Who is Henry Jaglom?
The answer is complicated enough to have inspired a 1995 documentary, in which conflicting portraits of the London-born director are offered. Is he “the worst filmmaker in America,” as one magazine editor suggested then? Or is he the daring auteur whose work has been described by Roger Ebert as “smart” and “sophisticated”? Do his films suggest a subconscious hatred of women, as a female sociologist once alleged, or do they reflect the “feminine, observant nature” some of his leading ladies profess to admire?