Word: scripting
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Dates: during 1940-1949
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...Reporter Basque returned. He strode to Room 205, announced himself loudly as the Information Ministry's new Director of Broadcasts. "Bien, bien!-Fine, fine!" nervous bureaucrats exclaimed. They bustled around, tidied up his desk, and put a sign, "Broadcast Control Office," on his door. Program directors, producers and script writers filed into Room 205 to have their manuscripts bureaucratically edited and rubber-stamped...
...frightened lovers through thousands of suspenseful feet of film to a slam-bang finish. This time he turns his formula and the police on Ingrid Bergman and Gregory Peck and hounds them expertly through a hotel lobby, a railway station, a train. But thanks to Ben Hecht's script, the real hue & cry is in the hero's mind. Miss Bergman, disguised in hornrimmed glasses, scrambles grimly after Hero Peck through the dark corridors of his paranoid guilt complex. The result is often good entertainment, but it does not tingle with Hitchcock's usual sustained suspense. There...
...script allows Miss Bergman to do very little except tensely beg her lover to remember his boyhood. By flexing his jaw muscles and narrowing his eyes, Peck does his best to register the fact that all is not well with him. But despite the drag of the psychoanalytical theme, Director Hitchcock's deft timing and sharp, imaginative camera work raise Spellbound well above the routine of Hollywood thrillers. Again & again he injects excitement into an individual scene with his manipulation of such trivia as a crack of light under a door, a glass of milk, or the sudden wailing...
...light operatic vein). Her waking existence involves a rich theatrical playboy (Franchot Tone), the youthful owner (David Bruce) of an all-night diner and six ill-clad orphans who play it for pathos. Susanna Foster wades into her role with breathless enthusiasm, bubbling and flaring as the script demands. Her ardor is not shared by Franchot Tone, who goes about his post-adolescent lovemaking with one eye on the lady and the other on the time clock...
...Prater Violet's principal characters. Grim skeleton of his novel-as well as its basic irony-is the filming by British Imperial Bulldog Pictures of a tear-jerker operetta about old Vienna named "Prater Violet"-just on the eve of Dictator Dollfuss' putsch to power. For the script of Prater Violet, Bulldog's President Chatsworth hires Christopher Isherwood, who knows Berlin ("Berlin ['s] . . . pretty much the same kind of setup [as Vienna], isn't it?") and, as director, imports famed Moviemaker Friedrich Bergmann, who is forced to take the job because the Nazis have smashed...