Word: cleopatras
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Shades of the Great Gatsby, Cleopatra and other plucked turkeys. Stanley Kubrick's much heralded turkey, ah, film is now in Boston at the Cinema 57: Barry Lyndon. First, throw away all the reviews you've seen of it, except this one and Paul K. Rowe's on page two today, which I haven't read but which he assures me is penetrating and uplifting. Most of them (the reviews) seem to deflect off Barry Lyndon like poorly aimed arrows. Kubrick evokes 18th century Europe with a historians' eye for detail in his cinematographic version of William Makepeace Thackeray...
...Smith Goes to Washington) and a Columbia Pictures producer, Buchman was blacklisted after admitting to a congressional committee in 1951 that he had once been a Communist. He returned to film work in the 1960s serving as one of the writers on the Elizabeth Taylor-Richard Burton epic, Cleopatra, and later produced and wrote the film adaptation of Mary McCarthy's bitchy bestseller, The Group...
...Stage/West cast is competent without being proficient, though Rombola's Cat has a disarmingly baffled naiveté and Scott's Memphis-Cleopatra is both perky and voluptuous. As of now, Marcus Brutus is more than a first draft and less than a finished drama, but certainly worth the doing as an intriguing work in progress...
Foster's switch is this: an aspiring young playwright named simply Cat (Ed Rombola) conjures up the spirits of the ancient Roman conspirators. They hover over his typewriter in his New York apartment. Cat also summons up Caesar, Antony and Cleopatra, who doubles as his actress girl friend Memphis (Lea Scott). He tells them that since Brutus is a rational man and "rational men don't kill," he plans to revise their destinies so that Caesar will not be assassinated in the forum...
MURDER ON THE Orient Express is the biggest-budget British film ever made, but compared to American blockbusters like The Great Gatsby and Cleopatra, it is an understated film. Europeans don't have the same problems reconciling big money with culture that American artists and moguls use as an excuse for avoiding excellence. Give Fellini and Resnais and Bunuel more money to make a film than they ever dreamed of any they make films that are, indeed, different from their earlier, low-budget works, but films of undoubted high quality. In America, the big money goes only to those directors...