Word: bu
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Dates: during 1970-1979
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...Round One it was the good guys by four. Last night a spirited Crimson field squad jumped, vaulted and hurled its way to a slender 40-36 lead over its crosstown nemesis, Northeastern, in the Greater Boston Championships as BC scored 10, BU followed with 5, MIT with 4, and Tufts managed to eke out a single point. Brandeis merely showed...
...been extended to nine games and Worsley envisions a women's Beanpot Tournament, which she is trying to arrange. To accomplish this, Boston State would have to replace Northeastern since the Huskies have no women's team, but the other squads would be the traditional entries from BC, BU and Harvard. Next Thursday, the Crimson has a rematch against Providence and Worsley looks for a victory since the game will be at Watson Rink...
This is why, in Obscure Object, Buñuel pulls the fiendish stunt of casting two actresses as Conchita, and then proceeds to interchange them at whim. It is his way of saying that the movie's subject is Mathieu's obsessive desire rather than the 'obscure object" that brings it about. There are many other rude jokes as well, all designed to pull the rug out from under civilization as we know it. Buñuel casts a dwarf as a professor of psychology and dreams up a clerical terrorist group called the Revolutionary Army...
...anarchy of Bu@#241;uel's vision, there is nothing chaotic about his filmmaking style. At 77, he is in such fluid touch with his 'medium that he seems incapable of staging an awkward shot. The movie appears to flow directly from his subconscious, just as surrealist art is meant to do. Fernando Rey, a veteran of a decade of Buñuel films, finds as much baroque humor in his many bouts with coitus interruptus as he did in the unfinished eating scenes of The Discreet Charm of the Bourgeoisie. The two mysterious Conchitas - one svelte (Carole...
...Obscure Object is not quite as good as Discreet Charm (1972) and Tristana (1969), the two Buñuel masterpieces it most resembles, the problem is one of tone. The new film opens on a note of antic humor only to turn, in the second half, unrelievedly grave: as Mathieu and Conchita's relationship lapses into sadomasochistic games, Buñuel's irony gives way to a surprising display of personal despair. The sudden shift in mood does not work, but it is forgivable. Having given his life to one of the century's great artistic revolutions...