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Why is Steven Soderbergh one of America's best contemporary filmmakers?

At the age of 26, Steven Soderbergh took home the Palme d'Or and embarked on a challenging journey to establish himself as one of the leading filmmakers. Prove American.

In the opening moments of "No Sudden Move," we see Dan Cheadle wearing a Shapoo hat walking the streets of Detroit in the 1950s; Then we hear the music of "David Holmes" who has combined the percussion instrument with the guitar and created an ominous atmosphere. Cheadle looks like a man determined to do something important, even if it leads to suspicious and dangerous areas.

  • Criticism of sudden movement is forbidden; At the same time, we see a number of old images that seem to be from the same neighborhood, and of course they refer to themes that the film will deal with later. From the beginning, you can feel that Steven Soderbergh is back in the world of crime movies. Even the font used for the names is reminiscent of classic yellow paper and noir movie posters. For this filmmaker, his new film is a return to a familiar realm, but he never repeats the same path twice.

    BingMag.com Why is Steven Soderbergh one of America's best contemporary filmmakers?

    Suddenly forbidden movement is Soderbergh's 33rd composition (his 34th composition will probably be released in the next few months). He has also produced two seasons of the series "The Knick" and has shown himself in the world of television. Soderbergh's list of films is so long that you may forget the names of many of his works. Between 2004 and 2006 alone, he released Ocean Twelve, the experimental film Bubble and Good German, made in three completely different genres, although his style of filmmaking is evident in these works (less in Good German. But he may not be able to understand where these differences come from, other than as part of the filmmaker's inexhaustible interest in producing experimental and unique works.

    An author who does not sit next to other authors

    Soderbergh, although he has presented several works of art, does not have a special signature. Filmmakers such as Quentin Tarantino, Sophia Coppola and Paul Thomas Anderson, who also emerged from independent cinema and the Sundance Film Festival in the 1990s, all have their own aesthetics. Tarantino creates colorful works that are intertwined with popular culture and highly violent, Coppola addresses adolescent anxiety and isolation, and Thomas Anderson focuses on traumatized characters, often portrayed with long shots. In general, most contemporary filmmakers are not interested in ambition and prefer to work in the same format in which they achieved a master's degree. But Soderbergh? Nobody talks about the "Soderbergh" style, and no one says the movie they watched recently is Soderbergh. He does not have a particular visual style or content to distinguish himself from others, although in many cases he uses elements and a similar structure. It can even be said that Soderbergh challenges the idea of an "author filmmaker" while knowing everything (writing, directing, acting, filming and editing) to the best of his ability.

    The author-filmmaker first appeared in the 1950s in the French magazine Cahiers du cinma; In order to increase the value of the work of filmmakers such as Alfred Hitchcock and Howard Hawks. From their point of view, it was neither the screenwriter nor the producer, but the director who is the main creator of the work.

    BingMag.com Why is Steven Soderbergh one of America's best contemporary filmmakers?

    • Steven Soderbergh's films range from worst to best

    We usually admire Tarantino and Anderson for their work, and sometimes we forget how inefficient they are, and sometimes it takes more than 5 years to make a new film. They are obsessive and outstanding directors for whom quality is more important than anything else. Meanwhile, attitudes toward filmmaking like Soderbergh are turning negative because it is too active.

    There are not many filmmakers in Hollywood who started out with the Palme d'Or; After that, they make two weak and failed works ("Schizopolis" and "Kafka") and then compete for the award for best director at the Oscars! He is the second filmmaker in history to compete for an Oscar and win (and lose at the same time). However, he is still not considered a freelance filmmaker, even though he has not sold his soul to Hollywood and has always struggled with its policies.

    As an ambitious filmmaker with a fear of dealing with subjects No different, he definitely has some weak effects. But his bad films are not just bad, they can be described as "disappointing". Almost all of Steven Soderbergh's creations have some interesting ideas and positives, but some, like Schizophrenia and Full Frontal, have gone too far.

    When less acclaimed works We see him, we feel that he is more in trial and error than he wants to present an index work. He has the skills to make a big film, but sometimes he goes on to small experimental projects to make a film perhaps more easily and away from the hustle and bustle.

    BingMag.com Why is Steven Soderbergh one of America's best contemporary filmmakers?

    But what sets Steven Soderbergh apart from most filmmakers is his courage. He does not want to make films that he has just made, and contrary to popular belief, it is not easy for him to make films because he is always looking for new ways to improve his cinematic structure and form. "I am very interested in finding new ways in which I can convey information about the story and the characters to the audience," he said in a note to his film, The Limey. He adds that "filmmakers need to be more adventurous in this area and present information in a way that distances itself from its traditional format." From the inverted/inverted technique to the creation of non-linear narratives, Soderbergh is always trying to push boundaries.

    One of the reasons critics often do not consider Soderbergh one of the best contemporary filmmakers is the complex structure of his work. Which not everyone can relate to. His productions may not be comprehensible even to producers and film companies, but as an independent filmmaker, he has worked in the mainstream all these years. Andrew Deward and R. Colin Tate explain this in more detail in Steven Soderbergh's Cinema. They describe Steven Soderbergh as a "celebrity author" and explain:

    The term celebrity author is a paradoxical concept that refers to the complexities of writing in contemporary commercial cinema; Where the author puts aside conventional views of authorship and injects cinematic stars and commercial dimensions.

    In other words, many of Soderbergh's works, because of their structure, may not have a place in the mainstream, but because they work with big stars and know the background of the industry well (which results in achieving adequate budgets and Tools are enough), was able to succeed and be in the spotlight. Few contemporary filmmakers have been able to replicate the great work that Soderbergh has done, while at the same time committing to their cinema. We suddenly spoke forbidden; His latest work, which is considered a return to the crime genre, is where this director shines. Soderbergh has produced films in a variety of genres, but has always shown a strong penchant for crime film, and a number of his well-made works fall into the same genre.

    BingMag.com Why is Steven Soderbergh one of America's best contemporary filmmakers?

    His efforts to "make an ideal crime film" began in the 1990s and are still ongoing. Soderbergh's fifth film, The Underneath, made a serious entry into the genre, but it was not very possible. The film was released on a limited basis and few people remember it (even now it is not available on any of the streaming services).

    Steven Soderbergh described the film as "already dead" and " He described the "dead end" and even mentioned that he was upset by its release. Zirin caused him to change the way he worked and his style of filmmaking. He owes a lot of debt and is forced to leave his wife alone and flee Texas. Several years later, she returns to Texas for her mother's second wedding. The sequence of events) is unfortunately neutral and soulless, especially when compared to works of the period such as "Red Rock West" and "One False Move".

    But below is the key to understanding Soderbergh's later crime films, which were made to quote its mistakes. He went on to make the schizophrenic experimental comedy film, which failed but was successful every time he entered the crime genre.

    "Out of Sight", whatever is missing Was. A film that was released between Jackie Brown and Get Shorty, and finally these three works were able to discover the secret of the correct adaptation of "Elmore Leonard" novels; By preserving Leonard's dialogues and adding different filmmaking styles to it.

    For Soderbergh, this meant allowing himself to be inspired by the innovative works of the 1960s and early 1970s in a different way. Draw a picture. From John Borman's "Point Blank" to Nicholas Rogge's "Don't Look Now" and Richard Lester's editing techniques helped Soderbergh make the film he really wanted. .

    Three years later, he made "On the Road to Revenge," which was out of sight in terms of sources of inspiration and themes, but instead left out the elements of humor and had a darker atmosphere. On the Road to Revenge showed what a "serious Swordberg movie" could look like, but it did not go on. It followed exactly the same path out of sight and was more visually appealing and popular. This time, however, we were faced with the genre of theft, and the presence of stars such as "George Clooney", "Matt Damon", "Brad Pitt" and "Julia Roberts" made the film the focus. The second part was made with a similar approach, although there are elements in it that are usually not present in the works of the blockbuster and the main body. The third part, although it had a familiar atmosphere, did not turn out to be what the fans expected; Probably because he was less stealing stereotypes of the genre and sometimes did not take his audience seriously. He continued to trial and error with The Informant. Another comedy crime film starring Matt Damon. The informant was adapted from a true story, and Soderbergh tried not to distract it from the main events. Instead, from music and comedians such as Joel McHale, Tony Hill, Patten Oswalt, and Paul F. "Tompkins" helped to increase the humor of the film. The Informant eventually became a film that was both sad and funny.

    After a brief retirement, Soderbergh returned to the crime genre with "Logan Lucky." Lucky Logan, like the informant, uses a gentle tone, but the word is removed to replace it with pure entertainment and unexpected story twists. The story is about two brothers who want to commit a major robbery during a car race. Lucky Logan is not only one of Soderbergh's best crime films, but perhaps even better than his comedy. We noted in the article that Soderbergh never repeats the same path twice. Out of sight and on the path to revenge, they may complement each other, and Ocean's allies may follow the same path, but each has its own sense and approaches the genre from a different angle. Even the movie "Traffic" is in a similar situation, and the sudden forbidden movement is no exception. The story of this film is about two criminals who have taken hostage the family of an employee of a car company in order to deliver an important document to them. As expected from Soderbergh, the film travels in several directions simultaneously, eventually ending at one point.

    BingMag.com Why is Steven Soderbergh one of America's best contemporary filmmakers?

    Although the story of this film also takes place in Detroit, it bears no resemblance to the naked eye. In fact, Soderbergh seems to have deliberately designed it to mislead the audience. For example, it uses lenses that slightly blur the corners of the image and make it look natural, or familiar faces are presented in a way that does not look too familiar (has a mustache, "Benicio del Toro" put on a Pompadour hairstyle and " David Harber has no beard and glasses.

    Unlike Soderbergh's previous works in Detroit, this time the atmosphere he presents is full of suspense and a double sense of danger. And this is another reason why we call Steven Soderbergh one of the best contemporary filmmakers, someone who is able to make films in the same space and in the same genre, each belonging to a completely different world.

    When the sudden no-go is over, you can return to the opening section and find that the film tells two crime stories simultaneously: the story of "Curt Goynes" who is heading towards This is his next dirty job, and the story of the disintegrated society around him.

    This is not the first time that Soderbergh has used "crime fiction" to portray the struggles of powerful and incompetent characters. That's why out of sight Jack Foley is tired of the community around him. Danny Ocean hires a team of scammers to destroy a scammer, and in Informant, the drowning of a man in the corruption of a super-company shows us that criminal acts are committed on a daily basis and in public.


Source: GQ

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