Word: narizzano
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...Silvio Narizzano's portrait of Max's attempts to learn them scruffy varmints their educational rudiments is adequate. He might have used color to better effect in portraying the relentless winter nights that settle over the grain fields; or further developed his political commentary, which stops at simplistic socialism...
...these parts--Narizzano's smooth camerawork, Cort's lurching educator, Eggar's rough-hewn farmer's wife, and the dozen kids who make up Max Brown's class--is a satisfying whole, not unlike My Brilliant Career. The settings are different, of course, and the heroine in search of a career is now a hero, but the tone of each film is the same: gritty, vivacious, and indomitable...
...point of the late Joe Orton's play Loot-not the only point, but a prominent one-was outrageous and exhilarating bad taste. Director Silvio Narizzano, no stranger to bad taste himself (Georgy Girl, Blue), changes Orton's cyanide cocktail into a fey demolition derby...
Loot looks like an unlikely hybrid of the Marx Brothers, Agatha Christie and a training film for the Mattachine Society. Narizzano has directed the bad taste in bad taste, clumsily camping it up at every opportunity, blunting Orton's coruscating wit. That this comes through at all is owing less to Narizzano than to the play's admirable resiliency...
...interval in the questioning, Attenborough boasts that it was he who solved the notorious riddle of "the limbless girl killer." "Who'd want to kill a limbless girl?" asks O'Shea sympathetically. "Oh, she wasn't the victim," Attenborough replies. "She was the killer." Not even Narizzano can curdle an exchange like that...