Word: screen
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Dates: during 1960-1969
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...other hand, by completely failing to realize any of the possibilities suggested by the various scenes, Shalako does propel the mind to tangential daydreaming. I got hung up on how amazingly little screen presence Connery has. A colleague emerged from the picture meditating that someone ought to make a decent picture about mountain-climbers. Another friend who shared this minor unpleasantness with us tried to figure out which part of the USA most resembled the locations in Spain where the film was shot. Yet another surmised, correctly I think, that the reason Shalako is an "outdoor" picture is that...
...says, "gets his news from print." There are no Nielsen families in the Capote crowd, and he doesn't think that there is any such thing as a TV generation. "The general impression seems to be that children nowadays have abandoned print in favor of that small screen. But I think that this is untrue-numerous children of my acquaintance are great readers...
...frustration, hundreds of other fans telephoned the New York City police, tying up its emergency number for more than three hours. In a further display of exquisite timing, NBC belatedly announced the results of the game in two news streamers, one of which chugged across the bottom of the screen just when Heidi's paralytic cousin tried to walk for the first time...
...same thing for anyone who went to the taping of the Crimson's appearance with the Yalie Daily on College Bowl and then watched the program the next day. What flashed by on the television screen was a competitive event in which points and camera exposure were gained by making prescribed responses to specified stimuli. For those in the studio the situation also had an us-against-them tenor, but our opponents were not the so-called Daily News team. The real enemies were the show's producers, the television functionaries who might better be called the Emotion Control Meanies...
...later scenes Ulmer substitutes anticipated melodramatics with long and thoughtful camera journeys through the strange geographies. A guided tour of Poelzig's basement reveals his beautiful victims perfectly preserved in suspended glass coffins; Ulmer's camera explores the photographic potential of the situation: one shot has Poelzig screen left, the girl screen right; another Poelzig reflected in the glass, his face partly superimposed over the girl; a third the corpse, her own reflected image, and Poelzig in background...