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	<title>Parallax View &#187; Directors</title>
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	<link>http://parallax-view.org</link>
	<description>Smart Words About Cinema</description>
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		<title>Max Ophuls in Hollywood on Turner Classic Movies</title>
		<link>http://parallax-view.org/2012/01/22/max-ophuls-in-hollywood-on-turner-classic-movies/</link>
		<comments>http://parallax-view.org/2012/01/22/max-ophuls-in-hollywood-on-turner-classic-movies/#comments</comments>
		<pubDate>Sun, 22 Jan 2012 16:23:53 +0000</pubDate>
		<dc:creator>Sean Axmaker</dc:creator>
				<category><![CDATA[by Sean Axmaker]]></category>
		<category><![CDATA[Film Reviews]]></category>
		<category><![CDATA[Max Ophuls]]></category>
		<category><![CDATA[Caught]]></category>
		<category><![CDATA[James Mason]]></category>
		<category><![CDATA[Joan Bennett]]></category>
		<category><![CDATA[Joan Fontaine]]></category>
		<category><![CDATA[Letter From An Unknown Woman]]></category>
		<category><![CDATA[The Exile]]></category>
		<category><![CDATA[The Reckless Moment]]></category>

		<guid isPermaLink="false">http://parallax-view.org/?p=10167</guid>
		<description><![CDATA[On Monday, January 23, Turner Classic Movies is showing all four films made by Max Ophuls, the great German director, during his brief tenure in America (when he dropped the &#8220;h&#8221; and signed his films &#8220;Max Opuls&#8221;). The evening of &#8220;Max Ophuls in Hollywood&#8221; is followed by two of his greatest French films, La Ronde [...]]]></description>
		<wfw:commentRss>http://parallax-view.org/2012/01/22/max-ophuls-in-hollywood-on-turner-classic-movies/feed/</wfw:commentRss>
		<slash:comments>3</slash:comments>
		</item>
		<item>
		<title>Out of the Past: Brewster McCloud</title>
		<link>http://parallax-view.org/2011/12/12/out-of-the-past-brewster-mccloud/</link>
		<comments>http://parallax-view.org/2011/12/12/out-of-the-past-brewster-mccloud/#comments</comments>
		<pubDate>Mon, 12 Dec 2011 17:49:26 +0000</pubDate>
		<dc:creator>Robert C. Cumbow</dc:creator>
				<category><![CDATA[by Robert C. Cumbow]]></category>
		<category><![CDATA[Film Reviews]]></category>
		<category><![CDATA[Robert Altman]]></category>
		<category><![CDATA[Bert Remsen]]></category>
		<category><![CDATA[Brewster McCloud]]></category>
		<category><![CDATA[Brian McKay]]></category>
		<category><![CDATA[Bud Cort]]></category>
		<category><![CDATA[Corey Fischer]]></category>
		<category><![CDATA[Doran William Cannon]]></category>
		<category><![CDATA[G. Wood]]></category>
		<category><![CDATA[Jennifer Salt]]></category>
		<category><![CDATA[John Schuck]]></category>
		<category><![CDATA[Margaret Hamilton]]></category>
		<category><![CDATA[Michael Murphy]]></category>
		<category><![CDATA[Movietone News 51]]></category>
		<category><![CDATA[RenÃ© Auberjonois]]></category>
		<category><![CDATA[Sally Kellerman]]></category>
		<category><![CDATA[Shelley Duvall]]></category>
		<category><![CDATA[Stacy Keach]]></category>
		<category><![CDATA[William Windom]]></category>

		<guid isPermaLink="false">http://parallax-view.org/?p=9858</guid>
		<description><![CDATA[[Originally published in Movietone News 51, August 1976] Uniformed marching bands with twirlers. Red, white, and blue. Frustrated chauffeurs who can&#8217;t quite comprehend the world of their passengers. An arrival at the airport by charter plane, covered by an on-the-spot news announcer. The death and funeral of someone named Green(e). A reference to car racing. [...]]]></description>
		<wfw:commentRss>http://parallax-view.org/2011/12/12/out-of-the-past-brewster-mccloud/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Review: Tenant</title>
		<link>http://parallax-view.org/2011/11/15/review-tenant/</link>
		<comments>http://parallax-view.org/2011/11/15/review-tenant/#comments</comments>
		<pubDate>Tue, 15 Nov 2011 22:58:11 +0000</pubDate>
		<dc:creator>Movietone News contributor</dc:creator>
				<category><![CDATA[Film Reviews]]></category>
		<category><![CDATA[Guest Contributor]]></category>
		<category><![CDATA[Roman Polanski]]></category>
		<category><![CDATA[Bernard Fresson]]></category>
		<category><![CDATA[Claude Dauphin]]></category>
		<category><![CDATA[GÃ©rard Brach]]></category>
		<category><![CDATA[Isabelle Adjani]]></category>
		<category><![CDATA[Jo Van Fleet]]></category>
		<category><![CDATA[Lila Kedrova]]></category>
		<category><![CDATA[Melvyn Douglas]]></category>
		<category><![CDATA[Movietone News 52]]></category>
		<category><![CDATA[Rufus]]></category>
		<category><![CDATA[Shelley Winters]]></category>
		<category><![CDATA[Sven Nykvist]]></category>
		<category><![CDATA[Tenant]]></category>

		<guid isPermaLink="false">http://parallax-view.org/?p=9365</guid>
		<description><![CDATA[By Norman Hale [Originally published in Movietone News 52, October 1976] Art thou not, fatal vision, sensible To feeling as to sight? or art thou but A dagger of the mind, a false creation Proceeding from the heat-oppressed brain? —Macbeth In The Tenant Roman Polanski explores again the psychic terrain of guilt, dread, paranoia, fears [...]]]></description>
		<wfw:commentRss>http://parallax-view.org/2011/11/15/review-tenant/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>The Earth Is Made Of Glass: Orson Welles&#8217;s &#8216;The Stranger&#8217;</title>
		<link>http://parallax-view.org/2011/11/07/the-earth-is-made-of-glass-orson-welless-the-stranger/</link>
		<comments>http://parallax-view.org/2011/11/07/the-earth-is-made-of-glass-orson-welless-the-stranger/#comments</comments>
		<pubDate>Mon, 07 Nov 2011 16:27:45 +0000</pubDate>
		<dc:creator>Peter Richards</dc:creator>
				<category><![CDATA[by Peter Richards]]></category>
		<category><![CDATA[Essays]]></category>
		<category><![CDATA[Film Noir]]></category>
		<category><![CDATA[Orson Welles]]></category>
		<category><![CDATA[Anthony Veiller]]></category>
		<category><![CDATA[Edward G. Robinson]]></category>
		<category><![CDATA[Ernest Nims]]></category>
		<category><![CDATA[Gladys Hill]]></category>
		<category><![CDATA[Loretta Young]]></category>
		<category><![CDATA[Richard Long]]></category>
		<category><![CDATA[The Stranger]]></category>

		<guid isPermaLink="false">http://parallax-view.org/?p=9245</guid>
		<description><![CDATA[The standard wisdom about Orson Welles&#8217;s 1946 thriller The Stranger—broadly, that it&#8217;s Welles&#8217;s weakest film, the runt in his otherwise superlative litter—needs challenging, even if Welles himself seemed mostly disinclined to do so. Only in 1982, three years before his death, did he appear to suggest, to BBC interviewers, that it wasn&#8217;t so terrible after [...]]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>MOD Movies: Budd Boetticher in the City</title>
		<link>http://parallax-view.org/2011/11/05/mod-movies-budd-boetticher-in-the-city/</link>
		<comments>http://parallax-view.org/2011/11/05/mod-movies-budd-boetticher-in-the-city/#comments</comments>
		<pubDate>Sun, 06 Nov 2011 00:04:20 +0000</pubDate>
		<dc:creator>Sean Axmaker</dc:creator>
				<category><![CDATA[Budd Boetticher]]></category>
		<category><![CDATA[by Sean Axmaker]]></category>
		<category><![CDATA[DVD]]></category>
		<category><![CDATA[Film Noir]]></category>
		<category><![CDATA[Film Reviews]]></category>
		<category><![CDATA[The Killer is Loose]]></category>
		<category><![CDATA[The Rise and Fall of Legs Diamond]]></category>

		<guid isPermaLink="false">http://parallax-view.org/?p=9666</guid>
		<description><![CDATA[Despite the efforts of such fans as Clint Eastwood, who produced two documentaries on the director, and Martin Scorsese, Budd Boetticher is still a name known mainly to film historians and fans of classic westerns. Boetticher made some of the greatest, purest, most austere westerns of all time: Seven Men From Now (available from Paramount), [...]]]></description>
		<wfw:commentRss>http://parallax-view.org/2011/11/05/mod-movies-budd-boetticher-in-the-city/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Richard Lester</title>
		<link>http://parallax-view.org/2011/10/20/richard-lester/</link>
		<comments>http://parallax-view.org/2011/10/20/richard-lester/#comments</comments>
		<pubDate>Thu, 20 Oct 2011 15:12:47 +0000</pubDate>
		<dc:creator>Richard T. Jameson</dc:creator>
				<category><![CDATA[by Richard T. Jameson]]></category>
		<category><![CDATA[Directors]]></category>
		<category><![CDATA[Essays]]></category>
		<category><![CDATA[Richard Lester]]></category>

		<guid isPermaLink="false">http://parallax-view.org/?p=9502</guid>
		<description><![CDATA[[Written in 1996 as part of a cine-bio project that never saw the light of day.] Richard Lester aka Dick Lester Birth:  January 19, 1932; Philadelphia, Pennsylvania Education:  University of Pennsylvania (clinical psychology) My whole metabolism is that I’m inclined to do the sum at the end and then realize that I’ve left out one [...]]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>DVD: Claude Chabrol Begins &#8211; &#8216;Le Beau Serge&#8217; and &#8216;Les Cousins&#8217;</title>
		<link>http://parallax-view.org/2011/09/21/dvd-claude-chabrol-begins-le-beau-serge-and-les-cousins/</link>
		<comments>http://parallax-view.org/2011/09/21/dvd-claude-chabrol-begins-le-beau-serge-and-les-cousins/#comments</comments>
		<pubDate>Thu, 22 Sep 2011 00:48:35 +0000</pubDate>
		<dc:creator>Sean Axmaker</dc:creator>
				<category><![CDATA[Blu-ray]]></category>
		<category><![CDATA[by Sean Axmaker]]></category>
		<category><![CDATA[Claude Chabrol]]></category>
		<category><![CDATA[DVD]]></category>
		<category><![CDATA[Film Reviews]]></category>
		<category><![CDATA[Bernadette Lafont]]></category>
		<category><![CDATA[Gérard Blain]]></category>
		<category><![CDATA[Jean-Claude Brialy]]></category>
		<category><![CDATA[Juliette Mayniel]]></category>
		<category><![CDATA[Le Beau Serge]]></category>
		<category><![CDATA[Les Cousins]]></category>
		<category><![CDATA[Michèle Méritz]]></category>

		<guid isPermaLink="false">http://parallax-view.org/?p=9303</guid>
		<description><![CDATA[Le beau Serge and Les cousins, the first two films from Claude Chabrol, mark the official birth of the French nouvelle vague. The two confident, mature dramas don&#8217;t have the stylistic flash or narrative invention of the more famous works by Godard and Truffaut that followed, but that was always the way with Chabrol, the [...]]]></description>
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		<slash:comments>1</slash:comments>
		</item>
		<item>
		<title>&#8220;Cul-De-Sac&#8221; – Waiting For Katelbach</title>
		<link>http://parallax-view.org/2011/08/21/cul-de-sac-%e2%80%93-waiting-for-katelbach/</link>
		<comments>http://parallax-view.org/2011/08/21/cul-de-sac-%e2%80%93-waiting-for-katelbach/#comments</comments>
		<pubDate>Mon, 22 Aug 2011 00:06:43 +0000</pubDate>
		<dc:creator>Sean Axmaker</dc:creator>
				<category><![CDATA[Blu-ray]]></category>
		<category><![CDATA[by Sean Axmaker]]></category>
		<category><![CDATA[DVD]]></category>
		<category><![CDATA[Film Reviews]]></category>
		<category><![CDATA[Roman Polanski]]></category>
		<category><![CDATA[Cul-De-Sac]]></category>
		<category><![CDATA[Donald Pleasance]]></category>
		<category><![CDATA[Françoise Dorléac]]></category>
		<category><![CDATA[Jack MacGowran]]></category>
		<category><![CDATA[Lionel Stander]]></category>

		<guid isPermaLink="false">http://parallax-view.org/?p=9033</guid>
		<description><![CDATA[Roman Polanski once cited Cul-De-Sac (Criterion), a sly little character piece set in an isolated medieval castle on the barren British coast, as his personal favorite of his films, and the closest he came to creating &#8220;pure cinema.&#8221; It&#8217;s also been the hardest of Polanski&#8217;s films to see, at least in acceptable (and legitimate) editions. [...]]]></description>
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		<slash:comments>1</slash:comments>
		</item>
		<item>
		<title>&#8220;You&#8217;re Goddam Right I Remember&#8221; &#8211; Howard Hawks Interviewed</title>
		<link>http://parallax-view.org/2011/08/09/youre-goddam-right-i-remember-howard-hawks-interviewed/</link>
		<comments>http://parallax-view.org/2011/08/09/youre-goddam-right-i-remember-howard-hawks-interviewed/#comments</comments>
		<pubDate>Tue, 09 Aug 2011 15:36:33 +0000</pubDate>
		<dc:creator>Kathleen Murphy</dc:creator>
				<category><![CDATA[by Kathleen Murphy]]></category>
		<category><![CDATA[by Richard T. Jameson]]></category>
		<category><![CDATA[Howard Hawks]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Come and Get It]]></category>
		<category><![CDATA[El Dorado]]></category>
		<category><![CDATA[Frances Farmer]]></category>
		<category><![CDATA[Hatari!]]></category>
		<category><![CDATA[Joan Crawford]]></category>
		<category><![CDATA[John Wayne]]></category>
		<category><![CDATA[Movietone News 54]]></category>
		<category><![CDATA[Only Angels Have Wings]]></category>
		<category><![CDATA[Paul Muni]]></category>
		<category><![CDATA[Red River]]></category>
		<category><![CDATA[Rio Bravo]]></category>
		<category><![CDATA[Scarface]]></category>
		<category><![CDATA[The Dawn Patrol]]></category>
		<category><![CDATA[The Sun Also Rises]]></category>
		<category><![CDATA[Today We Live]]></category>
		<category><![CDATA[Walter Brennan]]></category>

		<guid isPermaLink="false">http://parallax-view.org/?p=8907</guid>
		<description><![CDATA[by Kathleen Murphy and Richard T. Jameson [Originally published in Movietone News 54, June 1977] Howard Winchester Hawks was home the afternoon of July 12, 1976. For some time there, it looked as if it wouldn&#8217;t happen. Kathleen Murphy had finally taken the leap and declared Howard Hawks: An American Auteur in the Hemingway Tradition [...]]]></description>
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		<slash:comments>2</slash:comments>
		</item>
		<item>
		<title>Of Babies, Bones and Butterflies</title>
		<link>http://parallax-view.org/2011/08/08/of-babies-bones-and-butterflies-bringing-up-baby/</link>
		<comments>http://parallax-view.org/2011/08/08/of-babies-bones-and-butterflies-bringing-up-baby/#comments</comments>
		<pubDate>Mon, 08 Aug 2011 15:45:17 +0000</pubDate>
		<dc:creator>Kathleen Murphy</dc:creator>
				<category><![CDATA[by Kathleen Murphy]]></category>
		<category><![CDATA[Essays]]></category>
		<category><![CDATA[Howard Hawks]]></category>
		<category><![CDATA[Barry Fitzgerald]]></category>
		<category><![CDATA[Bringing Up Baby]]></category>
		<category><![CDATA[Cary Grant]]></category>
		<category><![CDATA[Charles Ruggles]]></category>
		<category><![CDATA[Dudley Nichols]]></category>
		<category><![CDATA[Fritz Feld]]></category>
		<category><![CDATA[George Irving]]></category>
		<category><![CDATA[Hagar Wilde]]></category>
		<category><![CDATA[John Kelly]]></category>
		<category><![CDATA[Katharine Hepburn]]></category>
		<category><![CDATA[Mae Robson]]></category>
		<category><![CDATA[Movietone News 54]]></category>
		<category><![CDATA[Tala Birell]]></category>
		<category><![CDATA[Virginia Walker]]></category>
		<category><![CDATA[Walter Catlett]]></category>
		<category><![CDATA[Ward Bond]]></category>

		<guid isPermaLink="false">http://parallax-view.org/?p=8897</guid>
		<description><![CDATA[[Originally published in Movietone News 54, June 1977. This essay on Bringing Up Baby is a chapter of the author's University of Washington doctoral dissertation Howard Hawks: An American Auteur in the Hemingway Tradition.] Bringing Up Baby&#8216;s narrative and thematic directions have much in common with those of Shakespearean comedy. Positing the green world of [...]]]></description>
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		<slash:comments>0</slash:comments>
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