Word: directors
(lookup in dictionary)
(lookup stats)
Dates: during 1970-1979
Sort By: most recent first
(reverse)
...finally passed, the law compels the Attorney General to begin a preliminary investigation whenever he "receives specific information" that a high federal official (the President, Cabinet Secretaries, senior White House staffers, the director of the CIA" and others) "has committed a violation of any federal criminal...
...explains that his black boxes include a "fail safe" mechanism that prevents clients from playing anything but the message he has programmed into them. Still, many Americans would undoubtedly be outraged by any secret at tempts to influence their behavior for better or worse. As Aryeh Neier, former executive director of the American Civil Liberties Union, puts it, "People have a right to go about their business without being subjected to manipulation they don't even know about...
...Director Jerry Schatzberg has transferred television production techniques to the big screen in an attempt to reinforce the film's relation to current events like the Draft Kennedy movement. The effect is a cheap look for the film. A national convention scene looks like a Mets game, with an embarrassing sea of empty seats in the background. There is little location shooting, especially in Washington where the opportunities are abundant, which saps whatever realism Schatzberg managed to achieve with his spare direction...
Meetings with Remarkable Men is the hip '70s answer to Hollywood's oldtime biblical kitsch. Once Cecil B. DeMille re-created the glory days of Moses in glorious Technicolor; now Director Peter Brook is giving the same treatment to G.I. Gurdjieff (1877-1949), the philosopher whose Zen-like quest for spiritual truth has greatly influenced the modern human-potential movement. Though The Ten Commandments and Remarkable Men are theologically antithetical, they are cinematic first cousins. Both films suffer from an excess of piety, a shortage of humor and an infatuation with desert vistas. Still, DeMille's muscular...
Though Brook has brought more new ideas to the stage than any other contemporary director, his film-making skills remain primitive; even his adaptations of his own brilliant theater productions (King Lear, Marat/Sade) have been flat. Here he is hobbled by lapses in continuity, fake-looking studio sets and a multinational cast. The scenery, much of it shot in Afghanistan, is breathtaking, but the photography is routine. What is needed is some sort of theatricality-if not the forthright vulgarity of DeMille, then at least the romanticism of David Lean. With its incongruous mix of radical content and stodgy style...