Word: colorful
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Dates: during 1970-1979
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Lumet was trying for too many effects here--a sheen of high farce, an underpinning of grave pathos, and a focus on local color and American style. As in Serpico, he was trying to capture New York. He was also trying, with the groovy relevance of a mid-60's liberal, to make a trendy statement about bad cops, good robbers, Watergate and Vietnam. But he couldn't control his techniques. He cut so flippantly from one to the other--a laugh here, a sob there--that he destroyed the thoughtful consistency that would have elicited emotional response...
...always trusted the networks on the moonshots because before I even had a TV I lived next door to a NASA employee, whose meek children appeased the neighborhood aggressors by handing out 8 by 10 color glossies with circles and arrows and a paragraph on the back of each one explaining what each one was, of moon, earth, Armstrong, Apollo, and SPACE (hushed voices, and well we might, we are so small...
...shakes his head: almost every interaction with the objects is exhilirating. Street Musique, (1973), a Canadian film, is an exercise in almost pure animation and the best example of "minimal animation." The shapes expand, evolve, regress, and stay every bit as lovely as anything Miro did with line and color...
...animated films, Down in the Deep is amazing as a curiosity: made in 190 in color, each frame was hand-painted. Otherwise it is boring, a sentimental undersea adventure with stilted mermaids. Dreams of Wild Horses (1960), on the other hand, tears at the viewer with the same urgent power with which two stallions in the film dance and kick and bite. It gives us nine minutes of wild horses in the south of France rippling in slow motion through marshes, waves, and spray. In the end, horses leap over walls of fire, sucking their bellies up into themselves, trying...
King Lear. Peter Brook's film is superb-he rightly rejects any possible amelioration of Lear's pessimism. He shot the film in Jutland and although it is technically in color the only colors present are black, white, grey and sometimes dark brown. Paul Scofield is adequate though not perfect as Lear, although his "Never, never, never, never, never" is disappointing. Brook (what a long way this is from his version of Midsummer-Night's Dream) cut about 1/3 of Shakespeare's lines and even a few whole scenes, but he was justified by his results. The kind of film...