Word: films
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Dates: during 1960-1969
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COOGAN'S BLUFF. French film critics have long hailed Director Don Siegel as a minor genius, and this film is ample proof that his reputation is no Gallic caprice. With measured professionalism, Siegel tells the story of an Arizona sheriff (Clint Eastwood) who travels to New York to extradite a prisoner...
...unlikely scene. Yet there was Israeli Siren Dahlia Lavi, 26, playing the role of the Jewish Mother with all the smothering solicitude of Molly Goldberg. Since Son Rouven was born to her and Producer-Husband John Sullivan 20 months ago, Dahlia has been hewing to her London hearthside during film breaks and doing all those cuddly, maternal things that sloe-eyed vamps are not supposed to do. Devotees of décolletage need not worry, though; Dahlia is currently appearing in one screen steamer, Nobody Runs Forever, and has just completed another called Some Girls...
...more than a mere machine politician putting in time on the bench while he waits to retire. He has been a courageous judge. In one highly unpopular decision, he dismissed an indictment against a Memphis theater manager who had been charged with possessing and planning to screen a French film entitled I Spit on Your Grave, which showed nude love-making by interracial couples. Battle found the state's obscenity law unconstitutional because it failed to meet requirements spelled out by the U.S. Supreme Court. "They told me I'd be opening a Pandora...
Ethereal Beauty. The world's admiration became even greater with the publication of the pictures shot by Astronaut Anders on the way to and from the moon and during lunar orbit. They are the first color-film closeups of the moon and the first color views of the earth from deep space. They show views of the moon never before seen by man and some lunar features previously undetected by the cameras aboard unmanned vehicles. They reveal the distant earth as a globe of ethereal beauty that understandably evoked feelings of nostalgia in the Apollo astronauts...
Like many of Steiger's minor films, The Sergeant could easily have degenerated into a one-man show. Instead, it is a two-man performance. The second man is Director John Flynn, who, faced with a prodigious actor and an undeveloped scenario, has fleshed out his film with nuances. The barracks life of monotony and loneliness is depressingly acute; the local pay sans, whose faces are maps of rural France, give an extraordinary sense of locality to a story that badly needed roots. Unfortunately for the film, neither Flynn nor Steiger bears the antidote for the sting of predictability...