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Like Atlantic City. Louis Malle's brilliant expose of dreamers out to make the "big score" in the casino, Lookin' To Get Out takes a low-key, matter-of-fact approach to its subject. Malle used very simple camera angles and clear shots, and never allowed his stars to throw...

Author: By Lewis J. Desimone, | Title: Snake Eyes | 10/18/1982 | See Source »

Much the same might be said about the evening's other surprise winner, Chariots of Fire. Named the year's best picture over such rivals as Warren Beatty's epic Reds and Louis Malle's fascinating Atlantic City, Chariots was also a sentimental favorite, an exhilarating...

Author: /time Magazine | Title: Show Business: Real Gold in On Golden Pond | 4/12/1982 | See Source »

Malle's new film, My Dinner With Andre, seems to turn the same trick, but with a more highbrow audience in mind. For over two hours, two men comment copiously on the human spirit, the state of art and theater, life, death, Nazism, facism, and the '60s. But when dinner...

Author: By Siddhartha Mazumdar, | Title: Food for Thought | 1/22/1982 | See Source »

A car honks its horn at that moment, and as Malle contrives it, it resounds within the restaurant, as if to resolve the evening's dilemma. Wally and Andre cast their parting shots amicably, and with music from the piano, the spell is ended.

Author: By Siddhartha Mazumdar, | Title: Food for Thought | 1/22/1982 | See Source »

THE FILM'S BRIEF EXCURSIONS outside that restaurant show Wally on his way to dinner, and on his way home. In these two scenes, Malle sets My Dinner With Andre against a worldly canvas of commercialism and decay. His opening shot frames a refuse bin piled over with garbage, before...

Author: By Siddhartha Mazumdar, | Title: Food for Thought | 1/22/1982 | See Source »

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