Word: movements
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Dates: during 1960-1969
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THERE COULD probably be no more appropriate film with which to close a series entitled "The Crisis in Narrative Cinema" than Robert Bresson's Pickpocket. Bresson's work is highly individualistic, representative of no particular movement in the current cinema, and thus almost alone among current French filmmakers he has not benefitted by the surge of interest in the new-wave in this country. This is particularly unfortunate since Bresson is one of the few truly great living directors, and the unavailability of his films here makes us truly poorer indeed. Pickpocket, made in 1959, represents the very essence...
...WOULD SEEM, then, the Mrs. Lessing leaves little to believe in. And the statement is indeed true when applied to the first five-sixths of the book. However, there is another movement afoot. For a number of years now, a friend of mine--something of a neo-classicist himself--has been adamant in insisting that a New Romanticism is upon us. I've rarely argued the point with him, for one can hardly be unaware of the fact that we (the Now Generation, right?) are entering a new era (the Age of Aquarius, of course) where all we really need...
...whole, it was enjoyable, particularly if one hasn't a very good sense of pitch. The Schumann Piano Trio No. 2 kin F Major, opus 80, opened the program and nearly closed it. Alexander Schneider, Leslie Parnas, and Murray Perahia showed no life, no energy, and no enthusiasm. Each movement was stodgy, and movements two and three positively died at the end. The cellist performed rather well. Unfortunately the violinist was sadly out of tune. The biggest single complaint I would register against the performance was lack of ensemble. Notes must not only be played in sequence linearly...
...violin sound immensely and the two violinists were very competent. Again, however, the piece got off to a slow start. An opening Allegro, thick in texture but still meant to move along easily and swiftly, was too slow. Furthermore the group slowed down perceptibly toward the end of the movement, as much as six to twelve beats a second. Then, as if the Schumann had not sufficiently apprized the audience of a certain weakness in the area of intonation on the part of the first violinist, his opening phrase in the Menuetto was positively horrid. Here I pause to remark...
...There was an evident feeling for the ebb and flow of the beautiful melodies, lines which sing and soar over the often complex texture of this magnificent quintet. The new quality in their playing was the ability to sustain an idea to its conclusion. The "Dumka" section, a long movement, was well controlled, well balanced and one's interest was held to the end. The contrast between the first and second halves was so stunning that the faults of the second are buried...