Word: reisz
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...Frederick Reisz Jr., senior pastor of the University Lutheran Church, represented Harvard's United Ministries at the conference in calling for "an examination of the facts concerning handguns." Handguns are responsible for 23,000 deaths each year and their availability "cannot add to our personal or community security," he said...
...when director Kerel Reisz decided to go ahead with the filming of French Lieutenant's Woman, he looked to Pinter for a translation. The challenge for the scriptwriter came in maintaining the mood and contrasts of the Fowles book without clumsily injecting a modern narrator. The choice of Pinter was well-made, for he transforms the book-within-a-book into a film-within-a-film with a minimum of messiness. His screenplay respects the intent of the original novel, whose 20th-century structure of author's conceits and devices framed a haunting story of 19th-century romance and passion...
...Director Reisz and cinematographer Freddie Francis work together to create the two very different settings. Filmed in the seaside town of Lyme Regis, Dorset, the 19th-century backgrounds are impossibly green fields, lush forests, and dark, crashing waves. The music supports the imagery, strings welling up in the background to suit this vivid and strikingly visual interpretation of every Victorian novel ever written. The blacks are black and the whites white in this world of sin and expiation where the characters care deeply about the conventions they transgress. Today's world, in contrast, appears in crisp, colorless light, everything modern...
...caught in a bush. They talk it through once--and then Streep does it, standing up and walking toward Irons. The costume doesn't matter: her eyes tell you that you are now watching Sarah. And just as you see the transformation in Streep from Anna to Sarah, director Reisz cuts from present to past, and the scene becomes the forest of Lyme Regis. Wonderful...
Streep's only rival in the film is its own structure. The Fowles-Pinter-Reisz creation is open film-making, with no secrets from the audience. You know the pattern from the first scene, when the actress crosses the set and becomes the character. The only problem with Pinter's structure is that you're never quite sure whether its form follows its function, or vice-versa. At times the two stories seem to have been contrived just to play off one another. The juxtaposition adds richness, though, if perhaps too few insights aside from biting reminders of our 20th...