Word: directors
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Dates: during 1960-1969
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...desperation of "Big Spender" never disappears from Charity entirely, and that is all in its favor. (Some time later, when Charity and her two cohorts sing a fiery plea for a better life on the Fan-Dango rooftop, director-choreographer Bob Fosse frames it with the "Spender" chorus line, for chilling results.) Yet some of the time--too much of the time--Charity seems hopelessly stuck in the mire of the heroine's never-never land...
Died. Conrad ("Nicky") Hilton Jr., 42, a director of his father's 41-nation hotel chain and inveterate playboy, who in 1950 became the first husband of an 18-year-old super-starlet named Elizabeth Taylor, was divorced by her after nine months and later remarried only once; of a heart attack; in West Los Angeles, Calif...
Aiming for the classic genre, Director Robert Mulligan occasionally misfires. But he is saved, somewhat surprisingly, by Peck, who is in private life an avid collector of Lincoln memorabilia. With flashes of ironic humor and his customary rigid dignity, he escapes the boundaries of the role and gives it an honest, Abe-like stature. The rest of the cast is resolutely unglamorous; even Saint has the hollow eyes and concave face of a woman who has been out on the plains too long...
...there is little subtlety in the plot, there is even less in its telling. Yet Attic's unabashed vulgarity has a certain sleazy charm, and Producer-Director Richard Wilson manages an occasional telling glimpse of current campus life styles. The abilities of the Misses Pace and Thrett are less apparent when they open their mouths than when they take off their clothes, but Jones and Mimieux actually manage to bring an air of wounded innocence to their roles. Jones has an unhappy tendency to recite many of his lines with a kind of Method fidget, but he could...
Facts are no substitute for reality. No matter how skilled, the photographer never reaches the revelations of the great painter-and the documentary-film maker never touches the plane of pure fiction. In his first feature film, The Song and the Silence, director-writer-photographer Nathan Cohen tries to re-create the world of Polish Jewry just before the Nazi holocaust of 1939. To summon up the past, he meticulously compiles scene after scene of scholars poring over the Talmud, women dancing the hora, rabbis lecturing-and finally, Germans plundering. At almost every turn, Cohen, a television news cameraman, betrays...