Word: charm
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Dates: during 1970-1979
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...brogue or the King's English, O'Neal sounds like a smooth-voiced Jack Nicholson out of Doonesbury. "How could you do this to me, Nora?" he asks in a deadpan American voice that could have come straight out of Gidget Goes Loco. O'Neal's Barry has no charm and is the film's decisive failure; you can forgive a rogue anything so long as he is graceful and entertaining. O'Neal's Barry is a lout at bottom, and he seems to be so incompetent an actor that it's hard to tell if this is what Kubrick...
Front Men. When Marcos grins, it is hard to believe that the man could be ruthless. He has charm and accessibility in equal abundance. But his steely quality emerges clearly when he discusses his seizure of absolute power and the imposition of martial law. "I am one of those who felt guilty about the old system," he says. "But I realized I was a captive of it and so did a lot of other people. The [earlier] Presidents seemed to me as if they were just front men for the oligarchs behind them and, well, I wasn't going...
Threescore years ago, Jerome Kern and Guy Bolton brought forth on Broadway a thoroughly beguiling musical. It retains all of its charm, innocence and naughty-nice merriment in the current David Merrick revival. Theatrically, 1915 must have been a very good year if it produced shows like Very Good Eddie...
...private Will has little of the charm and elegance of Will the writer. An unimposing six-footer with reddish hair and rimless glasses, he is given to casual dress and succinct answers that often consist of a single word or a single sentence. Self-confident to the point of arrogance, often curt, Will gives the impression of a man uninclined to suffer gools, gladly or otherwise. He answers questions in a monotone, seldom showing even a hint of emotion, except when he emphasizes a point by tapping a pencil on the desk in front...
Fleeing to Europe, Grimes meets a Faustian figure (but a Faust with charm) named Fabian, who knows every banker, concierge and con man from Rome to Gstaad. He teaches Grimes, the back slid Protestant moralist, how to increase and enjoy his money. But just as Graham Greene knew, Shaw is aware that the piper must always be paid, that his heroes must eventually return home to separate fates. Although they used to worship at entirely different literary shrines (Hemingway on the one hand, Evelyn Waugh on the other), Shaw and Greene are bonded in contemporary let ters by their ability...