skip navigation
Overview for Budd Boetticher
Budd Boetticher

Budd Boetticher



TCM Messageboards
Post your comments here


TCM Archive Materials VIEW ALL ARCHIVES (0)

Recent DVDs

The Gift of... Long, long ago the world didn't have any snow and winter was a time of wind,... more info $5.95was $9.98 Buy Now

Also Known As: Oscar Boetticher,Oscar Boetticher Jr.,Oscar Boetticher Jr.,Oscar Boetticher Died: November 29, 2001
Born: July 29, 1916 Cause of Death: multiple organ failure
Birth Place: Chicago, Illinois Profession: Director ... director author screenwriter producer technical advisor assistant director messenger matador


The career of Budd Boetticher is one of the most interesting ever confined to B pictures. A collegiate athlete at Ohio State University, he traveled to Mexico in the mid-1930s, becoming so enamored with bullfighting that he eventually wielded the cape as a professional matador. Boetticher's experience in the bull ring led to his entrance in the film industry as a technical advisor on Rouben Mamoulian's "Blood and Sand" (1941), and he spent the next couple years as an assistant director, apprenticing to the likes of Charles Vidor and George Stevens. His first directing credit (as Oscar Boetticher) came at the helm of "One Mysterious Night" (1944), and he continued with low-budget second features throughout the decade (with a brief interruption for military service). Boetticher (now taking his credit as Budd) returned to his former calling with "The Bullfighter and the Lady" (1951), co-writing the autobiographical tale of a cocky American who journeys to Mexico and decides to tackle the profession, enlisting the aid of the country's leading matador. The picture launched Robert Stack to stardom and won Boetticher an Oscar nomination for his original motion picture story, even though John Ford cut 42 minutes of footage before its release. (A version that restored 37 of those minutes is even better than the shorter print.) Boetticher's films through "The Killer Is Loose" (1956) exhibited a workman-like efficiency, the product of an intelligent man learning his job, but he upped the ante considerably when he embarked on a remarkable series of seven spare but stylish Westerns starring Randolph Scott, none longer than 78 minutes, on which his reputation rests. Beginning with "Seven Men From Now" (1956), Boetticher was the consummate auteur, assembling compatible talent to help him frame his vision with speed, economy and exhilaration. His formula pitted the strong-willed mythic hero (Scott) against an equally strong-minded gentleman-villain, the memorable interplay between the two frequently the product of witty scripts by Burt Kennedy, who collaborated on four of the seven pictures. Daring to give hero and villain equal prominence in his compositions and cutting patterns, Boetticher created an arena where fine actors like Lee Marvin, Richard Boone, Pernell Roberts, Claude Akins and James Coburn could shine opposite Scott, depicting a struggle between good and evil that was not simply a black-and-white affair. Though the delicate balance of power ultimately swings Scott's way, the viewer sees how elements outside man's control can influence the struggle and make clear-cut conclusions impossible. Harry Joe Brown joined the Boetticher posse as producer of "The Tall T" (1957), serving in that capacity throughout the remainder of the series, and the film also marked the first of three outings with Charles 'Buddy' Lawton Jr. as director of photography. Boetticher shot many of these films around Lone Pine, California, its arid, barren landscape accentuating the isolated harsh world in which his characters dwelled. In addition to Lawton, he employed such gifted cameramen as William A. Fraker and Lucien Ballard (his cinematographer for the long-term "Arruza" documentary) to ensure the beautiful look of his pictures. Mentioned in the same breath as Ford and Anthony Mann, he made an art of the low-budget Western, and established the austere image of Scott alongside that of John Wayne as a preeminent hero of the genre. After "Comanche Station" signaled the end of the series, he added a fine gangster film, "The Rise and Fall of Legs Diamond" (both 1960), to his oeuvre before focusing his attention completely on his Mexican project. Boetticher spent most of the next seven years south of the border pursuing his obsession, the documentary of his friend, the bullfighter Carlos Arruza, turning down profitable Hollywood offers and suffering humiliation and despair to stay with the project, including sickness, bankruptcy and confinement in both jail and asylum. Finally released in the USA in 1971, "Arruza" stands as a rich, fascinating portrait of a great athlete and man, containing spectacular photography of action so authentic and accurate that one can almost smell and breathe the dust, taste the blood. The rest of Boetticher's output after 1960 consisted of the barely seen "A Time for Dying" (a collaboration with Audie Murphy released in 1971), the story for Don Siegel's "Two Mules for Sister Sara" (1970), the documentary "My Kingdom For..." (1985) and his appearance as a judge in Robert Towne's "Tequila Sunrise" (1988). He was unsuccessful in getting his screenplay "A Horse for Mr. Barnum" made as a film before his death in 2001.

Please support TCMDB by adding to this information.

Click here to contribute