This appeared in The Soho News on March 11, 1981. A month earlier, I had launched a kind of weekly column there called “Declarations of Independents” that was in diary form — a bit like some of my Paris Journals and London Journals for Film Comment during the 70s –- and this was the third of these. — J.R.
Feb. 24: Why go all the way to the Thalia tonight to see five Screen Directors Playhouse episodes, all half-hour TV shows from the mid-50s? Two professional reasons spring to mind, both essentially recycling operations. As often happens in such cases, I feel myself split between the two — processes that honor my asocial aesthetics on the one hand, my social politics on the other.
Auteurist Retrieval technology (we’ll call it ART for short) — cultivated by me and a lot of other film freaks in the late 60s — is predicated on the pleasure of recognizing the taletale signs of favorite directors in all sorts of unlikely material. And what better excuse to put ART to work than patriarchal episodes by John Ford, Leo McCarey, Frank Borzage, Tay Garnett, and William Seiter? Indeed, to narrow the focus down to the evening’s main event, what better specimen could one hope to find but a crisp 35mm print of Ford’s Rookie of the Year, made immediately before his masterpiece The Searchers, with the same scriptwriter (Frank Nugent) and no less than four of the same actors — John Wayne, Pat Wayne, Vera Miles and Ward Bond — playing central roles?… Read more »