Word: burstyn
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Miracle in Milan (De Sica; Joseph Burstyn) is the freshest movie in years, a brilliant departure by Producer-Director Vittorio De Sica from the tragic realism of Italy's best postwar films, including his own Shoeshine and The Bicycle Thief. Still deeply concerned with man's inhumanity to man, De Sica this time accents the positive ideal of human brotherhood in a warm,exhilarating, richly comic picture...
...picture's distributor, Joseph Burstyn, unable to get a stay of enforcement, brought action in the appellate division of the state supreme court, where he will probably get a hearing early next month. Conceding the right of Catholics to object to The Miracle, Burstyn protested that "an organized minority is dictating through various pressure tactics to the entire citizenry of the state what it may or may not see in the movies...
Indignant New Yorkers pelted Mayor Impellitteri with telegrams of protest. Critics who had panned the movie spoke up for anybody's right to see it. Joseph Burstyn, distributor of Ways of Love, pointed out that after The Miracle was shown in Italy, the Vatican approved Rossellini's plan to do a movie about Saint Francis of Assisi. If the Vatican was not offended by The Miracle, Burstyn implied, who was a mere license commissioner to object? Furthermore, although the film had been "condemned" by the Catholic Legion of Decency as "sacrilegious and blasphemous," it had been passed...
...commissioner stuck stubbornly to his edict and Burstyn's lawyers went to court. At week's end, State Supreme Court Justice Henry Clay Greenberg threatened a temporary injunction against the edict. "I am concerned," he said, "with whether the commissioner has a right to set himself up as a dictator." At that point, McCaffrey weakened. While waiting for a full hearing this week, he lifted the ban. That evening, any New Yorker with the price of a ticket ($1.50) could see The Miracle and judge for himself whether it was worth all the todo...
Ways of Love [Joseph Burstyn] applies the packaging technique of Quartet to a trio of short fiction films made separately at different times by three of Europe's top directors. Each story illustrates a different meaning of love: the kind that stirs the mating urge, the peasant's love of his land, the heights of religious passion. Each also serves to illustrate, with varying success, the characteristic styles of Italy's Roberto (Open City) Rossellini and France's Jean (Grand Illusion) Renoir and Marcel (The Baker's Wife) Pagnol. None of the films could conceivably...