Word: antonioni
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...looking at a concave or a convex object," Mailer elaborates. "In Maidstone, I was making an attack on reality. Fact and fantasy keep coalescing." Mailer admits that he is not the first to have made such an assault on tradition. Although the names of Buñuel, Dreyer and Antonioni are evoked in Maidstone, Mailer believes that his strongest single influence was the San Francisco film maker Bruce Conner, whose dazzling short works (A Movie, Cosmic Ray and Report) constantly explore and test the limits of illusion...
Perhaps, also, we should remember that good, honest hackwork is hard to come by, though I don't expect those brought up on Antonioni to understand this. As written and performed, there is more humanity and intelligence in Caine's and Sharif's characters than those who fall into the snob-trap are apt to admit. I take Clavell's work on these two characters as a good sign for commercial moviemaking. And to hell with the characters in the Gary audience who laughed when Caine's Captain died. May they greet death as gracefully. The sooner, the better...
...Statement, both vile), the year three major studios placed their fiscal futures on the line with expensive extravaganzas (Paramount, Catch-22; 20th-Century Fox, Tora! Tora! Tora!; and MGM, Ryan's Daughter ), and the year Europe's three best-known directors came up with relatively disappointing work (Fellini, Satyricon; Antonioni, Zabriskie Point; Bergman, The Passion of Anna...
ELVIS: That's the Way It Is: Jim Aubrey (former CBS executive, purported model for the most recent Jackie Susann novel) was having a bad year of it at MGM. Antonioni's Zabriskie Point had fizzled out. The Strawberry Statement hadn't caught on. Stanley Sweetheart hadn't even been heard from. Somewhere out there were all those youths, many of them paying more money to see Warner Brothers' version of Woodstock than they had paid to attend the actual event. So the MGM executives, never loath to jog after a trend, shoved a camera crew, armed with Metrocolor...
Died. Angelo Rizzoli, 80, Italian publisher who left a Milan orphanage at 17 to become a printer, built a publishing empire encompassing ten weekly magazines (20 million readers), became a film producer and sponsored more than 150 films by such leading directors as Michelangelo Antonioni (Red Desert) and Federico Fellini (La Dolce Vita); of complications from gall bladder disease; in Milan...