Word: chekov
(lookup in dictionary)
(lookup stats)
Dates: during 1980-1989
Sort By: most recent first
(reverse)
...Shade, a dazzling novel of free- floating angst and male brinkmanship set in the Florida Keys. Ninety-Two was nominated for a National Book Award, and McGuane became, in the words of ^ Saul Bellow, "a kind of language star." Critics compared the 34-year-old author to Faulkner, Hemingway, Chekov and Camus. The big time -- and Tinseltown -- beckoned. McGuane became a celluloid hotshot, penning scripts for Rancho Deluxe and Tom Horn among other movies. In exchange for writing 1976's The Missouri Breaks, which starred Marlon Brando and Jack Nicholson, he was given the chance to direct the screen version...
...pass themselves off as primitive earthlings. With the help of Co-Screenwriter Nicholas Meyer (who, in Time After Time, propelled H.G. Wells and Jack the Ripper into San Francisco in 1979), they do just fine. Dr. "Bones" McCoy (DeForest Kelley) brazens his way through a little miracle surgery; Chekov (Walter Koenig), the Russian, has to explain his way out of an American nuclear submarine; Scotty (James Doohan) brings postmodern plastics to Marin County. And Spock, wandering around Golden Gate Park in a Vulcan bathrobe and proving his ineptness with the local slang, must be passed off as a casualty...
Over the past two years, actress Kelly McGillis has been receiving rave reviews--from her starring role in last year's hit thriller Witness to her recent portrayal of Nina in the National Repertory Theater's production of Anton Chekov's The Seagull. Yesterday in the Quincy House Junior Common Room, McGillis tried her hand at some critique, herself...
...fact that this is another Neil Simon play (for God's sake, how many are there?) should not frighten anyone off. It is one of the New Yorker's earlier works, and Simon, whose own characters have become walking cliches of American situation comedy, gains by the use of Chekov's characters. Each scene in the play is adapted from one of Chekhov's short stories, which means the actors must change character after each scene. This is a big challenge, and the cast, for the most part, meets...
PITY THE poor immigrant: Russian movies have a tough time of it here in America. The usual schema involves the film being released in a few selected "liberal" cities like New York or Chicago or San Francisco, whereupon Vincent Canby reviews it, throwing in a lot of references to Chekov and the Russian dramatic tradition. Then it either slinks back to Novsibirsk or else Pauline Kael then takes a look at it from the loftiness of The New Yorker and proceeds to chat about Eisenstein and the "true" cinematic revolutionaries like Godard. If it's lucky, Stanley Kauffman will give...