Word: viewer
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Many jokes are made about Mike's unfamiliaritywith the show's routines. None of the viewer mailis for him, and he doesn't know that Tom Servo,the gumball machine robot, needs to be carriedinto the movie because he doesn't have any legs...
...script demands minimal direction, and Chris Scully obeys. He supplies a first-rate set, flamboyantly plastering the floor and walls with old movie posters, while dispensing with all excess furniture. The end product proves visually engaging without distracting the viewer...
...watched by a guardian angel. During an Easter parade the camera looks upwards, circling around the massive crosses to emphasize their grandeur. Fellini then once again switches to following Gelsomina's passage through the crowd from above, placing her frailty in relation to God's looming presence. Often the viewer feels a sort of detached sadness constructed by the camera's eye. The montage of images follows the characters' soul-searching hauntingly. Fellini alternates this scrutinizing view of humanity with wide-angle sweeps of the Italian landscape. Windswept clouds and field lend a barren quality to the story's background...
...brilliant opening scene, appropriately set in a movie theater, sets up the strange dialectic between fact and fiction when Dr. Petiot, unimpressed by the evil of the vampire on screen, mutters his disapproval: "This is ridiculous and clumsy." As the camera freezes the doctor's shadow, the viewer is invited to compare the distorted figure of the bug-eyed vampire to the well-groomed physician. Castles and cauldrons are not the doctor's style. He jumps on to the stage and into the screen to show us how real evil works...
...title doesn't lie. Of the three shorts by contemporary filmmakers Steven Wright, Michael Moore, and Mike Leigh, Wright's hilarious and characteristically minimalist masterpiece, "The Appointments of Dennis Jennings," is the most gripping, especially for a viewer unexperienced in Two Mikes's unique brand of comedy. The angst-ridden "Appointments" combines the neurotic charm of a Woody Allen movie with the structured morbidity of an Edgar Allan Poe story. Even for those who have only seen him do stand-up on Letterman, the opening close-up shot of Steven Wright's head is a sight unmistakable...