Word: cinema
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ORSON WELLES CINEMA...
Director Roeg, formerly a cameraman (Petulia) has made two previous films: Performance, which he co-directed, and Walkabout. Both had a disquieting beauty, a dreamlike sense of dislocation and, most of all, a reliance on the visual vocabulary of the cinema to build and sustain the narrative. Don't Look Now is Roeg's best work so far -the most deliberate and contained. Much of the movie's power comes from images that carry a kind of glancing, indefinable threat and remain in some dark corner of the imagination. They are immediate but not quite real, like...
...impossible, however, to leave Conrad Rooks's filmed Siddhartha without gingerly reaching for one's wallet to make sure it's still there. This unspeakable insult to the cinema and to the India it depicts has all the imaginative variety of a Hare Krishna marathon in Harvard Square, and the P.T. Barnum mentality lately put to profitable use by a noted fifteen-year old mob leader who drives a Rolls-Royce. Never has the search for eternal cosmic wisdom been so short (an hour and a half), seemed so long (an eternity), and revealed so little...
...Cinema II: Werewolf of Washington, 4, 5:45, 7:30, 9:30, 11:10 (no late show...
TROELL, WHO PRODUCED, directed and edited the film, creates a world that rings true both as history and as cinema. His soft colors and elegant camerawork belie a willingness to experiment for chilling or striking effects such as the visual echo of quick cuts which shatters the silence of the forest when Karl-Oscar's younger brother Robert shoots what he believes is an Indian warrior. In his control of natural images, his imagination and sense of the complex relations of individuals to social processes, Troell comes closer to Bergman than any other current director. He edges near the best...