Word: griffith
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
Fairbanks was 32 and a Broadway light-comedy star when, in 1915, he was signed by the Triangle film company. Its most noted director, D.W. Griffith, was not impressed: "He's got a face like a cantaloupe, and he can't act." Both slurs were accurate. Doug's full-moon face and double chin made him a long shot for movie swoondom; and in closeup his stage-bred gestures looked like cheerleader antics. All he had was it--the gorgeous muscularity and infectious brio that made folks want to pay to see more. His exuberance turned...
...lucky too when Griffith handed him over to the writer-director team of Anita Loos and John Emerson, who established his film character: half Tom Sawyer, half Teddy Roosevelt. They also devised the set pieces that made his name--as in the climax to the delightful The Matrimaniac (1916): his fiance is locked in a hotel room; the preacher is in jail; the police have chased Doug up a telephone pole; so he tightrope-walks on the telephone wires, persuades a lineman to plug in a conference call to the jail and the hotel, and voila, they're married...
...Florence Griffith Joyner, 36, the 100- and 200-m champion in Seoul, hit a snag in her attempt to make the U.S. team in the 400 m. She has an Achilles-tendon injury that may require surgery and sideline her from qualifying meets over the next two weeks. Meanwhile, Mary Slaney, 37, who holds several American records but has not won an Olympic medal, ran a strong race last week in Oregon and appears ready to contend for a spot on the Olympic track-and-field team...
When Antonio Banderas and Melanie Griffith fell in love, they demonstrated their affection in ways few could miss. The pregnancy that soon followed made news as well. But the heretofore frenetically expressive couple were married last week in a very private ceremony in London. After all, one ought to maintain some sense of decorum...
...editing's vital contribution: it gives films the collision of images that creates a collision of emotions. It has been the primary technical touchstone for great directors (Alfred Hitchcock, Alain Resnais, Martin Scorsese) and vibrant movie movements (the Soviet silent cinema). From the brilliantly intercut chase scenes in D.W. Griffith's The Birth of a Nation (1915) to the dizzyingly allusive montages in Oliver Stone's JFK and Natural Born Killers, editing is moviemaking...