Word: cameraworks
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TROELL, WHO PRODUCED, directed and edited the film, creates a world that rings true both as history and as cinema. His soft colors and elegant camerawork belie a willingness to experiment for chilling or striking effects such as the visual echo of quick cuts which shatters the silence of the forest when Karl-Oscar's younger brother Robert shoots what he believes is an Indian warrior. In his control of natural images, his imagination and sense of the complex relations of individuals to social processes, Troell comes closer to Bergman than any other current director. He edges near the best...
...Grande Bouffe, like Last Tango in Paris, is a vision of life burning itself out, but in The Grande Bouffe there is no romantic illusion, no disguised depravity. Ferreri makes his points in terms of acting instead of camerawork and soundtrack. The performances he elicits are often remarkable--particularly the outstanding performance of Andrea Ferreol as the teacher who joins the group--and they are well emphasized by the simplicity of his direction. But he is a neutral observer, unlike Bertolucci, unable to make the impact of events accumulate. Weakened by pseudo sex and juvenile scenes about car fetishes...
...until last summer. I was stunned by its emotional power, particularly by the performance of James Dean in his first starring role. Though based on just a part of Steinbeck's giant novel, Kazan's film possesses an epic authority far beyond most American films. Ted McCord's camerawork is one of the first outstanding uses of cinemascope...
Rivette cannot rival the lush symmetry of Bertolucci's camerawork but his structure and psychological treatment make Tango, with its inconsistent plot and shallow characterization, seem even flatter by contrast. Rivette's psychology has its limits as well -- tendencies toward surrealism narrow its view, violence becomes stylized and unbelievable towards its end -- but the basic insights are sound. Sex is merely sketched in Rivette's work, but his actors have a greater sensitivity which produces a far more sensual result than Brando's mechanical and purposeless simulations...
...needs of the plot? The answer lies in the difference between Hitchcock's best films and the vacuity we expect in the typical film from American-International. As De Palma is fond of pointing out, Hitchcock at his best is much more than a technical master of plot and camerawork...