Word: aldriches
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...legend of Lylah Clare was met by complete critical indifference and/or scorn and generally written off as a disaster. Well, film critics don't know anything about anything, as everyone knows, and Robert Aldrich has (perhaps inadvertently) put together a sensational picture. Lest potential Aldrich cultists get their hopes up unduly, his recent Killing of Sister George turned out truly mediocre, the same restless cutting that compels in Lylah Clare working against him in Sister George. Aldrich is a heavy-handed man, and Lylah Clare deals in heavy-handed mysticism, heavy-handed acting stylization, heavy-handed melodrama, heavy-handed tragedy...
...with scarcely a shred of alleviating humanity. York's innate beauty and growing skills are dissipated in a role that calls for little more than wide eyes and elliptical chatter. What is most wrong with The Killing of Sister George is its essential conception. Director Robert Aldrich has regrettably decided to make this adaptation of Frank Marcus' play into pure Hollywood Gothica, in the style of his What Ever Happened to Baby Jane...
Whatever Hapepned to Baby Jane?-- Bette Davis and Joan Crawford play weird sisters in this debatably entertaining second-rate Robert Aldrich picture, marred by overly loud music and weak script construction. At M.I.T., Sunday night...
...exist." And the tyrannical studio head (Ernest Borgnine) who has monograms even on his toilet seats. And even the lesbian pass-made in this case by Italy's Rossella Falk, whose slinky version of a dope-shooting dyke is the best bit in the film. Director Robert Aldrich, who cut close to the Hollywood bone 13 years ago with The Big Knife, moved on to more forthright mayhem with What Ever Happened to Baby Jane, Hush . . . Hush Sweet Charlotte and The Dirty Dozen. Even in this company, Lylah Clare doesn't make...
Grosvenor's sculpture is memorable for its engineering finesse, for its life and sweep, for the way in which a huge Grosvenor dwindles grandly into the distance, playing joyfully with the sight lines of Renaissance perspective. The Larry Aldrich Museum in Connecticut specially commissioned his 100-ft.-long yellow piece for its greensward, and Manhattan's Whitney proudly hangs the 23-ft.-long Tenerife in its lobby. Thanks to his training as an architect, Grosvenor's work is not only handsome but portable - indeed, some times floatable. A swooping, 40-ft.-long black T, recently seen...