Word: actor
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Dates: during 1970-1979
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...enough. Even an actor as powerful as Scott cannot make up for the paucity of invention. And the frantic action of the conclusion seems more confession of failure than release of pent-up emotion. Sensational though Hardcore is, unblinking as it is in examining a tawdry scene, it is a serious effort, not an exploitation film. Its failure is entirely honor able, and its successful moments make it worthy of attention. But it is, regrettably, a failure...
Once again Roots' producers recruited a largely black crew for the show, as well as some black directors (Actor Georg Stanford Brown, Yale Drama School's newly appointed dean, Lloyd Richards). A conscious and highly successful effort was made to upgrade the level of acting, black and white. "The first time we were going to give you every reason to watch he show by loading the cast with TV stars," says Stoddard. "This time we put a greater emphasis on performance." Once the actors arrived on the set, they worked hard and fast. Harewood, 28, an actor...
...lesson to be learned from this film is that a good preacher is not necessarily a good actor. Gortner has great presence. With a good director and a little humility he might learn to act. The movie itself is pretensious and insulting to its audience. It promises a lot but delivers a confused mishmash, a midnight stoned rave on film...
...carrying on musical conversations among themselves. In the opening skit, for example, a violin, cello and piano exchange various harmonies, attempting to reach a common ground. In a later piece an altercation between between cello and alto-trombone ranges from melodrama to farce. Kim's parallels and parodies the actors' disjointed monologues. In one skit a piano accompanies actress Irene Worth, responding to the natural cadences of her voice as she relives a traumatic childhood experience. The culmination of this tension between the actor and instrument occurs in the last piece when the voices of violin, piano and high soprano...
Ronald Hayman, noted critic, once pointed out, "the very incompleteness of Beckett's works far increases the spectator's need to project his own despair in the spaces of the play." It would be a mistake to confuse an actor's shortcomings with the author's intent: to argue that the audience is simply misconstruing Kim's-and ultimately Beckett's-purpose. Worth struggles at points with the difficulties of her script, and her monologues sometimes appear awkward and belabored. Soprano Jane Bryden fails completely. Her words are inaudible...