The best John Schlesinger’s documentary movies

John Schlesinger

John Schlesinger

16/02/1926- 25/07/2003
We present our ranking of the best John Schlesinger’s movies. Do you love cinema? Or are you looking for a movie of your favorite actor to watch tonight? Surely you have some to see or that you did not know yet about John Schlesinger.

The Celluloid Closet

The Celluloid Closet
7.8/10
  • Genre: Documentary
  • Release: 30/01/1996
  • Character: Himself
This documentary highlights the historical contexts that gay, lesbian, bisexual and transgender individuals have occupied in cinema history, and shows the evolution of the entertainment industry's role in shaping perceptions of LGBT figures. The issues addressed include secrecy – which initially defined homosexuality – as well as the demonization of the homosexual community with the advent of AIDS, and finally the shift toward acceptance and positivity in the modern era.

Terminus

Terminus
7.1/10
  • Genre: Documentary
  • Release: 01/12/1961
  • Character: Passenger (uncredited)
This fly on the wall-style documentary from 1961 won an Oscar for best documentary, and shows the changing patterns of human emotions during 24 hours in the life of Waterloo Station.

The Crowd Around the Cowboy

The Crowd Around the Cowboy
A short documentary made on location during the filming of John Schlesinger's 1969 film "Midnight Cowboy."

Waldo Salt: A Screenwriter's Journey

Waldo Salt: A Screenwriter's Journey
7.1/10
  • Genre: Documentary
  • Release: 19/01/1990
  • Character: Interviewee
Documentary is about the life and work of American screenwriter Waldo Salt who won two Academy Awards and was put on the Hollywood blacklist in the 1950s. The story is told through interviews with collaborators and friends such as Dustin Hoffman, Robert Redford, Jon Voight, John Schlesinger and with clips from Salt's films, chiefly Midnight Cowboy.

The Magic of Hollywood... Is the Magic of People

The Magic of Hollywood... Is the Magic of People
6.7/10
Producer Robert Evans dominates with his trademark promotional style, but Schlesinger gets a short time on camera (one of his few available interviews about the film), and Hoffman has even more. A highlight is the celebration of Olivier's final shooting day, complete with speeches and a toast.

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