Word: directors
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Dates: during 1950-1959
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...Warning on Costs. Last week there was no indication that any official action was being considered to stem the gold outflow. Treasury officials professed to be pleased at the growing signs that the U.S. policy of helping Europe to boost exports was running according to plan. Said Per Jacobsson, director of the International Monetary Fund: "I do not think the U.S. gold outflow represents any real threat to the dollar. With the U.S. possessing more than half of the world's gold it would be absurd to say that...
...social medicine. But the would-be healers prescribed such a bitter pill-neorealism -that the public refused to swallow it; most of the famed Italian films of the late '40s won rave reviews but lost money. In this picture, made in 1956, the ablest of the neorealists-Director Vittorio De Sica and Scriptwriter Cesare Zavattini, who together produced Shoeshine and The Bicycle Thief-sweeten their pill to the public taste. Yet under the sugar-coating of a story of young love, there is still strong medicine: a calmly factual picture of how ordinary working people live in the midst...
...elevation and intensity, The Roof falls short of the best neorealistic films, but in technical skill and in the subtlety with which it makes its points it ranks among the finest. Director De Sica humanizes the harsh material of the story with his easy gaiety and gentle humor, masterfully plays the Svengali to his pickup cast of raw amateurs-whom he inspires not to act but to live out their feelings with an artless art. Essentially, Neorealists De Sica and Zavattini have not changed their cinematic method, but they seem to have revised their social and moral philosophy. In their...
Aparajito (Indian). The brilliant second part (the first was Father Panchali) of a trilogy, made by Director Satyajit Ray, telling the story of India's social revolution in terms of one family's sorrows and beatitudes...
...Phillipe's portrayal of Julien. Its lugubrious, studied quality is well in line with the movie's tone. The technicolor is, perhaps, the finest feature of the film, making quite clear that the movie is steeped in symbolism. Red and Black come off nicely in color, but, unfortunately, the director seems to think that such visual imagery can make up for more sophisticated dramatic devices...