Word: films
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Dates: during 1950-1959
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...film has an enormous virtue that too few comic films share: it takes itself lightly, playing with exaggeration and outrageousness, purposely stretching our ideas of reality and probability. It creates a mood within which we can laugh easily at a man whose commendable but legally dubious hobby is building bombs to explode pompous bores. Instead of being told, "This is reality," (which might be mildly grim, we are in effect told, "This is a caricature of reality...
...eleven years ago after proposing the idea for their I Can Hear It Now, a replay from the recording files of voices and history of 1932-45, brought out by Columbia Records. The record and its sequels led to a radio program, and then to the TV show. Without film training or TV experience, Murrow and Friendly together worked out the See It Now technique for getting at the heart of current issues and problems by narrowing their focus on "the little picture"-the human beings intimately involved...
Twenty to One. The technique, which borrows from radio, movie and printed journalism (and owes a huge debt to THE MARCH OF TIME, which made the mold for film journalism), is the most realistic reporting yet devised for documentary film. Unlike any documentary before it, See It Now sends its cameras after a story without any script, shoots everything with sound, never dubs afterwards, never rehearses an interview, shoots as much as 20 hours of film for one hour of the final product-a ratio greater than any other TV show, newsreel or Hollywood itself. The method is costly...
...full-time field teams (each consists of a reporter-director, cameraman, assistant cameraman and sound man) finished a job in Alaska for a show on Alaskan and Hawaiian statehood and flew to Tokyo to join Marian Anderson on a three-month tour of Southeast Asia. Two teams were finishing film for next week's show, The Great Billion Dollar Mail Case, a critical look into the U.S. Post Office. A fourth crew was filming in Europe. In Manhattan headquarters. Friendly pruned incoming footage for perusal by Murrow and began a first draft of next week's narration. Says...
...arms. "Now," she says softly, "you have a cow." The Roots, for seriousness and intensity of feeling, is possibly the strongest motion picture that has been made in Mexico since Luis Buñuel turned out Los Olvidados, and The Cows is clearly the strongest of the film's four episodes. It has the strength of righteous anger, but it has anger's weakness, too. It overstates its case. The Mexican Indian is often poor, but in the villages he is seldom desperate. The land holds him rooted, God shines down upon him like...