Word: musts
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Dates: during 1960-1969
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...must not be too hard on Much Ado. Just as Shakespeare needed the experience of writing the inferior Love's Labour's Lost before he could produce this middling play, he had to write Much Ado and the similarly middling As You Like It before he was able to follow them up with the miraculous gem he called Twelfth Night. Still, Gill and his charges had me believing for a stretch of two-and-a-half hours that Much Ado is really a good play--and that is no mean achievement...
...constant series of breathtakingly beautiful Renaissance costumes, designed by Jane Greenwood. For the men, the colors run largely to browns, with a healthy admixture of white and black. The women wear very wide farthingales, which are the sources of a good deal of comic business. And one must not overlook Thomas Skelton's helpful lighting...
NEAR THE END of Weekend a woman is chewing on a bone. "It's that pig," an off-screen voice tells her, adding as an afterthought, "with those English tourists mixed in." "The ones from the Rolls-Royce?" she asks. "There must be some of your husband too," the voice answers. She continues eating with no reaction. The word "fin" appears on the screen, enlarged at once to "fin du conte" and then changed to "fin du cinema." The sequence reveals Godard's awareness that in Weekend he destroyed the only cinema he loves--the American narrative ("conte") film...
Bourgeois society, having destroyed their sensibilities, must also be blamed for destroying a cinema whose method and meaning depended on those sensibilities. The violent attacks on the audience through presenting raw events, the meaninglessness of characters' actions, the blatant anti-capitalist propoganda of Weekend do not show Godard committing cinematic suicide. His integration of subject matter and approach demand this treatment. To critics who see Weekend as the end of the line, one must mention Les Carabiniers, a film that uses moral imbeciles in just the same way to attack war. Its events are as senseless and brutal; its plot...
Bullitt's action-suspense plot is to overloaded with references to political authority's abuse and free action's virtue that one must take this, rather than its ostensible police-protection plot, as the film's subject. Steve McQueen plays a detective lieutenant whose chief shields him from an ambitious politician (Robert Vaughan, played for a straight heavy). The script puts McQueen's responsibility for his job in personal terms--his relations to his chief, battles with his own conscience, personal conduct...