Word: thrillers
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Dates: during 1960-1969
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...Susan Sontag's prose style is laborious, her film making is absolutely benumbing. Duet for Cannibals, which looks alternately like a third-rate Monogram thriller and a dirty soap opera, has something to do with a young man who gets a job as secretary to a paranoid politician. "He's full of fantasies of persecution and disaster," the lad confides to his mistress, who eventually winds up in bed between the boss and his crazy wife. At film's end, characters die and are reborn again with a facility that suggests that Director Sontag is not without...
THURSDAY NIGHT MOVIES (CBS, 9-11 p.m.). Bette Davis stars in The Nanny (1965), a thriller-chiller about-you guessed it-a nanny and her ten-year-old charge. Something for everyone: death, suspense, generation-gap intrigue...
Given the framework of international intrigue, Director J. Lee Thompson could have provided a brisk Bondist thriller. Instead, he has followed the B-line of movies of the '40s: a lone Amur-rican good guy against the Yellow Peril. For Imperial Japan, read People's Republic of China; for Alan Ladd, read Gregory Peck. The Chairman is a basket of bromides-except for one original line that ought to be anthologized. The chemist who developed the soil enricher murmurs to Hathaway: "We are none of us free. We are all chained to an enzyme." During the filming...
...REMARKING a 1914 secret-avenger thriller, Georges Franju has capitalized on our distance from its prewar society. Judex (1963) is designed to lay bare the moral content of people's actions-- of the hero's as much as the villain's. At the same time Franju's treatment makes us marvel at the beauty of those actions, the beauty of everything that happens in this world of the past...
...this constant combination of white and black that makes the film so rich and beautiful. The slowness of its pacing, odd for a thriller, allows a great complexity of events within each shot. Instead of making points, imposing judgments by cutting between one action and another, Franju juxtaposes them within the same space, allows them to coexist without making a moral judgement. Refusing to simplify, he implies wilder and wilder combinations of good and evil in single figures and single scenes. The world of 1914 is complex, but also very ordered, within his frames. One feels that one is seeing...