Word: scripting
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Dates: during 1960-1969
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...suggestions of a lion's head appear; and shortly some slinky jazz with a perky clarinet over a tonic-dominant ostinato ushers in the Lion (Ted Graeber) with a lioness (Jane Farnol). The two animals perform a semidance pantomime, until the Lion gets rid of his partner. Shaw's script calls for no lioness, but this seems a quite acceptable bit of directorial padding. When alone, the Lion does some pushups, indulges in a few boxing-ring victory gestures, and comically assumes a Charlie Chaplin cross-legged stance...
...second matter involves certain provisions of Shaw's will. Shaw left the largest fortune of any dramatist in history. Having long been vitally interested in language, pronunciation, and script, he specified that most of his estate be used to seek out and promote a more efficient British alphabet of at least 40 letters; and that, when such an alphabet was found, a parallel edition of Androcles and the Lion be published with the traditional and the new, phonetic alphabet on opposite pages...
...resulted from this meeting, watch your TV set.) commercial, with entertainment simply an extension of the sales pitch. The networks become, in effect, just audience-delivery services. It is not that they are influenced by advertisers-they are psyched by them. In a classic episode, Chevrolet once changed the script of a western to read "crossing" instead of "fording" a river...
Impeded by a script that has lines like "It's my funeral; you're just along for the ride," McQueen stops acting and settles for a series of long poses. Dunaway, hired before Bonnie and Clyde was released, is used solely as a clotheshorse out for a long gambol. Giving his film a "now" look and his characters an ironic, detached air, Director Jewison obviously hoped to play his movie cool. But there are several degrees between cool and frigid: a degree of wit, a degree of plot and a degree of that old unbuyable, style. Their absence...
...have, however, seen two mountings of the work since then, and it was a trial to sit through each of them. They led me to conclude that the obstacles to performance posed by this uneven hothouse script were simply insuperable. Now Michael Kahn has proven me wrong. How has he done it? First, by casting aside caution and bardolatry. He has cut the text (and I do miss Costard's use of "honorificabilitudinitatibus," a genuine medieval Latin term, employed by Dante, that for centuries was cited as the longest known word); he has substituted a few words...