Word: exteriorizer
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...brisk pace. Chapter Two is simply too long--the first act runs nearly two hours. Herzer faithfully reproduces Herbert Ross's original staging, but regrettably, he could not reproduce the original cast. Marilyn Redfield's Jennie remains disappointingly one-dimensional, never conveying anything more than her character's chipper exterior. As Faye, Jane A. Johnston delivers her lines well, but not well enough to overcome a case of physical miscasting. Jennie's friend should be in the prime of beauty; Johnston's appearance makes Fay rather frowsy...
...works designed for the station's exterior should blend smoothly with the lines of the building. They don't. For the outer court, David Phillips has designed a series of cut stones for the plaza. "I have never thought of myself as a stone carver," he writes. "I didn't want to remove material or change the essential nature." Yet he has not only cut and placed stones to clutter the plaza. He, like Harries, has decided his objects would look better bronzed. The effect, if one takes the model as an indicator of things to come, is terribly pretentious...
...pace picks up slightly as Scott leaves Michigan to search for his daughter. One might expect the urgency of the street to break through the tough, austere, Calvinist exterior of the man, but Scott slogs dully through whore houses, unmoved except by frustration...
Even so, Wifemistress is thoroughly likable. The exterior photography is magnificent. The sex scenes are both tasteful and warmly sensual, as is not always the case with flicks whose directors feel obliged to show a little skin. A note here about skin: as a woman viewer of both these films justly and aggrievedly noted, "They always show more of her than they do of him." The double stan dard marches...
...hundreds of drawings and dozens of still-life and land scape paintings. Nicholson's favorite motif was that of the cubist Juan Gris: a view of objects on a table, vases, mugs, jugs, bowls, with a fragment of landscape seen through an open window behind, the two worlds - exterior and interior - compressed into a single overlapping image. Nothing is gratuitous, nothing fudged. The sharp pencil line - Blake's "hard and wirey line of rectitude" - engraves the surface with a kind of moral certainty. A work like June 4-52 (tableform), with the vestige of a dark, undulating horizon...