Word: camerawork
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Adapted to the screen by Charles Dyer from his play, Staircase is a static, placid film in which the camerawork is subdued. Its strength is in its two key players. Each being determined, perhaps, to do his best acting before a peer, Burton and Harrison give firmly disciplined, finely delineated performances of undeviating honesty. Burton has rarely immersed himself in a part to the extent that one could forget he was Richard Burton, but he does it this time. Harrison has often seemed to be acting before a mirror rather than a camera. In Staircase he is acting before...
...musical-a type of film in which style (its basic currency) and ideals (its subject) have freedom without getting too heavy. Brian Kahin's new Barbara Baby is more successful than one could expect. It investigates our dreams through idealistic characters whose flair infects the film. Inventive camerawork-pixillation, fantasy sequences, beautiful cutting-establishes the characters and their Panachethrough their appearances-and simultaneously exposes their shallowness, the characters, the limitations of their flair. The film, through its characters, maintains the ideal balance between being moving and shallow, romantic and absurd-not by attacking romanticism, but by showing its limits...
Ford's images, then, are images of idealization. The past is redefined and perfected through his magnificent camerawork and lighting, and through his sense of formal structure and geometric harmony. The result is a combination of memory and myth. How Green Was My Valley and The Man Who Shot Liberty Valance (1962) are theoretically flashbacks told by men whose experience has been filtered through the traps of time and been idealized in the nostalgic mind. On a large scale, however, Ford does not recreate the past through memory, but creates the memories themselves. The Sun Shines Bright and My Darling...
Before Winter Comes is a film to be remembered-rather than seen. It has a vague plot, conventional camerawork and a feeble scenario. But it also serves as the major debut of a major performer: Israeli Actor Topol...
Faces--Played at a fever pitch with sustained dramatic intensity, John Cassavetes' attack on middle-class fun-and-games is nonetheless not a very good film. The camerawork is frenetic but uninventive and stifling, the sound poor, and the subject treated too superficially for its two-hour running time. Still, an emotional tour de force, with acting that occasionally approaches greatness. Starting next Wednesday at the CINEMA KENMORE SQ., in Kenmore...