Friedkin Uncut 2019

The cinematic genius of William Friedkin is illuminated as he candidly shares his journey from a childhood spent in Chicago’s bustling streets to his evolution into a master filmmaker. With a deep-seated passion ignited by Orson Welles’ Citizen Kane (1941), Friedkin set his sights on creating films that would captivate audiences worldwide. His early documentary, The People vs. Paul Crump (1962), not only contributed to a commuted death sentence but also marked the beginning of a storied career.

The French Connection (1971) represents a pivotal moment in Friedkin’s development as an artist. Employing a cinéma vérité approach, he embedded himself with actual New York police officers to gain insight into the gritty world of narcotics trafficking. This immersive experience would later inform his work on Killer Joe (2011), where Matthew McConaughey and Gina Gershon offer firsthand accounts of their performances under Friedkin’s direction.

Friedkin’s creative process is revealed through his discussions with actors, including a tale of Stacy Keach’s initial casting as Father Karras in The Exorcist before Jason Miller took on the role. The film’s journey continues with Sorcerer (1977), a cinematic endeavor that, despite its box office disappointment, showcased Friedkin’s bold storytelling.

Throughout his career, Friedkin has been influenced by the likes of Buster Keaton, whose innovative spirit resonated deeply with him. This artistic kinship is also evident in his 1975 documentary Conversation with Fritz Lang, which delves into the life and work of this cinematic legend.

As the New Hollywood era gave way to a new decade, Friedkin’s output continued to diversify. The controversy surrounding Cruising (1980) notwithstanding, he remained committed to crafting films that pushed boundaries. His return to the crime thriller genre with To Live and Die in L.A. (1985) cemented his reputation as a master of the medium.

In a later chapter of his career, Friedkin’s focus shifted to directing stage productions, including operas such as Wozzeck and Aida. At the 74th Venice International Film Festival, he premiered his latest foray into supernatural horror, The Devil and Father Amorth (2017), marking a triumphant return to the genre that first captivated him.

In conclusion, Friedkin’s cinematic legacy is marked by his unwavering dedication to his craft, an unrelenting passion for storytelling, and a willingness to take creative risks. His candid critiques of film award competitions, which he views as a “dirty joke,” serve as a testament to his unyielding commitment to artistic integrity.