American Live Action and Animation Masters Versus

[Qrazy]

Out of these two groups pick a favorites for both and briefly explain why.

John Ford vs. William Wyler vs. Howard Hawks

Dave Fleischer vs. Chuck Jones vs. Tex Avery

[D_Davis]

Dave Fleischer vs. Chuck Jones vs. Tex Avery

This group for me here, simply because of all the joy these guys have brought to my life.

[Mysterious Dude]

For the first one, I'll go with William Wyler. Ford and Hawks are good directors, but they've made more movies that I actively dislike (especially How Green Was My Valley and Bringing Up Baby) whereas Wyler I think even has some underrated films (The Heiress, Dead End and The Desperate Hours).

For the second one, I'll go with Dave Fleischer, who I feel is probably the underdog here. I also think he's more of a competitor to Disney than the other two filmmakers mentioned. But no matter. I find his career to be more diverse, with Betty Boop, Popeye and Superman.

[D_Davis]

Woops, I messed up.

[Qrazy]

This group for me here, simply because of all the joy these guys have brought to my life.

Sorry typo, edited for what I meant to say.

[Philosophe_rouge]

Out of these two groups pick a favorites for both and briefly explain why.

John Ford vs. William Wyler vs. Howard Hawks

Dave Fleischer vs. Chuck Jones vs. Tex Avery
Very tough for the first one, because I count all three among my all time favourites. I'll reluctantly eliminate Ford because when he misses for me he REALLY misses (Mary of Scotland!). Wyler is tough, because I think I've enjoyed everything of his I've seen. I love his understated style, and the subjects and scripts he tackles always fascinate me... then though, Hawks! HAWKS! I think I have to go with him, everything about his work appeals to me. Even his failures are interesting, and I've always loved his curious take on genders. Plus, tyle is so delicious. I can't even describe it, but I always know I'm watching one of his films. It's beyond the compositions, and that certain "glow" he manages to achieve, but the way he chooses actors who he adapts to his particular approach to dialogue and performance.

The animation is a little trickier, since I'm so comfortable with Chuck Jones and have only briefly explored the works of Avery and Fleischer. Jones is probably most appealing, the comedy just gels perfectly with my own sensisbilities. I love Avery madness though, that I feel Jones work only ever reaches briefly (although, mind you, they don't seem to be reaching for the same level of zany). Fleischer, who I'm least familiar with, I can only say I really like the Betty Boop cartoons. I especially like Betty Boop a la Snow White. Very stylized, and great use of a classic song.

[Qrazy]

What is tyle?

Ah, nevermind I honestly thought for a while that you were referring to a particular lighting or cinematographic style of Hawks'.

[Raiders]

Hawks, without a doubt in the first match-up. Even if it was only for his masterpiece Only Angels Have Wings. He's likely less of an "auteur" than Ford, but the overall quality of his output in greater for me.

In the second, I'll go with Avery. His manic energy matched with his unique, irreverent narrative structures are tops for me. Where is Tashlin, though?

[Qrazy]

In the second, I'll go with Avery. His manic energy matched with his unique, irreverent narrative structures are tops for me. Where is Tashlin, though?

Just wanted to keep it to three for both, lord knows there's a lot of other deserving individuals as well.

[Melville]

Hawks is easily my favorite in the first group. When I watched Scarface recently, I couldn't believe how dynamic the camera movements and compositions, lighting, and even acting were compared to most films from the early sound era; Hawks seemed to be pushing the boundaries way beyond what most Hollywood directors were doing at the time. And he applied the same level of dynamism brilliantly to comedy: Bringing Up Baby is hilarious largely because of its frantic style, and the witticisms in His Girl Friday are remarkable because the viewer is always running to keep up with them. He also made the epitome of stylish character-driven Noir in the Big Sleep. And Only Angels Have Wings is indeed a brilliant example of intertwined mood and character.

From the second group I'll go with Fleischer. His Betty Boop shorts are just so damn jazzy, both in the style of the animation and in the storylines (not to mention all the jazz music).

[Philosophe_rouge]

What is tyle?

Ah, nevermind I honestly thought for a while that you were referring to a particular lighting or cinematographic style of Hawks'.
Damn mornings and my shoddy keyboard. We could invent a new term though, tyle sounds okay.

[monolith94]

Frankly, I think there's only one way to decide this. We need to gather up their bones, bring Sokurah to our gathering place to animate their skeletons, outfit them with cutlasses or gladii, and then have them determine a victor through immortal, unending violent conflict.

[SirNewt]

He also made the epitome of stylish character-driven Noir in the Big Sleep.


I was all ready to go with Wyler for among other things the strength of 'The Best Years of our Lives' and you had to go and bring up that film. I'd forgotten Hawks did it. I don't know if there is a film that embraces the devices and conventions of film noir more than 'The Big Sleep'.

[ledfloyd]

Hawks wins by a huge margin for me in the first match up. Not even close. Like Rouge said, even in his failures I can find something to enjoy. But, he didn't direct many failures. And he directed many of my favorite films of the 30s-50s. Only Angels Have Wings, His Girl Friday, The Big Sleep and Rio Bravo in particular.

Chuck Jones edges out Tex Avery for me. Why? He's Chuck Jones dammit.