Word: visualizing
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Dates: during 1940-1949
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...appreciation the band receives. The HAA recognizes its existence, if not its worth, by providing not quite enough money for one trip each season. What the HAA does not recognize is that, along with the unquestionable additions it makes to the color of a football game, both aural and visual, the band adds hard cash to the gate receipts. Although this point cannot be proven, it also cannot be contested very violently in the face of the fact that the Princeton and Yale Athletic Associations, neither of which can back a band with the reputation or box-office appeal...
...musical score gives an added height to this already great motion picture. Max Steiner composed background music that is not only deep and appropriate, but at the most dramatic times intensifies the rhythms of speech, producing an effect that few other movies have paralleled. The visual effects do not try any labored realism, but concentrate on significant details or on impressionistic views of the city, and the implications become those of timelessness as well as reality. Victor McLaglen is the Judas, the Faust, and although his story relates closely to the particular environment, he is the most important factor himself...
...words but of various devices of storytelling, including what Mr. Zabel describes as "a complicated exercise of the mode of averted suspense"-enough so to drive his fascinated reader, at times, nearly to distraction. In its progression, elaboration and somber irony, his prose rarely loses for long the immediate visual impact of phrases such as the one describing Kurtz, emaciated yet commanding, sitting up to harangue the natives in Heart of Darkness: "I could see the cage of his ribs all astir, the bones of his arm waving...
...page to stage to screen even somebody as lively as father is bound to lose a little briskness, but this celluloid version lacks something besides originality. "Life" can be quite gay when Clarence Day is encountered in the book, where the innuendoes and phraseology of his clever creators supplant visual aids, or in the play, where the three dimensionality of the stage draws an audience into his library. But, on the screen, it takes a few reels to get used to father, and even then you may be left wondering whether the movie is just an avaricious son cashing...
...their lungs against the deafening sound of squally water and orchestral fortissimo. To balance such experiments, which smack of artiness, Renoir has thrown in some solid domestic naturalism and an excellently staged Coast Guardsmen's dance. Best of all, he has eloquently suited the pale visual tone of the film to the pale air, sea and sand of the locale and to the story's mood of blindness, ambiquity and cryptic strain...