Word: superbeings
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Dates: during 1960-1969
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Both Herba and Coonradt have avoided the central pitfall of director's cinema, that of self-indulgence. Lady Jane, while maintaining a tenuous balance between two realities, one conventional and one dreamlike, remains always rigorously disciplined with careful attention paid to continuity and (truly superb) rhythm in its editing. Coonradt instantly establishes the premise, Jane's struggle to maintain a diffuse personality against her singularly insensitive room-mate and the other girls in her dorm, with an opening shot of Jane outside which surprisingly pulls back to reveal the other girls inside. Equally powerful in its economy is Jane...
...above seems a roundabout way to open a discussion of an eleven-million dollar Cinerama spectacular, it can only be said that Kubrick's film is as personal as it is expensive, and as ambitious an attempt at metaphysical philosophy as it is at creating a superb science-fiction genre film. Consequently, 2001 is probable commercial poison. A sure-fire audience baffler guaranteed to empty any theatre of ten per cent of its audience, 2001 is even now being re-edited by Kubrick to shorten the 165 minute length by 15-odd minutes. 2001, as it is being shown...
...Kubrick's superb film has a problem, it may simply be that great philosophical-metaphysical films about human progress and man's relationship to the cosmos have one strike against them when they attempt to be literally just that. Rossellini's radiant religious films or Bresson's meditative ascetiscism ultimately say far more, I think, than Kubrick's far-more-ambitious attempt at synthesizing genre and meaning...
...carried 20 times for 173 yards. Gatto gained 102 in 19 tries. And the defense was superb. By winning this game Harvard seemed to have wrapped up the Ivy title. Yet later in the season Princeton upset Harvard, and we had to settle for a three-way tie for the Ivy crown...
...scene between Aufidius and his Lieutenant. Babe plays only half the scene on stage, the second half on the film soundtrack: the stage blacks-out and we watch Coriolanus of film, still listening to Aufidius talk about him. Alfred Guzetti's camerawork on these clips is, in context, superb. Following the Peter Brook style of the film of Marat/Sade, Guzetti aims into lights, moves into faces, and exploits claustrophobia, creating a handsome chaos which supports Babe's pacing and the pervasive feeling of tension...