Word: screening
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Dates: during 1970-1979
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Redgrave is on the screen less frequently than Fonda but her appearances are memorable. She sensitively captures Julia's evolution from a headstrong stylish socialist to a committed antifascist who sacrifices her life not on impulse but after careful consideration. Hellman's character is relatively more static, and when she risks her life by smuggling funds for Julia's group into Germany-- Hellman is Jewish--we are never sure whether she is acting out of political commitment, love for Julia, or simply because she was afraid to display cowardice by refusing her friend's plea. In fact, if the details...
...opera Tommy should have taught him that the formula does not necessarily work. A bomb is a bomb is a bomb, and all of Daltrey's striking looks and blonde curls could not hide the truth. Had Daltrey proven to be as great a drawing power on the silver screen as he had been on the concert stage, Russell could have at least consoled himself by thumbing through the box office receipts while he burned the critics' pans. Although Tommy did enjoy some limited early commercial success. American moviegoers did not exactly shower the film with their dollars, much less...
Nureyev's supporting cast does little to help pick up the slack. Making a comeback on the screen for the first time since the days of An American in Paris, Leslie Caron plays a middle-aged Russian star on the decline, who dreams of sharing top billing with the new sensation of Hollywood. Her performance betrays the length of her absence from movies; in a role that calls for an eccentric sort, Caron fails to discriminate between the passionate and the hammy. Her performance deteriorates into a caricature of The Beautiful People of that period. Michelle Phillips passes...
...moment in the spotlight, but Nureyev's Valention remains a distant figure, a romantic anachronism bursting forth with panache and charisma and little else. Russell seems to persist in the belief that audiences enjoy having their senses assaulted and will consider it entertainment; grotesques and caricatures dot the screen in Valentino, evoking some of Fellini's lesser films. The ambience of the Twenties is effectively recaptured by the film, but Valentino never gets around to addressing the ethos that prevailed in the America of that fabled epoch. And judging by this performance, Michelle Phillips would do well...
...Center Screen. Two documentaries on the environmental sculptor Christo, "Christo's Valley Curtain" and "Running Fence," at the Capenter Center, Friday through Saturday...