Word: bosomed
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...called the Sunset Strip ("30 Gorgeous Girls -- No Cover"), and starts palpating when Red, in a scarlet bustier, sings Daddy. Wolfie goes bats: chairs fly, factory whistles blow, mechanical hands clap. And Red is worth every libidinal leer. With her Bette Davis voice, Betty Grable legs and Betty Boop bosom, she is any wolf's bedtime fantasy -- way too hot for the '40s, and plenty sulfurous even today...
...wants to make sense out of the chaos of his life, trying to sustain his dignity when everything has gone horribly weird. He's your best self having your worst day. You are, for example, a man who must dress in drag (in Hanks' 1981 TV series Bosom Buddies). You're a 12-year-old kid who literally grows up overnight (Big). You're a detective whose top informant is a slobbery dog (Turner & Hooch). You're the manager of a baseball team, and your players are all girls (A League of Their Own). Or your girlfriend is a fish...
...Hanks brings life to this original character, and after his Academy Award for "Philadelphia," Hanks has finally come into his own. (Of course, I couldn't help picturing him with his alter-ego Peter Schaffer from Bosom Buddies, but Hanks does a magnificent job in this film...
This would be soap opera if the author were not unusually good at transforming acute, intuitive perceptions into sentences. Writing, this is called. Alice, half cracked, notices an overweight townswoman: "Her partially exposed freckled bosom, confined in its pushup bra, was barking and whining to get out." She slaps a hostile child: "He had absorbed the blow. It was as if the sting had gone right to a spot inside where he stored his wounds." And here is Alice's tiny daughter putting a clammy hand on her arm and trying to console her: "When I was your...
...indeed, the book is liberally sprinkled with personal anecdotes that serve to illustrate the many-faceted sensual appeal of the opera world. These range from the visual (such as Joan Sutherland's misaligned and garish lipstick on an album cover or the combination of Renata Tebaldi's ample bosom and her tight costume on the over of Aida) to the aural (Marilyn Horne singing "Mon coeur" from saint-Saen's Samson and Delilah, Anna Moffo's delivery of the single word disvelto in Verdi's Rigoletto) and even the oral (in a discussion of opera as addictive behavior, he calls...