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Gaslight, Ingrid Bergman in George Cukor's version of an eerie tale. Kirkland House Dining Hall, 8, 10, Wed. (22 March...

Author: NO WRITER ATTRIBUTED | Title: the screen | 3/16/1972 | See Source »

...with the young Budd Schulberg at Dartmouth while working on a picture called Winter Carnical . The hard-core gossip is laced with memory portraits provided by such Fitzgerald comrades as screenwriters Nunnally Johnson, Frances and Albert Hackett, and Anita Loos, and friends like actress Helen Hayes and director George Cukor...

Author: By Frank Rich, | Title: Books The Decline and Fall of Scott Fitzgerald | 4/29/1971 | See Source »

...baffled by much of the plot and motivation in the film; those who have not will be completely and hopelessly confused. The first -and better-part of Justine is devoted mostly to atmospherics, establishing the characters and their relationships with one another and the city of Alexandria. Director George Cukor had a good old-fashioned time sweeping his camera over studio-made streets and palaces, working himself up to a murder at a masked ball. After that, he and Screenwriter Marcus apparently decided that it was time to get down to business and in a barrage of exposition hurled...

Author: /time Magazine | Title: Cinema: Ersatz Alexandria | 8/15/1969 | See Source »

...diplomatic attache) manage to survive the confusion with any dignity at all. Worse, there is absolutely no trace of Alexandria itself, that city Durrell called "the wine press of love." Fox dispatched a second-string camera crew for a brisk six weeks' worth of location filming, but Cukor shot most of the picture at home in California-on a set that conjured up visions of Sidney Greenstreet-Peter Lorre North African thrillers. The ersatz locale is painfully obvious. "Justine," wrote Cyril Connolly, "is the spirit of Alexandria, sensual and skeptical, self-torturing and passionate." Cukor and his collaborators have...

Author: /time Magazine | Title: Cinema: Ersatz Alexandria | 8/15/1969 | See Source »

...pretentions of melodrama cancel-out the element of romance, providing only an irritating absence of clarity of purpose. Considering its creators, The African Queen represents a sad, if entertaining, meeting of people whose careers were moving downhill. Bogart and Hepburn had made by far their best films, she for Cukor and Bogart for Hawks; Huston's reputation as a director grew deservedly tarnished, and the best of his later films (Moby Dick, The Misfits) were critical failures; only Agee, in writing The Night of the Hunter, managed to put on screen the American romance gothic that fascinated him. He died...

Author: By Tim Hunter, | Title: The African Queen | 3/16/1968 | See Source »

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