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Double-play ball to Felix Millan. Harrelson covers the bag, takes the flip and relays to first. Routine. The shortstop is smothered by one angry Pete Rose. The benches clear quickly, and then come the bullpens. Buzz Capra, running, screaming and waving his arms...

Author: NO WRITER ATTRIBUTED | Title: The Seventies | 1/3/1980 | See Source »

...impassioned participant in Sonny's adventure). The populace learns the truth about the evil capitalists and rallies to the side of the beleaguered rebels. Why, boy and girl even get each other, if briefly. It's a story as old as talkies-dating back to Frank Capra's populist comedies...

Author: /time Magazine | Title: Cinema: Call of the Wild | 12/17/1979 | See Source »

Certainly a contender, if not the outright champ, for terminal indecision is Frank Capra's Meet John Doe (1941), starring Gary Cooper. Five endings were shot; at one point, three were previewing simultaneously in different towns. Another classic case was Casablanca. Until the very end, the script remained refreshingly free of any ending whatever. No one knew whether lisa Lund (Ingrid Bergman) would stay in Casablanca with Rick (Humphrey Bogart) or leave with her husband (Paul Henreid). The production took on a kind of war-zone chaos, with scenes filmed as fast as writers typed them. When...

Author: /time Magazine | Title: Show Business: Playing the End Game | 7/30/1979 | See Source »

Stylistically, Noyce often imitates (with flattery, not parody) the films of the forties and fifties. Cutting and panning techniques follow content--sometimes the strident sweeps of the newsreels, sometimes the sentimental gaze of Capra or Hawks. A scene in the bar of a flashy Melbourne hotel harks back to Casablanca, for example. Len Maguire, with his new girl Amy on his arm, meets his brother Frank (Amy's old flame) after years of separation. Frank's brash charm, his pert, silly American secretary, conversation laced with double entendres and meaningful glances, and even a black piano player crooning "Smoke Gets...

Author: By Katherine P. States, | Title: Between the Idea and the Reality | 7/17/1979 | See Source »

...humor remains, and his cinematic direction--with the work of Gordon's Willis's camera--continues to develop in exciting ways. Manhattan is shot entirely in black and white. Along with careful application of gushy George Gershwin music at critical moments, the black and white suggests nothing more than Capra and corniness...

Author: By Scott A. Rosenberg, | Title: Voices from the Couch | 5/7/1979 | See Source »

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