The Missing Camera
"THE programme on The Sound Bartier (from 1YA), ‘while it Cast several interesting sidelights. on the film, missed out many things that made it memorable. The director, David Lean, explained how that striking openingthe diving Spitfire above the cliffs of Dover-came to be written into che script, and how the film originated in a desire to do something between the welltried heroics of the war film and the fantasies of science-fiction. A year was spent in research, among aircraft designers and test pilots, before Terence Rattigan was called in to write the script; and this helped to explain the intensely contemporary feeling of the film-the first, as far as I know, to give us the sense of a strictly postwar world. But. of the film’s other virtue-the singular beauty of its aerial photography, surely some of the finest ever screened-nothing was said at all, The things one remembered from. the ‘film were (apart from the roaring whistle of jet engines) mainly visual-particu-larly the high-flying shots of the Alps and.of clouds floating above the mirror of the Mediterranean. A few words from the camera crew would have been ap-
preciated,
M.K.
J.
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https://paperspast.natlib.govt.nz/periodicals/NZLIST19530814.2.19.3
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New Zealand Listener, Volume 29, Issue 735, 14 August 1953, Page 10
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194The Missing Camera New Zealand Listener, Volume 29, Issue 735, 14 August 1953, Page 10
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Copyright in the work University Entrance by Janet Frame (credited as J.F., 22 March 1946, page 18), is owned by the Janet Frame Literary Trust. The National Library has been granted permission to digitise this article and make it available online as part of this digitised version of the New Zealand Listener. You can search, browse, and print this article for research and personal study only. Permission must be obtained from the Janet Frame Literary Trust for any other use.
Copyright in the Denis Glover serial Hot Water Sailor published in 1959 is owned by Pia Glover. The National Library has been granted permission to digitise this serial and make it available online as part of this digitised version of the Listener. You can search, browse, and print this serial for research and personal study only. Permission must be obtained from Pia Glover for any other use.
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