Word: coonradt
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Dates: during 1960-1969
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...PETER COONRADT...
...Herba couldn't locate them to finish shooting. More recently, the lovely and admirable star of Lady Jane Talks to the Director, Jane Manopoli, told me that her experience in film-making had been nerve-wracking--she didn't know what she was doing and director Peter Coonradt kept changing his mind...
Both Herba and Coonradt have avoided the central pitfall of director's cinema, that of self-indulgence. Lady Jane, while maintaining a tenuous balance between two realities, one conventional and one dreamlike, remains always rigorously disciplined with careful attention paid to continuity and (truly superb) rhythm in its editing. Coonradt instantly establishes the premise, Jane's struggle to maintain a diffuse personality against her singularly insensitive room-mate and the other girls in her dorm, with an opening shot of Jane outside which surprisingly pulls back to reveal the other girls inside. Equally powerful in its economy is Jane...
...COONRADT here is both defining the personality of his character and attempting to undermine the audience's tendency to accept an all-too-conventional reality. Even the beautifully photographed, frequently superimposed dream sequences are at first expressionistic, as we expect film-dreams to be, then increasingly mechanical and artificial, Coonradt demonstrating that Jane's reality is imposed by the camera and the way the director moves it. The last sequence, a magnificent three-minute series of near-identical close-ups of Jane, serves as a direct confrontation of actress-character and director-alter ego. Coonradt projects himself through Jane...
...realized. It is my hope that if the problem is reiterated often enough: he Faculty and Administration will take notice of it and do something about it. If my proposed solution is preposterous, I am sure that someone will be able to think of a sensible alternative. Peter Coonradt...