Word: depth
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Dates: during 1960-1969
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...metaphors" are confused and hackneyed: the revolution is a festival in which we are going to learn how to live a little better and make love to everyone and everything. Rosen is too self-conscious and experiential to be analytic and he doesn't seem to sense the depth of the things he writes about. To say "A growing disenchantment with this country among SoSers as well as Young Americans for Freedom, among a handful of Senators and a small number of administrators tells us that someday the present system is not going to make it anymore...
...Griethuysen, who directed the play and is also the company's artistic director: "Hedda Gabler is a good person." The premise itself is highly debatable. Is Falstaff a good person? Are Ivanov and Amanda Wingfield good persons? As soon as a great playwright has performed an in-depth analysis and portrayal of a character, that character transcends the confining categories of good and evil. Such a character then becomes rich, opaque, fascinating, and strangely elusive of definition-in precisely the way that provocative and interesting people are in real life. Even if the premise is largely false, a plenitude...
Lang's world supports this cynical statement. His framing is so tight that it chops off the tops of people's heads. Instead of revealing the depth in which the characters move, the frame has become a trap, as we see in an early tracking shot that closes in on a fleeing man. The studio in which Lang shot the film must have been a prison. The cells, psychiatric or criminal, in which characters are repeatedly locked completely differ from the one cell that appeared in The Gambler. That room realized the romantic plight of its inhabitant, Mabuse's mistress...
...drive them to suicide. The acts of mental terror through which Mabuse controls his henchmen are cheap mechanical gimmicks. Even the scene transitions emphasize the physical. In Dr. Mabuse, the Gambler each cut to a new scene added new fantastic settings, new wonders for the intellect, new dimensions in depth for the soul. Here they limit freedom of action, tie the physical to the physical in an ever-closing...
...destructive. Now he is completely anti-human. Considering other men intellectually inferior, he tries to subject them to a sort of class rule. He prefigures today's information managers. No personal contact links him to other men; isolated in the institution he runs, he has no personality, no psychological depth. He is only a social figure who nearly dominates all society through the threat of chaos. And that threat is strong. The opening of the film, after a pan over a bombed-out city, runs past grubby objects in a crowded cellar; tables full of bottles shake violently, the entire...