Buzz
Around 1967, Hollywood underwent a dramatic shift, prioritizing films that resonated with younger viewers and mirrored the evolving trends of popular culture. While figures like Steven Spielberg and Francis Ford Coppola dominate discussions of the “New Hollywood,” this transformative period involved countless contributors whose influence remains underappreciated. Here are ten directors who played pivotal roles in shaping this era:
10. Jack Hill
Often referred to as the “Howard Hawks of exploitation cinema,” Jack Hill first gained recognition through his student films at UCLA, where he crossed paths with Roger Corman. This connection led him to helm several horror films in the 1960s, including Blood Bath (1966) and Spider Baby (1967).
Later, Hill transitioned into the Blaxploitation genre, frequently working with actress Pam Grier to create films that both challenged the genre's stereotypes and celebrated African American narratives. Even today, his works stand out for their depth, infusing characters with a Shakespearean sense of tragedy and focusing on human struggles rather than relying solely on sensationalism.
9. John Milius
Renowned for penning iconic scripts like Apocalypse Now (1979) and early versions of Dirty Harry (1972), John Milius was known for his rebellious ideologies, which often put him at odds with Hollywood's mainstream politics. However, this perspective perfectly aligned with the antihero archetype that dominated films of the era.
While his screenwriting legacy is unparalleled, Milius also excelled as a director. His ability to portray personal struggles and human vulnerability shines in films such as Dillinger (1973) and Big Wednesday (1977), which defined his work in the 1970s. He later directed blockbusters like Conan the Barbarian (1982) and Red Dawn (1984), and co-created the HBO series Rome (2005–2007).
8. Herbert Ross
Starting as a dancer, Herbert Ross ventured into film direction in 1969 with the second adaptation of James Hilton’s 1934 novel, Goodbye, Mr. Chips. Known as a versatile filmmaker, Ross collaborated with major stars like Barbara Streisand and Richard Dreyfuss during his New Hollywood career.
Ross’s directorial approach mirrors the versatility of Old Hollywood studio directors, adapting seamlessly to various genres and styles. This chameleon-like quality makes his cinematic contributions both dynamic and unique. Among his notable works is The Last of Sheila (1973), the sole screenplay penned by Tony award-winning playwright and composer Stephen Sondheim.
7. Jerry Schatzberg
Despite the wealth of iconic films emerging from New York in the 1970s, Jerry Schatzberg’s name often goes unmentioned, even among avid cinephiles. Starting as a photographer, he quickly shifted to independent filmmaking, working with legends like Faye Dunaway and Gene Hackman.
Schatzberg’s role in Al Pacino’s rise to stardom is often overlooked. While Francis Ford Coppola guided Pacino in the Godfather trilogy (1972, 1974, 1990) and Sidney Lumet in Serpico (1973) and Dog Day Afternoon (1975), Schatzberg directed him in The Panic in Needle Park (1971) and Scarecrow (1973). These films showcase a raw naturalism that highlights the humanity central to 1970s cinema.
6. Bob Rafelson
Bob Rafelson first gained prominence as an executive producer for Easy Rider (1969), co-founding Raybert Productions, which later became BBS. He played a pivotal role in elevating actors previously confined to B movies or minor roles, such as Karen Black in Five Easy Pieces (1970), Arnold Schwarzenegger in Stay Hungry (1976), and the cast of The Monkees, whose careers flourished in diverse directions after their show ended (a series Rafelson co-created, wrote, and directed for).
5. George Roy Hill
Like Herbert Ross, George Roy Hill’s directorial style isn’t easily pinpointed, but his filmography speaks volumes about his skill. Initially known for 1960s musicals and comedies, Hill achieved widespread acclaim with Butch Cassidy and the Sundance Kid (1969), featuring Paul Newman and Robert Redford.
Hill reunited with Newman and Redford in The Sting (1973), which earned him an Oscar for Best Director, and worked with them individually in The Great Waldo Pepper (1975) and Slap Shot (1977). His genius lies in subtly embedding countercultural themes within genre films, from the sci-fi of Slaughterhouse-Five (1972) to the family comedies of the 1980s like The World According to Garp (1982) and Funny Farm (1988).
4. Alan J. Pakula
Alan J. Pakula’s influence on modern crime cinema is profound yet often understated. His legacy began with producing To Kill a Mockingbird in 1962 and continued to shape the genre. While Jonathan Demme’s The Silence of the Lambs (1991) is often credited for inspiring crime procedural TV shows, Pakula’s contributions laid the groundwork for such narratives.
Pakula’s films, such as Klute (1971) and The Parallax View (1974), captured the paranoia of the Nixon era. He further explored these themes in All the President’s Men (1976), widely regarded as the pinnacle of investigative journalism films. His impact resonated throughout the 1970s, and his work in the 1990s continued to inspire filmmakers who adopted his distinctive style.
3. Elaine May
If Hal Ashby is the overlooked genius of 1970s cinema, Elaine May stands as one of the most underappreciated directors in film history. She first made waves in 1960s New York as part of the groundbreaking comedy duo Nichols and May, alongside the equally innovative Mike Nichols. Their success in comedy albums and awards paved the way for Hollywood opportunities.
Following Nichols’ iconic adaptation of The Graduate (1967), May directed the sharp and incisive The Heartbreak Kid (1972), preceded by A New Leaf (1971) and followed by Mikey and Nicky (1976). The latter film strained her relationship with major studios, leading her to secretly stash reels in a friend’s garage until some of her creative conditions were met.
Despite facing misogynistic biases and being labeled difficult due to her auteur-driven approach, Elaine May’s films have consistently achieved both critical acclaim and box office success. To date, she has directed only four feature films, with a fifth reportedly in development. Each of her works is noteworthy, if not a masterpiece. The financial disaster of her 1987 film Ishtar sparked widespread media attention, though the film has since gained a more favorable reappraisal compared to its initial reception.
2. Hal Ashby
Hal Ashby is far from obscure, yet his recognition remains undervalued, particularly within the context of 1970s auteur cinema. His most celebrated works, such as Harold and Maude (1971), The Last Detail (1973), and Shampoo (1975), may appear unrelated at first glance, but they all create intimate worlds that confront societal issues while offering a sense of refuge.
Ashby’s films feel organic, as if they were discovered rather than meticulously planned. Starting his career as an Oscar-winning editor, Ashby crafted films that highlighted small, poignant moments to convey profound themes. Critic Roger Ebert encapsulated this in his review of Being There (1979), noting how the film’s final scene, where Chance (Peter Sellers) walks on water, serves as a Christlike metaphor. Ebert’s observation that “a movie is exactly what it shows us, and nothing more” perfectly captures Ashby’s ability to reveal the depths of human experience through subtle storytelling.
1. Melvin Van Peebles
Melvin Van Peebles is celebrated as a trailblazer among Black filmmakers and deserves equal recognition in the realm of independent cinema. As one of the few African American directors hired by a major Hollywood studio, he later self-funded Sweet Sweetback’s Baadasssss Song (1971) after failing to secure studio support despite the success of his earlier film, Columbia Pictures’ Watermelon Man (1970).
Beyond their historical significance, Van Peebles’ films hold their own against the most impactful social issue films and the boldest comedies of the era. His background as a playwright shapes his theatrical visual style, enabling him to experiment with cinematic techniques that elevate his storytelling to new heights.
