Word: camera
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Dates: during 1990-1999
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...year or two, they become members of the boisterous Nutcracker fraternity who ritually applaud the prince's victories, always at the same plot points.) The movie should have been a triumph, but somehow it falls short. Not because of the performances, which are fine. Culkin appears a little too camera-wise performing among relative amateurs, but he is an effective prince. Kistler dances with the tender grace of a fairy princess. Kyra Nichols leaps through the role of Dewdrop like a cavorting sprite. In the Marzipan Shepherdess's exacting solo -- full of exposed pointe work -- Margaret Tracey looks like...
...know we haven't formally met, but I'm one of those people who runs around the Yard with a backpack instead of a video camera. We usually see each other near the Widener steps, at the entrance to the Science Center, next to the gate by Lamont Library and, of course, surrounding the John Harvard statue...
Remember when all those preppies got drunk and threw up all over the place during the Head of the Charles Regatta? Well, the security guards at the entrances to the Yard could regularly patrol the gates with blood-hounds to ensure that not one stray, camera-toting Yalie is allowed to wander through. In addition, we could demand presentation of the proper papers at each entry door. It's already standard operating procedure in small Communist countries...
...film presents four versions of the event, told by the three participants and the woodcutter, who discovered the body. The participants testify in front of the camera, which is ostensibly recording the bandit's trial, putting the audience in the position of the judge. Tajomaru the bandit, played by the great Toshiro Mifune, gives a version in which fate led him to desire the samurai's wife (Machiko Kyo). After raping her, he set the husband free and fought with him for possession of the woman. It was a fair and glorious duel, choreographed in a balletic fashion...
...truth is a slight and hackneyed one. That Kurosawa was able to create "Rashomon" from this is a testament to his mastery and genius; it is a case of a film rising above its material. "Rashomon" is an example of a very cinematic film, one in which the camera is an active participant, so much so that film critics have called it Kurosawa's "fifth witness." In a justifiably famous sequence, the camera follows the woodcutter into the forest, traveling behind him, then in front of him, around him, below him when he crosses a footbridge, until at last...