Budd Boetticher: A Man Can Do That

Excellent docu on matador, director and badass extraordinaire Budd Boetticher, chronicling his life and work, from his young years learning bullfighting in Mexico, being hired on Rober Mamoulian's Rita Hayworth vehicle Blood and Sand to choreograph the bullfighting sequences only ending up choreographing Hayworth's 'matador' dance with Anthony Quinn, going on from there to threaten to punch the living daylights out of Columbia's cranky boss Harry Cohn only to land a job directing b pictures for him, his next stop doing potboilers for Universal and finally, his most famous output that secured him a place in Cahiers du Cinema's venerable pantheon of auteurs, his collaborations with writer Burt Kennedy, DP Charles Lawton Jr. and Randolph Scott in the Ranown westerns. Clint Eastwood, Taylor Hackworth, Quentin Tarantino, John Wayne's daughter, Peter Bogdanovich, Paul Schrader, Robert Towne and Boetticher himself in a late 2000 interview dissect his body of work, part critical appreciation, part eulogy for an American director who influenced as many subsequent filmmakers with only five movies as people like John Ford did with twenty-five.

Budd Boetticher was a famous director who made films from the 1940s to the late 1960s. While he is somewhat famous today, he isn't one of the "big names" from this era and he had a very particular niche--great lower budget Westerns (many of which starred Randolph Scott). While I have seen most of these classic Scott films, I knew very little of Boetticher's career otherwise, so I really was happy I saw this documentary about him and his films.

Overall, BUDD BOETTICHER: A MAN CAN DO THAT was an interesting amalgam. Some films about great directors focus almost exclusively on the films or the style of direction, while others are more like biographies that focus on the life of the man. However, this one manages to use both approaches during the picture. For a general overview of him and his films, this is a good film. If you are looking more for the analysis of the films or a biography alone, then perhaps the film might be less than satisfying. I personally liked the focus just the way it was.

Since Boetticher died earlier this decade, there was fortunately a lot of recent footage of the man and it felt like he was talking to the audience. None of this grainy old footage like I'd seen on the life and films of John Ford, for example. Considering that Boetticher was very lucid and vibrant up until the end, this really helped the film tremendously.

In addition, the film had many clips with various stars who had worked with the man and knew him well. Again, having only died relatively recently, it is a major plus that so many who knew and worked with him are still alive. Too often, films about earlier directors (such as one I saw on Fritz Lang recently) seem so disconnected because the men died decades before.

Overall, a very nice film and I hope that the people who made this would consider doing a similar biography about Sam Fuller or some other director who is mostly recognized by "insiders" (note: among film snobs, loving Boetticher films, like Fuller's, is quite in vogue at this time).

I was so pleased to see that my Uncle Budd had some "in front of the camera" time in the documentary entitled "A Man Can Do That" as he was the ultimate story teller and could keep anyone entranced, and did, whether he was in our house in the Canyon with one of his fabulous wives or later at his ranch in San Diego. He was always amused that his films had become classics and I joked with him often, telling him people usually have to die first to attain that status. When asked about his "motivation" for a film he usually had a brief answer that had to do with a small budget and a short amount of time. He just made movies....and that is what he did. But his narratives off camera were the best and the best of him. I miss him terribly and am so glad the final tribute was made to him....and for him. He out partied and outlived them all.

The man who made many a B-western with actors like RANDOLPH SCOTT is self-taught director BUDD BOETTICHER, who has a lot of interesting things to say about what drove him to become a director who began with low-budget crime stories and eventually stayed more with the western mode.

Among those who talk about him, CLINT EASTWOOD makes some of the best observations. And, of course, the fact that he "put flesh and blood on the screen," is what made QUENTIN Tarantino a disciple of Boetticher.

The Randolph Scott cycle includes some good clips from 7 MEN FROM NOW, THE TALL T, DECISION AT SUNDOWN, RIDE LONESOME and COMMANCHE STATION.

Interesting early facts: He was assistant director on THE MORE THE MERRIER with Jean Arthur and Joel McCrea; had a run-in with Harry Cohn who later hired him out of respect for his courage to stand up to him; had to prove to Darryl Zanuck that he knew something about bullfighting so he could get some work on BLOOD AND SAND and also choreographed the exotic dance scene between Rita Hayworth and Anthony Quinn.

Cantankerous and unpredictable, his films are given due respect by a number of people who recognize their worth as westerns that inspired many other films that followed. Many of them have a cult following today.

Just watched this entry in conjunction with the Randolph Scott / Budd Boetticher films shown on TCM. A very interesting synopsis of work and commentary from the director and some guests. I learned much about Boetticher's views and techniques from both his and the guests' commentaries (excepting only that ultra goober, Quentin Tarantino, who consistently strikes me as the kind of high-school dweeb who came in 3rd in the class-president election).

Boetticher's films have a definite style, to me quite spare and unencumbered, but nonetheless complete stories and characters. He seems to have a knack for enveloping the viewer into the story. I especially appreciate his Randolph Scott film "The Tall T", during which one feels that, with Scott as the star, he's sure to come out all right - but in the situation he finds himself, it's very hard to imagine how he will manage it.

All in all a quite enjoyable examination of one of the old-line directors who pursued his vision and technique to his own, rather than corporate, satisfaction.