Word: scripted
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Dates: during 1950-1959
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...survival and for his unit, asks no questions and gets no answers. Brave, natural, extraverted, he probably exemplifies what was best in the U.S. fighting man of World War II just as Brando speaks for what was best in the German soldier. As a matter of fact, the script is rather too strongly inclined to see the best in people and events. The war clouds are dark indeed, but somehow they usually turn out to have a silver lining. And toward the end the whole film goes gargling noisily down the vulgar drain of propaganda...
...plot of Carnival is probably the best one script-writers B. Laskin and V. Polvakov ever turned in. Ogurtsov (Igor Ilyinsky) is boss man at the House of Culture. The youngsters there are planning to throw a bread-and-circus type New Year's Eve Party, but Ogurtsov wants culture: lecturers, string quartets, and the rest. Students conspire. Ogurtsov is defeated and everybody has a great time. It's wonderful stuff...
...hisses in the hundred distortions of the story. To begin with, the young man of the "broad, flat face [with] eyes the color of stagnant water" has been transformed by Hollywood into a dreamy-looking cinemactor named Paul Newman-but Newman's performance as Ben Quick, before the script blunts it, is as mean and keen as a cackle-edge scythe. And Eula Varner, she of the "kaleidoscopic convolution of mammalian ellipses," is divided into two slender young beauties named Lee Remick and Joanne Woodward-but Woodward plays her part with a fire and grace not often seen...
...came apart." So in the end it's brother against brother, but as they say down Texas way, "Yew kin saddle the wind, but yew cain't ride it." Taking the bitter with the better, Saddle the Wind is a pretty good western. Rod Serling's script is intelligible, and Actor Taylor has acted in enough horse operas to appear at ease on a horse...
...important fault: it plays its satire too safe. But the script, by Rip Van Ronkel, is written with a nice sense of pace. The camera, moreover, is wittily used. The long, slow start in which the husband and wife go through the motions of getting ready for work is a piece of slickly observed americana. The acting is sound, too, even in the side parts. Best of all is the work of Director José Ferrer, who has even managed to coax a graceful, flexible performance out of wooden-faced Leading Man José Ferrer...