Word: cinema
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DIED. Alfred Hitchcock, 80, master of suspense, who brought to more than 50 films his visions of menace and the unexpected; in Los Angeles (see CINEMA...
LAST WEEK Alfred Hitchcock ascended his last staircase at age 80. He defined suspense in the cinema, playing with his audience's expectations, sustaining nearly unbearable levels of tension for reel after reel until everything exploded in one of his legendary roller-coaster "sequences"--the crop-dusting scene in North by Northwest, the shower scene in Psycho, the amusement park in Strangers on a Train, the back of the potato truck in Frenzy--you could go on and on. His films were really comedies, from the sick joke of Psycho to Cary Grant's "Wait a minute, fellas...
Frank Sinatra was in high society. Not his 1956 movie with Grace Kelly, although she was there as Princess Grace of Monaco. Also present were Cinema Bluebloods Gregory Peck and Cary Grant, who joined 1,600 others in Los Angeles to honor Sinatra as Variety Clubs International Humanitarian of the Year. Past winners-talk about high society-have included Albert Schweitzer, George Washington Carver, Jonas Salk and Winston Churchill. Accepting the award from his onetime costar, Sinatra was far from humble. "To Princess Grace and her royal crown," he joked, whisky in hand, "and to my Crown Royal...
Hudlin's second effort, Street Corner Stories (1977), a portrait of Black street corner society and a film that has received significant international attention, holds together less well than Black at Yale. It is an example of blues cinema, a visual answer to blues music, which draws the viewer into its story; because of its new approach it is worth seeing. But this documentation of a series of conversations at a street corner store between working class Blacks lacks cohesiveness. The viewer believes what he is seeing is important but is frustrated by what seems to be a lack...
Little Oskar's story makes a fine scenario and Tin Drum is marvelously entertaining, even engrossing at times. Yet a question persists: why make this film? Must every literary classic stumble shell-shocked onto the screen? Time and a host of bad adaptations have shown that literature and cinema are not compatible cousins, that by their very nature, good novels will not make good films, just as the exciting visual effects of film cannot be duplicated in print...