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A truly savage review by Manny Farber in ArtForum said, “The most literate sound (Hoffman) makes is a short pup’s whimper which is over-played in the same way as his panicky rabbit’s ...
Emanuel Farber (February 20, 1917 – August 18, 2008) was an American painter, film critic and writer. Often described as "iconoclastic", [1] [2] [3] Farber developed a distinctive prose style [1] and set of theoretical stances which have had a large influence on later generations of film critics and influence on underground culture. [1]
In a 1969 review of the film published in Artforum, Manny Farber describes Wavelength as "a singularly unpadded, uncomplicated, deadly realistic way to film three walls, a ceiling and a floor... it is probably the most rigorously composed movie in existence." [7]
At UCSD he took film classes from Manny Farber [3] (Negative Space), a noted film critic and painter. Shepherd, in fact, was a "sounding board" for a 1971 Farber essay on director Raoul Walsh ("He Used to Be a Big Shot"), [2] found in Farber's book (originally published in Artforum magazine).
Manny Farber (The New Republic, Artforum) Otis Ferguson (The New Republic) Arturo Rodríguez Fernández; John H. Foote; Gary Franklin ; Philip French (The Observer) Penelope Gilliatt (The Observer, The New Yorker) Owen Gleiberman (Entertainment Weekly) Randor Guy; Leslie Halliwell; Jake Hamilton (Houston Chronicle) Molly Haskell (New York Magazine)
Literary critic Manny Farber, writing in The New Republic, on the 1942 re-release of The Gold Rush: You see things that are so peculiarly a result of Chaplin's genius you can't explain them…These situations begin with something absurd: a dancer's feet represented by two bread rolls, a house half on, half off a cliff, a meal made of a shoe.
Film critic Manny Farber, writing in The New Republic registered this appraisal of Bergman’s performance: A lot of the credit for the quality of [the picture] is due to Miss Bergman, who is able to strike variations of hysteria, perplexity or love that make actually static episodes seem adequately flexible and meaningful…she is one of the ...
Literary critic Manny Farber writing in The New Leader offers this assessment: The Horse Soldiers is the disaster of the month, an eventful canter in which director Ford, without any plot to speak of, falls back on boyish Irish playfulness (played by a rigor-mortified John Wayne, an almost non-existent Bill Holden, and a new gnashing beauty ...