Word: scripting
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Dates: during 1960-1969
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Beyond Satire. Absurdity kept cropping out all during the prolonged wrangle between unbending Governor Barnett and the U.S. Government, as if the participants were following a script by that Mississippian master of grim comedy, William Faulkner, who until his death last July was Oxford's most famous resident. After turning Meredith away at Jackson, Barnett got stalled in the elevator for ten minutes while the crowd out side the building yelled "We want Ross!" A gifted satirist could hardly have invented the dialogue between Barnett and Doar. And there was something sadly comic about James Meredith's desire...
Next signature on the lower left-hand corner of U.S. greenbacks: the tight script of Kathryn E. Granahan, a Pennsylvania Congresswoman who will replace Elizabeth Rudel Smith in the $17,000-a-year post as Treasurer...
...novel published in the U.S. in 1951, the same year he won a Nobel Prize, Sweden's Pär Lagerkvist explored the question with spiritual insight and intellectual distinction. In the script for this film, which is based on the novel, Britain's Christopher Fry has both dramatized and deepened the novelist's reflections. With the result that Barabbas is a cinema curiosity almost as rare as a whale that spouts holy water: a full-color, widescreen, multimillion-dollar religious spectacle that is also, at many points, an intense and illuminating religious experience...
...father"; and in the paleo-Christian legend that Barabbas and Christ had the same first name: Jesus. It can therefore literally be said that Jesus died for Jesus as well as for mankind, and it can be mythologically assumed that Christ and Barabbas are brothers. The script explicitly conceives Barabbas as the dark brother of Christ, the natural as opposed to the spiritual man, a counterpart to Cam and perhaps even to the Hermes of the alchemists. But in a religious sense the picture presents Barabbas as something more immediate, obligatory and dreadful He is the reality of religion...
...picture, finding in each other just the proper complement to their own failings. Resnais gained great fame by directing Hiroshima, Mon Amour. In it, he showed all sorts of technical ability with flashbacks and composition, but he never seemed able to integrate this talent with Marguerite Duras' rather somnolent script. Robbe-Grillet, on the other hand wrote novels that yearned for visual expression. In La Jalousie, for instance, he spends most of his time painting in the very smallest details of a banana plantation. Amid the minutiae, the author tells an exceedingly ambiguous tale of a husband's jealousy...