Word: screenplay
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Trouble came fast when Van Peebles set out to make Sweetback from his own screenplay. Industry credit dried up with a reading of the script's first three paragraphs. Union wages priced camera crews beyond his budget. Van Peebles, however, was ready for a hassle. He used nonunion crews, throwing the unions off the scent by letting it be thought that he intended to do a quickie porno romp, not worth their while. The first takes reduced his net worth to $13, but Soul Brother Bill Cosby answered an S O S with a $50,000 loan...
...film is based on a LIFE series by James Mills. Its fictional framework does not mesh well with its documentary approach. The screenplay, by Novelist Joan Didion and her husband, Journalist John Gregory Dunne, is disappointing; it never explains enough about the main characters. When a resolutely middle-class girl from Indiana winds up in New York turning tricks for smack, there should be more behind it than the mere suggestion of a repressive family situation. Of Bobby we know still less...
Others entered show business. Harvard '21 gave us Royal Beal, the character who died recently. There was also Robert Lord, who wrote Tom Mix westerns and won an Oscar for best screenplay (in 1932 for One Way Passage, a Tay Garnett picture) and worked with L. B. Mayer, Harry Cohn, Jack Warner and Humphrey Bogart. Another member of the class toured in a road company of Blossom Time...
...Ivan Denisovich does occasionally convey a tragic sense of life discarded by politics: in the high, empty gossip of the Muscovite prisoners; in the pathetic scramble for a few shreds of tobacco; in the epic wasteland of ice and snow. More illuminating than either the performances or the screenplay is Sven Nykvist's Arctic photography, shot in the glacial reaches of Norway. Long a cinematographer for Ingmar Bergman, Nykvist can achieve a tactile sense of dread; his expanses of snow are more than weather: they seem vast pages upon which no one dares to write...
...bride living in a lonely cottage on a promontory where sea, earth and air come together, who becomes the focus of Hermic's discoveries, is presented with the necessary elusiveness of a dream (partly as a result of Mulligan's treatment of Herman Raucher's often underwritten and coy screenplay). But, because of the realistic, often comic development of the rest of the film, her character calls forth audience frustration rather than the desired sense of intrigue. Introduced in two slow motion sequences, she is surrounded by a lyricism that is forced and contrived. Throughout the middle of the film...