Word: staging
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Dates: during 1970-1970
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...world at the age of puberty, millions of teen-agers now remain outside the labor force to go to college. It is this fact that has made possible the existence of today's separate youth culture, by which parents feel surrounded and threatened in their sense of authority. "A stage of life that barely existed a century ago is now universally accepted as an inherent part of the human condition," says Yale Psychiatrist Kenneth Keniston. Keniston, in fact, now postulates still another new stage of life, that between adolescence and adulthood: he calls it "youth." The youth of the technetronic...
...shaky Abscheulicher! in Act I, Soprano Leonie Rysanek as Leonore rescued her mate Florestan from Pizarro's dungeon with a heroinism that any latter-day Women's Lib leader would envy. Tenor Jon Vickers gave glorious vocal heart to Florestan's piteous degradation. Austrian Stage Director Otto Schenk clothed the production in medieval-dungeon darkness that gave way brilliantly at the end to the blinding whiteness of day-and freedom. Though the Nazi-like greatcoat worn by Pizarro (formidably portrayed by Baritone Walter Berry) was an irrelevant touch, the eyeglasses he took from a pocket-a desk...
FLAP serves notice that the plight of the American Indian has reached the exploitation stage. As Flapping Eagle, a proud ex-Army sergeant on an Arizona reservation, Anthony Quinn boldly plays Zorba the drunk redskin. Abetted by a wispy intellectual with the decidedly un-militant name of Eleven Snowflake (Tony Bill) and a bleary stereotype called Lobo (Claude Akins), Flapping Eagle decides to foment a three-brave revolution against white civilization. Guess who dies (but whose spirit lives...
...Queen took afternoon tea, by candlelight. Millions of homes were without heat, electricity or hot water for long periods, and whole areas of London resembled the capital during the wartime blitz. Darkness and gloom had descended on Britain because 125,000 Electrical Trades Union (E.T.U.) workers had decided to stage a slowdown. It was so effective that at any given moment during the week a quarter of Britain was without electricity...
What Ritt does do besides give the film's supporting acting a derivative panache is make Jefferson a lot more angry than he was on the stage. And he achieves this simply by intelligent use of what has become a hackneyed editing cover-up-the reaction shot. James Earl Jones knows what Johnson was all about; if the boxer learned to resent most white men, he also pitied his black mammy and scorned the life she led. Ritt plugged in Jones' knowing smirk enough times to keep me some-what interested in the overheated proceedings...