Word: visione
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Dates: during 1960-1969
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ALBEE, though, betrays himself and the real force behind his vision by reaching too quickly for what has become the Superhero of the Sixties: he, of course, is Richard and Jenny's fifteen-year-old son. As played by Jack Simons, Roger is a kind of caustic Graduate. He is forced into combatting rampant evils like anti-Semitism with bewildered protests such as "Quite a lot of us are circumcised." (Try that at your parents' next bash.) From the audience's enthusiastic reception -- even though many looked suspiciously like their stage counter-parts -- it seems America finally does believe that...
...talent was the best possible way to reorganize the Defense Department and eliminate its waste. But for programs like the War on Poverty, experimental programs which may not show immediate results in the first or even the second year, builders are needed, not cutters To replace a man of vision like Robert Weaver as Secretary of HEW with George Romney could mean the end of long-range programs like the Summer Youth Employment plan...
...Perkins) combines the Chabrolian malevolent driven to seek expedients selfishly and the Chabrolian romantic clinging to an intangible yearning for love and friendship; his vain attempt to satisfy both needs makes up the story (although we don't learn this until the film ends); by showing how his warped vision limits the success of his life-style, Chabrol has created one of the few truly original and important single characters in recent narrative films (others are Ferguson in Hitchcock's Vertigo, John T. Chance in Hawks' Rio Bravo, Bannion in Lang's The Big Heat...
Bunuel's own vision (apparent in the strange premature glimpse of the wheelchair and the ever-present emphasis on feet) draws us into the world of Severine's life and fantasies. Though Belle de Jour boggles the mind the first time around (audiences tend to dwell on peripheral ambiguities), the structural integrity becomes increasingly clear on repeated viewings (well worthwhile) and ends up simpler than many of Bunuel's other films; Bunuel's insight and humanity far transcends the realm of social allegory for which he is duly famous (Viridiana, Exterminating Angel). But this simplicity is sensed rather than understood...
...Angel Face), money, sexual abberation, and class distinction had much to do with the ultimate failure of Preminger's struggling protagonists. But increasingly, external dramatic pressures play a less important part--the determining factor becoming instead Preminger's own camera treatment of space, his cross-cutting techniques, his ultimate vision. No one seeing Skidoo can deny that the Mafia threat (central to the plot) is secondary in moving the action to the power of Preminger's decision to control personally the behavior of his characters and the structure of his film, disregarding saner methods of storytelling. The abrupt insertion...