Word: script
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Dates: during 1970-1979
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...perch on the fire escape/balcony, even a stroll nearer the audience would have been a nice touch. The lighting was properly dim, but the frequent blackouts for scene changes were too stark, too sudden, t.v.-like, often disturbing the sense of a flow of dream images. Finally, Williams' script calls for fiddle music at the beginning and end of the play, framing it in a Southern, story-telling manner but also providing an old-fashioned whine, a tug into the heart of this play and a sorrowful serenade at the finish. There is sometimes a brusqueness to this production that...
...only two previous movies, Bad Company (an antic western with Jeff Bridges) and The Late Show (an eccentric detective story with Art Carney and Lily Tomlin), Benton's career stretches back over a decade. With his longtime writing partner, David Newman, he co-authored the most influential film script of the '60s, Bonnie and Clyde, which, like Kramer, leavened conflict with smart wit. He and Newman also collaborated on such diverse '70s movies as What's Up Doc?and Superman. Benton's crisp pictorial style, which has become more pronounced with each film...
...interest in The French Atlantic Affair is the exuberant fraudulence of its every frame. Locations as far apart as Paris and Taos appear to be in the same time zone. The Festivale, though described as "very chic, very in, very high style," looks like a floating Ramada Inn. The script is a graveyard of unintentional boners. In one particularly cross moment, Savalas snarls, "Am I a fool? Do you think I talk just to hear my head rattle?" In this sweeps extravaganza, such questions are invariably -and giddily- rhetorical...
...production is often strikingly effective, and Paul Monash has written a script that conveys pity without mawkishness. What either he or Director Delbert Mann, who has chosen a flat, documentary style, has not managed to evoke, however, is the passion of Remarque's book or the intensity of that creaky but wonderful 1930 movie. This All Quiet is so dutifully, ploddingly good, indeed, that it might almost be shown...
...school performance follows Brecht's script faithfully, but does not venture into new or experimental theatrical terrain. The result is a bit spare, even stingy. In a major omission, Seoh leaves out the celebratory dance at the end of the play, perhaps because of the limited size of the auditorium. Such a formalistic rendering of the play shortchanges the audience...