text: GBS wrote his own screen adaptation of this Nobel Prize winning play but didn't live to see it produced (he had won an Oscar in 1938 for his brilliant adaptation of his 1914 play PYGMALION). When Otto Preminger mounted (produced and directed) this production in 1957, seven years after Shaw's death, he had noted British author Graham Greene do the adaptation and it was a solid choice.<br /><br />Taking a cue from Shaw's own screenplay, Greene uses material from the stage Epilogue to create a framing device to meld the two acts of the play (one early and one late in Joan's story) into a unified and most satisfying whole. Where on stage the shift in tone is buffered with an intermission, here it works just as well with a return to KING Charles Balois's bedchamber (where the man Joan put on the throne is dreaming of the events which led to his current situation), and more material from Shaw's Epilogue - the introduction of the shade of John Gielgud's Warwick (the English "king maker").<br /><br />The majority of the language is solid GBS, and the performances from stalwart Shauvians (like Felix Aymler's Inquisitor or Harry Andrews' de Stogumber) to relative newcomers (the film established Jean Seberg's career) are first rate. It may jar some, only familiar with Richard Widmark's many movie villains, to see him playing a frail and somewhat silly Dauphin, but the performance - oddly top billed - is professional, even if arguably miscast.<br /><br />The symbolism of the opening credits and the director's choice to use the visual vocabulary of black and white filming all serve Shaw and the story well. Go in expecting quality entertainment and you won't be disappointed.
query: GBS wrote his own screen adaptation of
gen_review:  this Nobel Prize winning play but didn't live to see it produced (he had won an Oscar in 1938 for his brilliant adaptation of his 1914 play PYGMALION). When Otto Preminger mounted (produced and directed) this production in 1957, seven years after Shaw's death, he had noted British author Graham Greene do the adaptation and it was a solid choice.<br /><br />Taking a cue from Shaw's own screenplay, Greene uses material from the stage Epilogue to create a framing device to meld the two acts of the play (one early and one late in Joan's story) into a unified and most satisfying whole. Where on stage the shift in tone is buffered with an intermission, here it works just as well with a return to KING Charles Balois's bedchamber (where the man Joan put on the throne is dreaming of the events which led to his current situation), and more material from Shaw's Epilogue - the introduction of the shade of John Gielgud's Warwick (the English "king maker").<br /><br />The majority of the language is solid GBS, and the performances from stalwart Shauvians (like Felix Aymler's Inquisitor or Harry Andrews' de Stogumber) to relative newcomers (the film established Jean Seberg's career) are first rate. It may jar some, only familiar with Richard Widmark's many movie villains, to see him playing a frail and somewhat silly Dauphin, but the performance - oddly top billed - is professional, even if arguably miscast.<br /><br />The symbolism of the opening credits and the director's choice to use the visual vocabulary of black and white filming all serve Shaw and the story well. Go in expecting quality entertainment and you won't be disappointed.
reference_response:   this Nobel Prize winning play but didn't live to see it produced (he had won an Oscar in 1938 for his brilliant adaptation of his 1914 play PYGMALION). When Otto Preminger mounted (produced and directed) this production in 1957, seven years after Shaw's death, he had noted British author Graham Greene do the adaptation and it was a solid choice.<br /><br />Taking a cue from Shaw's own screenplay, Greene uses material from the stage Epilogue to create a framing device to meld the two acts of the play (one early and one late in Joan's story) into a unified and most satisfying whole. Where on stage the shift in tone is buffered with an intermission, here it works just as well with a return to KING Charles Balois's bedchamber (where the man Joan put on the throne is dreaming of the events which led to his current situation), and more material from Shaw's Epilogue - the introduction of the shade of John Gielgud's Warwick (the English "king maker").<br /><br />The majority of the language is solid GBS, and the performances from stalwart Shauvians (like Felix Aymler's Inquisitor or Harry Andrews' de Stogumber) to relative newcomers (the film established Jean Seberg's career) are first rate. It may jar some, only familiar with Richard Widmark's many movie villains, to see him playing a frail and somewhat silly Dauphin, but the performance - oddly top billed - is professional, even if arguably miscast.<br /><br />The symbolism of the opening credits and the director's choice to use the visual vocabulary of black and white filming all serve Shaw and the story well. Go in expecting quality entertainment and you won't be disappointed.<|endoftext|>
query_reference_response: GBS wrote his own screen adaptation of  this Nobel Prize winning play but didn't live to see it produced (he had won an Oscar in 1938 for his brilliant adaptation of his 1914 play PYGMALION). When Otto Preminger mounted (produced and directed) this production in 1957, seven years after Shaw's death, he had noted British author Graham Greene do the adaptation and it was a solid choice.<br /><br />Taking a cue from Shaw's own screenplay, Greene uses material from the stage Epilogue to create a framing device to meld the two acts of the play (one early and one late in Joan's story) into a unified and most satisfying whole. Where on stage the shift in tone is buffered with an intermission, here it works just as well with a return to KING Charles Balois's bedchamber (where the man Joan put on the throne is dreaming of the events which led to his current situation), and more material from Shaw's Epilogue - the introduction of the shade of John Gielgud's Warwick (the English "king maker").<br /><br />The majority of the language is solid GBS, and the performances from stalwart Shauvians (like Felix Aymler's Inquisitor or Harry Andrews' de Stogumber) to relative newcomers (the film established Jean Seberg's career) are first rate. It may jar some, only familiar with Richard Widmark's many movie villains, to see him playing a frail and somewhat silly Dauphin, but the performance - oddly top billed - is professional, even if arguably miscast.<br /><br />The symbolism of the opening credits and the director's choice to use the visual vocabulary of black and white filming all serve Shaw and the story well. Go in expecting quality entertainment and you won't be disappointed.<|endoftext|>