Word: colorlessness
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...with the phrase that he writes it down for use by some character in his play (called, appropriately enough, Deathtrap). Outlining the plot, which follows closely the plot of the play we're watching, he concedes that the first scene will probably be "heavy and stilted," and when his colorless wife launches into a solemn, didactic monologue about why their marriage hasn't worked, he cuts her short with, "We get the gist of this passage." Well, we do get the gist of that passage, and the first scene is heavy and stilted, and all that this charming self-deprecation...
...singing about her new-found identity: "I'm not a nanny nor a granny nor a fanny. I'm a woman. I am me." Suzanne works in a family planning center, meets a pediatrician and gets married (which does not necessarily mean copping out if the man is as colorless and undefined as this doctor is). When the film ends it is 1976 and Pomme and Suzanne are together again, completely fulfilled by their extended families, guitars and old photographs. Varda concludes her makeshift friendship by telling us, "They were alike; they had fought to gain the happiness of being...
Water. Shapeless in itself, it can take MI multitudinous shapes. Colorless in itself, it can produce iridescences beyond any artist's palette. Soundless and inert in itself, it can in action induce a sense of rushing speed and frenetic energy; in tranquillity, a sense of meditative peace. In the most bleak of concrete jungles, water is a hope and a memory, a green thought in an ungreen shade...
...have circumvented this problem, to some extent, by culling some of my favorite stories from my friends and then lying and telling you that most of them happened to me. That way, you, the reader, will know that I shouldn't be blamed if my tales appear colorless or all-too-typical: the responsibility which I assume is totally fallacious...
...would be difficult to write a colorless biography of a woman who lived through and participated in the French Romantic movement and the countless restorations, republics and revolutions of her century. Barry begins Sand's story by briefly tracing her paternal family tree through several genreations of imaginative but debauched French and Polish aristocrats. He continues to place Sand within a historical framework, interweaving the events in her personal life with those of the literary and political worlds which surrounded, shaped and frequently angered...