Word: intercutting
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Dates: during 1970-1979
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Brook is constantly aware of the possibilities in film for more supple dramatic movement, and he is able to use a technique as fundamental as parallel montage to alter completely the dramatic rhythms. A long speech of Goneril's is intercut with shots of Lear riding furiously on the hunt, so that by the time the single speech is finished, the relationship of father and eldest daughter is completely redefined. And when Lear first realizes the emasculating ingratitude of Goneril and Regan ("O, reason not the need!"), Brook moves toward a close-up of the king's eyes that measure...
...when it works, De Antonio's sense of juxtaposition can be lethal. News film of Nixon's 1968 nomination acceptance speech ("Let's win this one for Ike") is intercut with footage of Pat O'Brien in Knute Rockne advising his lachrymose squad to "win one for the Gipper"-their hospitalized teammate, who, with anachronistic irony, was portrayed by Ronald Reagan. De Antonio is also shrewd enough to know when Nixon is his own worst enemy, and he devotes a long section of Millhouse to the Checkers speech alone. Reciting his list of assets, attempting...
...form of the film is exasperating. The story is told in an implied flashback, with numerous flash-forwards to the narrator intercut with the main action. These do not make a discernible comment, though the wordless Michael Redgrave is such an expressive actor that some of the brief cuts are affecting. The film is not as expressive...
...class conflict from a heterogeneous mass of small "cells" or "acts," each of which invents its own peculiar camera-style in contrast to that of its brothers. And within each cell images and sounds struggle within themselves and with each other: dialectics within dialectics. Tracks of the countryside are intercut with zoom-ins on groups and individuals, and set shots of people suddenly zoom-out to include their surroundings: texts and contexts. And documented reality confronts the film apparatus itself: people talk directly into the camera, or they attack it, despise it sullenly, or avoid it in the voyeuristic hand...
...vertical, class implications for the benefit of pure representation, appropriation, fetishism of objects. Kjell learns about the pleasures of pure aesthetics from the liberal, cultured wife of the factory owner. The joyous pronunciation of "Pierre Auguste Renoir" becomes a sign for irresponsible privilege and political obliviousness in a sequence intercut with familiar images of Kjell's mother doing washing for the rich. Widerbeg demonstrates the duplicity of his own horizontal aestheticism in a context of social inequalities a hierarchy of wealth and power. The opening shots of the film reveal the beauty of life rooted in material realities, ironing, shaving...