Word: screen
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Dates: during 1960-1969
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INADMISSIBLE EVIDENCE. In this transposition of John Osborne's bitterly impassioned play, Nicol Williamson sears the screen as a middle-aged London solicitor who awakes one morning to the frightening realization that he has grown middle-aged and that his life is meaningless...
Seven Minutes to Hack. Harris lined up the target in the luminous cross hairs of his screen, threw two switches that opened the bomb bay and armed the load of 108 bombs. Over the radio, the impersonal voice of a SAC ground controller announced "seven minutes to 'hack' [bomb release point]." The count droned on until at hack, when Harris punched a black button and 30 tons of high explosives cascaded toward the ground more than 30,000 feet below us. There was no shock, no noise, no sight of explosions. Only the impersonal voice of the controller...
...interested in having a romantic interlude on the screen with a white girl," said Sidney Poitier, after having a romantic interlude on the screen with a white girl in Guess Who's Coming to Dinner? "I'd much rather have romantic interludes with Negro girls." So he dreamed up a plot, handed it over to Screen Writer Robert Alan Aurthur, and stepped into the leading role opposite Abbey Lincoln in For Love...
...filmed by Chabrol with the violent surrealism of a nightmare. Competently handling guests at party, Chris suddenly finds himself virtually assaulted by a grotesque woman who knew him as a Riviera stud. Chabrol distorts the sound, the background suddenly jumps from people in the room to a back projected screen of people in the room. The objective reality of the camera has shifted imperceptibly to the subjective perception of an unstable mind. Similarly, Paul, ambiguously scarred by the opening accident, strives to keep a control on himself but loses grip as he suspects himself of two murders...
...scrupulous honesty--a retrospective look at the film resulting not so much in our remembering hints dropped conspicuously in early scenes as places where Chabrol didn't cheat. When Jacqueline the secretary types up the letter of transfor turning Paul's name over to Christine, she is shown in screen-left fore-ground in focus, with Paul and Christine out of focus in the background. Our eyes watch Paul and Christine because we think that they are more important; when we realize later that Jacqueline's seeing the deed provided the motivation for the final killing, we also remember that...