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...understand the screenwriters' efforts to scrape the tarnish from poor Launcelot's soul. And it is clear that they had to pare down the number of characters wandering through the story to keep within the limits of the CinemaScope screen. But when only a lean-faced Mel Ferrer, a sullen Ava Gardner, and a Frank Merriwellish Robert Taylor remain, disappointment tends to creep in. All that keeps the audience from leaving their seats are the colorful sword-swinging battle scenes between regiments of Round Table rivals and the single-handed heroics of Robert Taylor's Launcelot...

Author: NO WRITER ATTRIBUTED | Title: Knights of the Round Table | 2/18/1954 | See Source »

Ondine, though, is not a monologue, and Miss Hepburn's co-star, Mcl Ferrer is also quite good. At first a bit wooden and seemingly nervous, he becomes more involved in his part by the second act, and dominates the third. In deliberate contrast to Ondine's flighty movement, Ferrer's Hans-the knight-is static. Unfortunately he carries his set posture over into scenes in which he could, in the absence of Miss Hepburn, lend force to the action...

Author: By Robert J. Schoenberg, | Title: Ondine | 2/4/1954 | See Source »

...Woman (Rosemary Clooney Ferrer and José Ferrer; Columbia). Semi-philosophical maunderings about the nature of each. (Sample: "A woman, a woman, / Oh what can she be? / Whatever she is, she's necessaree.") It has a catchy tune, but is too hoked up to be funny...

Author: /time Magazine | Title: Music: New Pop Records, Jan. 4, 1954 | 1/4/1954 | See Source »

...trade sheet Film Daily polled critics and commentators around the U.S. for their choices of bests in every category except "best movie." Best starring performances: José Ferrer (Moulin Rouge) and Audrey Hepburn (Roman Holiday). Best supporting performances: Frank Sinatra (From Here to Eternity) and Gloria Grahame (The Bad and the Beautiful). Best director: Fred Zinnemann (From Here to Eternity...

Author: /time Magazine | Title: Cinema: Critics' Choices | 1/4/1954 | See Source »

Rita tries hard, notably in the big scorch song, during which she wags the kind of pelvic semaphore that does not require a code expert to translate. But in the scenes of her conversion by the missionary (José Ferrer), she just looks confused-a condition that may be partly Actor Ferrer's fault. In his usual screen style, he tries so hard to give the impression that he is not acting that he doesn...

Author: /time Magazine | Title: Cinema: The New Pictures, Dec. 28, 1953 | 12/28/1953 | See Source »

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