Word: cinemas
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Dates: during 1940-1949
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...realism. All of his characters, their faces and their gestures are superhuman rather than human. Most of the action takes place as closely within palace walls as if the cameras had been confined to a theater stage. The lighting, too, is closer to florid Russian theater than to cinema...
Whiter than History? Actually, the film is a visual opera, with all of opera's proper disregard of prose-level reality. As such, it is an extraordinarily bold experiment, fascinating and beautiful to look at. But Eisenstein has denied himself so much that is native to cinema and has concentrated so fiercely on political pedagogy that the film is also tiring and disappointing. It is saddening as well, when compared with his earlier films, which were not only more vigorous, free and poetic, but far more "revolutionary...
Marcel Pagnol (Topaze, The Baker's Wife, Harvest) became the first cinema writer admitted to the august French Academy. At 52, he is a veritable child prodigy among the Academy's ancients. One of the ceremonial questions put to Pagnol, who makes his characters talk like characters: "Can you write French...
...spare time in the cemetery. I very much enjoyed Forest Lawn. I loved the music. . . ." Now, aglow with the memory of one of California's most sumptuous spectacles, he planned a sort of novelette with a cemetery setting. A poet who flops as a writer for the cinema (British, said Waugh) gets a job in a dog cemetery. He falls for a girl who works as a cosmetician in a mortuary for humans. She discovers that he works in a dog cemetery and throws him over for a mortician who works at her place. So the poet kills...
Married. Maria do Carmo da Cunha (Carmen Miranda), 33, turbaned Brazilian cinema songstress; and David Sebastian, 38, film producer; both for the first time; in Los Angeles...