Word: films
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Dates: during 1960-1969
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Director-Scenarist Robert Alan Aurthur is manifestly sympathetic to the black cause. But the film's sincerity is varnished with artifice. The interracial love affair is as uncomfortable as some of the dialogue ("Do you enjoy being a tall, dark secret?"). The film's open-ended references to a mysterious Negro "organization" unfortunately recall the paranoic fantasies of Ian Fleming's Mr. Big in Live and Let Die. Ultimately, The Lost Alan is notable less for what it does than for what its star does not do. After Guess Who's Coming to Dinner, many black...
This year, two movies about black rebellion have imitated film classics of the Irish revolution. Up Tight (TIME, Jan. 3) was based on The Informer; The Lost Man is a darkened copy of Odd Man Out. The transatlantic temptation is all too understandable, for as a French revolutionist observed, "The poor are the Negroes of Europe." Nonetheless, the Irish fiction grew from a native soul and soil. The Lost Man is a legitimate and anguished cry that suffers in translation...
...word farce comes from a Latin verb meaning "to stuff." Too often film farces are crammed with top-of-the-lungs comedians and bottom-of-the-gag-file comedy. The Devil by the Tail fills its hour and a half with sly performances and wry wit. It is the stuff of life-and of laughter...
THIS Wednesday the Orson Welles begins a series of new semi-commercial, short feature films. This act of daring and dedication deserves everyone's attention and attendance, for the series promises to be one of the most rewarding viewing experience the Cambridge audience will ever be offered. Since the SUMMER NEWS hopes to review each film before it plays, this article will simply explain the significance of this series of new, mainly West European films, in the process suggesting an approach to them...
TODAY'S avant-garde in film is a director's movement. The American audience knowns Italian, French, Czech films as the work individual men. College audience, the newly-discovered gold mine of U.S. film distributors, appreciate foreign films for qualities of high social artistic awareness and personal expression. Given the importance of the youth market for ticket sales, the trend has even hit Hollywood, long considered by native critics the place where individual talent is lost. The names of young directors (Arthur Penn and, unfortunately, Mike Nichols) are becoming good box office. Hollywood has even begun to conceive that...