Word: filming
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Dates: during 1960-1969
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RHINOCEROS, an Ionesco parable about a man's isolation, will be performed by A Contemporary Theater, Seattle, Wash. (July 22-Aug. 2). Robert Loper will brave it out as Berenger, the man who manages to resist conformity, Arne Zaslove will direct, and film projections will take the place of props to provide the scenery...
...pretty patterns which Ballard was allowed to establish in True Grit are absent in The Wild Bunch since, unlike the Hathaway film, Sam Peckinpah has directed half to three-quarters of this epic in close-shot. The major exception to this rule of composition comes in the slow-motion orgies of violence which punctuate the film at various crucial points...
...main irony of the film that the men who so desperately try to establish an identity through their collective action become overwhelmed by it. Peckinpah's vision of battle is total chaos. Uncompleted zooms are followed by cuts to entirely unrelated images. Pursurers are confused with pursued. At the end we are left with nothing but a sense of the beauty...
...three principals. It brings us closer to blood which, after all, is the fundamental element of life. It is not, as the final track to a high angle demonstrates, a liberating force. This force of beauty is one which will not let go. At the end of the film Holden and Borgnine are dead and Ryan is left to become part of a revolution which has no meaning...
...skeptic--unleashes a good, old-fashioned tenor. Ted D'Arms as Monsewer, an English anglophobe (a part almost too small for the amount of good things he puts into it) does a bit called "The Captains and the Kings" which would be the high point in any Tony Richardson film. And, as far as showstoppers, there is always Joan Tolentino's "Don't Muck About With the Moon"--which time I'm sure she'll have added another stanza...