From The Thousand Eyes, Fall 1978. Carrie Rickey and I embarked on this film series and article shortly after we became flat mates, but lamentably it didn’t pan out as we hoped it would; our program notes, for starters, never got distributed. — J.R.
By Carrie Rickey and Jonathan Rosenbaum
One of the consequences of describing the world around us is that language separates into different senses what we often experience as a unified whole. Language, an instrument — perhaps the instrument — of’ culture, overvalues the visual at the expense of the other four senses. Our language for the way we see is more precise: looks are eminently describable, we discuss color, dimensions, surface.
Our language for the way we hear is a jumble, less precise. Ambient sound consists of so many simultaneous events: acoustics of a space., buzz of appliances, rhythm of a clock, crowd voices, footfall. We “focus” on a visual event; we “concentrate” on sound, which is more difficult to pinpoint. We screen out the rumble of the subway train to concentrate on a movie.
If movies themselves are a selective screening process, the ways we experience them often censor out other elements. The way we talk about films — referring to “viewers” and “spectators”, talking about “seeing” a movie, asking, “How does it look?”… Read more »
From American Film (May 1978). – J.R.
What’s been happening to British film production lately? If one tries to sort out the myriad confusions of financing patterns, it seems possible to arrive at two diametrically opposed conclusions — depending upon where one happens to be sitting and who one happens to be listening to. One conclusion says that things look bleaker than ever, with no genuine relief in sight. The other sees a renaissance of British filmmaking just around the corner.
On the one hand, toting up the investments of British capital in expensive feature productions, things seem to be unusually active. The brothers Lord Lew Grade and Lord Bernard Delfont seem to be leading the pack with their respective companies, ITC and EMI, preparing such extravaganzas as Franklin J. Schaffner’s The Boys From Brazil (ITC) -– starring Gregory Peck, Laurence Olivier, James Mason, Lilli Palmer, and Uta Hagen — and Death on the Nile (EMI), another all-star special featuring Peter Ustinov, Jane Birkin, Bette Davis, Mia Farrow, Jon Finch, Maggie Smith, David Niven, and Angela Lansbury, under the direction of John Guillermin. Even the long-restive Rank organization has been getting back into financial participation.
On the other hand, where’s the indigenous British product?… Read more »
From Monthly Film Bulletin, February 1978 (Vol. 45, No. 529). If memory serves, this was the last review I ever wrote for MFB, done on a trip back to London after I had moved to San Diego, although I believe I may have written a few features for the magazine after this, following its change of design and format somewhat later. (Postscript: This time, I’m afraid, my memory didn’t serve. I’ve just come across two more reviews I published in the MFB in 1984.) –- J.R.
White Buffalo, The
U.S.A., 1977Director: J. Lee Thompson
Cert–AA. dist–EMI. p.c–Dino De Laurentiis Corporation. p–Pancho Kohner. p. co-ordinator–Virginia Cook. p. manager–Hal Klein. location manager–R. Anthony Brown. asst. d–Jack Aldrvorth, Pat Kehoe. sc— Richard Sale. Based on his own novel. ph–Paul Lohmann. col–Technicolor; prints by Deluxe. process co-ordinator–Bill Hansard. ed—Michael F. Anderson. assoc. ed–Terence Anderson. p. designer–Tambi Larsen. set dec–James Berkey. sp. effects–Richard M. Parker. production sp. effects–Roy Downey. m/m.d–John Barry. cost–Eric Seelig. set cost— Dennis Fill. make-up–Phil Rhodes, Michael Hancock. titles–Dan Perri. sd. rec–Harlan Riggs. sd. re-rec–William McCaughey, Lyle J.… Read more »