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Word: alonzo (lookup in dictionary) (lookup stats)
Dates: during 1970-1979
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Usage:

Directed by John A. Alonzo...

Author: /time Magazine | Title: Cinema: Static | 5/22/1978 | See Source »

...marks the directing debut of Cinematographer John A. Alonzo (Chinatown), who here reveals some rather provocative notions about film making. FM seems to be two hours of unedited footage thrown together without regard for the admittedly old-fashioned niceties of narrative movies; indeed, at any given moment, it is impossible to decipher what is going on in FM or to identify the characters onscreen. It is also quite difficult to make out what anyone is saying. In what must be the most innovative use of sound since Woody Allen's What's Up, Tiger Lily? (1966), Alonzo...

Author: /time Magazine | Title: Cinema: Static | 5/22/1978 | See Source »

...Alonzo's principal collaborator on FM is Ezra Sacks, a screenwriter with an unabashed affection for recent American movies. His script, which seems to be about a war between hip deejays and crass moneymen at a Los Angeles radio station, is a scrupulous homage to such entertainments as Car Wash and Between the Lines. At least one of his three jokes is right out of MASH. Film buffs will undoubtedly have a whale of a time picking out such references to other movies; viewers with a less academic bent may wonder if Sacks might not be trafficking in stolen...

Author: /time Magazine | Title: Cinema: Static | 5/22/1978 | See Source »

...script is well served by Director Martin Ritt (Sounder, The Front), who has collaborated with Cinematographer John Alonzo and Production Designer Robert Luthardt to paint the colorful Louisiana and New Mexico settings in crisp detail. Ritt has the good sense to stretch out the tense race sequences (with slow motion, if necessary) and gallop by the story's mawkish father-son, brother-brother and child-horse confrontations. He even gets away with the overheated scenes that depict the star colt's birth and its mother's untimely death...

Author: /time Magazine | Title: Cinema: Horse Sense | 3/20/1978 | See Source »

There are shades of Thomas Hardy in the book's cinematic evocation of background and its psychological portrait painting. But, although Alonzo's mysticism may stupefy one at times, his overall tone is seldom as professorial as Hardy's can be. Alonzo's writing approaches a Dadaesque neo-anarchism of spirit while using the vocabulary of surrealism. And these diverse elements, surprisingly, complement each other...

Author: By Diana R. Laing, | Title: Alley-Catting, God Knows Where | 12/11/1976 | See Source »

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