Word: hollywood
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Dates: during 1960-1969
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Poetry & Rhythm. Hollywood was once described as the only asylum run by its inmates. It was the town where, as George Jean Nathan said, "ten million dollars' worth of machinery functions elaborately to put skin on baloney." There is still plenty of machinery out there putting skin on baloney. But the most important fact about the screen in 1967 is that Hollywood has at long last become part of what the French film journal Cahiers du Cinema calls" the furious springtime of world cin ema," and is producing a new kind of movie...
Patrols at the Front. For all the new talent, new money and new freedom available, it is not certain that Hollywood can or will sustain the burden of living in a renaissance. Technical innovation does not in itself guarantee quality. There is some evidence already that the relaxation of censorship, for example, only replaces euphemistic cliches with crass clichés. Love scenes are not necessarily better because they are nuder. By getting closer to graffiti, movie dialogue does not necessarily get closer to the truth...
...many ambitious failures or cold, calculated imitations. Still, occasionally, one victory can change the world-or at least the part of it that produces films. Bonnie and Clyde is a conspicuous victory. It has proved to the industry that the "new movie" and "popular success" are not antithetical terms. Hollywood has sometimes acted as if money and art were incompatible. At worst, they can come together in a marriage of convenience. At best, they may even get to like each other...
...single cinema audience today but several. There is-and perhaps always will be-an audience for banality and bathos. But a segment of the public wants the intellectually demanding, emotionally fulfilling kind of film exemplified by Bonnie and Clyde. By now, television has all but taken over Hollywood's former function of providing placebo entertainment. Movie attendance among the middle-aged is down; yet box-office receipts are up-partly because cinema has become the favorite art form of the young...
...director, Beatty signed up Arthur Penn, 45, a narrow, sparrowish Broadway veteran (Two For the Seesaw), whose Hollywood record included a few hits (The Miracle Worker), several flops (The Chase, Mickey One). Penn wanted the film edited in Manhattan, which meant that the choice of which scenes would end up on the cutting-room floor would take place 2,500 miles from the home base of Warner Bros. To Jack Warner, 75, who liked to make his own pick of the rushes, everything but salami should be cut in the studio. More problems were to follow-arguments about sound, music...