Richard Schickel is an important American film historian, journalist, author, filmmaker, screenwriter, documentarian, and film and literary critic. Mr.Schickel is featured in For the Love of Movies: The Story of American Film Criticism. In this 2009 documentary film he discusses early film critics in the 1960s, and how he and other young critics, rejected the moralizing opposition of Bosley Crowther of The New York Times who had railed against violent movies such as Bonnie and Clyde. In addition to film, Schickel has also critiqued and documented cartoons, particularly Peanuts.Schickel was a recipient of a Guggenheim Fellowship in 1964. He has also lectured at Yale University and University of Southern California's School of Film and Television.
Film historian and author.
Film Critic for Time Magazine since 1972. Before that, he was film critic for "Life" Magazine.
President of Lorac Productions, which produces documentaries on film history and personalities.
Release of the autobiography, "Lena" by Richard and Lena Horne.
In the first of his many film books, "Movies" (published in 1965), he referred to King Vidor dismissively as a hack director who had "ground out pot-boilers" until his death. In fact, the eminent director was still very much alive at the time (he did not die until 1982) and, some ten years later, Schickel interviewed him at length for a TV documentary. In his book "The Men Who Made The Movies", Schickel spoke of Vidor in the most laudatory terms and referred to him as "King", implying they were friends. He did not mention his 1965 dismissal, nor did he apologize for it. (It is possible he had confused King Vidor with Charles Vidor , a bad mistake for a critic to make in a history of the cinema).
The law of unintended consequences pushes us ceaselessly through the,years, permitting no pause for perspective.
The common cold of the male psyche: fear of commitment.
A great novel is concerned primarily with the interior lives of its,characters, as they respond to the inconvenient narratives that fate,imposes on them. Movie adaptations of these monumental fictions often,fail because they become mere exercises in interior decoration.
Memory is the personal journalism of the soul.
A great novel is concerned primarily with the interior lives of its characters as they respond to the inconvenient narratives that fate imposes on them. Movie adaptations of these monumental fictions often fail because they become mere exercises in interior decoration.
That common cold of the male psyche, fear of commitment. .
