Sentences with phrase «what film historian»
From 1930 to 1962, with rare exceptions, the actor projected what film historian Leslie Halliwell once described as a «dignified, heavy presence.»
https://www.rottentomatoes.com/ Not exact matches
He is neither a historian nor theologian, but the film, «Monumental,» shows him consumed with Christianity - and with rage over what he says has been the systematic removal of religion's role from American history.
When historians set about to reconstruct what it was like to be in that square at that time, Savona's film will be essential viewing.
What distinguishes this DVD is the superb commentary by film historian Bob Gilpin, who persuasively presents the premise that this frivolous film has serious things to say about America in the Depression.
- New high - definition digital restoration, with uncompressed monaural soundtrack on the Blu - ray - Audio commentary featuring film scholar James Naremore, author of The Magic World of Orson Welles - New interview with actor Keith Baxter - New interview with director Orson Welles's daughter Beatrice Welles, who appeared in the film at age nine - New interview with actor and Welles biographer Simon Callow - New interview with film historian Joseph McBride, author of What Ever Happened to Orson Welles?
This film is an utterly fascinating analysis of what many historians consider the greatest military invasion of all time.
Veteran sound designer Ben Burtt, composer John Morgan, film historian Rudy Behlmer, and directors Peter Jackson and Joe Dante, among others, describe the revolutionary ideas Steiner and Spivack employed in what remains a standard in blockbuster filmmaking for the action / fantasy genre.
Pity a historian wasn't contacted for a rundown of the film's genesis; Carol Reed's walking off the picture after losing patience with Brando's ego, and Lewis Milestone taking the directorial reigns as a hired gun; nor a separate featurette on the film's cinematographer and composer; but what has been assembled is a good smattering of contemporary and archival productions about the impressive Bounty replica built from the ground up for a major studio production.
In the words of Japanese film historian Donald Ritchie, «With this film, what Ozu called his «darker side» and what we would call his mature style began to emerge.»
Historians still argue over Knight's true motivations, but the film is less than nuanced at the outset, clearly drawing Knight as a poor man refusing to die in a rich man's war, and unable to accept «any man telling another man what he's got to live for, or what he's got to die for.»
In the early 1960s, influenced by films, television, and billboard advertising, Katz began painting large - scale paintings, often with dramatically cropped faces.Utilizing characteristically wide brushstrokes, large swathes of color, and refined compositions, Katz created what art historian Robert Storr called «a new and distinctive type