Word: losey
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Dates: during 1970-1979
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...sensitive, slow-paced direction of Joseph Losey is well suited to a film that operates more on the level of fear and fantasy than of realistic plot development. The Romantic Englishwoman is extremely well-edited, revealing aspects of the story almost impossible to capture in another medium. In Baden, for example, the gigolo follows the wife from a casino to her hotel. As she reaches the lobby, the telephone is ringing--it is her husband, calling to check up on her for the nth time. She is annoyed, and short with him: "The lift is here. Good-bye." She gets...
...Pamela Losey Totnes, England...
Directed by JOSEPH LOSEY Screenplay by BARBARA BRAY and JOSEPH LOSEY...
Rueful Humor. There is something piquant and warmingly cynical in the spectacle of civilized man rejecting truth, and one of the best things about this production of Bertolt Brecht's Galileo is that it is full of rueful, at times raucous, humor. Joseph Losey (Accident, The Go-Between) staged the American premiere of the play 27 years ago, and for this film adaptation he has pruned some of Brecht's more arid ideological asides without substantially damaging the original text. Somewhat less comfortably, Losey flirts with Brecht's best-known theatrical devices: he uses a chorus...
Strangely, Losey did not apply Copernican tenets to his casting. Galileo, who ought to be the radiant center of this dramatic universe, is so insubstantially summoned up by Topol that he is outshone and outdone by the secondary heavenly bodies. He seems to revolve around them. Topol, who last loped in Fiddler on the Roof, has a sort of toothy ingenuousness that gives Galileo an unfortunate puppy-dog quality. Topol misses the role's strength, both in character and intellect. Most of the actors around him, however, are superb: John Gielgud, Margaret Leighton, Edward Fox, Patrick Magee, John McEnery...