Word: dalle
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Dates: during 1980-1989
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...from diving through that extra 50 ft. of freshwater before they can reach salt water and maybe find something to eat," says Marine Biologist Tamra Faris of the National Marine Fisheries Service. On her last flight over the lake in mid-July, Faris counted seven harbor porpoises and three Dall's porpoises; last week the porpoises could be seen cruising back and forth along the glacial dam, searching in vain for a passage back...
...languishes in travelogue for its first half, then indulges in frissons that for this director are routine. The technical bravado of Rope (the entire 80-min. film comprises just twelve shots, as opposed to several hundred for the average feature) does not quite justify the homoerotic hamminess of John Dall and Farley Granger as the two college psychopaths. That leaves Rear Window, a delicious entertainment mixing romance, voyeurism, homicide and humor with the purring sensuousness and perfect waxed beauty of the young Grace Kelly, and Vertigo, a gorgeously illustrated text-book of Hitchcock's themes that meets just about...
This emphasis on reality, or ontological authenticity, accounts for the strong documentary texture of the film. Avoiding the hermetic environment of the studio, Conrad and Dall shoot on location in Cambridge, Boston, Somerville and Framingham. The world seen through the camera--Park Street, Government Center. Ambassador-Brattle cabs, and tired triple-decker houses in bleak neighborhoods--is tangibly familiar and particularly relevant. Sally rides the T. and her friends write messages on her copy of The Harder They Come. Although written two years ago, the script remains timely in its content. This augments the realism; for example, the state...
WHILE THE ESTABLISHMENT of an authentic base makes Sally's portrait refreshingly convincing, Conrad and Dall animate through the imposition of various cinematic devices. The first segment of the film, in prison, moves at a brisk pace--cuts are quick, shot-counter-shot and reverse angle sequences accent confrontational situations as in her appearance before the parole committee. When it comes time to cope with the outside world, the use of rapid zoom makes us actively feel the threat of her new environment. In filming elegant clothing, (objects of Sally's material aspirations), Conrad and Dall deliberately place the camera...
Upon rare occasion, the effects of directorial interjection whet our appetite for issues that are never examined. Dall and Conrad rely on a conventional flashback series, first depicting Sally arriving at Framingham as a bellicose, hand-cuffed delinquent, then as a demure young lady applying make-up to her eyes, which cast arrogant glances on those of whom she disapproves. She has undergone a metamorphosis that is never explained or justified during the course of a cursory, several shot treatment...