Word: creators
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Dates: during 1970-1979
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...many children, to reproduce the results of a bloody massacre. Isn't there something chilling-not to say inhuman-in having a child reenact the loss of a limb? It made for a great press of course. All the national weeklies ran off descriptions of how the mild-mannered creator of Lilies was out to make the most brutal film of the year. And all in the name of artistic integrity. No one bothered to question this senseless escalation of violence on the screen. Say Fred, did you see how Nichols got that guy's guts to spill...
...creator of such enduring and endearing baseball images as the Brooklyn Dodger Bum, the eye-patched Pittsburgh Pirate, the beer-bellied Milwaukee Brave and the slew-footed New York Giant has been without a regular outlet for his art since the World Journal Tribune expired in 1967. Now 68 and with more than 10,000 cartoons to his credit in a 44-year career, the breezy, booze-loving Mullin is disappearing by inches, like a bottle of the finest Scotch whisky...
...Goin' Down the Road is a product of its creator's lack of perspective. If it weren't so sincerely misguided, it would be highly offensive...
...creatively guided by a single intelligence-preferably that of the director-provided opportunities for scholarly, disciplined film thought. Just as a modern writer is judged more by an oeuvre, his body of work, than by a single masterpiece, the Cahiers critics traced continual directorial themes and motifs, evaluating the creator's relationship to his subject by the manner in which it was visually portrayed. Serious film criticism in the U. S. has gradually assimilated the most basic French ideas. In terms of the auteurist's gradual relinquishing of rationality, however, America's only auteur critic prior to Sarris was Manny...
...existential few grapple with the narrow prospects of exhalation or degradation. Widerberg sets up an impressionist. ethereal lightness as the direct antithesis to symbolic heaviness and stark religiosity. Bergman's artificial lighting comes almost invariably form on high to dramatize each Meaningful Truth (or Mystery) revealed by a superior Creator, and, for all the virtues of this kind of film (and there are, I suppose a few), it "expresses an "apolitical." i.c. elitist sensibility. Renoir-like democratic luminosity contrasts quite strongly, conveying a more horizontal conception of relationships between men, and whereas Widerberg realizes that this impressionism is just...