By Pauline Kael
Clever, humorous, and unforgettable, Pauline Kael is the main attention-grabbing and influential movie critic in the United States. Her skill to skewer an actor or director and her wit, perception, and thorough wisdom of the movie company make her by means of some distance the main lucrative common observer of the motion picture scene. This new assortment covers movies that experience pop out because the earlier 1985 variation.
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Extra resources for 5001 Nights at the Movies
Before the discovery of a definite concrete form that, ; in the scenarist's opinion, will affect the spectator from the screen, the abstract idea of a reform has no creative value and cannot serve as a key-stone In the constitution of the action ; but these key-stones are necessary ; they establish the hard skeleton remove the danger of those blank gaps that 41 and may PUDOVKIN always occur if some important stage ment of the scenario be treated in the developcarelessly and abstractly. Neglect of this element in the work of final filmic polishing may occasion inexpressive material unsuitable for plastic treatment and thus 5 may 3 destroy the whole construction.
The film possesses essentially specific and highly methods by means of which the spectator effective can be made to notice each separate detail (mud, wind, behaviour of driver, behaviour of fare), showing them one by one, just as we should describe them in separate sequence In literary work, and not just " 5* " two men on a wagsimply to note bad weather, 10 gon/* This method is called constructive editing. Something of the kind is used by certain scenariowriters In interpolating into their description of a scene " a so-called close-up" thus, "a village street on a church holiday.
Tide " : Imagination^ Mironitch; the door rattles in the wind. 33 A scenario written in this way, already divided into separate scenes and with titles, forms the first phase of filmic overhaul. But it is still far from the workingscript, referred to above, already fully prepared for 50 ON there Is a whole series shooting. Note of details characteristic for the given scene and emphasised by their literary form, such as, for example, " " " a sinking in the mud/* sadly the driver/' 5 " a in soldier's cloak/ the piercpassenger, wrapped " none of these details will reach the ing wind spectator if they are introduced merely as incidentals in shooting the scene as a whole, just as it Is written.