Word: films
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Dates: during 1970-1979
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...Narrow Water became like a scene from some fictional war film," reported TIME'S Ed Curran from Belfast. "Everywhere in the debris was blood and human flesh. Overhead the late afternoon sky was obscured by dense smoke rising from the wreckage. The soldiers who had survived staggered around and some opened fire across the Lough at two young men whom they apparently took to be the bombers. The tragedy of Narrow Water was now complete. The two were merely gawking at what had happened. One was shot in the arm; the other was killed. In addition, 18 soldiers, including...
...alone-his wife had died suddenly five years before during a charity tour in North Borneo and his two daughters had long since married. "I'd like really to just be buried in my home town of Romsey," he placidly told a BBC interviewer who was preparing a film obituary last year. "The only thing I hope, it'll be a happy occasion...
...tries to express directly what it has already said better by implication. This generally occurs in earnest scenes between Elliott and his all too dense girlfriend. Dayle Haddon's inexperienced playing adds nothing even faintly convincing to the badly written love interest, and the rest of the film has to struggle to recover from the resulting dead spots. Still, North Dallas Forty retains enough of the original novel's authenticity to deliver strong, if brutish, entertainment.-Richard Schickel
...glorious Technicolor; now Director Peter Brook is giving the same treatment to G.I. Gurdjieff (1877-1949), the philosopher whose Zen-like quest for spiritual truth has greatly influenced the modern human-potential movement. Though The Ten Commandments and Remarkable Men are theologically antithetical, they are cinematic first cousins. Both films suffer from an excess of piety, a shortage of humor and an infatuation with desert vistas. Still, DeMille's muscular, campy Moses (Charlton Heston) is a hell of a lot more fun than Brook's wimpy, self-effacing Gurdjieff (Dragan Maksimovic). Human saintliness plays better...
Though Brook has brought more new ideas to the stage than any other contemporary director, his film-making skills remain primitive; even his adaptations of his own brilliant theater productions (King Lear, Marat/Sade) have been flat. Here he is hobbled by lapses in continuity, fake-looking studio sets and a multinational cast. The scenery, much of it shot in Afghanistan, is breathtaking, but the photography is routine. What is needed is some sort of theatricality-if not the forthright vulgarity of DeMille, then at least the romanticism of David Lean. With its incongruous mix of radical content and stodgy style...