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Word: scripts (lookup in dictionary) (lookup stats)
Dates: during 1960-1960
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Usage:

...instead a diffuse, kaleidoscopic melange of tiny incidents. The work contains, believe it or not, forty-two scenes some only five or six lines long: and they often go by and shift locale with cinematic speed. In fact, Shakespeare has given us less a stage play than a movie script; and the camera might do almost as much for Antony and Cleopatra as it did for Olivier's screen version of Henry...

Author: By Caldwell Titcomb, | Title: Antony and Cleopatra | 8/4/1960 | See Source »

...Eternity was in our lips. . .") and lightly caresses his bare arm. But she lacks the "infinite variety" that Enobarbus attributes to her. Whereas Antony is a fixed entity, Cleopatra is never fixed. Pick almost any adjective you like, and you can find support for its applicability somewhere in the script. She is utterly chameleonic in behavior, and nearly as complex as Hamlet. But Miss Hepburn's range is far too limited; and she indulges in the sort of pseudo-emotional descending vocal wavering that delighted the fans of Julia Marlowe many decades ago but is now wholly out-of-date...

Author: By Caldwell Titcomb, | Title: Antony and Cleopatra | 8/4/1960 | See Source »

Joan Diener in the title role is tall, white-blonde, gorgeous, and unquestionably a mammal; she can launch my ships anytime. But she has been constrained (by the script, perhaps, or by Mr. Marre, or by her own predilections) to play Helen with an icy hauteur that eliminates the possibility of any emotional response from the audience except pure lust. Perhaps it is too much to ask, but it would be nice to have a Helen who is likable as well as desirable. On her own terms, however, Miss Diener acts quite well enough, and her singing is not unpleasant...

Author: By Julius Novick, | Title: Helen of Troy | 8/4/1960 | See Source »

...depicted with total amorality. Adapted from his own play by British novelist and playwright Wolf Mankowitz, the film removes the glittering facade of show business for a behind the scenes view of the world in its dog-eat-dog reality. The almighty pound weaves in and out of the script, permeating the atmosphere and the characterizations...

Author: By Jacques Easton, | Title: Expresso Bongo | 7/28/1960 | See Source »

...many excellences of this production far outweigh its few defects. A script that might have become disjointed and confusing on stage has been made coherent and exciting entertainment. And the girls are all very pretty...

Author: By James A. Sharaf, | Title: U.S.A. | 7/21/1960 | See Source »

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