Word: on-screen
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...actress begins to hunger for juicier roles, she often ends up playing a tart. Sadie Thompson or maybe Nana. Or sometimes Mildred, the strumpet waitress who dishes out the spice and spite in Somerset Maugham's classic autobiographical novel of the torments of young manhood. Bette Davis flashed on-screen as the first movie Mildred, in 1934. Eleanor Parker entered a low bid in 1946. Now, all Mildred's beads, feather boas, and skin-tight finery bedizen the substantial person of Kim Novak. Though the film will give ordinary moviegoers little pleasure, it may well set Bette Davis...
...silly in a barroom brawl and revived by Chianti spilled over his head by a circus floozy. He sleeps in her wagon ("Won't there be talk?"), later stabs her husband, runs away, is seduced by a bareback rider. Where on earth went all of Pat's on-screen morality? "I have stepped out of the groove," he said. "In my first six movies I played myself. From now on I don't care if I play a derelict or a drug addict, just so long as the movie has a worthwhile message...
...another week of disappointment for marital deathwatchers anticipating the Roman springing of Mrs. Fisher, Liz's on-screen Caesar, Rex Harrison, 54, produced cheerier connubial copy. Two and a half years after the death of Third Wife Kay Kendall, he was wed at Genoa's city hall to Welsh Actress Rachel (Satur day Night and Sunday Morning) Roberts, 34, the Baptist minister's daughter who lately has been Rexy's favored traveling companion...
...pieces are socko and incessant. Natalie Wood has the right dark glow as the Latin heroine; Richard Beymer is winsome as the hero, and as a tan teen Tybalt and a nubile Nurse of anything but the usual Shakespearance, George Chakiris and Rita Moreno are strikingly slummy. On-screen as onstage, Stephen Sondheim's lyrics sting like a tongueful of tamales. Leonard Bernstein's music, as usual spinelessly eclectic, fails (as the whole film fails) to merge the moods of sweetness and blight; but it is often swell strutty stuff...
...documentary, first of a prospective series of six to be produced by TIME INC. and ABC-TV, is the work of Producer Robert Drew, 36. a former jet pilot and LIFE correspondent. His technique of candid-camera closeups and of eliminating an on-screen commentator is not new, but he uses it more deliberately and effectively than any TV show has before. Drew employs two-man crews (one man handles camera, one sound, and both also act as reporters and editors) instead of the usual unwieldy task force. Says Drew: "We would not move in with our lights and cameras...