Word: bowling
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Dates: during 1970-1979
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...images go, you can't beat it: the Goodyear blimp suddenly looming large and low-much too low-over the Orange Bowl. To turn that benign and stately symbol of the country in a holiday mood into an instrument of unpredictable menace is a stroke of Pop-cult genius. If the blimp can run amuck, even in fantasy, what is there left that we can rely...
Very little-as one horrid event after another has proved in the past two decades-except possibly Director Frankenheimer's skill at building action sequences like the foul-up of the Super Bowl circus, which is the climax of Black Sunday. He has always been at his best when a script presents large technical challenges: the tight spaces of Birdman of Alcatraz, the wild railroad chase in The Train, the assassination attempt at a political convention in The Manchurian Candidate, to name the best of them all. Here he has more and perhaps richer elements than ever to play...
What the English then wanted in ceramics was "hardness, whiteness and translucency"; Leach's work opposed this taste. Its clear volumes and rigorous "drawing" are a legacy from Chinese Sung dynasty pottery. But the emblem of his style-and his favorite possession-is a Korean rice bowl, made by a 19th century village potter on an irregular wheel. "That is as it should be," he says, caressing the roughly glazed clay. "The plain and unagitated, the uncalculated, the harmless, the straightforward, the natural, the innocent, the humble, the modest: where does beauty lie if not in these qualities? More...
...FILM opens in 1936 in the dust-bowl town of Pampa, Texas, where Woody is earning just enough money as a sign painter and square dance fiddler to keep his family from starving to death. Pampa is an oilboom town gone bust, a grim, Depressionera morning-after the gala twenties, when the oilmen and farmers came in droves. Now the money and water are gone, the land parched and worthless. All that's left is the dust--huge, billowing black clouds of destruction and death rumbling across the prairie. Production designer Michael Haller's re-creation of a Pampa dust...
...epicureans who proudly describe the delicious meals they've eaten in various parts of the country (Woody, who hasn't eaten in a couple of days, observes sardonically that "The more ya eat, the more ya shit"), truck drivers, boxcar bums and rod riders, and, of course, fellow Dust Bowl refugees. Both Woody and the viewer are seeing the hidden, dark side of the American dream--the poverty and misery of the unemployed masses contrasts starkly with the affluence of the epicureans and of the priest who refuses him charity on the ground it will weaken Woody's spirit...