Births on February 10

Richard Schickel, American journalist, author, and critic

Richard Warren Schickel, born on February 10, 1933, and departing on February 18, 2017, was a highly influential and multifaceted figure in American cultural commentary. Throughout his extensive career, Schickel distinguished himself as a keen film historian, a sharp journalist, a prolific author, an insightful documentarian, and a formidable critic across both film and literature. His profound impact on the discourse surrounding cinema and popular culture is widely acknowledged, making him a pivotal voice for over five decades.

A Distinguished Career in Criticism and Journalism

For an impressive 45 years, from 1965 until 2010, Richard Schickel served as a principal film critic for Time magazine, one of the most prominent and widely read publications of its era. His reviews and essays published in Time reached millions, significantly shaping public opinion and contributing to the critical reception of countless films. Beyond his long tenure at Time, Schickel’s insightful prose also graced the pages of other influential publications, including Life magazine, known for its photojournalism and broad cultural coverage, and the Los Angeles Times Book Review, where he showcased his versatility as a literary critic. Even in the later stages of his career, Schickel remained an active voice in film commentary, contributing his final writings on cinema to Truthdig, an online progressive news magazine, demonstrating his enduring commitment to the medium.

Shaping the Landscape of American Film Criticism

Richard Schickel’s perspective on cinema was not merely about reviewing films; it was about understanding and articulating the evolution of the art form itself. This deep engagement was prominently featured in the 2009 documentary film For the Love of Movies: The Story of American Film Criticism, in which he was a key interviewee. In this insightful film, Schickel delved into the formative years of American film criticism, highlighting the contributions of pioneering figures such as Frank E. Woods, an early film journalist and collaborator with D.W. Griffith; Robert E. Sherwood, a Pulitzer Prize-winning playwright and influential early critic for Life magazine; and Otis Ferguson, renowned for his lively, jazz-inflected writing style for The New Republic.

Perhaps one of the most significant moments Schickel recounted in the documentary was the transformative shift in film criticism during the 1960s. He, alongside two other titans of the field—Pauline Kael of The New Yorker, celebrated for her passionate, subjective, and often controversial takes, and Andrew Sarris, the pioneering advocate of auteur theory in America—spearheaded a rejection of the more traditional, often moralizing, approach prevalent at the time. This collective challenged the established views, particularly those of Bosley Crowther, the highly influential and long-serving film critic for The New York Times.

The "Bonnie and Clyde" Watershed Moment (1967)

The philosophical clash between the old guard and the new wave of critics came to a dramatic head with the release of Arthur Penn’s seminal film, Bonnie and Clyde in 1967. Crowther famously railed against the movie, condemning its blend of humor with graphic violence as irresponsible and morally repugnant. His scathing review reflected a critical stance that often prioritized moral judgment over artistic interpretation and cinematic innovation.

In stark contrast, Schickel, Kael, and Sarris recognized Bonnie and Clyde as a groundbreaking work that redefined American cinema. They argued that the film, with its innovative blend of genres, its stylish portrayal of anti-heroes, and its unflinching depiction of violence, was a reflection of a tumultuous era and a significant artistic achievement. Their defense highlighted the film's audacious storytelling and its role in ushering in the "New Hollywood" era, characterized by more complex narratives and challenging thematic content. This critical debate over Bonnie and Clyde effectively marked a turning point, signaling the decline of the moralistic critical tradition and the ascendance of a more sophisticated, analytical, and art-centric approach to film criticism, championed by Schickel and his contemporaries.

Beyond Film: A Broad Intellectual Curiosity

While primarily celebrated for his contributions to film criticism and history, Richard Schickel's intellectual curiosity extended beyond the silver screen. He also demonstrated a keen interest in other forms of popular culture, notably critiquing and meticulously documenting cartoons. His extensive work on Charles M. Schulz's iconic comic strip Peanuts stands as a testament to his ability to apply the same depth of analysis and historical perspective to diverse cultural phenomena. This breadth of interest underscored his role not just as a film expert, but as a comprehensive chronicler of the arts and popular entertainment.

Frequently Asked Questions About Richard Schickel

Who was Richard Schickel?

Richard Schickel was a highly respected American film historian, journalist, author, documentarian, and a prominent film and literary critic. He was best known for his long tenure as a film critic for Time magazine.

What made Richard Schickel an important figure in film criticism?

Schickel was a leading voice in the shift of American film criticism during the 1960s, moving away from moralistic judgments towards a more analytical and art-centric appreciation of cinema. He, along with Pauline Kael and Andrew Sarris, championed a new approach, notably clashing with older critics like Bosley Crowther over films such as Bonnie and Clyde.

Which publications did Richard Schickel write for?

He was the principal film critic for Time magazine from 1965 to 2010. He also contributed to Life magazine, the Los Angeles Times Book Review, and in his later years, Truthdig.

Did Richard Schickel only focus on film?

No, while film was his primary focus, Schickel's intellectual interests were broad. He also critiqued and documented cartoons, demonstrating a particular affinity for Charles M. Schulz's Peanuts.