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Directed by RICHARD ATTENBOROUGH Screenplay by CARL FOREMAN...

Author: /time Magazine | Title: Cinema: Bore War | 10/30/1972 | See Source »

...evidence of Young Winston, Foreman mistook this commission for a knighthood. The film that he and Director Attenborough (Oh What a Lovely War) have whittled out of all the dispatches, memoirs and histories is antiseptic and servile, as empty of conflict as a biographical entry in the Britannica. The movie even employs an offscreen journalist, whose task it is to badger Young Winston (Simon Ward), his father Lord Randolph (Robert Shaw) and American mother (Anne Bancroft) with indelicate inquiries. "What precisely was the nature of your husband's last illness?" the journalist sneers from behind the camera, adding after...

Author: /time Magazine | Title: Cinema: Bore War | 10/30/1972 | See Source »

...coffin. Mrs. McLeavy is the recently departed mother of one of the boys. Mr. McLeavy (Milo O'Shea) has a lickerish eye on Fay the nurse (Lee Remick), whose charms are available at an ever accelerating price. Investigating them all is a detective called Truscott (Richard Attenborough), who fancies he is fooling everyone by disguising himself as a member of the water board. At the denouement, just deserts are enjoyed...

Author: /time Magazine | Title: Cinema: Demolition Derby | 5/8/1972 | See Source »

Logic is lampooned, insanity triumphant in Orton's language, which is preserved here in reasonable facsimile. Miss Remick, dolled up to look like a prize in a shooting gallery, is calculating and amusing. Attenborough and O'Shea are nothing short of hilarious. With puffy face and popping raisin eyes, Attenborough looks like a hot cross bun impaled on a rag mop as he continually cross-examines the befuddled O'Shea. During an interval in the questioning, Attenborough boasts that it was he who solved the notorious riddle of "the limbless girl killer." "Who'd want...

Author: /time Magazine | Title: Cinema: Demolition Derby | 5/8/1972 | See Source »

...principals of the picture are a cast but a miscast; Lee Remick is barely on speaking terms with her English accent, and Bloom's occultivated consists of stares loaded with blanks. Attenborough is an echo of the project: empty smugness, satisfaction without self. Only Ian Holm, as the passive hero, seems to grasp the thematic apperception: modern man and his society are in a schizoid clash where and brain, instinct and intellect, struggle for primacy. He alone defines ambiguity in the loftiest sense. Clement & Co. founder in the lowest...

Author: /time Magazine | Title: Cinema: Bad Manners | 4/26/1971 | See Source »

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