Word: statics
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Dates: during 1960-1969
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...patron. The Battle of Shrewsbury is simply the finest, truest, ugliest war footage ever shot and edited for a dramatic movie. Welles fills Falstaff with motifs to create visual unities: the vast castle wall which dominates shot after shot; the oppressive vacuity of Spanish winter; the rhythmic alternation of static shooting and frenetic camera movement, the visual equivalent of the dramatic-thematic alternation of age and youth. These moments, sequences, unities and transitions are the true substance of film, and it is out of them, more than the familiar words, that Welles's reading is constructed...
...forthcoming, however, from most of the works. "La Petite Fille Qui Voulet Entrer a Carmel" is a large collection of plates from a novel by Ernst, which, though they contain strange conglomerations of figures pasted together, and remind us of the association between surealist art and literature, are strangely static and uninteresting as they hang, a quality which unfortunately repeats itself throughout the show. This is partially due to the limited nature of the exhibit--that it is mainly pencil and photoengraving on paper and therefore not so powerful or organically real as much work in oil. Hanging many...
...spontaneity that is the crux of the joke. Most of what does arouse the audience comes from the drooping mouth of W. Bruce Johnson, who looks like a young Walter Matthau and acts with a delicate understatement that generally works. But he alone cannot overcome the director's static imagination...
...best defined by shots where the boy alters the light conditions of a room by playing meditatively with the settings on a three-way bulb. Herba makes difficult things look easy; Stranger, for its effortless appearance, is remarkably stylized, proving an entirely successful blend of hand-held and static movement, zoom and fixed-focal-length photography, day-and-night and interior-and-exterior footage--a true synthesis which creates a film reality...
...unorthodox noises from the pit: no violins, huge phalanxes of wind instruments, four banjos, and no fewer than 42 percussion pieces-not including the four pianos, whose keyboards were smashed by forearms and whose strings were struck with cymbals and strummed with fingernails. And the score-simple, severe and static-was the furthest extension yet of Orff's belief that music should be set to words, not the other way around...