Word: concerting
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Dates: during 1970-1979
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...backfired. Instead of a resounding LDP victory, Ohira's party actually lost a seat, bringing its total in the Diet's lower house to 248. (About 271 seats are necessary to control the key committees in the 511-member House of Representatives.) After the crapshoot, opposition parties in concert controlled as many seats...
...star." The Rose works splendidly when it treats Rose as a singing phenomenon transcending human limits and fails abysmally when it portrays her as a lonely woman with all of Joplin's reputed problems. As a star on stage, Midler becomes a voice and a presence. In the striking concert scenes, she projects an astounding vitality and animal-like ferocity, savaging both herself and the audience. Her voice lacks the razor-edged poignancy or raw power of Joplin's but has a vibrancy all its own. Fortunately, Midler avoids impersonating or lip-synching any of Joplin's trademarks: "Try (Just...
Interestingly, The Rose evokes little nostalgia of the '60s. The concert scenes are exciting, but the audiences appear so carnivorous that Rose's on-stage death seems sacrificial. Everything looks drugged out and messy. Not only messy in a physical sense, with all of Rose's glimmering, filthy rags and feathers, but also in a spiritual sense. The crowd scenes capture the alienated, frenetic mood of the late '60s. The Rose portrays the jarring disillusionment caused by the American Dream going bust...
...cornerstone of that dream shatters in the climax of the film. A drunken Rose telephones her parents from the high school football field where the team once gangbanged her on the 50-yard line. This time, she's having a sell-out concert "back home." As she adds lethal drugs to the tequila already churning in her empty stomach, Rose tries to talk to these aged strangers. They're not coming to her concert, and they can't help her now. They never could. Like the singer, the American Dream and the American family are dead...
Losey's breakthrough is the meticulous attention he gives to sonic perspective. Many made-for-TV opera films ludicrously maintain the same concert-hall acoustic whether the singer is standing in a bedchamber or a wheatfield. In Don Giovanni, when the camera zooms in on a singer's mouth, the voice becomes more distinct and louder--and you can tell simply by listening whether a singer is indoors or out. Losey's dubbing technique, too, seems more precise and less distracting than most, including Bergman's. Only one singer, Malcolm King as Masetto, suffers from the "disconnected mouth" disease endemic...