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RICHARD ATTENBOROUGH'S GANDHI is probably as morally simple a work as one is likely to see in a movie theater today. In essence, it is a piece of allegory of the lesser kind. It relies on the viewer's allying himself with the moral forces and ideas represented by a single character instead of identifying and sympathizing with a character's complex attitudes, thoughts and feelings as a more realistic work would demand. Given this simplicity, Gandhi still succeeds and entertains--almost certainly as well as a movie of its kind could...
...Jane Bryant Quinn, who also writes for Newsweek, Ken Prewitt, a reporter for MONEY, and Evening News Correspondent Ray Brady, an alumnus of the business-oriented Forbes and Dun's Business Month who nonetheless tends to stress the impact of economic trends on the ordinary viewer. "He is much more consumer oriented than anyone else on the beat," says a senior CBS News executive. Contends Brady: "You can boil most economic phenomena down to whether you do or don't make money...
Film ought to be a lively medium for opera. The cinema can broaden a production's scope while narrowing its focus, providing the viewer with a fresh, if necessarily arbitrary, perspective that can simultaneously combine straightforward storytelling with implicit commentary. Watching a filmed opera should be like attending a performance with an omniscient, highly opinionated...
Director Peter Gothar displays the teasing visual intelligence of the very brightest film-school graduate. He is forever calling attention to his devices, such as putting his camera on roller skates, pixilating the images, and then, at the last moment, flummoxing the viewer's expectations with an ingenious twist. Like just about every Hungarian movie that reaches the U.S., Time Stands Still is a handsome piece of work, with suffused lighting and a gray, ominous mist that hangs over the characters like a nuclear cloud. But there is verve sparking all of Gothar's calculation, and his young...
...cauterizer of the German body politic. In the 1977 telefilm (reduced from three hours to 110 minutes for theatrical release), he portrays Hanni and Xaverl not simply as predator and willing prey but as victims of both economic hypocrisy and puritan prurience. Nor is the viewer exempt: he must peek at Hanni's lovemaking through frosted train windows and the billowing lace curtains of the middle class. The leading actors are exemplary: Trissenaar, porcelain-skinned and angel-faced and scarily self-possessed, and Raab, the perpetual slow schoolboy horrified by the games adults play...