Search Details

Word: soundtrack (lookup in dictionary) (lookup stats)
Dates: during 1960-1969
Sort By: most recent first (reverse)


Usage:

...that a DIRECTOR is in control and is exercising his prerogatives. The cross-cutting (as in Hurry Sundown) makes no concessions to audience logic and proceeds solely on Preminger's sure and personal instincts. And at the end, when Preminger actually Stops the film and his voice on the soundtrack TELLS us that we WANT to see the credits--WOW!! Incredible potency...

Author: NO WRITER ATTRIBUTED | Title: The Ten Best Films of 1968 | 1/14/1969 | See Source »

Negatives--A ponderous and pretentious excursion into illusion-reality land, starring three ugly people, one of whom was much better in "Marat-Sade" and featuring a soundtrack consisting almost entirely of ominous clicking, gratuitous screaming, and much too much crumpling of polyethelyne. This way madness lies. At the CHARLES CINEMA, 195 Cambridge...

Author: NO WRITER ATTRIBUTED | Title: Movies and Plays This Weekend | 12/13/1968 | See Source »

...even though his movies are full of beautiful images, their ideas tend to ride on the soundtrack. Truffaut's Jules and Jim was adapted from a novel, yet its moments of revelation (the morning scenes at the beach-house, for instance) are visual. When Bergman tries to escape the literary--in The Silence, with almost no dialogue--the result is a crude, sometimes ludicrous reliance on symbols...

Author: By David W. Boorstin, | Title: 'The Dove' and the Swede | 12/13/1968 | See Source »

Negatives--A ponderous and pretentious excursion into illusion-reality land, starring three ugly people, one of whom was much better in "Marat-Sade" and featuring a soundtrack consisting almost entirely of ominous clicking, gratuitous' screaming, and much too much crumpling of polyethelyne. This way madness lies. At the CHARLES CINEMA, 195 Cambridge...

Author: NO WRITER ATTRIBUTED | Title: Movies and Plays This Weekend | 12/6/1968 | See Source »

...When the Living Gets Better features a sound track which is positively creative, and need not apologize for being only quasi-synchronized. Songs blip for an ugly instant as Sally primps. Two songs run on top of each other in distinct gibberish as she smiles at her date. The soundtrack is used by Waletzky to tell us what the pictures alone only suggest. Near the end, sound pops into sync with the click of a light-switch, grabbing our attention for the brief, affirmative finale...

Author: By David W. Boorstin, | Title: When the Living Gets Better | 10/24/1968 | See Source »

Previous | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | Next