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Just as you're getting the hang of this backing and forthing between two disembodied heads, here comes another jump cut, and a third face looms large on your screen. This one, unlike the other two, looks jowly and weather-beaten and could use a shave. What does this face have to do with the game, if indeed a game is still going on? And then the truth dawns: you are being shown the manager of one of the two teams, sitting presumably in one of the two dugouts. You are, in short, watching the manager watch the field...

Author: /time Magazine | Title: Dueling Head Shots | 8/30/1999 | See Source »

...buck and ahead by any means necessary. Today's typical film is a fairy tale; the '30s pictures played like tabloid journalism--the March of Crime. Gangsters, gold diggers, ruthless businessmen, wage slaves and the not-working class all jumped out of the headlines and onto the screen...

Author: /time Magazine | Title: Cinema: Back to the Dirty '30s | 8/30/1999 | See Source »

...rein in the wild horses of this art-industry, Hollywood in 1930 charged Will Hays, a former Postmaster General, with establishing and enforcing standards for screen stories and behavior. At times the regulators used diplomacy: one official, objecting to gruesome screams in Murders in the Rue Morgue, suggested "reducing the constant loud shrieking to lower moans and an occasional modified shriek." At other times they took the stern approach, telling Howard Hughes he was forbidden to make the gangster film Scarface. The producer's response, in a memo to director Howard Hawks: "Screw the Hays Office. Start the picture...

Author: /time Magazine | Title: Cinema: Back to the Dirty '30s | 8/30/1999 | See Source »

...oops, they have Tingle trussed to her bedposts and, the kids think, in their power. There are maybe six good lines, and many more dramatic chances wasted. Williamson, the writer of Scream and TV's Dawson's Creek, now directing his first movie, needs a crash course in choreographing screen tension...

Author: /time Magazine | Title: Cinema: A Crash Course In Humiliation | 8/30/1999 | See Source »

...this autobiographical monologue, filmed by his longtime lover, filmdom's most thoughtful charmer seduces the viewer as effortlessly as he did his screen partners. The actor, who died in 1996 at 72, recalls his career with eloquence, irony and a gentle wonder. To hear him utter, with a child's reverence, the names Gary Cooper and Clark Gable is to hear a cordial peal of thunder from one Olympic peak to another. "I like people; I love life," he says. "Perhaps that is why life has loved me in return." At three hours-plus, this is the Shoah of movie...

Author: /time Magazine | Title: Cinema: Marcello Mastroianni: I Remember, Yes, I Remember | 8/30/1999 | See Source »

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