Word: greats
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Dates: during 1970-1979
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...plants' descendants drifting by. Another sojourner in the past thinks of Detroit (where Levine, 51, was born), and then of snow; he translates it into the tears of souls lost and gone to heaven: and given their choice chose then to return to earth, to lay their great pale cheek against the burning cheek of earth and say, There, there child...
...head sports the pagan curls of a young Harpo Marx, and his face and body quiver with some of the same nutty, berserk humor. But native Chicagoan Stephen Wade, 26, has a great deal more to offer than that...
Some film reviewers expressed disappointment with Interiors for its lack of "comedy flair," failing to realize that this film possesses more psychological depth and metaphorical ideas than the great majority of recent American films. Historically, Interiors can be considered as Allen's prelude to Manhattan in which psychological complexity is successfully integrated with refined lyrical humor. From the structural standpoint, Manhattan is realized with an extraordinary sense for pictorial composition, mistage and camera movement. Most germane is the tight unity between these properties and the narrative continuity; at its best, this unity in itself becomes the film's message. Hence...
Many films have used great cities as a "stage" which has been no more than a backdrop, however beautiful, for their action. In contrast, Allen and Willis perceived New York's irresistable dramatic force and succeeded in making it an integral part of their film. Even in the brief montage inserts(i.e., Allen and Keaton sitting under the 59th Street Bridge; Allen running through traffic or playing in the park with his son), the architecture of New York functions as an "emotional ingredient" of the photographed event. Supported by characteristic musical compositions (of which Gershwin's "Rhapsody in Blue...
...prevalent in contemporary comedies. The most spontaneous actor is, of course, Woody Allen himself, noted for his extemporaneous manner of rendering lines and puns. His wit seems to be spur-of-the-moment, forged at the very instant of delivery before the camera. The effect of improvisation owes a great deal, as well, to Allen's (and Marshall Brickman's) extraordinary feeling for the vernacular. Their dramatic imagination is given expression through the camera's flexibility, with its constant exploration of the space as setting for the characters...