Word: camerawork
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...withstanding the cleverness of Gavras' camerawork, the movies real strength lies lies in its acting. Yves Montand, as Graziani, endures insults with rheumy resignation and maintains a respect for his fellow men even when he can no longer stand to be polite to them. Montand's wife, Simone Signoret, as the fading actress, establishes the aura of attractive pathos that has become her trademark. And their daughter, Catherine Allegret, who plays the young girl, is a charming exemplar of wholesome patience and competence...
...worthwhile than I thought it was. My point about Shirley Clarke's imagination is that the way she presented her story led me to distrust its accuracy: She was making a pitch, and she injected symptoms of social malfunction in an almost rhetorical way; the foggy soundtrack and sloppy camerawork were clearly meant to give the movie a documentary veneer; she didn't tell enough about Duke or anyone else in the movie to make them convincing as individuals. My point about the scuffies was that because they were so isolated, the audience had little idea of what was going...
...nonetheless keeps the action tumbling in and out of mirrors, closets, mantels, trap doors. And sneaky camerawork by France's formidable Henri Decae imbues the décor with glittering menace. As the ne'er-do-well whose passions surge at the drop of a bank note, Delon is a rake smoothly handled by Temptress Albright and coltish Actress Fonda, who comes through as a sort of cheerleader turned femme fatale. Together, they make Joy House as sportive as a carnival crazy house, brimful of absurd surprises...
...sets up an artistic standard that is sustained throughout the picture. White and blue-gray winters, lugubrious shots of motley interiors, and overcast hunting scenes do at least as much to develop moods as the dialogue and acting. Though masterful in its own right, Renoir's delicate camerawork also does much to control the frail and precise despair that makers End of Desire an excellent movie...
Along with this fertile, if predictable, plot Bergman has his usual advantages of his troupe's superb acting and unparalleled camerawork by Gunnar Fischer. The story gives ample room for the irony of inversion, where good and bad are reversed, at which Bergman is so adroit. One wonders, then, how a director could possibly ruin the film...