Word: barrens
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Dates: during 1970-1979
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Mauna Kea, an extinct volcano towering high above the island of Hawaii, has not erupted in at least 10,000 years. But lately the barren, treeless area near the 13,796-ft. summit has been the scene of another, less menacing kind of activity. After three years of grueling work, construction crews are putting the finishing touches on the highest astronomical observatory on earth...
...scene that parallels Birken's rupture with Hermione, wanders off, exhausted and spent, into the snow. (The two are, at the time, on an outing in the Swiss Alps.) In such circumstances, nature does not offer Gerald the salvation it provided Birken; the landscape into which Gerald wanders is barren and frigid. He collapses, curls up like a tiny fetus dwarfed by a field of grayish white, his darker footsteps trailing offscreen like an endless umbilical cord. The actual physical setting of Gerald's death is overshadowed by its implications of loneliness and sterility. Compared to the cluttered literalness...
...Loeb Ex complicates any attempt to "de-intellectualize" The Tempest. The possibilities for elaborate staging or expensive costuming which would identify the scene of the action or the characters themselves are almost nil. Shakespeare, as we're used to him, seems strangely out of place in such barren surroudings...
...while we are on the subject of nasality, let it be said that the use of Ringo Start is a barren promotional gimmick. His role (Youngman Grand, Sir Guy's adopted son) was contrived expressly for the movie version and is superfluous from beginning to end. The same puppy-dog non-acting that complements flashiness so well in Hard Day's Night and Help is sheer stupidity (which is not inappropriate) in Magic Christian. The only thing cheaper than Ringo's name on the theatre marquee is Raquel Weich's above it. Her lucrative, careermaking breasts quivered expressively throughout...
...brief meeting with some beautiful deranged children, corrupt as the angelic demons that end Fellini's Toby Dammit and La Dolce Vita, Daria is threatened by infantile gang rape and escapes fast, horrified at 'these mutants removed from society by a friend of hers. They inhabit America's barren unclear-testing-ground country, children of a social and cultural Hiroshima, like those of Losey's film These Are The Damned. The sequence ends with Daria driving out of frame; the camera lingers, tracking into the Bar window and setiling elegautly on a stunning image of fossilized American Past, Daria...