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Lean did, however, provide compensations. He constructed his picture fastidiously: each scene attains its own symmetry, and is skillfully cantilevered with narrative thrust to the next scene. The film rarely lags. One of the more obvious examples of Lean's technical prowess is the sequence depicting Lawrence's initial desert...

Author: By Michael Sragow, | Title: Films Lawrence of Arabia at the Astor | 4/14/1971 | See Source »

The three radical groups that planned the disruption of last Friday's off-B'way SRO, "Counter Teach-In," have claimed that their actions were a boffo performance, in spite of a mounting number of students pans.

Author: NO WRITER ATTRIBUTED | Title: Rads Rate Teach-In Socko; Cite SRO House: Tremendous' | 4/1/1971 | See Source »

INRENOIR'S mature works every formal device brings the actors closer to the audience. His camera pans and dollies to let them move easily, instead of staying put and obliging them to play within its frame; his compositions are a series of stages on whose multiple playing-areas the actors...

Author: By Mike Prokosch, | Title: Films Le Grand Theatre de Jean Renoir | 2/24/1971 | See Source »

The film's highlight is an interview with Diana, the chief plaster-caster, and her protege, Cynthia. While she calmly kinks her hair she describes the mixing formulas, techniques of excitation, and the different results she has obtained with the different stars. The scene cuts to a bedroom where she...

Author: By Robert Crosby, | Title: Films Groupies | 2/19/1971 | See Source »

The film does, however, seem somewhat healthier than the play as written (contrary to current belief). And this is despite the fact that in every plastic sense, Ritt is a perfectly lousy director. Some of the scenes are indistinguishable from those taped on stage for the Ed Sullivan show. When...

Author: By Michael Sragow, | Title: Ersatz Ethos The Great White Hope opening Dec. 21 at the Music Hall | 12/17/1970 | See Source »

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