Word: dirke
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...urge the UFW local reps to reconsider their stance. Now is a time for effective positive reinforcement of UFW solidarity, not for the proverbial "sour grapes" attitude. Dirk Coburn...
...left only with the memory of those splendid British players doing their eccentric bits: Dirk Bogarde edging his performance as a commanding officer with campy arrogance; Edward Fox catching just the right note of awkwardness as another general trying to be hail-fellow-well-met with his troops; Michael Caine as an Irish Guards officer being at once casual and ostentatious as he strikes heroic poses to in spire his men; Anthony Hopkins being stoical about occupying the most exposed position in the battle. That's all good stuff, but the rest of the film puts one in mind...
...John Gielgud, and the elaborate world of dreams, nightmares and artistic fantasies through which he carries out his suspicions, guilt jealousy and resentment toward his family. Gielgud's son, who is his fantasmagoria becomes a monstrously callous and emotionless lawyer and husband, is played with cruel, aristocratic brilliance by Dirk Bogard; the casting could not have been better. Ellen Burstyn, meanwhile, does not quite convince as the lawyer's wife; she's supposed to growl like a trapped domestic pet and take gleeful pleasure in taking on a lover to spite her husband, but somehow Burstyn comes on like Dinah...
...gradually, slipping out from amidst the debates about fate and free will, imagination and reality, to taunt and finally elude us. In the beginning of the film there is only the blue-green eeriness of the forest, where a man shoots a wolf-man, and then a tight-lipped Dirk Bogarde, as Langham's son Claude, coldly enunciating from the bowels of a courtroom the words which ironically frame the film: "Surely the facts are not in dispute." Resnais's theme is in part the blurring of perception and reality, in part the question posed in the courtroom sequence--should...
...point in this painfully self-conscious movie, Dirk Bogarde lifts an eyebrow to that magnificent height he alone of contemporary leading men can scale and declares his opposition to political violence on the grounds that it "reeks of spontaneity." It is the only moment in the film that one feels comes from the hearts of Director Resnais and Writer Mercer, whose distrust of the spontaneous is woven into every tedious frame of this stupefying work. Calculation is their bag, and they have calculated the life right out of a conceit that clearly was not much to begin with...