Word: clemenson
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...Capitulation." The skit concludes as Philip and the talk show's two other guests, a Labor Party representative (Chris Clemenson) and the British Minister of Science (Brian McCue), stand about in awkward silence until Philip raises his glass in a toast. "My health," he says...
...Clemenson in "The Great Train Robbery." His face bulging and mind oozing, the inspector explicated the crime. "When you speak of train robbery, I want to emphasize that this involved no loss of train, merely its contents. We haven't lost one since the blizzard of 1946, when we misplaced a small one." Well, then, who could have perpetrated the crime? Clemenson leans forward ominously, wrinkles his brow, and emits his conclusive response. "We believe this to be the work of thieves." Oh, so thieves are responsible? "Oh, good heavens, no! I believe the thieves are irresponsible...
...CAST IS uniformly superb and convincingly British. Redford looks like he arrived straight from a rugby match at Wembley Stadium, while Hunt, his face set in an eternal mischievous grin, could be in Eton taunting the protagonist of The Loneliness of the Long Distance Runner. Stout and full-faced, Clemenson is the show's most consistently hysterics-inducing actor...
...interested only in an amourous conquest into a sicere and passionate suitor. Chrysalde (James A. Bundy), Arnolphe's friend and Moliere's obligatory voice of reason, is also pleasantly portrayed. With an agreeably light touch, Bundy successfully combines a tone of reasonableness with one of faint mockery. Christian D. Clemenson excels as the notary. Positively inflated with pomposity, he delivers Moliere's gentle (in this case) parody of complacent bureaucrats with hilarious accuracy...
Laboring under the burden of a broken toe, Bellucci nevertheless is eloquent and convincing, especially in the beautifully acted love scenes with Masha. Chris Clemenson takes the awkward character of Tusenbach and fills it out with sympathy and skill. Tusenbach's paeans to labor can easily turn into sermonizing and his devotion to Irina into sickening self-abasement, but Clemenson doesn't self-dramatize the role. He transcends the limiting qualities of the part as Chekhov wrote it to create to subtle portrait of human suffering, weltschmerz...