Word: scripted
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RIGHT YOU ARE. Luigi Pirandello is the philosopher king of 20th century playwrights, an existentialist before Sartre and Camus, an absurdist before Beckett and lonesco. Though written in 1918, this intellectual whodunit has scarcely a grey line in its script, and the APA troupe has faithfully obeyed the playwright's commandment: "To convert the intellect into passion...
RIGHT YOU ARE. Luigi Pirandello is the philosopher king of 20th century playwrights, an existentialist before Sartre and Camus, an absurdist before Beckett and lonesco. This 48-year-old intellectual whodunnit has scarcely a grey line in its script, and the APA troupe has obeyed the playwright's commandment: "to convert the intellect into passion...
...kind of person who sits through the same movie three times loves pro basketball. The script is always the same (When was the last time the Boston Celtics lost the championship?), and the faces are familiar: Bill Russell, Wilt Chamberlain, Oscar Robertson. Nor was it news last week when those perennial cellar dwellers, the New York Knicks, lost their sixth out of seven games, 115-109 to the Cincinnati Royals. All in all, the new National Basketball Association season was more of the same, with one big exception: the sensational shooting of San Francisco's Rick Barry...
Right You Are is 48 years old, and there is scarcely a grey line in the script. It is a kind of intellectual and philosophical whodunit, aimed at discovering the truth of a situation. A government clerk (Sydney Walker), his wife and his mother-in-law (Helen Hayes) have recently arrived in an Italian town. Their new neighbors are all agog because he keeps the women in separate quarters, so that they can communicate only via notes put in a lowered basket. A convocation of irate gossipmongers, including the clerk's boss, summons the mother...
...stars all look wretchedly unhappy, alas, and with reason: Paris is just possibly the most drastically disorganized war movie ever made. For one thing, the script, adapted by Gore Vidal and F. F. Coppola from last year's bestselling piece of pop history by Larry Collins and Dominique Lapierre, tries to tell the story from about 60 points of view at once-some German, some American, some Free French, some Vichy French, some utterly unidentifiable. The result is a 161-minute non sequitur in which the spectator is shrapnel-splattered by bit parts and bitty scenes until...