AS

Andrew Sarris


#### A Pioneer of Film Criticism

Full Name and Common Aliases


Andrew Sarris was born on October 31, 1928, in New York City, USA. He is commonly known as Andy Sarris.

Birth and Death Dates


October 31, 1928 – June 20, 2012 (age 83)

Nationality and Profession(s)


American film critic, journalist, historian, and educator

Early Life and Background


Andrew Sarris was born to a Jewish family in New York City. His father, Leo Sarris, was an immigrant from Russia, while his mother, Sylvia, was from Poland. Growing up in the 1930s and '40s, Andrew was exposed to the vibrant world of cinema through family movie nights. This early exposure sparked a lifelong passion for film.

Sarris attended the prestigious Bronx High School of Science, where he developed an interest in literature and history. He went on to study English at New York University (NYU), graduating with honors in 1950. After serving in the United States Army, Sarris began his career as a journalist, writing film reviews for various publications.

Major Accomplishments


Andrew Sarris is widely regarded as one of the most influential film critics of all time. His work had a profound impact on the way people think about and write about cinema. Some of his notable accomplishments include:

Co-founding Film Culture, a magazine that became synonymous with American film criticism.
Developing the concept of the Auteur Theory, which posits that certain directors have a distinctive style or "signature" that transcends individual films.
Serving as chief film critic for The Village Voice from 1962 to 1999, where he wrote influential reviews and essays.

Notable Works or Actions


Some of Sarris's notable works include:

The American Cinema: Directors and Directions 1929-1968, a comprehensive survey of American cinema.
Confessions of a Cult Movie Maniac, a collection of his film reviews and essays.
You Ain't Heard Nothin' Yet: The American Talking Film Source Book, a definitive guide to American cinema.

Impact and Legacy


Andrew Sarris's influence on film criticism is still felt today. His work has inspired generations of critics, including notable figures like Pauline Kael, Stanley Kauffmann, and A.O. Scott. Through his writing, Sarris helped shape the way we think about cinema, emphasizing the importance of style, craftsmanship, and artistic vision.

Why They Are Widely Quoted or Remembered


Andrew Sarris is widely quoted and remembered for his:

Pioneering work in film criticism, which helped establish cinema as a legitimate art form.
Influence on the Auteur Theory, which has been applied to directors like Alfred Hitchcock, Orson Welles, and Martin Scorsese.
* Witty and insightful writing style, which continues to inspire readers and writers alike.

Through his groundbreaking work, Andrew Sarris left an indelible mark on film criticism. His legacy serves as a reminder of the power of passionate writing to shape our understanding of art and culture.

Quotes by Andrew Sarris

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.
"
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.
There’s a part of me that looks beyond everything now.
"
There’s a part of me that looks beyond everything now.
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.
"
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.
I’m afraid you can’t create tragedy out of abnormal psychology.
"
I’m afraid you can’t create tragedy out of abnormal psychology.
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.
"
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.
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.
"
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.
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.
"
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.
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.
"
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.
I'm afraid you can't create tragedy out of abnormal psychology.
"
I'm afraid you can't create tragedy out of abnormal psychology.
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.
"
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.
Showing 1 to 10 of 19 results