Word: crystals
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Dates: during 1970-1979
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PETER BOGDANOVICH is a director who thinks on his feet. He translates his fiction onto film like it was embossed on slate, exact and crystal clear. As he understated in a recent interview, "I am rather precise, and there is not much room for improvisation once we agree on what the scene is." Each Bogdanovich shot is like an Andrew Wyeth painting, possessing more definition and harder edges than anything real...
...crystal," Collier has fairly explained; "Satan is a virus. Crystal imprisons us in perfection. Virus is a source of death, and of all growth...
...20th century; of a heart attack; in Capri. From his native Lithuania, Lipchitz immigrated to France at 18 and became the youngest member in a group of cubist artists that included Pablo Picasso, Juan Gris and Georges Braque. Working in stone and bronze, Lipchitz simplified human figures into multiplaned, crystal-like abstractions. During the '20s, he began to reverse the process and "from a crystal build a man, a woman, a child." His ideal became Rodin rather than Picasso, his work more monumental, his themes heroic. During World War II, Lipchitz fled France...
...central conflict of the play is a plebeian foray into patrician territory. Crystal Allen (Marie Wallace), a perfume clerk, seduces and steals the husband of Mary Haines (Kim Hunter). Since Mary is a pretty decent woman compared with her feline friends, audience sympathy gravitates to her. Crystal is a steely predator who wants her share of the spoils, but as an arriviste, she cannot keep her social footing. She is caught out in another liaison, and Mary gets her husband back. In effect, the lower orders have been chastised for their presumption...
...irony is that the social heights to which Crystal aspires operate on a code of ethics no more elevated than hers. These women lie, cheat on their cheating husbands, booze it up and assassinate each other's characters between brunch and bridge. Even while she gives tongue to their malice, Mrs. Luce clearly sees them as parasites who neither toil nor spin, except for their cunning webs of mischief. Like a social anthropologist, she follows these felines to their lairs-exercise parlors, hairdresser sessions, nightclub powder rooms. In an all-female play, these scenes cater to the U.S. male...