Word: decorating
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...years ago, Ellman decided to expand. For $250,000 he bought control of Longchamps, a New York restaurant chain. He incorporated the Cattleman into the chain, and began buying other restaurants, concentrating on decor. His catering empire now includes 115 restaurants in seven states, and will gross an estimated $75 million this year...
...local scene things have been changed too. The Harvard Square Theatre was the University Theatre or the "U.T." then. Cronin's has moved, but it is still as Spartan in its decor and as packed as ever. Jim's Place is gone and so is the Yard of Ale. "The Square didn't have a good restaurant then and it still doesn't," Leland said. The most poignant change seemed to be that Lowell Lecture Hall is now called by its proper name. Twenty-five years ago it was the New Lecture Hall...
Raspberry Tart. Money is the main tie that binds U.N. Plaza residents. Considering the variety of their taste in decor, it seems to be the only tie. An exporter and his wife inhabit an eight-room West Tower penthouse whose walls are completely covered with dark green Vermont marble-giving their apartment a curiously tomblike atmosphere. Capote's apartment features a red-on-red dining room ("Like a hot raspberry tart," he says), and a prominently displayed pink china jar labeled "Opium," which was a housewarming gift from Jacqueline Kennedy...
...last and most important, and it enabled him to make Les Biches, a great success which has restored Chabrol to critical favor. The difference between the two films is staggering, and testifies to Chabrol's greatness: The Champagne Murders uses the zoom lens, violently colored images and elaborate decor; Les Biches has only one zoom (the final shot), employs only cool colors (mostly blue-greens; Chabrol says that most color films "hurt my eyes") and is more conventionally formal. Both films, however, are unmistakably Chabrolian, and mark the increasing maturity of France's most important young director...
...describes. His black-and-white-and-red-all-over flashbacks do evoke the twenties; the flagrantly overdirected love scene in Lylah's old room effects a stylistic shift in two cuts from '60's modernism to '30's glamour; the final studio scenes provide violent clashes of imagery and decor which complement the growing take-over of the dead Lylah. What Lylah Clare means is ambiguous and personal, and depends anyway on whether you can take the film seriously at all. For my part, I reject all this talk about High Camp and find it a wholly captivating, often moving...