Word: screenplay
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...saying, because "if you spell it all out, it becomes too much on the nose, too obvious in the actual shooting." Stacy Reach, for example, knows little more than that he is the 120-year-old third Wright brother; he is supposed to wing it from there. A screenplay to Altman (who used to write them) is just "a selling tool" to get financing, and afterwards, "not much more than a production schedule." In the middle of shooting McCloud the other day, someone who wanted a copy of the script had to search for ten minutes to find...
...style. Director Stuart Hagmann has taken a heavy hand in his zooms, tracking shots, cuts, and dissolves in a desperate attempt to obscure the transparency of Israel Horovitz's script. Horovitz himself is a very concerned, intelligent man, and even makes a cameo appearance in this movie, but his screenplay has little of the punch of his plays like Rats, or The Indian Wants the Bronx. One thing to be said in his favor is that he is not entranced with adolescent lingo. The director on the other hand has taken the movie as a challenge; how to create...
...this very moment. Erich Segal's Love Story (New York: Harper and Row $4.95) is at the very top of the New York Times fiction bestseller list. Segal (Harvard 58) is a classics professor at Yale who runs in the Boston marathen and wrote the screenplay for the Beatles movie, Yellow Submarine. His moist saga of a Harvard-Radcliffe romance circa-1965 was originally published in Ladies' Home Journal. Segal says. "Thirteen million readers of Ladies' Home Journal have learned something about what college kids are doing today." He bases this hope on the fact that his short novel...
Conveniently. Ken Russell's current film of Lawrence's Women in Love solves the problem quite neatly. Thanks to Larry Kramer's screenplay, which follows quite closely the plot of the novel, and thanks to Alan Bates's amusing but rather lightweight portrayal of Rupert Birken, Lawrence's protagonist and spokesman, the film turns poor old D.H. into the adolescent's adolescent. (Incidentally, someone along the assembly line was indiscreet enough to have Bates/Birklen wear a beard cut exactly like Lawrence's own. They seem to be daring us to make the connection.) And since (cautionary baritone) this film...
...descriptions of nature, his hypersymbolic dramatic vignettes, his sometimes fumbling but mostly honest attempts to define sexuality, Lawrence gives us so much else to bolster his argument. His dialogue is only a part of a most imposing whole, and so we forgive it its deficiencies. So when Kramer's screenplay captures the dialogue, but neglects those elements of the novel that support it, it really is like cutting off the visible peak of an iceberg, thinking you've preserved the entire thing whole, What results is rather more silly than imposing...