Word: voyeurs
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DURING THE great schism in French cinema many years ago, when the New Wave reared its vicious little head, Francois Truffaut emerged on the side of the angels. A sentimentalist and romantic, Truffaut seemed to lose any grittiness he once had. The tough but compassionate voyeur lost the harsh edges, the very qualities much of the filmmaking world was exploring with a vengeance The Truffaut of The 400 Blows gave way to the Truffaut of The Man Who Loved Women and Day for Night. He treated even his most repellent characters with extraordinary affection. When Trauffaut took a role...
Unusual camera angles, obstructed views-particularly of conversing pairs-and the division of the work into three tableaux all serve, among other things, to keep us conscious of our voyeur status. The characters themselves tease our distance from the film. "What's that music?" one will ask referring to the soundtrack after a particularly absorbing drama. Finally the improbable conclusion, and one of the film's few hackneyed moments: an elegant string ensemble in an alley-the soundtrack's players taking a bow? -stirs memories of similar Fellini incongruities, satirized here by the moment's harshness...
Viewers tuning in over the next month may think that they have entered a time warp, for the programs seem like instant artifacts of the '50s, when automobiles were first recognized as sex objects and a movie star like Jayne Mansfield seemed manufactured on the voyeur's assembly line. There is a difference though: most of the new fare pretends to an awareness of feminism. It's a Living (ABC, Thursdays at 9:30 p.m. E.S.T.) is set in a posh Los Angeles restaurant, where five spunky women try to keep a sense of humor as they...
...work insists in its characteristically modest way that these green fields have gone, or, at least, are going; that having run out of external frontiers, Americans were faced by an impassable frontier within the self, so that the man of action had been replaced by the watcher, or voyeur, whose act of watching included the creative functions or "eye" of the artist. One is company, two is a crowd: such is the implied mot to. This, perhaps, is why one senses so in tense a bond between Hopper and his apparently aloof, disconnected human subjects. The distance between the self...
Mosley is a voyeur. He dips under their lordly business decisions into personal journals and diaries of his subjects and recreates their emotions and feelings. He attempts to latch onto the most vulnerable side of the leading family members, and expands on the little quirks to introduce each of his characters. Mosley's style of intimate portrayals is effective with the twentieth-century du Ponts--simply because he had superb material to work with...