Word: infernos
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Dates: during 1970-1979
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Logic notwithstanding, studios are increasingly grabbing for the brass ring. Warner Brothers last week began production of Exorcist II, starring Richard Burton. Initial budget: $10 million. Next year Warner will release two new megadisaster flicks produced by Irwin (Towering Inferno) Allen: The Swarm (bees do it) and The Day the World Ended. Each will cost well over $12 million. Paramount has in the works Dino De Laurentiis' remake of King Kong ($16 million or so). United Artists will ultimately release a version of Cornelius Ryan's tome on World War II, A Bridge Too Far, produced by Joseph...
...decide that pointless issue, Rojas offers a rambling chronological account of Allende's downfall: from the military's initial disorientation after his election, through the right-wing campaign of terrorism and economic sabotage, the Pentagon's secret 1972 proposal for his overthrow, the coup itself, and finally the "inferno" of torture and mass murder that followed...
...pair of mighty arms that cost $450,000 and have developed on-camera arteriosclerosis. The producer has rushed over so many Italian technicians to get the monkey off his back that pasta is outselling pastrami at the studio commissary. Director John Guillermin (Towering Inferno) is about out of scenes he can shoot without his star, and the production is reportedly closing down for three weeks. The cost of Kong may be horrendous. When Paramount solicited prices on 40 ft. of realistic Kong pelt, the first bid asked $1 million...
...above the melee, pausing to observe the ironic inscription from Auschwitz which overlooks the courtyard: Arbeiten macht frei. Through this domain of death stalks its mistress, an obese female commandant whose impassive visage makes her the least human element of the picture. The tableau brings to mind Dante's Inferno as Goya or Bosch might have rendered it, but without any air of conscious imitation...
...submit to the situations that confront them pre-formed. Seven Beauties opens with black and white montage of World War II newsreels, clips of Hitler and bombings, which eventually leads into the wreck that allows Pasqualino to desert the troop train and plunges him into the Nazi inferno. The social conditions constraining the characters' action stand outside the narrative itself, temporally distant, colored differently, and represented impersonally. Only when the situation is fully formed and unchangeable can Wertmuller abandon this abstract style to focus on her characters, who naturally must either accept or reject the dictates of circumstances...