpable. Following the exploits of the sexually liberated Nola (Tracy Camilla Johns) and her encounters with the various men in her life, Spike Lee introduced radical subjective matter, especially in regards to racial themes. His radicalism and explosive style would parlay into such masterpieces as Do The Right Thing.
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Die verlorene Ehre der Katharina Blum oder: Wie Gewalt entstehen und wohin sie führen kann (Dirs. Volker Schlöndorff and Margarethe von Trotta, 1975)
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The Lost Honor of Katharina Blum was the first directorial feature from Margarethe von Trotta, who collaborated with her husband, Volker Schlöndorff. The two constructed an intriguing crime film that examined the effects of the tabloid press on the life of an innocent housekeeper. Von Trotta would grow weary of her collaborations with her husband, eventually severing ties, embarking on a solo career, and becoming one of the most prolific female directors in the world.
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Lola (Dir. Jacques Demy, 1961)
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There is no denying Jacques Demy’s love of American cinema (especially musicals). His first feature, Lola, is in the same vein as any Gene Kelly or Stanley Donen musical. Anouk Aimee is spectacular in the titular role, constructing an elusive heroine for Demy’s cinematic obsessions. Demy’s filmography would delve deeper into the musical world, creating more blissful settings filled with cathartic tragedy.
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Accattone (Dir. Pier Paolo Pasolini, 1961)
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A genius in all sense of the word, Pasolini was a gifted artist and philosopher who transitioned from screenwriting to feature filmmaking. With Accattone, Pasolini introduced his radical perspective by telling the story of beggars, thieves, and prostitutes who are all trying to make ends meet. His style and subject matter would prove to be controversial, even up to his final masterpiece, Salo, which explored the depths of human depravity and sexuality.
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On the Town (Dirs. Stanley Donen and Gene Kelly, 1949)
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As two first-time directors, Kelly and Donen could not have found better material suited for them. On The Town is a dazzling kaleidoscope of colors, songs, and dances, showcasing the best talents of its principal cast. The film – which tells the story of three sailors looking for love while on leave – was a critical and commercial success, thus launching its directors into the cultural stratosphere and helping them create some of the most iconic films/characters imaginable.
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L’assassin habite au 21 (Dir. Henri-Georges Clouzot, 1942)
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Clouzot’s early films were created around the time of the German occupation of France, thus adding another layer of subtext to his suspenseful plots and stories.
In L’assassin habite au 21 (The Murderer Lives at 21), Clouzot crafts a clever whodunit in which everyone is capable of murder. His penchant for suspense would run deep in the veins of Hitchcock, but his creative output in the 60s would be overshadowed by the French New Wave. Still, there is no denying Clouzot’s massive talent and his influence on contemporary directors.
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A New Leaf (Dir. Elaine May, 1971)
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Elaine May’s comedic origins date back to her lucrative partnership with Mike Nichols, so it is only fitting that her debut film, A New Leaf, showcased her comedic talent. Examining the relationship between a gold digger (Walter Matthau) and his naïve, wealthy wife (Elaine May), A New Life is pinpoint perfect in its conception and comedic timing. Unfortunately, due to May’s infamous clashes (with actors and producers) on later productions, her directorial career would come to a end.
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The Connection (Dir. Shirley Clarke, 1962)
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Blurring the lines between fictional narratives and cinema vérité, Shirley Clarke began her feature filmmaking career with The Connection, a film that chronicles a group of heroin addicts in an enclosed apartment. Clarke’s style and subject matter helped highlight the potential of independent cinema, while also addressing issues of censorship.
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Play Misty for Me (Dir. Clint Eastwood, 1971)
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Eastwood transitioned from acting to directing with Play Misty for Me, a psychosexual thriller following a radio DJ (Eastwood) being pursued by a scorned lover/obsessive fan (Jessica Walter). The film is tinged with male neuroses and women’s lib, creating a portrait of an unhinged woman who will stop at nothing to get her man. Play Misty helped usher in the “psycho woman” genre, while also helping Eastwood polish his directorial chops.
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Forbrydelsens element (Dir. Lars von Trier, 1984)
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Von Trier is arguably the enfant terrible of Denmark. His controversial career began with Forbrydelsens element (The Element of Crime), a film that follows a police officer who tracks a killer by adopting the mentality of a killer.
Employing a blistering dystopia and criminal mindset, von Trier attempts to construct a carnal subjectivity based on psychosexuality and homicidal instincts. These themes would carryover into much more explicit territory as von Trier would later deconstruct American hypocrisy, the war between men and women, and nymphomania.
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Who’s That Knocking at My Door? (Dir. Martin Scorsese, 1967)
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Before Scorsese became a staple for cinephiles, he was a film student who was experimenting with form and style. He created his first feature by extending his student film, Bring on the Dancing Girls, renaming it I Call First, then renaming it again as Who’s That Knocking at My Door?.
The film follows a devout Catholic man as he tries to forge a relationship with a damaged woman. It exhibits liturgical themes and a New York landscape that would extend to many of Scorsese’s 70s masterpieces, though in later films, Scorsese would add in more elements of machismo and ultraviolence.
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They Live by Night (Dir. Nicholas Ray, 1948)
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Underappreciated by contemporaneous audiences, Nicolas Ray’s films slowly developed followings amongst cinephiles and film enthusiasts. His first feature, They Live By Night (based on Edward Anderson’s novel Thieves Like Us), endured a difficult distribution as the studio hindered the release date, yet the final product was well worth the wait.
The film is a bleak and subtextual story of lovers on the run, exposing the insidious nature of American ideals. Ray, like Douglas Sirk, would fashion a career out of exploring social/gendered conflicts, indulgence, and the decline of the wholesome image of America.
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A Tree Grows in Brooklyn (Dir. Elia Kazan, 1945)
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Kazan’s knack for sentimental melodrama, emotionally wrought characters, and socio-economic explorations was prominently featured in his first feature, A Tree Grows in Brooklyn (based on the novel by Betty Smith). The film follows a poor family as they constantly struggle to make ends meet. Though not Kazan’s best work, the tearjerker still manages to display themes that would resonate throughout Kazan’s filmography, including his examination of the declining idea of the “American Dream.”
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Je tu il elle (Dir. Chantal Akerman, 1975)
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Akerman’s early shorts emulated Jean-Luc Godard’s explosive style, yet her feature films employed a minimalist approach to her subjects. Her first film, Je tu il elle, plays like a rehearsal for Akerman’s masterpiece, Jeanne Dielman. It constructs a slow paced, yet intricate, examination of a woman (Akerman herself) as she eats sugar, discusses relationships with a truck driver, and has sex with a female lover.
The sparse editing, central female subjectivity, long runtime, and aimless narrative helped Akerman rewrite film grammar to include sexual difference. Though not as explicitly confrontational as Godard’s style, Akerman’s style was equally explosive.
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Performance (Dirs. Donald Cammell and Nicolas Roeg, 1970)
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Transitioning from cinematography to directing, Nicolas Roeg created quite the splash when he co-directed Performance, a graphic psychosexual/psychedelic exploration of identity. Employing explicit imagery and the lead singer of The Rolling Stones, Performance was notably controversial for its frank depiction of sex and drugs.
Roeg was never one to repress the sexuality of his characters, and his later films would not only feature his predilection for explicit nudity (Bad Timing, The Man Who Fell to Earth), but would also help him create some gorgeous works of art (Walkabout, Don’t Look Now).
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Metropolitan (Dir. Whit Stillman, 1990)
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Stillman’s filmography is an exercise in satire, following the “last days” of eras, politics, groups, and music. His first film, Metropolitan, introduced this satirical flare as it chronicled a crumbling group of friends and debutante ball enthusiasts.
Stillman, though satirical, manages to keep a healthy distance away from his characters, allowing them to indulge in their vices and delusions, yet never judging them for their eccentric behavior. It is an intricate balancing act that creates frustrating, yet likeable, characters who comment on the state of the world around them.
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Bob & Carol & Ted & Alice (Dir. Paul Mazursky, 1969)
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Mazursky’s illustrious career began with the ambitious sex comedy, Bob & Carol & Ted & Alice. Exploring the sexual liberation of the 1960s, Mazursky introduces audiences to the titular characters as they navigate relationships and monogamy in contemporary society.
The film chronicles the characters’ sexual repression and liberation, leading to a delicious climax (pun intended) involving Jackie DeShannon’s “What the World Needs Now Is Love.” Bob & Carol & Ted & Alice features the best of Mazursky’s talents as both a screenwriter and director, showcasing a nuanced tale of raw emotions sprinkled with moments of humor.
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Ascenseur pour l’échafaud (Dir. Louis Malle, 1958)
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Combining a modernist sensibility with an infectious jazz score (composed by Miles Davis, specifically for the film), Louis Malle’s Ascenseur pour l’échafaud (Elevator to the Gallows) helped put the new director into the international spotlight. His film – which follows two tangential love stories that lead to murderous results – not only showcased Malle’s talents as a director, but it also introduced the world to the icy visage and palpable sexuality of Jeanne Moreau.
It is a cool and slick film whose metaphorical time bomb ticks away as the police zero in on murderers. You’ll never forget the Champs-Elysées scene when non-actors (unbeknownst to them) are filmed reacting to Jeanne Moreau walking down the infamous Parisian street.