George Stevens: A Filmmaker's Journey

"George Stevens: A Filmmaker's Journey" is a loving tribute to the craft of Stevens by his son, George Stevens Jr.. But like1995's film about William Wellman by his son ("Wild Bill: Hollywood Maverick"), the movie isn't really a biography but a filmography. So, you only learn a bit about the man's personal life...but only a bit and it's NOT the movie's intention of being a biography. Instead, it focuses almost exclusively on the various big films of Stevens (like most filmographies it only covers the major movies). As such, it's very well made, interesting and is able to explain his uniqueness as a director. Well worth watching, very well made and filled with nice interviews and film clips.

This is an outstanding documentary on the life of George Stevens, 2 time Oscar winner for best director.

I never knew that he started out on comedies and that the advent of World War 11 had such a profound effect on him,that he never made another comedy after returning from the war.

The man was a genius at comedy. His slow-pace belief as depicted in 1942's "Woman of the Year" was terrific to watch. Remember the scene with Katharine Hepburn trying to make breakfast for Spencer Tracy?

Stevens was an American icon. His American Trilogy included "A Place in the Sun," as well as "Shane," and "Giant." His World War 11 classic, "The Diary of Anne Frank," shall live on in the hearts of all of us.

A fair-minded man, he went on the attack when Cecil B. DeMille demanded that everyone sign a loyalty oath in an attempt to drive out Joseph L. Mankiewicz from the film industry.

The following people received acting Oscars under the direction of Stevens: Charles Coburn, "The More, the Merrier, (1943) and Shelley Winters, "The Diary of Anne Frank" (1959).

The following people received Oscar nominations under the direction of Stevens but did not win: Katharine Hepburn- "Alice Adams," and "Woman of the Year." Brandon De Wilde and Jack Palance for "Shane," Montgomery Clift and Shelley Winters for "A Place in the Sun," as well as James Dean, Rock Hudson, and Mercedes McCambridge all for "Giant." Also: Ed Wynn for "The Diary of Anne Frank."

How ironic that 1962's "The Greatest Story Ever Told," was a colossal failure.

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.

"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.

No one can fault George Stevens Jr. for not wanting to make the movie that really ought to be made about his father-- the decline of a once-nimble and always intelligent filmmaker into the bloated self-consciousness of his 1950s films and the suffocating self- importance of his virtually unwatchable final work. But this is a frustratingly superficial work that misses what's interesting about early Stevens so that it can lavish praise on the noble intentions that were so disastrous to the later work. For instance, Stevens' apprenticeship at Hal Roach (where he directed Laurel and Hardy) is reduced to a soundbite about Stevens wanting a subtler approach to character-driven comedy than Roach-- as if Roach were Mack Sennett rather than the man who pioneered a subtler and more character-driven form of slapstick. If Stevens wanted to out-Roach Roach, that's surely a more interesting line of inquiry than making Roach out to be a hack. Likewise, Stevens is credited by Hermes Pan with inventing the idea of dance numbers that advanced the plot in Swing Time-- when seduction-by-dance had been a feature of the Astaire-Rogers films since The Gay Divorcee, and in any case it's doubtful how much Stevens would have had to do with the dance numbers' form. It would have been far more interesting (not to mention accurate) to have a real film critic explore the development of Stevens' style in these early house assignments, which in the end look like Stevens' most consistently fine work. Conversely, when we get to the postwar period, we hear only about Stevens' ideals and intentions, his encouragement of the actors and his technical innovations (Warren Beatty has a good anecdote to tell), but even well-chosen clips can't cover up the fact that Shane clothes a stock story in a handsomely muddly realism, that Giant is merely a ponderous soap opera, that Diary of Anne Frank, visually promising, is nearly unbearably wrong with those cute California kids telling each other Hallmark sentiments (in sadly ironic contrast to Stevens' own home movies of the camps)-- and that The Ghastliest Story Ever Told, the aircraft carrier of Jesus movies, is not even a movie but a series of visually exquisite, dramatically deadly religious postcards. By this period, almost any other series of similar films would be more interesting to examine-- who wouldn't rather hear Nicholas Ray talk about They Live By Night, Johnny Guitar and King of Kings, say? Or Anthony Mann talk about Winchester 73 and El Cid? Or Pasolini talk about how he was inspired to make The Gospel According to St. Matthew by how wrongheaded Stevens' Jesus was?