Word: wexler
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Director Sidney Lumet and screenwriters Waldo Salt and Norman Wexler follow the structure of the Peter Maas biography. The portrait of the wounded Serpico, being shuttled to a hospital from Harlem, hooks us as the film opens; we then flashback to the highlights of the policeman's career and life. These chart the growth of the man's disillusionment and discontent, as well as the strength of his personal integrity. The film develops with its title character: the derailment of Serpico's life both by those police who were corrupt and those who refused to inflict punishment, carries as much...
Screenplay by WALDO SALT and NORMAN WEXLER...
...about the I.Q. itself? Dr. Benda says, "Early I.Q. testing and its modifications by Stanford, Wexler, Terman et all are all based on the studies of Binet and Simon at the end of the last century." Stanford? Could this be Stanford University, where Lewis Terman was when he developed the "Stanford-Binet"? Wexler? Could this be David Wechsler, developer of the Wechsler-Bellevue, the Wechsler Adult Intelligence Scale, and other modern tests? (Note, incidentally, that this Wechsler has not heard that the testing of adults is meaningless.) Reading that sentence, I thought for a moment that the entire piece...
Early I.Q. testing and its modifications by Stanford, Wexler, Terman et al are all based on the studies of Binet and Simon at the end of the last century. The original I.Q. testing technique was a careful attempt to replace the rather arbitrary methods of judging human potential by measurement on a sounder scientific scale. However Binet and Simon knew that their "measuring scale of intelligence," properly speaking, does not measure true intelligence, because intellectual qualities are not superposable, thus cannot be measured as linear surfaces but are rather a classification, "a hierarchy among diverse intelligences." They wrote: "intelligence, better...
...production, conceived by Stage Director Nathaniel Merrill and executed by Set Designer Peter Wexler, has its curious faults. For example, Merrill has unaccountably confined Dido and Aeneas to a bedchamber when they should be strolling under the stars while singing Berlioz's interpolation of "In such a night as this" from Shakespeare's Merchant of Venice. In most other respects, the production is a visual extravaganza that at long last brings the Met fully into the 20th century. Rear slides and film vivify all the big moments, from the fall of Troy to the lovers' amorous romp...