Word: films
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Dates: during 1960-1969
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Regardless, the film has a nice little story and Hollywood can still handle these things with class now and then. A scene between Rock Hudson and Patrick McGoohan when the latter reveals the nature of the mission we've been wondering about for two hours is a model of well-written exposition, neatly paced and satisfying to all. Other crucial plot points crumble in treatment: the obligatory submarine flooding scene is telegraphed too early by deliberately distracting conversational small-talk injected suddenly into a script previously given over to cut-and-dried function. More irritating, 90 percent of the mechanics...
...were there scattered about the front of the room. There were four reporters from the CRIMSON standing by the podium, with a student who covers University affairs for The Boston Globe. A television cameraman shone a blinding light into the eyes of the students so he could more easily film the meeting. News was certainly going to be made. There was going to be a confrontation of forces, the Dean versus the students. And a confrontation is always good reading...
Bergman's latest film, Shame, has yet to be released here. But the last two we've seen, Persona and Hour of the Wolf, suggest he's at last finding an answer to both his problems. The films still deal with mind vs. intuition, but it's become a personal rather than a religious dilemma: the crisis in faith has become the crisis in personality. Today we think in terms of psychology, not belief, so the new Bergman is easier to take. Seventh Seal has the aura of a morality play: Hour of the Wolf a cerebral horror film...
...less cosmic new approach not only brings us closer to Bergman, it brings him closer to his favorite script-writer. The visual effects in Hour of the Wolf made points the dialogue just suggested. Persona was perhaps Bergman's first work that had to be a film, not a novel set to beautiful pictures...
Presumably we'll begin to feel a few rows closer to Bergman with each film from now on. He's now appealing less to our intellect, more to our emotion. If this is true, it's especially worth going to the Charles and seeing The Dove. (Negatives, the feature with it, you can forget about--though then the short will be costing you about a dime a minute). The Dove is funny and pretentious. It will show you what's to be seen on the surface of "classic" Bergman: what probably won't be seen there much longer...