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Emil L. Rinderspacher selected papers, 1970-1971
Refocus '71 Page 9
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Program Notes AMERICAN POETRY Documentary featuring Paul Engle Tuesday/ March 23/ 7 p.m. Ballroom Directed, written and produced by Nelson Arrietti; made through a grant from Iowa Educational Broadcasting Network Arrietti's film on Paul Engle deals with Paul Engle's life and his poetry. It is both a biographical sketch of his life and work as well as an array of fictional images to present his poetry. This half-hour documentary will have its first public screening during Refocus 71. It was made for television to be a part of a twenty film series titled "Artist in America" to be aired this spring. Nelson Arrietti is a filmmaker from Venezuela visiting Iowa as a part of the International Writers Workshop. He has studied and made films in Denmark, Germany, India and his native Venezuela. A documentary of Arietti's titled Crack recently won a national award from Venezuela for Best Documentary of 1969. AN AMERICAN IN PARIS 1951 Wednesday/March 24/ 2 and 7 p.m. Illinois Room Directed by Vincente Minnelli; Produced by Arthur Freed; Script written by Alan Jay Lerner; Camera by Alfred Gilks and John Alton; Edited by Adrienne Fazan; Music directed by Johnny Green; Choreography by Gene Kelly; Starring Gene Kelly, Leslie Caron, Oscar Levant, Nina Foch. Georges Guetary., Eugene Borden; Awards : Academy Award (Picture, Screenplay, Cinematography, Art Direction, Set Direction, Costume Design and Scoring). Special award to Kelly "in appreciation of his versatility as an actor, singer, director, and dancer, and specifically for his brilliant achievements in the art of choreography on film " A romantic, highly imaginative musical comedy about an ex-GI who wants to stay in Paris to pursue his career as an artist. One of the most memorable sequences is a twenty minute ballet staged by Kelly ( to Gershwin's An American in Paris) especially noted for its dramatic use of color. The film shows Paris with its life, gaiety, the Left bank, Toulouse-Lautrec, posters, flower sellers, and friendly bohemians in beards and berets. A lighthearted production staged by Minnelli with style and extravagance. It is possible that this is not the greatest musical ever made - possible but yet unproven. Certainly it represents the high water mark of the director's personal involvement with the genre. THE BANDWAGON 1953 Wednesday/March 24/4 and 9 p.m. Illinois Room Directed by Vincente Minnelli; Produced by Arthur freed; Script written by Betty Comden and Adolph Green; Camera by Harry Jackson; Edited by Albert Akst; Music directed by Adolph Deutsch; Starring Fred Astaire, Cyd Charisse, Oscar Levant, Nanette Fabray, Jack Buchanan, James Mitchell; Based on a radio show by Arthur Askey and Richard Murdoch. A washed-up movie idol, a prima ballerina, and a busy producer combine to put on a Broadway show which turns into a pompous musical version of the Faust legend. Complications arise during the rehearsals the result of which is a general snipe at the rampant egos of theatrical people and their machinations. Highly imaginative choreography is by Michael Kidd. Songs include: By Myself, I'll Have to Change My Plans, That's Entertainment, A Shine on your Shoes, You and the Night and the Music and Dancing in the Dark, Minnelli said he satirized himself in the self-centered director played by Buchanan (Look for the unscheduled appearance of Ava Gardener.) If American in Paris bears something more of a personal stamp, this magnificent film can still be said to encapsulate the genre in a devastatingly complete manner. Minnelli's musicals were never to recapture the ebullience of this period. THE BIG PARADE 1925 Silent Saturday/March 20/ 4 p.m. Illinois Room Directed by King Vidor; Produced by Irving Thalberg; Script written by Laurence Stallings; Camera by John Arnold; edited by Hugh Wynn; Music directed by David Mendoza and William Axt; Starring John Gilbert, Renee Adoree, Karl Dane, Tom O'brien, Hobart Bosworth; Award: Film Daily (Picture); Based on the play by Joseph W. Farnham Contemporary critics and the public received The Big Parade as the ultimate in realism without the sentimental chauvinism that was usual in war pictures. The parade sequence in which thousands of men walked and rode to the front evoked the dust, mud, and squalor of the real thing. Today this 1925 film is of historical interest since we are more conscious of the three buddies from different backgrounds and the soldier's involvement with the beautiful French girl as standard themes in the war film. The Big Parade is also of interest because it is photographically primitive. The problem of creating the illusion of ordinary movement had not yet been successfully solved. The tremendous battle scenes, which were not only brilliantly staged and directed (with a cunning assist from art director James Basevil) are also, accordingly to old campaigners, some of the most accurately reconstructed combat scenes ever put on film. Synchronized music and sound effects
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Program Notes AMERICAN POETRY Documentary featuring Paul Engle Tuesday/ March 23/ 7 p.m. Ballroom Directed, written and produced by Nelson Arrietti; made through a grant from Iowa Educational Broadcasting Network Arrietti's film on Paul Engle deals with Paul Engle's life and his poetry. It is both a biographical sketch of his life and work as well as an array of fictional images to present his poetry. This half-hour documentary will have its first public screening during Refocus 71. It was made for television to be a part of a twenty film series titled "Artist in America" to be aired this spring. Nelson Arrietti is a filmmaker from Venezuela visiting Iowa as a part of the International Writers Workshop. He has studied and made films in Denmark, Germany, India and his native Venezuela. A documentary of Arietti's titled Crack recently won a national award from Venezuela for Best Documentary of 1969. AN AMERICAN IN PARIS 1951 Wednesday/March 24/ 2 and 7 p.m. Illinois Room Directed by Vincente Minnelli; Produced by Arthur Freed; Script written by Alan Jay Lerner; Camera by Alfred Gilks and John Alton; Edited by Adrienne Fazan; Music directed by Johnny Green; Choreography by Gene Kelly; Starring Gene Kelly, Leslie Caron, Oscar Levant, Nina Foch. Georges Guetary., Eugene Borden; Awards : Academy Award (Picture, Screenplay, Cinematography, Art Direction, Set Direction, Costume Design and Scoring). Special award to Kelly "in appreciation of his versatility as an actor, singer, director, and dancer, and specifically for his brilliant achievements in the art of choreography on film " A romantic, highly imaginative musical comedy about an ex-GI who wants to stay in Paris to pursue his career as an artist. One of the most memorable sequences is a twenty minute ballet staged by Kelly ( to Gershwin's An American in Paris) especially noted for its dramatic use of color. The film shows Paris with its life, gaiety, the Left bank, Toulouse-Lautrec, posters, flower sellers, and friendly bohemians in beards and berets. A lighthearted production staged by Minnelli with style and extravagance. It is possible that this is not the greatest musical ever made - possible but yet unproven. Certainly it represents the high water mark of the director's personal involvement with the genre. THE BANDWAGON 1953 Wednesday/March 24/4 and 9 p.m. Illinois Room Directed by Vincente Minnelli; Produced by Arthur freed; Script written by Betty Comden and Adolph Green; Camera by Harry Jackson; Edited by Albert Akst; Music directed by Adolph Deutsch; Starring Fred Astaire, Cyd Charisse, Oscar Levant, Nanette Fabray, Jack Buchanan, James Mitchell; Based on a radio show by Arthur Askey and Richard Murdoch. A washed-up movie idol, a prima ballerina, and a busy producer combine to put on a Broadway show which turns into a pompous musical version of the Faust legend. Complications arise during the rehearsals the result of which is a general snipe at the rampant egos of theatrical people and their machinations. Highly imaginative choreography is by Michael Kidd. Songs include: By Myself, I'll Have to Change My Plans, That's Entertainment, A Shine on your Shoes, You and the Night and the Music and Dancing in the Dark, Minnelli said he satirized himself in the self-centered director played by Buchanan (Look for the unscheduled appearance of Ava Gardener.) If American in Paris bears something more of a personal stamp, this magnificent film can still be said to encapsulate the genre in a devastatingly complete manner. Minnelli's musicals were never to recapture the ebullience of this period. THE BIG PARADE 1925 Silent Saturday/March 20/ 4 p.m. Illinois Room Directed by King Vidor; Produced by Irving Thalberg; Script written by Laurence Stallings; Camera by John Arnold; edited by Hugh Wynn; Music directed by David Mendoza and William Axt; Starring John Gilbert, Renee Adoree, Karl Dane, Tom O'brien, Hobart Bosworth; Award: Film Daily (Picture); Based on the play by Joseph W. Farnham Contemporary critics and the public received The Big Parade as the ultimate in realism without the sentimental chauvinism that was usual in war pictures. The parade sequence in which thousands of men walked and rode to the front evoked the dust, mud, and squalor of the real thing. Today this 1925 film is of historical interest since we are more conscious of the three buddies from different backgrounds and the soldier's involvement with the beautiful French girl as standard themes in the war film. The Big Parade is also of interest because it is photographically primitive. The problem of creating the illusion of ordinary movement had not yet been successfully solved. The tremendous battle scenes, which were not only brilliantly staged and directed (with a cunning assist from art director James Basevil) are also, accordingly to old campaigners, some of the most accurately reconstructed combat scenes ever put on film. Synchronized music and sound effects
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