Word: eisensteins
(lookup in dictionary)
(lookup stats)
Dates: during 1960-1969
Sort By: most recent first
(reverse)
...master of crowd scenes, never moving bunches of people about aimlessly or frantically. Like the great film directors, D. W. Griffith and Eisenstein, he achieves compositions of masses in motion that have esthetic force and balance. When the soldiers circle their king, they are humble spokes of fealty wheeling around the hub of majesty. Men wounded and dying are draped onstage with the comely anguish of Pietàs of the battlefield...
Only in America. In 1918, the great Sergei Eisenstein produced a show in Russia that combined stage and cinema, and in the '30s a theater project of the WPA did a similar experiment on Broadway. Then the hybrid form remained dormant until two brothers named Emil and Alfred Radok developed it into Laterna Magika, starting in 1948. They mainly saw it, says Emil, "as a means to add new interpretations and new dimensions to already existing works, and as a real possibility for creating entirely new works...
...screen and just as suddenly dissolves. At one point, while the heroes grapple in a foot of snow, the sound track plays ethnic music from equatorial Africa. And all through the film, the cinemate moviegoer will be able to detect sly little mementos of D. W. Griffith, Sergei Eisenstein, Akira Kurosawa, Michelangelo Antonioni-and Ma and Pa Kettle...
...opposite page). Though he has been through Rome, where Pope Innocent X's portrait hangs in the Palazzo Doria-Pamphili, Bacon has never gone to see it. The gum-baring shriek that gapes out of so many of his portraits is copied from a still from Sergei Eisenstein's film of 1925, The Battleship Potemkin, in which a horrified nurse is shot point-blank through her pince-nez. Why these subjects? "They haunt me," Bacon replies...
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...