Word: closer
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Dates: during 1960-1969
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...first the ringmaster, then Lola at the center of the CinemaScope frame. While he walks around and pulls the camera after him, she is carried into the ring and set down in long shot--isolated in the frame and imprisoned by the camera sweeping around her. Ophuls' cutting in closer to her body, rather than tracking in (a surprising thing to do in CinemaScope, which is better adapted to long takes than to quick cutting), emphasizes her staticity, her closeness to death. But the camera motions, which express the glamor vital to the circus, generate the energy and the grace...
...action in the deep surrounding space). In this key scene the accumulated objects seem to evoke her entire life at each turn. The characters appear at the center of the frame, bordered by these objects but backed by depth. The ringmaster dominates the scene simply through his bulk and closer position to the camera, but Lola remains independent of him in the background. The ringmaster's commands ("Stop walking like that--stay still") and his speeches destroy the illusion of free action. In a terrifying kiss the ringmaster at last discards for a moment his detached domination of the scene...
...idioms, haunting museums and devouring books when not studying at the Art Students League. Arshile Gorky, the Armenian refugee, was initially a devotee of Ingres, Léger, Matisse, Cézanne and Kandinsky. Robert Motherwell drew much of his inspiration from Matisse. De Kooning, the Dutch immigrant, was closer to Cubism and de Stijl; Pollock, the shy Westerner, studied under Thomas Hart Benton, and was influenced by Mexico's David Alfaro Siqueiros and José Clemente Orozco. They all talked-and talked. Critic Thomas Hess observes that "a long, chaotic, brilliant, funny conversation about art began...
...boredom in rosy bloom-she is about as seductive as the average waitress at a teahouse." At times, she can be downright mean. Melina Mercouri, she reported, "had wall-to-wall hips, an ear-to-ear mouth, and more teeth than a pretzel has salt." Occasionally, the sarcasm cuts closer to home. Before she married Douglas Cramer, who is now head of TV production at Paramount, in 1966, Joyce described him in her column as "the kind of man who takes traveler's checks to Santa Barbara...
...French elections. He put a bearded and denim-wearing Peter Fonda at ease and then drew him out about the American educational system ("It's a mess-but my old lady won: our kids go to school") and the generation gap ("My father and I have gotten much closer in the past few years." At least "we talk to each other on the phone every...