Word: screening
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Dates: during 1970-1970
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...similarity between the middle-aged child of the book and the Sir Guy Grand that Southern brings to the screen is purely coincidental. Sir Guy, an erudite industrial magnate with Oxford diction and an aristocrat's locked jaw, gets his slightly malicious kicks by showing, over and over again, that men chase money. In one of the very first scenes, Sir Guy gives a traffic bobby 500 pounds for eating the parking ticket so that he can smugly pronounce that "every man has his price." The rest of the movie consists of various anecdotal restatements of that same theme until...
...part being separately comprehensible or related specifically to the character in foreground. The background works on the characters emotionally, through its colors. The walls behind them are so brightly lit that one's attention is not drawn to any single object; the character seems to stand before a colored screen. The lengths to which Chabrol carries this lighting method throws all detailing of behavior and motivation onto the actors in the foreground. They rise magnificently to the challenge...
...another. A low-angle shot of Rod Taylor in his office-the underside of his desk filling two-thirds of the frame-is troubling by virtue of its compositional imbalance, not its overtly ironic content. Particularly in interior scenes, Antonioni recognizes that destruction of form within a Panavision screen can be used thematically, for example to warn against America's depersonalized computer jungles. In this he becomes the thinking man's Frank Tashlin ( Bachelor Flat, The Girl Can't Help It ), who also revels in the natural excess of the wide screen and applies it to similar subjects: mechanical courtship...
...lunchtime approaches and the ladies watch a man mutilate another man with a knife, the board's pretty administrative assistant enters the screening room. "Don't look, Susan," Mrs. Shriver warns, and Susan rushes out. The women send out for sandwiches and coffee, then sit grimly munching in the dark, eyes on the screen...
...program originated at BBC Television's Second Network. "The very simple thought I started from," said BBC-TV Director of Programs David Attenborough, "was to get on the screen the loveliest things created by European man in the past thousand years. The key decision was to tap Kenneth Clark as guide and commentator. It happened almost by accident, as Clark tells it. "They wanted advice about a series-perhaps on the history of art-and took me to lunch. By accident, the word civilization was mentioned. I experienced what Godfearing people of an earlier age used to describe...