Word: depicted
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...looked like she had spent too much time in bowling alleys"-and Haynes has concentrated less on an alibi for Davis than on his wife's reputation. Last week he put on the stand William Rufner, a convicted felon and former lover of Priscilla's, hoping to depict him as a possible suspect. Priscilla stands to gain millions by her husband's conviction, Haynes argued, while Gavrel, the other key witness, has a $13 million damage suit pending against Davis...
...EDOUARD MANET painted At the Railroad Station; four years later Claude Monet painted a similar scene. Manet chose to depict two pretty women sitting under a sunny sky with the station creating a bland industrial backdrop. Monet omitted the smiling women, painting only the dark, smoky blue train station; and the opening shot of Julia is a technicolor replica of his ominous image--an image that is repeated frequently throughout the film. Julia is the story of Lillian Hellman (Jane Fonda) and her childhood friend (Vanessa Redgrave) whom she christens "Julia," who together lost the insular beauty of their adolescence...
...Debby, Kathleen Quinlan conveys the fear, isolation, anger and occasional joy of the schizophrenic convincingly, but Page's failure to do more than superficially explain why she feels these emotions makes it difficult to empathize with what could have been a superlative job of acting. Page's attempt to depict Debby's fantasy world, to which she retreats from an unpleasant reality, further emphasizes his direction's shallowness. Green described a world complete with a separate language and gods who alternately seduce and torment Debby; but such a world could only be shown on film by a master like Ingmar...
...sexist, definitely." Robert Taylor, Boston Globe art critic, wrote "finishes as a comment on the fact that the stripper's exhibitionism has robbed her of every tatter of human identity." To say that Take Off is sexist because of the striptease is analagous to calling Roots racis, because it depicted blacks as slaves. Whitaker's irritating inability to grasp the obvious is again demonstrated in his dismissal of Stan Berkowitz's Ass (incorrectly attributed to a Tom DeMore [sic] as "...a stag movie for donkeys, replete with all but completely graphic bestiality." The point he misses is, obviously, that "stag...
DESPITE THESE occasional stabs at humor, Dick and Jane ultimately fails because of its heavy-handedness. Fred Koenekamp's leaden photography is yet another culprit. Examining the division between black and white, his camera focuses on a group of dancing black employees in Charley's office, then roams to depict the slow, stinking affluence at an aerospace company party. The camera's eye, like the script, lacks subtlety. The film editing, too, obviously emphasizes the difference between rich and poor neighborhoods, by switching from Dick and Jane's ivory dream house to a dark pool hall frequented by the unemployed...