Word: screens
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Dates: during 1950-1959
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...print a goodly amount of information. In the long run, [editors] will discover that they cannot compete with TV in the variety field, and therefore that the future lies in the information area. Too many of them have abdicated this function to the news weeklies and to the silver-screen, gold-plated commentators. They had better move quickly to regain their news standing." Other Markel criticisms: ¶ "Talk about freedom of the press and freedom of information is being worn thin. There is too little said about the obligations of the press. Most editors' hackles rise when a reader...
...conclusion, to its philosophic essence. In this case, unfortunately, the essence is a dull epigram. "Love the world," Mann's hero cries, "and the world will love you." The statement expresses the mercantile theory of morals, and Mann's man (Henry Bookholt), faithfully represented on the screen, is intended to embody it. Born in the Rhineland, Felix Krull begins life as the son of a somewhat shady operator who manufactures phony champagne. Deftly dodging the draft with a feigned fit of epilepsy, Felix lights out for Paris to live by his wits. He rehearses them at the border...
Desire Under the Elms was properly furnished with a dark and womblike set, and the spectator could feel himself shut up in the incestuous nightmare at the core of the puritan mentality. But in this picture the atmosphere is dissipated in the irrelevant vastness of the VistaVision screen, and almost all the emotional pressure is lost...
Gamy meat, and O'Neill served it raw. But after a trip through the production grinder, his scenes come out on film looking rather like a row of pretty little veal birds. The stark images of the play are softened on the screen to glossy blowups. The bare New England farmhouse looks like the dream cottage in a rural real-estate prospectus. The actors play in a welter of unrelated styles. But the most important trouble with the picture is that it was ever produced. O'Neill's characters are not people; they are symbols...
...idea, of course, was to give the glamorous Dietrich back to the millions who once adored her on the screen-and who still jampack the nightclubs she plays in. But Director Samuel Taylor has tactlessly insisted that the lady (who now admits to being fiftyish) concentrate on sex, and has largely overlooked the possibilities of her sophisticated comedy talents. The moviegoer, as a result, is sometimes painfully aware that the siren is a bit rusty; yet he is seldom allowed to realize that the belle, even with diminished resonance, still rings...