Word: scripting
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Dates: during 1950-1959
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...ranks. Starring a little boy whose previous contact with the cinema was the second row of the neighborhood theatre, The Little Fugitive could easily have been nothing more than an elaborate home movie. But a trio of writer-directors have parlayed some crisp ideas with a flimsy script and come up with a very entertaining film...
...objected with equal irritation that half the play could not be heard and the other half could. Brooks Atkinson of the Times described the play as "solemn gibberish." Sing Till Tomorrow was worse than just plain bad: it was fuzzily and pretentiously so, and with acting that matched the script. Involved were a druggist, his second wife and his son, who sinned with the wife and wrote a play attacking the father. "His pitch is a stammer to the far-flung stars" is a fair sample of how the characters addressed one another; and their lives seemed as curiously...
...Moon .Is Blue (TIME, July 6) was denied the code seal because of its lighthearted approach to sex (the script contains such words as "virgin," "pregnant," "seduction," "mistress"). The picture is making a fine profit (see above), despite the fact that 1) local censorship groups have banned it from dozens of theaters around the U.S., and 2) it has been condemned by the Roman Catholic Legion of Decency, a censoring body of greater rigidity than the code and infinitely greater power over the box office...
...picture fails to achieve much originality, it is not because Terry Moore and the octopus don't try, or because Gilbert Roland and Robert Wagner aren't brave enough to meet an occasional shark. The film's real weakness is a script scarcely different from Hollywood's previous deep sea epics. Father Roland and son Wagner, Greek sponge fishermen off the Florida keys, discuss the dangers of their occupation and the terror the diver feels when approaching the reef. As Roland wistfully points out, a man can forget his fear when once dazzled by the beauty...
Double teaming an absurdly delightful script are Cary Grant and Rosalind Russell, both with notorious records for hilarity. Every hundred laughs they let Ralph Bellamy and some other supporting actors edge in to crack a few chortles. But the intrusions are little but hollow bows to the conventions of comedy since the two leads hardly need each other to sustain the humor. This is no routinely funny picture with a comedian flipping clever lines at a straight man. Almost every speech is self contained with a built-in combination set-up and punch line. The effect is marvelous, if exhausting...