Word: camera
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Dates: during 1940-1949
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...point of view strengthens its dramatic story, so does the artistry of its production enhance "Open City's" effect as a movie. The performances are simple and restrained, but never miss an opportunity for full dramatic expression. Because the subtleties of acting and of direction are more of the camera than of the sound-track, Americans need not be disturbed by the poor English titles. Nor should they become impatient if the plot seems complicated at first, for they will find much more in "Open City" than its story of manhunt, torture, and death...
...records represent Sheen's public sermons rather than apologetics in camera, for prospective converts,, but they strikingly reveal both his manner and his matter. The manner: lucid confidence, forceful but not bullying. There is no shying from the emotional appeal or the resonant tremolo as he intones...
...what gives the film its modest greatness and its permanent value is its record of one of the few beneficent giants of this century: Toscanini. Often the camera shows that he is singing, shouting, speaking through the music, and for the sake of history it is too bad that his voice is lost in the sound-track din. But the face itself shows God's plenty. Incredibly concentrated, vigilant and severe, it has the intensity of a crucible, the ultimate, almost masklike human magnificence which may be seen in the sculpture of Michelangelo. This face is all the more...
...Passed, subject to Senate approval, a bill legalizing the immigration of 1) teenage Giovanni (Johnny) Camera and Anthony di Ina, troopship stowaways, 2) 31-year-old Masuyo Sudo Cromely, Japanese wife of a U.S. newsman, 3) 37-year-old Virginia Casardi, U.S.-born spouse of an Italian diplomat. Sent back to the Immigration and Naturalization Committee for further study was a similar "request of asylum" bill for three Russian stowaways, all adults...
With the shift of scene to the invasion coast of England, the camera eye leaves the Globe, to return only at the picture's conclusion. Except for the transposition from "Henry IV" of Hal's brutal rebuke of Falstaff, a rebuke which seen against the background of the magnificence of the young king seems somehow more necessary than was apparent in the earlier chronicle play, Olivier has taken no major liberties with the text. What innovations he does make achieve a startling success...