Word: dassins
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...afterglow and acclaim that attended the completion of the Welles-directed, Welles-scripted version of Kafka's The Trial, the story of a man victimized by the impersonal hostility of a bureaucratic world he never made. Viewers of the early rushes, including Directors Anatole Litvak and Jules Dassin, say they witnessed the birth of a classic. Twenty-one years after his Citizen Kane won him the title of boy genius and doomed him to a lifetime of trying to hold on to it, Orson Welles seemed to be making a comeback...
...Jules Dassin's direction is unimaginative and annoying, I don't care who he is. His actors either stand rooted to the spot or follow the basic blockings that every amateur knows. Howard Bay's set and lighting, on the other hand, are of the highest quality. Ann Roth's costumes are adequate when gaudiness is called for, less than that when everyday dress is worn. The incidental music, by Victor Ziskin '59, is incidental...
UNIVERSITY: NEVER ON SUNDAY, supposedly a shocking and corrupting movie by versatile Greek producer-director Jules Dassin ("Rififi"), is at least funny, and consistently so. It has an interesting outlook, and Melina Mercouri too--who is a major part of the outlook. Starts Wednesday: COME SEPTEMBER, a comedy of questionable value starring Rock Hudson, Gina Lollobrigida, Sandra Dee and (inevitably) Bobby Darin. The story of attempted seduction on the Riviera, it is inconsistently funny, but it has its moments...
BEACON HILL: Juley Dassin's NEVER ON SUNDAY is not as good as he thinks it is, but it nevertheless must rank as well as one of the ten best foreign films of 1960. Despite an excruciating musical score, a didactic plot, and some rather pointless satire about American do-gooder schnooks, the movie must be admired for its brilliant photography and obvious zestful enjoyment of Grecian peasant life--and, of course, its week-night diversions. Evenings...
...scene is a melodramatic master stroke, a fusion of white heat of irony and violence, and for it Jules Dassin (Rififi, Never on Sunday), who both wrote and directed the film, deserves full credit. Unfortunately, Moviemaker Dassin must also bear most of the blame for the rest, which is mildly but consistently awful. Adapted crudely from La Loi, Roger Vailland's fine Prix Goncourt novel of 1957, Hot Wind is laden with too many big European names (Gina Lollobrigida, Marcello Mastroianni, Pierre Brasseur, Paolo Stoppa, in addition to Montand and Mercouri). When not glumly stumbling over each other...