Word: brides
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Dates: during 1960-1969
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Married. Dawn Pepita Langley Hall, 31, British authoress who was Author Gordon Langley Hall (Jacqueline Kennedy: A Biography) until a transsexual operation in Baltimore last October; and John Paul Simmons, 22, her Negro steward; both for the first time; in a small Baptist ceremony at the bride's home in Charleston, S.C. Her mother (by adoption), Actress Dame Margaret Rutherford, said that she was pleased with the marriage...
...buttressed by an informed understanding of psychoanalytic theory and by a wide acquaintance with the classics. He makes a convincing case for the naked hostility hidden in most vulgarisms for the sex act. Two examples are the transparent sexuality of the most romantic of marriage rituals ("Carrying the bride across the threshold really means crossing the threshold of the bride, doesn't it?"), and the homosexual tendencies of the Don Juan ("The actual meaning of the urge to get through intercourse as fast as possible is that one hates the woman, or women"). All this suggests the obsessive quality...
...marry the daughter and then do something or other with his life. As a photographer he has specialized in pictures of human excrement, which is presumably Feiffer's ultimate comment on the state of contemporary society. But the fiance is catatonically passive. At one point his would-be bride (Linda Lavin) says with caustic distress: "See, he doesn't know how to fight. That's why I'm not winning." Finally, the pair gets married out of something resembling verbal combat fatigue, and the bride is arbitrarily killed by a stray bullet shortly after. At play...
That's it. All readers are thanked for their indulgence and urged to keep those cards and flowers coming.Jeanne Moreau in THE BRIDE WORE BLACK...
...Bride Wore Black is Truffaut's most calculated film, yet for all its style and detail, I'm not sure it amounts to very much, and prefer the romantic perception of Soft Skin, Truffaut's best film to date. But you have to give him points: the scenes between Julie (Jeanne Moreau) and the artist (Charles Denner) blend exposition and characterization as cinematically as anything this side of Chabrol. Also Truffaut's obsession with Hitchcock has finally left the realm of shot-copying, resulting in some interesting notions about audience identification, point-of-view cutting, and flashback structure...