Word: viewer
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...camera that has worked this change in the eye of the viewer belongs to Ira Wohl, a gifted documentary film maker who is also Philly's cousin. His approach during three years of filming was quite unlike the disdainful stare of cinéma verité, although much of what he recorded is bleak. The tone of the film is passionate advocacy, and its real subject is the dignity of love in a family hard-pressed by age and illness. Pearl, Philly's mother, is in her late 70s, and Max, his father, is three years older...
...tigers. "How do you like that?" Philly is excited and happy. "Yeah!" he answers. Back home he chatters happily with his mother about the outing, as a four-year-old child might do. Perception of Philly as a large, awkward child is a way for the viewer to think of him without horror. But he is not a child, and Wohl's film leads onlookers past this point-to an understanding of Philly as a grown man, cruelly limited, but with high courage and an enormous compensating ability to give and receive love...
...marker, of dubious value. The marker in this case is the horseplayer's six-year-old daughter (ah, so, thinks the alert viewer, past whom no subtlety can be slipped, that's what the film's title means). Sorrowful does not deal in human flesh but just now he is distracted; a dim-witted killer named Blackie (Tony Curtis) is trying to muscle him into investing in a gambling casino...
Director Gillian Armstrong orchestrates Sybylla's antics with wit and imagination. Overcoming a dearth of dialogue, Armstrong injects each scene with life and imagination. Sybylla's first dinner with her grandmother is touchingly familiar to any viewer who has ever squirmed in a stiff and formal setting. As Sybylla fumbles with string beans and carrots--served on a silver platter by a butler--Armstrong accurately captures her nervousness and excitement in an intimate and endearing fashion...
...technical marvel, there was little market for it. Home movies have never been as popular as still photography; while nearly all homes have a still camera, only about one-quarter have movie cameras. Polavision was also expensive and the picture quality often poor. The camera and a small viewer that looks like a TV screen cost $675, plus $9.95 for a 2-min. 40-sec. film cartridge. The product never took hold despite heavy promotion. Some officials within the company opposed Polavision, but Land, who applied for his first patent on the process in 1946, insisted on its development...