Word: stageful
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Dates: during 1960-1969
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...with a witty portrait of a political noddy. Lynn, 24, hit the top with a gloriously vulgar clang in a British film called Georgy Girl that left nobody wondering who was the most gifted British comedienne since Kay Kendall. And Vanessa, 30, interrupted an illustrious career on the English stage with two far-out and almost offhand film performances in Morgan! and Blow-Up that suddenly and quite unintentionally projected her before millions of moviegoers as the most potent image of mystery and allure since Greta Garbo made John Gilbert's eyeballs spin like pin wheels...
...Give As to a Lover." Vanessa, on the contrary, seems born to be a great leading lady, the Duse of the coming decade. She has that magic in her that all the great ones have: a sense of mystery and radiance in her presence. When she first appears on stage or screen, the spectator feels his skin begin to prickle. In A Man for All Seasons, she appeared in a single scene and spoke a single line, but the aura of her Anne Boleyn was so enthralling that she got more attention from many critics than most of the featured...
...think about prizes and such. In Manhattan, Lynn gets a thorough workout eight times a week in Black Comedy. Her role calls for some adroit tricks, since the action takes place in a house where the light fuse has blown. To let the audience see what is happening, the stage lights are actually turned on, and the performers have to act as though they are in the dark. Lynn's butter-legged climb up and down the stairs, the way she pours drinks to overflowing, and her well-timed near-misses as she staggers around the room are hilariously engineered...
...Sweden and sees-much as Bruegel once did in Flanders-that the occupants are really having a Hell of a time. Persona, his 27th film, fuses two of Bergman's familiar obsessions: personal loneliness and the particular anguish of contemporary woman. It is the story of a great stage actress (Liv Ullman), suddenly become mute and detached while starring in a production of Electra. She is afflicted with what medieval theologians called accidie-a total indifference to life. Her doctor insists that her inactivity is simply another form of roleplaying, and he sends her packing to a villa...
When the actress writes a letter to the doctor revealing her nurse's past tragedy, the nurse savagely turns on her, implying that she is playing Electra in real life as well as on the stage. The outburst serves as a catharsis that seems to make the nurse well. In the end, she leaves the villa to return to life; the actress, presumably, returns to the stage...