Word: creation
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Dates: during 1970-1979
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...Rose exists only as Jed imagines her-a compound of firelight and sweating sexuality. She is a medley of images, of bare feet and huddled fur and surrender. But, like Jed, for whom she ironically represents a form of ultimate reality, she is less a character than a poetic creation--evoked, but in the end, not completely present...
...second act is a repeat of the first, except this time with all the multi-media possibilities of the Loeb exploited. This part is wholly the creation of director Peter Sellars '80, Harvard's own artist-huckster Christo who as a freshman has foisted this crazy unorthodox production on the mainstage. His concept is a chic one A la Altman and Chorus Line, the director and actors got together during rehearsal in a dance studio filled with mirrors and spent a month improvising, trying to squeeze characters out of the Sitwell poetry, while a photographer snapped glamourous pictures...
East West Journal is, in short, a periodical re-vamped in this month's issue into averitable treasure chest of Handy Hints for the modern world-caretaker. All in all, this creation is somewhat akin to the union of People magazine and a macrobiotic mystic's handbook--a sort of Zen and the art of togetherness manual. The sort of reading-matter you pick up to read as they're charging up the groceries. Check-out-counter spiritualism...
...sequence of shots pilfered from Citizen Kane,with the camera leisurely examining the narrator's estate (the "Providence" of the title), and then cutting to a hand dropping a wine glass. Hands, cut off from the bodies they are supposed to serve, recur repeatedly in the film, symbols of creation and destruction, of free action and moral responsibility. The first two-thirds of Providenceis shot through a blue filter, evocative of the dark world of the unconscious, which is also the locale of Langham's latest novel. Here, characters wrestling with their inadequacies starkly confront the twin problems of living...
...Resnais's chief devices is the manipulation of point of view. Throughout the first segment, Gielgud's voice directs the jockeying between characters, writing and rewriting the scenes they act. Of all his subjects, Langham's daughter-in-law Sonia (Ellen Burstyn) is most completely a literary creation; deprived of a will of her own, she compounds her self-image from other people's imaginings. Her husband--"a sanctimonious sod," his father calls him--is a model of self-control, afraid of violence "because it reeks of spontaneity," of himself because his own urges to violence must be so vigorously...