Word: scripting
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Dates: during 1950-1959
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Unfortunately, she is about par for a blustery course. Robert Newton, as the law officer, and Emlyn Williams, a pirate, can do little more to support a disjointed script sagging mainly from the over-productive imagination of authoress Daphne du Maurier. Both the screen play and the acting proceed at a hurricane pitch, which makes Jamaica Inn seem considerably older than its tender fifteen years...
...about six and a half minutes, The Tender Trap is a comedy. The play runs considerably over two hours. And this ratio makes one wonder if the standard Boston remedy of pruning the script will be quite enough. After a thorough job, the director would be left with but one scene and a few scattered chuckles, intermittent moments when The Tender Trap thrusts through the cultivated banality which marks 23/24s...
...than the dress rehearsal, but it was nonetheless disappointing-a clear warning of some of the tremendous problems ahead in a season loaded with adapted drama. Adapter Sanford Barnett, prohibited by space and time limitations from imitating the far-ranging freedom of movie cameras, had to cut the film script down to a sentimental skeleton. The original film had been aimed at the handkerchief trade; on TV the tear jerking scenes came as fast as in any soap opera. To compensate for his lack of mobility, Director Kulik borrowed heavily from Hollywood's sob expert, Ralph Edwards (This...
...story of Harry and Davy has been made into a surpassing movie, The Little Kidnappers (J. Arthur Rank; United Artists), directed by Philip Leacock and written by Novelist Neil Paterson (Man on the Tightrope), whose script is a fable as deep-going and sweet-running as any on the children's shelf. The innocence of the children. Jon Whiteley as Harry and Vincent Winter as Davy, pierces the heart like a spring morning, and Duncan Macrae and Jean Anderson are fearfully true to life as the boys' Scottish Calvinist grandparents. The photography, by Eric Cross, fills the background...
Gina has the iron will of the true star personality. She is up at 5 every morning, works hard until 6 in the evening, studies her part or reads scripts for an hour before bed at 10. She neither smokes nor drinks, never takes a real vacation (studio technicians for Beat the Devil called her "Lollofrigida"). On the set, says Director Vittorio De Sica, "Gina is really brava." She memorizes the whole script in advance, not just a scene at a time, as the shooting schedule calls for it. She is always on time, always "reacts immediately to advice," says...