Word: drunkenness
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Dates: during 1970-1979
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...time has come to borrow from other countries their versions of foods that seem traditionally American: the turkey, the yam, the potato, the pumpkin. For starters, how about pumpkin soup? Or bawd bree, the rich hare broth of Scotland? It might be followed by Colombia's pato borracho (drunken duckling) or Gaelic roastit bubblyjock wi' cheston crappin (roast turkey with chestnuts) and rumblede-thumps (creamed potatoes and cabbage). Dessert could be Mexican torta del cielo, or a rum-flavored nut tart from France, or Irish plum cake...
...cornerstone of that dream shatters in the climax of the film. A drunken Rose telephones her parents from the high school football field where the team once gangbanged her on the 50-yard line. This time, she's having a sell-out concert "back home." As she adds lethal drugs to the tequila already churning in her empty stomach, Rose tries to talk to these aged strangers. They're not coming to her concert, and they can't help her now. They never could. Like the singer, the American Dream and the American family are dead...
...pickup of a lover (a frisky, sexy Frederic Forrest), the closeups are steamy and relentless. When Rose lands by helicopter at her nighttime stadium concerts, it looks like the arrival of the mother ship in Close Encounters (both films were shot by Vilmos Zsigmond). The movie's many drunken barroom brawls, not to mention its gratuitous excursions into the gay demimonde, unfold in gaudy, neon-tinged studio sets. This is vulgarity at its most absurd and most amusing...
...contorted expressions and jerky, stage presence give no hint of the size, strength and confidence of his baritone voice. His solos, "Mathilde" and "Amsterdam," demand the most stamina and brashness of the Brel songs in this show, and McIntosh has plenty of both. In "Amsterdam," a lurid ballad of drunken sailors, he bellows the lines with as much force and volume as anyone would want in the small confines of the Leverett theater, yet manages to make almost every word intelligible...
Bond gives a mind-gripping performance, handling Honey's emotional transitions with breath-taking ease. Her performance is the most compelling in the show. From the giddy drunken beginnings when it appears that the peroxided Honey has a mind-wrenching hysteria of the third act, Bond uses her body and voice to convey an infinite variety of shaded feelings. At times, when the sheer terro of reality rushes in on her, Bond's performance is almost too painful to watch. When Honey rushes off stage, sickened by alcohol and unable to endure the destructive games, our revulsion is almost...