Word: camera
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Dates: during 1970-1979
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...from all the East bloc countries to watch the maneuvers, they were not pleased with the interest shown by a middle-aged man who turned up around the barracks in the small town of St. Polten. He wore high rubber boots, and carried the classic impedimenta of espionage: a camera, binoculars, maps and a notebook...
Beckett is photogenic; perhaps only Ezra Pound is more so, the secret being not to care what people think of you. This scorn for public taste seems distinctly 20th century. Beckett won't acknowledge the camera, and defies close-up. His wrinkles are far more impressive than W.H. Auden's; Beckett's struggle to cover the bone, Auden's are ornamental. It's a neat twist to find Beckett and Buster Keaton together in one photo (Keaton played the protagonist in Beckett's Film)--Keaton the supreme silent comedian, Beckett (equally a master of comedy) minimizing theatre toward a condition...
Along the way Cambridge produced its share of notables: botanist Louis Agassiz, jurist Oliver Wendell Holmes, actor Walter Brennan, cartoonist Al Capp and camera mogul Edwin Land. "Even Josiah Bartlett, the man who wrote Bartlett's Quotations, lived here," Dickerson said...
Luckily for the audience, the film's early scenes do not focus on individual people. Ballard opens with pure spectacle, allowing his movie to get off to a rousing start. As the camera wanders around an exotic ship traveling near North Africa in 1946, there is mystery and sensuous excitement at every turn. In one corner of the ship, middle-aged adventurers silently play poker for a high-stakes pot of dazzling gems and religious icons. In another, a bizarre team of white-gowned Arabs zealously guards a shrieking black Arabian stallion. When a storm strikes late one night...
...struggle to make a living off her talents. There are some brilliant moments in the film--Midler's return to the transvestite club she once haunted, Midler's gutsy rendition of "When a Man Loves a Woman"--but director Mark Rydell must be the most pessimistic man behind a camera. There is no comic relief, no reminder that, in the long run, good can prevail, no hint that justice is done. If you take away Rose's guts, you're left with an awfully familiar theme--only the good die young. So what else...