Word: screenplay
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Dates: during 1950-1959
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...adapting Melville's 500 pages into a not over-long screenplay, Huston and Ray Bradbury have done a job that is unqualifiedly brilliant. They have followed the plot and the characterizations faithfully, and have even shown a welcome respect for the spoken word--in the sermon by Father Mapple, in Ishmael's intermittent narration, and in numerous speeches by Ahab that are taken almost verbatim from the book. At the same time, realizing that the camera and the pen are by no means interchangeable storytellers, they have not hesitated to take beneficial liberties with the novel. In Peter Coffin...
...last analysis, even Williams has to bow before the actress' talents. His screenplay is a clever job, and his curious probing into degeneracy is often quite interesting. But few will stop to be impressed with his work on the film. The Rose Tattoo is clearly Anna Magnani's picture...
Paying less attention to historical fact than comic situation, writer-director Marcel Arnaud fills his screenplay with amusing scenes. In one of the funniest, Hortense bewilders her stage lover by singing the lines of her part to a boxful of royal admirers. As Hortense, Yvonne Printemps doesn't sing very well, which is unfortunate as she sings a lot. But she is properly capricious, and her dresses are by Dior. Though Pierre Dux makes a fine Russian general, the rest of the cast is just adequately funny. Only Fresnay makes a great deal of his part, but the movie needs...
Unfortunately, the screenplay by Frank Launder, Sidney Gilliat, and Val Valentine is less successful than the actors. It does not matter very much that the plot, which centers loosely around the theft of a racehorse, is hopelessly confused. Many of the comic situations, however, are strained and too farcical to be genuinely funny, and the punch-lines of some of the jokes are left lying around so long that they finally drop out altogether. As a result, the film lacks much of the spontaneity of the Searle originals...
...picture is fast on swordplay, heavy on overplay and light on screenplay. It begins with Walter Raleigh (Richard Todd), late of the Irish wars, winning an audience with the Queen; he wants to take three ships to the New World there to work for the greater glory of the 'British Empah." But the weary pan-amorous Elizabeth, who lost Errol Flynn back in the first film, likes the cut of Raleigh's jib- and his beard too. He is blunt, charming, gay, adventurous and never forgets to throw his cloak over mud puddles. He accepts...