| Auto Focus | |
|---|---|
 Theatrical release poster | |
| Directed by | Paul Schrader |
| Written by | Michael Gerbosi |
| Based on | The Murder of Bob Crane byRobert Graysmith |
| Produced by |
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| Starring | |
| Cinematography |
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| Edited by | Kristina Boden |
| Music by | Angelo Badalamenti |
Production companies | |
| Distributed by | Sony Pictures Classics |
Release date |
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Running time | 105 minutes |
| Country | United States |
| Language | English |
| Budget | $7 million |
| Box office | $2.7 million |
Auto Focus is a 2002 Americanbiographical drama film directed byPaul Schrader and starringGreg Kinnear andWillem Dafoe. The screenplay by Michael Gerbosi is based onRobert Graysmith's bookThe Murder of Bob Crane (1993).[1][2]
Auto Focus tells a dramatized story of actorBob Crane, an affable radio show host and amateur drummer who found success on the popularsitcomHogan's Heroes, and his dramatic descent into the underbelly of Hollywood after the series was cancelled and he formed a friendship with videographerJohn Henry Carpenter.
Carpenter was later tried, andacquitted in 1994 of Crane's murder. Although the crime remains officially unsolved, Carpenter has remained the main subject of suspicion even after his death in 1998.[3]
Disc-jockey-turned-actorBob Crane develops a secret personal life, focusing on his relationship withJohn Henry Carpenter, an electronics expert involved with the nascenthome video market. Encouraged by Carpenter and enabled by his expertise, Crane—a church-going, clean-cut family man—becomes asex addict obsessed with women and with recording his encounters using video and photographic equipment, usually with Carpenter participating. As the years pass, the relationship between Crane and Carpenter unravels in a dangerous way. Crane is divorced by his wife Anne before marrying Patricia Olson, a former co-star from his hit television seriesHogan's Heroes. After the show goes off the air, Crane struggles to find work while dealing with money troubles. By the timeWalt Disney Productions hires him for the leading role in a family movie,Superdad, his reputation for being obsessed with sex and pornography starts to jeopardize his image. Confined to doingdinner theater in mid-sized cities, Crane's attempts to distance himself from Carpenter fail as their sexual escapades continue. Carpenter ends up becoming Crane's only friend, but in 1978 they have a final falling-out between them inScottsdale, Arizona, where Crane tells Carpenter that he is looking to start a new life without the latter's influence or eagerness for sex parties. Soon after, Crane is bludgeoned to death while he sleeps in a motel room. Carpenter is tried for the murder, but he isacquitted in 1994. To this day, Crane's murder remains unsolved.
The film premiered at theToronto International Film Festival and was shown at theSan Sebastián Film Festival, theHelsinki International Film Festival, theChicago International Film Festival, the New Orleans Film Festival, and theBergen International Film Festival before going into limited release on eleven screens in the US, earning $123,761 on its opening weekend. It grossed $2,063,196 in the US and $641,755 in foreign markets for a total worldwide box office of $2,704,951.[5]
The film met with a largely positive reception from critics. Onreview aggregator websiteRotten Tomatoes, the film holds an approval rating of 71% based on 163 reviews, and an average rating of 6.64/10. The website's critical consensus states, "Kinnear and Dafoe help make this downward spiral of one man's life a compelling watch."[6] OnMetacritic, the film has a weighted average score of 66 out of 100, based on 36 critics, indicating "generally favorable" reviews.[7]
A. O. Scott ofThe New York Times said the film "gets to you like a low-grade fever, a malaise with no known antidote. When it was over, I wasn't sure if I needed a drink, a shower or a lifelong vow ofchastity ... there is [a] severe, powerful moralism lurking beneath the film's dispassionate matter-of-factness. Mr. Schrader is indifferent to the sinner, but he cannot contain his loathing of the sin, which is not so much sex as the fascination with images ... To argue that images can corrupt the flesh and hollow out the soul is, for a filmmaker, an obviously contradictory exercise, but not necessarily a hypocritical one. There is plenty of nudity inAuto Focus, but you can always glimpse the abyss behind the undulating bodies, and the director leads you from easy titillation to suffocating dread, pausing only briefly and cautiously to consider the possibility of pleasure."[8]
Roger Ebert of theChicago Sun-Times gave the film four out of four stars, calling it "a hypnotic portrait ... pitch-perfect in its decor, music, clothes, cars, language and values ... Greg Kinnear gives a creepy, brilliant performance as a man lacking in all insight ... Crane was not a complex man, but that should not blind us to the subtlety and complexity of Kinnear's performance."[9]
Edward Guthmann of theSan Francisco Chronicle called it "a compelling, sympathetic portrait ... Kinnear undercuts the seaminess of the Crane story, and shows us a man with more dimension and complexity than his behavior might suggest."[10]
Peter Travers ofRolling Stone awarded it three and a half out of four stars and added, "Schrader, the writer ofTaxi Driver and the director ofAmerican Gigolo, is a poet of male sexual pathology. Shot through with profane laughs and stinging drama,Auto Focus ranks with his best films."[11]
Todd McCarthy ofVariety called it "one of director Paul Schrader's best films, and likeBoogie Nights ranks as a shrewd exposé of recent Hollywood's slimy underside ... Schrader directs with a very smooth hand, providing a good-natured and frequently amusing spin to eventually grim material that aptly reflects the protagonist's almost unfailing good humor ... Pic overall has an excellent period inLos Angeles feel without getting elaborate about it, and musical contributions byAngelo Badalamenti and a host of pop tunes are tops."[12]
One of Bob Crane's sons, Scotty, bitterly attacked the film as being inaccurate. In an October 2002 article, Scotty said that his father was not a regular church-goer and had only been to church three times in the last dozen years of his life, including his own funeral. There is no evidence that Crane engaged inS&M, and director Paul Schrader told Scotty that the S&M scene was based on Schrader's own personal experience. Scotty claims that his father and John Carpenter did not become close friends who socialized together until 1975, and that Crane was already a sex addict and had recorded his sexual encounters since 1956, long before he became famous.[13]
Scotty and his mother had written their own script for a film biography on Crane. Thespec script, alternately titled "F-Stop" and "Take Off Your Clothes and Smile", was written up inVariety by columnistArmy Archerd, but afterAuto-Focus was announced, interest in Scotty's script ceased.[14]
Paul Schrader was nominated for theGolden Seashell at theSan Sebastián International Film Festival.[citation needed] Willem Dafoe was nominated forBest Supporting Actor by theChicago Film Critics Association but lost toDennis Quaid forFar from Heaven.[citation needed]
TheDVD release includes a 50-minutedocumentary,Murder in Scottsdale, which delves into the initial murder investigation and the reopening of the case some 15 years later.[citation needed] The DVD also features several audio commentary tracks.