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Lloyd Webber's goal in recent years has been to bridge the gap between the musical and the opera, reclaiming the latter as a popular rather than elite form. An operatic reading does no disservice to Billy Wilder's film noir, which has been preserved more than adapted. The climax...

Author: /time Magazine | Title: A Hollywood Opera Noir | 7/26/1993 | See Source »

Shakespeare, who laced his plays with big fight scenes, multiple murders, romantic bantering and plenty of slapstick, was an ace screenwriter. Occasionally the movies have realized this and allowed distinguished actors to put one of his plays on film. Problem is that by the time they receive this reward for...

Author: /time Magazine | Title: Smiles of A Summer Night | 5/10/1993 | See Source »

Kenneth Branagh will have none of this. At 31, after bustling triumphs on stage (Hamlet), in films (Henry V ) and on TV (Fortunes of War), he is still a young man in a hurry. His ambition is the best thing about him. Having directed the box-office success Dead Again...

Author: /time Magazine | Title: Smiles of A Summer Night | 5/10/1993 | See Source »

Reeve has hit on a key difference between stage and screen acting. On the stage an actor can seduce with gifts of voice and gesture; from the rear mezzanine all faces are equal. But the movie camera, that meticulous voyeur, is no respecter of technique. Its X-ray eye scans...

Author: /time Magazine | Title: Emma's A Gem | 3/29/1993 | See Source »

"They aren't listening," one Close-Up teachercomplained in the midst of the event.

Author: By Joshua W. Shenk, SPECIAL TO THE CRIMSON | Title: Youth Town Meeting | 1/20/1993 | See Source »

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