Word: bergmans
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Dates: during 1960-1969
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...high cheekbones and fierce mustaches, all the tired, tragic faces are one. The viewer must be content (or disturbed) with a vision trained on people but not on persons. Though Jancso is sometimes eclectic, he borrows only from the best, from the wintry compositions of Ingmar Bergman or from Goya's acid Disasters of War. At his most original, the director resembles neither film maker nor painter. In his own deep-dimensioned, black and white montages, he seems a sculptor who scrapes his material from the soil of his native land and gives it a cast of permanence...
...living cinema are to be disregarded as late deadline copy dependent solely and unsuccessfully on puns and props to compensate for lack of anything else. The rest of the copy features a rerun double-bill. Steve Kaplan '68 treats "boy meets girls" scenes à la Stanley Kramer, DeMille, Bergman, and Busby Berkelye. The Berkeley pair (Sally and Dan) dance into the sunset doing something called The Balumbo, containing for my money at least one great quatrain...
...assume the primacy of print. In pieces like "Theatre and Film," she constantly works to break down old critical boundaries like the one between "fine arts" and "popular arts." She has not only declared that culture is a single kingdom-Bach to the Beatles, Henry James to Bergman-but perceived and firmly insisted (in the chapter "What's Happening in America-1966") that politics cannot be discussed outside the cultural context in which they occur. This last is essentially a European concept, and her interest in European culture has lent substance to her views in other ways...
...SHAME. Ingmar Bergman tells a painful parable of the horrors of war and the moral responsibility of the artist. This is his 29th film and one of his best, with resonant performances by Liv Ullman, Max von Sydow and Gunnar Björnstrand...
...chief Robert Evans concurs: "There are people in the Academy who haven't worked in years. How can they know what the industry is about anymore?" Perhaps Joseph Mankiewicz is correct when he says: "A film academy that includes financiers and publicity men and does not include Fellini, Bergman and Truffaut, can hardly be called an academy. Somewhere there should be a place where film creators decide for themselves matters of merit." Says Paul Newman: "There must be something wrong with a group that hands out awards and then has to send telegrams saying, please come...