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the other hand, there are films in which the writer appears to be more dominant than the director. This is certainly the case in films whose scripts were written by Paddy Chayefsky, for example, where dialogue dominates the visuals in general. The quality of his writers who are either forgotten or mentioned in separate terms in critical commentaries. It seems that Howard Hawks is one of those, as although he directed some of the most interesting works in American cinema, most of his scripts were written by Hollywood writers: William Faulkner, Jules Forthman, Ben Hecht, Lee Brackett, and Charles Lederer (58). In many ways, Hawkes appears to have all the makings of a good theatrical director. He is talented at directing the actor and has a strong sense of pacing and a functional, unpretentious style. However, all these many advantages would have been wasted had it not been for the excellent scripts that Hooks had to deal with (not to mention his excellent actors), especially in such charming films as his daughter (Friday) and (The Big Sleep) (written by Faulkner, Brackett and Forthman on the novel by Raymond Chandler) and the movie Rio Bravo, written by Furthman and Brackett, based on a story by B.J. McCampbell. On the other hand, not even the most ardent Hawks fan would praise his film Red Line (7000), which was written by Hooks in collaboration with George Kirkow.

For many years American intellectuals tended to forget the violent and fruitful Hooks scripts in favor of others that dealt openly with serious subjects. To this day many moviegoers believe that a boy has to be dignified - if not really monotonous - in order to be respectable. Indeed, even at the pinnacle of the success of the American studio system, such "intellectuals" writers as Dalton Trumbo, Dudley Nichols, and Carl Foreman enjoyed great esteem because their texts were full of good speeches on justice, brotherhood, and democracy. Today, these patches of dialogue seem confused, clear scholastic, and in the end dishonest and often coarse, in which uneducated characters suddenly utter eloquent words, never personality. These topics are very important, but in order for them to be artistically effective, ideas must be built dramatically with merit and integrity, not simply packaged for personalities as if they were buzzwords on a national occasion. In general, educated students and artists are the only ones who discuss ideas and abstracts without a sense of affectation. Perhaps this is why Eric Roemer's films like Claire's Knee and My Night at Maude's are so convincing. The main characters are intellectuals who prefer discussing ideas over other topics (8-6). To be convincing, the rhetoric must be of The dramatic aspect is possible.We must believe that rhetoric is the property of the character and not “a message to the writer in a suit that suits him. It is a dialogue.”

Such good writing that even top directors like Berkman and Ford winked over their writing at times. For example, many of Ford's films are ambitious and "polite" in the worst sense of the word. Many of these films, such as The Detective, Mary of Scotland, The Plow and the Stars, and The Fugitive, were made by that incurable preacher Dudley Nichols.
His great films are based on well-known literary works. However, Ford is at his best when his characters are taciturn and even stuttering. In fact, the texts, especially the American Western films, are soft, frugal, and poetic in originality, especially because their writing is repressed. Frank Nakett wrote many of these films, for example (The Apache Castle), (She Wore a Yellow Ribbon), (The Wagon Master), (The Quiet Man) and (The Researchers). from

Thoughts at the End Generalizations about what constitutes good writing for screen are difficult. It all depends on how you do it. In Ben the Big Little Man, for example, the hero's Indian grandfather, Sheikh Dan (George), discusses abstract and moral problems with complete persuasion. (Adapted from a novel by Thomas Burker avoids emotional stereotypes. When the Indian sheikh seems to slip into the noble savage model, for example, the author accurately and cheerfully refrains from possible escalations. In a scene that comes to them in fragmentary syllables, the text of the end The story of the movie The old man climbs a high hill where he intends to die. He performs a number of solemn death rites and then lies on the ground while his sad grandson (Dustin Hoffman) watches with resignation. The Valley and to the Land of the Living Despite the huge importance that the text can play in the talkie film, some directors object to the idea of ​​the writer's dominance in the cinema.When asked about the value he puts in his scripts, for example, director Joseph von Sternberg answered that the narration or story elements in his work are of no importance whatsoever. For him, it reached (8) Antonioni once hinted that (Crime and Punishment) is normal, according to the genius of the novel, which lies in the way it is narrated, and not in the subject matter as it is. It is certain that a large number of excellent films based on routine and even on weak texts support this idea. Anti-literature.

Film scripts rarely provide an enjoyable reading, especially because they are only a map or a pointer to the final production. Even detailed texts rarely give us a sense of the film's mise en cine, which is one of the most important modes of expression within the director's reach. (88) Andros Sarez has pointed out with remarkable intelligence how the director's choice of shot - and how he portrays action - is a very important element in most films. Action is not just action. .

Choosing between a big shot and a long shot, for example, can often override the plot. If you tell the story of Little Riding Hood) with the wolf in a big shot and Little Riding Hood in a distant shot, the director is primarily concerned with the emotional problems of the wolf driven to eat young girls. If it is the young Hood in a large shot and the wolf in a distant shot then the emphasis shifts to the emotional problems of virginity studied in an evil world. Thus there are two stories of the same basic plot material. The one who is in danger in the two versions is Hood being listed The Little Red Riding Hood towards two opposing positions on life. The first way out is more associated with the werewolf-male, the corrupt impulse and even the underworld itself. The second way out is associated with the young girl - innocence, delusion, example, and the people of the generation. Needless to say, few critics care about the difference, perhaps to argue that discrimination as a morality is still vaguely understood.

Starris' notes support this book's argument that the subject matter is Alone it cannot be a reliable indicator of the quality in the film; The artist must translate his subject into forms specific to his expressive means before it is possible to interact with or evaluate his real content. In this sense, if the film writer generally prepares the subject material for the film, the director creates its content Real .