Word: eisenstein
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Kurosawa in the raw is not everybody's meat. Not since Sergei Eisenstein has a moviemaker set loose such a bedlam of elemental energies. He works with three cameras at once, makes telling use of telescopic lenses that drill deep into a scene, suck up all the action in sight and then spew it violently into the viewer's face. But Kurosawa is far more than a master of movement. He is an ironist who knows how to pity. He is a moralist with a sense of humor. He is a realist who curses the darkness-and then...
...camera work makes the French "nouvelle vague" group look amateurish. One particularly effective scene shows the grandeur of a penitentes procession in Barcelona. The black-robed figures passing in torchlight surpass the processions in Ivan the Terrible, for Welles is always free of the episodic tableau photography that marred Eisenstein's films...
...other Soviet writers. One is tempted to set up the model of Pasternak, and say to them that that true dedication to art implies only one course of action. Indeed, a character in One Day known only as K-123 listens to a defense of the film producer Eisenstein, makes a disparaging comment, and is told "But what other treatment of the subject would have been let through...?" K-123 replies in a rage "Ha! Let through, you say? Then don't call him a genius! Call him a today, say he carried out orders like a dog. A genius...
Johann Strauss's Die Fledermaus has maintained its position as the most popular despository of frothy melodies which Viennese operetta has given to the general body of Western culture. The romantic triangle of Rosalinda, her husband Eisenstein, and her lover Alfred needs only a good translation to be perfectly comprehensible and extraordinarily funny to an English-speaking audience. The translation used in the South Shore Music Circus production, which opened in Cohasset on Monday evening, lacks most of the virtues of the original German and makes many condescensions to popular taste...
...stylish acting and singing of Lucille Smith as Rosalinda and Jon Crain as Eisenstein do much to overcome the difficulties imposed by the casual mood of the translation. Miss Smith's Rosalinda displays not only a fine sense of timing and a fine aristocratic sense of propriety and impropriety, but also the unusual type voice required. Rosalinda must have a dark and strong lower range, complemented by a brilliant top and a sure coloratura technique. Miss Smith displayed both, ending her Czardas with a brilliant high B. Mr. Crain has obviously had experience in his part--he uses his strong...