Word: bogarting
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...Yamoussourko," that may reveal the most about Naipaul--more, in fact, than he may have intended. The Naipaul we meet in the first essay is, by his own admission, an innocent. The essay begins with his first moment of artistic creation--a sentence about a family black sheep named Bogart. He wrote the sentence, the first line of his first story, in a BBC staff room in London 30 years...
...also develops a kind of grudging affection for him. He is an appalling bumpkin, young enough to be her son. Admitted to her favor, he abruptly falls in love with her. The bookkeeper celebrates his new ascendancy by lighting cigarettes Bogart-style and shaking his head in the worldly way of Edward G. Robinson. She rents a preposterous weekend apartment in Lille, where she and Gueret calculate their future in the Congo or Senegal, "two unlikely, hardworking lovers...planning for their years of triumph and luxury." But Mme. Biron has also got in touch with an old gangster crony...
From his days as critic for TIME and the Nation in the 1940s, Bergreen shows, Agee left a collection of brilliantly discursive film reviews that helped establish the standards for the art. He wrote two moving and complex novels. He composed at least five screenplays, including that shaggy Bogart-Hepburn classic, The African Queen. He turned out reams of verse, published and unpublished, and won the prestigious Yale Younger Poets award...
...predecessor. Each day there is a different double feature--usually put together reasonably well. A few years ago, the groupings were more inventive, but now they seem to have found what pays and have decided to stick with it, serving up a steady diet of Woody Allen, Bogart, and James Bond, with only an occasional surprise thrown in. Downstairs, the two other theaters show slightly offbeat first-run films. They don't always stick to the Spielbergian gospel to that has poisoned the suburbs, but are willing to screen films like Entre Nous, currently showing...
WHETHER IT BE Casablanca, Dr. Zhivago, or Gone with the Wind, every classic war picture must feature a love story. Who can forget, for example, the unforgettable moments when Humphrey Bogart passionately sweeps Ingrid Bergman off her feet, or when, after Tara has suffered a crushing defeat. Clark Gable tells Vivien Leigh, "Frankly my dear, I don't give a damn." Although each of these films purports primarily to explore the circumstances surrounding its respective war and depict a bygone era, we all secretly know that the political and social statements are secondary to the more central and compelling story...