I think it's sinful to give the audience material it knows already, whether the material is about race relations or the car culture or the depiction and placement of a candy bar.

Frank Capra, Hollywood's Horatio Alger, lights with more cinematic know-how and zeal than any other director to convince movie audiences that American life is exactly like the 'Saturday Evening Post' covers of Norman Rockwell. 'It's A Wonderful Life,' the latest example of Capracorn, shows his art at a hysterical pitch.

The story of Warner Brothers' movie, 'Mildred Pierce,' recounts the enormous and unrewarded sacrifices that a mother (Joan Crawford) makes for her spoiled, greedy daughter (Ann Blythe).

The cold, mean 'Sunset Boulevard' - a beautiful title, though I suspect it was shot on another boulevard - is further proof of the resurgence of art in the Hollywood of super-craftsmen with insuperable taste.

Before seeing 'The Pride of the Yankees,' you may or may not know that the Yankees referred to are the ones who win the World Series each year. After seeing it you will find that the reference is indirect.

Capra is an old-time movie craftsman, the master of every trick in the bag, and in many ways he is more at home with the medium than any other Hollywood director. But all of his details give the impression of contrived effect.

I have a great love of the actual.

I get a great laugh from artists who ridicule the critics as parasites and artists manqués — sucha horrible joke. I can’t imagine a more perfect art form, a moreperfect career than criticism. I can’t imagine anything more valuableto do.

A peculiar fact about termite-tapeworm-fungus-moss art is that it goes always forward, eating its own boundaries, and, likely as not, leaves nothing in its path other than the signs of eager, industrious, unkempt activity.

Henry V' is a great deal more than almost any other hell-bent-for-armor movie that you've seen.

The new Disney cartoon 'Bambi' is interesting because it's the first one that's been entirely unpleasant.

There are several types of movie space, the three most important being: (1) the field of the screen, (2) the psychological space of the actor, and (3) the area of experience and geography that the film covers.

The Big Sleep' would have been a more effective study of nightmarish existence had the detective been more complicated and had more curiosity been shown about his sweetheart's relation to the crime.

Actually, what will be shown from here to eternity will be Burt Lancaster and Deborah Kerr cavorting on the beach. From Here to Eternity must have seemed like a chore to its director, Fred Zinnemann.

The Big Sleep' is an unsentimental, surrealist excitement in which most of the men in Hollywood's underworld are murdered and most of the women go for an honest but not unwilling private sleuth (Humphrey Bogart).