Word: screens
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Dates: during 1960-1969
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...calls it. A regular DC-9 jetliner can carry 115 passengers; Hefner's will seat 50 and sleep 15-or maybe 16, if there are two in the elliptical bed in Hef's own compartment. The compartment, which also boasts a stereo console, a movie screen and a step-down Roman bath, is reached through a special entrance in the underside of the plane...
...looked like a half-hour reject from the Rowan and Martin memory bank. The host was neither Dan nor Dick but a computer, for the show was supposed to be "a satire on our dehumanized society." It was also intended as a "sensory assault," careening along, sometimes with the screen split four ways, reaching for a dizzying 300 laughs in a half hour. To add to the disorientation, the set was a white plaster cyclorama and the cast wore invisible white booties. It all seemed to come from beautiful downtown nowhere. So did the gags, leaning largely on contraception...
...their wives. Fat old men who tell dirty jokes, bad dirty jokes. Cassavetes is working with a theme that has been sucked dry by better men than he. But Cassavetes is desperate. This is about Faces after all, so he keeps flashing close-ups of faces on the screen, quickly, back and forth. Sure, it is shocking. The same as seeing an oversize knee jerking out at you. Cassavetes has discovered something about film: you can make it look bigger than real life...
Putting Shakespeare on film can be troublesome because the playwright's ringing verbal resonances tend to lose some of their force in a medium that emphasizes sight over sound. Putting a Shakespeare film on television is doubly troublesome, for the small screen reduces the principals to tiny figures who are all but lost in panoramic scenes. Despite the difficulties, England's Royal Shakespeare Company, under Director Peter Hall, has turned A Midsummer Night's Dream into a richly textured color film that comes across as TV at its best. Millions of Americans will have a chance...
Hall emphasized closeups instead of movie-style shots of sweeping vistas and cluttered tableaux, which, though characteristic of Shakespeare on the big screen, are hardly suitable for TV's cramped picture. "A long shot," he explained, "diminishes the power of what is being said." The many full-face shots build an air of intimacy between actor and audience that is especially suitable for the TV screen (though the film was also released in London last week as a feature movie). "For the first time," says Paul Rogers, who plays Bottom in a blustering, John Bullish vein, "a Shakespearean movie...