George Stevens: A Filmmaker's Journey

"George Stevens: A Filmmaker's Journey" is a loving tribute by his son to a genuinely fine director. Whether one might prefer either pre- or post WWII films by Stevens, the quality of his over all output is staggering. Before the war his films were bouncy, frothy, and delightful. After the war a more somber tone was displayed, and at the same time, a unique feeling for atmosphere and especially timing. Too, the musical scores blended beautifully into his full tapestry. The photography of his films was peerless, and the acting always on the highest level. This is a wonderful monument to a most loving and beloved screen director.

"George Stevens: A Filmmaker's Journey" is a testimonial of Steven's son to his father. Stevens was a most talented director, whose work spanned many years and whose films embraced many genres. He was a fine comedy director and also directed musicals with class. His action films were spirited and his romantic dramas moving. Many critics have tended to first overrate, then upon re-evaluation underrate Steven's work. My feeling is that Stevens chalked up a remarkable record of high quality films throughout his career, and this bio provides a wide range of his work, through film clips, interviews by actors, producers and directors, and through a loving narration by George Stevens, Jr. This is a must for Stevens fans and an enjoyable film for others.

George Stevens, Jr. Produced and narrates this look at his father's life and work. It includes interviews with Katharine Hepburn, Fred Astaire, Hermes Pan, Joel McCrea, Warren Beatty, and Mrs. Stevens, all of which are very interesting.

The most fascinating parts of this documentary are the ones which show footage from Stevens' own camera. There is on the set material from various films and his amazing World War II films of the liberation of Paris, Dachau, and the Normandy invasion. Staggering and stunning.

This perhaps deserved its own documentary, and I believe that later on, the footage was released separately.

Film clips include parts of: Alice Adams, The More the Merrier, Shane, Diary of Anne Frank, Giant, A Place in the Sun, The Greatest Story Ever Told.

Shelley Winters, not interviewed here, sadly, tells the story in her autobiography of Stevens having them rehearse without dialogue. It's perhaps the secret of the intimacy that is often captured in his films. "The More the Merrier" clip is that of an improvised love scene between McCrea and Arthur.

Someone commented here that it's not for Stevens Jr. To canonize his father. Being in the field of classic film, I disagree. This may not be a perfect documentary, and it may not dwell on his father's failures, such as the overblown The Greatest Story Ever Told.

The common problem faced by many of these great filmmakers is that as the studio system collapsed and Hollywood changed, it was difficult for them to adjust.

The point is this: yes, the legacy speaks for itself - but who is there to hear it speak if the families don't honor their famous relative? A son's insight may be biased, but it's also more enlightened in many respects.

If anyone believes there is some huge movement afoot to see that these wonderful contributors to film history are remembered, they're wrong. Even the theaters once devoted to classic film hesitate to show them now because they can't make any money.

I say bravo to anyone willing to make a documentary on any aspect of classic film.

I think George Jr. is using his position at the American Film Institute to "manage" his father's legacy---which is wrong. The impact of George Stevens' work should be judged on its own merits. His films speak for themselves, and it's embarrassing to see a son canonize his father so publicly.

I'm proud of my dad too, but I wouldn't erect a monument to him for being one of America's all-time great little league coaches.

If George Stevens' films are important (they are) and stand the test of time (they do), then let others praise this unique American artist. For a son to create documentaries about (and name AFI awards after) his father is a tacky cry for attention. "Hey, don't forget my dad! He was a great American filmmaker!" Usually, TV producers will see the potential of (or a market for) a documentary about a great American filmmaker and ask the artist's family to participate by donating old photos and agreeing to be interviewed on-camera. George Jr. apparently grew impatient waiting for such an offer. Possibly he feared no offer would ever come...so he produced his own documentary. And all to build up his father's legacy.

George Stevens Jr.'s warm and fond documentary that chronicles his father's work, "George Stevens: A Filmmaker's Journey," is not a critical assessment, but rather a loving tribute. Although George Stevens won two Academy Awards for best director, none of his movies won Best Picture, despite his having made some of the finest and most beloved films in Hollywood history. A roster of his best work recalls the humor in "The More the Merrier;" the romantic closeups of "A Place in the Sun," the elegant dancing in "Swingtime," the vast Texas landscapes of "Giant," and the plaintive cry of a young boy watching his hero ride away in "Shane." Just reading Stevens's list of directorial credits evokes countless memories of great stars, great lines, and great images.

Stevens Jr.'s documentary has its own share of great stars; as an historical document, the film incorporates priceless interviews with Katharine Hepburn, John Huston, Fred Zinneman, Joseph L. Mankiewicz, Joel McCrea, Ginger Rogers, Fred Astaire, and Frank Capra, among other A-list directors and actors. As expected, all praise Stevens, enjoyed working with him, and comment on the quality and endurance of his work, both on screen and off. Mankiewicz is particularly interesting when he relates Stevens's resistance to Cecil B. DeMille, then president of the Screen Directors Guild, and DeMille's infamous campaign against foreign influence (read Communist) in Hollywood. Other highlights of the film-clip-rich documentary center on World War II, during which Stevens shot the only color footage and headed up a team that professionally filmed the D-Day landings; generous clips of his rarely seen war-related work are included.

Against a fine Carl Davis score, the film opens with a subjective camera that roves through a store room of Steven's memorabilia and pauses over Oscars, photographs, and film cans, while Stevens Jr. narrates. Understandably, Stevens's son focuses on his father's career peaks, which are many, but he does slight such lesser known early films as "Quality Street," "Vigil in the Night," and "A Damsel in Distress;" fails to discuss such modest successes as "The Talk of the Town" and "Penny Serenade;" and completely ignores his last film, "The Only Game in Town," a critical and box office disappointment that starred Warren Beatty and Elizabeth Taylor. The mixed reception for "The Greatest Story Ever Told," however, is covered, and, after an interview clip with Max Von Sydow, the film concludes shortly thereafter.

Despite a lack of objectivity, "George Stevens: A Filmmaker's Journey" is an outstanding documentary. The well chosen film clips run long enough to illustrate the director's style, and the interview comments offer insight and historical perspective. The nostalgia-imbued book-ended segments in the storage room and early photographs of Stevens with his parents emphasize the film's personal and heart-felt nature. Among the best documentaries on Hollywood, "George Stevens: A Filmmaker's Journey" is essential viewing for students of film and film history and for anyone who wants an introduction to a great American movie director's work.