Word: aplomb
(lookup in dictionary)
(lookup stats)
Dates: during 1980-1989
Sort By: most recent first
(reverse)
...spokesman for the hostages seemed straight from central casting: a square-jawed, clear-eyed Texan named Allyn Conwell. An oil company executive based in Oman, Conwell was returning from a vacation in the U.S. Showing more aplomb in captivity than Cool Hand Luke, he calmly beseeched his captors and the U.S. alike to "put aside fear, anger and insult" and "let us go home...
...familiar virtues are evident too, particularly his inspired casting. In selecting Luders -- a fine partner but a phlegmatic performer often taken for granted by the audience and even by himself -- the choreographer rinses away years of familiarity to present a dancer of mesmerizing ardor. Luders reveals a plangency and aplomb that match Farrell's stroke for stroke...
...M.chact (Don Franklin). Clough responsibility seems to be as the movie's romantic interest. This he fulfills by coasting through on its good looks. Franklin, the team's creative choreographic genius, is the most thrilling dancer of the movie. Tall and lean-limbed, he dances with clarity and aplomb. Franklin has a sense of space. Suspending sculptured patterns in the air, he performs rather than merely executing the steps...
Khrushchev and Kennedy met in Vienna in June 1961. Leonid Zamyatin, deputy chief of the Department of the U.S. in the Foreign Ministry, told me about it. Zamyatin's amazing aplomb and self-assurance helped compensate for a lack of talent and enabled him to promote himself. He later became director-general of TASS and eventually chief of the Central Committee's International Information Department. With Georgi Arbatov and Vadim Zagladin, he was part of a troika of the most familiar Soviet faces appearing in the West when the Kremlin needed to influence public opinion...
...have made a hit out of this 1980 comedy by South African Writer-Director-Producer-Actor -Cinematographer-Editor Jamie Uys. The film's pleasures are simple and obvious: an original plot, lots of slapstick and a lead performance by the Bushman N!xau, who registers every absurdity with the aplomb of an aboriginal Buster Keaton. There is a tinge of paternalism in Uys' attitude toward both the Bushman and the bumbling rebels, but he seems no racist; he tars all his characters, black and white, with the same broad satirical brush. With very little exertion, the spectator can convince himself...