Word: films
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Dates: during 1960-1969
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PROMISES, PROMISES is a Neil Simon musical to remember other musicals by: slick, amiable and derivative. With a plot line borrowed from the Wilder-Diamond film The Apartment and a structure copied from How to Succeed in Business With out Really Trying, the show is not so much viewed as deja vu'd. While Jerry Orbach will probably light up Broadway from this show onwards, his performance is not equal to his acting in Scuba Duba...
...Tunnel under the situation, come up behind the guards, and-POW!" That was Lee Marvin telling Roger Ebert, film critic of the Chicago Sun-Times, how to handle an interview with one of those tough-cookie Hollywood types like-well, like Lee Marvin. "It's the only way to do an interview. Hit them straight on, or the s.o.b.s will clobber you every time. Come on now: 'Is it true?' Ask me something, 'Is it true?' " So the critic did, asking whether Marvin was the highest-paid actor in Hollywood. "That...
...effect of Goldmark's system is to free individual TV receivers from the confinement of commercial broadcasting. Under its agreement with CBS, Motorola will produce briefcase-sized player units with wires that clamp onto the antenna terminals of existing TV sets. The viewer can then choose a film cartridge, drop it into the player, and dial an unused channel. The film, which automatically threads and rewinds itself, can carry nearly an hour of black-and-white viewing and can be stopped at any time for either individual "freezes" or to flip the frames through...
...Pole is convincing insofar as none of us have been there to challenge it, and the airplane sequences, though plainly process shots miniatures, are kind of a groove and will evoke comfortable chuckling. After 2001, routine special effects simply don't pass by without a wince or two. The film's tight acting accounts for several of the small virtues, with Ernest Borgnine more disciplined than usual as a "mysterious Russian," and McGoohan (TV's Prisoner) having a high time with a performance which, though indistinguishable from any recent Burton or O'Toole job, shows he can handle second-rate...
...wish there were more to say about films like these. A year and a half ago Hollywood's apparent but inconclusive degeneration could justify enough nervousness to take the time to carefully pull apart a God-awful film like Frankenheimer's Grand Prix; but these days it's harder to get mad and, as things stand, I guess Ice Station Zebra isn't all that bad. It has the potential for being a good picture, but hanging over it are the ghosts of rewrite, of producer Martin Ransohoff whittling away at anything individual, leaving a gutless synthetic: sure-fire product...