Word: partings
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Dates: during 1960-1969
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...teeth into. In a way, he said, it made sense. Next to high school football, the war was all we had to talk about. I was surprised at how healthy he seemed, and how little effected he seemed by the holocaust in which he had been a living part. No deeply anguished eyes. No haunted expressions. No nothing. He had accepted it and I haven't. So essentially, it was war adventures that kept my wife waiting. Waiting placidly...
This discussion and similar ones in East House and North House were part of Radcliffe Junior Parents' Weekend...
...work, marriage, estrangement, friendship, death--all the processes of their lives. The setting is strongly established in the first shots (in a train); and its importance, in the characters' conversations and in the shooting style, is maintained throughout. In outdoor scenes the characters are integrated into the landscape, made part of the natural pattern. These shots of the land have a geometrical quality of which the figures are only one element...
...cutting inside to show the people involved; a house wherein a shooting has just occurred is introduced by a track into the front door. This prominence that Renoir gives to the land--both dramatically (opening and closing scenes with shots of the land) and visually (making human figures a part of the total land-patten)--establishes the land as constant through his characters' changes, the factor determining their actions...
THERE ARE in fact two basic sorts of shots in the film. The first, described above, shows the land alone or with figures integrated into it, part of its order. The second is a close shot of one or more people, showing little more than their faces. The dramatic function of the long shots is to show people carrying out these close-shot decisions. Given he strength and singleness of their human passions, the long shots have a quality of fatality. This quality accounts for the film's feeling of determinism, of lack of choice, as the drama proceeds...