Word: film
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Dates: during 1960-1969
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...newspaper headlines. With his famed charm, his solicitous attentions, and cascades of flowers, telegrams, parties and tete-a-tetes, he laid siege to a notable clutch of beauties, including Gene Tierney, Joan Fontaine, Yvonne de Carlo, Lady Furness, Kim Novak, Merle Oberon and assorted French, Italian and Greek film stars. Said a marquise reminiscently: "Aly could handle more women simultaneously than most men can in a lifetime." He also understood the far more difficult art of letting women down gently, and is fondly remembered by nearly all his ex-wives and ex-mistresses...
...revolution soon developed into a worldwide revolution of another kind. In France and Poland, a band of gifted and dedicated young moviemakers, inspired by the example of Italy's neo-realists and Sweden's Ingmar Bergman, plunged into a daring and promising renovation of the art of film. Working on tiny budgets without benefit of studio facilities or well-known actors, the men of the Nouvelle Vague (TIME, Nov. 16) in a single year produced at least three pictures-Black Orpheus, The 400 Blows, Hiroshima, Mon Amour-of rare originality and power. And to the amazement...
Last week, as a roundabout result of these international developments, a lively New Wavelet of cinematic creativity was rolling across the U.S. and gathering momentum by the moment. The beatnik film, Pull My Daisy, which runs only 29 minutes but seems considerably longer, is a sort of celluloid-muffled Howl. Financed (for $20,000) by a couple of Manhattan brokers, it features a few well-known beat bards (Allen Ginsberg, Gregory Corso, Peter Orlovsky) in a "free improvisation" on a scene from an unproduced play by Jack (On the Road) Kerouac. The beatniks stumble around a pad on Manhattan...
...even with the film's faults, most of which derive from the screenplay by Novelist Marguerite (The Sea Wall) Duras, Director Resnais never sinks below a high creative standard. He commands a hysterically expressive performance from Actress Riva, some severely good photography from Takahashi Michio and Sacha Vierni, and an aptly abstract musical score from Giovanni Fusco and Georges Delerue. But what is most remarkable in the picture is the director's dexterity in combining all these elements and effects. He crosscuts and flashbacks with daring and sureness. He plays words from one sequence against images from another...
Conspiracy of Hearts. In a film that uses every known device to strap its audience with suspense, Lilli Palmer is the mother superior of an Italian convent where Jewish children- escaped from a Nazi concentration camp-are sheltered...