Word: films
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Dates: during 1960-1969
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Truth and beauty. That's what Author-turned-Film Maker Norman Mailer says he's after, and despite the critical catcalls over his first movie, he's still in there cranking away. The latest is a flick about a paranoid film director, played by old Norm of course, with a sharp little subplot about a bunch of male prostitutes. How's that for a takeoff on Belle de Jour? Beautiful. So there they were, Mailer and about 100 of his pals, out on Long Island shooting some scenes and pow!-Norm got into a fight with...
...nice when things go smoothly on a movie set-when temperament doesn't rise up and take over. Note the scene in Italy, for instance, where Marcello Mastroianni, 43, and Faye Dunaway, 27, are filming A Place for Lovers for Vittorio De Sica. She helps him with his English. He helps her with Italian slang. They both help each other with their diets. They trade compliments: he likes her eyebrows, she likes making movies in his country. And there haven't even been any of those snippy romance-is-in-the-air rumors buzzing around. Says Faye...
...resistance," and that the Boston Tea Party was a "mob scene." Teachers, parents and community groups in 45 different U.S. school districts attacked the book. In Oregon, irate citizens complained that the book overemphasized Negroes. A group called "Californians Against Land of the Free" cranked out a 25-minute film strip assailing it as part of the "Communist conspiracy...
Finally, a camera style of slow and balanced moving shots is, successfully executed, one of the great joys of narrative film. When Chris goes to Paul to reassure him in a scene discussed earlier, Chabrol cuts together shots already in motion, joining a shot moving left in a circular are, a crane down from high angle, a forward track moving left, one moving right, and a pull back to wide-angle. The effect is again one of montage--the creation of masterful rhythm from smaller individual rhythms -- and again the illusion gives way to the truth of the image...
...humble fashion, is that plot and script content, always captivating, seductively able to sustain our need for entertainment, is limitless in its capacity for excellence yet always a subordinate. The discipline we must cultivate is that of understanding statements of edited images. As in all high art, great film teaches. Even on the lowest level of its excellence, The Champagne Murders teaches us to see better