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Paragraph 3
It can safely be asserted  
(1)
that the auteur theory
arose partly out of the need of these French critics to
promote the role of the director for their own
personal reasons. 
(2)
After all, when they were writing
as critics, they were frustrated directors. They
wanted to direct films themselves and by
establishing their critical reputations via their
advocacy of the auteur theory, they were making
names for themselves in the film world and
convincing people that the creation of worthwhile
films depended on the overall vision of individual
directors, which they fervently hoped to become
themselves. Thus, the case that they made for
individual Hollywood directors to be taken seriously
as artists was exaggerated in the claims made for
these ‘geniuses’. 
(3)
Indeed, it came as a great
surprise to many of these directors that they had any
kind of ‘universal vision’ and underlying themes
that linked all their movies. Vincente Minnelli, for
example, the talented director of musicals such as
‘Meet Me in St Louis’ and ‘The Band Wagon’ found
himself elevated to auteur stature because these
critics, unlike the rest of us, could discern the
‘philosophy’ that underpinned the movies he
directed. 
(4)