Word: visualize
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Dates: during 1980-1980
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...over, the evilest of forces. King doesn't for a moment aspire to a high plane of literature, but his work does show a degree of craftsmanship. His characters, while not as clearly defined as possible, are believable, even if their settings are not, and King has the sharp visual acuity of a filmmaker as he shifts time and space to effect. His faults are few, but they're major: he is both overly cute and excessive. The latter is his undoing. He lacks the keen awareness that less is indeed more, pushing his hefty narratives far past the point...
They call the opposite line "godless humanism." It is difficult to see where the appeal lies in this approach--their pamphlets are denegrating, apocalyptic, frightening. So they de-emphasize the verbal, instead concentrating on the visual. Rev. Jerry Falwell, the national leader, guests on Donahue and the late-afternoon talk-show circuit, while his recruits ferret out converts for their congregations. The message comes across differently now--the pastor's eyes are compassionate; he tells you he loves you and he's trying to help you. So if you can't vote for Ben-jamin Bubar, the ultra-conservative candidate...
...Godard." Every Man is shaped in the form of a sonata, with thematic variations expressed through recurring images and lines of dialogue. But this is a ghost sonata, and the specter is that of the old (young) Godard, the director of Breathless and Weekend, who dazzled cinephiles with his visual fecundity and youthful wit. His new film, however confessional, seems clinically detached. Its heartbeat is irregular and indistinct, like signals from a dying star on the other side of the universe.And its message for the human race seems to be: every man for himself, and Godard against...
...Madame Adare sounds like a jumble, it is. In previous works, Silverman, 42, and Foreman, 43, deliberately avoided linear plot lines in favor of surreal musical and visual images, with results that were sometimes beguiling. Here there are too many images and, perversely, too much plot. Silverman's music is as always, eclectic and occasionally witty. When Adare decides to become an opera singer, for instance, the orchestra plays strains from Boris Godunov. Unfortunately, Silverman seems to have no point of view, and his music is an uninspired mélange...
...Terror becomes metaphor. Nothing is what it seems. It only takes a second. In the end Blacksmith is as destroyed by the violence he makes. "Does anybody deserve this?" Jimmie is asked. In one incredible sequence, Jimmie Blacksmith stands on an ancient sacred Aborigine spot, an amazing visual juxtaposition, part Old World and part Urban Present. He has no blood ties. No gods. The only justification in his mind is vague. "I wanted them to see," says this murderer of women and children. Slowly the camera moves away, farther and farther, until he is swallowed up in the vast scale...