Word: amours
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Though his home off Sunset Boulevard is far from his storied American West, Louis L'Amour continues to celebrate the ideals of a fantasy frontierland where law triumphs over disorder and cowpokes don't go in much for either gunplay or foreplay. If they are anything like their creator, how would they have the time? The author of 81 frontier novels (some 125 million copies in print) with a whip-cracking output of nearly three new books a year, L'Amour may have to take at least one day off in the coming year so that...
...beats his grand amour Althea a few times; nonetheless, she keeps her eyes lifted in the same direction as Stavros: wealthward. In a hilarious set piece, she accepts the highest-bidding suitor and heads for the altar with Fernand's son. But at the last moment, Althea refuses to sign a marriage contract that provides $200,000 for her odious mother and nothing for herself. While her fiance rushes off to get drunk, the bride-to-be makes love to Stavros in her wedding gown and precipitates an unforgettable four-wall fray for all. Yet all's wealthy...
...Queen of the Dryads in the Act II dream sequence, Laura Young (who alternates the role with Mouis) has a lovely, lyrical style and a great deal of fluid grace. Stephanie Moy, as the dream sprite Amour, delivers a quick, pert performance characterized by rapid-fire precision. The two male principals, Matador Augustus Van-Heerden and Gypsy Boy Tony Catanzero, both exhibit crystalline definition and punctilious accuracy. As Don Quixote, Donn Edwards is appropriately clumsy, bumblingly gallant, dedicated to the service of his imagined Dulcinea...
...executioner doing his job. For her part, Carmen is an even more explicitly sexual creature than she is usually portrayed. She sings the famous Habanera while engaging in some erotic byplay with a cigar, thrusting it into Don José's mouth at the words "L'amour, I 'amour. " In its total bleakness this is Carmen seen by a man familiar with Alban Berg's operas Wozzeck and Lulu, twin 20th century masterpieces of love, alienation and despair. The production also reflects Brook's distaste for conventional Bizet, which goes back to the time...
...Hulot's Holiday--Sunday at 2:50, 6:15 and 9:40 p.m., Monday and Tuesday at 6:15 and 9:40 p.m.; with Hiroshima Mon Amour, Sunday at 4:35 and 8 p.m., Monday and Tuesday at 8 p.m.; Brattle Theater