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By James Agee

My experiment at three hundred dpi, OCR'd, eight b/w pictures on the finish incorporated - quantity 2 comprises 5 movie scripts, a pdf already exists

Amazon quote: The lion's proportion of 'Agee on movie, vol. I', is dedicated to James Agee's paintings as a columnist for 'The Nation', the place he wrote approximately movie from 1942 to 1948. It isn't precisely transparent if this quantity includes each column he wrote for that journal - nowhere is it pointed out by some means, and there are gaps within the dates attributed to the entries. that could be merely simply because he didn't give a contribution to each factor, however it will be great to understand if this is often all of the fabric from this resource - an writer who charges the Library of the United States therapy premiums an entire assortment. different sections of this quantity contain some of Agee's weekly movie experiences for 'Time Magazine' from 1941 to 1948, a few miscellaneous articles for 'Partisan Review' and 'Sight and Sound', and 'Life Magazine' positive factors - 'Comedy's maximum Era' and 'Undirectable Director'. the 1st of those positive factors bargains with the comedians of silent movie - Chaplin, Keaton, Langdon, and Lloyd; the second one issues John Huston. [....]

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The neatly sneaked-in sexual-economic explanations help, here, only a little; the show-business setting is an unlucky concession to glamor. This theme is either cruelly relevant on a grand native scale or better let alone; and a good deal even of the best of this treatment of it is coarse-grained, stagy, and sentimental. Even so, there is a good deal in it to excite and to please. Much of the dialogue of Daniel Fuchs and Peter Viertel is a dozen times more loaded and acute than the average, and Fuchs's genius for writing quarrels (as in Homage to Blenholt) would alone make the picture worth seeing.

The most heartening thing about it is that its lessons are learnable. It takes something approaching great talent to learn from great talent, but the men who made this film are not men of great talent. They are simply men of intelligence, courage, and aesthetic honor who have been given a chance to use their abilities in the recording of a worthy theme. That they were given the apparently unhindered chance is as important as the fact that they knew how to use it; on both counts, the makers of American films have virtually everything to learn.

I rather regret having used this space so generally, and would like at least to say that Coward himself is exceedingly good in the film, that Bernard Miles, whose chief petty officer looks like a Gothic angel, is even better, and that Coward's farewell to his crew is a really remarkable and moving tour de force. I would like also to recommend Random darvest to those who can stay interested in Ronald Colman's amnesia for two hours and who could with pleasure eat a bowl of Yardley's shaving soap for breakfast, and Life Begins at 8:30 to those who can still be tickled by Monty Wooley's beard and Nunnally Johnson's lines (both good things in moderation), at the end of what seems hours.

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