Word: oneness
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Dates: during 1960-1969
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...those who are accustomed to watching Bill Murphy dive at the LAB, last night's performances, particularly in the one-meter, were a letdown. Springfield's Fred Laing barely beat Dick Eisenberg in the one-meter, and there was almost a bad mishap when the Chiefs' Mark Donnelly failed to get out far enough and came down just to the right of the board...
...LEARNING that The Scarlet Letter, made in 1926 stars Lillian Gish. one begins wondering why it wasn't a project of D.W. Griffith's. The resulting film certainly would have differed radically from the one Victor Seastrom did direct...
...remarkable change of tone and import from Hawthorne's to Seastrom's Scarlet Letter can be traced in the distance between Seastrom's and Griffith's drama. One notices it first in Gish's acting. Her hands, which in Griffith persistently fluttered toward face and breast, are held in more tightly or used actually to grasp people. Seastrom gives their pure emotional energy a real application: Gish's gestures, rather than only expressing her spirit. become actions with physical and specific ends...
...one sequence Gish. as Hester Prynne, pursues Lars Hansen (Arthur Dimmesdale) to and fro in an attempt to make him talk to her. Griffith would have depicted his decision by cutting to their two faces: Seastrom cuts to their feet walking along the country road. The physical aspect of the decision, the characters' actions in their real setting, takes over from Griffith's spiritual. abstract tendency. Yet Seastrom's acting style remains melodramatic. If anything Lars Hansen is cruder than Griffith's heroes: his gestures are slower and broader. Where Griffith would concentrate on the face. Seastrom gives...
Indeed, Seastrom made a remarkably calm film from a rather violent novel. largely by establishing and developing unified situations. The opening sets the scene and its characters in one long track along the village street. moving back as Puritans walk to church. To establish a social milieu Griffith would have cut between different characters. their homes, their personal peculiarities. Seastrom needs only one long shot that shows the Puritan villagers in a characteristic action and place. He uses the setting strongly and gives us masses of people never developed as characters. This leaves the drama far fewer contending moral...