Directing career

Early career

Bigelow's short The Set-Up is a 20-minute deconstruction of violence in film. The film portrays "two men fighting each other as the semioticians Sylvère Lotringer and Marshall Blonsky deconstruct the images in voice-over."[13] Bigelow asked her actors to actually beat and bludgeon each other throughout the film's all-night shoot.[10]

Her first full-length feature was The Loveless (1981), a biker film that she co-directed with Monty Montgomery and featured Willem Dafoe in his first starring role.

Next, she directed Near Dark (1987), which she co-scripted with Eric Red. With this film, she began her lifelong fascination with manipulating movie conventions and genre.[11] In the same year, she directed a music video for the New Order song "Touched by the Hand of God"; the video is a spoof of glam metal imagery.

Bigelow's subsequent trilogy of action films, Blue Steel, Point Break, and Strange Days, merged her philosophically-minded manipulation of pace with the market demands of mainstream film-making. In the process, Bigelow became recognizable as both a Hollywood brand and an auteur. All three films rethink the conventions of action cinema while exploring gendered and racial politics.[10]

Blue Steel starred Jamie Lee Curtis as a rookie police officer who is stalked by a psychopathic killer, played by Ron Silver. As with Near Dark, Eric Red co-wrote the screenplay. The film, originally bankrolled for $10 million, was shot on location in New York both due to financial considerations and because Bigelow doesn't "like movies where you see a welfare apartment and it's the size of two football fields."[19]

Bigelow followed Blue Steel with Point Break (1991), which starred Keanu Reeves as an FBI agent who poses as a surfer to catch the "Ex-Presidents", a team of surfing armed robbers led by Patrick Swayze who wear Reagan, Nixon, LBJ and Jimmy Carter masks when they hold up banks. Point Break was Bigelow's most profitable 'studio' film, taking approximately $80 million at the global box office during the year of its release, and yet it remains one of her least well-received films, both in commercial reviews and academic analysis. This is perhaps due to the fact that it most successfully conforms to its action genre and abandons much of the stylistic substance and subtext of Bigelow's other work.[20]

In 1993, she directed an episode of the TV series Wild Palms.

Bigelow's 1995 film Strange Days was written and produced by her ex-husband James Cameron. Despite some positive reviews, the film was a commercial failure. Furthermore, many attributed the creative vision to Cameron, diminishing Bigelow's perceived influence on the film.[10]

She directed episodes of Homicide: Life on the Street in 1997 and 1998.

Based on Anita Shreve's novel of the same name, Bigelow's 2000 film The Weight of Water is a portrait of two women trapped in suffocating relationships.

In 2002, she directed K-19: The Widowmaker, starring Harrison Ford and Liam Neeson, about a group of men aboard the Soviet Union's first nuclear-powered submarine. The film fared poorly at the box office and was received with mixed reactions by critics.

2008-present

Bigelow next directed The Hurt Locker, which was first shown at the Venice Film Festival in September 2008, was the Closing Night selection for Maryland Film Festival in May 2009, and theatrically released in the US in June 2009. It qualified for the 2010 Oscars as it did not premiere in an Oscar-qualifying run in Los Angeles until mid-2009. Set in post-invasion Iraq, the film received "universal acclaim" (according to Metacritic)[21] and a 97% "fresh" rating from the critics aggregated by Rotten Tomatoes.[22] The film stars Jeremy Renner, Brian Geraghty and Anthony Mackie, with cameos by Guy Pearce, David Morse and Ralph Fiennes. She won the Directors Guild of America award for Outstanding Directorial Achievement in Motion Pictures (becoming the first woman to win the award) and also received a Golden Globe nomination for her direction. In 2010, she won the award for Best Director and The Hurt Locker won Best Picture at the 63rd British Academy Film Awards.[23] She became the first woman to receive an Academy Award for Best Director for The Hurt Locker.[24] She was the fourth woman in history to be nominated for the honor, and only the second American woman. A competitor in the category was her ex-husband James Cameron as the director of the sci-fi film Avatar, with a budget of $200 million. The Hurt Locker was far less expensive to make, relying on the use of hand-held cameras, long takes, and diligent sound design.[11]

In her acceptance speech for her Academy Award, Bigelow surprised many audience members when she didn't mention her status as the first woman to ever receive an Oscar for Best Director. In the past, Bigelow has refused to identify herself as a "woman filmmaker" or a "feminist filmmaker."[11] Throughout her career, she has been faced with harsh criticism for the violence in her films, facing questions such as Mark Salisbury's in The Guardian, "Why does she make the kind of movie she makes?", or Marcia Froelke Coburn for the Chicago Tribune's, "What's a nice woman like Bigelow doing making erotic, violent vampire movies?"[11]

Bigelow's next film was Zero Dark Thirty, a dramatization of American efforts to find Osama bin Laden. Zero Dark Thirty was acclaimed by film critics[25] but has also attracted controversy and strong criticism for its allegedly pro-torture stance.[26][27] Bigelow won the New York Film Critics Circle Award for Best Director for the film, making her the first woman to win the award twice. She had already won previously for directing The Hurt Locker.[28] She also won the National Board of Review Award for Best Director, making her the first woman to win that award.[29]

Bigelow collaborated with Mark Boal again on the film Detroit, set during the 1967 Detroit riots.[30] Detroit began filming in the summer of 2016, and was released in July 2017, around the time of the 50th anniversary of the riots, and on the anniversary day of the Algiers Motel incident, which is depicted in the film. John Boyega,[31] Hannah Murray, Will Poulter, Jack Reynor, Anthony Mackie, and Joseph David-Jones starred in the film.[32][32]

Future projects

In 2014, Bigelow announced plans to direct two movies: an adaptation of Anand Giridharadas's non-fiction book The True American: Murder and Mercy in Texas starring Tom Hardy[33] and a feature based on the life of Bowe Bergdahl written by her frequent collaborator Mark Boal.[34]

Film style

Bigelow is known for her shifting relationship to Hollywood and its conventional film standards and techniques. Her work "both satisfies and transcends the demands of formula to create cinema that's ideologically complex, viscerally thrilling, and highly personal".[35] She has had success both ascribing to conventional Hollywood cinema techniques as well as creating her own unique style that pushes against mainstream conventions. She is also known for entrenching social issues of gender, race, and politics into her work of all genres.[35]

While her films are often categorized in the action genre, she describes her own style as an exploration of "film's potential to be kinetic".[36] Her frequent and notable action sequences are unique because of her use of "purpose-built" camera equipment[37] to create unique mobile shots that are very distinctive and indicative of the physicality of her work. In many of her films, such as The Hurt Locker, Point Break, and Strange Days, she has used utilized mobile and hand-held cameras.

Perhaps what Bigelow is most well known for is her use of extensive violence in her films. Most of her films include violent sequences and many of them revolve around the theme of violence. Violence has been a staple in her films from the beginning of her career. In her first short film The Set-Up (1978), two professors deconstruct two men beating each other up and reflect on the "fascistic appeal of screen violence".[37] For this film Bigelow asked the two actors, including a then unknown Gary Busey, to actually beat each other up in the film's all-night shoot.[37] This interest in violence seeped its way into her first full-length feature film The Loveless, starring William Dafoe, which follows a 1950s motorcycle gang's visit to a small town and the ensuing violence that occurs. Her next film Near Dark follows a young boy who falls in love with a vampire after being bitten by her. The film was originally conceived of as a Western but the genre was so unpopular at the time that Bigelow had to adjust her script and invert the genres conventions.[37] She still used the violent staples of the genre including sieges, shoot-outs, and horseback chases.[37] It is regarded for its combination of the Western and Horror genre and its exploration of "homosexuality and 'white America's illusion of safety and control'".[35] The film became a cult classic within the horror genre community. Bigelow herself saw a screening of it in Greenwich Village with a horror genre crowd.[19]

Her film Blue Steel, which was quickly followed by Point Break and Strange Days, was her first venture into the action film genre, in which she has stayed in throughout her career and has found her most success. The film revolves around a female cop who is falsely accused of a murder and who in the process of clearing her name investigates a killing spree connected to the original murder. Similarly to Near Dark, Bigelow inverts the typical action genre conventions by placing a female protagonist at the center.[37] The film digs deeply into feminist issues and is often taught and studied by feminist film scholars.[35] Her next film Point Break, starring Keanu Reeves and Patrick Swayze, was her breakout film that truly bolstered her to mainstream success. The film follows a detective who goes undercover in a suspected criminal gang of surfers who primarily rob banks. It marks the first time that Bigelow used lengthy Steadicam tracking shots. It was also her biggest financial success yet, grossing $83.5 million worldwide with a budget of $24 million.[37] Although her next film Strange Days, which ruminates on the relationships between media, sex, race, class, and technology,[35] had a budget of $42 million, it only grossed just under $8 million.[37] Although the film flopped, it led Bigelow and her team to spend over a year developing a camera that intended to approximate human vision.[37] Sequences filmed by this camera are widely regarded as innovative and startling regardless of the film's success.

The commercial failure of Strange Days was followed by a stream of commercial and critical flops for Bigelow. Her films The Weight of Water and K-19: The Widowmaker received negative reviews from critics and little attention from the general public. It wasn't until Bigelow decided to independently produce her film The Hurt Locker that she made a commercial and critical comeback. This film was her first transition into definitively political and historical film.The Hurt Locker, which follows members of a bomb squad serving in the Iraq War, was Bigelow's first venture into pseudo-documentary style film, abandoning the aesthetic stylization found in Strange Days and Near Dark.[37] The film utilizes the genre's tendency to use quick cuts, shaky camera, and rapid zooms. It also breaks with the conventional narrative structures of her previous films, following a more unorganized and experimental narrative structure. Her next film, Zero Dark Thirty, is widely seen as a direct extension of The Hurt Locker, going further in-depth of historical analysis and addressing issues of geopolitics and American foreign policy. The film is her most controversial to date, with heavy criticism on the depiction of the CIA's torture practices.[37]

Throughout her career, Bigelow has been known for her tendency to go to extremes for her films. In Point Break, while filming the famous skydiving scene, Bigelow was on the airplane with a parachute on, as she filmed Patrick Swayze throw himself into the sky.[36] During surfing scenes in the same film, she would either paddle on a longboard or lean over a nearby boat as far as possible to get shots of Keanu Reeves surfing.[36] For the opening of Strange Days she controlled a crane that dropped a camera man off the edge of a tall building. For The Hurt Locker, Bigelow filmed in Jordan in up to 130 degree heat.[36]

Other work

In the early 1980s, Bigelow modeled for a Gap advertisement.

Her acting credits include Lizzie Borden's 1983 film Born in Flames as a feminist newspaper editor, and as the leader of a cowgirl gang in the 1988 music video of Martini Ranch's "Reach", which was directed by James Cameron.

Personal life

Bigelow was married to fellow director James Cameron from 1989 to 1991.

Filmography

Film

Television

• Wild Palms: "Rising Sons" (1993) miniseries
• Homicide: Life on the Street: "Fallen Heroes" Parts 1 & 2 (1998)
• Homicide: Life on the Street: "Lines of Fire" (1999)
• Karen Sisco: "He Was a Friend of Mine" (2004)

Other works

Awards and nominations

[ Source: Wikipedia ]