Word: kanes
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
...will never see Orson Welles's own cut of The Magnificent Ambersons, drastically altered by RKO, or Touch of Evil, re-edited by Universal. Most tragic, Welles was sent in 1942 to South America to film a color documentary shortly after the completion of Citizen Kane; after Welles had shot thousands of feet of film, RKO withdrew financial support, recalled Welles, and put his uncut footage into the vaults. For years unidentifiable random shots from the film, It's All True, turned up as stock footage in Latin American thrillers, the only Welles color footage thereby becoming scattered and hopelessly...
Janczewski responded by playing what coach George Harrington '59 called "his best game of the season." Hitting mainly from the outside, the slender 6-6 star scored 13 points while reserves Jay Noble and Kerry Kane played a good floor games and let Harvard to a 39-36 half-time lead...
...have felt the loss of Finholt," said Harrington. (A strong rebounder, Finholt transfered to St, Olaf College in Minnesota after the first semester.) Harrington was quite pleased with the rebounding of his charges yesterday, lauding particularly Janczewski, Kane, and 6-8 center George Yates...
...execution, Bonnie and Clyde is a watershed picture, the kind that signals a new style, a new trend. An early example of this was Birth of a Nation, which still stands alone; it gave American cinema an epic sense of the nation's history. Orson Welles' Citizen Kane was another watershed film, with its stunning use of deep-focus photography and its merciless character analysis of that special U.S. phenomenon, the self-made mogul. John Ford's Stagecoach brought the western up from the dwarfed adolescence of cowboy-and-Injun adventures to the maturity and stature...
...play, letters, money, and clothing are destroyed, thrown carelessly on the stage where pieces remain for the duration of an act, becoming part of Fisk's legacy. Fisk reacts to his first financial triumph by destroying his Jersey City hotel room. The scene is reminiscent of Charles Foster Kane destroying his wife's room when she leaves him. But in Welles's film, Kane's sole object is the furniture; in Prince Erie, the finite playing area itself cramps Fisk, and he becomes undisciplined energy trying, I suspect, to break the walls down, also Jersey City, anything that threatens...