Star Wars. Great Science fiction film circa 1977.
Doesn’t seem to exist any more thanks to its director.
Don’t know tha he disowned it, but I love 1941, Speilberg’s biggest flop.
Kubrick’s Fear and Desire
I would never say that I LOVE this movie but I liked Spartacus.
I’ve read that both Altman and Beatty disowned McCabe and Mrs. Miller although that might have less to do with the film itself than the fact that they hated working with each other and the film ended up flopping at the box office. I think he also disowned Popeye and while that film may have its champions, I’m not one of them.
I love Interiors (Woody Allen, 1978). Allen has said he wasn’t skilful enough to exploit the potential of the concept the film was based on. Probably it’s true but I wouldn’t change anything in that film.
the virgin spring
Altman didn’t disown McCabe and Mrs Miller, Beatty hated the sound mixing but I don’t think he disowned it either.
Didn’t Scorsese disown King Of Comedy? Or did he just have mixed feelings about it? I know for years he considered it a failure of sorts
Eddie Murphy disowns Harlem Nights apparently. yeah yeah, he isn’t a real director, BUT the film does have a cult following now, and it realy wasn’t all that bad. What bothers me is that he disowns it purely because of the critical reception, not because he dislikes it.
ok, scratch that, this thread is about films that you LOVE, and i certainly do not love Harlem Nights.
i do, however, love King Of Comedy.
Woody Allen seems to dislike a lot of his stuff. He described Annie Hall as ‘a reinforcement of middle class values’ and asked United Artists to shelve Manhattan yet he considers his London films to be some of his best. Makes you think…
Rope, alas. I suppose it isn’t perfect, but there’s so much to like.
“Didn’t Scorsese disown King Of Comedy? Or did he just have mixed feelings about it? I know for years he considered it a failure of sorts”
I never heard that, but I think he had mixed feelings about New York/New York.
Disown might be too strong of a word, Allan, but I just checked my Altman bio and the film was a bad experience for both Altman and Beatty and had a horrendous premiere, after which Altman got very drunk. Altman also apparently didn’t like it when people later told him that it was his best film. As for Beatty, quoth the Guardian: “Warren Beatty in McCabe and Mrs Miller, which he ‘more or less disowned as he thought the director, Robert Altman, had muddied his screen presence.’” Anyway, like people say about Woody, I’m not so sure filmmakers or actors are the best judges of their work.
I thought Dennis Hopper’s Catchfire was really good (originally disowned and credited to Alan Smithee)
the long version of Dune. but i love any version of Dune. ehhhh…..
Rossellini’s General della Rovere
Scorsese’s Cape Fear
Ford’s Two Rode Together
I do actually love Harlem Nights.
Tarkovsky’s Solyaris. – Don’t know if he disowned it per say, but I know he felt really disappointed by it and like he failed to achieve what he was going for.
One of my favorite Keaton films- “Seven Chances”- was his least favorite back while he still had complete autonomy.. one that Schenck convinced(rather forced) him to do, begrudgingly.
I dont know if David Lynch disowned Dune’s original cut, but if he did than thats my choice.
The extended cut is just a massive mess though.
Dune is just awesome.
about McCabe And Mrs Miller- what you guys are saying totally goes against everything i heard on the commentary. i don’t remember if Altman was on the commentary though… might have just been the producer(s)
Alien 3
Bonfire of the Vanities (if you distance it from the book it’s a lot of fun)
Mimic
I think John Carpenter is a great example for this thread. The guy is really tough on his own work.
-Memoirs of an Invisible Man
-Christine
-The Thing (in some interviews he has mentioned that he thinks his film pales in comparison to the original and that he sorta failed!!!!!!)
ps Ulrich I couldn’t agree more… The Underneath is so good on so many levels.
Ulrich Jarløv.dk
“The Underneath is a failure”. Steven Soderbergh’s exact words.
But I love “The Underneath”, watched it a million times.
The way he uses color to distinguish between time and place, a pre-cursor for Traffic.
The ten-minute scene from our protagonist’s POV when he’s in the hospital, with the visitors talking directly at the camera. an idea that Schnabel took and ran with for The Diving Bell And The Butterfly.
Peter GALLAGHER’s amazing in this-and so is his full beard in the flashback-scenes- God, I wish I could grow a beard like that!
Alison ELLIOT, totally underrrated as an actress, is sexy as hell as the femme fatale.
(A stylish noir-film.)