Word: scripting
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Dates: during 1950-1959
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Joseph L. Mankicwicz demonstrated his talents as a director when he picked these actors for the film and molded them into a cast. The script, which he wrote himself, shows that he was equally as skillful as an author. The dialogue does tend to run into long speeches in the early scenes, but that fault is soon balanced by a good many funny--and not inappropriate--scenes. He handled the development of characters well, too. Not until late in the last reel does the audience really know all about...
...comedies are as traditional with television as baggy pants with burlesque. As the granddaddy of the art form, I Love Lucy is back for its fifth year and as dependent as ever on the flawless mugging, caterwauling voice and limitless energy of Lucille Ball. Burns & Allen have changed their script sufficiently to allow a place for their son, Ronny, who supplies an unaccustomed note of sobriety into the antic proceedings; Danny Thomas is still pumping up a smidgeon of wit through 30 minutes of sentimental goo, while Schoolmarm Eve Arden in Our Miss Brooks has switched from public high...
...throw, the Faustling gets himself a fortune, wins the siren, judos her bruiser husband through a window, captures an Oscar, contrives a 1958 Pulitzer Prize script for the playwright. This unearned future honor brings the playwright to his senses; shouting "Excelsior " he first saves young Faust from Hell, then saves himself from Hollywood...
...four-cornered race to film Leo Tolstoy's classic, War and Peace, is over, and the Italian producers, Ponti-de Laurentis (American associate: Paramount), are left with a clear field; Producer Mike Todd has dropped his project, despite a finished script by Playwright Robert E. Sherwood and months of preparatory work put in by Director Fred (High Noon) Zinnemann. (MGM and Producer David O. Selznick quit the race months ago.) The Ponti-de Laurentis movie version of the great Russian novel is being shot in Italy and Yugoslavia, with Audrey Hepburn starring...
...Knife, from first frame to last, arches with tension like a drawn bow. The Odets script, adapted for the screen by James Poe, has been beautifully grained and shaped by two fine craftsmen, and it takes every ounce of strain that Producer-Director Robert Aldrich leans against it. Aldrich gets striking performances from his actors. Jack Palance, a gifted portrayer of brute instinct, is miscast as a man whose problem is the loss of his instincts, but his intensity and sincerity propel the action vigorously even where they confuse its motives. Ida Lupino, as always, is a capable trouper; Shelley...