Word: kanfer
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Dates: during 1960-1969
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...each year on a ranch near Lost Cabin, Wyo. His brilliant paintings and bronzes-of stampeding steers, dust-churning ponies and lean-featured frontiersmen -have the same quality of rough-chiseled permanence that epitomizes another kind of artist, John Wayne, our cover subject this week. As Cinema Critic Stefan Kanfer, who wrote the story, puts it: "The usherettes and the popcorn machines may have gone, but John Wayne remains. He has endured in an industry notorious for its instability...
...theater critic's assessment of a new play. But as journalism becomes more and more a craft of analysis and judgment, the distinction between critic and general writer or reporter fades. In this connection, we like to recall a dictum by TIME'S Cinema Critic Stefan Kanfer, who remarked somewhat sweepingly: "All our departments must be critical departments...
Before he went to work on this week's cover story, TIME Cinema Critic Stefan Kanfer made a point of meeting his subjects-Mia Farrow and Dustin Hoffman. "No matter how good the reporting," he explains, "it's important to find some things out for yourself. I like to get people's music, to see at first hand what they look and sound like." Kanfer visited the set of John & Mary, had lunches with Farrow and Hoffman, and came away with new enthusiasm for his assignment. Hoffman he found a "natural," Farrow a "supernatural." Cinema Reporter...
...impassioned moviegoer for most of his 34 years, Kanfer now averages five shows a week, and the count sometimes rises to an eye-blurring three a day in his largely successful effort to see every film that appears. Next to watching new movies and catching his old favorites on the TV late shows, nothing pleases him more than writing about them. "As the Rothschilds turn to banking, and the Barkers turned to crime, the Kanfers turn to writing," he says. His grandmother's cookbook, Jewish Cookery, is now in its 17th printing; his father is a poet...
...Kanfer assembled his story, Artist Robert Rauschenberg was observing footage from 35-mm. reels of the movie as it was cranked through a moviola machine. Single frames were chosen, blown up into black-and-white prints, and then transferred to silkscreens; he treated the final image with colored inks and paints, including splotches of bloodlike watercolor. Altogether, he made nine montages before the editors made their final choice. Though such characters as Bonnie and Clyde are not familiar images in Rauschenberg's art, his technique on TIME'S cover is. It will be immediately identified as a "Rauschenberg...