Word: films
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Dates: during 1960-1969
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Married. Natalie Wood, 30, one of Hollywood's more familiar faces, thrice nominated (1955, '61, '63) for an Academy Award; and Richard Gregson, 39, British film producer (The Downhill Racers, soon to be released); both for the second time; in Hollywood...
...this century, Vladimir Nabokov, master of fiction and of chess (TIME cover, May 23), operates in somewhat the same manner. The film of one of his early works, Laughter in the Dark, eerily reproduces the commonplaces of experience but gives them an irrational tilt. The viewer who accepts the Nabokovian construction can experience an acute problem of reorientation when he steps from the theater into the world...
...experience is a distortion of Sir Edward's early gropings in the darkened theater. But now the blackout is permanent, and the laughter an echo of hell in which there can be no conclusion without calamity and no denouement without death. As More, Nicol Williamson moves through the film with a looming rage that is Shakespearean in its intensity.* Bathed in such solar glare, the other actors are lit only by reflection. Karina looks and sounds a tart, but she has little of the compelling eroticism that the part requires. At his worst, Herve should convey a quality that...
...kids to navigate an outboard motorboat, drills them on Cuban geography and orders them to speak solamente en espanol. Then he busses them down to Miami and turns them loose on the outgoing tide. "Better to drown in the ocean, not the sewer," he claims,' underlining the film's melancholy message. Thirty-six hours later, Luis and Junior are brought ashore, sunstruck and dehydrated. On their hospital cots, the "orphans" are indeed hailed as heroes and plied with gifts. The trouble is, they would trade all the bikes and toys, all the chances for plush adoption, for life...
...Baltic. His perception of the role is something else entirely. A slight and soft-spoken man offscreen, he manages to give himself bulk and ferocity as a man driven up the walls of el barrio by the conflict of pride and circumstance. As a comedian, he clambers over the film to reach the top rank of American performers. Barking like a watchdog to frighten off apartment thieves, or purifying English curses into harmless Spanish, Arkin transforms slapstick into exuberant social comment...