Word: insight
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...director's first mistake, however, was not to make the radical direction of the company clear. In fact, the whole project was misnamed. For Leven, The Light Company--obviously referring to its location--alluded to "Plato's whole thing about light, insight, and understanding." But to some of the public it originally sounded more like a trifle full of Gilbert-and-Sullivan freshness, just the right kind of thing to get ways from it all on a Saturday night. Leven and his backers never did figure out where those first few audiences came from. Largely in the 25-30 year...
...inaugural task force on resources and environment, and an internationally esteemed conservationist. The appointment drew praise from nearly every quarter, including the old Administration. Said Stewart Udall, Hickel's predecessor: "I don't think there's anyone in the conservation movement with greater dedication or insight. He's supported all the right causes...
Only now are we beginning to see the implications of the insight Mumford had 30 years ago. It now appears that the Victorians are not Mumford and his following but the defenders of unhindered technology and its corporate and military offspring in this country. In any case, Mumford has now picked up allies both in the establishment--mayors who are fighting pollution and Galbraith who warns of corporate control in the New Industrial State--and on the Left...
...world of Severine's life and fantasies. Though Belle de Jour boggles the mind the first time around (audiences tend to dwell on peripheral ambiguities), the structural integrity becomes increasingly clear on repeated viewings (well worthwhile) and ends up simpler than many of Bunuel's other films; Bunuel's insight and humanity far transcends the realm of social allegory for which he is duly famous (Viridiana, Exterminating Angel). But this simplicity is sensed rather than understood, and Severine's final fantasy (romantic rather than masochistic) is a wholly satisfying resolution without lending itself to easy interpretation. Belle de Jour...
Petulia, a sad and moving film by Richard Lester, shows its director capable of insight into his characters and instinct toward his actors. Lester's cinema is generally defined by tricky and overcontrived camera gymnastics (Petulia has its share of this, and none of it is good)--but here we have him leaving his camera rolling when his actors begin to groove, plainly sacrificing editorial cleanliness for dramatic punch. Petulia's occasional messiness is much to Lester's credit: the film ends at least six times in its attempt to chronicle a relationship realistically, but just before its strange construction...