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There is no mistaking the play’s great heart.” “Rose, for all her feistiness, is a fake. Rose is ingratiating junk,” hissed the Financial Times.Sherman’s play tugs too hard on our sympathies, though it brims with black humour and Dukakis shines as the heroine.Rose is in repertoire at the Cottesloe, National Theatre, London SE1 9PX to 8 Sept. “What appears to be on paper a daunting prospect, is transformed by Dukakis’s remarkable performance into an enlightening experience,” conceded Time Out, while the Daily Telegraph deemed it: “Unforgettable… I applaud the play and its star – though from a sitting position,” declared Paul Taylor “Dukakis holds our attention.. a performance of effortless dignity,” reported The Guardian. 113 minutesTHE PLAYROSEOlympia Dukakis plays the octogenarian Jewish survivor in Martin Sherman’s new play, directed by Nancy Meckler.”The wonderfully sensitive and adroit performance by Olympia Dukakis deserves acclaim…

we deserved an awful lot more wit from the script and more on-screen chemistry from Sean and Catherine.”If the 40-year age-gap between Zeta-Jones and Connery doesn’t fill you with horror, the hackneyed action will.Entrapment is on general release, certificate 12. THE FILM

ENTRAPMENT
Sean Connery and Catherine Zeta-Jones crank up the sexual tension while plotting grand larceny in Jon Amiel’s latest thriller.”If Entrapment is a warning of blockbusters to come, then we could be in for a deadly summer,” revealed Anthony Quinn. “It is like watching a father leering over his daughter’s ballet performance,” carped The Express, adding: “a sensation which goes some way toward undermining the empathy essential to any love story.” “Entrapment is an empty technological exercise, much like the compulsive thieving of its central characters,” noted the Daily Mail, while The Guardian grumbled “A long and tiresome caper… “Garson Kanin told me you should take chances, change careers,” wrote Dmytryk, “so I decided to take up a new career, teaching – and I’m hooked.”Edward Dmytryk, film director: born Grand Forks, British Columbia 4 September 1908; twice married (one son, two daughters); died Los Angeles 1 July 1999..

The Carpetbaggers (1964) was a commercially successful adaptation of the Harold Robbins best-seller, and the same author provided the story for Where Love Has Gone (1964).But the best of the later Dmytryk films was a modest thriller, Mirage (1965), which, from its hypnotic opening sequence in which an amnesiac, Gregory Peck, meets the heroine Diane Baker in the stairwell of a huge office building during a black-out, is totally gripping.In his late 1970s, Dmytryk taught film at the University of Texas, and in 1981 was appointed a film-making professor at the University of Southern California. Soldier of Fortune (1955), The Left Hand of God (1955, again with Bogart) and The Mountain (1956) were fairly dreary, and MGM’s lavish production Raintree County (1957), touted as a new Gone with the Wind, was disastrously dull, notable only for the fine performance of Elizabeth Taylor.One of the director’s better films was The Young Lions (1958), a sometimes effective if sprawling saga of the Second World War with Marlon Brando as a morally confused Nazi. “I feel completely betrayed by Dmytryk’s accusation,” he stated, “but it would be my word against his.” There was no evidence against Dassin except Dmytryk’s, but the HUAC persecuted him anyway and Dassin was forced into exile at the age of 38.Dmytryk returned to Hollywood film-making with a low-budget adventure yarn, Mutiny (1952), many of his former colleagues refusing to hire him, but the producer Stanley Kramer came to his rescue and hired him to direct The Sniper (1952), a taut and well-played thriller.Dmytryk returned to mainstream film-making in 1954 directing Humphrey Bogart in The Caine Mutiny, Spencer Tracy in Broken Lance and Deborah Kerr in a film version of Graham Greene’s novel The End of the Affair – all respectable films, but lacking the spark of his earlier successes. His naming of several colleagues was never forgiven by some of them, including the director Jules Dassin, who denied the charge but vehemently refused to testify.