Word: director
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Dates: during 1970-1979
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...more new votes the better, at least to some extent," Lin Sasman, executive director of the campaign for the Cambridge Civic Association's (CCA) reform slate, said last week...
...market rather than invest the money required to meet its specifications. Maserati, which sends half of its output to the U.S., is waiting to see if its product has passed a pollution test in California, a state with the most stringent environmental rules in the U.S. Maserati Managing Director Alessandro De Tomaso is confident that his car will be approved because of a costly new engine that reduces pollution and improves gas consumption-but that also cuts Maserati's vaunted vroooom...
...director schooled in the stylistic demands of black humor might have coaxed a few laughs from the material. Director Norman Jewison (Rollerball, F.I.S.T.) is not that man. His movie's helter-skelter tone swivels irrationally and usually heads straight for a dead end. Mad scenes, broad comic bits and mournful monologues are so indiscriminately mixed that the audience often does not know how to respond. At one point the movie comes to a halt so that we can go on a supposedly comic helicopter ride. There are also pointless interludes in which the hero visits his humorless grandfather...
...thing is certain about Rainer Werner Fassbinder, the most prolific of West Germany's New Wave film makers, his movies could not be mistaken for those of any other contemporary director. Who but Fassbinder would shoot a scene from the point of view of a character's ankles, or punctuate a film with shots of telephones? What is more, Fassbinder's idiosyncrasies are more skillfully performed with each film. The opening of The Marriage of Maria Braun is a particular gem: as our eyes take in an Adolf Hitler wall poster, the image explodes to reveal...
Alas, Fassbinder is doing more than mere fooling around. Increasingly, he seems to be the '70s heir to such past camp masters as the '50s Hollywood director Douglas Sirk (Magnificent Obsession) and the '60s Warhol disciple Paul Morrissey (Flesh). But unlike his predecessors, Fassbinder does not recognize the limits of the form. Camp is fine for movies that want to trade exclusively in offbeat humor and florid emotions. In Maria Braun, Fassbinder makes the serious mistake of try ing to convey ideas...