Word: screens
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Dates: during 1950-1959
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...people who suffer guilt in imagination, he is pathetically innocent in real life. She takes him on a picnic instead. He drinks buttermilk while she drinks vino, shyly confesses that she is the first girl he ever took out. And suddenly, with a luminous sweetness rarely seen on the screen, they are in love, and love transforms them. His sore soul heals like a wound in sunlight, and her shut face bursts open like a merry parasol...
...week's most remarkable production was Kraft TV Theater's live adaptation of Walter Lord's A Night to Remember, the story of the first and last voyage of the Titanic. Producer-Director George Roy Hill's task was to create for the 21-in. screen the illusion of a giant liner foundering in mid-Atlantic, to give the feeling of the surging thousands with scarcely a hundred actors. To do this, he used 40 sets jammed into NBC's Brooklyn studio, making masterful use of his six cameras to combine action and symbolism...
Forbidden Planet (M-G-M). In recent years, though many a Thing has landed on the movie screen, the Space it came from has always, all too obviously, been located between a scriptwriter's ears; and the science in the fiction has generally been of a sophomore sort that gives a loud wolf-whistle at the curvature of the universe. In this nifty interstellar meller, however, the gadgets are so much more glamorous than any girl could be that in many scenes the heroine is technologically unemployed. The special effects should convince any wavering space cadet that...
...they realized their greatest achievement: a civilization without instrumentalities, force without form, spirit without substance. They became, in a word, gods. Or did they? On paper, the answer to this question would seem to nix the picture's intellectual respectability once and for all, but on the screen it makes King Kong look like an organ grinder's monkey, and will probably have the most skeptical scientist in the audience clutching wildly for his atomic pistol...
...requires the taste of a connoisseur and the instincts of a gambler. "Never economize with life," she warns. "It never gives anything back." Carmela suddenly acquires the confidence of her own sexual power and beauty. It shines through to a film director (clearly modeled on Vittorio De Sica) who screen-tests the young beauty at just about the time that the old countess looks up from her deathbed to ask, rather like a child at party's end:"What? Is life over already?" Via Veneto Glitter. Amid the eerie indirections of the countess' mind, Novelist Druon subtly contrasts...