Word: scripting
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Dates: during 1960-1960
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...script is mainly by St. Luke, the pictures by the greatest hands of the High Renaissance, and the result is one television show that will probably be run and rerun-in churches, schools, art courses, and over the air. Scheduled for this week (Wednesday, Dec. 21), The Coming of Christ is the latest in NBC's superb Project Twenty series, uses the same technique of still photographs and quiet narration that made television masterpieces of 1959's Meet Mr. Lincoln and last April's Mark Twain's America...
...drama, Tunes of Glory falls somewhat short of its ambitious intentions. The script, written by Novelist Kennaway, succeeds in waging the internecine peace of barracks life, in suggesting the almost homosexual intensity of male relationships in a world too safe from women; and Director Ronald (The Horse's Mouth) Neame makes the most of these opportunities. But the last third of the film is confused by errors of exposition. The picture begins and middles along as a warmly human comedy of military character. The mood of the violent conclusion is unprepared and therefore unacceptable...
...whole, Exodus is a terrific show. Director Preminger (The Man with the Golden Arm, Anatomy of a Murder) is at the top of his form in every department. Cinematography and cutting are impeccable, and the actors are masterfully maneuvered. But the fundamental strength of the film derives from a script that, when due allowance is made for the slovenly (though heartfelt) book on which it is based, seems an amazing achievement: clear, intelligent, subtle, witty, swift, strong, eloquent. Ironically, the script is bringing Hollywood embarrassment as well as riches. It is the work of a well-known, long jobless member...
With all its various vitalities, the script perpetuates the more serious defects of the novel, and these are not technical but moral defects. The film is pro-Semitic. Well and good; it is good for the soul, whether Jewish or Christian, to be reminded that the Jewish culture and community have survived 2,000 years and more of persecution not only because many Jews are brilliant but also because many are brave. But even though competent historians, in determining who started the civil war, refuse to excuse either side, the film unequivocally blames the Arabs, absolutely absolves the Jews. Then...
...remain forever. They are like the land. You are like the wind ... a strong wind [chasing] the locusts . . . blowing over the land and passing on. Vayan con Dios." Technically, the film is up to big-studio standards. Color, camera work, acting and direction (John Sturges) are competent. But the script (William Roberts) is what gives this western its special dimensions of inwardness and dignity. Expert but sensitive, the writer searches even more intimately than Kurosawa did into the nature of the fateful tie that, sometimes as pity, sometimes as cruelty, sometimes as love, always and inevitably binds the strong...