Word: losey
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Dates: during 1970-1979
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...about cornered the market on dissident Communists," says Actor Richard Burton. Having just finished playing Yugoslavia's Marshal Tito (TIME, Oct. 18), he is now Stalin's mortal enemy, Leon Trotsky, in The Assassination of Trotsky, being filmed in Rome by U.S. Director Joseph Losey. Elizabeth Taylor anxiously monitored the scene in which the murderer, played by French Actor Alain Delon, sneaks up behind Trotsky with an Alpine ice ax hidden under his coat. Delon claimed to be so wrapped up in his role that he was afraid he might actually kill Burton. "There are plenty of French...
...important tone and point-of-view of this late-Victorian period piece is thus economically set. Losey and Pinter are concerned with the social pressures afflicting Leo, and how his use of emotive and imaginative outlets for escape ultimately cripple...
...Between is also marked by Losey's fine sense of architecture and design (assisted here enormously by Carmen Dillon's art direction). Leo's venture with Marion into the city of Norfolk is splendidly observed: the pair enters narrow streets which criss-cross and flow with a sedate citizenry; Leo entertains himself in a spired cathedral whose height lets his feelings soar, unlike the staircase-bounded hall of Maudsley...
...story is sound, and there are times when its potential is stunningly achieved. Director Losey uses the Maudsleys' listlessness and frozen states-of-mind against themselves, and he is equally skillful at portraying Burgess's directness without overstating it. He is able in a single sequence to crystallize all plot conflicts: Burgess swims in the Hall pond as several Maudsleys arrive for a bathing party, with Leo along to watch. (Though he has a bathing suit, his mother warned him not to swim, lest he catch cold). The Maudsleys must patronize Burgess, one of their valuable tenants...
...more extravagant than The Go-Between, and it unashamedly exploited the use of subjective interludes within its plot structure. But it was not a whit less edifying for that. Reed was simply unafraid of responding heartfully to a tale that cried out for it--unlike the more virtuosic Messrs, Losey and Pinter...