Word: blendings
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Dates: during 1960-1969
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Thus went one of the nightly prayer meetings of a new and fast-growing U.S. religious cult, the American version of Japan's Soka Gakkai, or "Value Creation Society." An odd blend of militant Buddhism, the power of positive thinking and showbiz uplift, Soka Gakkai in the U.S. has grown from some 30,000 members in 1965 to more than 170,000 today. The sect, which is known in the U.S. as Nichiren Shoshu of America (The True Church of Nichiren), claims to be gaining at least 2,000 converts a month. In the New York general chapter alone...
...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, and heavy-handed meaning. This ideal blend, strange-but-true, results in something less than heavy-handed, perhaps because Aldrich has been able to adapt his style to fit the many different eras of movie-making the film describes. His black-and-white-and-red-all-over flashbacks do evoke the twenties; the flagrantly overdirected love scene...
...film, yet for all its style and detail, I'm not sure it amounts to very much, and prefer the romantic perception of Soft Skin, Truffaut's best film to date. But you have to give him points: the scenes between Julie (Jeanne Moreau) and the artist (Charles Denner) blend exposition and characterization as cinematically as anything this side of Chabrol. Also Truffaut's obsession with Hitchcock has finally left the realm of shot-copying, resulting in some interesting notions about audience identification, point-of-view cutting, and flashback structure...
...film spends too much time on pickles, pushcarts and passersby. But it compensates with a fond, nostalgic score, a bumping, grinding chorus line and a series of closeups of the late Bert Lahr, who plays a retired burlesque comedian. Like Lahr, the film offers an engaging blend of mockery and melancholy...
...stage consisted of bassoon (dig it), sax, drums, and Ivers on harp--a careful balance of instruments that managed to blend and set off the tight lash of the harp-sound with a rich, creamy-textured backing. Also add one chick singer, dressed in an electric blue shalwar-kameez (that's what it's called, folks), the established jazz singer Miss Yolande Bavan...