William Friedkin - Hollywoods Enfant terrible

Wenn F. F. Coppola, Quentin Tarantino oder Wes Anderson behaupten, dass ein Regisseur sehr außergewöhnlich ist, wird das schon stimmen. Auf William Friedkin trifft es bestimmt zu. Der Autor des besten Horrorfilms aller Zeiten und eines der besten Krimis zeigt sich hier wirklich so, wie er ist – ein sympathisch hartnäckiger, begeisterter Autor, für den Authentizität wichtig ist und der andere gerne mit seinem Vorgehen oder seinen Meinungen überrascht oder sogar schockiert. "Erfolg hat viele Väter, Misserfolg ist ein Waisenkind.“ (09.09.2020)

I was quite irritated that the narrative has almost no order and constantly jumps between films and topics (and the shots of Friedkin’s appearances at various festivals are randomly inserted into it). The commentary of the crowd of celebrities contributes to the distraction and does not provide much that is beneficial. If the director had simply sat Friedkin down in a chair and let him talk for an hour and a half about his life and career (i.e. the model successfully applied to the documentary De Palma), we would have learned more. At the same time, the entertainment element and briskness of the narrative would not have had to suffer from this, as Friedkin is a pleasure to listen to for his impudence, (film) erudition and supply of humorous stories from filming (and he obviously likes to listen to himself, even if he is not too infatuated with himself to appreciate someone else’s talent – for example, the best American director today is, in his opinion, a woman, Kathryn Bigelow). I appreciate the fact that the film (mostly) does not unnecessarily repeat the information known from earlier documentaries about the shooting of The Exorcist or The French Connection, and attempts to reveal lesser-known facts. On the other hand, it is regrettable that it does not give more space to other, more obscure projects, not only the documentary The People vs. Paul Crump, which together with television training pushed Friedkin toward a veristic way of shooting and an emphasis on authenticity and immediacy at the expense of elegance (the first take is fine, even though the whole crew can inadvertently be seen in reflection in the shot, because “who gives a fuck”). ___ Of the many memorable quotes of a filmmaker who is likable for his casualness and the fact that he rarely bothered with what was appropriate (whether in public statements or narrative conventions), I would have at least this inscribed: “Nobody can top Buster Keaton.” 75% (24.03.2019)