Word: catting
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Dates: during 1960-1969
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...haven't forgotten, if you aren't jumping from foot to foot, then the calmness of extreme pathology has come over you, the worm of murder in your mouth, then you remembered to bolt the door, to boil the stick; what a laugh you have, man! What a weird cat would like the way you laugh! Colors mean nothing to you; the flying Byrds, the opening Doors, the Rolling Stones, they are nothing at all for you--that's it! Here it is. Welcome...
...dish). Beryl said that she and Adam, 22, a producer in WCBS-TV's news department in Manhattan, will be married this month at St. Mary's Chapel in the Washington Cathedral. If her assessment of her fiance is correct, young Adam is a different breed of cat from his flamboyant father. "Adam," said Beryl, "is very, very publicity...
...Black Cat succeeds because Ulmer's is a highly stylized drama of personal change. Its script is full of out-of-place lines and suggestive unresolved themes--the black cat as evil's embodiment, Joan Allison's actions under a narcotic. In another director's hands their non-resolution would be irritating; for Ulmer they must remain suggestions. Only thus can they work as partial explanations of his characters' actions. Similarly, the script omits a lot of explanation of characters and events. But their resulting strangeness contributes to Black Cat's transcendence of normal experience. Ulmer uses...
...general way" is Black Cat's spooky atmosphere. It comes from Ulmer's constant shifting of weight, moment by moment, within scenes--continually presenting a new view of the situation, new moral positions and psychological experiences for the characters within the situation. Every successive shot in an early train-compartment sequence is a new camera angle; each takes in a new field of vision and a new set of characters and back-grounds. Any easy stability in the moral relations between characters is destroyed by constantly evolving changes of position. A feeling that Lugosi influences the young couple comes from...
...good film-making; they exploit a given dramatic situation. Choosing a certain camera angle or a certain lighting merely extends the expressive possibilities which the script offers the director. But in Ulmer's case exploitation becomes flights of pure imagination. In one scene Karloff goes to put out the cat. He walks down a dark hall into a gallery lined with glass cases. Passing from one, in which a blonde woman in a white frock is suspended, to the next, his reflections in the glass and the woman's frame each other and make the sequence flow. The romantic music...