Word: films
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Dates: during 1970-1979
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...film uses much footage on Luke from Heyman's so-called Genesis Project, his five-year-old effort to film the entire Bible for educational purposes (Heyman has also filmed most of Genesis). He hopes that the proceeds from theater and TV showings of Jesus and future spin-offs will allow him to complete his project, which has already cost $22.5 million, before the end of the century...
...hand it to Lady Sarah Spencer-Churchill. Well, actually you don't, if you've got a DEMS, or Diver Equivalent Manipulator System, developed for underwater work by General Electric. DEMS makes its movie debut in ''Raise the Titanic!'', a film likely to become memorable only because it seeks to salvage the ill-fated liner for a change-rather than deep-six her again. In the movie the DEMS drops into waters unsafe for divers to repair the Titanic's hull. On the set, its operators insisted, DEMS was so sensitive...
Actor Heard, who has a gift for portraying troubled and somewhat enigmatic young men, plays Charles lightly, but with an edge of lunacy. The film's statement, that love is madness, seems only partly comic; and it is an open question during most of Head over Heels whether this madness is a desirable condition. Di rector Joan Micklin Silver lets the action and Heard's characterization veer close to the actual, unfunny sort of in sanity. Once or twice before the happy ending, it seems that something gruesome may be in the air. The quark, or question mark...
Charles builds a model of the house, furnishes it and plays moodily with a Laura doll, a husband doll, a daughter. In the state government office where he works (the state happens to be Utah, though not much is made of the fact, and the film's lo cation could just as easily have been Penn sylvania), he shoves papers into his Out box without reading them and swigs vod ka from a pint in his desk drawer. Laura does not call...
...George Lucas to transform high school graduation into a rite of mythic proportions. Lucas has moved on to more celestial myths, but his former partners remain preoccupied with the pangs of growing up. In French Postcards, Huyck and Katz try to create a true sequel to Graffiti: their new film is a rueful comedy about American students whose lives change dramatically during a year abroad. But this time the director is Huyck, not Lucas, and the results are deflating. French Postcards'comic anecdotes do not coalesce into a universal saga of postadolescence; they merely come across as a string...