Pro Football: Mayhem on a Sunday afternoon

William Friedkin

William Friedkin was born in Chicago on August 29, 1935, the son of Russian Jews who had emigrated to the United States. After graduating, he began working in television in the midst of the economic boom of the 1950's, a factor which would prove to be fundamental to his professional and artistic development. His first job was as a messenger boy at the local station WGN; then in 1959, he moved to WTTV, only to return to WGN as a director and screenwriter. During that period, he met the journalist Frank Caughlin, a member of Chicago's progressive middleclass who was famous for his civil rights battles. This culture is reflected in his first documentaries, which he made for WGN with his friend Bill Butler (who was to become an important director of photography for films like Jaws, Grease, Rocky II and Rocky III). He also filmed The People versus Paul Crump (1962), a movie which was conceived and made to save a man from the electric chair. This film won him the prize for best documentary at the San Francisco Film Festival. His first full-length film, Good Times, was made in 1967, but true success arrived in 1971 with The French Connection, which won five Oscars (best film, director, screenplay, editing and actor, Gene Hackman), followed in 1973 by The Exorcist, which won Oscars for best screenplay and sound. Sorcerer (1977), a remake of Henri-Georges Clouzot's film Le Salaire de la Peur (1953), was his unlucky film and weakened the relationship between Friedkin and the Studios. Between the late '70s and early '80s, the director alternated working on commission on a controversial film like Cruising (1980) and directing a milestone in detective films, To Live and Die in L.A. (1985). The 1990's saw him range from horror films like The Guardian (1990) to sports films, Blue Chips (1993), only to return to his favorite genre, noir films with Jade (1995). In Rules of Engagement (2000), Friedkin investigated the effective impossibility of reconstructing facts, on a historical and on a cinematographic level, while his most recent film, The Hunted (2003) takes dueling, a key feature of classic American cinema, to its extreme limit.