Word: filming
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Dates: during 1970-1979
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...Ford and Lesley-Anne Down, as well as the genteel Christopher Plummer in the role of the heroine's betrayed husband. The movie has three types of scenes: briefing scenes, bombing scenes and tearoom scenes. Sometimes it is difficult to distinguish among them because every set in the film, indoors and out, is flooded with mist. The sound track is inundated with John Barry's crashing score, next to which Michel Legrand's florid music for Summer of '42 sounds like Hindemith. Yet the plot does somehow manage to emerge. About halfway into Hanover Street, both...
...evidence of this movie, the 1978 Grand Prize winner at Cannes, it seems safe to say that Italian Director Ermanno Olmi is no fan of Bernardo Bertolucci's 1900. Like 1900, The Tree of Wooden Clogs is a lengthy (three hours), luxuriously photographed film about Italian peasants, but after that all similarities end. 1900 was a didactic epic that attempted to merge the florid drama of opera with the tenets of Marxism; Clogs is pointedly a tranquil, nonpolemical attempt to describe the peasants' daily existence in the objective manner of documentary cinema. Given their respective goals, Olmi...
THROUGHOUT the silent film era, comedy was one of the most cinematic genres due to the tremendous visual dynamism of slapstick. With the advent of sound, film comedies became merely photographic recordings of funny dialogue and burlesque situations which could be effectively mounted on the stage. Even comedies of the 30's (including those made by the Marx Brothers which were unique in their own way) continued to exploit non-verbal, absurd gags. More contemporaneous comedians such as Jerry Lewis, Peter Sellers and Mel Brooks also rely heavily on verbal puns and physical mise-en-scene, yet still with...
With Manhattan, Allen's creative imagination came to its full cinematic realization. His acting/directing style which has oscillated for years between an appeal to the mass audience and his own artistic demands, finally achieved the thematic-formal balance which makes Manhattan a film comedy par excellence. Allen's achievement becomes even more significant considering that it takes place in a genre which has always been little concerned with cinematic values-a genre which has been commonly satisfied to use the camera merely as a vehicle to record physical gags, comic facial expressions and amusing dialogue. Despite the risk of reducing...
ALLEN'S auteuristic attitude has been apparent in a number of his films: Sleeper, Love and Death, Annie Hall and, especially Interiors. More and more he has been concerned with not only the thematic-interpretive aspect of the film narrative, but also with specific cinematic devices which convey the film's content and message in a cinematic way. Accordingly, Interiors marks the crucial point in Allen's directorial evolution, expressing much of the script's meaning through purely auditory/visual means instead of via dramatic situations, mise-en-scene, dialogue and acting. Like Chaplin (in A Woman of Paris ), Allen...