Word: charactersã
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...their foil, a player (Mike B. Hoagland ’07), is more or less restricted to prop status; none of them talk with Rosencrantz and Guildenstern for long enough to make an impression. Yet all of the actors give the sense that there are unspoken depths to their characters??€”a crucial skill, considering that their characters have far more space to themselves in Shakespeare’s Hamlet. Polonius (Tim M. Marrinan ’06) is suitably obsequious, Ophelia (Andrea M. Spillmann ’07) is weepy when weepiness is called for, and a moody...
Most of the cast is skilled enough to skirt their characters??€™ inane dialogue and befuddling motivations to offer their audience enlightenment, or at least entertainment. Standouts include Bartel, who plays her bratty-teen role with enough passion to be believable, but with enough restraint to engage audience sympathy; Julia E. B. Morton ’07, who sold me on the inner humanity of her haughty aristocrat; and Smith A. Legba Nazaire, who plays a couple of taciturn authority figures with spontaneity and splendid physicality...
...cast—which also includes Kate Winslet, Kirsten Dunst, Tom Wilkinson, Elijah Wood and Mark Ruffalo—Kaufman says he made no effort to re-tailor his script to their dimensions. Speaking now of the fine points of shooting the film, he continues to use characters??€™ script names rather than those of the actors who play them...
Ultimately, however, Invasion of the Barbarians is about love, lifelong bonds and their importance in life, no matter the circumstances. The redeeming factor in all of the characters??€™ lives is the love they share with another. The film expresses this idea sincerely and without excessive sentiment, carefully toeing the line that separates the sappy from the sublime...
...happier) moments before the catastrophe, as well as glimpses into its disastrous consequences. Iñárritu’s decision to slice the film’s narrative into an intricate sequence of short, hard-hitting vignettes allows for an almost voyeuristic glimpse into the characters??€™ lives—like flipping through a photo album of scenes. The technique is similar to that employed in his eye-opening directorial debut, Amores Perros—merging form and content in a gritty web of ruptured lives told from an even further ruptured perspective. In 21 Grams, though...