Word: film
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Dates: during 1970-1970
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...enormous and sometimes haphazard undertaking. Director-Cinematographer Michael Wadleigh organized a 25-man crew on only a few days' notice, shot over 120 hours of footage, then edited it all down in a frantic seven months. It is no small tribute to Wadleigh's dexterity that the film's three-hour running time passes with the mesmerizing speed of a Jimi Hendrix guitar solo. There could comfortably be even more. Using such intricate optical effects as split screen, overlapping and double framing, Wadleigh has expanded and enriched the original musical performances so that, in many cases, they...
...technical expertise used to achieve Woodstock's pulsating, visceral effects should stand as a model of non-fiction film making. Particularly outstanding are the sinuous color photography (a good deal of it done by Wadleigh himself) and the editing by T. Schoonmaker and Martin Scorsese-a masterly combination of taste, timing and theatrics. There are sequences -such as one in which John Sebastian dedicates a song to a girl who has just given birth-of lilting simplicity. There is the hysteria of The Who and the pure rhythmic orgasm of Ten Years After. They all help to make Woodstock...
...preaching, overreaching relic of the '20s? Because, along with his thousand faults, Lawrence had a single saving virtue: genius. It was a quicksilver quality that the writer himself could never quite consolidate, and the adapters of Women in Love can hardly be blamed for the instability of their film. It is miraculous that they brought...
Neither the book nor the film has a conventional plot. The players move from segment to segment, progressing in Ursula and Birkin's case to partial salvation, in Gudrun and Gerald's to personal destruction...
...literate scenario the Lawrentian themes blaze and gutter. The sooty mind-crushing coal mines that young Lawrence knew like the back of his land are re-created in all their malignance. The annealing quality of sex is exhibited in the most erotic-and tasteful-lust scenes anywhere in contemporary film. The century's agonies are brilliantly prefigured in a series of poor and privileged characters who speak out against forces they can discern but not define...