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Word: films (lookup in dictionary) (lookup stats)
Dates: during 1960-1969
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Usage:

Though the film departs considerably from Gavin Maxwell's witty, eccentric book, it does manage to convey that peculiar love for a pet that can amount to an obsession. In addition, it provides the accepting child viewer with the prime requisites for motion pictures: 1) a star with fur, 2) adults who look foolish (as Merrill does when he tries, by flapping his arms, to teach a gosling to fly), and 3) no love scenes except those between otter and otter. The result is little otters, making Ring of Bright Water the best sex-education film ever...

Author: /time Magazine | Title: Cinema: Gold in the Straw | 5/2/1969 | See Source »

Pierrot is not a pessimistic statement on the meaningless of human existence. There is too much beauty in the film to be able to come away with a feeling of total despair. In Godard's words, "the cinema, by forcing reality to unfold itself, reminds us that we must attempt to live...

Author: By Theodore Sedgwick, AT THE ORSON WELLES | Title: Pierrot Le Fou | 5/2/1969 | See Source »

...WRITER from Paris in the Atlantic Monthly a while ago lamented upon the scarcity of exceptional literary talent in France today, and suggested that this talent has been channeled into film...

Author: By Theodore Sedgwick, AT THE ORSON WELLES | Title: Pierrot Le Fou | 5/2/1969 | See Source »

Jean-Luc Godard has said that he would have been a writer had the medium of film not been available to him, but that film is simply the best way of expressing himself. Like Orson Welles, he is a prime exponent of the auteur theory of filmmaking, i.e., that the director is responsible for all aspects of his film...

Author: By Theodore Sedgwick, AT THE ORSON WELLES | Title: Pierrot Le Fou | 5/2/1969 | See Source »

Watching Pierrot Le Fou, a film that should be seen at least twice, is the best way of getting to know Godard's highly personal style: his revolutionary jump cuts, blue and red filters, characters set against a blank wall, references to his other films, and heavy use of literature. Above all, Godard makes the viewer acutely aware of the film-making process. His point here is to make the viewer acutely aware of the film-making process. His point here is to make the viewer realize that his is not an "art film," divorced from life, but is rather...

Author: By Theodore Sedgwick, AT THE ORSON WELLES | Title: Pierrot Le Fou | 5/2/1969 | See Source »

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