Word: gilliat
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Dates: during 1970-1979
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David Suskind: "What's Good, What's Bad, What's New at the Movies?" Discussion with Vincent Canby (N.Y. Times film critic), Peter Bogdanovich (director of "The Last Picture Show"). William Friedkin (director of "The French Connection"). Eleanor Perry (screenwriter of "Diary of a Mad Housewife"). Penelope Gilliat, and Paul Zimmerman (Newsweek film critic), 9, March 11. Chan...
...Gilliat has made a film which is not traditionally expository. She conveys the sense of people's behavior when they are alone or with another by entrusting the trio to the audience as their intimates. They speak the abbreviated language of lovers, and we are shown friendships formed months ago, situations interrupted, conversations already three quarters finished, and are expected with confidence to comprehend the ellipses. When asked why the film did not end on Daniel's and Alex's encounter rather than on Daniel's monologue. Gilliat had a strong conviction...
Because Sunday Bloody Sunday operates in a specific economic context (a newscast of a prevailing monetary crisis serves as the film's refrain). Gilliat feels her movie is "peculiarly political." The political import reads like an open letter to the English, who are familiar with its suggested terms, while an American needs to be told that the Jarrow hunger marches in 1906 are built deep into the nation's memory, and into the background of her characters. Class differentiation in the film as seen, to be gradually disintegrating. Bob represents a classless agent, although his implicit working-class origin...