Word: chamberlain
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...first time in years, a man capable of becoming a great and serious classical actor has appeared on the U.S. stage. Richard Chamberlain has a magnetic presence that holds an audience in thrall. Unlike most U.S. actors, he has an unforced command of the Shakespearean line. His delivery is intelligent, inflectively exact, and he conducts his voice as if it were an orchestra of verse. Chamberlain is inordinately handsome and bears himself with regal authority which makes him seem all the more a potential new Barrymore...
...great project is the wooing and revival of Alfred Chamberlain, a near-catatonic photographer with an outlook of complete acceptance and without any desire to dominate his environment. The couple's relationship structures the film. Through Alfred we understand the family's plight, and the director's attitude towards...
...Hirohito about his one trip abroad 50 years ago, when he was crown prince. Those six months in Europe influenced him profoundly; since then he has lived at home in Occidental style, sleeping in a bed instead of on a floor mat and wearing Western clothes. Last week his chamberlain brought news that Premier Eisaku Sato's Cabinet had approved Hirohito's plans for an 18-day European trip beginning next September-the first time a reigning Emperor will have left the country in the 2,631-year history of Japan's imperial household. Empress Nagako will...
...Scratching. Tchaikovsky (Richard Chamberlain) is first observed in the bed of his lover, Count Anton Chiluvsky. As played by Christopher Gable, the count is a vaudevillain complete with waxed mustache and leer. Tchaikovsky, fleeing from scandal, marries the nymphomaniacal Nina Ivanovna (Glenda Jackson). The outcome is nearly homicidal. (One night, wrote the tormented composer, "I was within a hairbreadth of succumbing to that blind, unreasoning, diseased loathing that ends in murder.") Tchaikovsky suffers a series of breakdowns. Nina ends her life in a sanitarium, hopelessly insane...
...damage her reputation so much as caricature it. In Women in Love she was the feminine soul brought beyond the melting point. Here again she writhes in agonies of longing, but her yowling and rug scratching are more reminiscent of feline heat than feminine misery. As for the composer. Chamberlain has the appearance and emotional range of an Aubrey Beardsley faun. After he gambols through the woods, one expects to find tiny cloven hoofprints...