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Directed by IRVIN KERSHNER Screenplay by PAUL ZINDEL...

Author: /time Magazine | Title: Cinema: Pallid Revolution | 2/5/1973 | See Source »

Loving. Set in John Cheever country-the wealthy suburbia of Fairfield County, Connecticut-this American film presents the dilemma of a financially insecure commercial artist unable to come to terms with either his wife or his mistress. Irvin Kershner, who directed from a screenplay by Don Devlin, has a terrific fell for the sterility of his settings and the dogged humanity of his characters. Even when being funny, the movie is underlined by that dim light we associate with the pain of three o'clock in the morning. The picture also has a brilliant climax involving closed-circuit television...

Author: By Frank Rich, | Title: The Ten Best Films of 1970 | 1/11/1971 | See Source »

Segal, whose comic gifts are evident even in melodrama, is allowed a few light moments in the murky pseudo-sensitivity. But whenever the risibility reaches visibility, it is quashed by Director Irvin Kershner's instinct for vulgarity. Most of the time Segal lurches self-sorrowfully around town as if he had just received six bullets in the stomach. The rest of the cast, including such proven caricaturists as Keenan Wynn and Sterling Hayden, similarly behave as if they were dispensing painful truths instead of numbing fictions...

Author: /time Magazine | Title: Cinema: Uneasy Rider | 3/23/1970 | See Source »

...sponsored by the National Student Association, the Motion Picture Association of America and Manhattan's Lincoln Center for the Performing Arts, the festival last month showed entries from 37 colleges, which were judged by a panel that included Directors Norman Jewison (In the Heat of the Night), Irving Kershner (The Flim Flam Man), and Producer Philip Leacock (Gun-smoke). The prizewinners in the contest's four major categories...

Author: /time Magazine | Title: Trends: The Student Movie Makers | 2/2/1968 | See Source »

Though the resemblance of Madness to Bondomania is otherwise superficial, Director Irvin Kershner savors the joke to excess. The rest of Elliott Baker's screenplay, adapted from his own 1964 novel and filmed with careful fidelity on the seedy side of Manhattan, is a fitfully funny satire based on a portrait of the artist as the natural enemy of all Establishment norms. This voguish half-truth worked well enough in book form, where nearly every character was a well-managed mass of lunatic impulses. In the movie, everyone seems to be racing against the threat of imminent condensation. Director...

Author: /time Magazine | Title: Cinema: Non-Compos Comedy | 7/8/1966 | See Source »

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