Word: staccatoed
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...matter how sluggish they may appear, Pinter's people arrive on stage primed for combat, and words are their weapons. For a Tennessee Williams, language is a rhetorically scented bouquet of roses to be showered on an audience in fond profusion. To Pinter, language is sniper fire: laconic, staccato, precise, designed to cut down the people one hates. He uses two kinds of speech: words that are dead and words that can kill. The dead words are the burnt-toast banalities of daily life: "I've got your corn flakes ready. Here's your...
...beer; Cognac; Coca-Cola; Johannisberg wine, and one Bloody Mary. During one recording session, confides Stockhausen, "every movement that Kontarsky made caused his piano stool to creak on the wooden floor," a difficulty that caused a one-and-a-half-hour delay in the recording of Stockhausen's staccato, rather eerie Music...
Redeeming Facts. Unfortunately, Elliot Arnold, a sometime screen writer (Flight from Ashiya, Broken Arrow), comes close to tarnishing a gallant tale by treating it with shabby slickness. He lays out staccato scenes in simplistic scenarist terms and somehow manages to include every cliche possible-plus a few that are highly improbable...
...long-unawaited debut as a producer, Warren Beatty has searched out the familiar saga of the scruffy, sleazy desperadoes who cut a staccato swath from Iowa to Texas and were ambushed and shot down near Arcadia La., on May 23, 1934. But Producer Beatty and Director Arthur Penn have elected to tell their tale of bullets and blood in a strange and purposeless mingling of fact and claptrap that teeters uneasily on the brink of burlesque. Like Bonnie and Clyde themselves, the film rides off'in all directions and ends up full of holes...
Using sound and images in a staccato, pseudodocumentary style, Watkins conjures up a brutal spectacle of a society blissfully hurtling toward the "fruitful conformity" of a fascist state. And up to a point, his sheer technical bravado almost saves the movie. But ultimately, Privilege is less a picture than a frame. One problem is that Jones, who is a real-life rock-'n'-roll performer but certainly no actor, offers no clue to the charismatic character who could exert such fatal appeal. And Jean Shrimpton, Britain's most celebrated model in the pre-Twiggy days, merely matches...