Word: scripted
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Dates: during 1950-1959
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Director Truffaut, who also wrote the script with Marcel Moussy, tells a story that derives from his own childhood experiences in a reform school. His hero is a French schoolboy (Jean-Pierre Léaud), about twelve years old, who lives with his mother and father in a Paris tenement. Actually, the boy's father is just a man his mother married when she found herself pregnant-a nice, easygoing nobody who brings home a steady salary and doesn't ask too many questions. The mother herself is no better than she should be: a pretty, shallow blonde...
...experienced a transfiguration in which the heroic drunk and the dissolving genius were transformed and redeemed in a last great love. The notion is so silly that not even the moviemakers could convince themselves it was true. Scarcely a line in Sy (The Big Country) Bartlett's script rings true, and some of them are almost ridiculously false. ("How did a girl as pretty as you get to be the biggest witch in Hollywood?" a famous actress shrieks at Sheilah. "Only the second biggest," Sheilah purrs back, looking as if she has just said something brilliant.) And scarcely...
...friendliness, love, and sorrow that is the film's best quality. It is interesting to note, too, that they are a most ordinary looking lot, as the most complex individuals. But here, the actors make an effort to keep their characterizations on the proletarian level called for in the script. One believes that Valentina Telegina (who looks, incidentally, like a peasant mother symbol) is an uncomplicated woman devoted to her family and not bothered by the "greater things" taking place around...
...failures. The movie hero is pretty much an overgrown boy scout who never experiences the moral struggles that beset the hero of the book. Then, too, the story sometimes lags-not, oddly enough, because it is too long but because it is too short. For the final script, M-G-M eliminated an entire subplot that gives the middle of the story its shape and suspense. But the religious theme is handled with rare restraint and good taste. The face of Christ is never fully revealed. The Sermon on the Mount, The Trial. The Ascent of Calvary and The Crucifixion...
...script, written by Karl Tunberg, and touched up by S. N. Behrman, Gore Vidal and Christopher Fry, is well ordered, and its lines sometimes sing with good rhetoric and quiet poetry. The actors, for the most part, play in the grand manner, but with controlled firmness. Actor Boyd carries off the prize with a virile portrayal of Messala, and Hugh...