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Robert Aldrich: New Hollywood
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For the next twenty-six years, Associates and Aldrich would survive and sometimes prosper in the new independent production environment. But frustratingly for Aldrich, never independent enough: the new hybrid production system was deeply symbiotic. The newly configured studios relied on the independents for product; the independents relied on the studios for funding, production facilities, and distribution; and everyone was reliant on a few specialized merchant banks. In 1967, Aldrich's pre-Jaws (USA 1975) mega-hit, The dirty dozen (USA) broke all previous records and grossed $US eight million in its first week. The windfall profits allowed him to buy his own film studio (as Francis Ford Coppola would five years later). And ... as Coppola, Aldrich used his studio to sponsor projects for himself and others which couldn't find funding elsewhere, and the studio went broke.
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Robert Burgess Aldrich was born in Cranston, Rhode Island, the son of Lora Lawson and newspaper publisher Edward B. Aldrich; a grandson of U.S. Senator Nelson W. Aldrich and a cousin to Nelson Aldrich Rockefeller. He was educated at the Moses Brown School, Providence, Rhode Island, and studied economics at the University of Virginia. In 1941, he left university for a minor job at the RKO studio... beginning his career as a cineáste.
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Find Books by Robert Aldrich - Buy used, new, rare and out-of-print books by robert aldrich. Millions of books from thousands of booksellers worldwide – all in one, easy-to-search Web site. Find it at Alibris.
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On their surface Aldrich's three films purvey an overt, unambiguously negative view of Hollywood. Of course, as films produced in Hollywood they are themselves examples of this cinema and can ... be seen, initially, as contradictory or paradoxical texts. However, Aldrich's "Hollywood" films do not seem or act like many other examples of this genre, and their priorities and points of focus are somewhat skewed. Christopher Ames has called the Hollywood-on-Hollywood genre a "paradoxical" form because it invariably critiques the system to which it belongs, and because this does not discount the films which sit within this genre from also belonging to Hollywood cinema. (1) It is typical for these films to present a relatively negative view of the Hollywood system, particularly the upper echelons of management and the manner in which commerce stifles the expressive potential of art. Rather than consider this genre as paradoxical, it might be more useful to think of it as "inevitable", and its often critical approach to the film industry as part-and-parcel of the logic of the form itself.
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Abigail Greene Aldrich was a daughter of Nelson Wilmarth Aldrich of Rhode Island, the most powerful man in the state and a leading figure in national politics in the years around the turn of the century. In 1901, she married John D. Rockefeller, Jr., of New York, and ... brought together two of the wealthiest and most influential families in American history. Bernice Kert details the life story of Abby Aldrich with the considerable skills of a practiced biographer, using both archival documentation and personal interviews. Fortunately, Abby Aldrich also proves to be an intriguing figure in her own right, apart from her family connections, and holds the reader’s interest throughout this narrative of her rich and active life.
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