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The contracts he negotiated and won, especially in the 1978 contract with producers, fundamentally altered and improved our position in the industry." "Aldrich was the first non-actor in Hollywood to understand the importance of the power of independent financing to help ensure his artistic vision," says Aldrich biographer Alain Silver.Īs a two-term Guild president, he was, director Walter Hill says, "one of our strongest and most important. At a time in the mid-1950s when only a few stars like Burt Lancaster staked out positions in Hollywood as independent producers, Aldrich established the independent Associates and Aldrich production unit, foreshadowing and providing a model for the American indie movement of the 1980s.
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But there's also the brilliant Joan Crawford melodrama Autumn Leaves (1956), which ranks with the best of Douglas Sirk the legendary pairing of Crawford and Bette Davis in What Ever Happened to Baby Jane? (1962) and, following that film almost immediately, the sterling combination of Davis, Olivia de Havilland and Agnes Moorehead in Hush…Hush, Sweet Charlotte (1964).Ī director with a command of a vast spectrum of genres who ranks with the great classic Hollywood-era directors of the '30s and '40s, Aldrich straddled the key decades of the 1950s, '60s and '70s, from the end of the Hays Code to the beginning of a new freedom liberalizing the use of language and the depiction of sexuality and violence.Īpart from his admirable range as a filmmaker, Aldrich played an equally important role as an innovator for directors on the business front, and particularly, as a leader of the Guild. While the late director Robert Aldrich may be perceived as a maker of brawling, macho entertainments, a closer viewing confounds this stereotype: Yes, there are The Dirty Dozen (1967) and The Longest Yard (1974).
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The protean director and DGA past president, whose work spanned genres and bridges the old and new Hollywoods, is far from the sad-sack hack depicted in the limited series Feudĭirector Robert Aldrich.
