Search Details

Word: sounding (lookup in dictionary) (lookup stats)
Dates: during 1960-1969
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Usage:

Stroheim's only sound film, Walking Down Broadway, was ripped apart by Fox, small pieces of it used in a later film entitled Hello Sister, also missing apparently. Similarly, Chaplin hired Josef von Sternberg (The Blue Angel) to direct a film, The Sea-Gull, which Chaplin took home with him upon completion and never released. Chaplin never gave a reason for his capricious suppression of the film, and its existence now is doubtful...

Author: By Tim Hunter, | Title: The Establishment of a Film Archive: Search for the Lost Films | 3/26/1968 | See Source »

...those twisting, pumping layups that only All Americans are capable of making, but he was called for charging. Harvard got the ball and the momentum. The Crimson opened up a 78-60 advantage, before both coaches cleared their benches. The final score--88 to 82--made the game sound close. It wasn...

Author: By Andrew Jamison, | Title: The History Of Harvard Sports | 3/26/1968 | See Source »

...doing. Self-consciously they sip drinks and smoke cigarettes, all the while commenting obliquely on thunderstorms and ghosts, and on such standbys as truth and illusion. Every so often a long-winded narrator, sort of a supernatural Walt Disney, interrupts to fill those details too difficult to dramatize. Sound and light effects also butt in from time to time, but they prove merely idle threats of impending excitement. We get only ambiguity for suspense, a tape recorder for horror...

Author: By Frank RICH Jr., | Title: The Invention of Morel | 3/25/1968 | See Source »

Most of the actors attempted to compensate for their unpleasant situation with a spookiness that gives them the air of Charles Addams characters wired for sound. David Rome, as Morel, brings in a touch of Bela Lugosi as well, only to find out he is in the wrong play...

Author: By Frank RICH Jr., | Title: The Invention of Morel | 3/25/1968 | See Source »

...diverse elements of Babe's production clash worst in the play's first third--rendered almost entirely inaudible by poor sound on the film track and Michael Tschudin's silly music which underscores dialogue with all the precision of a dead organist slumped over his keyboard. But Babe's crowded battles, rendered more evocative than specific by bouncing light off shiny armour are, when best executed by Coriolanus's decidedly unconfident extras, unnervingly realistic and indicative of Babe's proclivity toward cinematic stage effect...

Author: By Tim Hunter, | Title: Coriolanus | 3/22/1968 | See Source »

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