Word: offscreen
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Dates: during 1980-1989
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...then characters will lose their edges in the diffused light that seeps through the windows like radiation and gives the picture its instant-nostalgia look. Important lines of dialogue will be muffled by heavy footsteps or a piano's plaint. The crucial event of the Robedaux family occurs offscreen, in a narrative caesura between the film's two "acts." Watching this film is like going on a diet: it is probably healthy for you but not very nourishing...
...Gilda Radner, 38, loudmouthed, lantern-jawed comic actress on TV's Saturday Night Live, in films (First Family) and on Broadway (Lunch Hour); and Gene Wilder, 49, cherubic actor whom she met in 1981 on the set of Hanky Panky, where they fell in love both on-and offscreen (real life and reel life diverge in their latest movie together, The Woman in Red, in which he stars and directs and she co-stars as a spurned admirer); in Los Angeles. The marriage, her second, his third, is planned for October in Connecticut...
...seasons on the air. Ann Romano (Bonnie Franklin) said an equally weepy goodbye to family, friends and Indianapolis apartment as she left for a new job in London, bringing to a close nine seasons of One Day at a Time. But the most heartfelt lamentations may be taking place offscreen, in the executive suites at ABC, CBS and NBC. The demise of those two long-running shows is the latest evidence that hard times have hit one of TV's most durable genres, the half-hour situation comedy...
...tracks Griffith's long parabola, Richard Schickel also provides an exhilarating, authoritative account of the early days of film when anything seemed possible on-and offscreen. During the green director's first year, 1908, he cranked out 60 one-reelers in six months, following up with 151 more in 1909. He put in a seven-day week, sunrise to sunset. Along the way, Griffith practically invented the autocratic personality of film director. On the set he tended to treat actors as children, looking down his "fine, cantilevered nose," as Lionel Barrymore put it. He was not above firing...
...five re-released films, screams are at a minimum. Most of the mayhem-the stabbing in The Man Who Knew Too Much, the strangling in Vertigo, the dismembering in Rear Window, the death in The Trouble with Harry-takes place offscreen. Only the gruesome garroting in Rope is shown to the viewer, and that at the film's beginning. But if the viewer's desire for crime is not satisfied, the character's compulsion for punishment is. In Rope, two bright young men kill a classmate, hide his body in a living-room chest, then throw...