Word: charming
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Dates: during 1980-1989
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...subtle texture, effortlessly impelled by Gardener's deft editing, reveals that "it" is the sense of death that pervades daily life. Like cinema verite, "it" is based on an oxymoron. Forest of Bliss actually reasserts life by concentrating on the ceremony of dying. Vitality and color, charisma and charm, abound in the visages of the living inhabitants, most notably the fire seller, whose joie de vivre consumes the screen. And this juxtaposition of life with death necessitates audience observation, not verbal explanation...
...technical bloopers--the lights went out at one point--and by the annoying feature of all Agassiz shows that are plagued by the close proximity of the theatre's door to the stage itself. Inexplicably, a rendition of the jazz hit "Mr. Sandman" sung with real charm by Fiona Anderson '88, Anne Preven '86 and Belle Linda Halpern '85, dissolved into laughter...
...large part of the film's quirky charm is due to Walcutt. He plays Day with an unconscious honesty that makes the character instantly likeable and believeable. Playing Day as something of an innocent, Walcutt's childlike spontaneity endears him to the audience, overriding the distance automatically created by the disturbing facts of his character's possession. Walcutt never overdramatizes Day's bizarre psychic circumstances, relying instead on determined, consistent understatement. Although Walcutt is cast as the film's romantic hero, he manages to avoid this restrictive stereotype, devoid as he is of the plastic good looks required...
...real treat. The urns from Play are transformed into an old Irish cemetery, soon to be peopled by a very talented group of actors. In the lead role of Cronin, Charles Puckette steals the show, mellowing his character's crass politics and sexuality with a devil-may-care Irish charm. Laura Gonzales, who plays the prostitute Rose of Lima, sings and moves with the sensuality of an Irish Kate Bush. And the song and dance team of Bonnie Prince Charlie (Patrick Bradford) and his singing corpse (Jeffrey Korn) are an absolute triumph of macabre hilarity...
...Danceteria's "Wuthering Heights" elevator, the purpose of the physical accoutrements is to draw the clubgoer out of quotidien life and into a netherworld of unusual activity. The nightclub's ideal role is no longer to provide singles with potential partners or to satiate the hungry dancer with the charm of the bass. Though there is concern with sex and song here, these clubs, more than anything else, attempt to capture and define the sub-culture that is New York...