Word: on-screen
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...least half a dozen times before, and Director George Sherman guided Wayne through a series of two-reel westerns back in the early '30s. The film's producer is the Duke's oldest son, Michael, 36, and the air of reunion is reinforced by the presence on-screen of two other sons, John Ethan, 8, who appears as Jake's grandson, and Patrick Wayne, 31, who plays Jake's son. Patrick, in fact, spends most of his time either getting tossed into mud puddles or decked flat by his father. Freud might have wondered...
...terror. His work with the actors is equally felicitous. Eastwood, working with Siegel for the third time, exudes a cool, threatening sexuality. Elizabeth Hartman is affecting as a young spinster and Geraldine Page provides a haunting portrait of thwarted lust. The young girls are the most remarkable children seen on-screen since Our Mother's House, especially a sultry temptress named Jo Ann Harris and the remarkable Pamelyn Ferdin, who credibly transforms from idolater to avenger...
Naturally, Gould is not so sure and is already worrying about the part, which he will begin filming later this month in Sweden. One of his greatest fears is that he may be asked to make love to the leading lady on-screen in the buff. Bob Kaufman, who wrote the screenplays for Getting Straight and / Love My Wife, is currently getting a kick out of teasing his friend about working with Bergman. "When he's on the set, Gould thinks every director is Fellini. When the picture is finished, he's already David Lean. But by the time...
...risk now facing Gould is getting into reruns before his prime time is used up. In Getting Straight, when his jaw flew open in astonishment and water cascaded down his chin during the Master of Arts oral exam, the bit was both funny and surprising. But when he appeared on-screen in Move just a couple of months later doing the same thing again, it became self-parody. The theme of I Love My Wife concerns the oft-plumbed conflict between professional success and contemporary marriage; Little Murders deals with urban man's inhumanity to urban...
Those familiar with Chaplin only through fragments will discover in The Circus an architectural discipline. Chaplin would spend minutes on-screen setting up a single gag or pratfall, and even longer giving his comedy the true roots of pathos. At the finale, Charlie has caused the owner to stop abusing his stepdaughter, but at a terrible price: the tramp has stepped aside so that the girl can marry a tightrope walker in a claw-hammer coat. Charlie watches the circus wagons wheel off, then once more turns and waddles away...