Word: archways
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...building conveys a spirit, and some people call that spirit dungeon-like. A friend of mine calls it "jowly and very heavy--just like Richardson." It should not be forbidding. Perhaps though, it should suggest a two-sided romanticism, an ambivalence best suggested by the main archway. The solid doors open easily-but is there a portcullis hidden within? I sometimes wonder. The arch is very deep: the iron points of the sinister descending gate might be met at any depth. But the arch is also an intimate whispering arch: a murmur spoken into any of the grooves...
...that this was not the approach to just any small rural town in sparsely populated central Kansas. The road looked more like a thoroughfare in metropolitan Kansas City. Neon signs, one after the other, line both sides of the road for a mile. Huge street lights make a continuous archway of glaring light until at last the eating places, supermarkets, liquor stores, motels, and gas stations give way to the still quiet residential section and the original business district. Near the old railroad station, on the southern edge of Abilene, farm equipment is displayed outdoors. The Eisenhower Center is just...
...that "Mistakes can be made." The miracles that hold objects together, keep people from falling, and generally organize the world, turn inside out. Mistakes: a maid plunges into the hotel room while John is naked--one laughs, but with an echo. Coincidences: as John and Laura pass through an archway a shutter slams shut in the house above. Incidentals: in the wash room where Laura meets the two women sits a silent, Goyaesque attendant dressed in black, with an air of inexplicable mockery like the warning figures early in Death in Venice...
...represent the ideas of the film. When Gertrud explains to Gustav that she is leaving him, she is sitting in front of a bas-relief of a woman. Set behind Gustav is the portrait of a man, and the two art objects are separated by bare wall and an archway...
...less real, but he reveals the truth of a scene by following the characters with his camera, strengthening certain actions by showing them close up and excluding others from the frame. In an early scene de Sica enters Nazi headquarters. The camera tracks after him through a dark archway while a Gestapo motorcycle runs by him from the interior courtyard. Inside, de Sica enters an anteroom to find it full of people waiting to ask for amnesty for prisoners. Instead of holding him in a distant shot which would reveal the entire room, the camera moves in behind de Sica...