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Jonathan Bignell

Expressionist movie’ ( The Observer , 17 April 1977). Michael Ratcliffe’s review for The Times on 18 April 1977 argued: ‘There is no doubt that the reductionist scale and austerity of Beckett’s late work is effective on the small screen, but the dynamics are pitched so low that if the plays were any longer you might well drop off. The timing of Ghost Trio was mesmeric, and Donald McWhinnie’s direction, in which the camera advanced with tremulous hesitancy on the actor (Ronald Pickup) like a camera in the prehistoric days of moving films, created a world out of time and

in Beckett on screen
Marnie (1964)
K. J. Donnelly

there is more variation of material than one imagines. In Marnie, the degree of correspondence of leitmotif and image is beyond Herrmann’s norm, and makes the music seem extremely –​almost untenably –​ repetitive.16 In other words, they remade the ‘score’ as a recording through removing one of its key characteristics: its repetition. In a way, Herrmann’s score ought to be understood as ‘disciplined’ austerity, rather than self-​indulgent free-​ ranging flourishes. Artistic plagiarism and authorial presences It is perhaps not difficult to characterise the Marnie score

in Partners in suspense