Word: hagmann
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Exasperating would be a good way to describe yesterday's game. After the two teams battled neck-in-neck for 70 minutes without any scoring, Eli Betsy Hagmann broke loose of her coverage on the left side and got to a long pass halfway through the first overtime. She then found teammate Keltie Ferris open in front of the goal, who evaded Harvard goaltender Jessica Milhollin and easily placed the ball in the cage...
Yale--Ferns (Hagmann...
JUST AS 1970 was the year of student films, 1971 promises to be the year of Indian sagas. (And not surprisingly, the same liberal obtuseness shines through both. Consider Stuart Hagmann's Strawberry Statement. It has more in common with Soldier Blue than the rousing Buffy Sainte-Marie theme songs that are sung over the opening credits of each. For Strawberry Statement worked on the similar assumption that the only way an American audience would sit through a sympathetic treatment of student radicalism was to present the narrative through the eyes of a likeable, essentially apolitical adolescent.) Liberals take these...
Perhaps the most blatant pitch in a movie of this sort, is the Strawberry Statement, even though the movie does not star Elliot Gould. It is scantily-written and over-directed in a cinema gullibilite style. Director Stuart Hagmann has taken a heavy hand in his zooms, tracking shots, cuts, and dissolves in a desperate attempt to obscure the transparency of Israel Horovitz's script. Horovitz himself is a very concerned, intelligent man, and even makes a cameo appearance in this movie, but his screenplay has little of the punch of his plays like Rats, or The Indian Wants...
...Circle Game. The film espouses no ideology whatsoever, preferring to concentrate on the boy-meets-girl saga. Director Stuart Hagmann, making his film debut after a few years' training in television, seems to have decided that the dominant image of the film is Indians v. the wagon train, so he and his cinematographer lose not a single opportunity to have the camera track 360° around the principals. He stuffs the film with other round-and-round imagery (a carrousel, the pattern of the protesters on the floor) while the sound track drives the point home with constant repetitions...