By Maxim Gorky
Each day the manufacturing unit whistle bellowed forth its shrill, roaring, trembling noises into the smoke-begrimed and greasy surroundings of the workingmen's suburb; and obedient to the summons of the facility of steam, humans poured out of little grey homes into the road. With somber faces they hastened ahead like nervous roaches, their muscular tissues stiff from inadequate sleep. within the relax morning twilight they walked during the slender, unpaved highway to the tall stone cage that waited for them with chilly insurance, illumining their muddy street with ratings of greasy, yellow, sq. eyes.
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The film is a technological gothic. Like the later 2001 its virtues are considerable. It has a strong screen play, which is acted by giants, characters who speak out against each file://G:\NEW DOWNLOADS\Science Fiction Today and Tomorrow. A Discursive S... All these things, which belong so clearly to what many of us who write and know science fiction think of as a worthwhile future, make the film a unique expression of general attitudes that surely belong in any good future. It rises to a special kind of brilliance, Baxter points out.
Too many never get over the feeling that it is always a case of slipping in the ideas. In recent years we have seen human sexuality win its case in the cinema; one wonders, can the brain be far behind? Again, very few have made the effort to think about the problem very much, much less try to put the pieces together in a constructive way. The art of montage, for example, can produce a sequence of images which can forcefully elicit thoughts and ideas, as well as feelings, from the viewer. ), its science fiction possibilities (ideas which must be embodied in characters and visual images).
2010/11/30 Page 34 of 187 Films like these suggest the questions that sf film makers should always ask themselves. So many people knew or sensed what was happening on some level—intuitive, emotional, intellectual, scientific—to some degree, that it put to shame the literal‐ minded critics who believe that communication runs only in certain explicit and univocal channels. On television the pablum gets so bad so regularly that even mildly innovative programs are greeted with enthusiasm. Many films are exercises of talent, compendiums of differing abilities, showing us bits and pieces which are the shadows of a whole work.