- The two most powerful parts of the picture,
IMHO, were the thunderstorm-MadAsHell and Ned Beatty-Peter Finch
scenes. Very dramatic and visually arresting, beautifully lit and
photographed, elegantly edited. Really nice work. I especially
liked the way, in the latter scene, dead-on closeups of Finch's
stunned face were intercut with long, low shots of Beatty
gesticulating and holding forth at the end of the boardroom table.
The pools of light cast by the green lampshades were teasers to
the eye. Beatty's face was partially obscured by shadows, which
made his words and gestures that much more ominous. As his speech
progressed, the shots grew progressively closer in.
- Faye Dunaway's character was utterly, totally
female in that liberated-woman-of-the-70s mode. I enjoyed
watching her as much as I enjoyed disliking and pitying her.
Interesting.....I first saw this picture when I was 17, and
admired her character like crazy. And shw was entirely too skinny....I
wanted to hand her a plate of pasta e fagioli.
- Peter Finch looked *damn* fine in that black
turtleneck.
- I'm in total agreement with Niner - Marlene
Shaw was utterly riveting. One of the most hilarious scenes in
the picture had to be the contract negotiations in the communist
hideaway. What a riot!
- Beatrice Straight did a magnificent job in her
scene as the wronged wife. Dignified, angry and utterly justified
in her rage. Great stuff.
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