Word: vision
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Dates: during 1960-1969
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Cornfield transforms this rather ordinary premise into a kind of vision of surreal violence. Working closely with Cinematographer Willi Kurant, he creates an autumnal landscape, heavy with fear, that is the stuff that nightmares are made of. From the subdued hues of a beach at dawn to the bleached neon whiteness of a bathroom, colors serve both to establish the mood of each scene and underscore the precisely orchestrated tension. The film's ambiguous ending, which puts a parenthesis of fantasy around the action, may at first seem facile. On reflection, however, the viewer finds that a whole...
...possible to sympathize with this man who is by his own admission contemptible. That is the best measure of Blocker's accomplishment. In the end, when he, Saul, and Saul's general leave the witch, it is only Blocker's Minister who carries the burden of the vision of imminent doom she has shown them...
...centering around his lack of success with women. Coached by his fantasy hero, Humphrey Bogart, Allen does get a girl: he winds up in bed with his best friend's wife. The play does not properly progress along with the evening, but Allen's kooky angle of vision and nimble jokes are amusement enough...
...details are unfailingly accurate. The school is a chalk dust bowl; the staff is a frightened gaggle arranged in perfect pecking order; the girls throw themselves into adolescence as if they were breaking the sound barrier. But, as in much New Yorker fiction, while the parts promise a vision, the whole does not even provide a view...
Rounding a certain curve along the Appian Way, a modern traveler in the Basilicata region of Southern Italy easily imagines himself in the Middle Ages. On the hill opposite, like a romantic vision, sits an amphitheater of golden-tinted houses with red-tiled roofs rising row upon row to the double crown of a ducal palace and a Norman tower...