Word: visualizing
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Dates: during 1970-1979
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...star, unquestionably, was Ustinov. Without his insightful improvisation and mannered performance, the program would have been as forced as some of the old You Are There sagas or as deadly as a grade-school audio-visual lesson. Ustinov may do an encore when the series deals with King George III. But the next confrontation, tentatively scheduled for September, will feature either Firebrand Samuel Adams or "Washingham" himself. CBS hopes to land Richard Burton to play Adams, George C. Scott as Washington. Sevareid will do the interrogating again, though under the FCC "Fairness Doctrine" the British Empire might properly demand that...
...comedies of Milos Forman, notably Loves of a Blonde and The Firemen's Ball, have commonly been called humanistic, possibly because they refuse to be comfortably confined in any other genre. Their humor is neither primarily verbal nor visual; Forman's particular skill is ingenious observation, creating comedy from character and rigorously familiar situations. But his work also contains a trace of archness, a current of condescension. In none of his films has that tendency been more evident than in his latest, Taking...
...style, and particularly by its generous supply of ingenious business and subtle exploitation of the bare setting. Berenger's increasing isolation, for instance, is cleverly accented by having the rhinos take apart the stage piece by piece until the hero is left on a small island. His use of visual puns and slapstick is very effective. The director does, however, make an unwarranted use of a New Theater style beginning. The play is meant to start off as a slow and sleepy slice of traditional realism and gradually snowball into chaos. Lasky's use of an unconventional beginning undermines this...
ROBERT FRANK, who came to Harvard two weeks ago to show his films and talk to students in the Visual Studies Department, seemed profoundly uncomfortable when asked to introduce his works. As the Carpenter Center seems out of place in the midst of its red-brick, ivied, neo-classic or neo-gothic architectural neighbors (prompting the famous remark of Classics Professor John Huston Finley: "It looks like two pianos copulating!"), Frank felt out of place being even remotely in the vicinity of a school. "Colleges are giant hatcheries," said Frank. "Now that I have come here, today, this...
...explain character, and the need to root a danse macabre in thematic and dramatic progressions. Like the early Renoir, he is very much an actor's director, using his characters' figures and reactions to make comic points, deftly tracking and cutting to capture them. Arkin succeeds in bringing visual depth and storytelling acumen to Jules Feiffer's screenplay. If only Arkin had directed Catch...