Word: actor
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Dates: during 1970-1979
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...histrionic lessons were devised by Romance Languages Professor John A. Rassias, 53, an actor turned scholar who pioneered the Dartmouth Intensive Language Model now used to teach languages in 58 U.S. schools. In regular courses for undergraduates, Rassias and his followers frequently teach by play acting, as well as by pats on the head for good students. "The method brings emotions into the classroom," explains the professor. "Unless you feel a new language emotionally, the words won't come out when you need them." For the transit police project whose $18,000 cost was paid by private foundations, Rassias...
This particular actor-saving ploy on Sellars' part costs him an entire half of the play's plot. No one in the audience who has not read Much Ado About Nothing beforehand can make sense of the main romantic plot of Claudio (Paul Redford) and Hero (Grace Shohet) without the separate Dons...
...drum up support for the treaty, the Administration had been mounting an elaborate lobbying effort for months. One recruit was Actor John Wayne. Just days before he died of cancer, Wayne sent a Mailgram message to every Congressman warning that defeat of the Administration's bill "could result in the closing of the canal, which would quite obviously cripple our shipping, our ports, our exporters, and consumers, not to mention our military strength...
...Throw together Clint Eastwood, an airtight jailbreak plot, a first-rate storyteller like Director Don Siegel ... and what could possibly go wrong? As it happens, almost nothing. True, Escape from Alcatraz embraces virtually every cliché known to prison movies. Eastwood does not exactly break new ground as an actor either. Yet this film's familiarity ends by breeding affection rather than contempt. When an old-fashioned genre piece is executed with spirit, audiences can rediscover the simple, classic pleasures of moviegoing...
What redeems these stereotypes is the controlled, idiosyncratic performances of a superb supporting cast. Director Siegel (Dirty Harry) never lets an actor go overboard. The same lean quality is visible in his film making. With the help of Bruce Surtees' elegant, metallic-hued cinematography, Siegel makes every point as economically as possible. His style is the visual equivalent of John D. MacDonald's prose, which serves this kind of material well. The tension builds so naturally that neither hokey music or contrived menace is necessary. Only once does Siegel lose control - in a jarringly graphic finger-chopping scene...