Vagabear

I've just viewed this superb documentary - it brings forth the remarkable life and man that is Harry Belafonte in a vivid and compelling manner. Sadly, however the entire widescreen (16x9) framed production presents it's archival clips and sequences (from early TV, movies, and news footage) in a hodgepodge of correctly re-adapted but otherwise visually distorted ways with no rhyme or reason. Much of the production is from archival sources - and so it's horribly distracting to see much of the footage in a vertically challenged way - stretched to fit the 16x9 frame. There is actually a shot of the sun that appears oval !!!! This is the sort of thing that is maddeningly now prevalent in so much of what is produced today -- but I didn't expect to see so much of it in a fine professionally produced and prestigious documentary such as this one.

Just caught the premiere of this on TCM. There have easily been better overviews of Eastwood's career (the 2000 American Masters documentary 'Out Of The Shadows' is an excellent example) and it's easy to tear apart Richard Schickel's often sloppy style. But just to focus on a technical/aesthetic aspect of this production - who the hell was in charge of actually assembling the clips from the films? Eastwood's filmography includes films produced in just about every aspect ratio from full-frame to scope - and it's a TOTAL crap-shoot here whether a scene from a film will be properly letter-boxed or miserably pan-and scanned - or something in-between! (sometimes in a montage using scenes from the same film!) There were scenes from DIRTY HARRY that were pan-and-scanned, slightly letter-boxed and in full letterbox (it's a scope film) while others like A PERFECT WORLD (also scope) were in total, horrendous pan-and-scan - ruining not only the composition of the shots - but the beauty and impact of the scenes shown. These are just two of numerous examples throughout this production. This kind of oversight was simply inexcusable - especially from a man (Schickel) who is entrusted with how contemporary audiences see Clint's cinematic legacy. Next time hire somebody (like me!) who knows and cares that the examples shown are presented and represented correctly! Amateurish hack work beyond belief!

Just ran this in 35mm.....and found it to be a lot more enjoyable than the dreary and misery-ridden BICYCLE THIEF (with a very unlikeable, desperate lead character) by the same director. The two leads (the newly married couple) were naturalistic and very likable, and you really could identify with their plight - which became no less desperate than that of the BICYCLE THIEF. Their brief moments of love and affection for each other were very moving - and believably touching when alongside scenes of their unhappiness and desperation. Their desperate race to build a squalid little structure to live in is incredibly involving and pulls you in to the very last moments of the picture. Will they make it? You'll have to see the picture to find out.