Word: screens
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Dates: during 1960-1969
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...COUPLE. Neil Simon's Broadway comedy of an alimony-poor sportswriter (Walter Matthau) and his fussy, divorce-bound buddy (Jack Lemmon) is transformed to the screen virtually unchanged. Actor Matthau more than makes up for the static mise en scene with his comic genius...
Salute to the Tube. To learn how to avoid Viet Cong booby traps and needle-pointed poisoned bamboo punji stakes, infantrymen will be shown eight hours of video tapes on Viet Nam. In a lesson on military courtesv, recruits watch a televised salute and then salute the screen while they are checked by their own sergeant. Altogether, the Army has assembled more than 2,000 TV tapes on such wide-ranging subjects as how to bandage wounds, drive correctly and repair radios. Unlike old training films, which cost three times the $500 budgeted to crank out a minute of televised...
...third act (following the single intermission) did pick up a bit, and with it the laughs. This may indicate hope for the future (such as Thursday or Friday night); the play has been a proven quantity off-Broadway and on the screen...
...Neil Simon comedy that lit up Broadway for more than two years shines again in this flawed but still funny screen adaptation. Heading for divorce, Felix Ungar (Jack Lemmon) is a casualty of the war between the sexes. The same calamity befell his old pal Oscar, an alimony-poor sportswriter with a rambling eight-room flat on Manhattan's Riverside Drive. Out of pity and penury, he invites Felix to share his lair. At this point Simon pulls the switch that brightens the screen: the partnership becomes a parody of a failing marriage. Oscar is the kind of host...
...Orson Welles wrote and illustrated a volume entitled Everybody's Shakespeare. That title, for all its overtones of Lambist heresy, may still indicate something about what is going on in Falstaff (Chimes at Midnight), the latest and finest of the director's screen adaptations of Shakespearean texts. For Welles, the problem of license versus faithfulness does not exist as such. His Shakespeare films are informed by a single overriding concern: to make the text, both the words and the visual images implicit in them, wholly and completely his own, and thereby to make them ours...