Word: interplayers
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...Haydée. Experts correctly point out that she is not a great dancer technically. Most would turn puce at the thought of mentioning her in the same breath with Margot Fonteyn. But few dancers within memory have projected the rangi of whims and wishes or invoked the delicate interplay of emotions that flow from the least gesture of Haydée's body, the slightest tilt of her head. Her Juliet is funny, touching and finally heartbreaking. Her Tatiana melds waif with woman so successfully that the pools of bathos beneath the surface of the Pushkin-cum-Tchaikovsky...
...Shadow of a Doubt brings the best of these themes into a very tightly constructed drama, Returning to the original material of melodrama, it uses a family setting for a complex and subtle interplay of moral perceptions. At the same time the plot is constructed on personal progress; it follows the growth of moral and romantic awareness of an adolescent girl. But though it ends in a clear confrontation between good and evil its use of real locations and realistic performances maintains moral complexity and resonance through the film...
...Shadow of a Doubt moral interplay was expressed in cross-cutting between characters. In Under Capricorn moral interplay becomes a complex flow of all the characters' emotions to a single climax and resolution. The graceful motion, deep color tonalities, rich settings unite with the characters' moral paralyses. One is completely involved in their struggles to overcome paralysis. The spaces and movements of the film are integrated as the characters' attempts to fufill their desires, now a theme beyond the person of any one character, become a part of the whole romantic setting...
...films could be even while Intolerance was in production, dealt with members of two families in a historical context, tracing individuals' emotions through a war. The Expressionist practice of basing films on myths about existence postulates Intolerance by a few years, and Eisenstein's theory that films are the interplay of ideas cannot be found in the period before Intolerance -the period Eisenstein regarded as "prehistory." Finally, the embodiment of abstract themes in specific characters-the narrative feature film as we know it-was developed by Griffith only after this grand experiment...
...play from one exciting event to another, from one "sock on the jaw" (Chekhov's phrase) to another; he has turned his back on the technique of say, Ibsen and Strindberg. He has, in effect, turned from the solo concerto with orchestra to the more subtle and contrapuntal interplay of chamber music...