Word: arch
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Dates: during 1980-1989
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...easily the best, and the Joffrey performs it with sweep and charging bravura. Elsewhere there are difficulties, some of which should disappear as the company settles into the work. Right now the dancers have absurd ideas of rich life in the Renaissance. The men strut and pose, the ladies arch their backs so radically that they look poised for a back flip. An exception is Gerel Hilding, whose Tybalt has genuine authority. Perhaps unwittingly, Stuttgart Choreologist Georgette Tsinguirides, who set the ballet on the Joffrey, made the Montagues the good guys and the Capulets the swine: for instance...
...Book of One's Own is filled with such arch utterances. F. Scott Fitzgerald plants a definition in his notebook: "Debut--the first time a young girl is seen drunk in public." Choreographer Martha Graham admits, "I am a thief --and I am not ashamed. I steal from the best wherever it happens to me --Plato--Picasso--Bertram Ross--the members of my company never show me anything--except (to) expect me to steal...
Bombay, some time in the 1920s. Military band music. Massed cavalry. Mobs of the curious, somehow menacing in their vastness. The Viceroy and his lady are returning from England to India. As they pass through a great ceremonial arch, it fills the screen, dwarfing them and casting them, as symbols of an empire's transitory pomp, into the subcontinent's tuneless perspective...
...movie, if it were to achieve the kind of spiritual, as opposed to literal, faithfulness to its source that Lean aspired to, had to be a thing of echoes too?but visual, not auditory, echoes. Image reverberates to image endlessly in this film. The early shots of the great arch and the little train lost in the huge landscape propose the film's overarching theme?India as mysterious and maddening cavern?and then Lean starts the echoes rolling through it. When Mrs. Moore meets Aziz for the first time, the moon is reflected cool and tiny in a shimmering pool...
Coppola and fellow screen writers Mario Puzo and William Kennedy present a mixture of fact and fiction as they center their story on Dixie Dwyer (Richard Gere), a coronet player, who becomes entangled in racketeering riff-raff after he saves the life of arch- mobster Dutch Schultz. The Dutchman hires Dyers to entertain his mistress Vera Cicero (Diane Lane), and the two, unfortunately for the Dutchman fall in love. Vera, however, sticks with the mobster because of his promise to buy her her own nightclub. Meanwhile back at the ranch. Dixie's brother Vince becomes embroiled in New York...