Word: viewer
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...very much at ease in their roles, so much so that one would be surprised to learn that they had ever left the Balkan countryside in their lives. In fact, all of the dialogue is in Serbo-Croatian. The only time the subtitles present a problem to the unattentive viewer is at the film's beginning, when it is difficult to discern which characters are central, and which characters are central, and which are only of brief importance. This problem is attributable to the script, however, and is a minor flaw in an otherwise excellent screenplay...
...famous Hitchcock twist endings sometimes fall flat in 1985. But when they ) work, they leave the viewer with a unique frisson: a grin accompanied by a sinking feeling in the stomach. In the best of the season's segments to date, Season Hubley played a convicted murderer who attempts a prison escape by hiding in a coffin about to be buried. Director Thomas Carter toyed masterfully with the audience's emotions, turning the protagonist from tearful victim to scheming bitch and back again in seconds. The half-hour story moved like a rifle shot (the inferior original was a full...
...York City. Here size works to spare his subjects from condescension. These are not little cameos of dismay to be viewed at arm's length with the lips pursed. Facing figures of this dimension, hung so that their eyes are at or near eye level, the viewer feels himself to be the object of their scrutiny too. Confronted that way, one does more than take note of their mood. One tries it on, perhaps to discover the unsettled states within oneself...
...truth and nothing but. He expects no one to believe the glamour-drenched fantasies he constructs for his fashion pictures. But he also knows that in taking a camera out among ordinary people, he raises expectations of more resolute truth telling. Avedon is throwing those expectations back in the viewer's face. Sometimes it takes a fashion photographer to show that "realism" is art's subtlest cosmetic...
...fine direction is the most impressive aspect of this production. Moore, as the self-assured and occasionally snide King Richard II, and John of Gaunt (Stephen Gutwillig) give command performances. Moore is especially powerful in Act III when Richard hears his troops have deserted him. His acting captivates the viewer as he kneels in the flashlit room speaking to the ground and questioning the "destined doom" of a king "within whose crown lies death's court" and desperately cries out, "I am a human, too." Again, Moore commands the stage during his resignation scene in Act IV as he hesitates...