Word: dancers
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Russell Parker and his children live above their profitless one-throne barber shop. A worn-out, ex-vaudeville dancer, he passes the days playing checkers -- his ceremony with his old friend, Mr. Jenkins; Russell could never cut hair as well as he could dance. His daughter Adele supports the family by working at the dead-end Motor Vehicles job. Disgusted by the hard work that brought only physical and emotional exhaustion to the rest of the family, Russell's two sons decide to make their way in the world by converting the shop into a bootlegging joint. Pop goes along...
With a smile and a hint of boyish pride, the stout man in horn-rimmed glasses ushered Galina Ulanova into the three-room hotel suite. For the leading dancer of the Bolshoi Ballet, freshly arrived in New York on a first visit to the U.S., only the finest would do. In her refrigerator Ulanova found champagne, caviar and other necessities of the ballet life. Everywhere she looked there were flowers. In the sitting room stood the biggest surprise: a specially constructed exercise bar backed by floor-length mirrors. "So, my dear," said the man, "you can practice here...
...satire-of-a-plot are cameo appearances and sight gags that somehow work. Alex Karras, the ox-like former tackle of the Detroit Lions, plays Mongo, a villain who storms into Rock Ridge and knocks out a horse with a punch in the mouth. Madeline Kahn, the nebbish circus dancer in Paper Moon, is a saloon singer who wails about her sexual fatigue in a clever ditty called "I'm Tired" (words and music, of course, by Mel Brooks...
Moriarty lives now in Greenwich Village with his wife Franchise, a former dancer with the Jeffrey Ballet, and their one-year-old son. A self-taught jazz pianist, he spends his free time filling in at small jazz spots in his neighborhood. He will not become really good as an actor, he says, until he is 40. "All the best work onstage comes from men of 40 and up. That is when the heart begins to creep into the technique in England, and when actors in America learn not to indulge themselves." Meanwhile, audiences can look forward to the next...
Zero Mostel re-creates his Broadway role of John, Stanley's friend and upstairs neighbor. Writing about the 1961 production, Critic Robert Brustein observed that "Mostel has a great dancer's control of movement, a great actor's control of voice, a great mime's control of facial expression." The film preserves Mostel's virtuoso performance, including a long, bumpy transformation from man into rhino. But the control that Brustein admired is not so apparent under O'Horgan's direction. Mostel, unchecked and unchallenged, easily skids into self-parody. Still, his billowing, bellowing...