Word: faulknerisms
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...Sleep. Director Howard Hawks and his writers (including William Faulkner) claimed they couldn't follow the plot of Raymond Chandler's detective novel. In any case, they turned Detective Phillip Marlowe into Humphrey Bogart yet still managed to retain large chunks of snappy Chandler dialogue. Watch this movie for mood and style, not plot, and you'll find it one of Bogart and Bacall's very best...
...Have and Have Not. Lauren Bacall's first screen appearance was in this classic Bogart film. Ernest Hemingway and Director Howard Hawks worked out changes in Hemingway's novel. Then William Faulkner wrote the screenplay and Hawks directed with his tongue in his cheek. The filming was spontaneous and the plot got lost, boiling down to Bogart and his tough, sexy dame -- and Walter Brennan. "Ever get stuck by a dead...
ZEFFIRELLI never quite decides what kind of person his St. Francis should be. As played by Graham Faulkner, he comes close to being a beatific imbecile. But Zeffirelli's own view of him is twofold and confused. With one eye always on the current scene, he marks his man as a rebellious teenager and scatterbrained nature-lover. At other times, he sees Francis as a gentle social critic or potential revolutionary, but because he fails to clarify the conditions against which his crusader is protesting, his message falls-flat. The Pope outrages his decadent court by stooping to kiss...
...whom Franco Zeffirelli has enlisted to lend a whiff of flower power to this over ripe version of the life of St. Francis of Assisi. Zeffirelli's work looks like a Sun day-school coloring book: everything is glowingly photogenic, including poverty, and leprosy. His St. Francis (Graham Faulkner) is a dewy, light-stepping youth who recruits the young men of Assisi the way a rock singer might round up a band. Their rebellion against the opulent hypocrisy they see in the Roman Catholic Church is to run about in rags, looking radiant. In one scene they...
Someone, at least, seems to have started with the right idea. The screen play is credited to a woman who worked with two other scenarists of some renown (William Faulkner, Jules Furthman) on Howard Hawks' adaptation of Chandler's first novel, The Big Sleep, released in 1946 and by now a sort of touchstone in the genre. But Altman is no friend of fleet dialogue, especially when it can be replaced by a stumbling, windswept improvisation; other niceties of the writer's craft, like character and coherence, are similarly disdained...