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remains to be seen what we should make of people whose professed belief is disengaged from their operative convictions. Is this how we become secularized? Does this put believers beyond the...

Screen (May 1983)

Screen SHEIK, RATTLE, & ROLE ROMANCE & DISILLUSIONMENT I LIKE THE idea of John Sayles a lot. That a young writer with a passion for movies would make his own, working within whatever budget he...

Screen (February 1983)

AFRICAN MELTDOWN MAD DOGS & FRENCHMEN I ONCE SPENT a little time in Nigeria. One night while I was there, an Englishman who had lived in Africa many years - an old "coasthand," as they said - came...

Screen (December 1982)

Screen HERZOG OF THE JUNGLE ANOTHER RAIDER OF THE LOST ART THE OPENING IMAGE of Werner Herzog's Fitzcarraldo is the Cayahuari Yacu in South America, a mist-shrouded jungle to which the Indians...

Screen (November 1982)

Screen L'AVVENTURA II AN UNADVENTUROUS ANTONIONI MOST artists spend their entire careers in the elaboration of a single theme or idea. Once in a century, perhaps, there is a genius like Picasso...

Screen (November 1982)

Screen GUILT TRIP MEN WITHOUT A COUNTRY ON DECEMBER 8, 1981, a carpenter named Eugeniusz Haczkiewicz arrived in London with a tour group from his native Poland. Shortly thereafter, director Jerzy...

Screen (October 1982)

Screen HEAVY CASUALTIES DEBS & GRUNTS ZACHARY MAYO (Richard Gere) does finally become an officer, but not a gentleman. Zachary is in O.C.S. at the Mt. Rainier Naval Base in Washington state. He's...

Screen (September 1982)

Screen WOODY, CHEECH & CHONG LOW COMEDY IN A MIDSUMMER NIGHTS SEX COMEDY, Woody Allen plays a turn-of-the-century inventor whose Rube Goldberg creations, such as an aerocopter that's pedaled like...

Screen (September 1982)

Screen WRITERS WRONGED NOVELIST AND PLAYWRIGHT ON FILM I THINK I take personal offense at the way writers are depicted in movies. Even though the writer is not as a rule some lowly critic, but a...

Screen (August 1982)

Screen A DEFINITE SMILE THE AGE OF HAPPY ENDINGS NO SELF-RESPECTING TEENAGER Can hang out at a McDonald's or an Arby's. To hang out you need an eatery that's unique to your turf, a hamburger...

Screen (July 1982)

Screen TEMPS PERDU THE FABULOUS FIFTIES THE ATOMIC CAFE gets its title from a real cafe out West that has a mushroom-shaped cloud painted on its sign. The sign only appears in the film briefly,...

Screen (June 1982)

Screen THE LAST TYCOON MARKETING A FRECKLE-FACED ORPHAN IN MY LAST COLUMN, I was praising Annie for being a big investment that pays off in small ways. Its pleasures are in its details. For...

Screen (June 1982)

Screen SMALL PLEASURES HER HEART BELONGS TO DADDY One MORNING about a year ago, I stopped by Radio City Music Hall to watch the shooting of a scene for Annie. Nothing was happening. The entire...

Screen (May 1982)

Screen GAY PAREE VICTOR/VICTORIA PARIS in 1934 was not a real place. It was like the woods in A Midsummer Night's Dream, somewhere that people went to take leave of their senses. It was, you...

Screen (May 1982)

Screen PRYOR RESTRAINT UP FROM BURNOUT POOR JOHN BELUSHI. He turned out not to be as funny as we thought he was. (They could write that on his tombstone.) The same thing almost happened to...

Screen (January 1982)

Screen DELAYED REACTIONS MY TEN BEST FOR'81 I ADMIT it's a little late, but I've decided to announce my ten-best list for 1981. Actually, it's a little late for me to do any ten-best lists, ever,...

Screen (December 1981)

Screen HOT TICKETS JUST LIKE THE OLD DAYS I don't see as many movies as I used to. I know I've complained about this before, but it still bothers me. The movies I've had to cut out, because of...

Screen (December 1981)

Screen NOT CRICKET QUO VADIS, LADS? Chariots OF FIRE. It's such a pretentious title. What does it mean? As the World Turns. Edge of Tomorrow. It's that kind of title. (At least Upstairs,...

Screen (November 1981)

Screen MYSTERY OF ANTONIONI STILL ON THE EDGE 1960 WAS an annus mirabilis for the movies. The New Wave continued to build in France, Godard and Truf-faut both following their extraordinary debuts...

Screen (November 1981)

Screen FOWLES PLAY A TWICE-TOLD TALE THE MOVIE The French Lieutenant's Woman is, like the novel, a virtuoso performance. It's a feat, a technical tour deforce, a display of craft - and nothing...

Screen (October 1981)

Screen AMERICAN TRAGEDY MUDDLE-AGED LIBERALISM THERE are a couple of high schools in Harlem where delinquency is so rampant and ineradicable that the City of New York is thinking of closing them...

Screen (October 1981)

Screen HEART OF THE MATTER A WESTERN THAT'S CREDIBLE HEARTLAND begins with some real slow, squeaky music, and it ends the same. In between, not much of anything happens. That's why I like it....

Screen (September 1981)

Screen JACK'S LAST TAPE HAS SUCCESS SPOILED BRIAN DE PALMA? BLOW out is a thriller with lots of style, a film that shows Brian De Palma to be a master of the genre. Alfred Hitchcock couldn't have...

Screen (July 1981)

Screen SEASONAL SLUMPS WINTERS OF OUR DISCONTENT ALAN ALDA'S The Four Seasons is a film I've reviewed before, often. It's yet another example of the ubiquitous, pernicious influence of TV on...

Screen (June 1981)

Screen FLEURS DE NALLE ESCAPE INTO SOLIPSISM AT one POINT in Atlantic City, Grace (Kate Reid), the bitchy, invalid widow of a gangster, sings an old song to a gullible pregnant girl named Chrissy...

Screen (May 1981)

because Poe, to whom we also owe so much, was a contempo- rary of Whitman. Poe and Whitman didn't know each other and I think it was better that way. They surely would not have been able to...

Screen (May 1981)

Screen STAR WARTS 'AND THE WINNER IS . . . LOUIS B. Mayer invented the Oscars in 1927 in an effort to create an elite for the movie industry. This attempt to dignify Hollywood, which had a lot of...

Screen (April 1981)

Screen SIDE SHOWS A LIGHT TOUCH-& OVER THE EDGE COMEDIES are like atomic explosions. The boom occurs only when the material reaches a critical mass. A scene has to have at least a half-dozen...

Screen (April 1981)

Screen TOO POOPED TO POP RALPH BAKSHI'S ANIMATION THE ART of comedy requires quick cuts. The art of animation, as practiced by Ralph Bakshi, requires short-cuts. The two should not be confused....

Screen (March 1981)

Screen BACK FROM THE DEAD THE DOWN-AND-OUTERS UP AND AWAY RICHARD DONNER's Inside Moves has the same kind of appeal that dodo birds have. Whenever I see a picture of a dodo bird, I can't help...

Screen (February 1981)

Screen FILM ON HORSEBACK ABEL GANCE'S SELF-MADE DICTATOR IN APRIL, 1927, Abel Gance's Napoleon opened amidst great tumult at the Theatre National de l'Opera in Paris. (One young army careerist...

Recalled to Life: After Waiting for Godard (November 1980)

Screen RECALLED TO LIFE AFTER WAITING FOR GODARD IN jean-luc godard's Contempt (1963), the characters at one point enter a screening room on whose wall is inscribed a quotation from the movie...

Screen: Old Movies Never Die: They Just Fade Away (November 1980)

Screen OLD MOVIES NEVER DIE THEY JUST FADE AWAY I USED to go to the movies three nights a week, often to double bills, and about half of what I saw were repertory films. These weren't all...

Screen (October 1980)

IIII Screen REDFORD VS. REDFORD A STAR IS FORLORN I N Ordinary People, the Judith Guest best-seller with which Robert Redford has made his debut as a director, there is a boy named Conrad...

Screen (October 1980)

senses. It demands we save history. For between the primitive fusion with a world "full of gods" at our origins and any final destiny of re-identification with cosmic Spirit lies interposed the...

Screen (September 1980)

your ear, and about the ability to think through a problem to make a moral judgment. He said I was wasting my time. Because "the future belongs to John Trav~olta.'' Not, of course, to Travolta as...

Flying High: And at Bargain Rates (September 1980)

bar to enjoy "Miller Time." This is pretty light stuff, not far removed from the TV fare it pokes fun at. But it doesn't try to be anything more. It has good pace and a mood of nutty high jinks...

Fashion Statement: Hitchcock as Precocious Teenager (August 1980)

Screen FASHION STATEMENT HITCHCOCK AS PRECOCIOUS TEENAGER BRIAN DE PALMA's Dressed to Kill plays with time in much the same way that one of the characters in the film, a precocious teenager,...

The Waning: Kubrick's Grandiose Hotel (August 1980)

Screen THE WANING KUBRICK'S GRANDIOSE HOTEL Stanley KUBRICK'S The Shining is a movie about cabin fever. If it were set in a cabin, Kubrick might have been able to concentrate his energies on...

Screen (June 1980)

Screen BOTTOM OF THE WAVE FRENCH CINEMA DEVELOPS A PAUNCH T'S MISLEADING, I know; but I can't help thinking of certain I film cultures as if they were human beings. I have the same trouble with...

Screen (June 1980)

...

Screen (May 1980)

Screen DUCK SOUP A REALLY FUNNY HOME MOVIE HENRY JAGLOM'S Sitting Ducks is a schleppy film about a couple of schlepps. That's what makes it funny. Neither the film nor the characters in it have...

aith in the System: A Brief for Alger Hiss (May 1980)

The pre-ballet world is scrupulously presented by Mabel Dolmetsch in two volumes The Dances of Spain and Italy From 1400 to 1600 ($19.50, 174 pp.) and Dances of England and France 1450 to 1600...

Screen (April 1980)

Screen BEST MOVIE RISING TO THE OCCASION IT'S DIFFICULT to describe the documentary that Ira Wohl has made about his cousin Philly in terms that aren't cliches. Best Boy is a movie that's...

Man in her Life: 'The Rose' & 'Coal Miner's Daughter' (April 1980)

Screen Ill MAN IN HER LIFE 'THE ROSE' & 'COAL MINER'S DAUGHTER ~oJuAT EVERY pop music star from Loretta Lynn to Janis oplin to Bette Midler wants, presumably, is to s~nd t from the...

Screen (March 1980)

Screen CALIFORNIA STYLE A LUXURY OF EMOTION THERE'S A SCENE in The Last Married Couple in America where the wife (Natalie Wood) knocks down her husband (George Segal). It happens on a plaza...

Sorry, Wrong Number: Horatio Alger Calling (March 1980)

Screen SORRY, WRONG NUMBER HORATIO ALGER CALLING AFTER world war II the Italian Neo-Realists, and later the French New Wave, rebelled against what they called "white-telephone comedies." This...

Screen (February 1980)

and changes do, though, make a real impact once one has settled into the bath of sound. Childs's choreography, divided into five equal parts of twenty minutes duration each, was devised as...

Tale of Hoffman: Kramer vs. Kramer (February 1980)

Screen TALE OF HOFFMAN KRAMER VS. KRAMER WHEN MY wife and I got married iff the mid-sixties, we used to play touch football on Sunday afternoons with ten other couples. Out of the total of...

Hard Act to Follow: Klaus Kinski: Up for the Count (February 1980)

Screen HARD ACT TO FOLLOW KLAUS KINSKI: UP FOR THE COUNT I HAVE JUST returned from the voting meeting of the National Society of Film Critics, where Breaking Away won the award for Best Film of...

An 'Innocent' Dracula: Myth Rather than Melodrama (January 1980)

Screen AN INNOCENT' DRACULA MYTH RATHER THAN MELODRAMA T THERE'S a certain irony in the fact that when F.W. Murnau's Nosferatu was released in 1922, die publishers of Bram Stoker's Dracula...

Screen (December 1979)

lung aliment, once described to me as asthma, another time as emphysema and still another time as tuberculosis. Whatever the name of the illness, it is sufficiently debilitating. Phuc is...

Screen (December 1979)

I Screen I I GILT BY ASSOCIATION TAKING THINGS I.ZERAI J.Y A ND BESIDES, Leon Edel is deceiving himself. In my last column, I was trying to undermine the authority with iwhich Edel seems to...

Screen (November 1979)

time, but the fundamental issue will remain-how should and office itself) visible, more rational, and more open to public can police power be made more...

Screen (November 1979)

cated mode she adopts in these late novels exploits this mimetic accuracy in order to prod the reader to her ironic attitude towards the human failings captured in them. What Iris Murdoch knows...

Screen (October 1979)

product of the Kirov academy and had been a member of the company before transfer to Moscow. They are both stunning dancers with a glittering future before them. Neither has as yet adopted the...

Hollywood Hagiography (October 1979)

tailors make bullet-proof vests explanations of its defects. The recoil is la madre (An Altar for the Mother) . In Parents go to school so strong, the social...

Screen (October 1979)

Lone Star and Pvt. Wars are one-act comedies in which the mogul's. Kurtz's whole encampment is festooned with se- farcical tone swallows the serious implications. Roy in Lone vered...

Screen (September 1979)

will take place, leaving an even larger number of black chil- nil. The sheer force of one's perceptions makes each of them dren in black schools. ...

Screen: (September 1979)

women writers, poets, artists and scientists spans the cen- Wartime Poland became Karol Wojtyla's pedagogue. The turies. To deny a woman her right to intellectual achievement ...

Screen (August 1979)

This page is...

The Screen (August 1979)

would not be correct to classify civil service jobs into those dusk. A fireworks display against the same skyline explodes which require loyalty to the Constitution and those that don't. its...

Screen: (July 1979)

thirteen-year-old son. Anyone who grew up on Shirley Temple emotional, intellectual, spiritual background to make sense of movies knows from the moment the boy sets foot on stage that ...

Screen: (June 1979)

corporate determination to lose no part of it to the less well off People: The Role of Mediating Structures in Public Policy, here or anywhere. At the very least, Novak and the neoconser- ...

Screen: (June 1979)

heroine, Victor Garber's sailor hero, a Jack Tar straight out of Sweeney Todd is no Brecht-Weill musical, however. It is a period illustration. There are last-minute escapes, locked ...

Screen: (May 1979)

support, they have also been anxious to see the Coalition ingly popular as Hair was. Hair was made on the novel succeed. Ed Mann...

Screen: (May 1979)

struck for our own national version of Socialist Realism. It close to the wrecked and abandoned automobile. remains somehow to be proven that "All the world's a stage Thus the deed is...

Screen: (April 1979)

power plant, the minute the camera is turned on he dithers. He Screen ...

Screen: (April 1979)

the Ainu victim cub, thence into his translation, and thence into an essentially theatrical situation: two men holding each ultimately into his interpretation of the Ainu ritual as a holy ...

Screen: (March 1979)

Even without the effort of the Longest Walk, however, it here and there in The Warriors' opening scenes are almost the seems highly unlikely that any of these bills will ever come to a...

The Screen (March 1979)

itself impervious to every new DDT developed. No matter...

Screen (March 1979)

moment, one was enough. The attitude is the same among the were characterized by a determination on the part of the spon- union members as well; they appear to have a positive attitude ...

Screen (February 1979)

the women. The women, by contrast, are neurotic, driven, Screen ...

Screen (February 1979)

managers. Labor law is written with the assumption that there is some sort of distinction, however delicate, between worker and manager, but the facts of much of higher education would argue that...

Screen: Altman's `A Wedding': (January 1979)

created for Sergei Diaghilev's "Ballets Russes" in 1929, the opment of the great plotless ballets, and it is precisely these year of the latter's...

Screen: (December 1978)

Buddhist Church of a Draft law making no provision for conscientious objection and shortly after a vigorous protest of the attempted confiscation of an orphanage, there was a night raid on the...

Screen (November 1978)

Screen _____ GRATEFUL DEAD TRUFFAUT'S THE GREEN ROOM' FRANCOIS TRUFFAUT'S The Green Room is about a man who achieves perfect love. This man, Mien Davenne, who is played by...

Screen (November 1978)

Screen I I THE MELTED POT AN ADOLESCENT HIGH A T THE HEART of Up in Smoke lies a dream of consumer goods made out of pot. In a little factory down in Tijuana, as Sgt. Stedenko (Stacy...

Screen: Ars Gratia Artis (October 1978)

some real depth and genuine religious feeling. Even his arbit- rariness in plotting, which in other places makes his book absurd, serves here to show his hero's helplessness against his own...

THE SCREEN: The Detective and the Dun (October 1978)

THE DETECTIVE AND THE DUN THE SCREEN Hercule Poirot and John Collins are birds of a feather, though you'd never know it just to look at .them. Poirot is of course Agatha Christie's famous...

THE SCREEN: Tested Mettle (September 1978)

TESTED METTLE THE SCREEN For years Woody Allen 'has made comedies out of the same neuroses, anxiety and despair which are found in Ingmar Bergman's fi, hns. Now, w~th Interiors, Allen has made...

THE SCREEN (September 1978)

DRIVE, HE SAID THE SCREEN In The Driver, as the title character (Ryan O'Neal) is about to junk the getaway car he has just driven in a casino stick-up, he first throws something--a...

THE SCREEN: Greasy Kid Stuff (September 1978)

whose greatest need is to be able to exercise their own decision-making in responsible freedom. We all know ~he tragedies of families where parents treat thei: grown offspring like children. In...

THE SCREEN: Estival Festivals (August 1978)

THE SCREEN ESTIVAL FESTIVALS In comedy, nothing succeeds like excess. All the origins of comedy are in festivals, where the whole idea is to carry things .to excess, to blow off steam....

THE SCREEN: Brody and the Beast (August 1978)

BRODY AND THE BEAST THE SCREEN In laws II, Bruce the Shark eats a helicopter. It's the best thing in the film. I loved it. But getting his choppets on a chopper is only his piece de rdsistance....

THE SCREEN (July 1978)

JOHN FANDEL LATE AUGUST NIGHT By dusk, these days, crickets and all their multilingual kin, swell the undulant dark, static to the sun hummed into grasses, an afternoon sound you can...

THE SCREEN: The Lady Killer (May 1978)

was theatrical: by basing itself in spurious melodrama, by introducing distractions in the form of coincidences, and, in essence, by drawing attention away from what was going on, it made one...

THE SCREEN: Battle Cry (May 1978)

BATTLE CRY THE SCREEN Until a few years ago, all .most of us knew about Chile was that it's a country souch of the equator which has winter when we have summer and viceversa. The other thing we...

THE SCREEN: Sob Sisters (April 1978)

SOB SISTERS THE SCREEN An Unmarried Woman, Coming Home, Pretty Baby, The Goodbye Gtrl and House Calls all have something in common. They all exploit women. Four of these five movies are about a...

THE SCREEN (April 1978)

WHERE IT'S AT THE Si Man, I'm tellin' ya, this dude Smokey in the flick Blue Collar—the cat that's played by this here Yaphet Kotto—this dude is what I mean BAA A AD. He's...

THE SCREEN (March 1978)

THE SCREEN THE AGE OF AqUAnl~S The scariest scene in Close Encounters o] the Third Kind is the one where little Barry is kidnapped by the extra-terrestrials. This is the scene where, as I...

THE SCREEN (March 1978)

mean by "acceptable" motivation unless they mean that white liberals would rather see a biack man become a political activist over .the death of a Jewish dwarf than over the wrongs done his own...

THE SCREEN (March 1978)

THE SCREEN It's as if Werner Herzog's films have come into my mind by an immaculate conception—as if I had been touched by them with the tongues of fire. As I admitted in a column on Herzog I...

THE SCREEN (February 1978)

YEAR OF THE WOMEN In the previous issue I began surveying last year's films about women, of which there were an unprecedented number. I mentioned eight in that column— Altaian's Three Women,...

THE SCREEN: (February 1978)

THE STAGE Unless one goes to England as a theatrical explorer, in search of life in the regional and fringe theaters, the play-going impulse is to see as much as possible of what is going on at...

THE SCREEN (January 1978)

THE SCREEN Saturday Night Fever begins with Tony Manero, as played by John Travolta, walking down the street to the beat of "Staying Alive," as performed by the Bee Gees. It's a sunny afternoon...

THE SCREEN (January 1978)

The starting dates for the careers of Italy's internationally known directors are pretty evenly staggered from the early forties, when Visconti made his first film, to the early sixties, when...

THE SCREEN (December 1977)

PATTU[O~[C 0 0 0 0 0 0 0 0 0 0 0 0 0 0 $Cmlnml There is a certain level on which we see contempm-ary Italy as a symptom of the disease that is going to kill us all. That's the level on which...

THE SCREEN (December 1977)

feeling like hell, which is hardly the formula for commercial success. Some of the reviews I've seen of D/spatches have an impassioned, exhortatory quality, as if the national honor somehow...

THE SCREENS (November 1977)

PERSONALITY PLUS OOOOOOOOOO OOOO THE SCREEN As is no doubt apparent by now to anyone who has read this column on a regular basis, the only humanity I ever expect to find greatly revealed in a...

THE SCREEN (November 1977)

and pieces of society together in a conflict with only two sides, to make their war a general war, and to end the peace. But this is peacetime and we are in no mood for rallying cries. The...

THE SCREEN (October 1977)

FRESH BLOOD 0 0 0 0 0 0 0 0 0 0 0000 THE SCREEN In its heyday, from The Maltese Falcon and Double Indemnity to The Big Sleep and The Asphalt Jungle, film noir was a genre exceptionally...

THE SCREEN (October 1977)

that Rudd may have been read out of the movement years ago. This strikes me as neglecting Rudd's talent as a crowd-arouser, and as being hard to square with WUO's invective before his surrender,...

THE SCREEN (September 1977)

the same time, the masses can go on looking at coffeetable art books, and take their own portraits: the owners of the Palmers being, of course, the very same sort of people who make the camera...

The Screen (September 1977)

alcoholic a job tending bar. You're inviting a binge, and it's niggling to cite the reprobate's every intemperate word the morning after. From one angle Sam's story was strictly a matter...

The Screen (August 1977)

here they were together again, fighting heroin. Small world. But the odd thing, he said, the really interesting thing was that he knew so many of the inmates too. They'd only been kids when be...

The Screen (August 1977)

does the hard work and takes the necessary risks, saying concretely that the worship of the people of God can be spoken in a contemporary idiom and that the new language and pattern can be as...

The Screen (July 1977)

SWINGING IN THE RAIN OOOOO OOOOOOOOO THE SCREEN With Liza Minnelli playing straight man to Robert De Niro, New York, New York is certainly funny enough to be a comedy. With De Niro playing side...

The Screen (June 1977)

Watergate hearings, at once haughty and cringing? You cannot help but remember. The net of the press is huge, its weave is coarse, it is cast every day over the whole worM, and it is doing...

The Screen (June 1977)

BORN AGAIN OOOOOO OOOOOOOO THE SCREEN The images in Robert Altman's 3 Women have a cookie-cutter quality to them, reproducing themselves identically as if stamped out by some mechanical...

MEDIA (May 1977)

to undermine the Committee's conclusions even before they are reached. Of course it's only fair to repeat that reporters can't help themselves. They're supposed to hover about, cultivate sources,...

The Screen (May 1977)

Sea of Galilee, they were beset by a great storm. Jesus calmed the wind and then chided his disciples "Why are you so frightened? How is it you have no faith?" (4:40) Possessed by fear they could...

The Screen (April 1977)

But even that is only the beginning of the problem. If such a West Bank Palestinian state were to be somehow tinkered or hammered into existence, for how long could it keep the peace with...

THE SCREEN (April 1977)

LATINN ARE LOESY ! ~ 8 0 0 0 0 0 0 0 0 0 0 0 0 0 0 SCREEN Consider how unlike Bergman and FeHini are--so much so that one is almost tempted to think of them as types of the Northern and...

THE SCREEN (April 1977)

and read Fine Woodworking are going to work it out. Eight dollars a year from The Taunton Press, Box 355, Newtown, Conn. 06470. With some temerity I invite your suggestions of publications...

THE SCREEN (March 1977)

In insisting on the essential triviality of Dirty Linen, I do not want to suggest--as some reviewers have-that it is simply a playful gambol. It is a farce with a message---perhaps several. It...

THE SCREEN (March 1977)

even hinted so much as a suspicion she was putting it on. I suspect they didn't dare. In another month the war will have been over for two years. The American people have felt all they are ever...

The Screen (February 1977)

ance. Male dominance and clericalism feed on each other. As one begins to disappear in the central symbolic act of Christian worship, the other will inevitably be weakened too. Maybe then we will...

The Screen (February 1977)

ing and complaint by the two teams' experts. George Bush and Leo Cherne of the Board of Intelligence Oversight have both deplored leaks about the new Soviet estimate, and President Carter has...

The Screen (January 1977)

The University of Detroit's main campus is located directly in the path of Detroit's advancing color line. In the euphemism of our times, it is an increasingly 'inner city' school. It is...

THE SCREEN (January 1977)

a few baffled people in the audience demanding a tune they can whistle) that what is happening on Pinter's stage and to whom will not be explained. Even so, audiences are drawn into the best of...

THE SCREEN (December 1976)

THE ROHMERANTIC TRADITION THE SCREEN Since Eric Rohmer's The Marquise of O- is an extremely faithful adaption of a story by Heinrich von Kleist, a question Rohmer was asked at the film's press...

THE SCREEN (December 1976)

NIT WORK THE SCREEN As ousted news chief Max Schumacher (William Holden) is walking out on mistress-producer Diana Christensen (Faye Dunaway), he observes that his departure is just the final...

THE SCREEN (November 1976)

THE SCREEN Over the years the New York Film Festival has become less and less superfluous until, now, it is downright essential. This change in its status has been brought about by three things....

THE SCREEN (November 1976)

KUNG PHOOEY THE SCREEN Beyond Death Wish, Taxi Driver and A Clockwork Orange, beyond Sam Peckinpah, Clint Eastwood and spaghetti Westerns, beyond even samurai films, what kung fu movies accomplish...

THE SCREEN (October 1976)

CUPS JOINT THE SCREEN America at the Movies is a reprise of clips from about eighty American movie classics made over the last sixty-five years. It's the American Film Institute's "birthday gift"...

THE SCREEN (October 1976)

AMIN, AMEN THE SCREEN In a crazy way, Clint Eastwood and Idi Amin invite comparison. Eastwood is a star, of course, and currently, in The Outlaw Josey Wales, the director of his movie as well....

THE SCREEN (September 1976)

STORIES OF O THE SCREEN Damien in The Omen and Sondra in The Obsession come off as being pretty much the same character. Yet they ought to strike us as different in the end-the one an embodiment...

THE SCREEN (September 1976)

JOLLY ROGER THE SCREEN The opening scene in Swashbuckler establishes all the ground rules. Pirate Nick Debrett (James Earl Jones) is about to be hung by a detail of troops with Major Folly (Beau...

TRE SCREEN (August 1976)

ROSEMARY'S BOOBY THE SCREEN The ending of Roman Polanski's The Tenant is ridiculous. After having lived some months in an old-fashioned Parisian apartment building, a young man (Polanski himself)...

THE SCREEN (August 1976)

THE SCREEN PRESENT AT THE CREATION THE SCREEN In Buffalo Bill and the Indians, Robert Altman has taken American history and folded it back against itself as if he wanted to make an enormous...

THE SCREEN (July 1976)

CREEPING FAD, CREEPY PARODY THE SCREEN It's hard to imagine two art forms more different than stage comedy and screen comedy. Of course, both require timing, precision, control, etc. and because...

THE SCREEN (July 1976)

SPACESHIP EARTH SCREEN Obviously science fiction never succeeds. Its ostensible purpose is to show us what the future will be, but its effect is always to show us what the present is instead. The...

THE SCREEN (July 1976)

THE SCREEN Whenever he makes a movie Arthur Pena talks about something he calls its "dramatic profile," by vthkk he means the way structure reveals character in the film. A quick glance at Penn's...

TIlE SCREEN (June 1976)

THE SCREEN The climactic scene in Arthur Penn's new Western, The Missouri Breaks, is purposely more of an anticlimax. Lee Clayton (Marlon Brando), a "regulator" hired by a Montana rancher to...

THE SCREEN (June 1976)

THE SCREEN Walt Disney's most durable creations were a set of animal characters that always seemed at once both familiar and divine, a set of characters that followed from the 1927 appearance of a...

THE SCREEN (May 1976)

PAST MASTER THE SCREN As in previous films, so in Family Plot, Alfred Hitchcock makes a signature appearance during one of the early scenes. A silhouette standing behind the frosted glass in an...

THE SCREEN (April 1976)

HUMPTY DUMPTY THE SCREEN In All the President's Men an anonymous source who is key to the Watergate investigation is always referred to as "Deep Throat," and the suggestion in this nickname that...

THE SCREEN (April 1976)

THE SCREEN In the last issue I was explaining why I find Stanley Kubrick's Barry Lyndon a very beautiful film-not just a pretty film to look at, but one where meaning and order accrue from what we...

THE SCREEN (March 1976)

LIGHT COMEDY THE SCREEN To the end of the credits for Barry Lyndon Stanley Kubrick appends an expression of gratitude to Carl Zeiss, the German optical manufacturer, for "providing the f 0.9...

THE SCREEN (January 1976)

PASSING FANTASIES THE SCREEN Joseph Losey's The Romantic Englishwoman begins with a shot of its title character, Elizabeth (Glenda Jackson), reflected in the window of a train. Though we don't...

THE SCREEN (October 1975)

ROBINSON CARUSO THE SCREEN In any film that takes place on a sailing boat-Victor Fleming's Captains Courageous (1937) and Roman Polaroid's Knife in the Water (1963) come to mind first-the director...

THE SCREEN (April 1975)

MASTERS OF DISASTERS THE SCREEN Movies are of course a primeval language, a language of mere images, a primary process like our dreams and daydreams. It is not that movies are an anti-intellectual...

The Screen (December 1974)

the family-size decisions of people in these countries. But we can affect our own consumption habits, which are putting a greater incremental strain (at lease onethird) on the world's food...

The Screen (November 1974)

It is coincidental but interesting that in this atmosphere there is now a new interest in the life and works of the late comedian Lenny Bruce, a man whose jokes were so public and apparently so...

The Screen (November 1974)

Divorce has now touched almost every American Catholic family somewhere in its immediate experience. More and more Catholics know that the reasons for these divorces are not all bad character and...

The Screen (November 1974)

has attempted to create new demand for tickets through a hard-seU advertising campaign. Off-track betting in New York, also backed by heavy advertising come-on, did not decrease illegal...

The Screen (October 1974)

gent planning that would offset overpopulation and pollution, and just be happy to keep armed conflicts localized; and Gunther Bornkamm's article on Jesus Christ which begins: "The history of...

The Screen (October 1974)

I bring up this ancient history, not in a mood of wound-licking, but because we must again resist these old creaky methods of human suppression; still coming down on us, forever refurbished with...

The Screen (October 1974)

GAMBLERS SYNONYMOUS O O O O O O O O O O O O O O THE SCREEN In the opening scene of Catilornia Split, director Robert Altman misleads us in a way which typifies that peculiar vision he has of...

THE SCREEN: (September 1974)

dictator looking to complete his exile retinue. suffered economic hardships with inflation reaching 80 Peron picked his wife for the vice-presidency to avoid percent a year....

THE SCREEN: (September 1974)

DR. HECKLE AND MR. CHIDE That's the sort of fellow Duddy is: the victim of one kind of cripple, the...

THE SCREEN: (September 1974)

after he spoke one said it wasn't as bad as it might have not have had the drive to "fight," "hang tough," and been: no rancor, no. bitterness, no attacks on enemies, "stonewall," through...

THE SCREEN: (August 1974)

Dr. W. Renschler, a prominent member of the Na- uses his claustrophobia as an engine for digging, Bronson tional Council (Swiss parliament) has introduced a mo- used the physique...

THE SCREEN: (August 1974)

SEXUAL POLITICS ture and hand-made knitwear. At the moment Mimi happens to be making her...

THE SCREEN (July 1974)

oil profiteering, skyrocketing prices, unemployment, im- sure of too rapid population growth on finite food sup- pending financial chaos, inflation, impeachment-as well plies; and (g) that...

THE SCREEN (June 1974)

as he is with an actor-packed kaleidoscope. The play catches its characters--the tough proprietor of a waterfront bar and her seaman lover--at the moment when the lover's proposal of marriage...

THE SCREEN (June 1974)

The parents, on the other hand, tend to take the MARXISM view that separate Catholic schools are no longer a necessity, especially since Vatican II, and that in...

THE SCREEN (May 1974)

Very Sure of God Religious Language In the Poetry of Robert Browning by E. LEROY LAWSON A study of the spiritual insight evidenced by Browning's poetry. $8.95 The Urban Scene in the...

THE SCREEN (May 1974)

Franklin Roosevelt that any agency be abolished 10 years after it is established, no later. "Roosevelt would always roar with delight at that suggestion," Douglas notes, "and, of course, never...

THE SCREEN (May 1974)

TOWN & COUNTRY O O O O O O O O O O O O O O THE SCREEN Even before you have seen Martin Scorsese's Mean Streets and Terence Malick's Badlands, you know from the titles that these two films are...

THE SCREEN (May 1974)

THE GOOD WORD 0 0 0 0 0 0 0 0 0 0 0 0 0 0 THE SCREEN Though Francis Ford Coppola says that he began working on the script for The Conversation in 1966, it is hardly fortuitous that the film...

THE SCREEN (April 1974)

Finally, there must be a vast program of education of the European electorate, to make it realize there is no soft ride to prosperity on the backs of immigrant workers. That for those who are...

THE SCREEN: (April 1974)

NAVY BLUES THE SCREEN Baggs (James Caan) and Buddusky (Jack Nkholson) have a lot in common. Neither one is a bigot, for instance, despite a limited social and educational background. When a...

THE SCREEN: (April 1974)

bility if one has difficulty fully understanding its de- a plot. It is a slide talk on how to run the Big Con. It scription; or how can one analyze one's experience on discloses all the...

THE SCREEN: (April 1974)

CUBA, SE the first Lucia has fantasies-even the rape of the nun is a fantasy...

THE SCREEN: (March 1974)

Granatstein. If the developers mount a strong campaign clairvoyant who insists he has special insight into the against Crombie and the pro-neighborhood Council crime. Although...

THE SCREEN: (March 1974)

been large scale massacres in Hiroshima and Nagasaki present ninety-three minutes. But there are still dead (1945), Indonesia (1965-1966), Indochina (1965- spots where Brooks...

THE SCREEN: (March 1974)

Democrats had to choose what seemed at the time like So did the rest of the Democratic ticket, including the a sacrificial ticket to run for District Attorney and Con- nonentities opposing...

THE SCREEN: (March 1974)

THE BANALITY OF GOOD The trouble with me, I'm beginning to realize, is that all I expect to see in a movie theater is a movie. I'm not the right audience for a phenomenon. I lack a certain...

THE SCREEN: (February 1974)

FUTURE SCHLOCK THE SCREEN Maybe Woody Allen gave his new film the title Sleeper to tempt reviewers into accolades like "the comedy sleeper of the year!" OK. What can I lose by being so...

THE SCREEN: (February 1974)

ITALIAN DUO Thirteen years ago Italian director Pietro Germi made a very funny movie called Divorce Italian Style. It was about divorce, was very self-consciously Italian, and had lots of style....

THE SCREEN: (February 1974)

THE LATE CHARLIE CHAPLIN Since it can be misinterpreted, the title I've put on this column is perhaps in bad taste. Charlie is of course not dead. On the contrary, judging by his appearance at a...

THE SCREEN (February 1974)

But the fact remains that there is no system for evaluating this or any other poliey, no forum in which questions can be asked, no congressional committees to put awkward questions, no system of...

THE SCREEN: (January 1974)

DON'T LOOK AT ALL THE SCREEN If movies are in truth a visual medium and not a primarily literary one, as we (i.e., movie critics) have always claimed, then why don't directors of...

THE SCREEN: (January 1974)

FISH STORY There is a character in The Day of the Dolphin who has the temerity to suggest to Dr. Jake Terrell (George C. Scott) that he may be administering his experiments with dolphins a bit...

THE SCREEN: (January 1974)

ALL IN THE FAMILY Serpico is going to be this year's The French Connection, making heaps of money (over $14,000 on opening day in New York alone) because it promises further revelations on the...

THE SCREEN (December 1973)

STRANGER THAN TRUTH One result of the Watergate scandal has been to renew theories of right-wing conspiracy as a popular entertainment. It's neither a surprise nor an accident that, at this...

THE SCREEN (December 1973)

B MINUS THE SCREEN Over the years the B film has gotten harder and harder to identify. Originally it was an action film or a thriller made cheaply for release as a second feature. Since the...

THE SCREEN (November 1973)

CHABROL CONTINUED Last week in this column I was judging Claude Chabrol's films in the light of Attic tragedy. I was discussing how Chabrol's imagination adapts moral dilemmas characteristic...

THE SCREEN (November 1973)

In classical art, and especially in Greek tragedy, truth takes the form of paradox. The way a man has lived can be transcended by the way he dies. Moral authority sought in high office is...

THE SCREEN (November 1973)

Every year the New York Film Festival reconfirms two things: that the French have become the greatest filmmakers in the world, and the Germans have become the worst. Why Festival director Richard...

THE SCREEN (November 1973)

CHILD'S PLAY THE SCREEN There is no question that, almost a hundred years after it was written, Henrik Ibsen's A Doll's House is still a popular play. Moviemakers can afford to film plays only...

THE SCREEN (October 1973)

I I and politics i s . . . more difficult than it has ever been because, while he cannot but approve of the importance of everybody getting enough food to eat and enough leisure, this...

THE SCREEN (October 1973)

THE SPORT'S REPORT THE SCREEN Imagine a rather paunchy man in a jockstrap crying his eyes out. Now you've got the perfect audience for Bang the Drum Slowly, the audience for whom the film was...

THE SCREEN (October 1973)

THE PERVERT Much of Claude Bern's new film, Le Sex Shop, is pretty explicit stuff and will shock anyone not yet completely inured to pornography. But I'm afraid I can't recommend the film as...

THE SCREEN (October 1973)

THE AMERICAN DREAM American Grafitti is a midsummer night's dream of life in the fifties, a balmy reprise of hot rods, drive-ins, sock hops and cruising. It all takes place one evening on the cusp...

THE SCREEN (September 1973)

poor action or inaction. They seek self-justification away from supervised service by an appeal to their status. We have not yet left the Middle Ages. There the fabric of society was...

THE SCREEN (September 1973)

able conditions. This approach, however well-intentioned, is largely misguided. Except for certain rules of evidence regarding the introduction of hearsay and illegally obtained evidence and...

THE SCREEN (September 1973)

areas because of Black displacement. They have coupled this with emphasis on the horrors of the existing gargantuan housing projects and have not recognized that it is possible to build...

THE SCREEN (August 1973)

LOVER, COME BACK OOOOOOOOOOOOOO THE SCREEN Blume in Love is Paul Mazursky's third film, and his third to deal with the relationship between the straights and the swingers, the freaks and the...

THE SCREEN (August 1973)

muscle in lobbying for legitimate priority interests of its membership--tax reform, national health insurance, pension reinsurance, and occupational safety laws." What next for the union which...

THE SCREEN (July 1973)

ever one felt about the truth of his story, he seemed somehow less and less human as time went on. Not only was his testimony extraordinarily consistent from day to day, but the personality of...

THE SCREEN (July 1973)

penalized for probing too deeply into the question of what Christianity might offer Marxist thinking--Kolakowski ended up in English exile while Machovel, a Prague university professor, is now...

THE SCREEN (June 1973)

and the evangelical simplicity of the Christian message. We need to be frankly open to man, in all his yearnings, specially to identify with the poor and to struggle against oppression and...

THE SCREEN (June 1973)

0000 8U]PER NATUR,~Lq 0 0 0 0 0 0 0 0 0 0 TlllZ In Theater oJ Blood Vincent Price, who has spent a whole career committing grotesque murders, at last gets to kill the thespian's favorite...

THE SCREEN (June 1973)

brochures and little else. If he has a drug habit he wants to kick, he can go to a VA hospital, but when he leaves, where will he go? In all likelihood, he will return to the very environment...

The Screen (May 1973)

but juridically. In 1969 the eight branches of the Evangelical Lutheran Church in East Germany were forced to sever juridical tics with the West German Evangelical Church and form their own...

The Screen (May 1973)

a majority of the faculty which is not expert has the fight to outweigh a minority of the faculty which is expert. It seemed to me the action of the Trustees was to establish the principle that...

The Screen (May 1973)

When a message has no clothes on How can it be spoken? ("A Messenger from the Horizon") In one of his last poems, "Notes for a New Liturgy" (1968) there is evident bitterness about the church...

The Screen (May 1973)

follow his pessimism to its logical conclusion, to let his situations eoUapse into the kind of violence with which Jules Feiffer ends Little Murders. The plays remain openended. The sunshine...

The Screen (April 1973)

ACADEMIC AWARDS OOOOOOOOOOOOOO THE SCREEN Every year the Academy Awards nominations produce an odd lot of films whose only fascination derives from the very mystery of their being (or not...

The Screen (April 1973)

What of the ordinary people and their attitude to the Church? The vast majority have no opinion one way or another, for the simple reason that they are kept in ignorance of what is going on. The...

THE SCREEN (April 1973)

could take would be to dispel the fear, prejudice and ignorance all too many have about gay people. Gays live under the curse of the stereotype, and I can think of no stereotype that is not...

THE SCREEN (March 1973)

UNSELECTED SHORTS O O O O O O O O O O O O O O THE SCREEN As it is used in the title Up the Sandbox, the word "up" appears to be a revolutionary war cry. But whatever imaginative act of...

The Screen (March 1973)

NOT SO LITTLE WOMEN OOOOOOOOOOOOOO THE SCREEN The first film George Cukor directed on his own after his Hollywood apprenticeship was entitled Tarnished Lady (1932), which might also be a good...

The Screen (March 1973)

SOUR LEMMONADE OOOOOOOOOOOOOO THE SCREEN From Chaplin and Keaton to Jerry Lewis and Woody Allen, the Marx Brothers are the only movie comedians I can think of whose role in life is not...

The Screen (March 1973)

SEX, DEATH & TANGO ~ PART 2 0 0 0 0 0 0 0 0 0 0 0 0 0 0 THE SCREEN Last week I was speaking of Bernardo Bertolucci as a supreme stylist in search of an adequate subject matter. Whether his...

THE SCREEN (March 1973)

I disagree, mostly because I have come to know a num- ber of black and Chicano students who have benefited enormously from the psychological uplift of having their identity reinforced in a...

THE SCREEN (February 1973)

SIMPLE SIMONY 00000000000000 THE SCREEN A typical Nell Simon comedy is about some guys who couldn't make it in a million years, no matter what it is. Simon's hero is always completely out...

THE SCREEN (February 1973)

they owned it and had exclusive right to exploit it." The power of this imperialism "arises from the fact that it has the automatic support of the government of the United States on every issue, the...

THE SCREEN (February 1973)

GOING IT ALONE THE SCREEN Like any mass art, movies often seem a way to live vicariously a life of adventure and drama that we all admire, but that few of us are up to living in reality. This...

THE SCREEN (February 1973)

derstanding among significant decision-makers about community-based programs to divert youth from the juvenile justice system. They are now moving toward the development of youth services systems...

THE SCREEN (January 1973)

BEAUTIFUL DREAMER THE SCREEN Luis Bunuel would have loved what happened to me as I left his latest film, The Discreet Charm of the Bourgeoisie. I saw the film at the New York offices of...

BOOKING THE MOVIES (January 1973)

BOOKS BOOKING THE MOVIES The only profession lower than reviewing movies is reviewing movie books. Since the books don't cost as much as the movies to make, they are produced with even less...

THE SCREEN (January 1973)

FRONTIER JUSTICE THE SCREEN Deep in the heart of John Huston's The Life and Times of Judge Roy Bean, there is a scene also to be found in George C. Scott's new film, Rage. Indeed, within...

THE SCREEN (January 1973)

THE SCREEN Although I doubt that either one of them would appreciate the comparison, Andy Warhol and Jean-Luc Godard have a certain something in common. Both have reputations as the...

THE SCREEN (December 1972)

THE SCREEN Art might be thought of as a way to represent reality —literally, to re-present it—so that it no longer embarrasses us. Art can make bearable, and at times beautiful, what is...

THE SCREEN (December 1972)

THE SCREEN Nothing mystifies me more than the ability of some talented directors to make an inept film occasionally. How can a man who has proven often that he has taste, an eye for...

THE SCREEN (November 1972)

Although apparently intended as a serious treatment of schizophrenia, Images never becomes for us more than a mere puzzle. We are made to piece together Cathryn's past relations with the three...

THE SCREEN (November 1972)

ARRIVEDERCI, ROMA THE SCREEN Nothing could be less deserved than Federico Fellini's reputation as a decadent. It's the sort of reputation that is encouraged by the publicists and...

THE SCREEN (November 1972)

ROHMER'S LAST WORD THE SCREEN Long before Eric Rohmer had begun work on Chloe in the Afternoon, the last in his series of "six moral tales," one could have guessed what the film would be...

THE SCREEN (October 1972)

THE SCREEN In Bad Company a gang of boys do what Huck Finn always dreamed about: they light out for the territory. Drew Dixon (Barry Brown) is the only respectable, generally law-abiding one in...

THE SCREEN (October 1972)

sylvania all-state champions, 1952----come to the house of their old coach, as they do every year, to drink, to reminisce, to attempt to recreate the exaltation of that championship season. This...

THE SCREEN (October 1972)

THE SCREEN Stacy Keach's harelip is a sign of the times, though not the kind of sign usually supposed. The ready explanation of Keach's popularity—he is starring in two current films, The New...

The Screen (September 1972)

DOWN A LAZY RIVER 0 0 0 0 0 0 0 0 0 0 0 0 0 0 THE SCREEN Director John Boorman likes stories in which men are pitted against each other at Point Blank, as his 1967 title put it. The film he did...

The Screen (August 1972)

notwithstanding some theological conjecture to its theoretical possibility or its feasibility in extremis. The reception of the Eucharist from one in whom Catholics do recognize the same...

THE SCREEN (August 1972)

First Amendment issues, although he remains a conservative on most criminal justice questions. White, following his own Constitutional star, although more conservative on free speech,...

The Screen (July 1972)

professor, and he is expected to guide the Supreme Court as well as please his superior at Justice. Thus, there is a strong tradition of impartiality at that level of Justice (used both with and...

The Screen (June 1972)

this radical talk about her responsibilities on the investment committee of her church, said plaintively, after Honeywell, ITT, and GE had been called down hard for their parts in providing...

The Screen (May 1972)

honest. Just as it is dishonest to deny that while most men starve, most Bishops live in comfort and affluence, welcome the dividends of offending corporations, and remain discreetly silent...

The Screen (May 1972)

II--will almost certainly give a temporary lift to the economy, but they will not significantly affect the basic dislocation in the American economy. Statistically, in 1972 the Nixon...

The Screen (April 1972)

LIFE WITH GODFATHER OOOOO OOOOOOOOO THE SCREEN Francis Ford Coppola's film of The Godfather is really class trash. In its first week of release it earned nearly 500 G's, which is an all-time...

The Screen (April 1972)

3.2 SCHNAPPS OOOOO OOOOOOOOO THE SCREEN Cabaret is ultimately pretty weak schnapps. It takes the Berlin of the 1930's--the Berlin of George Grosz cartoons and Christopher Isherwood stories (on...

The Screen (April 1972)

Commonweal this Spring FRANCE ON TRIAL To what extent will things start changing as a result of the Nixon Russia visit next month?" Will organized labor's withdrawal from the Pay Board thwart the...

THE SCREEN (March 1972)

PECKINPAH'S BAD BOY THE SCREEN It is something of a critic's cliche to complain because a director's first film or two are better than anything he's done since. But in Sam Peckinpah's case, I...

THE SCREEN (March 1972)

FIGURES FROM THE PAST THE SCREEN Like children, the great personages of history should be seen and not heard--and even then, seen only at a respectful distance. Unless a film biography is trying...

The Screen (March 1972)

DEPORTATION FROM PARADISE 0 0 0 0 0 0 0 0 0 0 0 0 0 0 THE SCREEN I have been putting off a review of De Sica's The Garden o! the Finzi-Continis in the hopes that Marcel Ophuls' Le Chagrin et la...

THE SCREEN (February 1972)

but only that of our bishop, whose interest, encouragement and support has made the whole venture not only pos:fible but positive, with cooperation and acceptance on diocesan and parochial...

The Screen (January 1972)

at the extra expense, which has been estimated as that of "half a lay teacher." It was even more ironic that the Senate rejected a proposal for the Archdiocese to open all of its books to the...

The Screen (January 1972)

OO AN OLD MAN FOR ALL SEASONS 0 0 0 0 0 0 0 0 0 0 0 0 THE SCREEN "'Nothing can please many, and please long, but just representations of general nature . . . . Shakespeare is, above all...

The Screen (January 1972)

him go, refuses to let UN forces rescue him. After Lumumba's death, using the Security Council resolution that its furor created, Hammarskj~ld tries to do what he would not do for Lumumba alive,...

THE SCREEN (December 1971)

POPEYE AND THE MOLE 0 0 0 0 0 0 0 0 0 0 0 0 0 0 THE SCREEN A few weeks ago Det. Eddie Egan, the New York policeman portrayed in The French Connection, was charged with failing to turn in drugs...

THE SCREEN (December 1971)

nationalization of Kennecott's and Anaconda's huge holdings. No political (or other) element has questioned the soundness of the---in effect---confiscatory nature of the take-over. (The Council...

THE SCREEN (November 1971)

now believes the time has come to negotiate a settlement to end the war. "We are now prepared to accept the idea that we must live with the Communists," Le said recently. "Vietnamese do not want...

THE SCREEN (November 1971)

Ists, for it is simply a weighting of frivolity against solemnity. Pauline Kael's affinity for the "good-natured crumminess" of the "trash" film is not really right, since it calls for a kind...

The Screen (October 1971)

THE SCREEN 0 0 0 0 0 0 0 0 0 0 0 0 0 0 FROM BAD TO WEST What with the New York Film Festival's swinging into action during the first two weeks of October, reviewers will be running like mad...

The Screen (October 1971)

lems. Is it the fact of the war, or its length, with the attendant hint of insolubility, which has swelled the chorus of protest7 in our efforts to chip away at injustice, to feed our hungry and...

The Screen (October 1971)

academics. Canadians are massively American. An interesting person is a Kennedy connection. An interesting person is a Washington war-protester. An interesting person is a Black Panther."...

The Screen (October 1971)

TIlE NUN'S STORY 0 0 0 0 0 0 0 0 0 0 0 0 0 0 THE SCREEN The bare bones of Urbain Grandier's story (and of Urbain Grandier) were all that remained after his execution in 1634. As a parish...

THE SCREEN (September 1971)

FEIFFER'S FOLLIES THE SCREEN In the opening scene of Carnal Knowledge, Susan (Candlce Bergen) tells Sandy (Arthur Garfunkel) that everyone puts on an act at college mixers. Before...

THE SCREEN (August 1971)

REVAMPING THE VAMP THE SCREEN About a year ago a director asked Candice Bergen to say a naughty word. The excuse was that she was playing a (naturalized) Indian—one expects red savages to...

THE SCREEN (July 1971)

OF MITES AND MONSTERS THE SCREEN Although they're billed as documentaries about nature, The Hellstrom Chronicle and Blue Water, White Death are films largely about people. Since this is...

THE SCREEN (July 1971)

MURDER, LTD. THE SCREEN Although John Christie was one of England's most prolific murderers, Richard Fleischer's film about him, 10 Rillington Place, tends to play down the act of...

THE SCREEN (June 1971)

UN ART NOUVEAU THE SCREEN The title of Eric Rohmer's third film, La Collection- neuse, might well have been given to the film by its narrator rather than Rohmer himself. The narrator...

THE SCREEN (May 1971)

ALL'S WELLES THE SCREEN Pauline Kael has been "Raising Kane," and Village Voice critic Andrew Sards is very upset about it. "Raising Kane" is the title of a two-part, book-length essay...

THE SCREEN (May 1971)

LOVERS AND OTHER DANGERS THE SCREEN One night during The Summer of '42, as scriptwriter Herman Raucher remembers it, a teenage boy went directly from puberty to manhood. I don't mean...

THE SCREEN (April 1971)

GERM OF AN IDEA THE SCREEN Universal Pictures isn't the only market in which Michael Crichton might have peddled The Andromeda Strain, nor are movie producers the only people who like to...

THE IMPORTANCE OF BEING OSCAR (April 1971)

THE IMPORTANCE OF BEING OSCAR No, not the one on Sesame Street COLIN L. WESTERBECK, JR. ¥N DUSTY little shops with names ¦like "Memory Lane" or "High Camp, Inc.," one can still...

THE SCREEN (April 1971)

WRETCHED OF THE EARTH the screen Ramparts of Clay began to be an interesting film long before the camera magazines had been loaded. The film is based on a book sociologist Jean Duvignaud...

THE SCREEN (March 1971)

HEARTTHROB AND HEARTBURN THE SCREEN Love Story would be a good thing to give up for Lent, or any other occasion. Unfortunately, it's too late for me to enjoy this particular form of...

THE SCREEN (November 1970)

MADNESS AND REVOLUTION THE SCREEN Accomplished tennis players are seldom good at squash because these sports are too much alike. The differences in timing and racket swing seem too subtle. The...

THE SCREEN (August 1970)

THE SCREEN Campuses are never going to make good movie sets. Americans don't care for people with negative ideals. Winning the West and World War II are activities people can believe in. But going...

Westerbeck, Colin.L Jr.

Westerbeck., Colin L. Jr.

Westerfield, C W Pratt, Anne Porter, William C Hilton, Nancy G

Westerfield, Jr. Nancy G.

Westerfield, Nancy G

Westerfield, Nancy G.

Western, William

Westervelt, George

Weston, M. W.

Weston, Margaret Willoughby

Wetmore, Charles Willis Thompson, Thomas Walsh, Louis H.

Wetmore, Louis H.