Word: expressiveness
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Dates: during 1960-1969
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Taking its title and its cue from Shakespeare's Sonnet 29, the final moments of the play are unbelievably lyrical. Queenie is offstage. In her place, we watch Smitty (Tom Roulston), the young innocent who has become a cruel opportunist, try to express his honest concern for Mona (Frank Storace). Under Patricia Flynn's direction, the conversation, the pleading, the reaching, and the grappling tumbles out so quickly that an audience can't sort out all that is happening. We see love as the confusing and desperate and tortured state it sometimes it. And, for once, we feel it, when...
...weeds trying to find her could be hundred miles away. This setting is not something documented but something created. You can feel its strength but not organize it into a plan. The land is unified because all of the shots have the same tremendous evocative power, because they express the same feeling...
...decisions. Given he strength and singleness of their human passions, the long shots have a quality of fatality. This quality accounts for the film's feeling of determinism, of lack of choice, as the drama proceeds. The close shots, which could show Renoir's characters free and in-themselves, express a strength of character which is passion determines their actions in long shot. At the same time, all their actions (however passionate and personal) fit into the land; an finally, the land is not documented, but created by Renoir...
Handsome but Coarse. Oskar Kokoschka then was a young, lean, in tense nobody. He was one of the radical group of "Expressionists" who sought, with staccato rhythms and garish colors, to "express" on their canvases tormented moods and fantasies rather than to portray fashionable, naturalistic everyday scenes. "Crazy Kokoschka," his critics called him. Archduke Francis Ferdinand, who was later to die at Sarajevo, grumbled that "this fellow's bones ought to be broken...
...flew to the South Pacific to compile the first Samoan dictionary since 1862. There he found a rigidly stratified culture that relied on the proverb as a guide through the thicket of social life. The Samoans had proverbs for every human exchange, says Milner: "To pay respect, to express pleasure, sympathy, regret, to make people laugh, to blame or criticize, to apologize, to insult, thank, cajole, ask a favor, say farewell." Intrigued, he collected thousands of these pithy sayings...