Word: plot
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Dates: during 1960-1969
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...into that sort of thing, 100 Riflesproves a swell massacre, teeming with hatred, passion, sex emotion, plot, O God all sorts of things like that. I dimly registered that Gries had shot it well and put it together much better than he had Will Penny, and cheered with a 900 per cent black audience as Jim Brown made passionate love to Raquel Welch. Fernando Lamas, looking almost as good as he did in all those Esther Williams pictures, made a great slimy villain bent on exterminating all those nice Yaqui Indians, and the magnificent Miss Welch doesn...
...little melancholy to see Richard Burton reduced to playing cardboard parts like this one, but he at least manages to look as if he's having a good time. Director Brian G. Hutton apparently realizes that pace, not sense, is the essence of such absurd adventures. Whenever the plot mechanics are about to break down, he blithely blows something...
Every moment of Renoir's La Marseillaise shows the idiosyncracies of the men of the Revolution, the variety of their personalities. From the beginning the plot and the Revolution are advanced by the actions of specific characters. Not only on a script level, but more vitally in Renoir's formal style, so the actions of each man make the Revolution: breathtaking camera tracks sum up their actions into a single forward motion, and the characters are thereby swept into the world of the film, the historical movement that was the French Revolution...
Toni used relatively restrained camera movements, at most slow pans (excepting one frightening tract), to create a world of permanence--the land, into which all the characters' actions flow. This formal method realizes the plot to give the film a feeling of fatality an fixity. The world of La Marseillaise is a world of motion. But the moral structure of the films--Renoir's view of the place of personal feelings and actions in the world--is the same. Both films are created, closed works, the setting of La Marseillaise being as purely evocative (again, one couldn't draw...
...visual style of Rappaccini thus synthesizes personal emotions, personal development, plot, and thematic development into a single drama. It's the perfect way to put Hawthorne's romance into film. This type of romance, designed to describe personal development through emotional (above all, love) experience, requires its characters' sentiments to seem real and strong so that their actions will feel sufficiently motivated. Edelstein establishes the objectivity, indeed the rule, of his characters' emotional experience. Their actions are completely determined by their emotions, and since these emotions form the world of his film, the entire drama proceeds with a chilling inevitability...