12019-01-27T20:03:04+00:00Patrick Keatingfdfdb363527b48ac29800c3d2a6f44da6939bc3b11Design for Living (1933)plain2019-01-27T20:03:04+00:00Patrick Keatingfdfdb363527b48ac29800c3d2a6f44da6939bc3bCamera operator William Mellor does great, velvety work here, in perfect coordination with Miriam Hopkins’s every gesture as Gilda forms a pair with one man, a pair with another, and then a trio with both of them. The pictorial pattern—three, two, two, three—echoes the subtext of the scene.
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12019-01-25T22:37:11+00:00Patrick Keatingfdfdb363527b48ac29800c3d2a6f44da6939bc3bChapter Two: Purposes and ParallelsPatrick Keating6This chapter covers the years after the transition to sound.plain832019-01-28T02:06:58+00:00Patrick Keatingfdfdb363527b48ac29800c3d2a6f44da6939bc3b
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12019-01-25T22:47:42+00:002.7 Design for Living1Design for Living (1933)plain2019-01-25T22:47:42+00:00Critical Commons19332019-01-24T19:36:19ZVideoErnst LubitschDesign for Living