jeśli twoje dziecko najbardziej na świecie kocha filmy, a ty najbardziej na świecie kochasz swoje dziecko, to kup mu cinema speculation - w świątyni, rozdział 06:

In the fifties, the way Marvin delivered theatrical dialogue in movies suggested a great theatre actor who knew he was better suited for the camera (his reading of Norman Brooks’ dialogue from his play Fragile Fox in the movie adaptation Attack shows you how it’s supposed to sound). But in the seventies, he practically stopped speaking. And then when he did, in Frankenheimer’s The Iceman Cometh . . . he didn’t have it anymore. (..) But unlike Marvin—in the seventies—Ryan only got better. It’s Ryan, not Marvin, who rises to the challenge of Eugene O’Neill’s dialogue in The Iceman Cometh).