Word: closed
(lookup in dictionary)
(lookup stats)
Dates: during 1960-1969
Sort By: most recent first
(reverse)
...flash the boy stood in front of the door. No, that was too fast. He forced himself back down the mountain. "Four . . . Now you can make out a handle on the door." Again, instantly, the boy stood before the door. Again, he drew back. "Seven . . . You are very close now. Eight. Nine. You are now standing in front of the door. I want you to open the door. I want you to open the door, and go inside the cave...
...their next exercise, John told them to close their eyes, crawl around the room, and touch. That was nice. While they all crawled around, hugging strangers, feeling arms and legs and hands and stomachs and feet, John lit some incense. There was only silence--the silence, and the drowsy, lovely smell of the incense, the bright morning sun, and a group of bodies which lost their ugliness when the boy shut his eyes. No words, no voices, no faces, only the bodies; and the boy liked that. He happily hugged everyone, everyone hugged him, and played with his hair...
...honors with Harvard sophomore Walter Johnson and Tom Spengler, who also placed in two events. Johnson spent more than an hour shuttling between the high jump, the broad jump, and the high hurdles, earning runer-up laurels in the latter two events for his efforts. Spengler was a close third in the mile with 4:17.7 and held a stiff early pace in the two-mile before fading to 9:24.6, good for fourth place...
...eyes. Middle class boozers who cheat on their wives. Fat old men who tell dirty jokes, bad dirty jokes. Cassavetes is working with a theme that has been sucked dry by better men than he. But Cassavetes is desperate. This is about Faces after all, so he keeps flashing close-ups of faces on the screen, quickly, back and forth. Sure, it is shocking. The same as seeing an oversize knee jerking out at you. Cassavetes has discovered something about film: you can make it look bigger than real life...
...grotto scenes. The lighting too often cast a mustard pall on the actors, with the exceptions of Act IV scene i and Act V throughout. The direction failed to take to heart Debussy's insistence that an improper gesture would mar a scene; the actors' gestures were perilously close to woodenness, which is at odds with the demands of the text. The quality of the singing was thoroughly satisfying. Roger Lucas as Pelleas and Barbara Hocher as Melisande were the weakest; Ben Lyon as Golaud was very fine in an extremely taxing role, but Mark Pearson as Arkel...