Word: scripting
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Dates: during 1960-1969
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Need one continue? I'll admit two minor characters, Mortimer and Henry, do strain one's good will by over-playing, but the fault lies in the script and not in the actors. On the other hand, Steven Flax's set made ingenious use of the library's windows and staircases, and John Hanick's lighting was remarkably creative. On balance, Leverett has mounted a delightful production...
...character are the essence of the play; for they parody the mechanics of melodrama while they suggest often-embarrassing affinities between a figure's old pose and his new one. Of the male leads only Stuart Rubinow displays the emotional range necessary to do justice to the hectic script. His Sir Despard Murgatroyd is first exuberantly wicked as the bad baronet who pays for his sins by contributing to the Church. Several abrupt turns of the plot later and on the right side of the law, he is a flawlessly pompous rate-payer who has spared himself the need...
LIKEWISE, Indian, the better and more serious piece, runs amuck. Arnold has failed to see that Horovitz was not writing just a sharp TV script about the brutal terrorization of a non-English speaking alien lost in New York. Rather, this play is foremost a work about communication. Joey and Murph, the two violent toughs, are as lost as the Indian. They find themselves in a world where their mothers are whores, love has no relevance to them, and nothing makes any sense. They must step on a helpless creature, if only to prove to themselves that they are alive...
Coogan's Bluff--One of Donald Siegel's ("Invasion of the Body Snatchers," "Madigan") finest films, its pleasantly mechanical script completely transcended by the honesty and directness of Siegel's style and a moral concern for the fate of his characters. Clint East-wood is fabulous, and the Siegel stock company (Susan Clark, Don Stroud) again proves a group of Hollywood's most capable new actors. Marred only by an unfortunately pedestrian last 60 seconds. At the ORPHEUM, Washington...
THREE YEARS AGO shooting my first film, a travelogue of Cambridge called Sinister Madonna, I directed the actors from a shooting script, each scene described in detail with the exception of one which read: "Kyle sits down at his desk, removes a single-edge razor blade from a drawer, and carves the word FOOL into his wrist. Cut to... etc., etc." Occasionally during the first months of production Steve Lerner, the lead, would ask me how I intended to fake it. Finally the night before the scheduled filming, I revealed my ace in the hole--namely that we weren...