Word: chaplinitis
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...crop of "independent" movies that blanketed the multiplexes last year, seasoned cineasts in search of pioneering film work kept flocking to the small screen of the PC. That's because the American Film Institute, through its online cinema on the Internet www.afionline.org/cinema) is showcasing the classics of Charlie Chaplin, Buster Keaton and Harold Lloyd--mavericks of the early 20th century's groundbreaking medium, silent film. With the help of VDOnet streaming video software, users have been able to watch real-time versions of such 20-min. shorts as Chaplin's The Rink and Keaton's The Boat, a different...
...constant observations on the rest of the play draw the line between the fantastic and the real, bringing the viewpoint of a modern, cynical viewer into the play. In his battered black suit, derby hat and worn-out umbrella, Burt-Kinderman's Jacques seems a cross between Charlie Chaplin and one of Beckett's existentially confused wanderers from Waiting for Godot. Her razor-sharp portrayal electrifies the play. Deftly handling Jacques's bitter one-liners, she also does an unusually effective job with the play's famous "Seven Ages of Man" monologue...
Another elective worth shopping in the VES department is VES 157r: "American Cinema." Taught by Visiting Lecturer on Visual and Environmental Studies Charles Warren, the class is a survey of American films from Charlie Chaplin's silent pictures to the modern works of directors such as Robert Altman. Students will be taught the art of writing film analysis...
...decade or more for him to achieve true Marcellosity. In Visconti's rapturous White Nights (1957), Mastroianni spent the whole movie pleading fruitlessly for Maria Schell's love. To impress her he does a spaz-jazz dance, hilarious in its frantic clumsiness. At the end he walks off like Chaplin, alone into the snowy dawn...
...billion for contesting their prenuptial agreement--have been setting New York City literary circles abuzz, but Bloom waits until she is more than halfway through this memoir to begin dishing the dirt. For, Roth aside, Bloom, 65, has her own moderately interesting story to tell. She starred in Charlie Chaplin's Limelight, played virtually every major classical role on the stage and has acted opposite--and been romantically involved with--some of the great leading men of her era. About these men, she has much and, in the way of people who cannot translate the lessons of therapy into compelling...