Hal Ashby was one of the leading filmmakers of the 1970s. The march of time relegated him to near-anonymity until lately. His work is being re-examined, thanks in large part to Amy Scott’s new documentary, Hal which explores Ashby’s success with a decade-long chain of splendid films beginning with the little-known gem, The Landlord, which addresses inner-city conflicts in 1970s Brooklyn. It was followed by Harold and Maude (1971), The Last Detail (1973), Shampoo (1975), Coming Home (1978) which won Ashby a Best Director Oscar, and Being There (1979). Harold and Maude, like many of Ashby’s other films, features a rebel who refuses to mindlessly go along with the system at its heart.
Tag: Hal Ashby
Imagine that you’re an American director who – after ten years of helming popular television shows and working on the occasional film-for-hire – has become an overnight sensation. Your third feature, a sardonic war comedy with blood-drenched sequences and a passel of irreverent characters, has struck a chord with audiences who see the film over and over again. Critics hail you as an innovative force, breaking new cinematic ground with your observational style and inscrutable, yet perfect, new techniques. You’re nominated for the Oscar. What do you do to follow up?