Word: screens
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Dates: during 1960-1969
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...GUNFIGHTER, by Joseph G. Rosa. A balanced, wide-screen view of the often unbalanced men who infested the Wild West...
Even Ford's most tragic films (How Green Was My Valley, The Searchers (1956), 7 Women (1966)) are filled with Ford's characteristic singing, folk dancing, and comedy scenes which, as long as they occupy the screen, capture attention to the point of making us forget about the basic story. Ford knows the attentions and moods of people change easily--that purpose can (even must) be put aside for brief periods of time in favor of diversion. Incorporating this, his films inherently have a dimension of staggering realism. But Ford is no realist, and that dimension is infused into...
...fact eroticism in art derives as much from what is suggested as what is shown--those of us old enough to appreciate eroticism have already found out by hook and crook what everything looks like and don't need very much of it unbared on the screen to heighten the impact...
...watch Jim Brown. The rest of the film is so awful that it makes an average TV series look like Citizen Kane. Brown, who has taken more punishment from his movie roles than he ever did on the gridiron, continues to give promise of becoming a commanding screen personality. All he seems to need is practice, and that is just about all that Kenner gives...
...written to the officer by a woman. The husband asks him if it comes from his wife; on the officer's insolent reply, be attacks him. The entire scene atop the peak, like the preceding climbing scenes, has the characters standing on rock against an entirely white horizon. The screen has been stripped down to the men and their material surroundings; rooted on the rock, they snarl at each other as light pours down on them. The reduced situation prepares for a direct conflict between them, but at the same time puts them in a more obvious relation to their...