Word: martinisms
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Dates: during 1970-1979
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...destroyed any illusions I might have entertained about artistic integrity. But the opposite situation--watching a former TV sit-com starlet metamorphose into a first-rate actress--amazed me. Expecting "Gidget Goes to Harlan County," I was surprised, impressed and moved by Sally (Flying Nun) Field's performance in Martin Ritt's new film, Norma Rae. She delivers a powerful shaded performance as Southern woman who slowly learns to value herself. Playing a sassy, kicked-around mill worker, Field brings an almost autobiographical intensity to the role. Her aging starlet cuteness suddenly works--like Field herself, Norma...
...modern interpretations, and sticks to none. Raymond Sepe plays Alfred--the Italian tenor who can't control the urge to break forth in snatches of every showpiece aria in the book--like a disco cruiser hoping to score; William Walton at one point debases Eisenstein to use Steve Martin's "wild and crazy guy" line; and Mary Ann Martini gives Prince Orlofsky a German-accented sadism that's hard to take along with Strauss's froth...
Supreme Court Conference--Kenneth Clark, Thomas Atkins, Martin Kilson, Robert Segal, Myron Farber, and Robert Bonin; ARCO forum, Kennedy School of Government...
...irresistibly infectious, though, even when played with frazzled spirits, as at Lowell. But aside from the dance music, J. Scott Brumit's direction denies Fledermaus's Viennese essence and replaces it with nothing--leaving the actors with a clashing variety of interpretations, including '70s disco, '30s Nazi and Steve Martin...
...response is to wonder why it took so long for the film makers to reach this big scene. It is the same with other sequences: company goons on the attack, the death of Norma Rae's father from overwork. There is an awful familiarity here and in Martin Ritt's conventional staging. The angles and editing are those of 30 years ago, and they seem less a reversion to classicism than a confession of creative failure...