Word: scripting
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Dates: during 1950-1959
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...blossom in a matter of minutes. They have seen the human heart in action, been whisked through the ages of history. To make one film on hearing, the E.B.F. staff worked 18 months, used the ears of three corpses to show the ear's inner workings. Each script gets a thorough examination by experts, but it is primarily up to producer and photographer to present the facts with imagination...
...this everybody-has-a-story approach to all the characters. The life histories and present predicaments of each minor character intrude on the main action too much and tend to distract attention from the principals. You leave the theater confused by incidental episodes and uncertain about the director and script writer's purpose. If their purpose was to make a movie exactly life-like by packing it with interesting but irrelevant happenings, they have come dangerously close to succeding. Perhaps the greatest criticism of all cinematographic realists is that they are not selective enough in their presentation of realistic events...
There is nothing like a man in the secluded French girls' school depicted in Pit of Loneliness. Depravity and tense moments with Simone Simon at the Brattle. Script by Colete...
...playing between acts, the music even made the commercials fairly tolerable. But it was no cure for Oscar Hammerstein II's script, which kept shifting uneasily between the sentimental and the sophisticated, and making each seem lamer than the other. The modern approach produced a down-to-earth skeptic of a Godmother (Edith Adams) with sequined eyelids and, for a magic wand, a drum major's baton. The attempt at innocent fairy-tale enchantment was sometimes harder to take: one interminable lovers' dialogue consisted of stilted inanities that sounded like a whole musicom-edy's worth...
...piracy suit by the Nassour brothers, independent film producers, who charged that The Brave One was lifted from a story they have been animating for the last four years. Nassour's screenplay was done by Paul Rader, 33, now a Boston television producer, who adapted a script written by Willis O'Brien, the Hollywood special-effects man who put the chill into oldtime movies, e.g., King Kong. After the Oscar-awarding show, Rader got a wooden Oscar from his co-workers bearing the inscription: "To Paul Rader, for the best story borrowed in 1956." Said Rader...