Word: madigans
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...most popular film, Elvira Madigan, Director Widerberg tends to see events in soft focus. His abiding affection for lambent light produces some beautiful images (a deserted wheat field with a long black train seeming almost to slide across it in the distance), but it plays him false just as often, making his film merely pretty where it should be brutal...
BRATTLE Sept. 22-288 1/2 Federico Fellini La Viaccia Mauro Bolognini Sept. 29-Oct. 5 Elvira Madigan Bo Widerberg Morgan Karel Reisz Oct. 6-12 Persona Ingmar Bergman Devil By The Tail Phillippe de Broca Oct. 13-19 The Seven Samurai Akira Kurosawa Oct. 20-26 Boy Nagisa Oshima Weekend Jean Luc Godard CENTRAL SQ. Oct 13-16 The Big Store Marx Brothers A Day at the Circus Oct. 17-19 Ninotchka Greta Garbo Anna Karenina Oct. 20-23 Lolita Peter Sellers The Night of the Iguana Richard Burton Oct. 24-26 Captains Courageous Spencer Tracy Mutiny on the Bounty...
...from $76.1 million to $53.8 million, while pop music, spurred largely by the vitality of rock, soared to $1.1 billion. By and large it is the young who spend all that money. Given the right impetus, they are not necessarily averse to the classics-as proved by what Elvira Madigan did for Mozart's Piano Concerto, K. 467, or 2001: A Space Odyssey did for Strauss's Also Sprach Zarathustra. "If Elvira Madigan made Mozart a relevant experience for the youth generation," asks Munves, "why can't we make it happen for other composers...
Americans must surely have the wrong ideas about Widerberg. Elvira Madigan has been the only one of his six features to receive wide distribution here, and its popularity was for all the wrong, reactionary reasons. (Fragile and Iyrical," the critics said.) The film's nihilistic undercurrents are easy (and desirable) to repress, and all the rest is saccharine and tragic, incredibly cathartic, and sets up pure escapism as an ideal. Widerberg, however, in fact emerged in Sweden of the early '60's as a leader of young directors agitating against escapist cinema, for much needed social analysis...
Director Don Siegel has made some good, lean, tough films in his time (Riot in Cell Block 11, Madigan, Coogan's Bluff), and the violence in Two Mules for Sister Sara is typically visceral. Siegel's talents, however, are weighed down by a heavy script and unwieldy performances by the two stars. Eastwood looks grizzled, stares into the sun and sneers, but anything more demanding seems beyond his grasp. Shirley MacLaine, on the other hand, has considerable range and some charm, both of which have been pretty well blunted by the monotonous consistency of her roles. Things...