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Hitchcock is the most-daring avant-garde film-maker in America today.

Andrew Sarris

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Andrew Sarris
Age: 83 †
Born: 1928
Born: October 31
Died: 2012
Died: June 20
Film Critic
Journalist
Writer
New York City
New York
Maker
Daring
Makers
Film
America
Today
Garde
Avant
Hitchcock

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I hate to go out on a limb after only one viewing, but Nashville strikes me as Altman's best film, and the most exciting dramatic musical since Blue Angel.
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I never argue with people about movies.
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There's a part of me that looks beyond everything now.
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The Window is not without a certain visual spell that makes it a first-rate artistic achievement.
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It is cynicism, and not idealism, that is generally the mark of youthful immaturity, or rather it is the cynic who is generally the most foolish romantic.
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I've always said to people that auteurism is nice, but it's hypothetical, and gradually you learn how much or how little influence different directors had.
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I'm afraid you can't create tragedy out of abnormal psychology.
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Tokyo Sonata speaks to us, with feeling and passion, as one of the most eloquent statements on the world today that we are likely to see in this moviegoing year.
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Lola Montes is, in my unhumble opinion, the greatest film of all time, and I am willing to stake my critical reputation, such as it is, on this one proposition above all others.
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The emotional elevation of the film is due in no small measure to the extraordinarily engaging performances of Anne Bancroft as the wife-mother-mistress, Dustin Hoffman as the lumbering Lancelot, and Katherine Ross as his fair Elaine.
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I was a solipsist and a narcissist and much too arrogant. I have a lot more compassion now, but it took a long time.
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Lemon Tree is well worth seeing as a first-class artistic achievement bridging two civilizations.
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Movies are as old as psychoanalysis. So if I were to put you or anyone else on a couch and say, 'Tell me your favorite movies,' it would be a way of psychoanalyzing you.
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