Word: potemkine
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Dates: during 1960-1969
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...glass eye of God, his personal token of hope in the essential goodness of things. He meets an Angel (crestfallen) with grave dark eyes. This lovely girl (Susan Watson) tells the Orphan that she is tired of being a Nobody and wants to be a Somebody. Together they meet Potemkin, a master of ceremonies and revelers, played with winning guile by Keith Charles. Potemkin tells the Orphan that he has read that God is dead, so survival has become his only creed...
...survive, they must all deal with Mr. Rich (Ted Thurston). Old Rich has the classic ailments of age and wealth: he is impotent and bored. On New Year's Eve, Potemkin arranges for a love scene to be played between the Orphan and the Angel with the hope of restoring Rich to youthful virility, after which the old man is supposed to get the girl. Naturally, it does not turn out that...
...knows the inevitability of his future and its consequences earlier than one would think from reading the texts. Welles' camerawork and lighting have never been more extraordinary, or less self-conscious; the spine-chilling battle must, along with the shower sequence in Psycho and the Odessa Steps sequence in Potemkin, be considered a supreme example of classical montage. Welles confounds one's normal sense of scene and over-all geography by employing sets and backgrounds more evocative than specific, more abstract than representative. John Gielgud, as the dying King, gives his best screen performance in this revolutionary film...
...Pike only more so, announced recently from the pulpit of Canterbury Cathedral that he had recently traveled to America and there found that 'every Christian I met' was opposed to the war in Viet Nam-a statement which, if true, suggests that the bishop was given a Potemkin tour of the U.S., visiting only the fever swamps of the Christian left; or, and this is more likely and more charitable, that the bishop does not know a Christian when he sees one, even as, one must conclude on reading his books, he does not recognize Christianity when...
HITCHCOCK: Well, all detail in the literature of the camera applies to most situations. It is how you use the intimacy and detail. In Potemkin, of course, you have the permabulator going down the steps, and the incident is repeated several times at several angles -- you remember that. Well, I think it's a matter of using the language of the camera which is so flexible and free. The beauty of the camera is that you can photograph anything you want and make and comment you want...