Word: technicolored
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Dates: during 1970-1979
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...doesn't try to obfuscate the dialogue, and relies squarely on his camera only in climactic moments. Since the film is an epic, there are many of them: gruesome treks, battle scenes and fatal individual combats. There is little of the David Lean-William Wyler pretension strangling itself in technicolor and wallowing in bathos...
...Indians any the better for it all? Isn't Soldier Blue equally as racist as any other two-bit Western we've ever seen? Does the blood make any difference? Does Ralph Nelson express any concern or feeling for the bodies his soldiers mutilate in such glorious, wide-screen technicolor...
...while wielding political influence in the Senate? Baker thinks not. "I didn't try to sell my influence. None of my businesses had any contracts with the Government. Lyndon Johnson was in radio and television. Bob Kerr was in gas and oil. George Murphy was drawing money from Technicolor, Inc. Why couldn't I get into business? I wanted to be comfortable. I wanted every one of my five kids to be able to get an education. I wanted them to have some of the better things in life...
Tunney belabored Murphy mercilessly on his income from Technicolor, and repeatedly attacked the Senator's unquestioning loyalty to Nixon policy, particularly on Viet Nam and the economy. It was the economy, however, that seemed to score most heavily, because the state has some of the most severely depressed pockets in the country, and statewide unemployment is far above the national average. Murphy, Tunney charged, "who claims such close ties with the White House, has said or done nothing about it." By a surprisingly large margin, the voters agreed. Tunney captured most of the normal Democratic majority and attracted an estimated...
...Baroque paintings and Francis Bacon's meaty compositions together in a confusion of people, images, anguish, sex, written words, emotions-in a word, modern western culture. In part this opening credits sequence challenges (in a laughable sort of way) the truth of a film's assertions: "color by Technicolor" is followed by a picture certainly painted in FrancisBaconColor (here, of course, it is in Technicolor); "paintings by Jim Dine" precedes the work of an Italian several centuries dead. More importantly, the sequence creates a continuum of the manmade, the cultural, the imagistic, the signifying and thus sets a direction...