Word: elliots
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
...Persuasion, matters are a little more complicated. Eight years prior to the action of the novel, Anne Elliot rejected Captain Frederick Went-worth, the only man she ever loved, all because of the well-meaning "persuasion" of her family and her best friend, Lady Russell. As the novel opens we see Anne fading into her unmarriageable 30s, with only herself to blame for her loneliness. When Captain Wentworth unexpectedly returns to her life, there is a sense of desperation in Anne's response; this is her last chance to be happy...
...film begins with the Elliots being hounded by their creditors, their debts so large that they must rent out the family estate, Kellynch Hall. Anne's vain father, Sir Walter Elliot (Corin Redgrave), and her malicious older sister, Elizabeth (Phoebe Nicholls), protest in horror, showing immediately that they lack that prime Austenian virtue, good sense. Only Anne and Lady Russell (Susan Fleetwood), who in the film seems something of an aging bohemian, make the necessary case for relocating to the resort town of Bath, where, as Sir Walter's lawyer tells him, "It is possible to be important at less...
...Anne seems so afflicted, so desperate, that we rarely feel that she is her family's superior, always judging them; rather, she seems to be a mere victim of their mistreatment. And that mistreatment is portrayed so luridly-Nicholls' Elizabeth, especially, is a snickering ghoul-that Walter and Elizabeth Elliot seem closer to the wicked step-family of Cinderella than the conceited fools of Austen's novel. Likewise, Ciaran Hinds' Wentworth, while he cuts a fine figure in his naval uniform, gives little sense of that personal merit which ostensibly attracts Anne...
...found on the Billboard charts. Not since the heyday of Steiner and Hermann have there been as many brilliant young composers working in movies. Consider these recent offerings: James Horner's glorious, Celtic-twilight-tinged music for Braveheart, along with his otherworldly harmonies for Apollo 13; Elliot Goldenthal's dashing romp through Batman Forever; Michael Kamen's lounge-lizard gloss on the great Latin lover Don Juan de Marco; and James Newton Howard's swashbuckling music for the otherwise waterlogged epic Waterworld. Together with the idiosyncratic Danny Elfman (Batman, Pee Wee's Big Adventure) and the rhapsodic Trevor Jones...
...support for arts and culture is especially hypocritical given that these same people complain about the quality of music, television and movies that the marketplace provides. Why are self-proclaimed "pro-family" groups so eager to do away with the institutions that provide quality educational alternatives to pop culture? ELLIOT M. MINCBERG, Executive Vice President and Legal Director People for the American Way Washington