Word: films
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Dates: during 1960-1969
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...m.p.h. down the autostrada between Rome and Florence when it hit an icy patch on the road. The car slammed into a lane divider, then caromed across the highway and pounded into a wall overlooking a 200-ft. ravine. Just before the crash, the front-seat passenger, Film Director Franco Zeffirelli, flung out his arm in a gallant gesture toward the driver. "My one thought was to save her face," he said later. As it turned out, Driver Gina Lollobrigida picked up no more than a bruise on the left cheekbone of her pretty face. But a broken kneecap required...
...bloody tragedies of revenge from which Shakespeare lifted some of his plots. In fairly vengeful but clean editing, Director Tony Richardson has cut the play to less than three hours running time, erasing a gravedigger here and a courtier there. Returning to stage direction after five years of indifferent film making, Richardson provides no innovative fireworks, but with a firebrand like Williamson on view, who would have noticed...
...second movement--earth--is probably the most exciting. It opens with movies of Cambridge projected on the white backdrop. First is a film of Hilles Library, speeded up many, many times so that the people in it tear up and down the stairs with greater energy and bustle than the Keystone cops at their peak. This sequence gives way to one filmed outside Memorial Hall, also speeded up many times. The dancers than come on stage, their movements exaggerated and fast. The music continues loud and rapid, and the audience is suddenly caught up in this frenzied, hell-bent, crash...
Robert Aldrich's film is a fairly straight adaptation of the play by Frank Marcus, which opened in London in 1965 and subsequently came to Broadway. Much of the humor in the film comes directly from Marcus's script; Beryl Reid, who starred in the play, supplies the rest. As Sister George, she plays an again television actress who is being written out of her part in the soap-opera she helped to create. "They are going to murder me," she announces to her flatmate. "I've suspected it for some time...
...when she and June dress up as a droll Laurel and Hardy for an evening at their club. Mercy Croft, a prim, trim executive from the BBC who becomes the "other woman," carries off her starchiness and professional sympathy with exactly the air of inhumanity required. Throughout the film she is constrasted with June, the earthy, outspoken dyke who never pretends to be what she is not. In the end, Mrs. Mercy shows her true colors in the famous "explicit scene"; she is the one who is after sex--June merely wants love...