Sidney Poitier who died at age 94 last week was an agile actor who could nimbly shift between drama and comedy. And both qualities are on display in 1963’s “Lilies of the Field.”
Sidney Poitier who died at age 94 last week was an agile actor who could nimbly shift between drama and comedy. And both qualities are on display in 1963’s “Lilies of the Field.”
Sidney Poitier who died at age 94 last week was an agile actor who could nimbly shift between drama and comedy. And both qualities are on display in 1963’s “Lilies of the Field.”
Sidney Poitier who died at age 94 last week was an agile actor who could nimbly shift between drama and comedy. And both qualities are on display in 1963’s “Lilies of the Field.”
Ingmar Bergman's "The Touch" is not only a disappointment but an unexpected failure of tone from a director to whom tone has usually been second nature. This is his first feature in English, but I don't think language is the problem. Instead, I think it has something to do with the way Bergman has conceived his characters and chooses to reveal them to us. We make unexpected discoveries about them rather late in the film, and suddenly, so that what began as an intense study of character ends up on the edge of melodrama. Like so many of his recent films, "The Touch" is about four people whose lives come together at a time when it is too late for them to do one another much good. The four in this case are an unsure woman (Bibi Anderson) her loving but somehow too dutiful husband (Max von Sydow), a neurotic American anthropologist (Elliott Gould) and the anthropologist's even more neurotic sister (Sheila Reid). The sister enters the story very late but afte