Word: expo
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Dates: during 1960-1969
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...multiple-screen technique is a favorite of Expo's moviemakers. Great Britain's most important film, produced by James Archibald and directed by Donald Levy, is also shown on three screens, although here the trio frequently function independently. Only five minutes long, the movie attempts to portray the history of energy-first bursting from the sun, gradually disciplined and controlled by man. In fact, the film is little more than a series of violent images: arrows, acrobats, whirling lathes and ballet dancers, a time-lapse sunset, atomic explosions, water droplets in slow motion. Assaulted by three simultaneous images...
Most film makers have used Expo's theme-"Man and His World"-to sanctify a marriage of convenience between formidable technique and flaccid story. But at the Labyrinth pavilion the theme is handled by Canada's prize winning National Film Board with solemnity and skill. In the vaulted chambers of a windowless, five-story building, the viewer follows a restatement of the Greek myth of Theseus, who entered a labyrinth on the island of Crete to slay the monstrous Minotaur. In the pavilion the labyrinth is evoked by a series of eerie corridors and chambers, including one auditorium...
...Loves Factory. Although Canadian, British and U.S. films make strong showings at Expo, Czechoslovakia again emerges as Expo's, and possibly the world's, most formidable new film maker. Its most ambitious efforts are two multiple-projector movies, cum-brously named Polyvision and Diapolye-cran. Polyvision discards the idea of a screen, projects its images against a score of whirling spools, globes and spheroids. Again the form outstrips the content: what delights the eye is just another Iron Curtain version of the old love story of man and factory, uniting to turn out ingots, pencils and marzipan. Diapolyecran...
Cubist Eyes. Without question, one of the most popular features of Expo is Czechoslovakia's Kino-Automat, which is as much an audience-participation show as is a happening. At the film, each member of the audience functions as a separate Caesar, deciding electronically which way the Tongue-in-Czech story should progress (TIME, May 5). The film itself is little more than an oddball triangle carried to a screwball extreme, but Director Josef Svoboda demonstrates his flair for Sennett-style comedy in a rousing custard-pie and fire-engine finale...
Stronger on imagination than realization, Expo's films offer the viewer the exploratory delight of watching a new kind of cinema in the process of being born. Much like the Fauves and Cubists of painting. Expo's directors and cameramen at their best seem to have found a new way of interpreting and reproducing the imagery of life. Much of the expertise has been expended on trompe-l'oeil techniques that clearly have no place in the commercial film of today, or even tomorrow. Yet such visual delights as Labyrinth and Kane's three-screened children...