Word: cameraworks
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...tactics and political strategies, and troop and individual motivation, which prevent an intelligent officer (played by Kirk Douglas) from taking moral action. Because the dynamics of the military are merely extensions of politics, the film is an indictment of the general social situation it depicts as well. Kubrick's camerawork brilliantly expresses the varying cultural vacuums in which his characters trek, from the vertiginous ballrooms of the military elite to the squat squalor of the trenches. And the acting he evokes from a cast largely composed of has-beens and second-rates is exemplary...
...bodies is constantly being interrupted by close-ups of bits of anatomy--a thigh or a wrist, even a set of armpits. And, for a touch of glamor, there are artistic effects, like Nureyev divided into six images, all kicking each other in the head. This kind of overbearing camerawork is an insult tothe efforts of the performers and to the intelligence of the audience...
...past and releasing her photographed emotions as his first film. A talk-show panelist calls it "an existential performance." (It couldn't be Maria's life anymore.) But the manipulation goes deeper. A woman watching T.V. footage of her house sliding into the ocean comments on the good camerawork. Early in the movie while the camera pass the desert and finally settles on a God-forsaken huddle of buildings. Maria's voice-over tells us that she grew up in a nearly deserted town called Silver Wells, Nevada. Maria says, "This is not Silver Wells...
...ANADA. Paula Pritchett radiates a constant yet unmeditated seductiveness that drowns her rescuer in uncontrollable yearning. Kadar has exploited her dazzling beauty--and it is extraordinary--to project an indefinable combination of passivity and centripetal power. Reflecting the nuances and unsettling suggestions of the narrative, the camerawork moves from clear undisturbed landscapes to introspective shots of the mist-covered Danube. The symphonic soundtrack is occasionally over-dramatic, but mostly, it serves to reinforce Kadar's carefully composed ambiguities...
...come near his performance in Midnight Cowboy. Finch and Jackson will find it difficult, perhaps impossible, to equal their Sunday roles. The low Schlesinger is a pirouetting dandy who can take a lean, melancholy story and muck it about. Thus he filled Midnight Cowboy with baroque ornaments and fussy camerawork. Thus he films Sunday Bloody Sunday with the same extraneous decorations. Faces are continually shot in reflection, or through objects; juxtapositions are sophomoric -the camera pans down from a poverty poster to a refrigerator brimming with food; posh automobiles wheel around London streets, whilst the radio barks of economic crises...