Word: casualities
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Dates: during 1940-1949
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Hitchcock uses every directorial device to orchestrate the monologue - the contrasting emotional tones (now expletive, now subdued, now casual) of Olivier's beautifully controlled voice, the dramatic pantomime of his gestures (now hopeless, now resentful, now resigned). Every angle of the fatal room is probed as the camera follows Olivier while he walks about aimlessly or leans restlessly against a wall, a chair, a window...
From the swallowing-up of Austria (March 1938) until last September, Britain's gates were hospitably open to refugees from three countries now incorporated in her enemy, the Reich. Some 74,000 aliens took up residence in England, in all walks of life. Only casual tab was kept on them. Restrictions on their activities were slight. Among the harmless, pitiable many were a sly, scheming few who have since served the German cause by getting employment near military centres or in war industries. Britain's huge new spy hunt involves checking up on domestic servants, railroad, shipyard...
Thus speaks Igor Strawinsky in his autobiography, about his opera-oratorio, "Oedipus Rex". Even a casual hearing confirms the fact that for his choral idiom Strawinsky has turned back to the principles of the classical style. Present-day choral composers, Vaughan-Williams and Delius among them, have studied how words sound, and in their music have concentrated on the flow and meaning of language. Strawinsky in "Oedipus" uses the choral technique of the eighteenth century masters. Employing the text purely as musical material, he achieves his effects by distorting the words, changing their pronunciation, and shifting accents, without regard...
Though they never get to Singapore in this picture, Bing Crosby and Bob Hope buffoon their way through the high societies of San Francisco and the Hebrides. Their vaudeville antics and their casual repartee save the movie from the hopeless boredom of the others in the current Dorothy Lamour sarong series...
...tale of a man and his work, a man and his girl. In the end he simply kicked the girl out and went on working. There were few "big" scenes: Death in the Afternoon had merely taken on a new and more grisly meaning. Most of it was casual. Much of it was real. A good bit of it (in stage terms) was undramatic...