Word: showing
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Dates: during 1960-1969
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This is a key to the whole film. While apparently feeling constrained to show tradition and the recent westernization in close proximity, Marker carefully avoids cutting which would imply an ironic intent. No attempt is made to explain the westernization of Japan, nor is the modern seen as un-Japanese. Like Koumiko and the city, tradition and modernity exist within the same framework, and any effect that the one has upon the other is not readily discernible to the outsider. The outsider can merely present an image, which is nothing more than a concrete memory...
MARRY ME, MARRY ME. This wistful French comedy is the story of the trials of a courtship. Although Claude Berri (The Two of Us) wrote, directed and stars in the film, it is not a one-man show but a commanding display of ensemble acting...
Mariner 6's final photographs did not show any signs of life-but JPL scientists had already warned that even at the spacecraft's relatively close distances, vegetation would be all but unobservable. The two Mariners, moreover, were designed only to determine whether Mars could support life. At week's end, investigators were already mulling over two important observations. Mariner 6 had failed to detect any nitrogen -an ingredient of all earthly life -but it found signs of water in the form of ice in the Martian atmosphere or on the surface...
Kate Reid is the show's weak link as the middle sister Masha (the role originally played by Chekhov's own wife), bored with her marriage to a pedant and fated to be separated from the one man she comes to love. For one thing--and it may be ungallant to say so--Miss Reid can no longer pass for a young woman in her midtwenties. Masha is also the most complicated of the three sisters. Miss Reid has no particular trouble conveying the blunt, even coarse speech of Masha, but she has not sufficiently plumbed the poetic sensitivity that...
...clown in his home town while Dietrich backstage messes with a young actor. The ringmaster steps on stage, but Jannings refuses to come from behind the gauze curtain which partly obscures him. Sternberg cuts to high-angle shots of the rowdy audience, instead of stage-level shots which would show Jannings on the same moral plane, and then as Jannings on the same moral plane, and then as Jannings comes on stage to a terrifying long shot of the stage, rectangle of light, surrounded by the darkened hall and crowd. Despite the weight of this darkness, our attention is riveted...