Word: breaths
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Dates: during 1970-1979
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...play is an unpretentious and quite ineffective quick Flair pen sketch. The program is a jumble of mad typing the night before the opening. All the orchestra seats in the Loeb have been moved backstage so that half of the audience sits at the bottom of the breath-taking canyon-like flyspace of the theater, and they are encouraged to move to different seats during the performance. At one point in the second act, the curtains threaten to tumble down and enclose the backstage audience completely, only to creep sheepishly and mischievously back up again. During the intermission, the cast...
Mother Kusters Goes to Heaven. Now that Rainer Werner Fassbinder is being mentioned in the same breath with fellow European director-luminaries Goddard and Fellini on this side of the Atlantic, his work will attract an increasingly demanding eye, and if this latest film is any indication, that scrutiny is all for the good. For Mother Kusters Goes to Heaven alone would never earn the German director the level of status and respect his name now commands, and a final verdict on Fassbinder still seems far off in the distant future. This 1975 release relates the tale of an ageing...
...devotion to science, Dr. Rappaccini's most perfect--and most fatal--creation is his daughter, the beautiful Beatriz. She is a symbol of man's inventiveness to rival Pygmalia. The only mother Beatriz can claim is Curiosity; she knows she belongs body and soul to her father. Her breath poison, her tears acid, Beatriz lures the new Adam, a student named Juan, to descent into the garden from his garret room next door...
...Rand went west, tried again and the results, after a shaky start, were a little better. Bowdoin said no again--not once, but twice, early-decision breath--ditto Colorado College, but three schools said "Yes," and Harvard was one of them...
...though, what he salvages tends toward the simplistic and the soapy. This tendency is hardly helped by the hopelessly stilted direction of Franklin J. Schaffner (who directed Scott to somewhat better effect in Patton). Here is a movie about freedom, art, love and death, and there is not a breath of poetry in it. Indeed, it is most prosaic when it tries to be poetic, as when Hudson muses that the sea "has great beauty and mystery, and she is eternal," or when his middle son's day-long ordeal with a giant marlin that gets away magically triggers...