Word: deniro
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Slouching toward him, at an angle--The thing about Robert DeNiro is this: the moment you look at him on the screen you get the feeling that he is burning with some sort of impacted, very, very serious kind of personal dare that doesn't include you except as an alienated admirer. He looks as if he's on to something, as if there's some issue he won't ever let go until he wins or gets pulled down by it. He's going to force it, and he just can't stop. "This is a very... intense...
...other side. Redford holds back. He's not a hero, and he doesn't want you to dislike the people he plays. Redford retains a glamorous remoteness and passivity that doesn't stray far from good American-Eagle values. It's stability and studiness. but DeNiro gets to American from a different angle. He works his way up the spine and into the buzzing, seething mass of semi-methodical madness in the brain. He goes as far into his characters as he can go, always probing for that pure, nuclear core of nonfissionable personality that is at the nexus...
Unlike Redford, DeNiro is Proteus. redford never relinquishes his healthy, Rock-Mountain looks. When you say Robert Redford you know what you will get. But with DeNiro there is a volatility that makes you think of him in many faces and with a little anxiety. In Mean Streets he was nervy, wiry, and speed-driven, in The Deer Hunter aloof and grimly self-possessed, in Raging Bull sinewy, stupid, animal-like, as well as lazy...
...LAST FIVE YEARS, THE cinematic treatment of war has been anything but regular. In Coming Home war was a sociological case study. Michael Cimino attempted in The Deerhunter to create a charged-up folk tale complete with Robert DeNiro as an MIG-toting ubermensch. And in Apocalypse Now Francis Ford Coppola made war something mythic; something so big and so surreal that one wondered who was playing The Ride of the Valkyries after all. But in Australian director Peter Weir's Gallipoli, there is something of a retrenchment, at least intellectually. In the movie, war does not get treated...
...cases--an increasingly bizarre trip through the reaches of what pilots call the envelope--a theory of music, of being, a crypto-musical little speech which marks the real opening of Shepard's floodgates. When Petrone, a neighboring saxophonist (played by Nick Wyse looking for all the world like DeNiro in New York, New York) and Laureen, a neighboring bass player (Grace Shohet), arrive, an inner circle rears its head, signalling the end of the commonplace relationship which have gone thus far. And even then Niles himself (Brian McCue) arrives with his compatriot Paulette (Bonnie Zimering) and the play becomes...