Word: visualizing
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Dates: during 1950-1959
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...narration knits together a visual story built out of piazzas, palaces, cathedrals, old maps and prints, the rugged Italian landscapes and, above all, the sculptures, painting and architecture of Michelangelo. The picture gains dramatic immediacy from the rhythm of its cutting, actors' voices offscreen, turning wagon wheels, clashing swords, such shots as clouds racing over a jutting tower. Lighting moves across the screen like an actor, the camera tilts awry at an assassination, the focus blurs as if with pain when Michelangelo's nose is smashed in a brawl...
What lifts Tight Little Island above its own high mark of insular drollery, and turns its chuckles into laughs, is its mastery of the visual gag. The picture moves quietly but surely until the islanders make a rendezvous with the derelict Scotch. Then, in picturing their celebration, their efforts to hide the loot from customs raiders and a chase to rescue the biggest cache of whisky, the camera goes on an inspired spree. For lightness, comic movement and inventive detail, these sequences are worthy of Rene Clair...
...every way the Russian film was less clever technically. "Triumph" had no narrative, but relied solely on visual effect, combined with music, cheers, and short speeches. The commentary of the English voice in the Soviet picture was gross and inadequate, attempting to describe scenes of such horror as to be visually incredible. After a long exposition of the virtue of the Allies in bringing the Nazi leaders to judicial trial, the voice launched into a denunciation of the defense counsels--an interesting commentary of Soviet justice...