Word: likeness
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Dates: during 1950-1959
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...behind the footlights, Anne Bancroft is always the serious, controlled artist, whose features can change from tenderness to humor to ferocity to sultriness with astonishing ease and conviction. Says her sometime acting coach, Herbert Berghof: "She is like a little daughter of Anna Magnani." In Miracle Worker, she is completely in charge of an extraordinarily demanding role, a role that requires of the actress what it required of Annie Sullivan in real life: the sensitivity of a poet and the strength of a piano mover. It is a role that is doubly difficult because it demands a violation...
...last, Anna Maria Louise Italiano chose the Hollywood name, Anne Bancroft, from a list handed out by Darryl Zanuck; it was the only name, she thought, that "did not sound like I should look like Lana Turner." Hollywood historians remember her first movie, Don't Bother to Knock, chiefly because it was the first big role for a future star named Marilyn Monroe. Anne Bancroft was just an added starter...
...little girl and the grown woman seemed to recognize each other at once. Like Anne's, Patty Duke's childhood belonged to the streets of New York. Her father (a taxi driver) and her mother (a checker at Schrafft's) were separated; before Patty got her first TV roles, the family teetered on the edge of poverty. In Miracle Worker, it was Anne to whom Patty looked for approval; it was Anne who became her particular pal. Soon, says Arthur Penn, "Patty and Anne were carrying on conversations in the manual alphabet behind our backs, cracking jokes...
...Abner (Paramount), the Hollywood version of the Broadway version of Al Capp's comic strip, is a great big overblown pink-walled synthetic two-time reCapp. Like all Capp, it is Rabelais for the retarded, but it will probably carry an impressive bundle to the bank...
...years ago in Red China by Italy's globetrotting Count Leonardo Bonzi (Green Magic, Lost Continent). At times the DeLuxe color photography by Pierludovico Pavoni and Alesandro d'Eva is magnificent. (Best scene: a mistily magical sequence in which the fishermen of the Kwei valley, winged like big birds in their bright wet coats of bark, glide out upon the morning waters on their slender rafts and dance them on the current to attract the fish.) But the film as a whole has no shape, makes only a cursory attempt to describe the vast revolution that lies before...