Word: scripting
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Dates: during 1960-1969
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...discard, including the absurdity of four seconding speeches even for favorite-son candidates. All the Republican National Committee had really done was to delay the proceedings until prime time and to limit the seconding speeches for candidates to five minutes. The net works found themselves reporting a spectacle whose script they were basically powerless to enliven. As NBC's John Chancellor noted in retrospect: "Conventions were structured and their main patterns made up when people got their information from newspapers. Today we are seeing something that was made for a newspaper age that has survived into...
...have to be introduced to the intricacies of lithography, serigraphy and other techniques. Others have to be guided in making their lettering readable at a glance. Quite a few get carried away with the fun of it all. With a special edition of her 1967 Pittsburgh International poster interweaving script, numbers and a fanciful Mideast landscape, Mary Bauermeister threw in a set of hand-painted wood cutouts. Collectors can glue them on and make it a collage...
Michael Mckean provided a wooden and unconvincing Troilus, at least on opening night, and his youthful monotone, obviously deliberate in many places, grew way out of proportion in scenes when some acting would have been appropriate. Lisa Kelley fared a little better as Cressida, probably because the script requires one hell of a character change whether the actress likes it or not, but she spent most of her time struggling with difficult verse and a very strange costume reminiscent of early Ku Klux Klan...
...implications of the finale are fathomable on a script level, then obscured by the zoom pull-backs that serve as the final shots. Chabrol makes no judgments at the ending and leaves the three in limbo, either to destroy one another or to form a new menage substituting Audran for Christine. The optics of a fast zoom shot are wondrous in that the audience is left with a feeling of simultaneous movement toward action and away from it. At the same time that we move to a higher vantage point with a wider angle of vision, we are jerked away...
...simple moral of all this, and one Chabrol would probably agree with in his humble fashion, is that plot and script content, always captivating, seductively able to sustain our need for entertainment, is limitless in its capacity for excellence yet always a subordinate. The discipline we must cultivate is that of understanding statements of edited images. As in all high art, great film teaches. Even on the lowest level of its excellence, The Champagne Murders teaches us to see better