Word: films
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Dates: during 1950-1959
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...regards as a more eupeptic attitude: they ignored it. Although isolated scores such as Max Steiner's music for Gone With the Wind caught the public fancy, Hollywood's rule-of-baton used-to be that a good score is one the audience does not hear.* Now film scores have become big sellers on the pop market. The change was foreshadowed by The Third Man theme and by Dimitri Tiomkin's High Noon; both tunes were dramatically part of the movies whose titles they bore, but also became huge independent hits. Nowadays a producer may assign...
...long," somebody once remarked to the late Fred Allen. "Yeah," he rasped. "As long as the line at the box office." Last week Manhattan's so-called art theaters refused to give a line a chance to form for a major work of art, a film from India called Father Panchali. The theater operators decreed that the picture did not measure up to their standard-the gold standard. Explained one manager baldly: "The picture...
Father Panchali won a Grand Prix at the Cannes Film Festival in 1956. Last December it took first prize at the San Francisco International Festival, has been running for nearly two months at the city's Vogue Theater, the only public screen it has found in the U.S. In London, where it did excellent business, the Observer called it "tremendously affecting," and the New Statesman rated it "a masterpiece." Written, directed and produced by a 36-year-old Indian named Satyajit Ray. the film describes the slow decline and quiet fall of a family in an Indian village. Homely...
...Quiet American (Figaro; United Artists). "Innocence," wrote Graham Greene in the novel from which this film is somewhat speciously taken, "is like a dumb leper who has lost his bell, wandering the world, meaning no harm." The leper of modern history, as Greene sees him, is the American-he of the "young and unused face" who has made "a profession of friendship, as though it were law or medicine," and who goes about the world infecting whole continents with the botch of good will. On one level the book is a passionate editorial against U.S. innocence abroad. On another...
...much inhumanity can a man bear to inflict on his fellow men before his conscience calls a halt? The answer to this question is the substance of a harrowing little novel from Holland that combines the impact of a documentary film with the prodding of a remorseless sermon. The scene is Westerbork, a concentration camp in occupied Holland, from which Jews were sent on to Auschwitz, Sobibor and other extermination centers in Eastern Europe. The book's real heroes and villains are Jews, while the Nazis are seen only as almost impersonal agents of evil...