Word: awkwardly
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Dates: during 1970-1979
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...artist alive; certainly none whose paintings disclose a more strictly developed taste. They are suffused with references to Balthus' two main sources, Courbet (whose stolid, gawky children are the great-grandmothers of Balthus' adolescents) and the early Italian Renaissance The profiles of his girls have the slightly awkward purity of quattrocento medallion portraits. Nude in Profile, 1977, displays her pubescent body with the columnar grace of a figure by Piero della Francesca; light flows around the shallow curve of the wall and invests her outline with a hushed archaic permanence; many coats and scumblings of paint have given...
Once the hallucinations disappear, Roseland glides on to the banal triangle of a wealthy woman (Joan Copeland), a narcissistic gigolo (Christopher Walken) and an awkward naif (Geraldine Chaplin). The final number features a retired cook (Lilia Skala) who dreams of winning a dance prize before she dies. The only prize the cook deserves is one for overheating her role...
Bossert said that while he was "quite satisfied" with the interview process, it was somewhat "awkward...
...Rasputin of fraud. The straggly hair that frames his craggy Florentine features is a fright wig of deceit. His flamingo legs carry him with awkward zest from sin to sin, while his tongue utters unguentary lies. Yet we are too conscious that he is a self-aware villain, scoring stunning acting points without carrying complete emotional conviction. And Stefan Gierasch's Orgon is not quite the ideal foil. He seems more like an exacerbated paterfamilias who wants Tartuffe to cow his recalcitrant brood rather than a breathless gull hopelessly infatuated by a bogus saint...
Even these problems do not exhaust the list of problems plaguing this chaos-as-cinema. Few foreign films are dubbed these days, and with good reason; the awkward insertion of another person's voice speaking a different tongue into the lips of the original actors, besides being aesthetically offensive, robs the viewer of the genuine performance. But Chabrol unaccountably elected to ignore this long-accepted truism, perhaps as part of a misguided effort to accommodate the English-speaking Steiger. Combine this blunder with the normally sluggish quality of a Chabrol screenplay, and you come up with a film virtually stripped...