Word: camera
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Dates: during 1940-1949
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There is little novel interpretation of character: even that might distract from the great language, or distort it. There is no clear placement in time, no outside world except blind sky, faint landscapes, ruminant surf, a lyrical brook. The camera, prowling and peering about the cavernous castle, creates a kind of continuum of time and space. Such castles were almost as naked of furniture as the Elizabethan stage; Olivier uses both facts to the film's advantage. Not even the costumes are distracting; they are close to the simplest mind's-eye image: a King & Queen like playing...
Elegance of Line. The play-within-a-play is handled with high elegance and tension, in sinister dumb show, accompanied by the snarling archaic charm of the music William Walton composed for the occasion. The camera, always holding the mimes at distant center, steals in a lordly semicircle past the enormous heads of the guilty, the guileless, and the pitilessly watchful; and rising whispers, like leaves in a storm-foreboding wind, underline the shock and horror of this deadly piece of court satire. From there on, the film arches in unbroken grandeur and intensity...
...Televiewers last week got a look at a radio program in action, We the People. It looked worse than it sounded. A guest named Evil-Eye Finkle made evil eyes at the camera; Mrs. Spencer Tracy fastened her eyes to the script; Fred Allen mostly looked glum; Nat ("King") Cole sang Nature Boy and Composer Eden Ahbez showed his curls. Master of Ceremonies Dwight Weist went his own way, all but ignoring the prying eye of the telecamera...
Color Film. Hollywood finally got a full-length look at General Aniline & Film Corp.'s three-color process (Ansco Color) in the independent movie, Sixteen Fathoms Deep. As the color is incorporated in the negative, making it possible to record it with an ordinary black & white camera, General Aniline hopes that Ansco will eventually compete with Technicolor. In some Sixteen Fathoms scenes Ansco Color, like the new Rouxcolor of Paris' Roux brothers (TIME, June 7), seemed far more natural than the more expensive Technicolor. But in other scenes Ansco Color was washed out, and faces were often only...
...skillfully calculated improvisation for live actors on a rigid stage, and has an almost cabaret dependence on flesh-&-blood intimacy with the audience. Wisely, in this case, the screen imitates the stage rather closely. The whole rhythm of entrance & exit, bit and buildup is strictly theatrical, and the camera scarcely ever leaves the redolent barroom...