Word: almosts
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Dates: during 1970-1979
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...each protected its own stretch of beach, the barricade hastened erosion on the adjacent section, which was no longer replenished by the wash of fresh sand. The only solution seemed to be to build more groins, but they caused more erosion. By the early 1960s, the waves were lapping almost at the foundations of Miami Beach monuments like the Fontainebleau Hilton...
...text were upstaged by the magic. Several of Houdini's feats, including his water-can escape, were authentically and grippingly duplicated by Mark Mazzarella, a 19-year-old college sophomore. But the cost of going for such theatrical pizazz was a loss of psychological depth. Houdini offered almost no plot, almost no human interplay. Throughout the evening, a large portrait of the magician stared out at the performers from the ear of the stage, as if challenging them to account for his mysterious driven nature. The tricks, the career, the public appropriation of him as a hero were...
...captures the work's heartless, hypocritical milieu with a doorway here, a sofa or a plant there. All is gelid grays and greens except for the lurid red of Lulu's dress and wig. The stage is framed by two skeletal, metallic walls that recede almost to a vanishing point. In the final scene, when Lulu has ended up as a prostitute in a London attic, the walls suggest the street below, but they also suggest the desolate, fateful corridor down which Lulu has been careening all along...
...somewhat different approach with the two young stars of A Little Romance, "since on a romantic level it's an adult movie." The initial problem seemed to be that Thelonious Bernard was very shy with Diane Lane. "It was mostly the language thing," says Hill (Thelo at first spoke almost no English, though he learned fast). To solve the chemistry problem, he says, "I made them hold hands and not break eye contact for ten minutes. Soon they started giggling, then arguing, and then breaking into gales of laughter." Thelo loosened up. And when Olivier was around, "it was almost...
American film makers, slicker and warier, searched for directness in youngsters who also had good looks. Natalie Wood, in Miracle on 34th Street, was artlessly worldly. Dean Stockwell, almost romantically handsome, gave a performance of fearless vulnerability in Down to the Sea in Ships. Stockwell had much in common with Roddy McDowall, who earlier in John Ford's How Green Was My Valley had been one of the first young actors to combine sensitivity and uncertainty without losing the basic strength of childhood. They both anticipated the dreaminess and longing of Brandon De Wilde in Shane...