Word: screenplay
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...Behind every dune of hitherto deserted Arabia lurks a lengthy exchange of dreary dialogue. These booby-traps are the work of Robert Bolt, formerly a play-wright of some note, whose screenplay is a gallimaufry of all the cheap movies and pulp novels you have never liked: John Buchan, Shane, etc., etc. Bolt's Bedouin farce is never, to be sure, intentionally funny, and everybody on screen somehow manages to keep a straight face when O'Toole (Lawrence) announces in one of the film's obviously epiphanal moments that he likes the desert because "it is clean." None of Bolt...
...really fair to judge Lolita in comparison with the book. Rewritten by Nabakov and directed by Stanley Kubrick, the screenplay can easily stand on its own. It is absurd, grotesque, and very funny, and it introduces a fine young actress, Sue Lyon...
...proves to be a plucked peacock. As a play-written by France's Jean Anouilh and played on Broadway by Sir Ralph Richardson and Mildred Natwick-it was a brilliantly dressy slapstick satire: a show most wise and cruel when it seemed most raucous and extravagant. As a screenplay-written by Wolf Mankowitz and directed by John Guillermin-Anouilh's fine-feathered strutter has been saponified, caponified, shorn of its more splendid plumes of wit and stuffed with a mighty chunk of supererogatory and rashly overcolored celluloid that might have been more sensibly and even profitably employed...
...Anglo-Saxon Chronicle; the first volume will be published in London next year. He has gone over the manuscript again and again, tearing up thousands of sheets of paper, never happy with the often hazy images that his memory has supplied. Also, he is supposedly working on a screenplay about an aristocratic steamship passenger and a female stowaway, intending to star his son Sydney. He has also talked of a comedy about space travel. But most of that is idle whimsy. His last film, 1957-3 A King in New York (made in London), was a total critical failure...
Miss Clarke's screenplay is an improvement on the Miller novel, just as The Connection was an improvement on the Gelber play. She has tightened the structure and cut out a mawkish ending...