Word: exteriors
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Dates: during 1960-1969
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...rocket called an apogee-kick motor. Tho operation evened out the varying gravitational tugs of the original elliptical orbit, which would have bent and distorted the antennas. Next, RAE-A's masters had to stop its 92-r.p.m. spin, which would have wrapped the antennas uselessly around the exterior of the satellite. Two ¾-lb. "Yoyo" weights were released at the end of 27-ft. wires, reducing the satellite's rate of spin like a whirling skater who slows himself down by extending his arms. Their task accomplished, the Yo-yos were cut loose to drift in space...
Will Steven Armstrong has designed the settings so that simple maneuvering can quickly shift the locations from jungle to crossroads, from the exterior of the Coliseum to the amphi-theatre inside. And Arthur (not Artur) Rubinstein has provided clever incidental music that makes periodic and parodic references to jazz, Ravel, and Respighi...
...Rosemary Woodhouse, she and her husband Guy (John Cassavetes) are delighted to find an apartment in the Branford, a penumbral old fortress of an apartment house on Manhattan's Central Park West, modeled on the real-life Dakota at 1 West 72nd Street (where some of the exterior scenes were shot). Rosemary's bookish old father figure, Hutch (Maurice Evans), is not too pleased; the Branford, he notes, has an unsavory history of suicides and diabolical doings, including the murder of a notorious Satanist...
...Eleanor Perry and her director-husband Frank (who made David and Lisa) have done so by turning the gothic into the baroque. A little boy cannot be a symbol of innocence by himself; he must be playing a pipe like Pan. To give Merrill's mental anguish an exterior, a vanilla-colored, bikini-clad girl companion is added. To increase the audience's anguish, Merrill is made to out his hand on her stomach and quote The Song of Solomon: "Thy belly is like an heap of wheat." The line is difficult enough for any actor to recite...
ANTHONY MANN, a director commonly associated with several good westerns, turned to modern melodrama in his last films, and made some mistakes. For careful balancing of expansive exterior composition, he substituted that betenoir of camera technique, the zoom lens, with its infinite capacity for making an audience think suspense is present when none actually exists. In The Heroes of Telemark, some corny zoom technique was at least in part redeemed by controlled visual construction and a sensible linear narrative. Perhaps A Dandy In Aspic could have similarly transcended its endless zooms to close-ups of anguished eyeballs and urban details...