In The American Cinema, Andrew Sarris grouped William Wyler in the dreaded "Less than Meets the Eye" camp, alongside Huston, Wilder, and Lean as “directors with reputations in excess of inspirations.” And what a reputation Wyler has: this consummate perfectionist worked for nearly half a century, from the silent age to the New Hollywood era, earning the most-ever Best Director Oscar nominations with 12 (and three wins). His name has become virtually synonymous with Hollywood craftsmanship and prestige; Wyler made unapologetically big movies about big themes with big performances. But a closer look reveals countless grace notes between the crescendos, and shows Wyler to be an acute chronicler of mid-century American life. He had the range of an accomplished journeyman, but whatever the genre, he proved a fluid stylist of startling invention. The Quad is proud to present New York's most extensive Wyler retrospective in 15 years, a much-needed reconsideration of this vital film artist.
Ben-Hur 1959, U.S., 212m, DCP
The Best Years of Our Lives 1946, U.S., 169m, 35mm
The Big Country 1958, U.S., 166m, 35mm
Carrie 1952, U.S., 118m, 35mm
The Children’s Hour 1961, U.S., 108m, 35mm
The Collector 1965, UK/U.S., 119m, 35mm
Counsellor-at-Law 1933, U.S., 82m, 35mm
Dead End 1937, U.S., 93m, 35mm
The Desperate Hours 1955, U.S., 112m, 35mm
Detective Story 1951, U.S., 103m, 35mm
Dodsworth 1936, U.S., 101m, 35mm
Funny Girl 1968, U.S., 151m, DCP
The Good Fairy 1935, U.S., 98m, 35mm
The Heiress 1949, U.S., 115m, 35mm
A House Divided 1931, U.S., 70m, 35mm
How to Steal a Million 1966, U.S., 124m, DCP
Jezebel 1938, U.S., 104m, 35mm
The Letter 1940, U.S., 95m, 35mm
The Liberation of L.B. Jones 1969, U.S., 102m, 35mm
The Little Foxes 1941, U.S., 116m, 35mm
Mrs. Miniver 1942, US, 134m, 35mm
Roman Holiday 1953, U.S., 119m, 35mm
These Three 1936, U.S., 93m, 35mm
The Westerner 1940, U.S., 100m, 35mm
Wuthering Heights 1939, US, 104m, 35mm
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