![]() Miss Dean, Patterson, Wilson and James are “introduced” herein, and each has a distinct potential. These flaws, and others to follow, are noteworthy in view of their substantial, obvious presence. Exactly why Poitier seeks out Miss Richards - for that matter, the details of his entrée there - are unclear. Jewison’s direction of his cast is excellent, particularly the relationship between the two above-title stars, although some dialect is obscure.Įxactly why Gates’ scene is there is unclear - perhaps the face-slapping bit with Poitier was considered daring, although incorporation could have been smoother. But the explanation of the murder takes only several seconds and many audiences will have to discuss the matter before reaching agreement even a fast synopsis reading leaves some questions. Script emphasis on in early reels telegraphs something, and indeed that occurs. En route, assorted characters include policeman Warren Oates, sexpot Quentin Dean and her brother, James Peterson, Lee Grant, as the murdered man’s widow, unreconstructed manor lord Larry Gates, glib mayor William Schallert, town abolitionist Beah Richards, sleazy greasy-spoon clerk Anthony James, and petty criminal Scott Wilson. ![]() Steiger’s transformation from a diehard Dixie bigot to a man who learns to respect Poitier stands out in smooth comparison to the wandering solution of the murder.
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