Bosley Crowther

Bosley Crowther was a prominent and influential American film critic who served as the chief reviewer for The New York Times for nearly three decades. His tenure from 1940 to 1967 coincided with the golden age of Hollywood and the rise of international art film, making his voice one of the most powerful in American cinema. Crowther's traditionalist views and moralistic stance often placed him at the center of critical debates, particularly as film culture underwent radical change in the 1960s. He authored several books on film history and his career left an indelible, if contested, mark on American film criticism.

Early life and education

Born in Lutherville, Maryland, Crowther was raised in a prosperous family and developed an early interest in journalism. He attended Princeton University, where he edited the daily The Daily Princetonian and graduated in 1928. Immediately after graduation, he began his professional career as a reporter for the New York Times, covering a wide range of topics from Wall Street to general city news. This foundational experience in hard news reporting would later inform his direct, often judgmental approach to film criticism.

Career at The New York Times

Crowther transitioned to the role of film critic for The New York Times in 1940, succeeding Andre Sennwald. His position quickly grew in authority as the newspaper's influence expanded, and he became a staunch advocate for socially conscious filmmaking during World War II and the postwar era. He championed films like The Best Years of Our Lives and was an early supporter of important foreign directors such as Vittorio De Sica and Federico Fellini. For years, his Sunday review was considered essential reading for the industry and the public, significantly impacting a film's commercial success and prestige.

Critical style and influence

Crowther's critical style was characterized by a straightforward, narrative-focused approach that prized clear storytelling, moral uplift, and technical competence. He was deeply skeptical of stylistic experimentation and overt violence, which he viewed as detrimental to the artistic and social value of cinema. This perspective made him a powerful gatekeeper for mainstream American cinema but also a frequent antagonist of emerging avant-garde movements. His influence was monumental, with a positive review capable of boosting a film's box office, while a pan could consign it to obscurity.

Notable reviews and controversies

Several of Crowther's reviews became legendary for their vehemence and role in broader cultural clashes. He famously denounced Stanley Kubrick's Dr. Strangelove as a "sick joke" and launched a sustained campaign against the graphic violence in Arthur Penn's Bonnie and Clyde, which he labeled "a cheap piece of bald-faced slapstick comedy." These positions, seen as out of touch with a new generation of critics and audiences, significantly eroded his authority. Conversely, his early praise for foreign films like Rashomon and The Bicycle Thief helped introduce American audiences to Japanese cinema and Italian neorealism.

Later life and legacy

After being replaced as chief critic by Renata Adler in 1967, Crowther continued to write for The New York Times as a columnist until his retirement in 1968. He remained active, writing books such as The Great Films: Fifty Golden Years of Motion Pictures and Reruns: Fifty Memorable Films. He died in 1981 in Mount Kisco, New York. Crowther's legacy is complex; he is remembered both as a towering institutional voice who shaped mid-century film taste and as a critic whose rigid standards ultimately clashed with the revolutionary spirit of the New Hollywood era. The Bosley Crowther Award for cinematic achievement was named in his honor.

Category:American film critics Category:The New York Times people Category:1905 births Category:1981 deaths Category:Princeton University alumni